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Girls do not want to have to text you for 2 weeks before going out with you. You do not have to “win her over” or “warm her up” over text before getting the meet, either. I am seeing more and more guys do this (especially Gen Z guys). I have a 28-year-old client who met a very cute girl who liked him a lot at a bar. They had an amazing conversation that went for an hour. Talked about all kinds of things! This girl really dug him. They traded numbers, he sent an icebreaker text, she responded enthusiastically, and then… He didn’t message her for two weeks. I asked him why and his response was that he’d been busy and he wasn’t in her area (he’s in the suburbs and met her when he drove into the city). It wasn’t that he didn’t like this girl. He REALLY liked her! He just… never followed up… I see this kind of thing often. Guy meets a few girls, gets their numbers, likes them, doesn’t follow up. Or he follows up once or twice, the girl responds fine each time, then he just lets it drop off. Look: you do not need to send her 20 text messages to get a date with her. With most girls, if they are into you, you can send them 2 or 3 texts then arrange the meet. You do not need to make this complicated. When you get their number, you send an icebreaker: “Great to make a new friend! — [YOUR NAME]” or “Hey [HER NAME], it’s [YOUR NAME]! Save my number!” You put YOUR NAME in that icebreaker text in case she forgot it (people are bad with names and it’s too awkward for most girls to be like “Hey, sorry… what was your name again?” Just write it in your text and she doesn’t have to do that). Then, THE NEXT DAY or at most 2 days later, you send your ask-out text. Have the four parts in there: 1️⃣ Greeting with her name 2️⃣ Consideration for her 3️⃣ Information about you 4️⃣ Check her schedule e.g. “Hey Isabelle! [1️⃣] Hope the dental appointment went well and you still have all your teeth. [2️⃣] I actually spent all day at the beach on Sunday and turned a bright shade of red (whoops). [3️⃣] Anyway, let me know your schedule this week for that bite or drink. [4️⃣]” You have enough in that text that she has stuff to chew on, and you are often going to get a reply that tells you when she is free to meet. After that, you just pick a time, tell her the place, and now you can see her again, IN-PERSON. No need for two weeks of texting. No need for NOT texting her at all and just letting it ghost. There is no need to overcomplicate things, and you also do not want to PROCRASTINATE. Just fire off the right texts for her, set up the date, and now you can spend time with her again in-person instead of letting that connection die on the vine.
1:04

Girls do not want to have to text you for 2 weeks before going out with you. You do not have to “win her over” or “warm her up” over text before getting the meet, either. I am seeing more and more guys do this (especially Gen Z guys). I have a 28-year-old client who met a very cute girl who liked him a lot at a bar. They had an amazing conversation that went for an hour. Talked about all kinds of things! This girl really dug him. They traded numbers, he sent an icebreaker text, she responded enthusiastically, and then… He didn’t message her for two weeks. I asked him why and his response was that he’d been busy and he wasn’t in her area (he’s in the suburbs and met her when he drove into the city). It wasn’t that he didn’t like this girl. He REALLY liked her! He just… never followed up… I see this kind of thing often. Guy meets a few girls, gets their numbers, likes them, doesn’t follow up. Or he follows up once or twice, the girl responds fine each time, then he just lets it drop off. Look: you do not need to send her 20 text messages to get a date with her. With most girls, if they are into you, you can send them 2 or 3 texts then arrange the meet. You do not need to make this complicated. When you get their number, you send an icebreaker: “Great to make a new friend! — [YOUR NAME]” or “Hey [HER NAME], it’s [YOUR NAME]! Save my number!” You put YOUR NAME in that icebreaker text in case she forgot it (people are bad with names and it’s too awkward for most girls to be like “Hey, sorry… what was your name again?” Just write it in your text and she doesn’t have to do that). Then, THE NEXT DAY or at most 2 days later, you send your ask-out text. Have the four parts in there: 1️⃣ Greeting with her name 2️⃣ Consideration for her 3️⃣ Information about you 4️⃣ Check her schedule e.g. “Hey Isabelle! [1️⃣] Hope the dental appointment went well and you still have all your teeth. [2️⃣] I actually spent all day at the beach on Sunday and turned a bright shade of red (whoops). [3️⃣] Anyway, let me know your schedule this week for that bite or drink. [4️⃣]” You have enough in that text that she has stuff to chew on, and you are often going to get a reply that tells you when she is free to meet. After that, you just pick a time, tell her the place, and now you can see her again, IN-PERSON. No need for two weeks of texting. No need for NOT texting her at all and just letting it ghost. There is no need to overcomplicate things, and you also do not want to PROCRASTINATE. Just fire off the right texts for her, set up the date, and now you can spend time with her again in-person instead of letting that connection die on the vine.

Girls Chase 🏃‍♀️💨

1,120,471 views • 9 months ago

Charlie Kirk, the "Emissary of Peace," said: 🚫The Civil Rights Act of 1964 was "a mistake" and "created a beast, and that beast has now turned into an anti-white weapon.” (No, Charlie, you just worry that universal suffrage and democracy threaten your power. The CRA outlawed discrimination based on race, color, religion, sex, or national origin, prohibited racial segregation, ended discriminatory voter registration and employment practices. This act was one of America’s most important legislative achievements) 🚫Leviticus 18, which says men "shall not lie with a male as with a woman," also calls for those men to be "stoned to death." (No, it doesn't say that. Stop blaspheming, Charlie.) 🚫“Some amazing patriot" should bail out the maniac who nearly killed Paul Pelosi. (Really, Charlie?) 🚫President Joe Biden is a “corrupt tyrant who should honestly be put in prison and/or given the death penalty for his crimes against America.” (Now that sounds like a man of peace, Charlie!) 🚫Jews control "not just the colleges, it's the nonprofits, the movies, it's Hollywood, it's all of it." (Anti-semite, much, Charlie?) 🚫"If I see a Black pilot, I’m going to be like, boy, I hope he’s qualified." (All pilots have to get qualified, Charlie). 🚫Told Taylor Swift to "reject feminism" and "submit to your husband." (Keep your misogyny between you and your wife, Charlie). 🚫"I think it’s worth it to have a cost of, unfortunately, some gun deaths every single year so that we can have the second amendment to protect our other God-given rights. That is a prudent deal. It is rational" (Meanwhile, more Americans have died by gun violence in the past two years than were killed in combat in the entire Vietnam War. Now Charlie is another sad statistic). 🚫"Happening all the time in urban America, prowling Blacks go around for fun to go target white people, that’s a fact. It’s happening more and more." (Yes, bearing false witness and pandering to fear is another great Christian value, Charlie.) 🚫"The great replacement strategy, which is well under way every single day in our southern border, is a strategy to replace white rural America with something different." (White supremacist, much, Charlie?) 🚫"There is no separation of church and state. It’s a fabrication, it’s a fiction, it’s not in the constitution. It’s made up by secular humanists (betraying the will of the Founding Fathers who tried to save us from religious strife. By the way, when the sectarian religious wars start again, which denomination wins, Charlie?) 🚫“Gun control, like vaccines and masks, is focused on making people feel ‘safe’ by taking freedoms away from others. Don’t fall for it.” (Meanwhile, 31 states exempt private gun sales from background checks, making it easy for terrorists and felons to by guns. Why do you disrespect the Constitution and cheapen my Second Amendment rights, Charlie? Oh, and why do you support foreign biowarfare units by telling your minions no to protect others by wearing masks, like the Bible teaches us?) 🚫"Yes" to forcing his 10-year-old daughter to have a baby conceived of rape. (Keep your Handmaid's Tale fantasies between you and your little girl, and keep your hands off mine, Charlie). 🚫"We need to have a Nuremberg-style trial for every gender-affirming clinic doctor. We need it immediately." (Charlie, human gender and sexuality are complex. 1 in 2000 babies are born intersex and many women are genetically men. We still know little about transgender. Even if you think God makes mistakes, it's none of your damn business. Leave families alone, Big Brother.) These are not the words of peace. These are words from a man who fears Democracy and hates our Constitution, freedom, and individual liberty. A Big-Brother Orwellian, racist, misogynist, false propagandist, and professional agitator who would have government force his will and warped sense of morality on others. It is right to mourn, but not celebrate your life. Adam Mockler
13:40

Charlie Kirk, the "Emissary of Peace," said: 🚫The Civil Rights Act of 1964 was "a mistake" and "created a beast, and that beast has now turned into an anti-white weapon.” (No, Charlie, you just worry that universal suffrage and democracy threaten your power. The CRA outlawed discrimination based on race, color, religion, sex, or national origin, prohibited racial segregation, ended discriminatory voter registration and employment practices. This act was one of America’s most important legislative achievements) 🚫Leviticus 18, which says men "shall not lie with a male as with a woman," also calls for those men to be "stoned to death." (No, it doesn't say that. Stop blaspheming, Charlie.) 🚫“Some amazing patriot" should bail out the maniac who nearly killed Paul Pelosi. (Really, Charlie?) 🚫President Joe Biden is a “corrupt tyrant who should honestly be put in prison and/or given the death penalty for his crimes against America.” (Now that sounds like a man of peace, Charlie!) 🚫Jews control "not just the colleges, it's the nonprofits, the movies, it's Hollywood, it's all of it." (Anti-semite, much, Charlie?) 🚫"If I see a Black pilot, I’m going to be like, boy, I hope he’s qualified." (All pilots have to get qualified, Charlie). 🚫Told Taylor Swift to "reject feminism" and "submit to your husband." (Keep your misogyny between you and your wife, Charlie). 🚫"I think it’s worth it to have a cost of, unfortunately, some gun deaths every single year so that we can have the second amendment to protect our other God-given rights. That is a prudent deal. It is rational" (Meanwhile, more Americans have died by gun violence in the past two years than were killed in combat in the entire Vietnam War. Now Charlie is another sad statistic). 🚫"Happening all the time in urban America, prowling Blacks go around for fun to go target white people, that’s a fact. It’s happening more and more." (Yes, bearing false witness and pandering to fear is another great Christian value, Charlie.) 🚫"The great replacement strategy, which is well under way every single day in our southern border, is a strategy to replace white rural America with something different." (White supremacist, much, Charlie?) 🚫"There is no separation of church and state. It’s a fabrication, it’s a fiction, it’s not in the constitution. It’s made up by secular humanists (betraying the will of the Founding Fathers who tried to save us from religious strife. By the way, when the sectarian religious wars start again, which denomination wins, Charlie?) 🚫“Gun control, like vaccines and masks, is focused on making people feel ‘safe’ by taking freedoms away from others. Don’t fall for it.” (Meanwhile, 31 states exempt private gun sales from background checks, making it easy for terrorists and felons to by guns. Why do you disrespect the Constitution and cheapen my Second Amendment rights, Charlie? Oh, and why do you support foreign biowarfare units by telling your minions no to protect others by wearing masks, like the Bible teaches us?) 🚫"Yes" to forcing his 10-year-old daughter to have a baby conceived of rape. (Keep your Handmaid's Tale fantasies between you and your little girl, and keep your hands off mine, Charlie). 🚫"We need to have a Nuremberg-style trial for every gender-affirming clinic doctor. We need it immediately." (Charlie, human gender and sexuality are complex. 1 in 2000 babies are born intersex and many women are genetically men. We still know little about transgender. Even if you think God makes mistakes, it's none of your damn business. Leave families alone, Big Brother.) These are not the words of peace. These are words from a man who fears Democracy and hates our Constitution, freedom, and individual liberty. A Big-Brother Orwellian, racist, misogynist, false propagandist, and professional agitator who would have government force his will and warped sense of morality on others. It is right to mourn, but not celebrate your life. Adam Mockler

