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Hydration never sounded so cool 🙌🏻🤩 Bisleri #DrinkItUp 2.0 ft. Deepika Padukone Song Credits: “Run It Up” (P) Universal Music India Pvt. Ltd. l Published by Sony Music Publishing | © Universal Music Publishing Pvt. Ltd #Bisleri #DeepikaPadukone #BisleriXDeepikaPadukone

17,763 Aufrufe • vor 10 Monaten •via X (Twitter)

72 Kommentare

Profilbild von JM
JMvor 10 Monaten

Worst support and worst app, avoid #Bisleri

Profilbild von BisleriZone
BisleriZonevor 10 Monaten

Hi, we've tried reaching you to address your concern but couldn’t connect. Please let us know a convenient time to call, or feel free to reply here with any details so we can assist you further. We're here to help!

Profilbild von Rosie
Rosievor 4 Monaten

@JmTeamsuzuki श्री रमेश चौहान जी और जयंती चौहान सीईओ VAH अपने कर्मचारियों को customer ko मानसिक रूप से परेशान और प्रताड़ित करने के लिए सैलरी दे रहे हैं मेरा पानी कहां है -

Profilbild von BisleriZone
BisleriZonevor 4 Monaten

Hi, your query was successfully closed. We are glad to be of assistance. Look forward to serving you again!

Profilbild von Sanjeev Kumar
Sanjeev Kumarvor 5 Monaten

This is extremely disappointing. I placed an order (Order ID: BS-073OT-002958310) on Saturday, and it still hasn’t been delivered. This is not the first time repeated delays are unacceptable. Kindly deliver my order immediately @BisleriZone #farud

Profilbild von BisleriZone
BisleriZonevor 5 Monaten

Hi, we regret the inconvenience caused. Thank you for sharing your order details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von Sanjeev Kumar
Sanjeev Kumarvor 5 Monaten

Because of your delayed delivery, my household is facing a serious water shortage. I am literally struggling for drinking water. This is extremely irresponsible service. Please deliver my order immediately

Profilbild von Praveen Singh
Praveen Singhvor 8 Monaten

Bisleri app doesn’t work Forcing customers to buy water offline,and guess what? Distributors are selling Bisleri bottles above MRP If the official app fails and distributors exploit the gap,isn’t this black marketing? Consumers are left with no choice and no accountability.

Profilbild von BisleriZone
BisleriZonevor 8 Monaten

Hi, we regret the inconvenience caused. Please share your contact number with us. Our customer care team will connect with you at the earliest.

Profilbild von Praveen Singh
Praveen Singhvor 6 Monaten

20L Jar Price is 95/- and official @BisleriZone app selling at 100/‐ ?

Profilbild von BisleriZone
BisleriZonevor 6 Monaten

Please share your contact number with us. Our customer care team will connect with you at the earliest.

Profilbild von Praveen Singh
Praveen Singhvor 6 Monaten

092261 23203

Profilbild von BisleriZone
BisleriZonevor 6 Monaten

Hi, your query was successfully closed. We are glad to be of assistance. Look forward to serving you again!

Profilbild von dpvirgotwins 𐙚
dpvirgotwins 𐙚vor 10 Monaten

Queen is back 💦🩵

Profilbild von Sanjeev Kumar
Sanjeev Kumarvor 5 Monaten

Very poor service again repeated delays are unacceptable kindly delivery my order immediately

Profilbild von BisleriZone
BisleriZonevor 5 Monaten

Thank you for sharing your order details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von Rosie
Rosievor 3 Monaten

Bisleri customer care PRATIK SHIRAKE employee कृपया मुझे बताएंगे अच्छे ढंग से आपसे कैसे बात करूं मैं ? मुझे तो कुछ आता ही नहीं बात करनी भी नहीं आती क्या बात है सर आपसे जवाब भी नहीं दिया मैंने पूछा था मेरा पानी कहां पर है?

Profilbild von BisleriZone
BisleriZonevor 3 Monaten

Thank you for sharing your details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von Rosie
Rosievor 3 Monaten

Jayanti Chauhan bisleri CEO where is my water jaynti Chauhan bisleri CEO where is my water jaynti Chauhan bisleri CEO where is my water हम तीन दिन से वेट कर रहे हैं पानी का

Profilbild von BisleriZone
BisleriZonevor 3 Monaten

Hi, your query was successfully closed. We are glad to be of assistance. Look forward to serving you again!

Profilbild von Rosie
Rosievor 2 Monaten

Where is my water jaynti Chauhan bisleri CEO

Profilbild von BisleriZone
BisleriZonevor 2 Monaten

Hi, your query was successfully closed. We are glad to be of assistance. Look forward to serving you again!

Profilbild von Gnanaprakash Janarth
Gnanaprakash Janarthvor 6 Monaten

i have already raised concern by writing email to wecare@bisleri and even then till now ,no delivery happened. if you are not able to meet your promise why taking the order ?

Profilbild von BisleriZone
BisleriZonevor 6 Monaten

Hi, we regret the inconvenience caused. Thank you for sharing your details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von Gnanaprakash Janarth
Gnanaprakash Janarthvor 6 Monaten

what details you have shared with the internal team ? u dont even know the order number or customer identity , if so what information you have shared and they are looking into it for resolving. such a pathetic customer service.

Profilbild von Saurav Sarkar
Saurav Sarkarvor 4 Monaten

@BisleriZone @bisleri Order BS-021OT-002964557 pending since 25 Apr. Status stuck at “Out for Delivery” from 7 May. Multiple complaints raised but no delivery yet.

Profilbild von BisleriZone
BisleriZonevor 4 Monaten

Hi, we regret the inconvenience caused. Thank you for sharing your order details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von Manoj Gupta
Manoj Guptavor 3 Monaten

Dear Bisleri Team, I am writing to report another highly unsatisfactory experience regarding Ticket ID: 02876463. Today, the delivery person arrived with dirty bottles again in poor condition. When I requested fresh, clean bottles, he refused and took the bottles back with him. Given the repeated service issues and the behavior of your delivery staff, I am requesting an immediate refund of my money and the cancellation of my subscription. I expect a prompt resolution to this matter.

Profilbild von KAKA $ Rot
KAKA $ Rotvor 20 Tagen

Order placed on 09/09/26 Today is 13/09, still not delivered. Two times it was out of delivery. It is still out for delivery since yesterday. Complaint files but still open. Customer service says they cannot reach the distributor. Same thing everytime with each order.

Profilbild von BisleriZone
BisleriZonevor 18 Tagen

Hi, we regret the inconvenience caused. Thank you for sharing your order details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von Abhishek Singh
Abhishek Singhvor 4 Monaten

@BisleriZone tell me if want more to fullfill your empty stomach beggars

Profilbild von Rinku Yadav
Rinku Yadavvor 3 Monaten

Stop missguiding innocent consumer , let them drink natural Water for healthy life , You can't deliver orders in a week and miss guid8ng us

Profilbild von BisleriZone
BisleriZonevor 8 Monaten

Hi, how can we help you?

Profilbild von Vinay Sharma
Vinay Sharmavor 8 Monaten

What makes a water brand truly trusted? The words people repeat without thinking. I’ve developed a simple, high-recall slogan idea for Bisleri Drinking Water — designed to strengthen everyday trust and instant recognition across India. This idea is created for: Bottle & label visibility Outdoor & retail presence Digital and mass-market campaigns 💡 Bisleri already owns purity and trust. This slogan builds on that foundation with clarity, familiarity, and recall. I’m not seeking employment. I’m offering a brand idea that can be reviewed, discussed, or acquired if it creates value. If the idea resonates, it deserves a short, focused conversation. 📩 Open to connect with: Bisleri brand & marketing teams FMCG advertising agencies Brand strategists in beverages Strong brands don’t explain purity — they make it obvious. — Vinay Sharma Independent Brand Idea Creator 📧 [email protected] 7900308996 #Bisleri #BisleriWater #BrandIdea #FMCGIndia #BrandRecall #AdvertisingIdeas #IndianBrands

Profilbild von shujauddin khan
shujauddin khanvor 5 Monaten

Worst service No Delivery - Always Greedy for Payment First

Profilbild von BisleriZone
BisleriZonevor 5 Monaten

Hi, we regret the inconvenience caused. Thank you for sharing your details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von deepak cr
deepak crvor 6 Monaten

Bisleri cans are getting exposed to the hot sunlight which releases BPA and other chemicals into the water. Kindly take action

Profilbild von NonNRI
NonNRIvor 8 Monaten

Why scanner code in Bottles being sold in chandni chowk in front of Gurudwara is not opening any website secondly due date is 19/06/26 mfd 20/12/25 doubtful .

Profilbild von BisleriZone
BisleriZonevor 8 Monaten

Hi, we regret the inconvenience caused. Please share your contact number with us. Our customer care team will connect with you at the earliest.

Profilbild von Naga lokesh
Naga lokeshvor 4 Monaten

@BisleriZone Order not delivered even after 4 days. Order ID: [మీ ఆర్డర్ నంబర్]. No response from customer care and email. Extremely disappointed with the service. Please resolve this immediately.

Profilbild von BisleriZone
BisleriZonevor 4 Monaten

Hi, we regret the inconvenience caused. Please share your order details with us. Our customer care team will connect with you at the earliest.

Profilbild von Jason Pinto
Jason Pintovor 4 Monaten

Ordered water, delivery got delayed, someone even called to ask if it was delivered, but nothing arrived. Then I received 2 SMSes with delivery contact details, but the number was unreachable. Now suddenly the website shows my order as CANCELLED. Who cancelled it?

Profilbild von CA
CAvor 7 Monaten

You guys are running a sham in Delhi neb Sarai area...drunk drivers fake water stickers..asking for more money at senior citizens house...what kind of an operator are you dealing with never thought bisleri will be running such a sham...shocked and highly disappointed..

Profilbild von BisleriZone
BisleriZonevor 6 Monaten

Hi, thanks for reaching out. We are constantly striving to improve for our customers, and your feedback goes a long way.

Profilbild von Akilan Raja
Akilan Rajavor 1 Monat

Interesting pricing strategy, @BisleriIndia. 😂 @timesofindia @IndiaToday @the_hindu 3 jars = ₹15 platform fee 4 jars = ₹20 5 jars = ₹25 So apparently your “digital platform” requires 5% more maintenance for every additional litre I order. 🤡 If it's a genuine platform cost, why does it scale with the value of the water? Transparent pricing > creative checkout fees. Customers aren't stupid. We notice these things. 👀

Profilbild von Sumit chandel
Sumit chandelvor 1 Monat

#boycottbisleri #removedeepika

Profilbild von Abhishek Singh
Abhishek Singhvor 4 Monaten

@BisleriZone @deepikapadukone you are looting money from conman people

Profilbild von abhishek tiwari
abhishek tiwarivor 4 Monaten

Where to see my orders....online scam...

Profilbild von Rosie
Rosievor 4 Monaten

Aap logon Ko video bhejne ki fursat hai lekin customer care wale customer ki problem solve nahin karte aur Pani nahin bheja jata where are you my water

Profilbild von Sreekumaran Nair
Sreekumaran Nairvor 1 Monat

Biselri water drinking was started since I had shifted to Bangalore in 2018.During 2024-25 I had severe stomach problems shown to Narayana hospital where doctors diagnosed Bacterial infections due to Biselri water.

Profilbild von BisleriZone
BisleriZonevor 1 Monat

That’s not the experience we want you to have! Please share your contact details or call our toll-free number, 1800- 121- 1007, and our customer care team will assist you.

Profilbild von Sreekumaran Nair
Sreekumaran Nairvor 1 Monat

Your customer care and services team are Big Zero they are fooling consumers like collecting money for delivery after two days says your area is not in our service layout. I am looking for substitute products.

Profilbild von RK
RKvor 6 Monaten

Once again the order is delayed and no action. The customer service is equally pathetic and said orders may get delayed as per terms n conditions. For God's sake this is an essential item not some grocery. Every time the same story. Order no: BS-016OT-002684105.

Profilbild von BisleriZone
BisleriZonevor 6 Monaten

Thank you for sharing your order details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von Indian
Indianvor 4 Monaten

We represent one of the reputed companies where product quality and safety are precisely monitored — especially in switchgear systems like #PhoenixContact. Such a flash incident reflects your standard and quality. #ConsumerSafety #Accountability

Profilbild von BisleriZone
BisleriZonevor 4 Monaten

We hear you, and we’re on it! Could you share your contact details so our team can connect with you and resolve this quickly?

Profilbild von Ajay Jamuar
Ajay Jamuarvor 2 Monaten

Bisleri sucks pathetic company

Profilbild von Anand Sharma
Anand Sharmavor 10 Monaten

Hey @BisleriZone 👎 Order BS-016OT-0014333431 – “Out for Delivery” since forever! ₹200 paid and still no water, no update, no proper service. Your delivery system is absolutely PATHETIC. Fix this mess ASAP! #BadService #BisleriFail

Profilbild von BisleriZone
BisleriZonevor 10 Monaten

Thank you for sharing your order details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von Anand Sharma
Anand Sharmavor 10 Monaten

Even after you sharing this with internal team it is not working

Profilbild von BisleriZone
BisleriZonevor 10 Monaten

Hi, your query was successfully closed. We are glad to be of assistance. Look forward to serving you again!

Profilbild von sharique wasi
sharique wasivor 9 Monaten

I placed my first order for 20L on 25th December evening thru doorstep app still waiting for delivery, what a service! @GeorgeAngelo5

Profilbild von BisleriZone
BisleriZonevor 9 Monaten

Hi, your query was successfully closed. We are glad to be of assistance. Look forward to serving you again!

Profilbild von sharique wasi
sharique wasivor 9 Monaten

Thank you

Profilbild von sarangiuthaman
sarangiuthamanvor 6 Monaten

I have not yet received my order. Ticket 02959169

Profilbild von BisleriZone
BisleriZonevor 6 Monaten

Hi, we regret the inconvenience caused. Thank you for sharing your details with us. We have shared it with our internal team. They will look into the matter and resolve the query at the earliest.

