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Lead the Way! Class President's Lost Child Search Recruit! Tenya Iida, whose "Engine" Quirk allows him to run incredibly fast, arrives as a MND type UR character! ▼New Character UR [Swift to the Scene] Tenya Iida Until 5/1 14:59 JST (tent.) #MHUI #MyHeroAcademia

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MY HERO ULTRA IMPACT

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5,721,294 views • 1 year ago •via X (Twitter)

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yesterday, i stumbled onto the most underrated market research tool. tiktok creator insights. it's a goldmine of consumer behavior data, hiding in plain sight. and it's free to use. here's why it's powerful: 1. shows you what people are desperately searching for 2. highlights topics with high demand but low supply 3. reveals trending questions in every industry 4. tracks search growth over 14-day periods the "content gap" tab shows you problems people are actively trying to solve, but can't find good solutions for. so that's cool for a couple reasons 1. help you create content that has low supply/high demand (better chances of going viral) 2. you can build startups to some of these trends Example: i searched "email management" and found: • "how to clear 10k emails" • "best way to organize work inbox" • "email templates for busy people" thousands searching. hardly any solutions. the beauty of this • it's real-time market research • it's actual user intent • it's completely free • and most founders aren't using it a bunch of smart founders are mining tiktok insights right now it isn't perfect, but you never know what you might find your next startup idea might be hiding in those search trends. So, ill share how to access it because it’s kinda hidden: 1. Go to TT search 2.Type in “creator search insight” 3. Tap view im one of those people that think using data like this is your unfair advantage. if tiktok is the new search engine, then tiktok creator insights is the new google trends. might as well use it.

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Most people's minds are wired to seek safety, comfort, to avoid embarrassment or failure. Reduce risk as much as possible. Don't stand out. Don't attempt high greatness, because the fall if it doesn't succeed would be too embarrassing and painful. I actually had this mentality impressed on me from a powerful scene in the film 'Troy'. What made Achilles so unusual, what set him apart from other men? The boy is just being honest. "I've seen the Thessalonian you're fighting. He's the biggest man I've ever seen! I wouldn't want to fight him!" What would 99% of people say to that? "Yeah, this is gonna be a tough fight!" "I'm a warrior, this is what I do." "War is all hell." There's like a million things that different men would've said to that. The boy's telling him, "You're about to risk it all against a very big dangerous opponent! You could die! Maybe you can get out of it! You don't want to die, do you?" Well, what does Achilles reveal about himself in his response? He looks at the boy and he tells him something TRUE but does he does in a very cold way. "That is why no one will remember your name." And he rides away to battle. Why did Achilles react that way to what the boy said to him? Achilles understands how MOST PEOPLE THINK. He was telling the boy, "Great people who leave a name that will be remembered WANT to fight the Thessalonian. That's not you. You will be forgotten." They 'see the Thessalonian' they have to fight and immediately all their thoughts, their mind is bent on GETTING AWAY FROM THE DANGER, they start to plan and plot to ESCAPE FROM THE RISK, and to avoid the POTENTIAL FAILURE. Achilles wasn't WIRED that way. He WANTED to fight the Thessalonian. He WELCOMED the danger, the risk, the specter of failure, because he saw an opportunity for GREATNESS. Those who leave their biggest mark on the world aren't those who run from challenges, stay in the safe zones, wire themselves to steer clear of GREATNESS. Musk understands this. You're trying to make it sound like he's an autistic freak who can't help it. No, he CHOOSES to react this way to failure, to get up and keep going until GREATNESS ARRIVES. He's willing to pay the price over and over again to reach his goals, where many people would have given up after too many failures, too much lost money, too many times being laughed at. Achilles was the same way. He wanted to fight the most dangerous, impressive warriors. How else do you leave a name that will live forever?
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Most people's minds are wired to seek safety, comfort, to avoid embarrassment or failure. Reduce risk as much as possible. Don't stand out. Don't attempt high greatness, because the fall if it doesn't succeed would be too embarrassing and painful. I actually had this mentality impressed on me from a powerful scene in the film 'Troy'. What made Achilles so unusual, what set him apart from other men? The boy is just being honest. "I've seen the Thessalonian you're fighting. He's the biggest man I've ever seen! I wouldn't want to fight him!" What would 99% of people say to that? "Yeah, this is gonna be a tough fight!" "I'm a warrior, this is what I do." "War is all hell." There's like a million things that different men would've said to that. The boy's telling him, "You're about to risk it all against a very big dangerous opponent! You could die! Maybe you can get out of it! You don't want to die, do you?" Well, what does Achilles reveal about himself in his response? He looks at the boy and he tells him something TRUE but does he does in a very cold way. "That is why no one will remember your name." And he rides away to battle. Why did Achilles react that way to what the boy said to him? Achilles understands how MOST PEOPLE THINK. He was telling the boy, "Great people who leave a name that will be remembered WANT to fight the Thessalonian. That's not you. You will be forgotten." They 'see the Thessalonian' they have to fight and immediately all their thoughts, their mind is bent on GETTING AWAY FROM THE DANGER, they start to plan and plot to ESCAPE FROM THE RISK, and to avoid the POTENTIAL FAILURE. Achilles wasn't WIRED that way. He WANTED to fight the Thessalonian. He WELCOMED the danger, the risk, the specter of failure, because he saw an opportunity for GREATNESS. Those who leave their biggest mark on the world aren't those who run from challenges, stay in the safe zones, wire themselves to steer clear of GREATNESS. Musk understands this. You're trying to make it sound like he's an autistic freak who can't help it. No, he CHOOSES to react this way to failure, to get up and keep going until GREATNESS ARRIVES. He's willing to pay the price over and over again to reach his goals, where many people would have given up after too many failures, too much lost money, too many times being laughed at. Achilles was the same way. He wanted to fight the most dangerous, impressive warriors. How else do you leave a name that will live forever?