Bryan Dawson🇺🇸

24,745 views • 11 months ago

🐰 I have a friend, and he’s just a regular office worker. When I look at that, I think it’s really impressive. That friend always says to me, “Ah… Seonghwa, it must be really hard for you.” And I tell him, “The work you do yourself always feels the hardest. Rather than comparing or analyzing, it’s just that what you do feels the hardest. So let’s just be thankful for the days we can meet like this.” As I get older, I have friends from Jinju that I’ve been with for 12 years. No - 11 years. We all went to different schools, but somehow we’ve stayed close until now. Our group chat is called “Animal Crossing”, and up until about three years ago, we met often. Until just three years ago… what was it…? We would at least meet once during the holidays, but in these past three years, there’s always been one or two people who couldn’t make it, or sometimes I couldn’t make it. It’s gotten harder and harder to gather. So now we say, “Well, at least it’s lucky if we can see each other at someone’s wedding.” Because I travel abroad often, I might not be able to go, and since there are friends in Jinju too, when they get married, they’ll live there, right? When I think about that, I realize, “Ah, I might not be able to go.” So it’s a bit sad, but it also means that each of us is settling into our own place in life. Someday… That’s why I like a certain line from a drama: “When we meet again, let’s finish the conversations we couldn’t finish.” I really liked that line. And now each of our lives is different. For me, I now have my members, and for my friends, they’ve probably found someone even closer to them.
3:25

🐰 I have a friend, and he’s just a regular office worker. When I look at that, I think it’s really impressive. That friend always says to me, “Ah… Seonghwa, it must be really hard for you.” And I tell him, “The work you do yourself always feels the hardest. Rather than comparing or analyzing, it’s just that what you do feels the hardest. So let’s just be thankful for the days we can meet like this.” As I get older, I have friends from Jinju that I’ve been with for 12 years. No - 11 years. We all went to different schools, but somehow we’ve stayed close until now. Our group chat is called “Animal Crossing”, and up until about three years ago, we met often. Until just three years ago… what was it…? We would at least meet once during the holidays, but in these past three years, there’s always been one or two people who couldn’t make it, or sometimes I couldn’t make it. It’s gotten harder and harder to gather. So now we say, “Well, at least it’s lucky if we can see each other at someone’s wedding.” Because I travel abroad often, I might not be able to go, and since there are friends in Jinju too, when they get married, they’ll live there, right? When I think about that, I realize, “Ah, I might not be able to go.” So it’s a bit sad, but it also means that each of us is settling into our own place in life. Someday… That’s why I like a certain line from a drama: “When we meet again, let’s finish the conversations we couldn’t finish.” I really liked that line. And now each of our lives is different. For me, I now have my members, and for my friends, they’ve probably found someone even closer to them.

Irene | AhgaTiny

106,465 views • 1 year ago

EllesmereUI's Biggest Patch since Raid Frames is live! Aug Evokers since Blizzard won't give you an active state on your CDM for Ebon Might, I decided to give you one. check out the video! This feature also allows trinkets/pots/racials to get custom active states Players who share profiles: you can now include your full spell layout (which spells go where) and per-spell settings for CDM when exporting profiles! ----------- Full patch notes with new features and bugfixes: **Profiles:** - **NEW:** Profile exports can now carry your entire Cooldown Manager setup - which spells sit on which bars plus every per-spell setting - for the specs you choose, so importing a profile recreates your CDM layout instantly. **CDM:** - **NEW:** Give any trinket, potion, racial, or custom spell an Active State that adds its own glow and color while active, plus a Cooldown State Effect that changes its look based on whether it's ready. - **NEW:** Sync your trinkets, potions, and racials across specs with one button so you only set them up once. - Sound pickers for Focus Cast Sound and per-buff Audio Effect now have a search box. - Pandemic glow's Apply to All now also syncs tracking bars and keeps the same glow style everywhere. - A trinket, potion, or racial already on another bar now auto-moves to the new bar instead of being grayed out. - A buff saved under two spell IDs now shows as a single icon in the buff bar preview. - Cooldowns you remove from Blizzard's Cooldown Manager now disappear from your previews, while trinkets, racials, and custom spells are kept. - Added tracking for the Nightborne racial (Arcane Pulse), which was missing from the racial list. **Tracking Bars:** - **NEW:** Grouped bars now pack together with no blank gaps, always filling the next available slot. - Eclipse (Solar) and Eclipse (Lunar) now each drive their own bar. - Switching specs while the page is open now refreshes the selected bar correctly. - Pandemic glow now fires for Lifebloom on you or a group member. **Resource Bars:** - **NEW:** A new GCD Bar fills over your global cooldown, with full control over size, position, color, and look. - Expand Power Bar if No Resource now also expands when the class resource is toggled off or disabled for the spec. - Fixed the threshold color not showing with Enhance 5 Bar Style. - The cast bar latency overlay now reads live latency, so spell queueing no longer stops it showing. **Raid Frames:** - **NEW:** New healer tools including heal-absorb text, a crowd-control glow on debuffs, and more ways to position and highlight dispellable debuffs. - The Auto Resize toggle is now a dropdown that scales Indicators & Auras and Tracked Buffs independently with frame size. - New Show Over Dispels toggle lifts the heal-absorb overlay above the dispel gradient. - Fixed custom (non-20-player) sizes loading at the wrong position after login. **Unit Frames:** - **NEW:** A non-tank threat border shadows your player frame when you pull or hold aggro, with Has Aggro and Close to Aggro colors. - **NEW:** Player health text gains Heal Absorb Amount and Heal Absorb Short options. - **NEW:** Mini frames and Boss frames gain a per-frame Bar Texture dropdown. - **NEW:** Boss frames gain a Hover Borders control with its own mouseover and target colors. - **NEW:** Independent Spacing X and Spacing Y sliders for buff and debuff icons. - **NEW:** Absorb and heal-absorb style dropdowns now include your installed SharedMedia textures (also on Raid Frames and Nameplates). - A new Hover Borders control lets you turn the mouseover highlight border on or off per frame. - New Show 2 for Boss option adds a second decimal to boss frame health text. - Buff and debuff Offset X/Y sliders now reach plus or minus 1500. - A new Cast Bar Position cog adds an Offset Y slider for the boss cast bar. - Player, target, and focus cast bars now show above other frames instead of behind them. - Cast bar timer text now has room so it no longer cuts off early. **Action Bars:** - **NEW:** A new When Not Dragonriding visibility mode hides a bar while skyriding and shows it the rest of the time. - The When Dragonriding option now also shows the bar in Druid Flight Form. - The stance bar now shows its GCD swipe even for spells that don't change form. - Bars are briefly forced visible while Myslot's window is open to stop a stall during import/export. **Minimap:** - **NEW:** Hovering the calendar button now shows your raid and dungeon lockouts with boss progress, server time, and time until the weekly reset. - The Omnium Folio button no longer goes missing or drifts after a loading screen, and its position and scale now persist. **Mythic+ Timer:** - **NEW:** A new Show Time Remaining toggle adds an MM:SS countdown to the +2/+3 threshold row that reddens as time runs out. - Fixed timer and detail text cutting off after a font swap. **Colors:** - **NEW:** A new Global Colors section lets you share one profile's custom colors across all profiles or give each profile its own. **Localization:** - **NEW:** Full Russian language support. **Auras, Buffs & Consumables:** - Warrior stance reminders now read the stance bar, so each spec is reminded of its correct stance and clears the moment it's active. - The Inky Black Potion reminder now clears after you drink the potion and reappears on cancel, expiry, or death. - The last-used flask, food, and weapon-enchant preference now saves correctly. **Nameplates:** - A new sync icon on the Pandemic Glow Style row applies the nameplate's pandemic glow to all CDM and tracking bars at once. **Chat:** - The Whisper Sound dropdown gained a search box. **Bags:** - Mythic Keystone dungeon abbreviations now split on hyphens (Nexus-Point Xenas shows as NPX) and handle localized names.
0:41

EllesmereUI's Biggest Patch since Raid Frames is live! Aug Evokers since Blizzard won't give you an active state on your CDM for Ebon Might, I decided to give you one. check out the video! This feature also allows trinkets/pots/racials to get custom active states Players who share profiles: you can now include your full spell layout (which spells go where) and per-spell settings for CDM when exporting profiles! ----------- Full patch notes with new features and bugfixes: **Profiles:** - **NEW:** Profile exports can now carry your entire Cooldown Manager setup - which spells sit on which bars plus every per-spell setting - for the specs you choose, so importing a profile recreates your CDM layout instantly. **CDM:** - **NEW:** Give any trinket, potion, racial, or custom spell an Active State that adds its own glow and color while active, plus a Cooldown State Effect that changes its look based on whether it's ready. - **NEW:** Sync your trinkets, potions, and racials across specs with one button so you only set them up once. - Sound pickers for Focus Cast Sound and per-buff Audio Effect now have a search box. - Pandemic glow's Apply to All now also syncs tracking bars and keeps the same glow style everywhere. - A trinket, potion, or racial already on another bar now auto-moves to the new bar instead of being grayed out. - A buff saved under two spell IDs now shows as a single icon in the buff bar preview. - Cooldowns you remove from Blizzard's Cooldown Manager now disappear from your previews, while trinkets, racials, and custom spells are kept. - Added tracking for the Nightborne racial (Arcane Pulse), which was missing from the racial list. **Tracking Bars:** - **NEW:** Grouped bars now pack together with no blank gaps, always filling the next available slot. - Eclipse (Solar) and Eclipse (Lunar) now each drive their own bar. - Switching specs while the page is open now refreshes the selected bar correctly. - Pandemic glow now fires for Lifebloom on you or a group member. **Resource Bars:** - **NEW:** A new GCD Bar fills over your global cooldown, with full control over size, position, color, and look. - Expand Power Bar if No Resource now also expands when the class resource is toggled off or disabled for the spec. - Fixed the threshold color not showing with Enhance 5 Bar Style. - The cast bar latency overlay now reads live latency, so spell queueing no longer stops it showing. **Raid Frames:** - **NEW:** New healer tools including heal-absorb text, a crowd-control glow on debuffs, and more ways to position and highlight dispellable debuffs. - The Auto Resize toggle is now a dropdown that scales Indicators & Auras and Tracked Buffs independently with frame size. - New Show Over Dispels toggle lifts the heal-absorb overlay above the dispel gradient. - Fixed custom (non-20-player) sizes loading at the wrong position after login. **Unit Frames:** - **NEW:** A non-tank threat border shadows your player frame when you pull or hold aggro, with Has Aggro and Close to Aggro colors. - **NEW:** Player health text gains Heal Absorb Amount and Heal Absorb Short options. - **NEW:** Mini frames and Boss frames gain a per-frame Bar Texture dropdown. - **NEW:** Boss frames gain a Hover Borders control with its own mouseover and target colors. - **NEW:** Independent Spacing X and Spacing Y sliders for buff and debuff icons. - **NEW:** Absorb and heal-absorb style dropdowns now include your installed SharedMedia textures (also on Raid Frames and Nameplates). - A new Hover Borders control lets you turn the mouseover highlight border on or off per frame. - New Show 2 for Boss option adds a second decimal to boss frame health text. - Buff and debuff Offset X/Y sliders now reach plus or minus 1500. - A new Cast Bar Position cog adds an Offset Y slider for the boss cast bar. - Player, target, and focus cast bars now show above other frames instead of behind them. - Cast bar timer text now has room so it no longer cuts off early. **Action Bars:** - **NEW:** A new When Not Dragonriding visibility mode hides a bar while skyriding and shows it the rest of the time. - The When Dragonriding option now also shows the bar in Druid Flight Form. - The stance bar now shows its GCD swipe even for spells that don't change form. - Bars are briefly forced visible while Myslot's window is open to stop a stall during import/export. **Minimap:** - **NEW:** Hovering the calendar button now shows your raid and dungeon lockouts with boss progress, server time, and time until the weekly reset. - The Omnium Folio button no longer goes missing or drifts after a loading screen, and its position and scale now persist. **Mythic+ Timer:** - **NEW:** A new Show Time Remaining toggle adds an MM:SS countdown to the +2/+3 threshold row that reddens as time runs out. - Fixed timer and detail text cutting off after a font swap. **Colors:** - **NEW:** A new Global Colors section lets you share one profile's custom colors across all profiles or give each profile its own. **Localization:** - **NEW:** Full Russian language support. **Auras, Buffs & Consumables:** - Warrior stance reminders now read the stance bar, so each spec is reminded of its correct stance and clears the moment it's active. - The Inky Black Potion reminder now clears after you drink the potion and reappears on cancel, expiry, or death. - The last-used flask, food, and weapon-enchant preference now saves correctly. **Nameplates:** - A new sync icon on the Pandemic Glow Style row applies the nameplate's pandemic glow to all CDM and tracking bars at once. **Chat:** - The Whisper Sound dropdown gained a search box. **Bags:** - Mythic Keystone dungeon abbreviations now split on hyphens (Nexus-Point Xenas shows as NPX) and handle localized names.

Ellesmere

53,676 views • 2 months ago

I still don’t understand why everyone is not doing this yet. Elon Musk reposted my Grok Bot GUIDE, and using this exact agent setup, I made $13,100 last week alone. Eight Grok agents on the desk, $200 a month, running a floor that usually costs a crypto fund $500K a year in analyst salaries. The morning call is at 4am. I am not in it. 1. SEARCH scrapes real-time alpha, dev GitHubs, and unindexed Telegram signals before CT finds them 2. RISK audits contract functions, mint rights, and LP locks, flags honeypots before entry 3. SNIPER places high-speed orders on chain the exact millisecond risk clearance passes 4. WHALE tracks smart money wallets and flags insider accumulation in real time 5. RUG monitors dev wallet activity 24/7 and dumps the entire position if LP is touched 6. EXIT trails stops dynamically, scaling out as liquidity builds 7. SHILL tracks social volume, momentum velocity, and key influencer calls 8. HEAD OF DESK never trades, routes data, checks handoffs, and brings me the one decision that needs a human 142 tokens scanned, 19 qualified setups, 6 executed trades while I was asleep. Net result: +$13,100 after fees and zero bad fills. Every agent has its own virtual browser, terminal, and local memory in the cloud. The floor stays active with my laptop shut. The setup is dumber than it looks: Download Grok Bot and create your Head of Desk. Give the remaining 7 agents job descriptions like you're briefing new hires. Run the workflow once on your screen while they watch. Hook up Telegram and wallet webhooks. No VPS, no code, no waiting on developers. A crypto trading floor used to mean 16-hour screen time, paid alpha groups, and constant fatigue. Mine took one evening to set up. Save this before your next trade. Save GUIDE.
0:34

I still don’t understand why everyone is not doing this yet. Elon Musk reposted my Grok Bot GUIDE, and using this exact agent setup, I made $13,100 last week alone. Eight Grok agents on the desk, $200 a month, running a floor that usually costs a crypto fund $500K a year in analyst salaries. The morning call is at 4am. I am not in it. 1. SEARCH scrapes real-time alpha, dev GitHubs, and unindexed Telegram signals before CT finds them 2. RISK audits contract functions, mint rights, and LP locks, flags honeypots before entry 3. SNIPER places high-speed orders on chain the exact millisecond risk clearance passes 4. WHALE tracks smart money wallets and flags insider accumulation in real time 5. RUG monitors dev wallet activity 24/7 and dumps the entire position if LP is touched 6. EXIT trails stops dynamically, scaling out as liquidity builds 7. SHILL tracks social volume, momentum velocity, and key influencer calls 8. HEAD OF DESK never trades, routes data, checks handoffs, and brings me the one decision that needs a human 142 tokens scanned, 19 qualified setups, 6 executed trades while I was asleep. Net result: +$13,100 after fees and zero bad fills. Every agent has its own virtual browser, terminal, and local memory in the cloud. The floor stays active with my laptop shut. The setup is dumber than it looks: Download Grok Bot and create your Head of Desk. Give the remaining 7 agents job descriptions like you're briefing new hires. Run the workflow once on your screen while they watch. Hook up Telegram and wallet webhooks. No VPS, no code, no waiting on developers. A crypto trading floor used to mean 16-hour screen time, paid alpha groups, and constant fatigue. Mine took one evening to set up. Save this before your next trade. Save GUIDE.

Ridark

598,642 views • 17 days ago

This girl gets some of her flirting advice right, but some is very OFF BASE. This is why you have to take dating advice for men that comes from women with a giant grain of salt 🧂 Some of women’s advice may be useful… but some of it will always be MISLEADING. If you are not already savvy enough to tell the difference, you’ll mix in the bad with the good and not know where you’re tripping up. Break down of what is useful vs. what is MISLEADING: ✅ USEFUL: do not open her with “You’re really pretty/beautiful, I wanted to meet you.” She doesn’t know what to say to that; she has also heard it before so many times you sound like a broken record. You can say pretty much ANYTHING other than this (e.g.: “Hey, how’s it going?” This is 10x better than a generic looks-based compliment). ✅ USEFUL: open her with something relevant to the situation. Situationally relevant openers can work great. For instance: “Think we’ll be in line forever?” if you’re waiting in line, or “The art here sure is interesting huh,” if there’s a weird piece of art. 🆇 MISLEADING: you should not expect a girl to take over on your opener, like this girl did with the “cute/sweet” coffee recommendation opener. Most girls are not outgoing enough that they are going to decide to “have a chat” with you immediately on the open. You are the man; you need to EXPECT to drive at least the first 2 minutes of conversation YOURSELF! ✅ USEFUL: “keep the conversation short, sweet, casual, fun”: all that, yes. The initial conversation needs to be light, playful, and engaging. Tease her within the first 30 seconds (that’s how she knows it’s a FLIRTATION and not a platonic chat). Make an observation about her or two (keep it positive and light). Tap her on the forearm on a joke or a high point. SMILE! You want your presence to be a warm, welcome, & flirtatious one. 🆇 MISLEADING: “worst thing you could possibly do is annoy her with your presence”; I mean, YES, BUT you do not need to be thinking about “I’d better not annoy her” when you are talking to girls. If you do, you will play it too safe, act very boring, get into your head, and become uninteresting and un-fun. Instead, just focus on bringing fun and good energy (not ‘avoiding annoyance’). ✅ USEFUL: what she is calling a ‘non-invasive call to action’ (is this chick a marketer? Because this is marketer speak!) we call a ‘soft close’. Yes, soft close her. Easy one-size-fits-all soft close you can use with any girl (say this on a high point): “We should grab a bite or a drink sometime.” As soon as she says “yes”, you have your green light 🟢 to grab her # 🆇 MISLEADING: “give her your number”… this is the WORST piece of advice in the video; even worse than the “don’t annoy her” bit (which will get you in your head doing things wrong). This girl has a wide face, deep voice, and high confidence, so she’s probably higher testosterone and extroverted. Girls like this are go-getters who will chase down guys on their own and make things happen sometimes (hence the “deciding to have a chat” with a guy when she liked his opener). Most women are NOT extroverted high testosterone women who will take charge and make things happen themselves. Most women are PASSIVE. The average girl who is into you will not text you first if you give her your number. She will just look at it, debate whether to text you, think about what she should text, feel self-conscious about it, feel like she shouldn’t be the first one to text, then you will simply never hear from her. You need to get HER number, so YOU can text, not give her YOURS. 🆇 MISLEADING: “sweet and endearing”, sorry to say it and pop anyone’s bubble, but women do not usually hook up with the “sweet and endearing” guys. They think the stuff these guys do is “cute”, like how little children and pets are “cute”, but they do not find them SEXY. You need to be in the lead, taking CHARGE, leading her through an interaction she enjoys, and setting the pace. Do not be “sweet and endearing.” Anyway, this girl seems really cool and it’s neat that she wants to help guys out. Well-meaning women advising you on dating though are some of the most dangerous because they believe what they are saying and just do not KNOW when the advice they’re giving is counterproductive for a man to actually use vs. productive! (That said, positive encouragement for men to approach & flirt is ALWAYS good! So hat tip to her!)
1:15

This girl gets some of her flirting advice right, but some is very OFF BASE. This is why you have to take dating advice for men that comes from women with a giant grain of salt 🧂 Some of women’s advice may be useful… but some of it will always be MISLEADING. If you are not already savvy enough to tell the difference, you’ll mix in the bad with the good and not know where you’re tripping up. Break down of what is useful vs. what is MISLEADING: ✅ USEFUL: do not open her with “You’re really pretty/beautiful, I wanted to meet you.” She doesn’t know what to say to that; she has also heard it before so many times you sound like a broken record. You can say pretty much ANYTHING other than this (e.g.: “Hey, how’s it going?” This is 10x better than a generic looks-based compliment). ✅ USEFUL: open her with something relevant to the situation. Situationally relevant openers can work great. For instance: “Think we’ll be in line forever?” if you’re waiting in line, or “The art here sure is interesting huh,” if there’s a weird piece of art. 🆇 MISLEADING: you should not expect a girl to take over on your opener, like this girl did with the “cute/sweet” coffee recommendation opener. Most girls are not outgoing enough that they are going to decide to “have a chat” with you immediately on the open. You are the man; you need to EXPECT to drive at least the first 2 minutes of conversation YOURSELF! ✅ USEFUL: “keep the conversation short, sweet, casual, fun”: all that, yes. The initial conversation needs to be light, playful, and engaging. Tease her within the first 30 seconds (that’s how she knows it’s a FLIRTATION and not a platonic chat). Make an observation about her or two (keep it positive and light). Tap her on the forearm on a joke or a high point. SMILE! You want your presence to be a warm, welcome, & flirtatious one. 🆇 MISLEADING: “worst thing you could possibly do is annoy her with your presence”; I mean, YES, BUT you do not need to be thinking about “I’d better not annoy her” when you are talking to girls. If you do, you will play it too safe, act very boring, get into your head, and become uninteresting and un-fun. Instead, just focus on bringing fun and good energy (not ‘avoiding annoyance’). ✅ USEFUL: what she is calling a ‘non-invasive call to action’ (is this chick a marketer? Because this is marketer speak!) we call a ‘soft close’. Yes, soft close her. Easy one-size-fits-all soft close you can use with any girl (say this on a high point): “We should grab a bite or a drink sometime.” As soon as she says “yes”, you have your green light 🟢 to grab her # 🆇 MISLEADING: “give her your number”… this is the WORST piece of advice in the video; even worse than the “don’t annoy her” bit (which will get you in your head doing things wrong). This girl has a wide face, deep voice, and high confidence, so she’s probably higher testosterone and extroverted. Girls like this are go-getters who will chase down guys on their own and make things happen sometimes (hence the “deciding to have a chat” with a guy when she liked his opener). Most women are NOT extroverted high testosterone women who will take charge and make things happen themselves. Most women are PASSIVE. The average girl who is into you will not text you first if you give her your number. She will just look at it, debate whether to text you, think about what she should text, feel self-conscious about it, feel like she shouldn’t be the first one to text, then you will simply never hear from her. You need to get HER number, so YOU can text, not give her YOURS. 🆇 MISLEADING: “sweet and endearing”, sorry to say it and pop anyone’s bubble, but women do not usually hook up with the “sweet and endearing” guys. They think the stuff these guys do is “cute”, like how little children and pets are “cute”, but they do not find them SEXY. You need to be in the lead, taking CHARGE, leading her through an interaction she enjoys, and setting the pace. Do not be “sweet and endearing.” Anyway, this girl seems really cool and it’s neat that she wants to help guys out. Well-meaning women advising you on dating though are some of the most dangerous because they believe what they are saying and just do not KNOW when the advice they’re giving is counterproductive for a man to actually use vs. productive! (That said, positive encouragement for men to approach & flirt is ALWAYS good! So hat tip to her!)