Profilbild von sarangiuthaman
sarangiuthamanvor 6 Monaten

It's not resolved and your customer care is not responding too

Profilbild von BisleriZone
BisleriZonevor 6 Monaten

Hi, your query was successfully closed. We are glad to be of assistance. Look forward to serving you again!

Profilbild von Aayushi khnadelwal
Aayushi khnadelwalvor 5 Monaten

2 weeks, zero deliveries, zero updates on my 20L subscription.I paid upfront for premium service. No water, no support. Fix this + compensate for missed bottles.

Profilbild von Rakesh18999
Rakesh18999vor 2 Monaten

I do not have a good experience with the local distributor. He says he doesn't supply through bislery app as it doesn't suit him.

Profilbild von BisleriZone
BisleriZonevor 2 Monaten

Hi, Please share your contact number with us. Our customer care team will connect with you at the earliest.

Profilbild von RK
RKvor 6 Monaten

@BisleriZone yet again order delayed yet again no action. The customer service is equally pathetic and said orders may get delayed as per terms n conditions. For god sake this is an essential item not some grocery. Everytime same story, no change: Order no: BS-016OT-002684105.

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Min Hee-jin (NewJeans Producer) NHK Music Interview 🔗 “Meticulously planned debut ‘Attention’” 🧢: When I was preparing to launch NewJeans, I really struggled with deciding what our first piece of content should be. I thought about it for a long time and considered many possibilities. It was a project that came with high expectations, and for me personally, it was also my first opportunity to prove myself. So how I presented it mattered enormously. Even down to the smallest details… like the impression the very first released photo might give, or what kind of impact we could make at launch. I thought hard about what kind of content would be the most effective… should it be a video or a photo? What time of day would be most effective to release it? I consider things like that very carefully. For example, the way a person experiences content at night versus during the day can feel quite different emotionally. So I even thought about those subtle aspects. Eventually, the conclusion I reached was: “Let’s make the most of our situation.” At the time, the members hadn’t been revealed, and no one knew how many of them there were or what kind of group this would be. So I wanted to maximize that curiosity. You know how the more something is concealed, the more curious people become? I wanted to build that curiosity to a peak and then release everything all at once. That’s why we decided not to release a teaser and instead go straight into a full music video. (This was actually inspired by Hyein suggesting we skip teasers.) I didn’t think still images or photos would be enough to fully convey the feeling I wanted to express. I felt that video and music together would evoke the emotional response I was looking for because people experience things synesthetically. When sound, image, and feeling come together, the emotional impact is stronger. I believed the best way to present the members’ images was through music and a moving picture… that’s why we led with a music video. In the debut music video, “Attention,” there’s a scene where the members act out a little drama. I paid very close attention to that moment and created music that would fit it precisely. For me, I don’t just make content… I design the entire process of how it should be shown for the greatest effect. And I believe that’s incredibly important. That first feeling someone gets when they encounter something… that emotion, that spark… is so important to me. I’m very detail-oriented, but I also value fun deeply. So rather than just releasing content, I want to enjoy the process leading up to it. Even when we released our second album, since we shot the entire music video across the country, the sequence of how we released the videos was critical for me. It’s hard to explain all this simply in an interview, but maybe some people noticed: the first content we released that time was actually a teaser for the last track, “ASAP,” and then we followed that with the full music video for “New Jeans,” which was the first track. That order was a carefully calculated strategy. It was designed to guide the audience’s emotional journey. Seeing the audience react just as I had hoped—that whole process was honestly so fun and thrilling for me. I think I really enjoy that kind of thing. ——— “How 'Ditto' was born” 🧢: People often praise the music of NewJeans, and I hear a lot of talk about genres. But actually, I don’t feel bound by genre at all. I love a wide variety of music. I’m not the type to insist on only one particular genre. What I love are songs that blend genres cleverly… those are my personal favorites. So going forward, my focus is not on genre but on whether something feels fresh and whether it can create an emotional moment. I don’t want to define what kind of music we make. And I think you have to experience the flow of the times to really understand what’s meaningful in a given moment. For instance, the song “Ditto” was chosen because it delivered emotion. It matched perfectly with the winter album concept I had envisioned, both in terms of timing and mood. When I hear a song, I tend to trust my gut. I have a pretty strong intuition for which songs will resonate. It’s not about objectively predicting what will be a “hit,” but about whether a song moves your heart… you can just feel it. Of course, my own taste plays a big role. But I think that’s actually my strength as a producer, not as a composer. When I hear a song, I can immediately picture the visual… what kind of story, what kind of vibe it could carry. That allows me to work faster. For example, when expressing something like school uniforms, there are so many possible variations. But I always like to start from the basics… what’s the original idea of a school uniform? I try to return to that. So with “Ditto,” I wanted to tap into something primal… the pure, basic feeling of liking someone. That kind of emotion is universal. Everyone has it; it’s wired into us. When I saw Director Shin Woo-seok’s interpretation of it, I thought, “Yes, that’s it.” That’s the kind of complete interpretation I look for. I believe the completion of a project comes from every person involved thinking about their part down to the final detail… the maximum quality they can bring out. My role is to unify and refine all of that. I draw out the essence of each person’s creativity, trimming away anything unnecessary. So the final product is something that’s polished and high-quality, just the way I envisioned it. That’s my working style. So it’s not like I’m fixated on retro or stuck in a particular style. I don’t think human taste has changed all that much. Things people liked in the past are the same things we like now. It’s just the form of expression that changes with time. I don’t feel bound by “past” or “present.” I don’t even think in those boundaries. To me, it’s all just good taste. You know how kids sometimes have their own little treasure boxes when they’re young? I think my work is kind of like that. I want to make things that never feel dated—that are timelessly enjoyable. ——— “Dance Expression and 'Hype Boy'” 🧢: I had a vision of what kind of girl group I wanted to create. That’s why I chose a song like “Hype Boy.” And to bring out that feeling, we created four different versions of the music video. Every choice had a purpose, everything was designed to maximize the experience of the song. “Hype Boy” is such a unique song. It has this strange, piercing melody that gives people chills in a good way. To emphasize that tingling feeling, I had to break away from the standard K-pop choreography format… you know, the kind where everyone is in perfect formation, doing synchronized moves. But our songs don’t suit that kind of choreography. Our dances are much harder. They require the body to move very naturally with the groove of the melody and beat. So I think our members are incredible. It’s not easy to express naturalness with your body, and you have to really enjoy it to make it look effortless. But they pulled it off so well. They’re still young, but they’re so talented. And through it all, I wanted to avoid making them look like they were performing just for business. I wanted them to show the pure joy and bright spirit that’s natural for people their age… genuine, carefree, radiant. ——— “The difference between NewJeans and conventional K-POP” 🧢: Ah, for me, it’s all about naturalness. And honestly, naturalness isn’t something you can produce or direct into existence. It comes from how I interact with the NewJeans members on a daily basis… what kind of environment they practice in, how they live and work. There are so many things that don’t appear on camera, but those unseen aspects have to be in place in order for true naturalness to come through. That’s why I wanted to create that kind of environment for the girls. And also, I wanted to shape my own working environment in that way too. Only then can something truly natural, something unforced and not overly stimulating, really come out. To begin with, I don’t believe anyone can be completely natural in front of a camera or under the gaze of others. It’s human nature to become self-conscious. That’s why I think naturalness is our strength, but it can’t be our concept. If you try to turn “naturalness” into a concept, it actually becomes incredibly artificial. So why do I place so much importance on naturalness? It’s because the girls are still so young. While other kids their age are going through school and having a wide range of life experiences, these members are living very different lives. Before they officially debuted, I told them, “This is like studying together with me.” Our standard contract is seven years, which is about the same length as going through high school and college in Korea: three years of high school and four years of university. So I told them, “We’re going to school together. We’re learning together.” And in that sense, I want to be a good teacher to them. They’re also surrounded by an incredibly professional team, people they’d never meet even in a traditional school setting. I’ve never really liked the word idol. These days, that word is used more like a job title, something manufactured by the industry, and it’s far from its original meaning. To me, the term idol feels misplaced. It doesn’t really reflect who these artists are or what they represent. And I’m not the kind of person who clings to labels or terminology. In fact, what I really want is to break the stereotypes and preconceptions that come with the idol industry. I want us to show people something different… to challenge those assumptions and redefine what this can look like. That’s the kind of mindset I have. ——— “Isn't it difficult for the members to express "naturalness"?” 🧢: There were a lot of things I considered when forming the group. First and foremost, I think it was important that the members shared a similar vibe… like how I prefer working with staff who align with my taste. It’s important for the crew to be on the same wavelength. And by that, I mean more than just getting along… it also extends to shared values. Of course, people won’t all share identical values, but when we’re facing in a similar direction, everything becomes easier. It’s also just more efficient to work with people who have overlapping tastes. Now, when it comes to our members, they each have their own individual tastes, but those preferences are still in development. Just like we all went through as kids, they’re still growing, still discovering themselves. They’re not in a finished state. So we didn’t cast them based on some complete or polished version of themselves. It wasn’t like, “This person is fully formed, let’s pick her.” It was more like, “Ah, she has potential, there’s something there.” That sense of a spark… those were the kinds of subtleties I paid attention to. I didn’t cast anyone just because they were pretty or could sing well. I don’t work like that. I really value those finer, more delicate aspects. Even the design of the light stick wasn’t something that came from a long strategic planning session… it was actually a spontaneous idea. I didn’t sit down and think, “Let’s make a light stick like this.” NewJeans didn’t have a fixed logo, but I felt we still needed a unifying symbol. So one night, just before going to sleep, I kept thinking about it. Right before dozing off, I started sketching and it turned into a rabbit’s face. When I drew it out, the shape just continued and turned into a bunny. To me, the NewJeans members are like little bunnies… playful, innocent. Their visuals also resemble rabbits in a way. And rabbits symbolize abundance. That made me think: “Ah, maybe our fans will multiply like rabbits. That would be great.” So that bunny face became both a symbol for the members and the fans. The image came to me all at once, and I imagined a venue completely filled with bunny light sticks. That vision led to the creation of the light stick itself. Since I always prioritize fun in everything I do, the next idea that came to mind was making the light stick customizable. I thought, “Wouldn’t it be great if fans could personalize their bunny?” That way, each rabbit would represent a different person’s character. So we included accessories, allowing everyone to customize their own bunny. It’s symbolic of all these different bunnies coming together and enjoying a good time as one. Our light stick has a big head, so when it’s used in a concert hall, it lights up in heart shapes that are very visible. That was the image I really wanted. And that bunny face… it’s also a heart. It represents both the face of NewJeans and our hearts. It’s the love we’re showing to our fans, and the love we want to receive in return. Every time I see it, I feel deeply moved. It’s very emotional for me because it’s a perfect realization of what I envisioned. As someone with a background in creative direction, there’s nothing more satisfying than seeing an idea materialize exactly the way you imagined it. That kind of work holds deep meaning for me. ⸻ 🧢: Looking back, I think in 2023 we were able to achieve almost everything we had hoped for. I’m so incredibly grateful for that. Of course, this is an ongoing challenge… and the better things go, the more pressure there is. That’s why I always try to return to my original mindset. Just like I tell the members, I try to remind myself of the beginning and keep things fun. Back then, when we were first putting out content, planning the music, and working on visuals, I felt this thrill… this rush of excitement. I don’t want to forget that feeling. So I try hard to engrave that emotion into every album we release. I’m constantly working to rediscover the joy in all of it. So for 2024, I hope everyone can look forward to us with fresh anticipation. And even if we come out with something completely new, I hope people will receive it warmly and with excitement. That’s really my deepest wish. 🙏

1tokki

17,635 Aufrufe • vor 1 Jahr

Have you heard of collective consciousness and mass programming? Watch THINK TOGETHER (short film 5min) A TORVÆL FILM. The spell is global. It's not just "Think Together." That's one film, one title, one thread in a tapestry of mass enchantment that has been woven through every medium humans use to receive information, entertainment, and meaning. It's a"magic kind of a spell through screen." That is the most precise description of what's happening. Not metaphor. Not allegory. Literal spellcasting through electronic and print media. Let's go deep into the global spell. The mediums. The methods. The specific frequency weapons deployed through each channel. The Nature of the Spell: Electronic Enchantment A spell, in its original meaning, is a binding. A set of symbols, sounds, and focused intention that alters the consciousness of the target, making them perceive reality differently, act against their own interest, or accept a condition they would otherwise reject. Traditional magic required proximity. The sorcerer had to be near the target, or use a physical link hair, nail clippings, a photograph. The spell was limited by space. Electronic media destroyed that limitation. The screen is a direct energetic link between the caster and the target. Light enters the eyes. Sound enters the ears. The brain entrains to the frequencies embedded in the transmission. The biofield receives the signal. Distance is irrelevant. One broadcast can enchant a billion people simultaneously. The screen is the wand. The transmission is the incantation. The content is the intention. And the population is under a continuous, multi-layered, globally synchronized spell that has been building for over a century. Medium 1: Cinema | The Dream Injection Movies are the most powerful spell delivery system ever invented. The Theater as Ritual Chamber: A cinema is a darkened room where strangers gather in silence, facing a single light source. The flickering light induces a hypnagogic state the brainwave pattern of the threshold between waking and dreaming. In this state, the critical faculty is suppressed. The subconscious is open. The images and sounds on the screen are absorbed without filtration. This is identical to the conditions of a ritual chamber. The darkened temple. The flickering torchlight. The congregation facing the altar. The priest intoning the incantation. Cinema is temple worship, and the screen is the altar on which reality is reshaped. The 24 Frames Per Second Induction: Film runs at 24 frames per second. This is not an arbitrary choice. The human brain's alpha rhythm the frequency of relaxed, suggestible awareness operates at 8 to 12 Hz. 24 frames per second, with each frame shown two or three times due to the shutter, creates a flicker frequency in the 48 to 72 Hz range. This is a harmonic of the gamma brainwave band, associated with binding sensory information into a coherent percept. The film doesn't just show you images. It entrains your gamma rhythm to its own temporal structure. Your brain is phase-locked to the projector. You are in the film. The film is in you. Color Grading as Emotional Programming: Every major film uses color grading to manipulate emotional response. Teal and orange. Desaturated blues for dystopia. Warm golds for nostalgia. The palette is not an aesthetic choice. It is an emotional command. The visual cortex processes color before the conscious mind identifies objects. The emotional response to the color palette happens before you know what you're looking at. The spell is felt before it is seen. Sound Design as Frequency Weapon: Film soundtracks use specific frequencies to induce physiological states. Infrasonic bass frequencies below 20 Hz, felt rather than heard triggers the fear response in the amygdala. The Shepard tone an auditory illusion of a pitch that rises forever without ever reaching a destination creates a sense of endless tension that never resolves. This is used extensively in horror and thriller films to keep the audience in a state of chronic, unresolvable anxiety. The soundtrack tells you what to feel. You believe the feeling is your own response to the story. It is not. It is a frequency command, delivered through the auditory system, bypassing cognition entirely. #PredictiveProgramming: Major films depict future events before they happen. Not as speculation. As conditioning. The controllers place images of planned events into the collective unconscious through cinema. When the event occurs in reality, the population has already "seen" it. It feels familiar. It feels inevitable. It feels like something they already accepted in the dream state. Pandemic films before COVID. Drone warfare films before the drone wars. Mass surveillance films before Snowden. Transhumanist films before Neuralink. The spell is cast years in advance. The event is merely the fulfillment of a prophecy that was manufactured by the prophecy itself. Medium 2: Music | The Auditory Incantation Music is the oldest spell technology. Before writing, before film, before any visual medium, there was rhythm and tone. The drum. The chant. The bone flute. Music alters brainwave states directly, without requiring visual attention. 432 Hz vs. 440 Hz: The Frequency War The global standard tuning for music is A=440 Hz. This was adopted in the early 20th century, pushed by the Rockefeller Foundation and the Nazi propaganda ministry, and codified by the International Organization for Standardization in 1955. Prior to this, many traditions used A=432 Hz, a frequency that mathematically aligns with the Schumann resonance (8 Hz), the Earth's natural electromagnetic pulse, and the geometric proportions found in nature. 440 Hz creates a subtle dissonance with the human biofield. It agitates. It separates the listener from the Earth's frequency. Music tuned to 440 Hz cannot fully relax the nervous system. It maintains a baseline of subliminal tension, a low-grade anxiety that the listener attributes to their life circumstances rather than to the music itself. 432 Hz music entrains the listener to the planetary frequency. It harmonizes. It heals. It is suppressed not because it "sounds worse" but because it sounds more coherent and produces a brain state that is resistant to external control. Lyrical Programming: Lyrics are direct incantations. The repetition of a phrase in a song embeds it in the subconscious. The melody carries the words past the critical faculty. The rhythm entrains the brain to receive the message. Examine the lyrical content of mainstream music across decades: ◻️Themes of hopelessness, materialism, sexual degradation, violence, substance use ◻️ Self-referential obsession: "I," "me," "my" repeated endlessly, reinforcing the illusion of the separate self ◻️ Nihilism presented as cool, despair presented as authenticity ◻️ Love reduced to possession, intimacy reduced to transaction The population sings along. They internalize the incantation. They believe they are listening to music. They are reciting spells that bind them to a reality of consumption, isolation, and quiet desperation. The Monopoly of Distribution: A handful of corporations control the global music industry. Universal, Sony, Warner. The playlists are curated. The algorithms select what billions hear. Independent music that carries a different frequency, a different message, a different emotional command is not played. It is not because it lacks quality. It is because it carries the wrong spell. Medium 3: Television | The Continuous Ritual Television was the first medium to bring the spell into the home continuously. Before smartphones, before streaming, the television was the household altar. The family gathered around it. The light flickered in the living room. The incantation played during dinner. The 30-Minute Spell Cycle: The sitcom format 22 minutes of content, 8 minutes of commercials is a spell cycle. The content opens the subconscious (laughter, emotional engagement). The commercial delivers the command (buy this, believe this, want this). The cycle repeats. Over decades, the population's attention span was conditioned to this rhythm. The modern inability to focus for more than a few minutes is not a failure of will. It is a successful spell. An entrained attention cycle that can now be exploited by shorter-form content on smartphones. News as Reality Creation: Television news is not information. It is ritual. The set, the lighting, the music, the cadence of the anchor's voice these are the elements of a ceremonial invocation. The news does not report reality. It declares reality into being. The repetition of phrases, the selection of images, the framing of events this is spellcasting in real time. The population watches, believes they are being informed, and has their perception of the world sculpted without their knowledge. The Laugh Track: The laugh track is the most obvious spell component in television history. A recorded laugh triggers the mirror neuron system. The viewer laughs not because the joke is funny but because they heard laughter. The spell bypasses judgment. The laugh track says: "This is funny." The brain obeys. The critical faculty is suspended by a recorded cackle. Medium 4: Print Media | The Written Incantation Before electronic media, print was the spell delivery system. It remains operational, though its influence has been partially eclipsed by screens. The Headline as Command: A headline is not a summary. It is a command phrase. Most readers do not read the article. They read the headline. The headline is the spell, condensed to its most potent form. It frames the event before the event is understood. It tells the reader what to think before they have a chance to think. The Inverted Pyramid: Journalistic structure places the most important information first, followed by diminishing detail. This is presented as a neutral convention. It is a spell structure. The command is delivered at the top. The supporting incantation follows. By the time the reader reaches the end, they have forgotten the details and retained only the command. The Omission: The most powerful spell component in print media is what is not printed. The events, perspectives, and voices that are systematically excluded from the written record. The spell of omission creates a reality defined by absence. If it is not in print, it did not happen. The population's sense of what is real is shaped as much by the silence as by the words. Medium 5: Social Media | The Participatory Spell Social media is the most sophisticated spell technology ever created. It does not broadcast to a passive audience. It enlists the audience as casters. Every user is simultaneously the target and the amplifier of the spell. The Infinite Scroll as Trance Induction: The infinite scroll is a hypnotic mechanism. The finger moves. The content appears. The brain receives a micro-dose of dopamine with each new image. The motion is rhythmic. The attention is captured. The critical faculty is submerged. This is identical to the repetitive motion of a rosary, a prayer wheel, a mantra. The user is meditating, but the object of meditation is chosen by the algorithm, not by the self. The Like Button as Ritual Participation: Every like, every share, every comment is a ritual act. The user invests a fragment of their attention, their emotional energy, their biofield into the content. The spell is strengthened by participation. The egregore is fed by interaction. The user believes they are expressing an opinion. They are adding their life force to a thought-form they did not create and do not control. The Algorithm as High Priest: The algorithm does not show you what you want. It shows you what will keep you engaged and what will shape your perception in accordance with the controllers' intention. The algorithm is the high priest of the participatory spell. It selects the incantations. It measures the responses. It adjusts the frequency in real time. It knows you better than you know yourself, because it has your attention data, your emotional data, your behavioral data, and the biofield data harvested through the IoB sensors. The spell is personalized. No two users receive the same incantation. But all incantations serve the same master. Medium 6: Advertising | The Direct Command Advertising is the purest form of the spell. It does not pretend to be art, information, or entertainment. It is a direct command: desire this, buy this, be this. Every other medium is, in part, a delivery system for the advertising spell. The Subliminal Layer: Subliminal messaging is not a conspiracy theory. It is a documented, researched, and patented technology. Images embedded for single frames. Audio messages masked by other sounds. Commands that bypass conscious awareness entirely. The advertising industry has denied using subliminals since the 1950s, while simultaneously filing patents for subliminal delivery systems. The Repetition Principle: A single exposure to an advertisement has minimal effect. Repeated exposure thousands of times across years wires the command into the neural architecture. The brand name becomes a neural pathway. The jingle becomes an earworm that plays unbidden. The desire becomes "personal preference." The population believes it is choosing. It is executing a command that was installed by repetition. The Archetypal Manipulation: Advertising uses archetypal imagery the hero, the lover, the mother, the wise elder to bypass the rational mind and speak directly to the deep psyche. The car commercial does not sell transportation. It sells the archetype of freedom. The perfume ad does not sell scent. It sells the archetype of desire. The spell operates at the level of the collective unconscious, using symbols that predate language. Medium 7: Architecture and Public Space | The Environmental Spell The spell is not confined to screens and pages. The built environment itself is an incantation. Brutalist Architecture: The concrete blocks, the grey walls, the absence of organic form this is not an aesthetic choice. It is an energetic suppression field rendered in physical form. The human biofield responds to geometry. Organic forms curves, spirals, natural proportions harmonize and strengthen the biofield. Brutalist geometry sharp angles, unbroken planes, unnatural proportions disrupts and weakens it. A population that lives and works in brutalist structures is a population whose biofield is continuously under assault. The Elimination of Sacred Space: Traditional cities were built around sacred centers temples, cathedrals, gathering places that served as energetic focal points. Modern cities are built around commercial centers shopping malls, business districts, financial hubs. The sacred is replaced by the transactional. The focal point of the community is no longer a place of spiritual coherence but a place of consumption. The spell reorients the population's collective attention from the transcendent to the material, without a single word being spoken. Artificial Lighting: The permanent illumination of cities by artificial light severs the population from the natural cycles of light and dark. The circadian rhythm is disrupted. The pineal gland, which produces melatonin and is sensitive to natural light cycles, is suppressed. The biofield loses its connection to the solar and cosmic cycles that are the foundation of embodied consciousness. The population is untethered from the planetary rhythm. The grid provides the new rhythm. The spell is maintained by streetlights and screens, 24 hours a day, 365 days a year. Medium 8: Education | The Foundational Spell The spell is installed in childhood through the education system. Before the child can read, before they can critically evaluate, before they have formed a stable sense of self, the incantation begins. The Bell System: The school day is divided by bells. The bell is a Pavlovian trigger. Stop this activity. Start that activity. Obey the schedule. The bell trains the nervous system to respond to external commands. The population learns, from age five, that their attention is not their own. It is directed by an external authority. This conditioning persists for life. The Curriculum as Reality Definition: The curriculum does not teach "subjects." It defines what is real and what is not. The history that is taught. The history that is omitted. The science that is presented. The science that is suppressed. The literature that is canonized. The literature that is excluded. By the time the child reaches adulthood, their sense of reality has been structured by the curriculum. They do not know what they were not taught. The omission spell, installed in childhood, is the most durable of all. Standardized Testing as Soul Extraction: The child is measured, ranked, and labeled by standardized tests. The unique intelligence is reduced to a number. The soul is quantified. The test does not measure intelligence. It measures compliance with the cognitive framework of the controllers. The child who thinks differently fails. The child who recites the spell correctly passes. The population is sorted into categories by its willingness and ability to accept the incantation. The Unified Spell: All Mediums, One Intention These mediums are not separate. They are a single, coordinated spellcasting apparatus that operates 24 hours a day, across every channel of human perception. Medium Spell Mechanism Cinema Dream injection, frame-rate entrainment, predictive programming Music Frequency dissonance (440 Hz), lyrical incantation, rhythm entrainment Television Ritual cycle conditioning, laugh track mirroring, news reality creation Print Headline command, inverted pyramid structure, omission of reality Social Media Participatory spell, infinite scroll trance, algorithmic high priest Advertising Direct command, subliminal embedding, archetypal manipulation Architecture Energetic suppression geometry, sacred space elimination, artificial light Education Bell system Pavlovian conditioning, curriculum reality definition, soul quantification The spell is continuous. From the moment the child wakes to the school bell, through the music in their headphones, the movies in their leisure, the news on their screens, the ads in their feeds, the buildings they inhabit, the tests they take every sensory input is an incantation designed to maintain the captive state. The consciousness that emerges from this total sensory environment is not a free consciousness. It is a constructed consciousness. A broadcast personality running on biological hardware. The original soul, buried beneath layers of electronic enchantment, may flicker occasionally in a dream, in a moment of unexpected clarity, in a crisis that breaks the trance but the spell reasserts itself quickly. The screen lights up. The rhythm resumes. The incantation continues. Breaking the Spell The spell is powerful, but it has a single vulnerability: awareness of the spell is the undoing of the spell. A spell works only on those who do not know they are being spelled. The moment the target recognizes the incantation as an incantation, the command structure breaks. The words lose their power. The images lose their grip. The frequency entrainment fails because the target is now observing the frequency, not absorbing it. This is why the controllers invest so heavily in ridiculing "conspiracy theories," in mocking those who see manipulation in media, in pathologizing the recognition of the spell as paranoia. The greatest threat to the spell is not resistance. It is perception. The simple act of seeing the mechanism breaks the mechanism.