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0:15

When you thought she was getting ready for romance… 😏❤️ But she was actually getting you ready for laundry duty. Made with Seedance 2.5 on ImagineArt Prompt: Create a 15-second hilarious animated sequence in the exact same warm, elegant 3D cartoon/Pixar-like visual style as the provided storyboard. Maintain the same husband and wife character designs, luxurious cream-colored bedroom and laundry room, cinematic warm lighting, expressive exaggerated facial reactions, and smooth comedic timing. Scene 1 — 0–3 sec: The husband is relaxing in bed reading a book. Suddenly, he notices his wife's bra and top being thrown out from another room onto the floor. He slowly lowers his book and stares at them with wide, suspicious eyes. In his imagination, this clearly looks like his wife is preparing for a romantic moment with someone inside. Scene 2 — 3–6 sec: The husband immediately jumps up excitedly and rushes to the mirror. He sprays mouth freshener, applies perfume, fixes his hair, and gives himself a confident, seductive smile. He is convinced something romantic is happening and that he should quickly join his wife. Scene 3 — 6–9 sec: Looking handsome and confident, he slowly and dramatically opens the door, expecting a romantic surprise. His expression suddenly changes from excitement to complete confusion. Scene 4 — 9–12 sec: Reveal the truth: his wife is simply doing laundry. She is pulling freshly washed clothes from the washing machine one by one and tossing them onto the floor because she needs help carrying them. She looks at her husband standing there, fully dressed up and smelling of perfume. Scene 5 — 12–15 sec: The wife immediately takes advantage of him, smiling innocently as she stacks a huge pile of wet clothes into his arms. The husband becomes completely trapped under the mountain of laundry. His romantic excitement disappears instantly, and he walks away slowly with a sad, moody, defeated expression while the wife happily continues doing laundry. Comedy style: exaggerated facial expressions, fast misunderstanding setup, dramatic reveal, visual humor, smooth character animation, cinematic framing, warm luxury interior, same character consistency and visual style throughout.

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130,122 views • 8 days ago

🚨 BREAKING: New Development In Charlie Kirk Assassination "DISTRACTION MAN" George Zinn SENTENCED To 15 YEARS For Child Corn POSSESSION! 😱 Remember the chaos at Utah Valley University on September 10, 2025, when Charlie Kirk was gunned down during his "Prove Me Wrong" event? In the midst of panic, a 71-year-old man named George Zinn stepped forward, screaming to police, "I shot him! Now shoot me!" It seemed like the shooter was caught red-handed—but it was all a lie. Zinn later confessed he made the false claim to distract law enforcement, buying time for the real killer, Tyler Robinson, to flee the scene. His stunt hindered the investigation, allowing the actual assassin to escape initially. Zinn was charged with obstruction of justice, a second-degree felony, for intentionally providing false information and delaying officers who could have secured the area faster. But the story gets darker. While in custody, police seized Zinn's phone and uncovered horrifying evidence: over 20 explicit images of prepubescent children, some as young as 5 years old, depicting graphic sexual abuse. Zinn admitted to viewing and sharing this child sexual abuse material (CSAM). He faced four counts of sexual exploitation of a minor, pleading guilty to two as part of a deal. Yesterday, on January 29, 2026, in Provo's Fourth District Court, Judge Darold McDade handed down the sentence: 0-5 years for obstruction, plus 1-15 years for each CSAM count, to run consecutively. That's up to 35 years behind bars for this twisted distraction ploy and his vile secret life. Zinn, a known political gadfly with a criminal history dating back to the 1980s, broke down in court, but prosecutors called him a "substantial danger" to the community—no bail, straight to prison. This case raises chilling questions: Was Zinn part of a bigger plot? Why risk everything to protect a shooter he claims he didn't know? And how does someone like this insert himself into such a high-profile tragedy? Kirk's death shocked the nation—now Zinn's depravity adds another layer of horror. TAG Candace Owens & Share this if you demand justice! Video Credt: Tony Lane 🇺🇸
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Sensitive content