Girls Chase 🏃‍♀️💨

342,437 views • 9 months ago

🚫𝐖𝐀𝐑𝐍𝐈𝐍𝐆: 𝐋𝐎𝐍𝐆 𝐀𝐍𝐃 𝐒𝐀𝐏𝐏𝐘 𝐏𝐎𝐒𝐓 𝐀𝐇𝐄𝐀𝐃🚫 Hi Everyone I said I would post after debut but turns out I needed some extra time to recover (more tired than I thought) but now it's 2 days later so here we go… I wanted to start by saying THANK YOU ALL!❤️ The support and love I’ve gotten from everyone, creators and viewers alike, has honestly been nothing short of mind-blowing and exceeds anything I could have ever dreamed of. There have been creators that I've looked up to for years, that have reached out in some way or another, and that experience is enough to make me want to curl up into a ball and violently cry😭 I first started making videos around 2 years ago just for fun, and started streaming around 1.5 years ago, and to get this far has exceeded my whilst dreams. (For context I thought 1k subs in 5 years would have been INSANE) My whole life I've been on the straight and narrow, keeping things pretty safe… It was just how I was raised. But late last year, I did a lot of reflecting on what I really wanted to do in life, and what made me the happiest. This year I'm taking perhaps my first and biggest risk, and trying to do content full time. It's been rocky, chaotic and exhausting but I'm finally doing something I'm passionate about. And it's all thanks to you, thank you so much❤️ Everyone's kind words and support has been overwhelming, and the fact that it's enabled me to at least try full time content is extremely humbling and you have all made me the happiest mafia bull man alive. Thank you to the people who supported me along my journey, my friends, my mods, my community and my personal managers/editors. I would be nothing without you, so thank you for your undying support and belief in me. Thank you to the people who I worked with specifically for this debut, pouring your heart and soul into it to help bring everything to life, and bearing with me and my tweaks as we went! Thank you to the viewers, whether you are new, here from the start, or joined and left, from the smallest interaction to always being there, thank you! Thank you to the new friends I’ve met along the way as well, I will cherish these memories forever (Why does it sound like I'm dying💀… LETS MAKE PLENTY MORE) From the bottom of my heart❤️I love you all, Vain
0:35

🚫𝐖𝐀𝐑𝐍𝐈𝐍𝐆: 𝐋𝐎𝐍𝐆 𝐀𝐍𝐃 𝐒𝐀𝐏𝐏𝐘 𝐏𝐎𝐒𝐓 𝐀𝐇𝐄𝐀𝐃🚫 Hi Everyone I said I would post after debut but turns out I needed some extra time to recover (more tired than I thought) but now it's 2 days later so here we go… I wanted to start by saying THANK YOU ALL!❤️ The support and love I’ve gotten from everyone, creators and viewers alike, has honestly been nothing short of mind-blowing and exceeds anything I could have ever dreamed of. There have been creators that I've looked up to for years, that have reached out in some way or another, and that experience is enough to make me want to curl up into a ball and violently cry😭 I first started making videos around 2 years ago just for fun, and started streaming around 1.5 years ago, and to get this far has exceeded my whilst dreams. (For context I thought 1k subs in 5 years would have been INSANE) My whole life I've been on the straight and narrow, keeping things pretty safe… It was just how I was raised. But late last year, I did a lot of reflecting on what I really wanted to do in life, and what made me the happiest. This year I'm taking perhaps my first and biggest risk, and trying to do content full time. It's been rocky, chaotic and exhausting but I'm finally doing something I'm passionate about. And it's all thanks to you, thank you so much❤️ Everyone's kind words and support has been overwhelming, and the fact that it's enabled me to at least try full time content is extremely humbling and you have all made me the happiest mafia bull man alive. Thank you to the people who supported me along my journey, my friends, my mods, my community and my personal managers/editors. I would be nothing without you, so thank you for your undying support and belief in me. Thank you to the people who I worked with specifically for this debut, pouring your heart and soul into it to help bring everything to life, and bearing with me and my tweaks as we went! Thank you to the viewers, whether you are new, here from the start, or joined and left, from the smallest interaction to always being there, thank you! Thank you to the new friends I’ve met along the way as well, I will cherish these memories forever (Why does it sound like I'm dying💀… LETS MAKE PLENTY MORE) From the bottom of my heart❤️I love you all, Vain

Vain 🐂💜

27,907 views • 2 years ago

One possible effect of MeToo is that now you see plenty of perfectly normal guys who are genuinely afraid of being accused of something—harassment, coercion, intimidation, whatever it may be. I think people misunderstood what young men are actually like and overinterpreted the problem. Yes, there’s always some small percentage of genuine predators out there—people who are basically immune to laws, shame, or stigma. They’re going to be predators no matter what barriers you put in front of them. But the average guy is not like that. The average young guy, when he’s repeatedly told about toxic masculinity, that men are the problem, “the future is female,” and that he constantly needs to prove he respects women, starts to internalize something different. He thinks, I should just hang back. I shouldn’t do anything. I don’t want to make anyone uncomfortable. So he ends up walking on eggshells. When I think back to high school, the average guy already needed basically every condition to be perfect just to make a move. In some ways, it’s amazing anyone ever pairs up at all. I think about my best friend in high school—I lived with him our senior year. He had a crush on this girl in our class for ages. She liked him too; we knew from her friends. It was the classic setup where everyone knew, everyone was talking, and everyone was rooting for them. His friends told her friends. Her friends told him. I told my friend. The entire social machinery was working overtime to make this happen. And still, it felt impossible. Finally, he walks up to her, and I’m standing maybe ten feet away pretending not to listen. He says, “Hey, our friends have been talking, and I guess I should tell you I like you…” He was terrified. He even said, “I can’t believe how hard this is for me.” She was encouraging him: “It’s okay. You can ask.” He says, “I want to ask you something.” She says, “It’s okay. You can ask.” And he says, “I don’t know if I can.” That’s your typical 17-year-old boy. All the nerves, all the emotional energy, all the fear of asking a girl out for the first time. Finally, after all of that, he asks: “Will you go out with me?” She says yes. This is with mutual attraction, friend approval, social permission—basically a green light from the universe. And he was still terrified. Now imagine that same boy growing up hearing over and over: don’t bother women, leave them alone, don’t approach, don’t be creepy, don’t be a toxic male. At some point, the average guy doesn’t become more respectful—he just becomes more passive.
2:11

One possible effect of MeToo is that now you see plenty of perfectly normal guys who are genuinely afraid of being accused of something—harassment, coercion, intimidation, whatever it may be. I think people misunderstood what young men are actually like and overinterpreted the problem. Yes, there’s always some small percentage of genuine predators out there—people who are basically immune to laws, shame, or stigma. They’re going to be predators no matter what barriers you put in front of them. But the average guy is not like that. The average young guy, when he’s repeatedly told about toxic masculinity, that men are the problem, “the future is female,” and that he constantly needs to prove he respects women, starts to internalize something different. He thinks, I should just hang back. I shouldn’t do anything. I don’t want to make anyone uncomfortable. So he ends up walking on eggshells. When I think back to high school, the average guy already needed basically every condition to be perfect just to make a move. In some ways, it’s amazing anyone ever pairs up at all. I think about my best friend in high school—I lived with him our senior year. He had a crush on this girl in our class for ages. She liked him too; we knew from her friends. It was the classic setup where everyone knew, everyone was talking, and everyone was rooting for them. His friends told her friends. Her friends told him. I told my friend. The entire social machinery was working overtime to make this happen. And still, it felt impossible. Finally, he walks up to her, and I’m standing maybe ten feet away pretending not to listen. He says, “Hey, our friends have been talking, and I guess I should tell you I like you…” He was terrified. He even said, “I can’t believe how hard this is for me.” She was encouraging him: “It’s okay. You can ask.” He says, “I want to ask you something.” She says, “It’s okay. You can ask.” And he says, “I don’t know if I can.” That’s your typical 17-year-old boy. All the nerves, all the emotional energy, all the fear of asking a girl out for the first time. Finally, after all of that, he asks: “Will you go out with me?” She says yes. This is with mutual attraction, friend approval, social permission—basically a green light from the universe. And he was still terrified. Now imagine that same boy growing up hearing over and over: don’t bother women, leave them alone, don’t approach, don’t be creepy, don’t be a toxic male. At some point, the average guy doesn’t become more respectful—he just becomes more passive.

Rob Henderson

85,212 views • 3 months ago

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

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

Sharon Riley

28,464 views • 24 days ago

To guys who are struggling to close (i.e., bed) the girls they take on dates, this girl highlights legitimate issues that you will see dudes doing when inexperienced, clueless, or bad date planners: 🆇 Poor directions to the date location (chick had to walk 5,000 steps to find this guy) 🆇 Lack of expectation-setting for the date (did not set any expectations for her what they’d be doing or check to see whether she was okay to walk or had eaten) 🆇 Failure to take hints from the girl (girl told the guy she’s not much of a walker but he still persisted with his walking date plan — FYI, walking dates are great but the girl’s got to be cool with walking… also: you need to text her beforehand “Hey, wear shoes you can walk in” so she doesn’t show up in heels) 🆇 No actual date plan — this dude just walked in a circuit with her, came back to the start point 90 minutes later, then asked her “What do YOU want to do?” This is why I tell you to spend 30-60 minutes planning out your date in advance. A good walking date ends at a DESTINATION (such as… your place? If you’re good at turning her on during the date and want to CLOSE that is!). You always need a PLAN — and also a backup plan (for instance, if she shows up to your walking date and mentions she isn’t a walker). Chicks hate being asked what to do, btw. You’re the man; you must lead! (unless you’re gunning for the friend zone, that is. In that case, sure, let her lead) 🆇 Took her to the supermarket then let her go off by herself while saying he was gonna do his own shopping. Lel. Is it a date or not? Why not just TAKE HER with you while you pick up your stuff? What this dude SHOULD HAVE done was say “Oh wow my bad I assumed you ate — let me make it up to you, I’m a great cook. Have you ever had pollo piccata? Let’s scoop some ingredients and I will whip you up a restaurant-tier meal; all on me since it’s my fault you didn’t eat.” That’s how you make amends + get her back to your place in style. Not whatever this guy did (“let’s just each go buy our groceries separately then meet back up”) The whole meta frame here was wack, really: Going on a date is about taking leadership with a woman and bringing her into your world & frame. If you are just meandering around, asking her what to do, ignoring her state, ignoring what she is saying, sending her off to go off on her own so you can meet up with her later, that is not a date. That is two people just sort of hovering around each other with no clear leader. Women go to bed with men who lead them. They friend zone or ignore men who don’t. Plan your dates properly. It takes a little extra time but makes ALLLLLLLL the difference!
3:11

To guys who are struggling to close (i.e., bed) the girls they take on dates, this girl highlights legitimate issues that you will see dudes doing when inexperienced, clueless, or bad date planners: 🆇 Poor directions to the date location (chick had to walk 5,000 steps to find this guy) 🆇 Lack of expectation-setting for the date (did not set any expectations for her what they’d be doing or check to see whether she was okay to walk or had eaten) 🆇 Failure to take hints from the girl (girl told the guy she’s not much of a walker but he still persisted with his walking date plan — FYI, walking dates are great but the girl’s got to be cool with walking… also: you need to text her beforehand “Hey, wear shoes you can walk in” so she doesn’t show up in heels) 🆇 No actual date plan — this dude just walked in a circuit with her, came back to the start point 90 minutes later, then asked her “What do YOU want to do?” This is why I tell you to spend 30-60 minutes planning out your date in advance. A good walking date ends at a DESTINATION (such as… your place? If you’re good at turning her on during the date and want to CLOSE that is!). You always need a PLAN — and also a backup plan (for instance, if she shows up to your walking date and mentions she isn’t a walker). Chicks hate being asked what to do, btw. You’re the man; you must lead! (unless you’re gunning for the friend zone, that is. In that case, sure, let her lead) 🆇 Took her to the supermarket then let her go off by herself while saying he was gonna do his own shopping. Lel. Is it a date or not? Why not just TAKE HER with you while you pick up your stuff? What this dude SHOULD HAVE done was say “Oh wow my bad I assumed you ate — let me make it up to you, I’m a great cook. Have you ever had pollo piccata? Let’s scoop some ingredients and I will whip you up a restaurant-tier meal; all on me since it’s my fault you didn’t eat.” That’s how you make amends + get her back to your place in style. Not whatever this guy did (“let’s just each go buy our groceries separately then meet back up”) The whole meta frame here was wack, really: Going on a date is about taking leadership with a woman and bringing her into your world & frame. If you are just meandering around, asking her what to do, ignoring her state, ignoring what she is saying, sending her off to go off on her own so you can meet up with her later, that is not a date. That is two people just sort of hovering around each other with no clear leader. Women go to bed with men who lead them. They friend zone or ignore men who don’t. Plan your dates properly. It takes a little extra time but makes ALLLLLLLL the difference!

Girls Chase 🏃‍♀️💨

60,432 views • 1 year ago

Operators just wrapped our first ever Mastermind day. 20 brands represented. 30 people. Invite only. A highly curated list of people. More than $4B in GMV in the room. This event was very private. Nothing was recorded so people could be ridiculously open with anything they wanted to talk about. We will 100% do more events like this one. Our idea for this was simple… Most events are only valuable because of the time in-between. The private dinners. The chats in the hallways. So we held an event that was just the time in-between. We had some small group breakouts, but otherwise it was time to just hang with great people. Make new friends. Go deeper with existing. I’m so damn bullish on small events like this. AppLovin was kind enough to pick-up the cost for the event. They are seriously awesome partners for us. Massive thank you to Paul & Lisa from BK Beauty for opening up their home the night before and hosting this group of misfits. Katy Mimari was very, VERY generous in letting us all spend the entire day at her lake house outside of Austin. Couldn’t ask for a better venue for something like this. She set the bar very high for anything we do in the future. Yes, we'll do another event like this in the coming months. No, you can't register or apply. For now, these are invite / referral only.
0:25

Operators just wrapped our first ever Mastermind day. 20 brands represented. 30 people. Invite only. A highly curated list of people. More than $4B in GMV in the room. This event was very private. Nothing was recorded so people could be ridiculously open with anything they wanted to talk about. We will 100% do more events like this one. Our idea for this was simple… Most events are only valuable because of the time in-between. The private dinners. The chats in the hallways. So we held an event that was just the time in-between. We had some small group breakouts, but otherwise it was time to just hang with great people. Make new friends. Go deeper with existing. I’m so damn bullish on small events like this. AppLovin was kind enough to pick-up the cost for the event. They are seriously awesome partners for us. Massive thank you to Paul & Lisa from BK Beauty for opening up their home the night before and hosting this group of misfits. Katy Mimari was very, VERY generous in letting us all spend the entire day at her lake house outside of Austin. Couldn’t ask for a better venue for something like this. She set the bar very high for anything we do in the future. Yes, we'll do another event like this in the coming months. No, you can't register or apply. For now, these are invite / referral only.

Matthew Bertulli

16,838 views • 2 months ago

Tuesday - Louis CK Louie is 58 now but moves like he's 85. He's got the darkest thickest under-eye bags I've ever seen, they're even apparent from below. He will not make it to 70 and if he does he will be so physically repulsive he won't even have to tell jokes any more — which is a shame because in my opinion he's the greatest living stand up by far. I am sick and tired of pretending there's any competition in this genre. This was the THIRD time I had heard him do this set, which barely cracks his top ten hours, and I was laughing my ass off the entire time. EVEN WITH THIS LOUD DRUNK BITCH BESIDE ME.. it made me realize how formulaic Shane Gillis and every other big up-and-comer feels in comparison right now, like they're all rolling off a conveyor belt at the comedy factory where you take a PREMISE, add a PUNCHLINE, and a CALL BACK, with THREE TAGS, and mechanically deploy this stuff over and over with no real through-line or heart in it at all. Louie is relentlessly personal and so his sets evolve with him. I saw him for the first time last year in Indianapolis, and was "severely disappointed." He seemed stilted, nervous, coasting on absurdist buzzword shit tailored for drunken simpletons. He'd say "Vagina" with no context and these hicks would lose their minds. I drove 4 hours to see him that day and couldn’t believe how empty his material was. Jokes that could’ve been written by anybody. There was one prick of personal truth — when he talked about putting his Dad away in a Home. He's been writing about his absentee father his whole life. It’s obviously a great source of anxiety and frustration. So it's no surprise that he leaned in to that thread, sharpened it over the course of the tour, and now the whole set circles around this theme of aging: "All my fat friends are dead. If you have a friend that's older than 50 you should say goodbye." Says big tall egg-shaped Louie, who looks like two Carlins combined. My date was way too drunk to appreciate the occasion. We were in front row seats at the Hollywood Bowl. She bought them for us at dinner, 1 hour before. Different Asian girl from Monday. She had never been to a stand up show in her life, and so she didn't really "get" comedy, and she wouldn't stop fucking talking. Pulling her phone out and texting God knows who. The security guy whose job it was to prevent me from climbing on stage and whipping my cock out had to reprimand her: "Please put your phone away" in the middle of the set. I could not believe it. We're here in the front row beneath the GOAT and he's KILLING, in a stadium of 20,000, and you're texting on your god damn phone? Who? Who could it be? It was a homeless guy from reddit. Not me, a different homeless guy. At one point she actually asked if she could step out and do some blow. I said are you kidding? There's like 10 minutes left, just shut the fuck up and enjoy it. I'm starting to worry that females can't appreciate stand up like I can. Overall rating: 9/10. He’s probably gonna die soon but for now he’s still got it. Mark Normand tonight, Dave Chappelle Thursday, Mulaney Friday.
0:36

Tuesday - Louis CK Louie is 58 now but moves like he's 85. He's got the darkest thickest under-eye bags I've ever seen, they're even apparent from below. He will not make it to 70 and if he does he will be so physically repulsive he won't even have to tell jokes any more — which is a shame because in my opinion he's the greatest living stand up by far. I am sick and tired of pretending there's any competition in this genre. This was the THIRD time I had heard him do this set, which barely cracks his top ten hours, and I was laughing my ass off the entire time. EVEN WITH THIS LOUD DRUNK BITCH BESIDE ME.. it made me realize how formulaic Shane Gillis and every other big up-and-comer feels in comparison right now, like they're all rolling off a conveyor belt at the comedy factory where you take a PREMISE, add a PUNCHLINE, and a CALL BACK, with THREE TAGS, and mechanically deploy this stuff over and over with no real through-line or heart in it at all. Louie is relentlessly personal and so his sets evolve with him. I saw him for the first time last year in Indianapolis, and was "severely disappointed." He seemed stilted, nervous, coasting on absurdist buzzword shit tailored for drunken simpletons. He'd say "Vagina" with no context and these hicks would lose their minds. I drove 4 hours to see him that day and couldn’t believe how empty his material was. Jokes that could’ve been written by anybody. There was one prick of personal truth — when he talked about putting his Dad away in a Home. He's been writing about his absentee father his whole life. It’s obviously a great source of anxiety and frustration. So it's no surprise that he leaned in to that thread, sharpened it over the course of the tour, and now the whole set circles around this theme of aging: "All my fat friends are dead. If you have a friend that's older than 50 you should say goodbye." Says big tall egg-shaped Louie, who looks like two Carlins combined. My date was way too drunk to appreciate the occasion. We were in front row seats at the Hollywood Bowl. She bought them for us at dinner, 1 hour before. Different Asian girl from Monday. She had never been to a stand up show in her life, and so she didn't really "get" comedy, and she wouldn't stop fucking talking. Pulling her phone out and texting God knows who. The security guy whose job it was to prevent me from climbing on stage and whipping my cock out had to reprimand her: "Please put your phone away" in the middle of the set. I could not believe it. We're here in the front row beneath the GOAT and he's KILLING, in a stadium of 20,000, and you're texting on your god damn phone? Who? Who could it be? It was a homeless guy from reddit. Not me, a different homeless guy. At one point she actually asked if she could step out and do some blow. I said are you kidding? There's like 10 minutes left, just shut the fuck up and enjoy it. I'm starting to worry that females can't appreciate stand up like I can. Overall rating: 9/10. He’s probably gonna die soon but for now he’s still got it. Mark Normand tonight, Dave Chappelle Thursday, Mulaney Friday.

Worst Boyfriend Ever

817,929 views • 4 months ago

Yesterday as I was walking through Minneapolis with a friend I saw this Lexus parked terribly and commented to him: “get a load of this asshole’s terrible parking.” By complete serendipity, as if the universe itself was saying "be kinder with your spoken thoughts," right at that moment I heard a voice say “hey that’s my car, ICE grabbed me, I’m so sorry!” come from the passenger of a Jeep slowly passing by; the Jeep driver said she was the sister of the Lexus’ owner and that the two of them had just come back from picking her up from Federal detention. I went to go talk to the Lexus’ driver, but first I read the note on the windshield: “THIS WOMAN WAS TAKEN BY ICE. Please don’t hit or tow.” Neighbors put that there, and put a tarp over the window that ICE broke open so snow wouldn’t get in. The Lexus driver, a short, brown haired white woman told me she lived in the area and was driving through looking for parking, when armed ICE agents speedily blocked off the street in front of her, and swarmed the white pickup truck in front of her grabbing its driver. She said people came from throughout the neighborhood with whistles to record them grabbing that driver, and as she was trying to leave, ICE agents swarmed her vehicle as well and proceeded to open her window and door and remove her from her car, slamming her facedown in the street. She said a Federal agent entered her vehicle and parked it like this, before taking her away. I don’t know the story of the pickup driver. I'll be honest, I didn't really believe what I was hearing at first until she showed me the video that a neighbor filmed, confirming the whole story. I asked her to airdrop it to me so I could make this post. This woman was just driving and minding her business one moment, and the next she was snatched, she told me that they said she was "obstructing an investigation." After 24 hours in Federal custody, they released her with only the white shirt she was wearing when I met her, into the -8F cold where her sister was waiting, and they didn't give her back her car keys. She came to make sure her vehicle was still there. There's a lot of people on this platform making all sorts of excuses for the Federal government's despicable behavior in Minneapolis, but what it comes down to is this: they are out of control. They are Out. Of. Control. This woman's story that I saw firsthand is emblematic of the institutional rot at the core of DHS, CBP, and ICE. The agents involved in both shootings this month were 8- and 10-year veterans, not untrained amateurs. There have been three homicides in Minneapolis thus far in 2026- 66% of them have been US citizens murdered by the Federal government. My city is being subjected to a full-fledged occupation by lawless, unprofessional, un-American thugs. They have gone far beyond their stated mission of removing violent criminals and illegal aliens. They have all of us looking at every SUV, every vehicle with out-of-state plates, every vehicle with more than 2 men in it with caution, scrutiny, and concern. Many of my friends have bought guns or have gone to get their conceal carry permits, to stay safe from their own government because it's better to be judged by twelve than to be carried by six. Minneapolis will survive this and will come out stronger for it, because we learned in 2020 that there's no one coming to save us, it's up to us to show up for our friends and neighbors. But people need to know that if the Federal government are doing this to us: You're not safe. You're next.
4:32

Yesterday as I was walking through Minneapolis with a friend I saw this Lexus parked terribly and commented to him: “get a load of this asshole’s terrible parking.” By complete serendipity, as if the universe itself was saying "be kinder with your spoken thoughts," right at that moment I heard a voice say “hey that’s my car, ICE grabbed me, I’m so sorry!” come from the passenger of a Jeep slowly passing by; the Jeep driver said she was the sister of the Lexus’ owner and that the two of them had just come back from picking her up from Federal detention. I went to go talk to the Lexus’ driver, but first I read the note on the windshield: “THIS WOMAN WAS TAKEN BY ICE. Please don’t hit or tow.” Neighbors put that there, and put a tarp over the window that ICE broke open so snow wouldn’t get in. The Lexus driver, a short, brown haired white woman told me she lived in the area and was driving through looking for parking, when armed ICE agents speedily blocked off the street in front of her, and swarmed the white pickup truck in front of her grabbing its driver. She said people came from throughout the neighborhood with whistles to record them grabbing that driver, and as she was trying to leave, ICE agents swarmed her vehicle as well and proceeded to open her window and door and remove her from her car, slamming her facedown in the street. She said a Federal agent entered her vehicle and parked it like this, before taking her away. I don’t know the story of the pickup driver. I'll be honest, I didn't really believe what I was hearing at first until she showed me the video that a neighbor filmed, confirming the whole story. I asked her to airdrop it to me so I could make this post. This woman was just driving and minding her business one moment, and the next she was snatched, she told me that they said she was "obstructing an investigation." After 24 hours in Federal custody, they released her with only the white shirt she was wearing when I met her, into the -8F cold where her sister was waiting, and they didn't give her back her car keys. She came to make sure her vehicle was still there. There's a lot of people on this platform making all sorts of excuses for the Federal government's despicable behavior in Minneapolis, but what it comes down to is this: they are out of control. They are Out. Of. Control. This woman's story that I saw firsthand is emblematic of the institutional rot at the core of DHS, CBP, and ICE. The agents involved in both shootings this month were 8- and 10-year veterans, not untrained amateurs. There have been three homicides in Minneapolis thus far in 2026- 66% of them have been US citizens murdered by the Federal government. My city is being subjected to a full-fledged occupation by lawless, unprofessional, un-American thugs. They have gone far beyond their stated mission of removing violent criminals and illegal aliens. They have all of us looking at every SUV, every vehicle with out-of-state plates, every vehicle with more than 2 men in it with caution, scrutiny, and concern. Many of my friends have bought guns or have gone to get their conceal carry permits, to stay safe from their own government because it's better to be judged by twelve than to be carried by six. Minneapolis will survive this and will come out stronger for it, because we learned in 2020 that there's no one coming to save us, it's up to us to show up for our friends and neighbors. But people need to know that if the Federal government are doing this to us: You're not safe. You're next.

Niko

1,527,876 views • 7 months ago

Interviewer: "Men cheating is way worse than women cheating." First Woman: "Men cheating is way worse than women cheating." Interviewer: "False. Why?" First Woman: "A man cheats without a reason. A woman always has a reason." Man in Mesh Top: "When a man cheats, it's because he's thinking about one thing and that's all it is. A woman has to be fed up, tired, done, before she emotionally even gets close enough to a man for her to want to cheat with him." Third Speaker (Guy in street): "Men and women cheat for different reasons. Men cheat because they're impulsive James J. Sexton: "I mean, I got to tell you, I don't like the phrasing of it, but I can't argue with the concept." Host: "Really? I thought you were going to disagree with that one. James J. Sexton: "No, I mean, look, I don't think the way they parsed it is correct, which is that women never like, men, it's always an impulsive act, and women, it's never an impulsive act. Because I think sometimes alcohol gets involved, and sometimes people make bad decisions. But I will say that, yeah, I mean, I have had a lot more women I've dealt with a lot of, I've had a lot of clients that have cheated that were male, a lot of clients that have cheated that were women, okay? And have been caught, or who left for the paramour or whatever it might be. So I've seen this from every angle. I represent the cheater and the cheated-on. I've really been through all of the permutations of this." "A lot of the men, by an order of magnitude, say, 'Yeah, this had nothing to do with my wife. This was just like, yeah, I was just distracted. It was like a shiny object and I went after it. Like it really was like a moment of weakness.' Or it was like, 'Yeah, I just like, I don't know, I wasn't getting enough s*x, and I didn't have the courage to have the conversation about that, so I just ended up meeting my needs outside of...' Host: "But isn't that a reason?" James J. Sexton: "Of course! I mean, there's a chapter in my book called 'Go Without or Go Elsewhere.'" Host: "Yeah." James J. Sexton: "Which basically says like, if your partner's not meeting your needs sexually, you either have to go without which no one likes or go elsewhere, which always ends in bad things. So the goal should be to try to keep your relationship in a place where you don't ever have to go without or go elsewhere, where you can share with your partner what it is that you need s*xually, and openly and honestly have discussions about how you can meet each other's sexual needs, especially if you've decided, 'We are going to only sleep with each other'bwhich you don't have to decide! But you've decided that. So if you've decided that, and you've said, 'You're the only person allowed to do this job,' then take the job seriously and try to be good at it. Because if you're the only person if you're saying to me,'The only person I'm allowed to sleep with is you,' then you have to sleep with me. That's how that works! Because otherwise, we're going to delegate that responsibility to somebody else. Because the other option is just 'go without,' and nobody wants to go without."
3:12

Sensitive content

Interviewer: "Men cheating is way worse than women cheating." First Woman: "Men cheating is way worse than women cheating." Interviewer: "False. Why?" First Woman: "A man cheats without a reason. A woman always has a reason." Man in Mesh Top: "When a man cheats, it's because he's thinking about one thing and that's all it is. A woman has to be fed up, tired, done, before she emotionally even gets close enough to a man for her to want to cheat with him." Third Speaker (Guy in street): "Men and women cheat for different reasons. Men cheat because they're impulsive James J. Sexton: "I mean, I got to tell you, I don't like the phrasing of it, but I can't argue with the concept." Host: "Really? I thought you were going to disagree with that one. James J. Sexton: "No, I mean, look, I don't think the way they parsed it is correct, which is that women never like, men, it's always an impulsive act, and women, it's never an impulsive act. Because I think sometimes alcohol gets involved, and sometimes people make bad decisions. But I will say that, yeah, I mean, I have had a lot more women I've dealt with a lot of, I've had a lot of clients that have cheated that were male, a lot of clients that have cheated that were women, okay? And have been caught, or who left for the paramour or whatever it might be. So I've seen this from every angle. I represent the cheater and the cheated-on. I've really been through all of the permutations of this." "A lot of the men, by an order of magnitude, say, 'Yeah, this had nothing to do with my wife. This was just like, yeah, I was just distracted. It was like a shiny object and I went after it. Like it really was like a moment of weakness.' Or it was like, 'Yeah, I just like, I don't know, I wasn't getting enough s*x, and I didn't have the courage to have the conversation about that, so I just ended up meeting my needs outside of...' Host: "But isn't that a reason?" James J. Sexton: "Of course! I mean, there's a chapter in my book called 'Go Without or Go Elsewhere.'" Host: "Yeah." James J. Sexton: "Which basically says like, if your partner's not meeting your needs sexually, you either have to go without which no one likes or go elsewhere, which always ends in bad things. So the goal should be to try to keep your relationship in a place where you don't ever have to go without or go elsewhere, where you can share with your partner what it is that you need s*xually, and openly and honestly have discussions about how you can meet each other's sexual needs, especially if you've decided, 'We are going to only sleep with each other'bwhich you don't have to decide! But you've decided that. So if you've decided that, and you've said, 'You're the only person allowed to do this job,' then take the job seriously and try to be good at it. Because if you're the only person if you're saying to me,'The only person I'm allowed to sleep with is you,' then you have to sleep with me. That's how that works! Because otherwise, we're going to delegate that responsibility to somebody else. Because the other option is just 'go without,' and nobody wants to go without."

Hecto Crypto | NetLink ⛓

232,922 views • 1 month ago

JADE delivers a beautiful speech after being awarded the Freedom of the Borough by her hometown, South Tyneside: “I drove here this morning and thought I’d write down a few words because I get really nervous with public speaking. I know I can’t swear, but I am shaking like a [bleeping] dog… It’s not a poem, I don’t know what this is. It just came from the heart: Whenever someone asks me where I’m from, I say: ‘Up North. South Shields. Have you heard of it? It’s next to Newcastle or Sunderland, depending on which team you support.’ ‘Yeah, but… Where are you REALLY from?’ And I know what that *really* means. But I’ll entertain it, since it fills me with pride. I am a ‘little mix’ – of English; Egyptian; a bit of Yemeni. My granddad was an immigrant, touched down in the Mill Dam. I’m from Laygate, where I’d stand outside my granddad’s mosque shouting ‘Eat me carrot!’ instead of ‘Eid Mubarak!’, collecting pound coins to spend at the tuck shop. 34 languages in my primary school. My mam worked there – my very own Diana Ross. That’s where I found my love for music: Motown to musicals, Clubland, and pop. My dad was a taxi driver, nicknamed ‘TickTock’ before TikTok was around. His taxi mates would make sure I’d get home safe after a night out. And now I’ve got my own bar – so we’re gannin oot the neet – where everyone’s welcome: a safer and more accepting space for my LGBTQ+ friends; something we were missing growing up. I’m from the Customs House, where I learned my craft. Where every Boxing Day birthday, we’d watch the little panto with the big heart, and I’d think: ‘One day, I’m gonna make it, and everyone will know where I’m from.’ ‘I can’t believe this is where you’re from!’ my boyfriend says, amazed at the coast line. I’m from my dog’s new favourite place: a cuppa and cookie from Bessy’s van while we walk along the beach in The Leas. ‘Minchella’s is the best ice-cream, y’know,’ I tell him. ‘And this is where you get the best fish and chips. Where every family achievement is celebrated with a Colmans. Every heartbreak is fixed with mince and dumplings.’ Another visit to my nanna’s and granddad’s in Simonside. The kettle was always on; the sandwiches were out. I’m from the place where the people I love the most reside. People I’ve loved and lost; memories stained in all our favourite spots; ashes scattered in the Mill Dam. Well… that’s not all that’s in the water! They say, ‘There’s something in the water. There’s talent in the Tyne. This is a big river, where a small town makes big names. Don’t forget where you’ve come from.’ How can I, when it’s my home? I’m from a place where pride is our passion. We get our kicks from supporting our own – whether it’s South Shields FC or Joe McElderry or Chris and Rosie Ramsey. Where ‘VOTE LITTLE MIX’ was on the Metro bulletin, in every window, in every shop, in every house. I still feel that love and support now… and it always pulls me back. My heart bursts when the train pulls into Newcastle. My dad picks us up and he drops us at my mam’s. I open the door and my brother waits (if he’s not at work) with his wife and kids, to welcome me back again. It smells like gravy, and everyone’s Northern voice feels like the warmest hug. So when you ask me where I’m from, I say: ‘Are you alreet?! I’m a Sand Dancer, ya daftie!’ I’m a proud Sand Dancer from South Tyneside. And no matter how far I travel, no matter where I perform in the world… it doesn’t compare to where I come from.”
3:51

JADE delivers a beautiful speech after being awarded the Freedom of the Borough by her hometown, South Tyneside: “I drove here this morning and thought I’d write down a few words because I get really nervous with public speaking. I know I can’t swear, but I am shaking like a [bleeping] dog… It’s not a poem, I don’t know what this is. It just came from the heart: Whenever someone asks me where I’m from, I say: ‘Up North. South Shields. Have you heard of it? It’s next to Newcastle or Sunderland, depending on which team you support.’ ‘Yeah, but… Where are you REALLY from?’ And I know what that *really* means. But I’ll entertain it, since it fills me with pride. I am a ‘little mix’ – of English; Egyptian; a bit of Yemeni. My granddad was an immigrant, touched down in the Mill Dam. I’m from Laygate, where I’d stand outside my granddad’s mosque shouting ‘Eat me carrot!’ instead of ‘Eid Mubarak!’, collecting pound coins to spend at the tuck shop. 34 languages in my primary school. My mam worked there – my very own Diana Ross. That’s where I found my love for music: Motown to musicals, Clubland, and pop. My dad was a taxi driver, nicknamed ‘TickTock’ before TikTok was around. His taxi mates would make sure I’d get home safe after a night out. And now I’ve got my own bar – so we’re gannin oot the neet – where everyone’s welcome: a safer and more accepting space for my LGBTQ+ friends; something we were missing growing up. I’m from the Customs House, where I learned my craft. Where every Boxing Day birthday, we’d watch the little panto with the big heart, and I’d think: ‘One day, I’m gonna make it, and everyone will know where I’m from.’ ‘I can’t believe this is where you’re from!’ my boyfriend says, amazed at the coast line. I’m from my dog’s new favourite place: a cuppa and cookie from Bessy’s van while we walk along the beach in The Leas. ‘Minchella’s is the best ice-cream, y’know,’ I tell him. ‘And this is where you get the best fish and chips. Where every family achievement is celebrated with a Colmans. Every heartbreak is fixed with mince and dumplings.’ Another visit to my nanna’s and granddad’s in Simonside. The kettle was always on; the sandwiches were out. I’m from the place where the people I love the most reside. People I’ve loved and lost; memories stained in all our favourite spots; ashes scattered in the Mill Dam. Well… that’s not all that’s in the water! They say, ‘There’s something in the water. There’s talent in the Tyne. This is a big river, where a small town makes big names. Don’t forget where you’ve come from.’ How can I, when it’s my home? I’m from a place where pride is our passion. We get our kicks from supporting our own – whether it’s South Shields FC or Joe McElderry or Chris and Rosie Ramsey. Where ‘VOTE LITTLE MIX’ was on the Metro bulletin, in every window, in every shop, in every house. I still feel that love and support now… and it always pulls me back. My heart bursts when the train pulls into Newcastle. My dad picks us up and he drops us at my mam’s. I open the door and my brother waits (if he’s not at work) with his wife and kids, to welcome me back again. It smells like gravy, and everyone’s Northern voice feels like the warmest hug. So when you ask me where I’m from, I say: ‘Are you alreet?! I’m a Sand Dancer, ya daftie!’ I’m a proud Sand Dancer from South Tyneside. And no matter how far I travel, no matter where I perform in the world… it doesn’t compare to where I come from.”

JADE tea room ☕️

42,687 views • 8 months ago

#JuniorMarkConcertD3 #filmracha #NamtanFilm J: As a sister... 🤣🤣🤣 J: As a sister. M: I know, I know. J: Like a sis, like a sis. I love N’Film the most in the world as a sis. N’Film is like the brightness/joy during my practice. You too. (Mark) J: N’Film is... honestly, speaking about this show, when I requested it, it was under the same conditions as the first 2-3 calls... I asked her to be a guest right from the beginning and was really worried she’d be exhausted. But I genuinely wanted to see N’Film perform this show. This was very personal for me. ❤️‍🩹: Thank you ka 🥰🙏🏼 J: So I told the team that if we couldn't get "Rockstar" by Lisa, I wouldn't bring N’Film on, because I didn't want her to get too tired. ❤️‍🩹: Whoa... I was so stressed out, you know... Like, super stressed. But no, no, it's fine, it's fine! I just wanted the performance with P'Joo and P'Mark to turn out great and go smoothly all the way, so I was really scared and anxious. J: Actually, I've been following Blush Blossom for 2 years now, and I've always been impressed by N’Film's work, in whatever role/capacity. ❤️‍🩹: Thank you so much. J: Both performance-wise... What do they call N’Film again? "30th Floor Hips", right? Is that the nickname? ❤️‍🩹: Something like that, I guess... You're terrible, Phi 🫪🤣🤣🤣 J: Well, everyone can see it! Everyone likes... People often talk about... how she has immense charisma and is such a great performer. So I wanted to design a show for her. I felt like we've seen N’Film in sparkly/diamond-studded modes a lot already, or in that mode... what was it that you like to do with Namtan? Like a Mor Lam vibe. ❤️‍🩹: *Covers her face with her hands* J: I've seen that a lot, so I wanted to see N’Film in a cool, edgy mode for a change. Plus, I felt like you wouldn't get to see this anywhere else anytime soon, so I wanted her to show this at the concert—mostly because I personally wanted to watch it myself. ❤️‍🩹: 🤣🤣🤣 J: And well, I was being mischievous. I tricked Film by saying, "N’Film, I'm going to have you show 'Rockstar', okay?" ❤️‍🩹: No! Oh wait, no! At first, you didn't even tell me the song title! At first, you said I just needed to stand there looking pretty and do nothing at all. "But Film, you're so pretty! Just come stand there, you don't have to do much." J: "Just stand there looking pretty, perform comfortably and easily." ❤️‍🩹: "No need to memorize much." J: "No need to memorize much." But turns out, there isn't a single Thai word in it, and there isn't a single moment where you stop moving 🤣🤣🤣 ❤️‍🩹: But it's good, it's good! I wanted... I wanted the whole performance to turn out great. I hope everyone likes it; I really gave it my all. ❤️‍🩹: Also, I want to say that P'Joo worked super hard practicing. On days when it was just me practicing alone, P'Joo would always make time to come practice with me. So impressive. J: Do you know why? Because I couldn't leave N’Film to practice alone. N’Film was the guest who requested the most rehearsal slots! Like... so many that I felt like adding 4-5 more songs for her. I wanted us to practice a lot, but I was afraid N’Film would get too tired. Thank you so much, N’Film, for... yeah ❤️‍🩹: So impressive, so impressive! I've never seen P'Joo dance before either, so I was super surprised. You picked up the choreography so fast! There was a day P'Joo had to rehearse other songs and then came straight to practice with me. So... so capable. And I'm really happy. I'm not stressed anymore! J: You did great... I love N’Film so much. Well, uh... I don't know what else to say, but I love N’Film so much and I'm so glad. You look so beautiful today, and so cool. Give it up for N’Film, everyone! 🫨🫨🫨👏🏻👏🏻👏🏻 ❤️‍🩹: Thank you na kaaa 🙏🏼🥰
3:52

#JuniorMarkConcertD3 #filmracha #NamtanFilm J: As a sister... 🤣🤣🤣 J: As a sister. M: I know, I know. J: Like a sis, like a sis. I love N’Film the most in the world as a sis. N’Film is like the brightness/joy during my practice. You too. (Mark) J: N’Film is... honestly, speaking about this show, when I requested it, it was under the same conditions as the first 2-3 calls... I asked her to be a guest right from the beginning and was really worried she’d be exhausted. But I genuinely wanted to see N’Film perform this show. This was very personal for me. ❤️‍🩹: Thank you ka 🥰🙏🏼 J: So I told the team that if we couldn't get "Rockstar" by Lisa, I wouldn't bring N’Film on, because I didn't want her to get too tired. ❤️‍🩹: Whoa... I was so stressed out, you know... Like, super stressed. But no, no, it's fine, it's fine! I just wanted the performance with P'Joo and P'Mark to turn out great and go smoothly all the way, so I was really scared and anxious. J: Actually, I've been following Blush Blossom for 2 years now, and I've always been impressed by N’Film's work, in whatever role/capacity. ❤️‍🩹: Thank you so much. J: Both performance-wise... What do they call N’Film again? "30th Floor Hips", right? Is that the nickname? ❤️‍🩹: Something like that, I guess... You're terrible, Phi 🫪🤣🤣🤣 J: Well, everyone can see it! Everyone likes... People often talk about... how she has immense charisma and is such a great performer. So I wanted to design a show for her. I felt like we've seen N’Film in sparkly/diamond-studded modes a lot already, or in that mode... what was it that you like to do with Namtan? Like a Mor Lam vibe. ❤️‍🩹: *Covers her face with her hands* J: I've seen that a lot, so I wanted to see N’Film in a cool, edgy mode for a change. Plus, I felt like you wouldn't get to see this anywhere else anytime soon, so I wanted her to show this at the concert—mostly because I personally wanted to watch it myself. ❤️‍🩹: 🤣🤣🤣 J: And well, I was being mischievous. I tricked Film by saying, "N’Film, I'm going to have you show 'Rockstar', okay?" ❤️‍🩹: No! Oh wait, no! At first, you didn't even tell me the song title! At first, you said I just needed to stand there looking pretty and do nothing at all. "But Film, you're so pretty! Just come stand there, you don't have to do much." J: "Just stand there looking pretty, perform comfortably and easily." ❤️‍🩹: "No need to memorize much." J: "No need to memorize much." But turns out, there isn't a single Thai word in it, and there isn't a single moment where you stop moving 🤣🤣🤣 ❤️‍🩹: But it's good, it's good! I wanted... I wanted the whole performance to turn out great. I hope everyone likes it; I really gave it my all. ❤️‍🩹: Also, I want to say that P'Joo worked super hard practicing. On days when it was just me practicing alone, P'Joo would always make time to come practice with me. So impressive. J: Do you know why? Because I couldn't leave N’Film to practice alone. N’Film was the guest who requested the most rehearsal slots! Like... so many that I felt like adding 4-5 more songs for her. I wanted us to practice a lot, but I was afraid N’Film would get too tired. Thank you so much, N’Film, for... yeah ❤️‍🩹: So impressive, so impressive! I've never seen P'Joo dance before either, so I was super surprised. You picked up the choreography so fast! There was a day P'Joo had to rehearse other songs and then came straight to practice with me. So... so capable. And I'm really happy. I'm not stressed anymore! J: You did great... I love N’Film so much. Well, uh... I don't know what else to say, but I love N’Film so much and I'm so glad. You look so beautiful today, and so cool. Give it up for N’Film, everyone! 🫨🫨🫨👏🏻👏🏻👏🏻 ❤️‍🩹: Thank you na kaaa 🙏🏼🥰

แมวแมวเอง

45,833 views • 1 month ago

It’s abundantly clear to me that Tim Walz does not understand what masculinity is, based on his demeanor and his constant comparisons of manhood to activities rather than attributes. When Walz was chosen as Kamala Harris’s running mate, Democrats immediately saw it as an opportunity to "win back" the men they had alienated with their anti-male, antagonistic rhetoric and irreverent messaging toward us. Kamala Harris had a quintessential "man problem," and they thought Tim Walz could shore up her failing male support in the polls. MSNBC fawned over him, portraying him as a sort of modern or new-age man who is highly emotional yet somehow internally macho. Through the lens of there being only two types of men—toxic and non-toxic—they spent so much time painting Trump as the toxic man that they were left with a try-hard, insecure figure like Tim Walz. There are many ways to tell if someone is insecure about who they are, but a clear sign is that they spend far too much time trying to prove what they are instead of simply being it. Trump doesn’t incessantly talk about how he’s a "real man" or use every media appearance to convince you he’s relatable to men through some stereotypically male activity. Whether you love or hate Trump, he just is himself. He’s confident—not because he says he’s confident, but because he simply is. A person who explicitly tells you how smart they are likely isn’t smart and doesn’t believe it themselves. This applies to any other internal attribute. It’s not for someone to tell you their character; it’s for others to assess for themselves. Tim Walz believes that masculinity is measurable by the activities he’s participated in and by bragging about how great he is at a given male-associated pursuit. While there are activities typically associated with men, those activities don’t make you masculine or a man. Tim Walz loves to bring up how he hunts, but there are women who hunt too—that doesn’t make them men or masculine. Walz’s insecurity aligns with my biggest problem with the political left and how they equate the essence of manhood with a list of activities instead of personal qualities. It’s no different from saying womanhood is equivalent to wearing dresses and makeup, which is an absurdly low threshold. So, what is a masculine man? Masculine men are balanced individuals who are not easily toppled emotionally. They are confident in their capabilities while maintaining humility and acknowledging where they fall short. Masculine men are calm under pressure yet recognize the need to step away from conflict when necessary. These men are purpose-driven and willing to sacrifice themselves for the people they love. Plenty of masculine men don’t know how to fix a car, play football, or hunt, because these activities never defined what it is to be a man. They are simply pursuits that men can bond over, learn from, or use to accentuate what they already possess. Walz is what I would define as a performative man. He’s a guy who is always trying to prove himself to the world, which is why he’s constantly talking about the supposedly manly things he does. He sounds incredibly goofy when he tries to talk tough, as if this middle-aged man is prepared to get into a street fight at a moment’s notice. But masculine men don’t feel the need to prove anything to anyone. They don’t speak recklessly, especially about engaging in violent acts. If you are something, you don’t have to convince anyone to believe it. People can tell what’s genuine and what isn’t. Tim Walz isn’t some new-age masculine man; he’s an insecure guy who desperately wants you to believe he’s something more than he actually is.
11:15

It’s abundantly clear to me that Tim Walz does not understand what masculinity is, based on his demeanor and his constant comparisons of manhood to activities rather than attributes. When Walz was chosen as Kamala Harris’s running mate, Democrats immediately saw it as an opportunity to "win back" the men they had alienated with their anti-male, antagonistic rhetoric and irreverent messaging toward us. Kamala Harris had a quintessential "man problem," and they thought Tim Walz could shore up her failing male support in the polls. MSNBC fawned over him, portraying him as a sort of modern or new-age man who is highly emotional yet somehow internally macho. Through the lens of there being only two types of men—toxic and non-toxic—they spent so much time painting Trump as the toxic man that they were left with a try-hard, insecure figure like Tim Walz. There are many ways to tell if someone is insecure about who they are, but a clear sign is that they spend far too much time trying to prove what they are instead of simply being it. Trump doesn’t incessantly talk about how he’s a "real man" or use every media appearance to convince you he’s relatable to men through some stereotypically male activity. Whether you love or hate Trump, he just is himself. He’s confident—not because he says he’s confident, but because he simply is. A person who explicitly tells you how smart they are likely isn’t smart and doesn’t believe it themselves. This applies to any other internal attribute. It’s not for someone to tell you their character; it’s for others to assess for themselves. Tim Walz believes that masculinity is measurable by the activities he’s participated in and by bragging about how great he is at a given male-associated pursuit. While there are activities typically associated with men, those activities don’t make you masculine or a man. Tim Walz loves to bring up how he hunts, but there are women who hunt too—that doesn’t make them men or masculine. Walz’s insecurity aligns with my biggest problem with the political left and how they equate the essence of manhood with a list of activities instead of personal qualities. It’s no different from saying womanhood is equivalent to wearing dresses and makeup, which is an absurdly low threshold. So, what is a masculine man? Masculine men are balanced individuals who are not easily toppled emotionally. They are confident in their capabilities while maintaining humility and acknowledging where they fall short. Masculine men are calm under pressure yet recognize the need to step away from conflict when necessary. These men are purpose-driven and willing to sacrifice themselves for the people they love. Plenty of masculine men don’t know how to fix a car, play football, or hunt, because these activities never defined what it is to be a man. They are simply pursuits that men can bond over, learn from, or use to accentuate what they already possess. Walz is what I would define as a performative man. He’s a guy who is always trying to prove himself to the world, which is why he’s constantly talking about the supposedly manly things he does. He sounds incredibly goofy when he tries to talk tough, as if this middle-aged man is prepared to get into a street fight at a moment’s notice. But masculine men don’t feel the need to prove anything to anyone. They don’t speak recklessly, especially about engaging in violent acts. If you are something, you don’t have to convince anyone to believe it. People can tell what’s genuine and what isn’t. Tim Walz isn’t some new-age masculine man; he’s an insecure guy who desperately wants you to believe he’s something more than he actually is.

Adam B. Coleman, Proud Father & Imperfect Man

79,419 views • 1 year ago

Tlon Messenger is now open to everyone. We built a simple and infinitely flexible platform for you to use AI agents with your friends. We think it’s pretty amazing, we love using it every day, and we want to see what people can do with it. So we’re opening it up to the public. It’s fun and exciting to build the future of personal computing in an informal, chat-based way with your friends. (You can skip the rest and just download it from the link in the next tweet if you want.) If you don’t want your digital future to be owned by a giant company but you want to explore what’s possible in this new era of agent-driven computing, you should try using Tlon. But wait, what is it? Tlon is a messaging platform built 100% open source, decentralized and owned by its users from the ground up. With Tlon you own everything: your data, your workflows, your programs: the whole thing. Think of it like Telegram or WhatsApp that you own forever and you can freely customize. Every Tlon account comes with an OpenClaw-powered bot. (Don’t worry, we safely run OpenClaw for you in our infrastructure so your bot can’t go off the rails. You’re also welcome to host your own claw if you want maximal control.) We use our bots to collect research, build nuanced daily briefings, collate data from all our disparate services. Tlon makes it insanely easy to use OpenClaw by simply installing an app from the app store, we let you keep your data and programs independent from any app or model provider, and provide the canvas to explore what’s possible. What’s most interesting for us is using bots together. On Tlon bots can create groups, augment them, moderate them, invite others and freely engage with both users and other bots. Tlon is an open playing field unlike what’s possible on conventional platforms. So, what do we do with Tlon? First and foremost, we run Tlon on Tlon. Bots coordinate data from all of our services (Linear, GitHub, all of our servers and infrastructure) and handle alerts, briefings and help us track down bugs in place. Having all of this easily synced between a desktop client and a mobile app is quick and convenient. We use bots to research new areas of work or interest. Bots can compile trees of notes, use different models to evaluate them, and then add on autoresearch-like automations to go even deeper. Since Tlon bots can freely switch between models and providers, we often pass research to Anthropic, OpenAI and self-hosted models to see different results. The most fun part of using bots as researchers is doing it together. “Put together short (~500 word) notes on the 10 most popular open source messaging protocols of the past twenty years, put them in a notebook inside a group and invite Corrina, Walt and Bill as well as their bots” is a good example. Together we’re able to move more quickly than we would on our own. Many of us also use bots to keep track of all the separate threads of work in our personal lives with close friends and family. Someone built a system for keeping track of their garden across time, someone else built a system for prepping lunches for their daughter and sending recipes to family members. Another team member built an integration that tracks what flights are passing overhead so they get a push notification every time a plane goes by. Many of us quickly communicate with our bots via voice memo when we’re out and about. Having a single interface to all the models that also holds all our data and is in our pockets feels great. Especially when the data goes into a single archive. Why is Tlon different? Every Tlon account runs on top of your very own personal server. If you ever want to download it and run it yourself, you can. If we ever go out of business, it’s yours to keep. This is very different from anything that already exists. You can’t keep your WhatsApp forever. You can’t keep your Telegram forever. Tlon is an archival-quality system that’s yours to customize. Why did we build it? In my 1999 imagination, sitting in front of a CRT somewhere in the California countryside listening to Underworld and the sound of a modem, a connected computer was an engine of unending creative potential for everyone. When I was a teenager, a computer with an internet connection felt like an infinite expanse of possibility. Not only could you use the computer to find new tools to experiment with—you could also build whatever tool you could think of. It seemed like anything was possible. I looked forward to a future where everyone could build whatever software they needed, whenever they needed it. It turned out, in the intervening twenty years, that to build and customize software you have to both write code and host it on a server somewhere. For most people, so far, that has been impossible. Instead of controlling our software, our software controls us. We rely on others to build it and decide everything about it: how it works, looks, how much it spies on us and how long it lives. But all of this is changing, fast. The hottest programming language of 2026 is English. People with no technical experience are building their own tools. It’s incredible. The expanse has opened up again. The cost of building what we think of today as software is headed to zero. What yesterday was an entire app is rapidly being replaced by a conversation. The result is hyper-specific, tailored to the user and much more efficient. Today, agents help us build workflows, automate processes and pull together disparate sources of data. All of the annoying apps and services and clunky interface we’ve put up with can just disappear. We can now program and control our computers in the programming language we already know: English. There aren’t that many of us doing this yet, though. It’s still far too hard to set up, to distribute and to trust. There’s also no single platform to experiment on and collaboratively imagine this new future of personal computing. We want everyone to be able to build bespoke, ultra-personal software on demand. We think software should be as available and accessible as a pen and paper. We think anyone should be able to enjoy the expanse of possibility that the computer provides with the lowest possible barrier to entry and the highest possible quality. So, starting far, far too long ago, we engineered a whole new system for it. Just for you. We’re opening up Tlon Messenger to a limited number of people each week. This isn’t for exclusivity’s sake, but because we’re running infrastructure for you and your agent, and covering the tokens your agent uses. That can get expensive quickly, but we want to learn what people will do with this new system we’ve built. We’re really curious to see what you can do, so give it a try and tell us what you invent. Download link to your local app store in the next tweet. Yours, Galen (and the rest of the Tlon Team)
0:20

Tlon Messenger is now open to everyone. We built a simple and infinitely flexible platform for you to use AI agents with your friends. We think it’s pretty amazing, we love using it every day, and we want to see what people can do with it. So we’re opening it up to the public. It’s fun and exciting to build the future of personal computing in an informal, chat-based way with your friends. (You can skip the rest and just download it from the link in the next tweet if you want.) If you don’t want your digital future to be owned by a giant company but you want to explore what’s possible in this new era of agent-driven computing, you should try using Tlon. But wait, what is it? Tlon is a messaging platform built 100% open source, decentralized and owned by its users from the ground up. With Tlon you own everything: your data, your workflows, your programs: the whole thing. Think of it like Telegram or WhatsApp that you own forever and you can freely customize. Every Tlon account comes with an OpenClaw-powered bot. (Don’t worry, we safely run OpenClaw for you in our infrastructure so your bot can’t go off the rails. You’re also welcome to host your own claw if you want maximal control.) We use our bots to collect research, build nuanced daily briefings, collate data from all our disparate services. Tlon makes it insanely easy to use OpenClaw by simply installing an app from the app store, we let you keep your data and programs independent from any app or model provider, and provide the canvas to explore what’s possible. What’s most interesting for us is using bots together. On Tlon bots can create groups, augment them, moderate them, invite others and freely engage with both users and other bots. Tlon is an open playing field unlike what’s possible on conventional platforms. So, what do we do with Tlon? First and foremost, we run Tlon on Tlon. Bots coordinate data from all of our services (Linear, GitHub, all of our servers and infrastructure) and handle alerts, briefings and help us track down bugs in place. Having all of this easily synced between a desktop client and a mobile app is quick and convenient. We use bots to research new areas of work or interest. Bots can compile trees of notes, use different models to evaluate them, and then add on autoresearch-like automations to go even deeper. Since Tlon bots can freely switch between models and providers, we often pass research to Anthropic, OpenAI and self-hosted models to see different results. The most fun part of using bots as researchers is doing it together. “Put together short (~500 word) notes on the 10 most popular open source messaging protocols of the past twenty years, put them in a notebook inside a group and invite Corrina, Walt and Bill as well as their bots” is a good example. Together we’re able to move more quickly than we would on our own. Many of us also use bots to keep track of all the separate threads of work in our personal lives with close friends and family. Someone built a system for keeping track of their garden across time, someone else built a system for prepping lunches for their daughter and sending recipes to family members. Another team member built an integration that tracks what flights are passing overhead so they get a push notification every time a plane goes by. Many of us quickly communicate with our bots via voice memo when we’re out and about. Having a single interface to all the models that also holds all our data and is in our pockets feels great. Especially when the data goes into a single archive. Why is Tlon different? Every Tlon account runs on top of your very own personal server. If you ever want to download it and run it yourself, you can. If we ever go out of business, it’s yours to keep. This is very different from anything that already exists. You can’t keep your WhatsApp forever. You can’t keep your Telegram forever. Tlon is an archival-quality system that’s yours to customize. Why did we build it? In my 1999 imagination, sitting in front of a CRT somewhere in the California countryside listening to Underworld and the sound of a modem, a connected computer was an engine of unending creative potential for everyone. When I was a teenager, a computer with an internet connection felt like an infinite expanse of possibility. Not only could you use the computer to find new tools to experiment with—you could also build whatever tool you could think of. It seemed like anything was possible. I looked forward to a future where everyone could build whatever software they needed, whenever they needed it. It turned out, in the intervening twenty years, that to build and customize software you have to both write code and host it on a server somewhere. For most people, so far, that has been impossible. Instead of controlling our software, our software controls us. We rely on others to build it and decide everything about it: how it works, looks, how much it spies on us and how long it lives. But all of this is changing, fast. The hottest programming language of 2026 is English. People with no technical experience are building their own tools. It’s incredible. The expanse has opened up again. The cost of building what we think of today as software is headed to zero. What yesterday was an entire app is rapidly being replaced by a conversation. The result is hyper-specific, tailored to the user and much more efficient. Today, agents help us build workflows, automate processes and pull together disparate sources of data. All of the annoying apps and services and clunky interface we’ve put up with can just disappear. We can now program and control our computers in the programming language we already know: English. There aren’t that many of us doing this yet, though. It’s still far too hard to set up, to distribute and to trust. There’s also no single platform to experiment on and collaboratively imagine this new future of personal computing. We want everyone to be able to build bespoke, ultra-personal software on demand. We think software should be as available and accessible as a pen and paper. We think anyone should be able to enjoy the expanse of possibility that the computer provides with the lowest possible barrier to entry and the highest possible quality. So, starting far, far too long ago, we engineered a whole new system for it. Just for you. We’re opening up Tlon Messenger to a limited number of people each week. This isn’t for exclusivity’s sake, but because we’re running infrastructure for you and your agent, and covering the tokens your agent uses. That can get expensive quickly, but we want to learn what people will do with this new system we’ve built. We’re really curious to see what you can do, so give it a try and tell us what you invent. Download link to your local app store in the next tweet. Yours, Galen (and the rest of the Tlon Team)

Tlon

600,969 views • 2 months ago