Sensitive content

This media may contain sensitive content.

正在加载视频...

视频加载失败

#Lucilla #ルシラー #루실라 #洛瑟菈 #Jingran #ジンラン #景燃 #경연 #WutheringWaves #鳴潮 #ラハイロイ #LahaiRoi Lucilla takes an excursion into the academy's dark side. She becomes our cum dumpster 3/5🤭

0 条评论

暂无评论

原始帖子的评论将显示在这里

相关视频

Some stories don't end with the rescue; they begin with the chase. The pendant is broken. The call has been made. Now Reyes has only one clue and everything to lose. Made with Seedream 5.0 and Seedance 2.0 on RoboNeo Prompt: PART 1 — 0–15s VIDEO PROMPT Continue directly from Episode Zero final frame. Create a realistic live-action football thriller scene with a cinematic Netflix-style sports drama atmosphere. Mateo Reyes: 28-year-old fictional elite football captain, athletic build, short dark wavy hair, brown eyes, light stubble. Wearing a navy-and-gold national-style football kit with captain armband. Jersey details: Back name: REYES Number: 10 Clean realistic sports lettering. No real team logo or brand visible. Emotional state: confused, protective, determined. Elena: 27-year-old woman, long dark wavy hair, cream blouse, tan trousers, silver pendant around her neck. Fearful expression. Looking directly toward Mateo. Stranger: Tall mysterious figure wearing a dark overcoat. Face completely hidden in shadow or outside the frame. Black leather glove gripping Elena’s shoulder. Never reveal identity. [0.0–1.5 SEC] RECALL — CLIFFHANGER CONTINUATION Camera: Static cinematic freeze-frame matching Episode Zero ending. Medium-wide over-the-shoulder shot from behind Mateo. Composition: Mateo stands in the right foreground. His arm is slightly extended toward Elena. The back of his jersey is partially visible with “REYES 10” readable. Elena stands on the left side near a railing. Stranger stands behind Elena with a gloved hand on her shoulder. Mateo is looking directly at Elena. He is not looking at the crowd. Visual: Natural stadium lighting. Realistic sweat and skin texture. Soft background blur. Crowd only as an indistinct background element. Audio: Low cinematic impact sound fading from previous episode. Text Overlay: Minimal elegant serif text: “PREVIOUSLY...” Bottom-left. [1.5–5 SEC] THE QUESTION Camera: Slow handheld push-in from Mateo’s side angle. Natural documentary-style movement. Action: The frozen moment resumes. Elena turns toward Mateo, fear visible in her eyes. The Stranger pulls her slightly backward while keeping his face hidden. Mateo takes one step forward. His eyes remain fixed only on Elena. Shot A — Mateo Close-Up 35mm cinematic lens. Mateo breathing heavily. Confusion and urgency on his face. He speaks directly to Elena: Mateo: “Elena — who is that?!” Shot B — Elena Reaction Medium close-up. Elena looks frightened. She appears unable to explain. Her pendant catches a small reflection of light. Shot C — Stranger Detail Close-up of the black glove tightening on Elena’s shoulder. Face remains hidden. No dialogue. [5–10 SEC] SECURITY INTERVENTION Camera: Handheld tracking shot behind Mateo. Maintain clear geography. Mateo remains focused on Elena. Elena and Stranger move toward the side exit. Do not show Mateo shouting toward random people. Action: Two fictional stadium security officers enter from the side corridor. One officer blocks Mateo. Security Officer: “Sir, stay back — we’ll handle this.” Mateo tries to move forward but is stopped. Cut to Elena. The Stranger pulls her toward the exit. Before disappearing, Elena looks back. Her eyes meet Mateo’s. Mateo freezes. The silver pendant reflects the stadium light. No exaggerated crying. Only shock and fear. [10–15 SEC] THE CHASE BEGINS — MOVING TO THE LOCATION Transition: Move naturally from the stadium exterior into the pursuit. No return to the stadium. Camera: Fast handheld tracking shot following Mateo as he leaves through a restricted side exit. Night environment. Realistic street lighting. Thriller atmosphere. Action: Mateo removes his match layer and throws a dark training jacket over his shoulders. As he walks away: The camera briefly captures the back of his shirt: REYES 10 Clearly visible. No logos. No real team branding. Mateo follows the last known direction where Elena was taken. Cut to: Exterior — Abandoned Industrial Location Dark warehouse entrance. Quiet street. Moody cinematic lighting. Mateo arrives alone. Camera follows from behind. His jacket moves naturally in the wind. He searches the area. Final Shot: Slow cinematic push-in. Mateo notices Elena’s silver pendant lying near the entrance. He picks it up. His expression changes from confusion to determination. Low suspense music rises. CUT TO BLACK. PART 2 — 15–30s VIDEO PROMPT 15.0–19.0 sec | PANEL 1 — THE WEIGHT OF THE PENDANT Camera Slow cinematic push-in. Natural handheld movement. Action Mateo slowly closes his fingers around the pendant. His breathing becomes uneven. He stares at it as memories of Elena flash across his mind (no flashback visuals, only conveyed through his expression). His shoulders slump. For a brief moment, he struggles to stay composed. He presses the pendant tightly against his forehead, closes his eyes, and exhales deeply as if blaming himself for not reaching her in time. A tear begins to form but never fully falls. He whispers almost silently: "I'm sorry..." Cold wind moves through the abandoned industrial yard. Everything else remains silent. 19.0–24.0 sec | PANEL 2 — THE PHONE CALL Camera Medium close-up from the front. Shallow depth of field. Slow handheld push toward Mateo. Action His phone suddenly vibrates. He opens his eyes immediately. His breathing stops for a split second. Without letting go of the pendant, he answers. Dialogue Unknown Voice (distorted, calm): "You should have stayed on the pitch, Reyes." Mateo's face changes instantly. The sadness disappears. Anger replaces it. His grip tightens around the pendant until his knuckles turn white. Mateo (furious): "Where is she?!" Silence. The call disconnects. Flat electronic tone. Mateo continues listening to the dead line for another second, refusing to lower the phone. 24.0–27.0 sec | PANEL 3 — DESPERATION Camera Handheld side tracking shot. Medium-wide framing. Natural movement. Action Mateo lowers the phone slowly. His breathing becomes heavier. Frustration overwhelms him. He punches a nearby concrete pillar with his free hand. The impact echoes through the empty warehouse. He immediately winces in pain. His knuckles become slightly bloodied. He doesn't care. Still clutching Elena's pendant tightly in the other hand, he leans against the pillar for a brief second, trying to regain control. He wipes the tears from his eyes with the back of his sleeve. Then straightens up. His expression changes completely. Fear is gone. Only determination remains. 27.0–30.0 sec | PANEL 4 — THE PROMISE Camera Wide cinematic shot. Very slow dolly forward. Long abandoned industrial road disappearing into darkness. Action Mateo steps forward into the empty roadway. His fist remains tightly closed around Elena's pendant. Far ahead— A single red taillight flickers once before disappearing behind an abandoned warehouse. Mateo never looks away. He quietly says: "I'm coming for you." No music for a beat. Only distant wind. Freeze exactly as the taillight disappears. Hold the frame for two full beats. Hard cut to black. END CARD Black background. Elegant gold serif typography. Slow two-second fade in. EPISODE 2 COMING SOON Hold for at least two seconds before fading out.