🚨 BREAKING: New Development In Charlie Kirk Assassination "DISTRACTION MAN" George Zinn SENTENCED To 15 YEARS For Child Corn POSSESSION! 😱 Remember the chaos at Utah Valley University on September 10, 2025, when Charlie Kirk was gunned down during his "Prove Me Wrong" event? In the midst of panic, a 71-year-old man named George Zinn stepped forward, screaming to police, "I shot him! Now shoot me!" It seemed like the shooter was caught red-handed—but it was all a lie. Zinn later confessed he made the false claim to distract law enforcement, buying time for the real killer, Tyler Robinson, to flee the scene. His stunt hindered the investigation, allowing the actual assassin to escape initially. Zinn was charged with obstruction of justice, a second-degree felony, for intentionally providing false information and delaying officers who could have secured the area faster. But the story gets darker. While in custody, police seized Zinn's phone and uncovered horrifying evidence: over 20 explicit images of prepubescent children, some as young as 5 years old, depicting graphic sexual abuse. Zinn admitted to viewing and sharing this child sexual abuse material (CSAM). He faced four counts of sexual exploitation of a minor, pleading guilty to two as part of a deal. Yesterday, on January 29, 2026, in Provo's Fourth District Court, Judge Darold McDade handed down the sentence: 0-5 years for obstruction, plus 1-15 years for each CSAM count, to run consecutively. That's up to 35 years behind bars for this twisted distraction ploy and his vile secret life. Zinn, a known political gadfly with a criminal history dating back to the 1980s, broke down in court, but prosecutors called him a "substantial danger" to the community—no bail, straight to prison. This case raises chilling questions: Was Zinn part of a bigger plot? Why risk everything to protect a shooter he claims he didn't know? And how does someone like this insert himself into such a high-profile tragedy? Kirk's death shocked the nation—now Zinn's depravity adds another layer of horror. TAG Candace Owens & Share this if you demand justice! Video Credt: Tony Lane 🇺🇸

Project Constitution

52,773 views • 7 months ago

This is one of the most expensive silent movie stunts of all time. This shot from Buster Keaton's "The General" (1926) cost $42,000 (equal to $600,000 today). The production company left the wreckage of the train in the Row River, south of Cottage Grove in Oregon. The site became a tourist attraction until 1944 when the wreckage was finally salvaged and scrapped during World War II. "The General" went way over budget, costing $750,000 (equal to $11 million today) in total. Some of the unforeseen costs included "Keaton being knocked unconscious; an assistant director being shot in the face with a blank cartridge; a train wheel running over a brakeman's foot, resulting in a $2,900 lawsuit; and the train's wood-burning engine causing numerous fires. The fires often spread to forests and farmers' haystacks, which cost the production $25 per burnt stack." In the end, the film only made $500,000 at the box office and was panned by film critics. Despite failing financially and losing his artistic independence, Keaton considered "The General" to be his crowning achievement. "I was more proud of that picture than any picture I ever made," he said. Today, "The General" is regarded as one of the greatest films of all time. Roger Ebert gave the film 4 stars and listed it on his top 10 in 2002. He had this to say about Buster Keaton: "Today I look at Keaton's works more often than any other silent films. They have such a graceful perfection, such a meshing of story, character, and episode, that they unfold like music. Although they're filled with gags, you can rarely catch Keaton writing a scene around a gag; instead, the laughs emerge from the situation... And in an age when special effects were in their infancy, and a 'stunt' often meant actually doing on the screen what you appeared to be doing, Keaton was ambitious and fearless. He had a house collapse around him. He swung over a waterfall to rescue a woman he loved. He fell from trains. And always he did it in character, playing a solemn and thoughtful man who trusts in his own ingenuity."
0:15

This is one of the most expensive silent movie stunts of all time. This shot from Buster Keaton's "The General" (1926) cost $42,000 (equal to $600,000 today). The production company left the wreckage of the train in the Row River, south of Cottage Grove in Oregon. The site became a tourist attraction until 1944 when the wreckage was finally salvaged and scrapped during World War II. "The General" went way over budget, costing $750,000 (equal to $11 million today) in total. Some of the unforeseen costs included "Keaton being knocked unconscious; an assistant director being shot in the face with a blank cartridge; a train wheel running over a brakeman's foot, resulting in a $2,900 lawsuit; and the train's wood-burning engine causing numerous fires. The fires often spread to forests and farmers' haystacks, which cost the production $25 per burnt stack." In the end, the film only made $500,000 at the box office and was panned by film critics. Despite failing financially and losing his artistic independence, Keaton considered "The General" to be his crowning achievement. "I was more proud of that picture than any picture I ever made," he said. Today, "The General" is regarded as one of the greatest films of all time. Roger Ebert gave the film 4 stars and listed it on his top 10 in 2002. He had this to say about Buster Keaton: "Today I look at Keaton's works more often than any other silent films. They have such a graceful perfection, such a meshing of story, character, and episode, that they unfold like music. Although they're filled with gags, you can rarely catch Keaton writing a scene around a gag; instead, the laughs emerge from the situation... And in an age when special effects were in their infancy, and a 'stunt' often meant actually doing on the screen what you appeared to be doing, Keaton was ambitious and fearless. He had a house collapse around him. He swung over a waterfall to rescue a woman he loved. He fell from trains. And always he did it in character, playing a solemn and thoughtful man who trusts in his own ingenuity."

Historic Vids

24,253,725 views • 2 years ago

EVERYONE PROMPTS THE ACTION. ALMOST NOBODY LOCKS THE IDENTITY — WHICH IS WHY TWO-CHARACTER SCENES FALL APART. Two freerunners racing across Tokyo rooftops, eight cuts, corkscrews over a rooftop gap at the end. The parkour is the easy part. Keeping them two separate people who never blend into each other is the part that actually breaks. Here's the full prompt built that way. Attach two reference photos as image_1 and image_2, and the same structure works for any multi-character action piece: FORMAT: 15 seconds, 16:9, 1080p, 8-cut cinematic ultra-advanced parkour footage. CHARACTERS: Two realistic individuals from image_1 and image_2. Use the attached images as absolute character references, and fully maintain the facial features, hairstyles, hair colors, skin textures, body types, height differences, outfits, color schemes, and age appearances of each person across all cuts. No altering into different people, face swaps, outfit changes, hairstyle changes, or mixing of the two individuals' features. SETTING: A sunny modern Japanese city reminiscent of Tokyo, Shibuya, and Yokohama — rooftops, alleys, staircases, railings, pipes, concrete walls. The two protagonists, as equals, race through at high speed running side by side, following, crossing paths, and coordinating. CUTS: 1. (00:00–00:01.60) Low-angle rear tracking. Both accelerate side by side and simultaneously kong vault over separate obstacles. 2. (00:01.60–00:03.40) Front low-angle. One wall runs the left wall, the other the right, then tic-tac to cross in midair and land on opposite rooftops. 3. (00:03.40–00:05.20) Lateral tracking. Consecutive precision jumps, then cat leaps to grab and climb a high wall. 4. (00:05.20–00:07.20) Rooftop tracking. The leader dash vaults, the trailer websters over the gap, then they swap front and back positions. 5. (00:07.20–00:09.20) Overhead moving camera. Both dive roll, then run side by side to speed vault a long railing. 6. (00:09.20–00:11.30) Handheld retreating from the front. One underbars, the other side flips, conquering the obstacle simultaneously. 7. (00:11.30–00:13.20) Drone from diagonal rear above. Both palm spin off left and right walls, kong vault, accelerate into the final jump. 8. (00:13.20–00:15.00) Climax. Both leap a large rooftop gap, each doing a corkscrew, camera circling them in midair as they land on separate rooftop edges — then run side by side into the distance. QUALITY: Live-action film quality. World-championship-level smooth freerunning. Realistic center-of-gravity shifts, muscle movement, natural landing impacts, swaying hair and clothing. Sharp background, natural motion blur only during high-speed movement. PROHIBITED: Facial distortion, altering into different people, face or body swaps, outfit changes, hairstyle changes, body type changes, limb multiplication, duplicates, body fusion, penetration, warping, floating, unnatural landings, anime style, CG style. A few things worth noticing about why it's built this way: The character block does identity work three separate times — the reference images, the "fully maintain" list, and the prohibited list at the end. That redundancy isn't padding; each one closes a different door the model tends to walk through. The prohibited list names the exact failure modes — face swaps, body fusion, limb multiplication. Telling the model what not to do is more effective here than describing what you want, because these are the specific ways two-character scenes collapse. Every cut assigns each person a distinct action — one wall runs left, the other right; one underbars, the other side flips. Giving them separate roles keeps them functionally two people, so the model can't average them into one. And the cuts are individually timed and framed. Long continuous motion is where identity drift creeps in — breaking it into eight discrete shots gives the model less room to blend them. Made in Seedance 2.0.
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EVERYONE PROMPTS THE ACTION. ALMOST NOBODY LOCKS THE IDENTITY — WHICH IS WHY TWO-CHARACTER SCENES FALL APART. Two freerunners racing across Tokyo rooftops, eight cuts, corkscrews over a rooftop gap at the end. The parkour is the easy part. Keeping them two separate people who never blend into each other is the part that actually breaks. Here's the full prompt built that way. Attach two reference photos as image_1 and image_2, and the same structure works for any multi-character action piece: FORMAT: 15 seconds, 16:9, 1080p, 8-cut cinematic ultra-advanced parkour footage. CHARACTERS: Two realistic individuals from image_1 and image_2. Use the attached images as absolute character references, and fully maintain the facial features, hairstyles, hair colors, skin textures, body types, height differences, outfits, color schemes, and age appearances of each person across all cuts. No altering into different people, face swaps, outfit changes, hairstyle changes, or mixing of the two individuals' features. SETTING: A sunny modern Japanese city reminiscent of Tokyo, Shibuya, and Yokohama — rooftops, alleys, staircases, railings, pipes, concrete walls. The two protagonists, as equals, race through at high speed running side by side, following, crossing paths, and coordinating. CUTS: 1. (00:00–00:01.60) Low-angle rear tracking. Both accelerate side by side and simultaneously kong vault over separate obstacles. 2. (00:01.60–00:03.40) Front low-angle. One wall runs the left wall, the other the right, then tic-tac to cross in midair and land on opposite rooftops. 3. (00:03.40–00:05.20) Lateral tracking. Consecutive precision jumps, then cat leaps to grab and climb a high wall. 4. (00:05.20–00:07.20) Rooftop tracking. The leader dash vaults, the trailer websters over the gap, then they swap front and back positions. 5. (00:07.20–00:09.20) Overhead moving camera. Both dive roll, then run side by side to speed vault a long railing. 6. (00:09.20–00:11.30) Handheld retreating from the front. One underbars, the other side flips, conquering the obstacle simultaneously. 7. (00:11.30–00:13.20) Drone from diagonal rear above. Both palm spin off left and right walls, kong vault, accelerate into the final jump. 8. (00:13.20–00:15.00) Climax. Both leap a large rooftop gap, each doing a corkscrew, camera circling them in midair as they land on separate rooftop edges — then run side by side into the distance. QUALITY: Live-action film quality. World-championship-level smooth freerunning. Realistic center-of-gravity shifts, muscle movement, natural landing impacts, swaying hair and clothing. Sharp background, natural motion blur only during high-speed movement. PROHIBITED: Facial distortion, altering into different people, face or body swaps, outfit changes, hairstyle changes, body type changes, limb multiplication, duplicates, body fusion, penetration, warping, floating, unnatural landings, anime style, CG style. A few things worth noticing about why it's built this way: The character block does identity work three separate times — the reference images, the "fully maintain" list, and the prohibited list at the end. That redundancy isn't padding; each one closes a different door the model tends to walk through. The prohibited list names the exact failure modes — face swaps, body fusion, limb multiplication. Telling the model what not to do is more effective here than describing what you want, because these are the specific ways two-character scenes collapse. Every cut assigns each person a distinct action — one wall runs left, the other right; one underbars, the other side flips. Giving them separate roles keeps them functionally two people, so the model can't average them into one. And the cuts are individually timed and framed. Long continuous motion is where identity drift creeps in — breaking it into eight discrete shots gives the model less room to blend them. Made in Seedance 2.0.

Nexlow

114,115 views • 1 month ago