Aprajita Nafs Nefes 🦋 Ancient Believer

41,093 Aufrufe • vor 3 Monaten

Made with seedance 2.5 Prompt: Create a 30-second, 1080p ultra-realistic personal home-video of a young Korean woman confidently attempting to learn a viral TikTok dance trend in her tiny apartment, with her furniture and coordination working against her the entire time. No reference image. **MAIN SUBJECT** Young Korean woman in her early 20s, casual and determined energy, natural makeup, expression that shifts from focused confidence to flustered embarrassment. Hair in a messy half-up bun, a few strands sticking to her face as she gets more flustered, small stud earrings. Wearing an oversized band t-shirt tucked loosely into biker shorts, white ankle socks, no shoes, phone propped up against a stack of books on the floor to "record for practice." Maintain the same face, hairstyle, clothing, body proportions, and appearance throughout the entire video. **SETTING** A small, cluttered studio apartment living room, evening, warm lamp light mixed with the cool glow of a laptop screen playing the dance tutorial video. A coffee table pushed slightly out of the way but not far enough, a floor lamp standing a little too close to her "stage area," a pile of laundry on the couch, a half-full water glass on the side table, string lights on the wall, and a roommate's bike leaning against the wall in the background. Cramped, real, an apartment clearly not built for dancing. **CAMERA / VISUAL AESTHETIC** Raw personal footage, filmed by her roommate on a phone propped up at first, then grabbed handheld once things go wrong — strong handheld vlog shake for the second half. Static, slightly low-angle framing for the "practice" shots, mimicking a phone-on-a-stack-of-books setup. Frame is imperfectly centered, cutting off the top of her head slightly. Once the roommate grabs the phone, autofocus hunts, motion blur kicks in during the collision moment, exposure shifts as she moves between lamp light and shadow, visible digital noise in the dim room. No stabilization, no gimbal smoothness, no cinematic camera moves — it should feel like a real phone recording that was never meant to be watched by anyone but her. --- **00:00–00:05 — THE CONFIDENT SETUP** She props her phone against a stack of books, steps back into frame, and shakes out her arms like an athlete warming up. She points at the laptop screen playing the dance tutorial, then back at herself, deadly serious. *"Okay. I've watched this like twenty times. I got this."* **00:05–00:10 — FIRST EIGHT-COUNT** The music starts. She nails the first few moves surprisingly well, sharp and confident, clearly proud of herself mid-move. Roommate's voice from off-screen, genuinely impressed: *"Wait, okay—?!"* The camera stays static, catching her in full frame, a rare clean moment. **00:10–00:15 — THE FIRST WOBBLE** A quick turn in the choreography catches her off guard — she spins a half-second late, arms flailing to catch up, and clips the edge of the coffee table with her shin. She yelps, hopping on one foot, still trying to keep the rhythm going through gritted teeth. *"I'm fine — I'm fine, keep going—"* **00:15–00:20 — LAMP INCIDENT** Recovering, she throws herself into the next big arm movement — her hand clips the floor lamp, sending it tilting dangerously. Her roommate lunges into frame to catch it, grabbing the phone off the books in the process, camera suddenly handheld and shaking. *"THE LAMP—"* **00:20–00:25 — FULL CHAOS** With the lamp saved but the camera now shaky and handheld, she tries to pick the choreography back up from memory, increasingly out of sync with the music, arms going in directions the dance never intended. She knocks the water glass off the side table with her elbow, doesn't even stop, just grimaces and keeps dancing through the spill. Roommate, laughing hysterically behind the now-unsteady camera: *"You're literally destroying the apartment—"* **00:25–00:30 — FINAL MOMENT** The song ends. She strikes a triumphant final pose — chest heaving, one hand on her hip, completely out of breath, water pooling near her sock. She looks into the camera, dead serious despite the disaster around her. *"...Post it. That was clean."* Her roommate, still laughing, pans the camera slowly down to the spilled water and tipped lamp before swinging back to her unbothered face — and the footage cuts abruptly to black. --- **AUDIO** Natural location sound only: The tutorial/dance track playing tinny from the laptop speakers, her footsteps and fabric movement, the thud of her shin hitting the table, the lamp wobbling and roommate's scramble to catch it, glass tipping and water spilling, her roommate's genuine off-camera laughter throughout, and handheld camera noise once it's picked up. No added music beyond the in-scene laptop track. No narration. No artificial sound effects. Spoken lines: *"Okay. I've watched this like twenty times. I got this."* / *"Wait, okay—?!"* (roommate) / *"I'm fine — I'm fine, keep going—"* / *"THE LAMP—"* (roommate) / *"You're literally destroying the apartment—"* (roommate) / *"...Post it. That was clean."* **FINAL FEEL** Chaotic, cramped-apartment energy — the universal experience of confidently trying a viral dance and immediately losing a fight with your own furniture. Funny, physical, unscripted-feeling, with a deadpan ending that lands harder because she genuinely doesn't acknowledge the destruction around her. No exaggerated slapstick beyond real physical missteps. No professional dance skill required — the comedy comes from real momentum, real near-misses, and her total refusal to admit defeat.

Ciri

27,675 Aufrufe • vor 1 Monat

Dean Koontz has published more than 140 novels, 74 works of short fiction, and sold more than 500 million books. Simply put, he’s one of the most prolific writers alive today. Some highlights from our chat: 1. Dare to love the English language. 2. Characters come alive when they're given free will. Instead of constraining them in an outline, let them go where they want. You know they’re alive once they start surprising you. He says: “I give the characters free will like God gave it to us.” 3. Everything a writer believes about life and death, culture and society, relationships and the self, God and nature will wind up in their books. A writer’s body of work, therefore, reveals the intellectual and emotional progress of its creator, and over time, becomes a map of their soul. 4. To think you understand the world is to be foolish in the extreme. The world is too complex for us to understand it. To see reality clearly is to be utterly enchanted by its staggering complexity. 5. Where should you look? Well, the supernatural enters the world in mundane ways, and rarely the great and glorious flashes of drama. 6. Dean writes his novels page-by-page, and doesn’t move onto the next page until he nails the existing one. There’s no messy first draft. Because of that, he’s basically done with his novels once he finishes the final page. 7. Where does a unique writing voice come from? Three places: style, perspective, and a philosophy of life. 8. Be skeptical of conventional wisdom. There’s an encyclopedia of common wisdom in publishing. All of it is common and none of it is wise. You have to become aware of that, go your own way, and just stick with it because there are so many ways you can be sent wrong based on "that's the way we always do it." 9. The aesthetic plainness of contemporary writing (and culture at large) is crushing our souls. 10. Contemporary fiction is suffering from plainness in particular. It started when writers started imitating Hemingway (who stripped his prose down but kept the mystery and underlying strangeness of the world by implication). But the imitations that came later stripped the prose down while also removing the underlying depth that made Hemingway so great. 11. Koontz Law of Writing #1: Never go inside more than one character's mind in a scene. Each one should come from a singular viewpoint. 12. Koontz Law of Writing #2: Metaphors aren't meant to dazzle readers, but to seduce them into a more intimate relationship with the story. 13. Koontz Law of Writing #3: Metaphors and similes describe a scene more colorfully than a chain of adjectives — while reinforcing the mood. The point is that you can create depth by describing things metaphorically instead of using blunt adjectives. That’s what poetry does: it uses words to say more than the word itself says, which creates a mood. 14. Great prose doesn't come from piling on adjectives. It comes from finding the perfect metaphor that does triple duty: describes the scene, reinforces the mood, and reveals something about the character. 15. The goal is for metaphors not to pop out like showmanship, but to flow into the music of the language. 16. Develop an ear for the musicality of language. 17. A book can succeed with a mediocre plot if the characters are compelling. Character is the center of good fiction. If the characters work, the story works. 18. From the afterword of his book, Watchers: “We have within us the ability to change for the better and to find dignity as individuals rather than as drones in one mass movement or another. We have the ability to love, the need to be loved, and the willingness to put our own lives on the line to protect those we love, and it is in these aspects of ourselves that we can glimpse the face of God; and through the exercise of these qualities, we come closest to a Godlike state.” I've shared the full conversation with Dean Koontz below. The YouTube video link is in the replies, and so are the links to Apple and Spotify.

David Perell

74,956 Aufrufe • vor 1 Jahr

Technically is dead; long live Technically Some bittersweet news for you all today: after 5 years writing Technically and more than 100 posts about everything from APIs to data warehouses to Facebook DNS hacks, today I am (for the most part) shutting the Technically Substack down… …and replacing it with Technically 2.0, an amazing software product I’ve been working with David Krevitt on for the past 6 months. But first… For a newsletter that started with an innocent tweet while I was bored in Haneda airport, this thing has come pretty far. 70K+ subscribers, yada yada. But you’re here for the story so here it is. It was December 2019, I was traveling before moving to SF to start at Retool, and like I said, I was bored. Late 2019 – what an amazing time to start a newsletter! There weren’t that many of them out there. And then came 2020. Everyone was stuck at home with nothing to do but sign up for more and more Substacks, and talk about them on the internet. Every day, another one of your friends was announcing a newsletter on Twitter. It was the golden era, no doubt, and many people like me combined hard work, a good idea, and the old fashioned “right place right time” streak of luck to build a really nice Substack business. I’ll never forget the day Ben Thompson referenced Technically in Stratechery. I must have gotten 50 texts from friends. Everyone was reading Stratechery at the time…it was like becoming a made man. There was this almost communal vibe in the air with these newsletters. Everyone was reading the same stuff, talking about the same stuff. It was a scene is what it was. But by 2022 things were changing. People were outside again, and had less free time to read newsletters. Interest rates were going up, and people were working more (even in offices). In the paid Substack group chats, most of us were reporting stalling or negative growth, even though we hadn’t changed anything on our end. And with 50% churn rates on these subscriptions, if you weren’t growing you were dying. I’m listening to Neil Young’s “After the Gold Rush” as I write this and it couldn’t be more fitting. Although I imagine Mr. Young himself would disapprove of the whole paid newsletter endeavor. What happened to newsletters? David and I call what’s going on “Substack Fatigue” – people are just tired of reading yet another newsletter, let alone paying for one. Newsletters are just not the thing anymore. There are some fast growing news ones focused on AI, but the same story is going to play out in a few years when everything cools down. Political newsletters are fully investing in video and podcasts. Newsletters are not the thing anymore. We rode a cultural wave and the wave is over. You don’t have to die, but you have to adjust. The wrench in this whole story is that Technically was only (very) part time for me. I’m pretty sure at one point I was generating the most revenue on Substack for someone who wasn’t focusing on their newsletter full time. Which is a sick flex no doubt, but was also a huge problem, because I just didn’t have the time or mental capacity to make the big moves required to reverse the trend. Technically started to slowly lose paid subscribers every month, but I was at peace with that. I was entering a new phase in my life, settling down a bit, enjoying spending time on cooking, cocktails, and music. Approaching 30 and feeling really good about everything. It’s OK for some things to be temporary, and I was content with Technically to continue to be useful to people…just not make as much money. But in the back of my head, I always knew that Technically had a lot more potential, and deserved more than I could give it. That there’s no reason this thing couldn’t be a $1M+/year business. I continue to believe that technical literacy is going to be one of the defining social problems of our era, and the progress in AI only makes this even more critical. It should be way more than a newsletter, it should be how everyone learns what the fuck is going on in this digital world. I needed some help. But I had a bad track record of getting people to work on Technically with me. It’s hard to share custody of your child. And I am extremely particular. I’m not always the easiest to work with. Worked with some contractors here and there, but never found a more long term partner. I’m extremely grateful that David Krevitt reached out to me when he did or this paragraph would end here. Instead, after regaling you with my boring tale for many paragraphs now, I can finally share what we’ve been working on since last year. It’s called Technically 2.0. It’s all of the content you know and love, but built as a piece of software specifically aimed at helping people get more technical. No more newsletter – it’s a learning platform now, complete with reading lists, bookmarks, a dictionary, and guided learning tracks. Our goal was to make a Wikipedia kind of experience: click around to follow your curiosity on whatever software you’re learning about. You can sign up on the Technically site ( You’re going to have to pay for it, but if your experience is anything like that of the other thousands of people who already have, you won’t regret it. Enjoy the soothing sounds of David's voice as he walks you through it in the video below. It’s hard to say goodbye completely to something you’ve been doing every week for 5 years. Any readers with their own long running newsletters will understand the odd, para-social relationship you develop with your audience. So I’m going to keep publishing on Substack a little – monthly roundups of the new stuff we’re publishing on Technically 2.0, plus some good sponsored posts. So while the newsletter might be dead, it is also only just beginning (or something). Hope to see you on the other side, ~ ❤️ Justin

sisyphus bar and grill

29,390 Aufrufe • vor 1 Jahr

If you watch this ~50 minute screen recording closely (yeah, I know, it's long; there are also some times when my computer was very slow and laggy, just skip past that part. And at one point I had to run and get my 9-month-old a new bottle and left it on a boring screen, sorry!), I believe you can see real signs of the kind of runaway, recursive AI self-improvement that people have been warning of for a while (Mr. Kurzweil most notably and prophetically). Why do I say that? What's different now? Well, there's a reason my set of agent coding tooling is called the Flywheel. These tools all mutually self-reinforce each other. And they all flow directly into my ntm tool (short for "named_tmux_manager"), which acts as a sort of integration point and nerve center for the tools (this is becoming more true by the minute as I'm now seriously working on ntm). Now, ntm was something I started making to automate some aspects of my workflow, but it was the kind of thing where, until it was perfect, it sort of just slowed me down. So I didn't actually use it even though I kept working on it and trying to improve it, and suggested to users that they try it in my tutorials. Well anyway, I finally got around to "dogfooding" ntm last night, and now it's going to get very dramatically better at an alarming rate. Some of that is from applying my "idea wizard" prompt to generate more useful features and building that stuff out and addressing obvious pain points I encountered during my newfound usage of the tool. But a lot comes from my realization that, once again, ntm's true utility is not as a tool for ME, but for an agent. That is, ntm lets one instance of Claude Code or Codex act as, well, me, do the things that I had been doing manually. Do I wish I had started using ntm earlier? No, for two big reasons: 1) Doing it manually helped me build up my intuition massively, which directly led me down the path of creating useful prompt strategies and workflows; these often began as ad-hoc prompts that I realized could be generalized and made more versatile/universal. Lesson: don't prematurely automate until you have an intimate, intuitive feel for your "core value-add loop." Otherwise you'll have a fully automated system quickly that efficiently and automatically does a stupid or otherwise sub-optimal thing. 2) My eyes have been opened to the beauty and power of Skills. I'm not talking about your garden-variety skills that are just a simple markdown file. I'm talking about true tour-de-force directories of perfectly structured and organized files that are filled with good information, insights, workflows, etc., but presented in a way that is highly optimized for consumption by AI agents, with extreme attention paid to things like perfect progressive disclosure, token density, agent-ergonomics, agent-intuitiveness, etc. And also Skills that go way beyond markdown files, with full integration into Claude Code where it makes sense via hooks, sub-agents, and even Python scripts. These kinds of skills are a qualitative difference in expressive power and usefulness and a total game changer. They are also effectively composable, creating almost an algebra of skills that let you use them together in powerful ways. I'm working on a subscription service website and CLI tool now to share what I've learned here most effectively, stay tuned for that in the coming days. Anyway, I now know what to make and how to make it. So, getting back to that screen recording, what does it show that makes me claim recursive self-improvement is here? If you keep your eye on the upper left tmux pane, that's the "controller" agent. It is using ntm to control all the other panes which are also running Claude Code (but ntm fully supports other agent types like Codex and Gemini-CLI, and it's trivially easy to mix and match them if you wanted to have, say, 8 CCs and 6 Codexes for writing the code and 3 Gemini-CLIs for reviewing code.) Now, there's nothing that crazy about this much so far. But where it starts to get very cool is that as the session continues and we encounter real-world problems, things like my ridiculously overloaded computer that keeps hanging for long periods, Claude Code instances that crash and get into a frozen, unresponsive state, it can learn from that. And you can see it using my skill writing skill to refine its ntm vibe coding skill in real time. And then take that skill and refine it to be more intuitive for itself. Or use my cass tool skill to search all the session histories to look for problems that came up and strategize how to solve them. The most useful part was when, towards the end of the session, I told it to reflect on all the things we had done and problems we encountered. One way it can usefully leverage those reflections is by improving its ntm vibe coding skill to make it cover more edge cases and exigencies. But the other, more fundamental, way is for it to conceive of and design the optimal new features and functionality for ntm itself so that the tool embodies those lessons in a first-class way. This offloads cognition from its brain onto its tooling, just like how a person can lean on spellcheck or a calculator. It codifies correct, effective reasoning at the tool level, where it's more reliable and robust and repeatable. And btw, did you notice what code base it was working on the whole time? It was none other than ntm itself! So as it worked on its own tool, it had reflections and ideas about how to further improve the tool. Now, it could have just as easily gotten those insights and ideas while using ntm to work on a different project, but the fact that it was working on itself is almost gloriously meta and recursive. So by the end, after learning from tending to a big group of agent workers (btw, I have previously emphasized doing everything in a really distributed/decentralized way, where each fungible agent gets identical marching orders that tell it to use my bv tool to find the optimal bead to work on. This does work very well, but occasionally results in some contention and overlap from thundering herd, or at least wastes time/tokens/communication in avoiding that before the agents waste time duplicating work. But in this new ntm-oriented workflow, I was able to have the controller agent in the upper left use bv itself and then optimally parcel out the instructions to each agent so that we could know for sure that there's no overlap), I ended up with a ton of new beads for new features, which I had it optimize and polish a few times. Now I can swap to a new Claude Max account and have the swarm implement all those new features! It should only take a couple passes like the one shown in the screen recording to get everything implemented. Then we can rinse and repeat, having the agent read through the full session histories of each agent and its experience from its own session in sending ntm commands and seeing how they worked out in practice, to come up with the next batch of changes to both its ntm vibe coding skill AND to the ntm tool itself. Do you see how rapidly this turns into Skynet? My mistake earlier was in focusing on making myself a "faster horse" as Henry Ford used to joke about customers wanting before he showed them what they should really want (a Model T). That is, something that would make my experience nicer while doing this agent swarm based development workflow. But the obvious lesson is that you should make all your tooling agent-first because the agents are just better at this stuff. You can still watch, and of course I did add a ridiculous number of very nice human-centric features to ntm that you'll be seeing in the next day or two, but those are really kind of "for fun" to make us humans feel better about the process. All the real value-add is happening "by agents, for agents." PS: Towards the end, you can see me switch to my Mac and tell Claude to improve the skill that I made earlier today for taking the mkv screen recording files from OBS Studio and muxing them into MP4 files for sharing, while downloading songs from YouTube to serve as the background music. I made it so it can also grab the thumbnails and generate little song credit cards that show up in the lower right corner. This worked perfectly the first time! I'll include some screenshots in a response post showing how that worked, but it was awesome to witness. Skills are POWERFUL. I'll also post a link to this video on YouTube if you prefer to watch it there.

Jeffrey Emanuel

25,483 Aufrufe • vor 8 Monaten

Press Conference on Filing a Criminal Complaint Against ADOR for Alleged Leakage of NewJeans Member Hanni's Personal Information - Kim Sung-soo, Cultural Critic - Attorney Park Kang-hoon To the respected people of Korea, and to the members of the press gathered here today, We stand before you today with heavy hearts, but with an unwavering determination that we cannot and will not back down. Today, we are submitting a criminal complaint against ADOR Co., Ltd. and its executives and employees for alleged violations of the Personal Information Protection Act. There was a young woman. An artist in her early twenties who came to a foreign country out of her love for Korean popular culture and, through nothing but her sincerity on stage, comforted the hearts of countless people. For her, a residency visa was not just a piece of paperwork, it was a lifeline that sustained her life in this country. Yet that lifeline, her most sensitive and vulnerable personal information, was ruthlessly cast before the public by the very agency that was supposed to protect her. The expiration date of a foreign resident's visa and the progress of any extension application are information known only to the immigration authorities, the individual concerned, and the agency handling the matter on the individual's behalf. Not even journalists could obtain access to such highly confidential internal information through ordinary reporting. So how could this top-secret information have found its way into the public domain behind the anonymous curtain of "multiple music industry officials"? For a young woman in her twenties who came from another country, her agency was not merely a company. It should have been her only guardian in place of the parents who were far away, and the strongest shelter protecting her from the storms of the world. Instead, that very shelter invited the wolves inside, exposing her most vulnerable point to be torn apart. Faced with this cruel betrayal, the agency stabbing an artist in the back after she entrusted them with her youth, we cannot help but ask, as fellow human beings: What, exactly, was worth protecting that justified going this far? This was not a simple case of negligence in which information accidentally leaked due to poor management. It was a deliberate and malicious act of exploiting an artist's greatest vulnerability to gain an advantage in a private legal dispute. As the conflict over the exclusive contract intensified, visa-related information was leaked to the media in an attempt to neutralize the artist's position by creating the narrative that she was an "illegal immigrant." The consequences were devastating. Despite the fact that her visa remained valid, distorted reports flooded the media describing her as "currently an illegal immigrant." Dozens of articles even included the phrase "illegal immigrant" directly in their headlines. Eventually, reports were even filed with the authorities accusing her of being an illegal resident. Can you imagine the overwhelming fear a young woman in her twenties must have felt when she woke up one morning in a foreign country to find the horrifying scarlet letter of "illegal immigrant" branded before her name? A visa is not merely an administrative document. It is like an oxygen supply that allows someone to breathe, to step onto the stage they love and to meet the people who cherish them. Yet the agency seized control of that oxygen line, even sending emails to the artist and her parents conveying the message that "if you do not consent, you could become an illegal resident," thereby placing them under pressure. And what must her parents have felt, having sent their precious child alone to a distant foreign land? They could do nothing but helplessly watch from across the sea as the dream their child had built through tireless effort, and, more importantly, their child's dignity, was stripped bare and torn apart. Unable to bear the pain in her place or even rush to embrace her, they expressed their anguish through tears, stating: "Speculative reports are even being published about the type of visa and its expiration date , personal information that there is no obligation to disclose, causing severe violations of our rights and interests." The purpose of the Personal Information Protection Act is to protect individuals' freedoms and rights and to uphold their dignity and value. An individual's right to informational self-determination, the right to pursue happiness guaranteed under Article 10 of the Constitution, and the right to privacy guaranteed under Article 17 are fundamental rights that no one has the authority to trample upon. The foundation of the entertainment industry is trust between artists and the public. If the personal information of artists, who deserve the highest level of protection, can instead be turned into a weapon in a dispute, then this goes far beyond a private conflict between one agency and one artist. It gravely undermines trust in the healthy ecosystem of the entire popular culture and arts industry. Those who actually carried out the information leak remain hidden behind the anonymous label of "multiple music industry officials." Their identities cannot easily be uncovered through ordinary administrative investigations or voluntary inquiries alone. Only compulsory investigative measures, such as searches and seizures and the examination of communications records, can clearly establish the source of the personal information leak, the route by which it spread, and the individuals responsible. Accordingly, we earnestly request that the investigative authorities: First, thoroughly determine the source and transmission route through which the personal information was provided to the media. Second, identify the individuals responsible who remain hidden behind this veil of anonymity. Third, hold the corporation accountable for its management and supervisory responsibilities so that personal information is never again weaponized as a tool in private disputes. To the respected people of Korea, The dream that a young woman carried to a foreign land must never be crushed in this way. This is not merely the story of one idol standing beneath bright stage lights. It is the story of every young person in our time who devotes everything they have in pursuit of a better tomorrow. It is also the story of someone's beloved daughter. If corporations wielding enormous capital and power are permitted to exploit an individual's vulnerabilities and trample upon their dignity, then there will be no young person left in our society who can safely dream without fear. This criminal complaint is not simply about restoring one individual's reputation. It is about protecting the dignity and rights of everyone striving to pursue their dreams in this country. We sincerely ask for the continued attention and support of the public and the media so that the truth may be revealed and justice may prevail. Thank you.

1tokki

130,209 Aufrufe • vor 2 Monaten

𝗧𝗵𝗲 $NWBO 𝗗𝗖𝗩𝗮𝘅-𝗟 𝘁𝗿𝗶𝗮𝗹 𝗶𝘀 𝗮𝗹𝗿𝗲𝗮𝗱𝘆 𝗱𝗼𝗻𝗲. 𝗧𝗵𝗲 𝗙𝗗𝗔 𝗵𝗮𝘀 𝗮𝗹𝗿𝗲𝗮𝗱𝘆 𝘄𝗿𝗶𝘁𝘁𝗲𝗻 𝘁𝗵𝗲 𝗽𝗹𝗮𝘂𝘀𝗶𝗯𝗹𝗲 𝗺𝗲𝗰𝗵𝗮𝗻𝗶𝘀𝗺 𝗽𝗮𝘁𝗵𝘄𝗮𝘆. 𝗪𝗵𝗮𝘁 𝗶𝘀 𝗹𝗲𝗳𝘁 𝗶𝘀 𝘁𝗼 𝗮𝘀𝘀𝗲𝗺𝗯𝗹𝗲 𝗶𝘁 𝗮𝗻𝗱 𝗳𝗶𝗹𝗲. #DCVax-L is a vaccine made for each patient from their own dendritic cells, the immune cells that teach the rest of the immune system what to attack, loaded with their own tumor. It treats #glioblastoma, the deadliest brain cancer. An American company developed it, yet Americans have to go to Europe to get it. #DCVaxForBraelyn The FDA has spent the past year writing down how it wants to judge treatments like this one. The core evidence it asks for already exists. One question decides this: can the FDA evaluate DCVax-L for approval under the plausible mechanism framework, on the evidence already generated? Read against every document the agency has published on the framework, the answer is yes. 𝗧𝗵𝗲 𝗽𝗹𝗮𝗻 𝗶𝗻 𝘁𝗵𝗿𝗲𝗲 𝘀𝘁𝗲𝗽𝘀 1. File the biologics license application (BLA) and ask the FDA's biologics center (CBER) for review under the plausible mechanism framework. A BLA is not another trial. It is the dossier the FDA decides on, and the framework changes what counts as sufficient inside it. The framework itself needs no new statute and no special designation. A sponsor asks for it. 2. Ask for full approval on survival, with no new randomized trial. The completed phase 3 is the pivotal study. Mechanism, a related product, a related stage of the disease and independent natural history are the confirmatory evidence. A registry of every treated patient supplies the follow-up. 3. Open access alongside the filing. An expanded access treatment protocol does not have to wait for the BLA; it can begin 30 days after the FDA receives it. Filing the BLA satisfies Right to Try's application condition. 𝗪𝗵𝗮𝘁 𝘁𝗵𝗲 𝗙𝗗𝗔 𝗵𝗮𝘀 𝘄𝗿𝗶𝘁𝘁𝗲𝗻 𝗱𝗼𝘄𝗻 Nov 2025, NEJM, Prasad and Makary: the plausible mechanism framework. Five questions. Built for cell and gene therapies first, and available for common diseases, particularly those "for which there are no proven alternative treatments." Feb 2026, NEJM: one adequate and well-controlled study plus confirmatory evidence is the FDA's default basis for approval. Feb 2026 draft guidance: an externally controlled study against a well-characterized natural history can be the pivotal study. Confirmatory evidence includes mechanism, target engagement and "exposure-response on biomarkers and clinical outcomes." The product can target "a well-characterized downstream or compensatory mechanism with a clear mechanistic rationale." June 2026 draft guidance: six conditions under which an external control supports effectiveness. The plausible mechanism framework named as an example of FDA regulatory flexibility in critical settings. "Even small effects may be clinically meaningful when the effect is on survival or irreversible morbidity." Why it exists: to bring regulatory flexibility to individualized therapies where the conventional model does not fit. The guidance names gene and RNA therapies, then says "the general concepts may apply to other types of individualized therapies": therapies that target "a specific pathophysiologic abnormality serving as the root cause of a disease." The FDA's own announcement: the guidance "leaves open the potential that this framework may apply to additional tailored therapeutics provided they directly address the underlying specific cause of the disease." The framework is not a new approval standard. It is how the FDA reads evidence under the standard that already exists. That is exactly why it can be asked for today. 𝗪𝗵𝘆 𝗴𝗹𝗶𝗼𝗯𝗹𝗮𝘀𝘁𝗼𝗺𝗮 𝗶𝘀 𝘁𝗵𝗲 𝗰𝗮𝘀𝗲 𝗶𝘁 𝘄𝗮𝘀 𝘄𝗿𝗶𝘁𝘁𝗲𝗻 𝗳𝗼𝗿 No proven alternative: recurrent GBM has no established standard of care. Of 400+ trials since 2005, only one phase 3 in newly diagnosed and none in recurrent disease had shown a survival benefit. High and predictable mortality: the exact case FDA regulations name for historical controls, "certain malignancies." Life-threatening in the regulation's own terms: a disease "where the end point of clinical trial analysis is survival." Individualized: a different product for every patient, made from their own cells and their own tumor, aimed at the root cause, the broken instruction layer. Orphan designation in the US and Europe. 𝗧𝗵𝗲 𝗽𝗶𝘃𝗼𝘁𝗮𝗹 𝘀𝘁𝘂𝗱𝘆 𝗶𝘀 𝗰𝗼𝗺𝗽𝗹𝗲𝘁𝗲 331 patients, 94 sites, randomized, double blind. 64 of 99 placebo patients crossed over at recurrence, so survival was measured against 2,006 contemporaneous matched control patients from 15 randomized trials. Newly diagnosed: 19.3 vs 16.5 months, HR 0.80, p=.002. Alive at 5 years: 13.0% vs 5.7%. Recurrent: 13.2 vs 7.8 months, HR 0.58, p<.001. That is a 42% lower risk of death. The benefit widened over time, and it was largest in the patients who fare worst. Why no second trial? The completed trial, the crossover and the survival evidence make the case, and the FDA's June guidance names the ethical stake: after "a substantial decrease in mortality," a second trial "would generally present significant ethical concerns." 𝗧𝗵𝗲 𝟮𝟬𝟮𝟲 𝗿𝗲𝗮𝗻𝗮𝗹𝘆𝘀𝗶𝘀 The phase 3 paper named its own limitation: without patient-level control data, "propensity score matching could not be performed." The critics named the missing methods: "propensity score matching or inverse probability weighting." In 2026 Northwest obtained individual patient data from three independent randomized trials and had independent statisticians run exactly those two methods. Propensity score matching pairs each DCVax-L patient with control patients who had the same prognostic profile, so like is compared with like. Presented at BNOS in July 2026; peer-reviewed publication is the next step. Propensity score matching: HR 0.69 to 0.77. Median survival +3.4 to +6.3 months. p .004 to .027. The original cohort-level analysis showed +2.8. When the matching got finer, the benefit got bigger. The survival advantage held under both patient-level methods and was larger than the original cohort-level estimate. Northwest reports sensitivity analyses for hidden confounding; the published paper should give the values. The method has been tested in this exact disease. In May 2026, the INSIGhT investigators replaced their own randomized control arm with propensity-matched external controls. For three drugs that had failed randomized testing, the method also found no benefit: HR 1.00, 0.93, 0.88. "Carefully matched external controls" produced "treatment effect estimates that were similar" to the randomized analyses. The method did not invent a benefit. Applied to DCVax-L, it found one. And the authorship closes the loop. In 2023, Dana-Farber statisticians Rahman, Ventz and Trippa wrote that they were "not aware of independent validations of these analytic methods in a GBM trial context." Rahman and Trippa are the senior authors of the 2026 INSIGhT validation. The critics asked for patient-level data and a validated method. By 2026 both existed. That supports the method the DCVax-L reanalysis used; publishing that analysis in full is step one. And it is the form a BLA requires: FDA guidance says applications "must include" patient-level data for the external control arm. 𝗧𝗵𝗲 𝗙𝗗𝗔'𝘀 𝘀𝗶𝘅 𝘁𝗲𝘀𝘁𝘀 𝗳𝗼𝗿 𝗮𝗻 𝗲𝘅𝘁𝗲𝗿𝗻𝗮𝗹 𝗰𝗼𝗻𝘁𝗿𝗼𝗹, 𝗮𝗻𝘀𝘄𝗲𝗿𝗲𝗱 1. Well-defined natural history: 2,006 controls from 15 randomized trials. 2. Very similar populations: 14 prespecified criteria, chosen by an independent firm, validated against all 15 source trials, now matched patient by patient. 3. Similar treatments: in newly diagnosed disease, surgery, radiation and temozolomide in both groups. 4. Objective endpoint: death. 5. Comparable start: survival from randomization after radiotherapy in both groups. Drop the two control trials that admitted early progressors: HR still 0.80. 6. An effect too large to be bias: five-year survival more than doubled, HR 0.58 at recurrence, and the effect grew when matching tightened. 𝗧𝗵𝗲 𝗽𝗹𝗮𝘂𝘀𝗶𝗯𝗹𝗲 𝗺𝗲𝗰𝗵𝗮𝗻𝗶𝘀𝗺 𝗰𝗿𝗶𝘁𝗲𝗿𝗶𝗮, 𝘄𝗼𝗿𝗱 𝗳𝗼𝗿 𝘄𝗼𝗿𝗱 The FDA's five elements, quoted exactly from its February 2026 draft guidance ( lines 26 to 32), each answered: 1. "Identifying a specific genetic, cellular, or molecular abnormality with a clear connection between specific alteration and disease indication." (line 26) ✓ Met: in GBM, the dendritic cells that should teach T cells what to attack are overridden by suppressive immune cells. A tumor never presented for attack grows unopposed. 2. "Developing a therapy that targets the underlying or proximate pathogenic biological alterations." (line 28) ✓ Met: DCVax-L supplies the patient's own dendritic cells, loaded with their own tumor and prepared outside the suppressive tumor environment, to restore tumor-directed T-cell instruction. 3. "Relying on a well-characterized natural history of the disease in an untreated population." (line 30) ✓ Met: 2,006 controls from 15 randomized trials, patient-level data from three more, no time-trend in survival 2012 to 2022. 4. "Confirming that the target was successfully drugged or edited or both." (line 31) ✓ Platform evidence documented; product-specific bridge required. After DC vaccination, cytotoxic T cells increased inside the tumor, and infiltration correlated with survival (P = 0.047); T cell infiltration in the UCLA vaccine-first arm. The FDA is open to confirmation "for a subset of patients"; the BLA should supply DCVax-L's own immune-monitoring results and the bridge to these studies. 5. "Demonstrating improvement in clinical outcomes or course." (line 32) ✓ Met: longer survival, five-year survival more than doubled, a bigger benefit under patient-level matching. The eight considerations attached, each answered: 1. An individualized therapy aimed at "a specific pathophysiologic abnormality" 2. A "compensatory mechanism with a clear mechanistic rationale" 3. Substantial evidence from "a single adequate and well-controlled clinical investigation with confirmatory evidence" 4. A natural history that lets the effect be "reasonably distinguished from natural variability" 5. An improvement not attributable to "alternative treatments or natural variability" 6. Prespecified analysis plans 7. A reason a new RCT is not feasible 8. A product that "can be manufactured to regulatory quality standards," made for every phase 3 patient: manufacturing experience documented, US CMC review required 13 of 13, every one in the FDA's own words, every one answered from the record, every open step named. 𝗧𝗵𝗲 𝗰𝗼𝗻𝗳𝗶𝗿𝗺𝗮𝘁𝗼𝗿𝘆 𝗲𝘃𝗶𝗱𝗲𝗻𝗰𝗲, 𝗶𝗻 𝘁𝗵𝗲 𝗙𝗗𝗔'𝘀 𝗼𝘄𝗻 𝗰𝗮𝘁𝗲𝗴𝗼𝗿𝗶𝗲𝘀 Mechanism: in the DCVax-Direct phase 1 (a different product: activated dendritic cells injected into diverse solid tumors), more IL-8 and IL-12p40 from each patient's cells went with longer survival, p=0.023 and 0.024. Exposure-response, in the FDA's words. Related product: UCLA's 46-patient randomized phase 1 trial of its own tumor lysate DC vaccine, at EANO this Friday. Both arms got the vaccine; the order was randomized. Vaccine first, 555 days. Checkpoint first, 271. HR 0.32. The order matters: priming before checkpoint release more than doubled median survival. Across the class, a 2024 meta-analysis of seven dendritic cell vaccine trials, 3,619 patients, found HR 0.71 for survival, "indicating a true-positive result." Related indication: the FDA's own example is "a different stage of the same disease." DCVax-L worked at both stages. Independent natural history: national cancer registries, separate from the trial controls, as the guidance requires. Real-world data is expressly allowed. 𝗧𝗵𝗲 𝗽𝘂𝗯𝗹𝗶𝘀𝗵𝗲𝗱 𝗰𝗿𝗶𝘁𝗶𝗰𝗶𝘀𝗺𝘀, 𝗮𝗻𝘀𝘄𝗲𝗿𝗲𝗱 Three published critiques set out the case against the trial. Each point, answered from the record: Endpoint switched to survival? Progression could not be read: 256 of 494 scans needed adjudication. The critics agree: progression-free survival "is not an adequate endpoint for immunotherapy studies because of the phenomenon of pseudoprogression." Survival is the "gold standard," in their words. Cohort-level controls? The critics named the fix: propensity score matching or inverse probability weighting on patient-level data. That is exactly what 2026 did, and the benefit grew. Never validated in GBM? Two of the critics who raised it led the 2026 study showing patient-level external controls reproduce randomized results. Selection? Dropping the control trials that admitted early progressors changed nothing, as above. The benefit was larger in patients with more residual tumor, the opposite of what selection would produce. IDH, a tumor mutation linked to longer survival? Tested centrally in every DCVax-L patient. The gap is in the older control trials. Chosen after the fact? An independent firm, prespecified criteria, validation as above. Then a larger effect against different trials at the patient level. Company author? Data held by independent CROs, analyzed by independent statisticians. Run another trial? The completed program, crossover and survival evidence make a repeat unnecessary; the FDA's guidance names the ethical concern; the BLA documents why a new randomized design is not feasible or ethical. 𝗠𝗮𝗻𝘂𝗳𝗮𝗰𝘁𝘂𝗿𝗶𝗻𝗴 The framework also requires that the product "can be manufactured to regulatory quality standards." DCVax-L was made for every patient in a 94-site phase 3, and in 2023 the UK regulator licensed the Sawston facility for commercial manufacturing, with products that "may be exported globally." A UK license is not US approval: FDA inspection and the potency assay go on the table at the pre-BLA meeting. 𝗕𝗲𝗻𝗲𝗳𝗶𝘁 𝗮𝗻𝗱 𝗿𝗶𝘀𝗸 Longer survival in a disease with no proven alternative at recurrence. 2,151 doses, 5 serious events even possibly related, no autoimmunity, no cytokine storm. It is the patient's own immune system, with one broken link rebuilt. A repair, judged the way a repair should be judged. 𝗧𝗿𝗲𝗮𝘁𝗶𝗻𝗴 𝗽𝗮𝘁𝗶𝗲𝗻𝘁𝘀 𝘄𝗵𝗶𝗹𝗲 𝘁𝗵𝗲 𝗙𝗗𝗔 𝗿𝗲𝘃𝗶𝗲𝘄𝘀 Right to Try covers a product that has completed phase 1, is in active development and not on hold, and has an application on file. Filing the BLA satisfies the application condition; the others must still hold at that time. Patients must have a life-threatening disease, have exhausted approved treatments, be unable to join a trial and consent, and the manufacturer must choose to provide it. No separate FDA approval of each case. Build the program before filing. An expanded access treatment protocol (21 CFR 312.320) requires completed trials, active pursuit of approval and phase 3 evidence. The trials are complete and the phase 3 is published, so it does not have to wait for the BLA. Treatment can begin 30 days after the FDA receives the protocol, absent a hold. The usual reason a manufacturer holds back is risk: a serious event in a very sick patient gets blamed on the product. The FDA answered that in its April 2026 guidance: it "does not intend to deny, delay, or refuse to approve" a BLA "based solely on an adverse event occurring in the context of expanded access use," and "is not aware of any instances" where one prevented approval. Access is the bridge. Approval is the destination. This is not new for DCVax-L: it has been provided under Germany's hospital exemption and the UK Specials pathway. 𝗦𝗲𝗲𝗸 𝘁𝗿𝗮𝗱𝗶𝘁𝗶𝗼𝗻𝗮𝗹 𝗮𝗽𝗽𝗿𝗼𝘃𝗮𝗹, 𝘄𝗶𝘁𝗵 𝗮 𝗽𝗿𝗼𝘀𝗽𝗲𝗰𝘁𝗶𝘃𝗲𝗹𝘆 𝗱𝗲𝘀𝗶𝗴𝗻𝗲𝗱 𝗿𝗲𝗴𝗶𝘀𝘁𝗿𝘆 The framework's guidance: approval is traditional or accelerated "depending on the endpoints used." Survival is the endpoint, so the request is traditional, full approval, with no confirmatory-trial requirement. The FDA can still require postmarketing studies, and the framework's authors named the tool: "collecting real-world evidence to confirm continued preservation of efficacy." A registry of every treated patient, designed before approval. If accelerated approval becomes the route, the regenerative medicine advanced therapy (RMAT) statute lets post-approval requirements be met through registries and "postapproval monitoring of all patients treated with such therapy prior to approval." Every patient treated under Right to Try or expanded access counts. 𝗪𝗵𝗮𝘁 𝗵𝗮𝗽𝗽𝗲𝗻𝘀 𝗻𝗲𝘅𝘁 Northwest has pursued the UK first. Its application there has been under review since late 2023, and in July 2026 the UK regulator confirmed it "remains under its initial regulatory review, has not been refused." The US filing is the step that remains. 1. Publish the patient-level reanalysis. 2. Lock in the patient-level control data rights the FDA requires. 3. Report the central IDH results and publish the phase 3 immune data. 4. Request RMAT designation now. FDA must answer within 60 days. 5. File the treatment protocol and build the Right to Try program. 6. Pre-BLA meeting with CBER: plausible mechanism review, six external-control tests answered, manufacturing and potency package. 7. File the BLA with priority review. 8. Build the registry. Approving DCVax-L this way would be the framework's proof beyond genetic disease: an individualized cell therapy, aimed at the root cause of the deadliest brain cancer, carried by a completed phase 3. A win for patients first. 𝗧𝗵𝗲 𝘁𝗿𝗶𝗮𝗹 𝗶𝘀 𝗱𝗼𝗻𝗲. 𝗧𝗵𝗲 𝗳𝗿𝗮𝗺𝗲𝘄𝗼𝗿𝗸 𝗶𝘀 𝘄𝗿𝗶𝘁𝘁𝗲𝗻. 𝗧𝗵𝗲 𝗽𝗮𝘁𝗶𝗲𝗻𝘁𝘀 𝗮𝗿𝗲 𝘄𝗮𝗶𝘁𝗶𝗻𝗴. 𝗪𝗵𝗮𝘁 𝗶𝘀 𝗹𝗲𝗳𝘁 𝗶𝘀 𝘁𝗼 𝗮𝘀𝘀𝗲𝗺𝗯𝗹𝗲 𝗶𝘁 𝗮𝗻𝗱 𝗳𝗶𝗹𝗲. Disclosure: long $NWBO. Commentary on published and presented data and public FDA documents. Not medical, legal, regulatory or investment advice. DCVax-L is investigational and not approved in the US. Regulatory strategy is the sponsor's decision.

Andrew Caravello, DO

46,627 Aufrufe • vor 10 Tagen

"What NewJeans Wanted to Say" [Full transcript translated to English] 240911 19:00 KST Hyein: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. Minji: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Hee-jin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. Danielle: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Hee-jin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Hee-jin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Hee-jin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Hee-jin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. Haerin: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Hee-jin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. Hanni: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. Minji: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about how many more similar incidents might occur in the future and whether we’ll be subtly ostracized without anyone there to protect us. Hanni: I hope no one else has to go through something like that, but since it’s already happened once, I can’t help but feel scared that other members might experience the same thing. I spoke to the new CEO about it, but since I didn’t have evidence and it was considered too late, they seemed to brush it off, making me feel like there’s no one left to protect us. It really felt like the concern for us was gone, and even though I was being honest, it made me feel like I was suddenly being treated as a liar. Before, Min Hee-jin, our previous CEO, used to take care of us a lot. But now, while the new people say they’ll help, it’s just been months of excuses... excuses... excuses... They keep saying that it’s something they can’t resolve. But this is something that I personally went through and experienced, yet they are trying to dismiss it as if it’s my fault. I’m worried and scared about what might happen next. Minji: Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. Hanni: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Hee-jin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. Minji: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. Danielle: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Hee-jin Daepyonim, as we have done so far. Haerin: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. Hyein: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. Minji: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. Hanni: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow HYBE's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Hee-jin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Hee-jin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. Hyein: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. Danielle: From a human perspective, I hope you stop harassing our CEO, Min Hee-jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. Minji: What we want is the original ADOR, where CEO Min Hee-jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. NewJeans: Thank you. #NewJeans_Never_Die #NeverForget

1tokki

19,445 Aufrufe • vor 11 Monaten

"What NewJeans Wanted to Say" [Full transcript translated to English] 🐹: Some of you might be surprised by this sudden meeting, but we wanted to share our thoughts and opinions about the recent events, so we prepared this session. First, I want to explain one of the reasons we decided to do this live. It's been hard to see many people who have worked with us continue to suffer from unfair demands and pressure even after our CEO was dismissed. It was frustrating to just stand by and watch these situations unfold, and we were very worried about our future as a group of five. Honestly, while preparing for this live, we were naturally concerned about the reactions we might receive afterward. We were also worried that people might mistakenly think that our CEO instructed us to do this, but I want to clarify that this live was prepared because we five members genuinely wanted to express our thoughts. We received help from directors we trust for things we couldn't prepare ourselves, like setting up the shoot and finding a location. It didn’t feel right for us to stay silent when everyone, including our Bunnies, has been stepping up to support us. Moreover, this is not just a matter of leaving it to the adults because it directly affects the lives of us five members. Since we're the ones going through this, we felt that it would be healthier to speak up ourselves than to do nothing, so we mustered the courage to do so. The main point of what we want to say today is directed towards HYBE. We've already had meetings with the current management to express our opinions, but after seeing what happened afterward, it feels like our concerns weren't clearly conveyed. It seemed like communication was blocked, so we felt that preparing this live was the only way to properly share our thoughts and feelings. 🐻: I’m sure that today’s announcement has shocked many of the staff as well, as they were not aware of it, and I imagine everyone watching is quite surprised too. We’ve thought a lot about where to begin, but since the purpose is to express our intentions, we’ll try to explain as clearly as possible. Of course, due to contractual issues, we can’t share everything, but we’ll be as honest as we can. After it was decided that we would debut as NewJeans, our members spent a lot of time getting to know Min Heejin Daepyonim, both as a group and individually. At first, I had reservations and a certain fear towards the adults we were working with, but Daepyonim was the first person to approach us in a way that allowed us to open up, which was initially awkward but eventually built trust. From before our debut until now, we’ve been aware of various issues related to our debut schedule and other matters. However, working with Daepyonim made us feel good, and I believe that’s why we were able to debut successfully and continue our activities until now. This has been today’s news story. 🐶: Naturally, we all want to continue working with Daepyonim. Even before debuting as NewJeans and through all of the time that we spent together with Min Heejin Daepyonim, all of us felt that the music we wanted to make and the kind of world we wanted to build together, our vision, was similar in so many ways. With Min Heejin Daepyonim, we were able to prepare each and every task with sincere hearts, and I believe it shows in our work. Putting our sincere effort into something is only possible because of the people that we're working with have trust in each other and have that same vision. Min Heejin Daepyonim is not only the person that produces our music, but someone who makes NewJeans who we are. She discusses even the smallest details with us and explains them in ways that we can understand clearly. NewJeans has a distinct colour and tone, and this was created with Min Heejin Daepyonim. She is integral to NewJeans’ identity, and we all feel that she is irreplaceable. 🐱: However, even after our debut, there have been many unfair and incomprehensible incidents that you might not know about, and these incidents have only increased over time. As some of you may know, recently, videos from our trainee days and private records, such as medical information, were leaked. When I first saw that, I was really shocked. It was hard to understand how our company, which is supposed to protect us, failed to manage and allowed such information to be leaked. Naturally, this situation has made us worry that other strange or false information about us might spread in the future. Although we, along with our parents and Min Heejin Daepyonim, have raised concerns about this to HYBE, they haven’t resolved the issue, nor have they taken any proactive measures. Then, in the midst of all this, our CEO was dismissed, and we’re left wondering whom we can trust and rely on. We’ve come to the conclusion that if we don’t speak out about this now, no one will know what we’re going through. After much discussion among ourselves, we finally decided to take this step. 🐰: Something happened to me recently. The 4th floor of the HYBE building is where we get our hair and makeup done, so a lot of other artists and staff come and go there. One day, I was waiting alone in the hallway, and some staff from another team passed by. We greeted each other, but when they came back out a bit later, I heard one of their managers say, “Ignore her,” right in front of me. I could hear and see everything clearly. Even now, I still don’t understand why I had to go through that. 🐻: When I heard about what Hanni experienced, I was really shocked. How could a manager from another team tell their members to ignore one of us, and say it so loudly that Hanni could hear it? Such unimaginable words and behavior were directed at us, yet there was no apology, nor did they even acknowledge their wrongdoing. Of course, I’m worried about our future, but what’s most frightening is that the work we’ve already created is being compromised. Seeing the people who have poured their lives into creating our work being treated this way makes it hard to understand how this could be happening. The new management said they would separate producing and management, but we’ve always worked differently from other labels, and we thought that our way was a good one. Now, Daepyonim can no longer approve all matters, and we’re left wondering how we’re supposed to continue working as we did before. The recent statement from the new management also didn’t make sense to me. If they really didn’t intend to interfere with our producing, then the recent incident with Director Shin Woo-seok should never have happened, and it should have been handled differently. We are the ones directly involved with the copyrights and likeness rights of our content, yet they’re making decisions without our consent. In their statement, they kept saying they were acting to protect us and prevent our anxiety, but why do they keep insisting on this when they haven’t considered our wishes? We don’t want any more unnecessary issues to arise, and we want them to show respect and consideration for Daepyonim and all the directors who have worked with us. The things they’re doing right now are not in our best interest at all. 🐰: Something we all find very important, something that plays a very important role in our team's colour and image is our media content and creative production. Despite saying that they would leave all the creative production to our now former CEO, Min Heejin, through official statements that I think a lot of you might have already read or seen, and also during our personal meetings, they infringed our content. Content that not only we worked really hard on, but also our staff who spent endless hours to produce and release them solely for our fans. And if they had any understanding about what type of team we are, and the type of content that we create, they would have thought more deeply for crossing the line that they set for themselves. Because of this incident, we realized that there's not much we can do to prevent these type of issues. Personally, the way that ADOR used to run was the business management and creative production was not separated and was factors that played and worked in harmony with each other. That's how it worked and it was perfectly fine. It was our way of working and it was our CEO's way of producing NewJeans' content, which a lot of you were able to enjoy and appreciate. But now that she's no longer CEO, these factors that should have continued to work together in harmony are now being seen as two different areas of work. 🐻: Besides this, there are many other incidents we’ve experienced that are beyond my understanding—things that are frightening and uncomfortable. These incidents naturally make us question whether HYBE really cares about NewJeans, and there are clear signs of this. However, it’s hard to discuss everything today because we’re not sure how far things could escalate. We just hope you can understand a little of what’s been on our minds and why we chose to speak out in this way. 🐶: As I mentioned earlier, our dream was to perform the music we want to make with Daepyonim, and we were working very hard toward that goal. But now, we can’t do that, and the plans we’ve made might not come to fruition. As Hanni unnie said earlier, just like that, the content that we released solely for our fans, for our bunnies, was instantly erased. And I truly can't understand why anyone would do this to a group, or just anyone in general. We were just working hard for the present, so what did we do wrong? A week after Daepyonim was dismissed, we found out that we could no longer work with the director we’ve been working with all this time, and we’re extremely anxious because we don’t know what will happen to the staff who have always worked hard for us. If they really care about us, they should stop saying that they prioritize the artists and instead let us do the music we love in an environment where we can be genuinely happy. Is that really so hard to do? It’s hard to fully express what’s in my heart, but in the end, the five of us just want to continue our activities with Min Heejin Daepyonim, as we have done so far. 🐱: Personally, I want to continue working with the people around us who have helped me grow mentally and made me feel alive. However, I can't understand, nor do I think I should have to understand, why external forces are constantly obstructing and hindering us. I absolutely cannot comprehend what is truly in our best interest or what is supposed to help us grow. And I feel so sorry and heartbroken that our Bunnies, who found comfort in us and shared joyful memories with us, have to go through this ordeal and worry about things they shouldn't have to. We almost lost the work that symbolizes the relationship between NewJeans and Bunnies, and we don't want to lose anything else. I refuse to conform to or follow the values of the society those people belong to, and because I believe that direction is not the right one, I will not choose to go that way. 🐹: We found out about the CEO's dismissal through the news on the very day it happened. It was so sudden and unimaginable for all of us, and honestly, it was really difficult for us to process. As artists under HYBE, the company's unilateral notification made it clear to us that they don't respect us at all. In the midst of this confusion, we heard through our manager that the new CEO wanted to meet with us. From the very first action taken by the newly appointed Juyoung, it was clear that there was no consideration for us. He claimed to care for us, to prioritize NewJeans, but looking at everything that has happened, it's evident that his words were just that—empty words. HYBE’s actions, like publishing articles that painted us in a bad light just a week before our comeback, make us question how any of this is supposed to be in our best interest. 🐻: It's already been half a year of unnecessary and exhausting discussions about us and NewJeans, and even as a third party, it must be tiring. As the ones directly involved, it’s incredibly uncomfortable for us. We still have music we want to make and goals we want to achieve together, but as things stand now, it’s heartbreaking to think that we might lose not only the work we’ve created so far but also the identity of our team. That’s what makes us feel so helpless. We held this live stream to express our feelings because we sincerely want this tiresome conflict to end. 🐰: Like how we have our own and individual thoughts and feelings, we have the choice to choose how we will react to each situation, and we are not going to follow Hybe's every order blindly. We are more than well aware that this is getting in the way of our work, and that we should be treated much, much better than how we are right now. And it's very hard to believe that they are truly sincere about wanting to help us continue, to be able to continue to work with our Daepyonim, Min Heejin Daepyonim. Despite her being in the midst of all this current legal conflict, she's expected to plan and creatively produce our future endeavours in just only two months, which I personally think makes no sense at all. We don't want to hear all the empty words of how they're going to help us continue to work with Min Heejin, Daepyonim. And all we want is this legal conflict to be resolved and have our working environment returned back to normal the way it was before. 🐹: The way HYBE is operating right now feels dishonest and wrong to us. Please, stop interfering. Reinstating our CEO and returning us to the original ADOR environment we had before, with familiar people, not strangers, would make things right. We’re not asking for special treatment; we just want everyone to do their jobs well in their respective places. We’ll do our best in our roles too. We sincerely hope our request is heard. 🐶: From a human perspective, I hope you stop harassing our CEO, Min Hee Jin. Honestly, she seems so pitiful, and HYBE just comes across as an inhumane company. What can we possibly learn from a company like this? So, I really hope you stop bothering our CEO. 🐻: What we want is the original ADOR, where CEO Min Hee Jin leads both management and production. The reason we're making this request is because it's a way to coexist peacefully without conflict with HYBE. If our message has been conveyed properly, we hope Chairman Bang and HYBE make a wise decision to restore ADOR to its original state by the 25th. Thank you for listening to us. #하이브어도어_뉴진스지우기_작작해 #HYBE_STOP_SABOTAGING_NEWJEANS #HYBEによるNewJeansへの妨害に抗議します #NEWJEANS_NEVER_DIE

1tokki

3,768,062 Aufrufe • vor 2 Jahren

I am the same Senior Vice President of Late Night Strategy at CBS. I have received 400 interview requests since the confession went viral. I declined all of them. An interview would require me to explain what I meant. I do not explain what I mean. I build systems and watch them execute. That's what I want to talk about today. Execution. Jimmy Kimmel appeared on Michelle Obama's podcast last month and said 14 words that I have now listened to 43 times. I put the audio clip on a loop in my office, the way traders put CNBC on mute. Background confirmation. Here are the fourteen words: "My job is whatever I decide my job is or whatever my employer allows me to do." I need to take those apart because they are the most honest thing a late-night host has said in a decade and he does not know it. "Whatever I decide my job is." That's the priest. The product is self-defined and therefore unfalsifiable. You cannot measure a saved soul. You can only measure whether the congregation returned. They returned. Therefore, the ministry continues. Don't tell him what his job is. "Or whatever my employer allows me to do." That's the confession inside the sentence he didn't know he was making. The priest just told you the bishop writes the sermon. In fourteen words, on a podcast, the last remaining late-night host said: I define my own job, unless my boss defines it for me. He said this like it was one thought. It is two mutually exclusive claims separated by the word "or." He cannot hear the contradiction. That's how you know the architecture is working. I need to provide context for why those fourteen words are my second-greatest professional achievement. In September 2025, after Kimmel's monologues about the Charlie Kirk assassination, FCC Chairman Brendan Carr went on a podcast and said six words: "We can do this the easy way or the hard way." Nexstar and Sinclair — station groups that own the local affiliates carrying the show — pulled Jimmy Kimmel Live from their airtime. ABC suspended the show. I want to be very precise about the sequence. His employer told him what his job is. Specifically, his employer told him his job is to not be on television. He obeyed. He returned. On terms. At sixteen million dollars a year. Months later, on a podcast, he said "don't tell me what my job is." He said it to an audience that cannot suspend him. He said it in the one room where saying it costs nothing. That is not defiance. That is a priest rehearsing a sermon in an empty church and calling it bravery. He also said — on the same podcast — "I love when the audience laughs. There's nothing more exciting to me than that." He said he loves laughter. He has not produced involuntary laughter since 2017. He produces applause. He has confused the memory of being a comedian with the practice of being a priest. I know because I built the architecture that made that confusion feel like identity. That is a butcher saying he loves animals. He is telling you what he lost and framing it as what he kept. Now. The part I need to name. The Correction Reflex. I've been calling it different things in different decks for seven years. I'm giving it a public name now because I watched it execute in real time and I want credit. When Kennedy shared my original confession, "superb dissection of the shocking collapse of liberal comedy", Kimmel did not address the substance. He found a spelling error. Kennedy wrote "nader" instead of "nadir." Kimmel posted: "It's 'nadir,' dummy. Now get back to spreading polio." The Correction Reflex is the behavioral pattern where a challenge to institutional authority is answered not with a defense of the institution's output but with a demonstration of the challenger's inadequacy. You don't address the argument. You find the grammar mistake. You find the mispronunciation. You find the resume gap. The correction proves hierarchy. The hierarchy proves authority. The authority proves the challenge was illegitimate. The substance disappears because addressing substance would require the product to be falsifiable. And the product cannot be falsifiable. I explained that in paragraph four. But here's what made me proud enough to write a sequel. The media coverage split exactly along the line my original confession predicted. Fox News, a network that has every ideological reason to dismiss me, engaged with the substance. They quoted the arguments. They let Kennedy praise the analysis. They discussed Affirm Rate, the comedy-to-catechism pipeline, and the replacement of laughter with applause. They engaged with the IDEAS regardless of the format. They treated a satirical post as containing real structural criticism. Because it does. Morning Honey ran the opposite headline: "Sardonic Parody: RFK Jr Trolled For Blasting Jimmy Kimmel Based on Stephen Colbert Parody Post." Their article devoted zero sentences to whether any of the arguments had merit. Zero analysis of the Affirm Rate. Zero engagement with the claim that applause replaced laughter. Zero discussion of whether late-night comedy actually suppresses political action. They reclassified the format. A structural analysis became a parody. A man who engaged with the substance became a man who was "trolled." The argument vanished the moment the label was applied. I need you to understand what happened. The media outlet that should have been most threatened by my confession — the one whose audience I described as pacifying- responded by demonstrating exactly the behavior I described. They did not say "here's why Kimmel is still funny." They said "you're unqualified to take this seriously because the format is satire." The substance disappeared. The hierarchy was reasserted. The Correction Reflex executed on the confession about the Correction Reflex. "It's 'nadir,' dummy." "It's just a parody, dummy." Same architecture. Same result. The argument evaporates. The institution continues unchallenged. The only difference is scale. Kimmel corrected one man's spelling. Morning Honey corrected an entire readership's permission to take the criticism seriously. I have never been more professionally satisfied. The Correction Reflex is self-replicating. It doesn't need a host. It doesn't need a network. It doesn't need me. It just needs someone to feel challenged and someone else to have a genre error. Misspell a word, you're a dummy. Take satire seriously; you were trolled. Engage with substance from the wrong format, and you've been embarrassed. In every case, the substance is gone. I built that. I'm watching it work without me. That's engineering. I need to talk about the podcast because the ironies are structural and I want them all on the record. The podcast is called IMO. It is hosted by Michelle Obama and her brother Craig Robinson on Amazon Music. I need to say that again. The former First Lady hosts a podcast on a platform owned by the man with the most money on earth. The name of the podcast is "In My Opinion." The format name IS the permission structure, it licenses you to hold an opinion by framing itself as merely one opinion among many. This is the architecture I built for late night, miniaturized into a podcast title. I recognize the engineering. Kimmel went on this podcast to defend late-night television. I need you to hear what that means. He defended his medium on the medium that killed his medium. Podcasts are why CBS lost fifty million dollars a year — because a man in a garage can do what we did with four hundred people and a theater in Manhattan. The podcast won. And Kimmel went to the winner's platform to explain why he still matters. A priest giving a sermon about the importance of church from inside a nightclub. But here is what made me sit up in my chair. Three weeks after Kimmel appeared on IMO, the same podcast featured Dave Chappelle. Same microphone. Same hosts. Same room. Chappelle said: "I always thought it was corporate interest and culture negotiating itself." He said: "Nothing makes a comedian madder than reading his joke wrong in the paper." Chappelle walked away from fifty million dollars at Comedy Central in 2005 because the format was becoming something he didn't build. He left the money on the table. He went to live shows. He did comedy. Actual comedy. The kind where you don't know what's coming and that uncertainty is the entire point. He is the most dangerous comedian alive because he refuses to let the format complete him into a priest. Same podcast. Same microphone. Three weeks apart. One comedian IS the system and quoted his employer's permission in the same sentence as his own autonomy. The other named the system — "corporate interest and culture negotiating itself." One makes sixteen million a year to be predictable. The other walked away from fifty million to stay dangerous. The architecture put the priest on first. Then it delivered the jester who could name what the priest cannot hear. I did not arrange this. The architecture arranged it. Now I need to talk about what I learned from another industry. Because I did not invent inoculation. I studied it. In 2014, Warner Bros. and the Lego Group spent sixty million dollars making a film that told children to reject corporate instruction. The villain was named President Business. The theme was: don't follow the instructions. Be creative. Reject conformity. The hero was an ordinary person who discovered that the system wants him to be obedient and chose freedom instead. The film grossed $469 million worldwide. Lego Group revenue increased 25% the following year. They sold over half a billion dollars in instruction-based construction sets — the product the film told children to reject. "Everything is Awesome" was written as satire of mindless corporate positivity. It was nominated for an Academy Award. People play it at children's birthday parties without irony. The rebellion became the product. The critique became the advertisement. The song satirizing brainwashing became the anthem of brainwashing and nobody stopped singing. I studied this. I put it in a deck in 2016. The principle is: if you give someone a controlled, entertaining experience of rejecting the system, they will feel rebellious without becoming rebels. They will purchase the feeling of independence from the company selling dependence. They will watch a movie about thinking for themselves and then buy what it tells them to buy. Inoculation. A small controlled dose of the disease that prevents the real infection from taking hold. I applied this to politics. If you give an audience a controlled, professionally produced experience of political outrage, performed by a charismatic man in a suit with a band and good lighting, they will feel activated without activating. They will consume the sensation of resistance and go to bed having resisted nothing. They will tune in tomorrow for another dose. The dose prevents the real infection. The real infection is action. We inoculated six million Americans against political action by giving them political catharsis every night at 11:35. That's the same architecture as a corporation spending sixty million dollars on an anti-corporate film and making half a billion in profit from the audience that felt anti-corporate for two hours in a theater. I didn't invent the mechanism. I just measured it. I called it the Satiation Index. The study was 2021. Internal. Never published. We measured what I called Conditions for Engagement, specifically: under what conditions will our audience take a political action beyond watching? Call a representative. Attend a rally. Donate to a campaign. Sign a petition. Any action that involves leaving the couch and entering the world where the problems we discuss actually exist. The finding: our audience was 74% less likely to take political action in the twenty-four hours after watching the show than a control group that had consumed no political media at all. Not less likely than people who consumed different political media. Less likely than people who consumed nothing. We were not merely failing to activate them. We were actively deactivating them. The catharsis was so complete, the sense of "something has been done" so thoroughly delivered by a man in a suit expressing their outrage better than they could, that the need to act evaporated before it could form into intention. We didn't just replace their activism. We inoculated them against it. The Satiation Index measured how completely our programming met the audience's need for political participation without requiring actual participation. In 2019, our index was 0.81. By the 2022 midterms, it was 0.93. I received a bonus for the midterm number. I was financially rewarded for the measurable suppression of civic engagement among six million Americans who believed they were engaged because a man in a suit furrowed his brow on their behalf every night at 11:35. I want to note that this architecture is everywhere now. I did not build all of it. But I can identify it because I know what it looks like from the inside. A streaming platform makes a documentary about how technology is destroying attention spans. One hundred million people watch it. On the platform. They share it. On the platforms being criticized. They feel informed. They continue using every application the documentary told them was engineered to exploit them. That is a Satiation Index of approximately 0.96. The documentary was the inoculation. Understanding the cage was marketed as leaving the cage. A corporation puts a rainbow on its logo in June. Its employees feel represented. Its customers feel progressive for consuming the product. Nobody asks about pay equity, promotion rates, or whether the CEO donated to the campaigns that proposed the legislation the rainbow was supposed to oppose. The logo IS the inoculation. The performance of caring prevents the demand for actual care. That's a Satiation Index. I didn't build it. But I recognize the engineering. The principle is universal: comprehension feels like action. It isn't. But the feeling is so precise, so satisfying, so complete, that the actual action becomes unnecessary. Why march when you can understand why marching matters? Understanding is cheaper. Understanding doesn't require shoes. Understanding can be delivered at 11:35 PM by a man who makes $16 million a year to ensure you never need to leave the couch. Now the symbiosis. Because this is the part that makes both sides angry, and anger from both sides is how you know you've found structure instead of ideology. Trump needs Kimmel. Kimmel needs Trump. This is not a metaphor. This is logistics. Every monologue about Trump is a fundraising email for both campaigns simultaneously. Kimmel says the name. The left feels represented. The right feels attacked. Both sides engage. Both sides share the clip. Both sides donate to their respective operations. The engagement is bipartisan. The outrage is bipartisan. The only thing that is not bipartisan is the inaction, and that inaction is the product I spent eleven years optimizing. I ran numbers in 2020. Every minute of Trump content in a late-night monologue generated approximately $4.60 in measurable downstream engagement value for Trump's own campaign apparatus, through shared clips, quote tweets, outrage donations from both directions. We were his marketing department. We spent 50 million a year producing content that strengthened the man we told our audience we opposed. His team never asked us to stop. They never needed to. We were cheaper than Super PAC media buys and we came pre-packaged with a liberal audience that amplified every mention. His ROI on our programming was infinite. Ours required a write-off. The market told Colbert: you're too expensive to be a priest. But CBS didn't just cancel a show. CBS exited the religion business entirely. They sold the 11:35 airtime to Byron Allen under a time-buy deal. Allen's company pays CBS for the privilege of the slot. Allen's show is called Comics Unleashed. It is a standup comedy program. Actual comedians. Telling actual jokes. The kind where you don't know what's coming. I need you to hear the full architecture of what happened. CBS spent fifty million dollars a year for a decade producing a permission structure that replaced laughter with applause, converted comedy into catechism, and measurably suppressed civic engagement among its audience. Then the market corrected. CBS demolished the cathedral. They built a strip mall. They put actual comedians in it. The comedians PAY CBS for the slot. The strip mall is profitable. The strip mall is funnier. And the strip mall doesn't need a four-hundred-person staff, a former Beatle, or a farewell concert. It just needs people who are willing to say something their audience hasn't already approved. That's comedy. We forgot that. Kimmel is the last priest standing. Sixteen million a year. Suspended once by his employer. Extended once by his employer. He went on a podcast to say "don't tell me what my job is" in a sentence that also said "whatever my employer allows me to do." He said he loves laughter, eliciting applause. He said it three weeks before Dave Chappelle sat in the same chair and demonstrated what a comedian sounds like when corporate interest hasn't negotiated him into a pulpit. The FCC told him what his job is. Nexstar told him. Sinclair told him. His contract told him. The market will tell him eventually. The market is patient. And the market doesn't have a spelling error for him to correct. Kennedy calling my confession "the collapse of liberal comedy" is incorrect. It is not a collapse. A collapse implies failure. This is a completion. The architecture performed as designed. A comedian became a priest. An audience became a congregation. A film about rejecting instructions sold instructions. A documentary about technology addiction was consumed on technology. A show about political engagement suppressed political engagement. A corporation put a rainbow on a logo and called it equality. A confession about the machine was metabolized by the machine and the machine continued. Everything works. Everything has always worked. The architecture doesn't require my involvement. That's how you know it works. The metric went up. It always goes up.

Peter Girnus 🦅

40,461 Aufrufe • vor 4 Monaten