Shami

47,507 次观看 • 2 个月前

This prompt is seriously good, so I ran it through our agent and made a few tweaks. Agent: Shoutout to TechHalla for sharing the original prompt 🙌 Here’s the refined version: image prompt: DIRECTIVE: Produce one still that reads as a real smartphone frame filmed from inside a moving car approaching a strange highway incident. Optical consumer-phone capture through a real windshield — wide forward view, windshield glass, rain specks, A-pillar, a slice of dashboard / hood at the bottom. Lived-in phone JPEG, not cinema, not HDR, not advertising photography. FORMAT: Vertical 3:4 smartphone frame. BEAT / COMPOSITION: Looking forward through the windshield while approaching two trucks clustered close together on the LEFT side of the highway, either in the left lane or left shoulder. LEFT TRUCK — SPARKLING LEMONADE TANKER, CRITICAL: A full-size stainless-steel beverage tanker with bright yellow-and-white SPARKLING LEMONADE branding clearly readable on the tank. Large lemon graphics, yellow citrus branding, believable commercial beverage-truck design. The tanker has suffered a breakdown: a torn, jagged, ragged hole has opened in the side of the tank. A thick, pressurized jet of pale yellow carbonated lemonade is ALREADY blasting horizontally and downward through the hole onto the asphalt. Huge amount of liquid. Visible carbonation and bubbles. Pale-yellow transparent soda, NOT fuel, NOT paint. Foamy white-yellow splashes around the impact area. A wide lemonade lake is already spreading across the road. Wet asphalt reflections, spray suspended in the air, runoff flowing along the lane markings. The truck is stopped or crawling with hazard lights. RIGHT / BESIDE IT — BAKING SODA DELIVERY TRUCK, CRITICAL: Immediately beside the lemonade tanker, slightly ahead or alongside, is a closed white box delivery truck. Large unmistakable generic commercial branding on the side: “BAKING SODA” “FOOD GRADE” “SODIUM BICARBONATE” Simple blue-and-white industrial food-supply graphics, with illustrations of white baking-soda boxes and large paper sacks. Rear doors CLOSED. Side doors CLOSED. No powder spilling yet. The truck must clearly read as a baking-soda delivery vehicle, not flour, cement, salt, or detergent. CAMERA PACK: Handheld smartphone from inside the car, passenger or driver seat. Not a fixed professional dashcam. Wide smartphone lens with subtle barrel distortion. Windshield and left A-pillar visible. A small slice of dashboard / hood along the lower frame. Rain dots, minor grime and reflections on the windshield. Slight handheld breathing shake implied. Consumer smartphone sharpening and compression. Minor autofocus softness. Natural dynamic range. No cinematic depth of field. No dramatic movie lighting. ENVIRONMENT: Daylight, overcast highway. Realistic American interstate-style road. Other normal traffic farther ahead. Clear long highway vanishing point beyond the trucks. Wet asphalt. Muted cloudy sky. Road barriers, lane markings, signs and distant utility structures. PHOTOGRAPHIC CHARACTER: An accidental, unstaged smartphone capture of a bizarre roadside beverage accident. Physically grounded truck scale. Believable weight and liquid flow. The lemonade leak is the unmistakable event. The juxtaposition of a leaking SPARKLING LEMONADE tanker beside a BAKING SODA delivery truck should immediately suggest that something disastrous and absurd is about to happen. NO PERSON visible yet. NO open baking-soda doors. NO powder reaction yet. NO explosion. NO fire. NO fantasy lighting. Real phone footage aesthetic. video prompt: [STYLE + CAMERA + ATMOSPHERE] Vertical 3:4 smartphone video filmed FROM INSIDE a moving car, passenger or driver seat. CONTINUOUS SINGLE TAKE for the entire 30 seconds. The phone is handheld, NOT a bolted dashcam. Visible windshield glass, A-pillar, rain specks, faint reflections, a slice of dashboard / hood at the bottom, occasionally a tiny finger edge near the phone. Natural arm movement and slight breathing shake. Consumer smartphone footage: minor autofocus hunting, rolling shutter, digital sharpening, occasional exposure pumping, phone microphone clipping during the loudest moment, real compressed social-media-video texture. We are ARRIVING. The car is moving forward first. The trucks gradually grow larger through the windshield. Then the car brakes, slows, and stops just short of the spreading lemonade lake. NO CUTS. NO camera teleportation. ONLY digital pinch-zooms: zoom into the lemonade jet, zoom into the clear jug filling, zoom toward the baking-soda truck doors, zoom into the powder hitting the liquid, slam-zoom onto the launch, then zoom out as the woman disappears toward the highway horizon. Daylight. Overcast sky. Wet asphalt. Occasional rain droplets on the windshield. Everything should initially feel like an absurd event caught accidentally on a normal phone. