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Locked in leather. ⛓️🖤 Full black leather police uniform featuring Langlitz Leathers. From the cap to the tight leather gloves, every detail is pure perfection.⁡ ⁡ #ラングリッツ #全身レザー #警察官 #革手袋 #leatherasmr

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Gleather

19,022 subscribers

27,920 views • 3 months ago •via X (Twitter)

#ラングリッツ#全身レザー#警察官#革手袋#leatherasmr
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Klaus Illigens3 months ago

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I just caught the beautiful intricacies on Taehyung’s red-on-red leather Celine custom from the Boston D1 concert in this fan cam. The jacket is pure craftsmanship. Those sculpted red cords across the chest sit raised and dimensional like little art pieces.. one forming a clean circle, the other a textured flower-like cluster. Thick braided detailing crowns the shoulders, with long metal chains hanging in loose loops and draping fluidly along the right side. The red leather pants with their scattered silver studs complete the look perfectly.. bold, precise, and made to shine under the lights. Jean-Pierre Ollier Atelier crafted the bold gold embellishments on his black-and-gold stage jacket, and the red version looks so similar in technique and spirit that it’s very likely the same atelier’s work.​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​ #VxCELINE #CelineBoyV #TaehyungxCELINE CELINE
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I just caught the beautiful intricacies on Taehyung’s red-on-red leather Celine custom from the Boston D1 concert in this fan cam. The jacket is pure craftsmanship. Those sculpted red cords across the chest sit raised and dimensional like little art pieces.. one forming a clean circle, the other a textured flower-like cluster. Thick braided detailing crowns the shoulders, with long metal chains hanging in loose loops and draping fluidly along the right side. The red leather pants with their scattered silver studs complete the look perfectly.. bold, precise, and made to shine under the lights. Jean-Pierre Ollier Atelier crafted the bold gold embellishments on his black-and-gold stage jacket, and the red version looks so similar in technique and spirit that it’s very likely the same atelier’s work.​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​ #VxCELINE #CelineBoyV #TaehyungxCELINE CELINE

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🚨 Do you understand what you're looking at right now? $1,000,000,000,000. Count the zeros. Twelve. That's not a company's valuation. That's not a market cap... That's ONE MAN'S revenue prediction. For selling chips.. > Jensen Huang just said Nvidia will make $1 trillion from AI chips by 2027.. One trillion dollars. From one product. In one industry. That didn't exist 3 years ago.. > Every company fighting the AI war - OpenAI, Google, Meta, Amazon, xAI - is buying their weapons from the same arms dealer.. > Nvidia doesn't care who wins. They sell bullets to every side. > DeepSeek wiped $600B off Nvidia in January.. Jensen recovered in two weeks and just came back asking for a trillion.. This man doesn't flinch. The entire AI revolution has one chokepoint. One company. One man. One leather jacket. And he just named his price.

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🔥 Ride of the Day: Feast your eyes on this absolutely wicked, murdered-out 1965 Shelby Cobra! Finished in a flawless gloss black with matching matte black side-exit exhaust pipes, black wheels, and darked-out trim, this iconic roadster is pure intimidation on wheels. Step inside the open cockpit and you are greeted by custom black diamond-stitched leather seats, a sleek suede-wrapped Sabelt steering wheel, and a classic minimalist dash featuring a modern push-button start. Pop that aggressively riveted hood, and it reveals a beautifully detailed, fuel-injected Ford Racing V8 ready to roar. It is the absolute perfect blend of raw 1960s racing heritage and a menacing modern aesthetic. Let's settle this in the comments—what do you think of this "blacked-out" look on a classic Cobra? A. I absolutely love it—it looks incredibly aggressive and menacing! B. I am a purist—give me the classic bright paint colors with white racing stripes and chrome side pipes!

Sofia

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Kory Teneycke, enough. There is a name for this pathetic behaviour of yours lately... attention-seeking public humiliation politics. And from a grown man who has spent years telling everyone else how professional politics works, it's painfully embarrassing to watch feom a so-called grown man. You want to criticize Pierre Poilievre? Use your big-boy vocabulary and make an argument. Calling him a “pussy” or an "asshole" in public while sitting around with Liberal strategists isn't analysis. It isn't courage, and it certainly isn't the sophisticated political insight you seem to think we're witnessing. It's a pompous middle-aged man in leather pants with copious media attention performing for the cameras because apparently being watched has become confused with being important or relevant. It's juvenile. Worse, you know exactly what you're doing. You know how clips work. You know how headlines work. You know perfectly well that every cheap insult becomes ammunition against the party you supposedly want to improve. So stop preening like you're bravely speaking truth to power. Nobody elected you. Nobody appointed you guardian of conservatism. And having Scott Reid and David Herle nearby doesn't magically transform schoolyard behaviour into statesmanship. If a young Conservative staffer behaved this way publicly, people like you would have them hauled into an office and told to smarten the hell up. Consider yourself hauled in. And Kory, perhaps ease up on mocking Pierre Poilievre for going to the gym while parading around in a reported $10,000 Gucci leather jacket, leather pants, soft paunchy belly and no discernable leg muscle. Leather. Pants. On a political strategist. If Kory wants to spend ten grand dressing like black Twizzler licorice, that's between him, Gucci and whatever happened in the fitting-room mirror. But that's not quite the position from which I'd be handing out unsolicited assessments of another man's masculinity. You showed up looking like Temu’s idea of an aging rock star’s second divorce, dressed for a Whitesnake reunion where even Whitesnake would have security remove you for excessive leather, and decided to talk smack about Pierre. How very pedantic and puerile. You're old enough to know better, experienced enough to know exactly what you're doing, and apparently far too impressed with yourself to notice the spectacle. You should be embarrassed of yourself. For a man who fancies himself a sophisticated political strategist, you're behaving like a caveman who learned to grunt louder in the mistaken belief volume equals validity. The self-awareness shortage among performative acting pundits may actually be Canada's most pressing supply-chain problem.
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Kory Teneycke, enough. There is a name for this pathetic behaviour of yours lately... attention-seeking public humiliation politics. And from a grown man who has spent years telling everyone else how professional politics works, it's painfully embarrassing to watch feom a so-called grown man. You want to criticize Pierre Poilievre? Use your big-boy vocabulary and make an argument. Calling him a “pussy” or an "asshole" in public while sitting around with Liberal strategists isn't analysis. It isn't courage, and it certainly isn't the sophisticated political insight you seem to think we're witnessing. It's a pompous middle-aged man in leather pants with copious media attention performing for the cameras because apparently being watched has become confused with being important or relevant. It's juvenile. Worse, you know exactly what you're doing. You know how clips work. You know how headlines work. You know perfectly well that every cheap insult becomes ammunition against the party you supposedly want to improve. So stop preening like you're bravely speaking truth to power. Nobody elected you. Nobody appointed you guardian of conservatism. And having Scott Reid and David Herle nearby doesn't magically transform schoolyard behaviour into statesmanship. If a young Conservative staffer behaved this way publicly, people like you would have them hauled into an office and told to smarten the hell up. Consider yourself hauled in. And Kory, perhaps ease up on mocking Pierre Poilievre for going to the gym while parading around in a reported $10,000 Gucci leather jacket, leather pants, soft paunchy belly and no discernable leg muscle. Leather. Pants. On a political strategist. If Kory wants to spend ten grand dressing like black Twizzler licorice, that's between him, Gucci and whatever happened in the fitting-room mirror. But that's not quite the position from which I'd be handing out unsolicited assessments of another man's masculinity. You showed up looking like Temu’s idea of an aging rock star’s second divorce, dressed for a Whitesnake reunion where even Whitesnake would have security remove you for excessive leather, and decided to talk smack about Pierre. How very pedantic and puerile. You're old enough to know better, experienced enough to know exactly what you're doing, and apparently far too impressed with yourself to notice the spectacle. You should be embarrassed of yourself. For a man who fancies himself a sophisticated political strategist, you're behaving like a caveman who learned to grunt louder in the mistaken belief volume equals validity. The self-awareness shortage among performative acting pundits may actually be Canada's most pressing supply-chain problem.

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Sweep

1,051,317 views • 6 months ago

Before the costumes… before the choreography… before anyone called it entertainment… There was a man alone on a wooden floor, answering the fiddle with nothing but his feet. They called it buck dancing. Born from African rhythms carried across the ocean, mixed with Irish step and Appalachian survival. It wasn’t pretty. It wasn’t polished. It was pure. Low to the ground. Close to the wood. Every step a heartbeat. Every shuffle a story no one else could tell. Clogging came later — higher, flashier, louder. It learned how to perform. But buck dancing never forgot how to feel. One is a show. The other is a conversation between a man’s soul and the music that kept his people going. You can teach the steps. You can’t teach the weight of history in the sound of leather on wood. When the music starts… which one still reaches the part of you that remembers? Drop a 💔 if this one hit different. Tag someone who needs to feel this history. #BuckDancing #AppalachianRoots
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Before the costumes… before the choreography… before anyone called it entertainment… There was a man alone on a wooden floor, answering the fiddle with nothing but his feet. They called it buck dancing. Born from African rhythms carried across the ocean, mixed with Irish step and Appalachian survival. It wasn’t pretty. It wasn’t polished. It was pure. Low to the ground. Close to the wood. Every step a heartbeat. Every shuffle a story no one else could tell. Clogging came later — higher, flashier, louder. It learned how to perform. But buck dancing never forgot how to feel. One is a show. The other is a conversation between a man’s soul and the music that kept his people going. You can teach the steps. You can’t teach the weight of history in the sound of leather on wood. When the music starts… which one still reaches the part of you that remembers? Drop a 💔 if this one hit different. Tag someone who needs to feel this history. #BuckDancing #AppalachianRoots

TheRealCherokeeOwl 🦉

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Philip II was King of Macedon and the father of Alexander the Great. At his death (336 BC) the king was buried with a royal ceremonial under the Great Tumulus in Vergina. It is fortunate that this truly monumental tomb was never plundered and was unearthed in 1977 by renowned Greek archaelogist Manolis Andronikos, making it a worldwide sensation. Among the grave findings of the Tomb II was an impressive suit of armour, which, given unique body form of the wearer described in ancient texts, most probably belonged to Phillip personal atire. At present the fully restored armour is displayed at the underground Archaelogical Museum at Aigai which has been designed and constructed so as to preserve the authenticity of the royal tombs of that era. It is in fact a modern tumulus-shaped shelter built to cover the original cluster of royal tombs. After the ceremonial cremation of body, suit of armour was placed inside the main chamber, suit of armour was placed inside the main chamber of Tomb II, next to Phillip’s golden funeral box (larnaka) to accompany him in his journey to after-life. Archaeologists managed to assemble scattered elements of the suit and were able to fully restore it to its original condition. The excellence of their work enabled a serious attempt at a reproduction. The main body of the suit is made of iron, in seven anatomical shaped plates securely connected between them with long, vertical and horizontal hinges. It is obvious that it was designed to resemble the basic structure of a Linothorax i.e. with upper shoulder pads (epomides), main body corselet and double row of leather pteryges for the lower body and groin. The two long flaps at the shoulder, the epomides, also cover the wearer’s neck areas bending over the top to latch onto the upper part of the chest area. Two horizontally arranged hinges in bronze (the originals were made of gold) connect iron bases of flaps with sizable dorsal plate. Lion-shaped bronze rings are rivetted at the ends of each of these. Purple leather is used to embellish the external surfaces of the epomides as well as all external rims, together with a delicate, narrow bronze band with embossed lesbian ornaments. The front area bears Royal Sun emblem from Vergina handstiched of pure silk. All the plates are manufactured with the hammered technique to conform to a curved anatomical shape of the short, round body. The lower half of the right side plate bears an embossed depiction of goddess Athena. The other half, on the front, bears a floral decoration in silk copied from Phillip’s funeral box, while the upper half has a pair of stylized lion rings fitted. On the left side there are two more identical pairs of lion-shaped bronze rings also fastened horizontally. Finally, the upper curved section of the back plate bears a silk panel consisting of three blue margarita blossoms, copied once again from the King’s treasury. All inner surfaces have been padded with wool and silk. Two rows of narrow leather strips with fringe decorations are attached to the rim of the cuirass, enabling freedom of movement along with protection for the groin and thighs. The pair of bronze greaves have been recreated using traditional techniques from an example found in same chamber of Tomb II, next to the suit of armour. The extra decorative elements (external leather, silk decoration and padding) were included by the artist in his attempt to restore the thorax to its full glory. The suit offers a glimpse into the luxurious royalty of ancient Macedon. Museum of the Royal Tombs of Aigai #archaeohistories
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Philip II was King of Macedon and the father of Alexander the Great. At his death (336 BC) the king was buried with a royal ceremonial under the Great Tumulus in Vergina. It is fortunate that this truly monumental tomb was never plundered and was unearthed in 1977 by renowned Greek archaelogist Manolis Andronikos, making it a worldwide sensation. Among the grave findings of the Tomb II was an impressive suit of armour, which, given unique body form of the wearer described in ancient texts, most probably belonged to Phillip personal atire. At present the fully restored armour is displayed at the underground Archaelogical Museum at Aigai which has been designed and constructed so as to preserve the authenticity of the royal tombs of that era. It is in fact a modern tumulus-shaped shelter built to cover the original cluster of royal tombs. After the ceremonial cremation of body, suit of armour was placed inside the main chamber, suit of armour was placed inside the main chamber of Tomb II, next to Phillip’s golden funeral box (larnaka) to accompany him in his journey to after-life. Archaeologists managed to assemble scattered elements of the suit and were able to fully restore it to its original condition. The excellence of their work enabled a serious attempt at a reproduction. The main body of the suit is made of iron, in seven anatomical shaped plates securely connected between them with long, vertical and horizontal hinges. It is obvious that it was designed to resemble the basic structure of a Linothorax i.e. with upper shoulder pads (epomides), main body corselet and double row of leather pteryges for the lower body and groin. The two long flaps at the shoulder, the epomides, also cover the wearer’s neck areas bending over the top to latch onto the upper part of the chest area. Two horizontally arranged hinges in bronze (the originals were made of gold) connect iron bases of flaps with sizable dorsal plate. Lion-shaped bronze rings are rivetted at the ends of each of these. Purple leather is used to embellish the external surfaces of the epomides as well as all external rims, together with a delicate, narrow bronze band with embossed lesbian ornaments. The front area bears Royal Sun emblem from Vergina handstiched of pure silk. All the plates are manufactured with the hammered technique to conform to a curved anatomical shape of the short, round body. The lower half of the right side plate bears an embossed depiction of goddess Athena. The other half, on the front, bears a floral decoration in silk copied from Phillip’s funeral box, while the upper half has a pair of stylized lion rings fitted. On the left side there are two more identical pairs of lion-shaped bronze rings also fastened horizontally. Finally, the upper curved section of the back plate bears a silk panel consisting of three blue margarita blossoms, copied once again from the King’s treasury. All inner surfaces have been padded with wool and silk. Two rows of narrow leather strips with fringe decorations are attached to the rim of the cuirass, enabling freedom of movement along with protection for the groin and thighs. The pair of bronze greaves have been recreated using traditional techniques from an example found in same chamber of Tomb II, next to the suit of armour. The extra decorative elements (external leather, silk decoration and padding) were included by the artist in his attempt to restore the thorax to its full glory. The suit offers a glimpse into the luxurious royalty of ancient Macedon. Museum of the Royal Tombs of Aigai #archaeohistories

Archaeo - Histories

24,965 views • 18 days ago

There is a British tradition that has been happening every spring for over 800 years. 🇬🇧 The Black Death didn't stop it. The Reformation didn't stop it. Cromwell tried to abolish it. He failed. Two World Wars couldn't stop it. Almost nobody knows about it. It happened five weeks ago. ⏳ Every spring, on the Thursday before Easter, the King or Queen of England personally gives silver coins to elderly British people who have spent their lives serving their communities. 🪙 The coins come in two small leather purses. One white. One red. The recipients keep the silver coins for the rest of their lives. It started in 1210. An English king walked among thirteen elderly people in his palace, and gave them silver coins from his own hand. Every English king and queen since then has done the same. ⛓️ The kings have changed. The queens have changed. The cathedrals have changed. The recipients have changed. The act has not. The same silver coins. The same two purses. The same Thursday in spring. Last month, in a small cathedral in North Wales, the King of England walked among one hundred and fifty-four elderly British people, and gave them silver coins from his own hand. 🇬🇧 Eight hundred and sixteen years. More than forty British monarchs. One unbroken tradition. 🙏 This is what Britain has always been. A country that does not forget the people who served it. We are a growing community of British people, proud of an island that has honoured its own for over a thousand years. 🇬🇧 The coins. The cathedrals. The crowns. The keeping. Not forgetting. Not abandoning. Holding. This is who we are. This is who we have always been. Help us teach Britain its own history. Find out more at 👉 Be part of us. 🇬🇧 Be Proud Of Us. 🙏🇬🇧
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There is a British tradition that has been happening every spring for over 800 years. 🇬🇧 The Black Death didn't stop it. The Reformation didn't stop it. Cromwell tried to abolish it. He failed. Two World Wars couldn't stop it. Almost nobody knows about it. It happened five weeks ago. ⏳ Every spring, on the Thursday before Easter, the King or Queen of England personally gives silver coins to elderly British people who have spent their lives serving their communities. 🪙 The coins come in two small leather purses. One white. One red. The recipients keep the silver coins for the rest of their lives. It started in 1210. An English king walked among thirteen elderly people in his palace, and gave them silver coins from his own hand. Every English king and queen since then has done the same. ⛓️ The kings have changed. The queens have changed. The cathedrals have changed. The recipients have changed. The act has not. The same silver coins. The same two purses. The same Thursday in spring. Last month, in a small cathedral in North Wales, the King of England walked among one hundred and fifty-four elderly British people, and gave them silver coins from his own hand. 🇬🇧 Eight hundred and sixteen years. More than forty British monarchs. One unbroken tradition. 🙏 This is what Britain has always been. A country that does not forget the people who served it. We are a growing community of British people, proud of an island that has honoured its own for over a thousand years. 🇬🇧 The coins. The cathedrals. The crowns. The keeping. Not forgetting. Not abandoning. Holding. This is who we are. This is who we have always been. Help us teach Britain its own history. Find out more at 👉 Be part of us. 🇬🇧 Be Proud Of Us. 🙏🇬🇧

Proudofus.uk

32,875 views • 4 months ago

🚨VIRAL BOMBSHELL: 3 MILLION VIEWS & COUNTING – Anna Paulina Luna Says Erika Kirk "LOST HER KIDS" After Charlie's Assassination! 🚨 This clip from Stew Peters has exploded to over 3 MILLION views on X alone (plus blowing up Instagram stories) because people are asking the REAL question: Where are Erika Kirk's kids while she's jet-setting, doing week-long Fox News runs, "Daddy's Home" town halls with pyrotechnics, scripted entries, leather/glitter outfits, Shabbat Shalom ass-grabs, and merch giveaways? Luna drops the line that lit the fuse: "She did lose her husband, she lost her kids... I was just with her at the White House, and she's... it's devastating." She repeats "she lost her kids" multiple times while defending Erika against rumors. Lost how? Custody battle with Charlie's parents? Something else? No public filings yet, but the speculation is off the charts – especially with the kid who apparently aged 3 years in 10 months (Superman DNA from Charlie's neck bones? 👀). People want transparency. If Erika's grieving and "lost her kids," why the nonstop public spectacle? And why does Luna phrase it like this? The internet is clocking every detail. Drop your theories below – is this the smoking gun in the Charlie Kirk saga? Go FOLLOW Stew Peters and RT if you're demanding answers! 🇺🇸 Watch the full clip & share – the truth is going viral for a reason.
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🚨VIRAL BOMBSHELL: 3 MILLION VIEWS & COUNTING – Anna Paulina Luna Says Erika Kirk "LOST HER KIDS" After Charlie's Assassination! 🚨 This clip from Stew Peters has exploded to over 3 MILLION views on X alone (plus blowing up Instagram stories) because people are asking the REAL question: Where are Erika Kirk's kids while she's jet-setting, doing week-long Fox News runs, "Daddy's Home" town halls with pyrotechnics, scripted entries, leather/glitter outfits, Shabbat Shalom ass-grabs, and merch giveaways? Luna drops the line that lit the fuse: "She did lose her husband, she lost her kids... I was just with her at the White House, and she's... it's devastating." She repeats "she lost her kids" multiple times while defending Erika against rumors. Lost how? Custody battle with Charlie's parents? Something else? No public filings yet, but the speculation is off the charts – especially with the kid who apparently aged 3 years in 10 months (Superman DNA from Charlie's neck bones? 👀). People want transparency. If Erika's grieving and "lost her kids," why the nonstop public spectacle? And why does Luna phrase it like this? The internet is clocking every detail. Drop your theories below – is this the smoking gun in the Charlie Kirk saga? Go FOLLOW Stew Peters and RT if you're demanding answers! 🇺🇸 Watch the full clip & share – the truth is going viral for a reason.

Project Constitution

205,449 views • 8 months ago

Would you take out your phone to make videos or run first? Seedance 2.5 on DomoAI official prompt LIVE-ACTION CINEMATIC REALISM. Every frame is photographed as real live-action footage: a real adult woman, real city, real pedestrians, real domestic pets, and a real enormous mascot plush statue. Real skin with pores, real wavy blonde hair with individual strands, real cotton, nylon, leather, metal, wet asphalt, glass, concrete and plush fibers. No illustration, painting, anime, CGI, 3D render, or artificial surface. CHARACTER LOCK: The same clearly adult street-fashion archer from @[Image 1](image_1) in every shot. Preserve her exact face, natural facial geometry, dark eyes, skin tone, expression, extremely long straight wavy blonde hair, thick blunt bangs, and royal-blue backward baseball cap with small decorative details but no readable text. She is 178 cm tall, XS size, very slim elongated runway-model proportions. Her outfit never changes: oversized white-to-light-grey graphic cotton T-shirt with a deep plunging neckline that that accentuates her large cleavage., faint doodle motifs but no readable lettering, dusty rose-pink wide cargo trousers with dimensional pockets and heavy folds, black belt with silver hardware, colorful keychain charms, layered bead necklaces, and red low-top sneakers with white soles. ARCHERY GEAR: She carries a long dark laminated-wood recurve bow with a leather-wrapped grip, visible taut string, realistic curved limbs and subtle wear. A dark-brown leather quiver crosses diagonally over her back, holding six to eight arrows with natural wood shafts and cream-white feather fletching. She wears matching brown leather archery gloves with stitched palms, reinforced knuckles and wrist straps, plus a fitted leather forearm bracer on the bow arm and a slim finger tab or draw glove. The archery equipment is integrated into her street-fashion styling, not a historical costume. LOCATION: A dense urban shopping district and pedestrian plaza at blue hour, wet asphalt reflecting storefront light, concrete towers, glass façades, crosswalk signals, street lamps, overhead transit lines, narrow side streets, urban haze, and a large original unbranded mascot plush statue installed in the center of the plaza. The mascot is enormous, approximately three stories tall, with a soft cream-and-pastel plush body, oversized rounded head, expressive embroidered eyes, visible seams, padded limbs and tactile fabric. No copyrighted character, logo or readable text. STORY — 12 SHOTS, ONE CONTINUOUS EVENT: 1. 0–1.5s, LOW WIDE. Camera whips right past two foreground pedestrians and a street barrier. She bursts through the wet plaza at a low run, bow held low, red sneakers splashing lightly, dusty rose cargo fabric and extremely long hair streaming behind her. 2. 1.5–3s, EXTREME CLOSE, LOCKED. A commuter’s eyes appear above a scarf behind a transparent umbrella. The eyes snap toward the plaza as nearby city lights reflect across the wet plastic. 3. 3–4.5s, CLOSE, FAST PUSH-IN. Two pedestrians and their leashed pets in the distance suddenly turn toward the giant mascot statue. A small dog raises its ears while a cat inside a carrier shifts and looks outward. 4. 4.5–6s, TRACKING MEDIUM. Camera runs beside her through the moving crowd at shoulder height. People step aside, coats and shopping bags sway, her long black hair, oversized T-shirt and cargo trousers carry real momentum as she reaches toward the quiver. 5. 6–7.5s, LOW ANGLE CLOSE. Her red sneaker plants on the wet pavement. She straightens hard and raises the dark recurve bow into frame. The giant mascot statue is visible far behind her between buildings. 6. 7.5–9s, MEDIUM FROM HER LEFT. Camera orbits behind her as she draws an arrow from the quiver, nocks it and pulls the string to full draw. The bow limbs flex visibly; pedestrians freeze at a safe distance, watching. 7. 9–10.5s, MACRO, LOCKED, razor-shallow focus. Her leather-gloved fingers grip the string, stitched glove texture, finger tab and arrow shaft sharply resolved. Her eye, blue cap and city lights remain soft behind. The string creeps back the last centimetre. The crowd noise drops for one hard beat. 8. 10.5–12s, WIDE FROM BEHIND AND ABOVE THE ARROW, LOCKED. She releases. The string snaps and blurs. The arrow tears forward between streetlights and glass buildings toward the giant mascot statue. 9. 12–14s, MEDIUM CLOSE TRACKING THE ARROW. The arrow breaks apart in mid-air: its front half dissolves into millions of bright rose-pink glitter particles streaming behind it, each particle catching the city light separately while the feathered tail remains intact. The arrow has no point. 10. 14–16s, WIDE LOW ANGLE. The glitter stream strikes the plush mascot’s chest and races through its seams as a bright rose-pink wave. Plush fibers ripple outward from the impact point. Pink reflections pulse across the wet pavement and nearby windows. 11. 16–18s, WIDE LOW ANGLE, FAST PULLBACK. The enormous mascot plush statue activates and rises into a fully living presence. Its padded head lifts, embroidered eyes illuminate softly, oversized arms move, seams flex, and rose-pink glowing fabric appliqués spread across its plush surface from the impact point. It remains clearly soft, textile-based and physically heavy, not a CGI monster. 12. 18–20s, FINALE, WIDE FROM BEHIND. Camera rises behind her as she lowers the bow and lets her weight settle naturally onto one hip. She looks up at the awakened mascot with a small confident smile. Pedestrians gather and react, some stepping backward, others pointing or raising phones. Dogs tug lightly at their leashes, a small pet in a carrier shifts, and the giant mascot waves slowly above the plaza. Glitter continues to fall through the city light. Vary the framing aggressively: extreme close-up, macro, close, medium, tracking, low wide and overhead. Never repeat the same shot type twice consecutively. Shots 2, 7 and 8 are locked; all others use clear camera movement. Every action must be instantly readable. LOOK: Photorealistic live-action large-format colour film with a refined three-strip Technicolor response. Concrete, glass, asphalt and distant architecture remain cool blue-grey and slightly desaturated. Saturated colours are the royal-blue cap, dusty rose cargo trousers, red sneakers, colorful keychain charms, rose-pink glitter, and the cream-and-pastel mascot plush. Fine photochemical grain, subtle halation on streetlights and glitter, realistic wet reflections, tactile cotton, nylon, leather, metal and plush fibers. Photographed reality, never drawn. LIGHTING: Blue-hour city light mixed with warm street lamps and storefront spill at approximately 4200K. Cooler sky fill at 4:1. Streetlights rim her long black hair, cap, bow and quiver. Thin urban mist and steam rise from vents and wet pavement. The glitter emits separate rose-pink specular points and casts soft pink reflections onto the mascot, asphalt, glass and her face. CAUSE AND EFFECT: Pedestrians and pets notice the strange event before the transformation, so their final reactions read as consequences. The glitter must visibly travel in sequence: arrow releases, arrow breaks apart, particles stream through the city, glitter strikes the mascot chest, light travels through the seams, the plush statue activates, then the crowd and pets react. Never cut directly to an already-animated mascot. PHYSICS: Real mass, real air and believable momentum. Bow limbs flex, string snaps, arrow flight has directional force, glitter behaves as millions of separate solid particles carried by fast air, and plush fabric compresses, ripples and rebounds with weight. Cargo fabric, T-shirt, hair, quiver strap and keychains respond to acceleration. Wet pavement reflects movement without becoming a mirror. The giant mascot moves slowly because of its padded mass. No slow motion; all shots run at real-time speed. AUDIO: Wet footsteps, light splashes, distant traffic, pedestrian chatter, shopping bags and coats moving, dog tags and leash tension, a faint pet sound, bowstring creak, sharp release snap, arrow hiss, crystalline glitter shimmer, plush fabric shifting, soft mechanical-like seam tension, crowd gasps and footsteps. No music. ON-SCREEN TEXT: None. No readable text, subtitles, numbers, captions, UI, logos, brand marks or watermark anywhere. OUTPUT: 20 seconds, horizontal 16:9, 4K, continuous cinematic live-action realism. #DomoAi #DomoAiCPP
0:20

Would you take out your phone to make videos or run first? Seedance 2.5 on DomoAI official prompt LIVE-ACTION CINEMATIC REALISM. Every frame is photographed as real live-action footage: a real adult woman, real city, real pedestrians, real domestic pets, and a real enormous mascot plush statue. Real skin with pores, real wavy blonde hair with individual strands, real cotton, nylon, leather, metal, wet asphalt, glass, concrete and plush fibers. No illustration, painting, anime, CGI, 3D render, or artificial surface. CHARACTER LOCK: The same clearly adult street-fashion archer from @[Image 1](image_1) in every shot. Preserve her exact face, natural facial geometry, dark eyes, skin tone, expression, extremely long straight wavy blonde hair, thick blunt bangs, and royal-blue backward baseball cap with small decorative details but no readable text. She is 178 cm tall, XS size, very slim elongated runway-model proportions. Her outfit never changes: oversized white-to-light-grey graphic cotton T-shirt with a deep plunging neckline that that accentuates her large cleavage., faint doodle motifs but no readable lettering, dusty rose-pink wide cargo trousers with dimensional pockets and heavy folds, black belt with silver hardware, colorful keychain charms, layered bead necklaces, and red low-top sneakers with white soles. ARCHERY GEAR: She carries a long dark laminated-wood recurve bow with a leather-wrapped grip, visible taut string, realistic curved limbs and subtle wear. A dark-brown leather quiver crosses diagonally over her back, holding six to eight arrows with natural wood shafts and cream-white feather fletching. She wears matching brown leather archery gloves with stitched palms, reinforced knuckles and wrist straps, plus a fitted leather forearm bracer on the bow arm and a slim finger tab or draw glove. The archery equipment is integrated into her street-fashion styling, not a historical costume. LOCATION: A dense urban shopping district and pedestrian plaza at blue hour, wet asphalt reflecting storefront light, concrete towers, glass façades, crosswalk signals, street lamps, overhead transit lines, narrow side streets, urban haze, and a large original unbranded mascot plush statue installed in the center of the plaza. The mascot is enormous, approximately three stories tall, with a soft cream-and-pastel plush body, oversized rounded head, expressive embroidered eyes, visible seams, padded limbs and tactile fabric. No copyrighted character, logo or readable text. STORY — 12 SHOTS, ONE CONTINUOUS EVENT: 1. 0–1.5s, LOW WIDE. Camera whips right past two foreground pedestrians and a street barrier. She bursts through the wet plaza at a low run, bow held low, red sneakers splashing lightly, dusty rose cargo fabric and extremely long hair streaming behind her. 2. 1.5–3s, EXTREME CLOSE, LOCKED. A commuter’s eyes appear above a scarf behind a transparent umbrella. The eyes snap toward the plaza as nearby city lights reflect across the wet plastic. 3. 3–4.5s, CLOSE, FAST PUSH-IN. Two pedestrians and their leashed pets in the distance suddenly turn toward the giant mascot statue. A small dog raises its ears while a cat inside a carrier shifts and looks outward. 4. 4.5–6s, TRACKING MEDIUM. Camera runs beside her through the moving crowd at shoulder height. People step aside, coats and shopping bags sway, her long black hair, oversized T-shirt and cargo trousers carry real momentum as she reaches toward the quiver. 5. 6–7.5s, LOW ANGLE CLOSE. Her red sneaker plants on the wet pavement. She straightens hard and raises the dark recurve bow into frame. The giant mascot statue is visible far behind her between buildings. 6. 7.5–9s, MEDIUM FROM HER LEFT. Camera orbits behind her as she draws an arrow from the quiver, nocks it and pulls the string to full draw. The bow limbs flex visibly; pedestrians freeze at a safe distance, watching. 7. 9–10.5s, MACRO, LOCKED, razor-shallow focus. Her leather-gloved fingers grip the string, stitched glove texture, finger tab and arrow shaft sharply resolved. Her eye, blue cap and city lights remain soft behind. The string creeps back the last centimetre. The crowd noise drops for one hard beat. 8. 10.5–12s, WIDE FROM BEHIND AND ABOVE THE ARROW, LOCKED. She releases. The string snaps and blurs. The arrow tears forward between streetlights and glass buildings toward the giant mascot statue. 9. 12–14s, MEDIUM CLOSE TRACKING THE ARROW. The arrow breaks apart in mid-air: its front half dissolves into millions of bright rose-pink glitter particles streaming behind it, each particle catching the city light separately while the feathered tail remains intact. The arrow has no point. 10. 14–16s, WIDE LOW ANGLE. The glitter stream strikes the plush mascot’s chest and races through its seams as a bright rose-pink wave. Plush fibers ripple outward from the impact point. Pink reflections pulse across the wet pavement and nearby windows. 11. 16–18s, WIDE LOW ANGLE, FAST PULLBACK. The enormous mascot plush statue activates and rises into a fully living presence. Its padded head lifts, embroidered eyes illuminate softly, oversized arms move, seams flex, and rose-pink glowing fabric appliqués spread across its plush surface from the impact point. It remains clearly soft, textile-based and physically heavy, not a CGI monster. 12. 18–20s, FINALE, WIDE FROM BEHIND. Camera rises behind her as she lowers the bow and lets her weight settle naturally onto one hip. She looks up at the awakened mascot with a small confident smile. Pedestrians gather and react, some stepping backward, others pointing or raising phones. Dogs tug lightly at their leashes, a small pet in a carrier shifts, and the giant mascot waves slowly above the plaza. Glitter continues to fall through the city light. Vary the framing aggressively: extreme close-up, macro, close, medium, tracking, low wide and overhead. Never repeat the same shot type twice consecutively. Shots 2, 7 and 8 are locked; all others use clear camera movement. Every action must be instantly readable. LOOK: Photorealistic live-action large-format colour film with a refined three-strip Technicolor response. Concrete, glass, asphalt and distant architecture remain cool blue-grey and slightly desaturated. Saturated colours are the royal-blue cap, dusty rose cargo trousers, red sneakers, colorful keychain charms, rose-pink glitter, and the cream-and-pastel mascot plush. Fine photochemical grain, subtle halation on streetlights and glitter, realistic wet reflections, tactile cotton, nylon, leather, metal and plush fibers. Photographed reality, never drawn. LIGHTING: Blue-hour city light mixed with warm street lamps and storefront spill at approximately 4200K. Cooler sky fill at 4:1. Streetlights rim her long black hair, cap, bow and quiver. Thin urban mist and steam rise from vents and wet pavement. The glitter emits separate rose-pink specular points and casts soft pink reflections onto the mascot, asphalt, glass and her face. CAUSE AND EFFECT: Pedestrians and pets notice the strange event before the transformation, so their final reactions read as consequences. The glitter must visibly travel in sequence: arrow releases, arrow breaks apart, particles stream through the city, glitter strikes the mascot chest, light travels through the seams, the plush statue activates, then the crowd and pets react. Never cut directly to an already-animated mascot. PHYSICS: Real mass, real air and believable momentum. Bow limbs flex, string snaps, arrow flight has directional force, glitter behaves as millions of separate solid particles carried by fast air, and plush fabric compresses, ripples and rebounds with weight. Cargo fabric, T-shirt, hair, quiver strap and keychains respond to acceleration. Wet pavement reflects movement without becoming a mirror. The giant mascot moves slowly because of its padded mass. No slow motion; all shots run at real-time speed. AUDIO: Wet footsteps, light splashes, distant traffic, pedestrian chatter, shopping bags and coats moving, dog tags and leash tension, a faint pet sound, bowstring creak, sharp release snap, arrow hiss, crystalline glitter shimmer, plush fabric shifting, soft mechanical-like seam tension, crowd gasps and footsteps. No music. ON-SCREEN TEXT: None. No readable text, subtitles, numbers, captions, UI, logos, brand marks or watermark anywhere. OUTPUT: 20 seconds, horizontal 16:9, 4K, continuous cinematic live-action realism. #DomoAi #DomoAiCPP

Sharon Riley

30,721 views • 1 month ago

Understand this: The movies and shows about the crucifixion have been tame when compared to what He actually went through. Even The Passion Of The Christ was forced to hold back a little in order to avoid an X rating. Crucifixion was, and still is, arguably the most excruciating death someone can experience. The night before in Gethsemane, He was sweating blood. This is known as hematidrosis. This would have caused His skin to become extremely sensitive, thus making the beatings to come even worse. The fear He felt was the beginning of His feeling the weight of our iniquities being laid on Him. Yet - in this moment, He didn’t demand that the Father take it from Him. He only asked for the cup to pass Him over if it was within the Father’s will. Up next came the Cat of Nine Tails, or a Roman Flagrum. This was a weapon with long leather “tails”, each embedded with sharp bones and metal. He was flogged 39 times as Jewish law mandated “40 minus one”, because 40 was said to kill a man. This flogging wasn’t like being punished by your father’s leather belt. Every strike tore flesh, every strike exposed muscle. Every strike exposed nerve endings. Every strike tore flesh to the bone. This would be like getting struck with razor blades over and over again, leading to hypovolemic shock from blood loss. Oh, and the crown of thorns? These weren’t rose thorns. These were thorns which were 2-3 inches long. Beaten into his skull. These thorns would have pierced his skull, tripping the trigeminal nerve, thus causing unimaginable pain and even more blood loss from the dozens of head wounds. At this point, extreme nausea and dizziness would begin to set in. What came next? Carrying the cross. Which weighed around 300lbs. This would be like carrying two full kegs on your back. Splinters and wood grating against the open flesh on His back. And He had to carry it 650 yards, or close to a half mile. Imagine carrying a log on your back after being skinned alive. Up next? He was nailed to the cross with spikes 5-7in in length. Piercing His wrists - this no doubt pierced the median nerve, causing extreme burning sensations up and down His arms. A spike was driven through his ankles - severing nerves and tendons. This would have felt like standing on broken glass every time He pushed Himself up in order to breathe. He suffered for 6 hours. His chest muscles collapsing, making every single breath a fight for life. His shoulders were dislocated, His arms stretching unnaturally long. His heart was struggling to pump blood. He was extremely dehydrated, His lips cracking. His heart more than likely literally ruptured from the stress. And on top of all of that, He had to feel a separation with the Father for a period of time in order to REALLY bear the weight of our sin. He took up this burden for ALL sin before Him, and ALL sin which came after Him. HE DID IT ALL FOR US. To free us. To defeat sin. To give us a pathway to the Kingdom. Every sin we commit is exactly why He had to do it. And the real kicker? He knew what was coming when He rode into Jerusalem … and He didn’t turn around. He kept going. For us.
0:33

Understand this: The movies and shows about the crucifixion have been tame when compared to what He actually went through. Even The Passion Of The Christ was forced to hold back a little in order to avoid an X rating. Crucifixion was, and still is, arguably the most excruciating death someone can experience. The night before in Gethsemane, He was sweating blood. This is known as hematidrosis. This would have caused His skin to become extremely sensitive, thus making the beatings to come even worse. The fear He felt was the beginning of His feeling the weight of our iniquities being laid on Him. Yet - in this moment, He didn’t demand that the Father take it from Him. He only asked for the cup to pass Him over if it was within the Father’s will. Up next came the Cat of Nine Tails, or a Roman Flagrum. This was a weapon with long leather “tails”, each embedded with sharp bones and metal. He was flogged 39 times as Jewish law mandated “40 minus one”, because 40 was said to kill a man. This flogging wasn’t like being punished by your father’s leather belt. Every strike tore flesh, every strike exposed muscle. Every strike exposed nerve endings. Every strike tore flesh to the bone. This would be like getting struck with razor blades over and over again, leading to hypovolemic shock from blood loss. Oh, and the crown of thorns? These weren’t rose thorns. These were thorns which were 2-3 inches long. Beaten into his skull. These thorns would have pierced his skull, tripping the trigeminal nerve, thus causing unimaginable pain and even more blood loss from the dozens of head wounds. At this point, extreme nausea and dizziness would begin to set in. What came next? Carrying the cross. Which weighed around 300lbs. This would be like carrying two full kegs on your back. Splinters and wood grating against the open flesh on His back. And He had to carry it 650 yards, or close to a half mile. Imagine carrying a log on your back after being skinned alive. Up next? He was nailed to the cross with spikes 5-7in in length. Piercing His wrists - this no doubt pierced the median nerve, causing extreme burning sensations up and down His arms. A spike was driven through his ankles - severing nerves and tendons. This would have felt like standing on broken glass every time He pushed Himself up in order to breathe. He suffered for 6 hours. His chest muscles collapsing, making every single breath a fight for life. His shoulders were dislocated, His arms stretching unnaturally long. His heart was struggling to pump blood. He was extremely dehydrated, His lips cracking. His heart more than likely literally ruptured from the stress. And on top of all of that, He had to feel a separation with the Father for a period of time in order to REALLY bear the weight of our sin. He took up this burden for ALL sin before Him, and ALL sin which came after Him. HE DID IT ALL FOR US. To free us. To defeat sin. To give us a pathway to the Kingdom. Every sin we commit is exactly why He had to do it. And the real kicker? He knew what was coming when He rode into Jerusalem … and He didn’t turn around. He kept going. For us.

Paul Fleuret

1,216,366 views • 5 months ago

After more than 7 months of work, I'm finally ready to release the DomoDucks Indelibly books out into the wild. 🎈 ◉ I professionally hinged the 512 original impressions (hand-stamped with fade-resistant museum-quality archival inks) within 6″ × 6″ ready-to-frame mat boards: ◉ I utilized Faber-Castell India ink artist pens to create a unique verification stamp on the front endsheet of each book (digitized and documented on-chain) as unequivocal proof of authenticity validating that a given book is genuine: ◉ I designed and oversaw the manufacturing of custom 100% cotton 5-panel hats with pressure-debossed black leather “stamps” sewn to the front and brass buckles (embossed with the QUAQ logo) fitted to the back: All of these achievements (and further undisclosed collectibles) will be combined into a package for those who decide to claim a book. ✅✅✅ DomoDucks Indelibly draws inspiration from Andy Warhol’s rubber-stamp prints in the iconic 1967 Pop art book Stamped Indelibly. Only 225 editions of Stamped Indelibly were published, and — in keeping with that historical precedent — only 256 editions of DomoDucks Indelibly have been published. Each book contains 22 signed prints and 2 originals. If you're interested in acquiring a copy, simply open a ticket in our Discord server: 👆 This post is not intended to stir up hype or FOMO; I'm not going to rush the process. My primary goal is to get these books into the hands of collectors who truly value them. Support tickets will be reviewed in the order in which they are received, but holders will be prioritized. P.S. Make sure to unmute the volume for the full experience. 🔊
0:41

After more than 7 months of work, I'm finally ready to release the DomoDucks Indelibly books out into the wild. 🎈 ◉ I professionally hinged the 512 original impressions (hand-stamped with fade-resistant museum-quality archival inks) within 6″ × 6″ ready-to-frame mat boards: ◉ I utilized Faber-Castell India ink artist pens to create a unique verification stamp on the front endsheet of each book (digitized and documented on-chain) as unequivocal proof of authenticity validating that a given book is genuine: ◉ I designed and oversaw the manufacturing of custom 100% cotton 5-panel hats with pressure-debossed black leather “stamps” sewn to the front and brass buckles (embossed with the QUAQ logo) fitted to the back: All of these achievements (and further undisclosed collectibles) will be combined into a package for those who decide to claim a book. ✅✅✅ DomoDucks Indelibly draws inspiration from Andy Warhol’s rubber-stamp prints in the iconic 1967 Pop art book Stamped Indelibly. Only 225 editions of Stamped Indelibly were published, and — in keeping with that historical precedent — only 256 editions of DomoDucks Indelibly have been published. Each book contains 22 signed prints and 2 originals. If you're interested in acquiring a copy, simply open a ticket in our Discord server: 👆 This post is not intended to stir up hype or FOMO; I'm not going to rush the process. My primary goal is to get these books into the hands of collectors who truly value them. Support tickets will be reviewed in the order in which they are received, but holders will be prioritized. P.S. Make sure to unmute the volume for the full experience. 🔊

DomoDucks

10,733 views • 8 months ago

Eric Roth won the Oscar for Best Adapted Screenplay in 1994. He wrote the scripts for movies like Dune, Forrest Gump, and The Curious Case of Benjamin Button — and worked with directors like Spielberg and Scorsese. Some highlights from the interview: 1. God is in the details. 2. If the details aren’t vivid, the story won’t succeed. 3. If you get writer’s block, try changing the weather in your story. Will give you a fresh perspective. 4. Don't try to make your characters likable. Try to make them understandable. Great villain characters aren't great because we like them, but because we understand what makes them tick. 5. For major characters, you should have a clear answer to: What makes them tick? 6. A good movie is more than just a story. It has to be about something. When writing, ask yourself: What's this story really about? The writing gets easier once you have a clear theme. 7. The time of day in a scene should match (and enhance) the scene. 8. Great writing lives in the subtext. The most sophisticated writers don’t explain things too directly. Communicating through subtlety lets you achieve more with your words. You can convey information, share a lesson for life, and give the audience something to make sense of for themselves. 9. Dialogue can't just fill space. It has to carry weight. Every interaction has to move the story along. Avoid Shoe Leather (which is when you have an unnecessary scene where people are walking around in a way that doesn’t develop the story or the characters). 10. The first time you write something, it won't be right. That's just how it is. The work of writing something great happens in the rewriting. 11. Every screenplay will follow a 3-Act Structure. You can't escape it. The first act will state the problem, the second act will complicate it, and the third act will or will not resolve it. 12. "I start on page one every day." Reading the whole screenplay from scratch is how he stays close to the material and keeps the entire story consistent. 13. End each writing day with a scene you like so you don't have to worry about it over night. I've shared the full interview with Eric Roth below. If you'd rather watch on YouTube or listen on Spotify / Apple, check the reply tweets. I've added the links there.
1:35:00

Eric Roth won the Oscar for Best Adapted Screenplay in 1994. He wrote the scripts for movies like Dune, Forrest Gump, and The Curious Case of Benjamin Button — and worked with directors like Spielberg and Scorsese. Some highlights from the interview: 1. God is in the details. 2. If the details aren’t vivid, the story won’t succeed. 3. If you get writer’s block, try changing the weather in your story. Will give you a fresh perspective. 4. Don't try to make your characters likable. Try to make them understandable. Great villain characters aren't great because we like them, but because we understand what makes them tick. 5. For major characters, you should have a clear answer to: What makes them tick? 6. A good movie is more than just a story. It has to be about something. When writing, ask yourself: What's this story really about? The writing gets easier once you have a clear theme. 7. The time of day in a scene should match (and enhance) the scene. 8. Great writing lives in the subtext. The most sophisticated writers don’t explain things too directly. Communicating through subtlety lets you achieve more with your words. You can convey information, share a lesson for life, and give the audience something to make sense of for themselves. 9. Dialogue can't just fill space. It has to carry weight. Every interaction has to move the story along. Avoid Shoe Leather (which is when you have an unnecessary scene where people are walking around in a way that doesn’t develop the story or the characters). 10. The first time you write something, it won't be right. That's just how it is. The work of writing something great happens in the rewriting. 11. Every screenplay will follow a 3-Act Structure. You can't escape it. The first act will state the problem, the second act will complicate it, and the third act will or will not resolve it. 12. "I start on page one every day." Reading the whole screenplay from scratch is how he stays close to the material and keeps the entire story consistent. 13. End each writing day with a scene you like so you don't have to worry about it over night. I've shared the full interview with Eric Roth below. If you'd rather watch on YouTube or listen on Spotify / Apple, check the reply tweets. I've added the links there.

David Perell

88,706 views • 1 year ago

100 years. 10 iconic looks. One seamless journey through the evolution of men's fashion. Which decade would you wear? 👔✨ Created with GPT image 2.0 and Seedance 2.0 on Thank You AI PROMPT: Style: Ultra-realistic cinematic fashion reel, luxury editorial, premium Instagram creator aesthetic, smooth camera movement, natural lighting, 4K, highly detailed fabrics, realistic clothing physics. Scene Overview A stylish male model showcases five iconic fashion eras from the 1920s to the 1960s. The video takes place in the same modern studio with soft daylight and a clean architectural background. The same model appears throughout the video while only the clothing changes between decades. Every outfit change happens naturally during camera movement, creating a smooth and satisfying visual flow. The only on-screen text is the decade name. Music is a modern electronic fashion track that builds continuously without vocals. Character Use the reference image as the model. Young adult male. Confident but relaxed. Friendly expression. Natural walking pace. The same model appears in every scene. Environment Minimalist fashion studio. Large windows. Warm daylight. Neutral beige walls. Polished concrete floor. Luxury editorial atmosphere. Keep the background consistent throughout the video. 0:00–0:03 — 1920s The video opens with the model standing confidently in the center of the studio. The camera slowly moves closer. He adjusts his cufflinks before looking toward the camera. Outfit Charcoal pinstripe three-piece suit White dress shirt Dark tie Waistcoat Pocket watch chain Oxford shoes Grey newsboy cap On-screen text: 1920s As the camera quickly pans to the right, the clothing smoothly changes into the next decade. 0:03–0:06 — 1930s The camera finishes the movement. The model now wears a cream double-breasted suit with wide lapels, pleated trousers, spectator shoes, and a fedora. He places one hand in his pocket and takes a confident step forward. On-screen text: 1930s The camera gently circles around him, and during the movement the outfit changes into the next style. 0:06–0:09 — 1940s The camera completes the circle. The model now wears an olive green utility jacket with tailored trousers, brown leather boots, and a classic wristwatch. He buttons the jacket while walking slowly toward the camera. On-screen text: 1940s A warm light sweep crosses the frame, leading naturally into the next outfit. 0:09–0:12 — 1950s The model now wears a fitted white T-shirt, dark blue cuffed jeans, a brown leather belt, leather boots, and classic sunglasses. He casually adjusts the sunglasses before taking two relaxed steps forward. On-screen text: 1950s The camera briefly moves closer, then pulls back, allowing the clothing to change smoothly. 0:12–0:15 — 1960s The model now wears a black turtleneck, camel overcoat, slim trousers, Chelsea boots, and a simple wristwatch. He walks confidently toward the camera with both hands in his coat pockets. On-screen text: 1960s During the final second, the camera begins a slow clockwise circle around him. His coat moves naturally as he lightly adjusts the collar. The music continues to build instead of ending. 0:15–0:18 — 1970s The video begins exactly where Part 1 ended. The camera continues its slow clockwise movement around the model before settling into a smooth front-facing angle. The music hits the next beat naturally. Outfit Brown suede jacket Patterned open-collar shirt Flared trousers Brown leather belt Platform shoes Gold wristwatch Aviator sunglasses The model adjusts his sunglasses before removing them with a confident smile. On-screen text: 1970s As the camera moves slightly closer, the outfit changes naturally into the next decade. 0:18–0:21 — 1980s The camera continues tracking forward. The model now wears a charcoal oversized business suit with a patterned tie, pleated trousers, polished loafers, and a classic dress watch. He straightens his tie while walking confidently toward the camera. On-screen text: 1980s The camera briefly passes beside him, creating a smooth transition into the next outfit. 0:21–0:24 — 1990s The camera emerges on the opposite side. The model now wears an oversized light-wash denim jacket over a graphic T-shirt, relaxed jeans, chunky white sneakers, and a simple silver chain. He smiles naturally while walking across the frame with both hands in his jacket pockets. On-screen text: 1990s The camera follows his movement before quickly swinging to reveal the next decade. 0:24–0:27 — 2000s The camera settles into a smooth tracking shot. The model now wears a black leather jacket over a fitted white T-shirt, slim dark jeans, white high-top sneakers, and aviator sunglasses. He casually removes the jacket from one shoulder while continuing to walk. The movement of the jacket naturally fills part of the frame as the clothing changes into the final look. On-screen text: 2000s 0:27–0:30 — 2020s The jacket clears the frame. The camera slowly pushes toward the model. He now wears a modern quiet luxury outfit. Outfit Beige overshirt Premium white T-shirt Relaxed tailored trousers White minimalist sneakers Luxury stainless steel watch Simple silver ring The model walks toward the camera before stopping naturally. He smiles confidently while looking directly into the lens. On-screen text: 2020s The decade text gently fades into: 100 YEARS OF MEN'S FASHION Then below it: 1920 → 2020 The music reaches its final peak before fading smoothly. The camera holds on the model for a brief moment before fading to black. Camera Style Smooth cinematic movement Gentle dolly shots Slow orbit around the model Occasional push-in Natural handheld feel Soft depth of field Luxury fashion commercial look Visual Style Premium editorial photography Warm natural colors Soft contrast Highly detailed fabrics Clean tailoring Realistic lighting Crisp facial details Natural movement Elegant pacing
0:30

100 years. 10 iconic looks. One seamless journey through the evolution of men's fashion. Which decade would you wear? 👔✨ Created with GPT image 2.0 and Seedance 2.0 on Thank You AI PROMPT: Style: Ultra-realistic cinematic fashion reel, luxury editorial, premium Instagram creator aesthetic, smooth camera movement, natural lighting, 4K, highly detailed fabrics, realistic clothing physics. Scene Overview A stylish male model showcases five iconic fashion eras from the 1920s to the 1960s. The video takes place in the same modern studio with soft daylight and a clean architectural background. The same model appears throughout the video while only the clothing changes between decades. Every outfit change happens naturally during camera movement, creating a smooth and satisfying visual flow. The only on-screen text is the decade name. Music is a modern electronic fashion track that builds continuously without vocals. Character Use the reference image as the model. Young adult male. Confident but relaxed. Friendly expression. Natural walking pace. The same model appears in every scene. Environment Minimalist fashion studio. Large windows. Warm daylight. Neutral beige walls. Polished concrete floor. Luxury editorial atmosphere. Keep the background consistent throughout the video. 0:00–0:03 — 1920s The video opens with the model standing confidently in the center of the studio. The camera slowly moves closer. He adjusts his cufflinks before looking toward the camera. Outfit Charcoal pinstripe three-piece suit White dress shirt Dark tie Waistcoat Pocket watch chain Oxford shoes Grey newsboy cap On-screen text: 1920s As the camera quickly pans to the right, the clothing smoothly changes into the next decade. 0:03–0:06 — 1930s The camera finishes the movement. The model now wears a cream double-breasted suit with wide lapels, pleated trousers, spectator shoes, and a fedora. He places one hand in his pocket and takes a confident step forward. On-screen text: 1930s The camera gently circles around him, and during the movement the outfit changes into the next style. 0:06–0:09 — 1940s The camera completes the circle. The model now wears an olive green utility jacket with tailored trousers, brown leather boots, and a classic wristwatch. He buttons the jacket while walking slowly toward the camera. On-screen text: 1940s A warm light sweep crosses the frame, leading naturally into the next outfit. 0:09–0:12 — 1950s The model now wears a fitted white T-shirt, dark blue cuffed jeans, a brown leather belt, leather boots, and classic sunglasses. He casually adjusts the sunglasses before taking two relaxed steps forward. On-screen text: 1950s The camera briefly moves closer, then pulls back, allowing the clothing to change smoothly. 0:12–0:15 — 1960s The model now wears a black turtleneck, camel overcoat, slim trousers, Chelsea boots, and a simple wristwatch. He walks confidently toward the camera with both hands in his coat pockets. On-screen text: 1960s During the final second, the camera begins a slow clockwise circle around him. His coat moves naturally as he lightly adjusts the collar. The music continues to build instead of ending. 0:15–0:18 — 1970s The video begins exactly where Part 1 ended. The camera continues its slow clockwise movement around the model before settling into a smooth front-facing angle. The music hits the next beat naturally. Outfit Brown suede jacket Patterned open-collar shirt Flared trousers Brown leather belt Platform shoes Gold wristwatch Aviator sunglasses The model adjusts his sunglasses before removing them with a confident smile. On-screen text: 1970s As the camera moves slightly closer, the outfit changes naturally into the next decade. 0:18–0:21 — 1980s The camera continues tracking forward. The model now wears a charcoal oversized business suit with a patterned tie, pleated trousers, polished loafers, and a classic dress watch. He straightens his tie while walking confidently toward the camera. On-screen text: 1980s The camera briefly passes beside him, creating a smooth transition into the next outfit. 0:21–0:24 — 1990s The camera emerges on the opposite side. The model now wears an oversized light-wash denim jacket over a graphic T-shirt, relaxed jeans, chunky white sneakers, and a simple silver chain. He smiles naturally while walking across the frame with both hands in his jacket pockets. On-screen text: 1990s The camera follows his movement before quickly swinging to reveal the next decade. 0:24–0:27 — 2000s The camera settles into a smooth tracking shot. The model now wears a black leather jacket over a fitted white T-shirt, slim dark jeans, white high-top sneakers, and aviator sunglasses. He casually removes the jacket from one shoulder while continuing to walk. The movement of the jacket naturally fills part of the frame as the clothing changes into the final look. On-screen text: 2000s 0:27–0:30 — 2020s The jacket clears the frame. The camera slowly pushes toward the model. He now wears a modern quiet luxury outfit. Outfit Beige overshirt Premium white T-shirt Relaxed tailored trousers White minimalist sneakers Luxury stainless steel watch Simple silver ring The model walks toward the camera before stopping naturally. He smiles confidently while looking directly into the lens. On-screen text: 2020s The decade text gently fades into: 100 YEARS OF MEN'S FASHION Then below it: 1920 → 2020 The music reaches its final peak before fading smoothly. The camera holds on the model for a brief moment before fading to black. Camera Style Smooth cinematic movement Gentle dolly shots Slow orbit around the model Occasional push-in Natural handheld feel Soft depth of field Luxury fashion commercial look Visual Style Premium editorial photography Warm natural colors Soft contrast Highly detailed fabrics Clean tailoring Realistic lighting Crisp facial details Natural movement Elegant pacing

Caden Flux

30,445 views • 2 months ago

Who better than our God of Style, #Thalaivar Rajinikanth as Baasha? 😎🔥 Bringing that authentic ’90s Thalaivar vibe into the Storm Dance trend #HiggsfieldLavaStorm ⚡ 🎥 Powered by Higgsfield AI 🧩 Genjutsu #Superstar #Rajinikanth Prompt 👇 Recreate this music video shot-for-shot using Video1 as the complete motion, performance and camera reference, Image1 as the crowd characters, Image2 as the lead, Image3 as the location, and Image4 as the cigar prop. CAST REPLACEMENT: The LEAD PERFORMER in Video1 is replaced by the lead from Image2 — a commanding stylish man, 6ft, silver-streaked dark wavy hair, full dark beard, round tinted sunglasses, cream-white tailored blazer over an open white shirt with a red cravat at the throat, a wide red silk sash at the waist, white trousers and white dress shoes. He stands dead centre with total authority and performs the lead's exact movements, turns and timing. The ENTIRE CROWD in Video1 is replaced by identical copies of the character in Image1 — a faceless humanoid figure in a glossy white helmet with a black mirrored visor and white over-ear headphones, black high-collar jacket over a black turtleneck, black tactical cargo trousers with straps and buckles, black high-top sneakers. Dozens of them, identical, in tight geometric rows filling the frame, moving in perfect unison exactly as the reference crowd does. LOCATION: replace the setting with Image3 — wide monumental black steps made of deep star-field stone speckled with glittering constellations, thin luminous edge-lines along each step, a vast black void above, and the faint silhouette of a colossal coiling dragon arcing through the darkness in the background. Pale floor at the base. PROP: in the opening shot, the lead holds and draws on the cigar from Image4 — a thick dark maduro cigar with a black-and-gold band and red BAASHA lettering, lit tip glowing with a grey ash cap and a thin curl of smoke — replacing the cigarette from the reference. He raises it to his lips and exhales slowly on the same beat. COPY TWO LAYERS FROM Video1 EXACTLY: 1. Motion and performance — copy the choreography, unison crowd movement, formation changes, head tilts, bows, body rolls and all timing exactly. Every beat lands at the same moment. Match the pace exactly, not slower. The crowd moves as one machine, perfectly synchronised. 2. Camera motion — copy the camera work exactly: the same angles, the slow continuous pull-back and scale reveal, push-ins, rises, tilts and framing at every moment, frame-for-frame, keeping the lead centred throughout. VFX: as the camera pulls back for the full group reveal, thin veils of soft white smoke drift in low from the left and right edges of the frame and rise gently through the rows, catching the light and thickening the atmosphere without obscuring the figures. STYLE: cinematic black-and-white, high contrast, ultra-wide cinematic framing, glossy white helmets against deep black, dramatic monumental scale, premium music-video quality matching Video1. Negative prompt: visible eyes on the robots, mismatched crowd outfits, lead blending into the crowd, cigarette, colour footage, warm colour grade, slow motion, slower than reference, static locked-off camera, ignoring reference camera motion, breaking formation, changing the location, heavy fog obscuring the figures, distorted hands, extra limbs, watermark, logo, subtitles.
0:36

Who better than our God of Style, #Thalaivar Rajinikanth as Baasha? 😎🔥 Bringing that authentic ’90s Thalaivar vibe into the Storm Dance trend #HiggsfieldLavaStorm ⚡ 🎥 Powered by Higgsfield AI 🧩 Genjutsu #Superstar #Rajinikanth Prompt 👇 Recreate this music video shot-for-shot using Video1 as the complete motion, performance and camera reference, Image1 as the crowd characters, Image2 as the lead, Image3 as the location, and Image4 as the cigar prop. CAST REPLACEMENT: The LEAD PERFORMER in Video1 is replaced by the lead from Image2 — a commanding stylish man, 6ft, silver-streaked dark wavy hair, full dark beard, round tinted sunglasses, cream-white tailored blazer over an open white shirt with a red cravat at the throat, a wide red silk sash at the waist, white trousers and white dress shoes. He stands dead centre with total authority and performs the lead's exact movements, turns and timing. The ENTIRE CROWD in Video1 is replaced by identical copies of the character in Image1 — a faceless humanoid figure in a glossy white helmet with a black mirrored visor and white over-ear headphones, black high-collar jacket over a black turtleneck, black tactical cargo trousers with straps and buckles, black high-top sneakers. Dozens of them, identical, in tight geometric rows filling the frame, moving in perfect unison exactly as the reference crowd does. LOCATION: replace the setting with Image3 — wide monumental black steps made of deep star-field stone speckled with glittering constellations, thin luminous edge-lines along each step, a vast black void above, and the faint silhouette of a colossal coiling dragon arcing through the darkness in the background. Pale floor at the base. PROP: in the opening shot, the lead holds and draws on the cigar from Image4 — a thick dark maduro cigar with a black-and-gold band and red BAASHA lettering, lit tip glowing with a grey ash cap and a thin curl of smoke — replacing the cigarette from the reference. He raises it to his lips and exhales slowly on the same beat. COPY TWO LAYERS FROM Video1 EXACTLY: 1. Motion and performance — copy the choreography, unison crowd movement, formation changes, head tilts, bows, body rolls and all timing exactly. Every beat lands at the same moment. Match the pace exactly, not slower. The crowd moves as one machine, perfectly synchronised. 2. Camera motion — copy the camera work exactly: the same angles, the slow continuous pull-back and scale reveal, push-ins, rises, tilts and framing at every moment, frame-for-frame, keeping the lead centred throughout. VFX: as the camera pulls back for the full group reveal, thin veils of soft white smoke drift in low from the left and right edges of the frame and rise gently through the rows, catching the light and thickening the atmosphere without obscuring the figures. STYLE: cinematic black-and-white, high contrast, ultra-wide cinematic framing, glossy white helmets against deep black, dramatic monumental scale, premium music-video quality matching Video1. Negative prompt: visible eyes on the robots, mismatched crowd outfits, lead blending into the crowd, cigarette, colour footage, warm colour grade, slow motion, slower than reference, static locked-off camera, ignoring reference camera motion, breaking formation, changing the location, heavy fog obscuring the figures, distorted hands, extra limbs, watermark, logo, subtitles.

Syed Abuthahir ∞

20,071 views • 9 days ago

🏴󠁧󠁢󠁷󠁬󠁳󠁿🇬🇧 3,500 years ago a Welsh goldsmith beat a single ingot of gold... Thin enough to wrap around the shoulders of a child. In 1833 quarry workmen broke it into pieces. It took the British Museum 120 years to put it back together. In October 1833, a team of workmen dug into a Bronze Age burial mound at Bryn yr Ellyllon, Mold, Flintshire, looking for stone for a wall. They broke into the cist. They found a small skeleton. And beside the bones, beaten flat against the stone, a sheet of gold. 564 grams of it. About 75% pure. Hammered thin. Worked in concentric bands of beaten pattern across the surface. Shaped to wrap around the shoulders of someone small. 🏛️ The workmen had no idea what they had. They split the gold between themselves and took it home. Pieces were sold off, melted down, used as keepsakes. A vicar wrote it up in The Cambrian. Decades later a museum officer began the work of finding the fragments and buying them back. The reassembly took until 1953. 120 years from the day it was broken open. The British Museum's conservators pieced it back together against a leather backing, one fragment at a time, until the cape was whole. It is the finest prehistoric goldwork ever found in Britain. Worked by a Welsh hand. For a child the village had set apart. In a country where the gold for it was mined, the bronze for the tools came from Cornwall, and the people who walked the hill knew the shape of every slope. 🇬🇧 You were told the finest prehistoric goldwork was continental. It was Welsh. And it is still in the British Museum. ━━━━━━━━━━━━━━ They preserved the child in gold. Help us preserve their story. 👇🙏 👉 👈 Be part of us. ☝️🇬🇧 Be Proud Of Us. 🙏🇬🇧
1:38

🏴󠁧󠁢󠁷󠁬󠁳󠁿🇬🇧 3,500 years ago a Welsh goldsmith beat a single ingot of gold... Thin enough to wrap around the shoulders of a child. In 1833 quarry workmen broke it into pieces. It took the British Museum 120 years to put it back together. In October 1833, a team of workmen dug into a Bronze Age burial mound at Bryn yr Ellyllon, Mold, Flintshire, looking for stone for a wall. They broke into the cist. They found a small skeleton. And beside the bones, beaten flat against the stone, a sheet of gold. 564 grams of it. About 75% pure. Hammered thin. Worked in concentric bands of beaten pattern across the surface. Shaped to wrap around the shoulders of someone small. 🏛️ The workmen had no idea what they had. They split the gold between themselves and took it home. Pieces were sold off, melted down, used as keepsakes. A vicar wrote it up in The Cambrian. Decades later a museum officer began the work of finding the fragments and buying them back. The reassembly took until 1953. 120 years from the day it was broken open. The British Museum's conservators pieced it back together against a leather backing, one fragment at a time, until the cape was whole. It is the finest prehistoric goldwork ever found in Britain. Worked by a Welsh hand. For a child the village had set apart. In a country where the gold for it was mined, the bronze for the tools came from Cornwall, and the people who walked the hill knew the shape of every slope. 🇬🇧 You were told the finest prehistoric goldwork was continental. It was Welsh. And it is still in the British Museum. ━━━━━━━━━━━━━━ They preserved the child in gold. Help us preserve their story. 👇🙏 👉 👈 Be part of us. ☝️🇬🇧 Be Proud Of Us. 🙏🇬🇧

Proudofus.uk

71,397 views • 3 months ago

Seedance 2.5 frozen time + rewind effect prompt is below 👇 Photorealistic cinematic 1950s American diner, chrome stools, red vinyl, neon glow and checkerboard floor, shot with modern lived-in realism and soft natural window light. Subtle handheld texture, warm practicals, rich period detail, heavy film grain. 0-4s: [Medium Wide] A striking young woman in her early 20s sits alone at the counter, calm and slightly amused, slowly sipping a tall thick milkshake through a straw. Behind her a young waitress in classic uniform approaches with a tray of eggs and bacon in one hand and a full glass coffee pot in the other. An older lady starts rising from a nearby booth. 4-8s: [Dynamic Tracking] The older lady collides hard into the waitress. Tray, plate, eggs, bacon and coffee pot explode upward in chaotic slow motion. Coffee erupts into long liquid ribbons and perfect suspended droplets. Camera immediately begins a smooth continuous orbit around the impact. Time locks completely at the peak of the spill. Every face freezes in pure shock. Only the girl at the counter keeps moving, completely unfazed. 8-17s: [Slow 360° Orbital] Camera glides in a full elegant orbit through the frozen diner. Coffee hangs in mid-air as glassy ribbons and spheres with perfect volume and surface tension. Bacon strips, eggs and the spinning tray float weightlessly. Patrons and waitress remain locked in startled expressions. The girl at the counter takes one slow, deliberate sip, eyes half-lidded, almost bored, while the entire frozen world (except her) begins an elegant reverse: every droplet, every piece of food and every person rewinds smoothly back to the exact starting positions. 17-24s: [Medium Shot] Rewind lands perfectly. Waitress stands balanced again with tray and coffee pot. The girl lifts her eyes, raises two fingers in a small casual gesture and softly calls the waitress by name. The waitress turns toward her just before the older lady begins to stand, completely avoiding the collision. A tiny private smile crosses the girl’s face. 24-30s: [Extreme Close-Up] Hard cut to her face as she takes one last slow sip. Soft knowing smile, eyes almost closed in quiet satisfaction, like she has done this a hundred times. Shallow depth of field, creamy bokeh of the neon diner behind her. Photorealistic, ultra-detailed fluid physics, perfect motion blur only on moving elements, stable characters, cinematic lighting, heavy natural film grain, no artifacts, movie-level temporal coherence, high rewatch value. 30 seconds long is the new AI standard! hope you like it 🫡
0:30

Seedance 2.5 frozen time + rewind effect prompt is below 👇 Photorealistic cinematic 1950s American diner, chrome stools, red vinyl, neon glow and checkerboard floor, shot with modern lived-in realism and soft natural window light. Subtle handheld texture, warm practicals, rich period detail, heavy film grain. 0-4s: [Medium Wide] A striking young woman in her early 20s sits alone at the counter, calm and slightly amused, slowly sipping a tall thick milkshake through a straw. Behind her a young waitress in classic uniform approaches with a tray of eggs and bacon in one hand and a full glass coffee pot in the other. An older lady starts rising from a nearby booth. 4-8s: [Dynamic Tracking] The older lady collides hard into the waitress. Tray, plate, eggs, bacon and coffee pot explode upward in chaotic slow motion. Coffee erupts into long liquid ribbons and perfect suspended droplets. Camera immediately begins a smooth continuous orbit around the impact. Time locks completely at the peak of the spill. Every face freezes in pure shock. Only the girl at the counter keeps moving, completely unfazed. 8-17s: [Slow 360° Orbital] Camera glides in a full elegant orbit through the frozen diner. Coffee hangs in mid-air as glassy ribbons and spheres with perfect volume and surface tension. Bacon strips, eggs and the spinning tray float weightlessly. Patrons and waitress remain locked in startled expressions. The girl at the counter takes one slow, deliberate sip, eyes half-lidded, almost bored, while the entire frozen world (except her) begins an elegant reverse: every droplet, every piece of food and every person rewinds smoothly back to the exact starting positions. 17-24s: [Medium Shot] Rewind lands perfectly. Waitress stands balanced again with tray and coffee pot. The girl lifts her eyes, raises two fingers in a small casual gesture and softly calls the waitress by name. The waitress turns toward her just before the older lady begins to stand, completely avoiding the collision. A tiny private smile crosses the girl’s face. 24-30s: [Extreme Close-Up] Hard cut to her face as she takes one last slow sip. Soft knowing smile, eyes almost closed in quiet satisfaction, like she has done this a hundred times. Shallow depth of field, creamy bokeh of the neon diner behind her. Photorealistic, ultra-detailed fluid physics, perfect motion blur only on moving elements, stable characters, cinematic lighting, heavy natural film grain, no artifacts, movie-level temporal coherence, high rewatch value. 30 seconds long is the new AI standard! hope you like it 🫡

TechHalla

226,934 views • 1 month ago

MUST SEE!! Beautiful interview with a political prisoner and hostage of the fallen Biden Regime minutes after he was freed from jail - BUSTED OUT late at night from the D.C. Gulag by President Trump! This young man (Jake Lang of New York) lost FOUR years of his life in unconstitutional PRE-TRIAL detention. This is his PURE REACTION right after he was released from his 4-year prison cage forever. GOD BLESS FREEDOM and never take yours for granted. Lang’s only possession leaving the despicable notorious D.C. Jail was the worn leather Bible he clutched in his hands. Lang studied the Bible in his cell every single day of his four years as Biden’s hostage. “It is what got me through each and every day of confinement,” Lang told me as he held his brown Bible and prayed outside the jail. Here is Jake Lang’s prayer straight of his jail cell and breathing fresh air for the first time after 4 years. “Father, God, Lord Jesus- Lord, we just thank you so much for the blessings of freedom, Lord. You have freed us in the Spirit, Lord, and now also in the flesh. The chains of bondage have been broken because you have ordained that, Lord God. You have found us worthy. Our cries that we have prayed out to you every single night, you have heard the humble hearts of the broken spirits of the Jan6ers and their families, Lord. And it is through your hand, and your hand alone, God, deliverance has come. And we're asking, Lord, that you continue to prosper and bless all the Jan6ers. Give them a blessing, the same blessing you gave Job, Lord God. Give them double what they lost. Every single thing that was taken from the Jan6ers, Lord, we ask you, Lord God, to restore it. The family members, lives that have been shattered, the relationships that have been broken, the health that has deteriorated, Lord God. We know, God, you are the God of restoration and healing…and Jesus, we just pray that your Holy Spirit comes upon every man and family member that is out here tonight and across the country welcoming, with open arms, their family members home. Lord, do what only you can do, God, and give resurrection power to this country that has been almost dead for four years. It has been a destroyed country, but God, you have made a way where there was no way- the tomb has opened up, the grave is empty, and we are out of the Gulag…we are out of our tombs and we are back. WE ARE BACK! We love you. Thank you so much! In Jesus’ name, Amen.” IN THE END GOD WINS. Donald J. Trump Elon Musk Pam Bondi Alex Jones TCN Tucker Carlson 🇺🇸 𝗧 𝗢 𝗠 𝗠 𝗬 ✦ 𝗧 𝗔 𝗧 𝗨 𝗠 ✦ 𝗡 𝗘 𝗪 𝗦 John W. Pork
3:47

MUST SEE!! Beautiful interview with a political prisoner and hostage of the fallen Biden Regime minutes after he was freed from jail - BUSTED OUT late at night from the D.C. Gulag by President Trump! This young man (Jake Lang of New York) lost FOUR years of his life in unconstitutional PRE-TRIAL detention. This is his PURE REACTION right after he was released from his 4-year prison cage forever. GOD BLESS FREEDOM and never take yours for granted. Lang’s only possession leaving the despicable notorious D.C. Jail was the worn leather Bible he clutched in his hands. Lang studied the Bible in his cell every single day of his four years as Biden’s hostage. “It is what got me through each and every day of confinement,” Lang told me as he held his brown Bible and prayed outside the jail. Here is Jake Lang’s prayer straight of his jail cell and breathing fresh air for the first time after 4 years. “Father, God, Lord Jesus- Lord, we just thank you so much for the blessings of freedom, Lord. You have freed us in the Spirit, Lord, and now also in the flesh. The chains of bondage have been broken because you have ordained that, Lord God. You have found us worthy. Our cries that we have prayed out to you every single night, you have heard the humble hearts of the broken spirits of the Jan6ers and their families, Lord. And it is through your hand, and your hand alone, God, deliverance has come. And we're asking, Lord, that you continue to prosper and bless all the Jan6ers. Give them a blessing, the same blessing you gave Job, Lord God. Give them double what they lost. Every single thing that was taken from the Jan6ers, Lord, we ask you, Lord God, to restore it. The family members, lives that have been shattered, the relationships that have been broken, the health that has deteriorated, Lord God. We know, God, you are the God of restoration and healing…and Jesus, we just pray that your Holy Spirit comes upon every man and family member that is out here tonight and across the country welcoming, with open arms, their family members home. Lord, do what only you can do, God, and give resurrection power to this country that has been almost dead for four years. It has been a destroyed country, but God, you have made a way where there was no way- the tomb has opened up, the grave is empty, and we are out of the Gulag…we are out of our tombs and we are back. WE ARE BACK! We love you. Thank you so much! In Jesus’ name, Amen.” IN THE END GOD WINS. Donald J. Trump Elon Musk Pam Bondi Alex Jones TCN Tucker Carlson 🇺🇸 𝗧 𝗢 𝗠 𝗠 𝗬 ✦ 𝗧 𝗔 𝗧 𝗨 𝗠 ✦ 𝗡 𝗘 𝗪 𝗦 John W. Pork

Cara Castronuova

76,704 views • 1 year ago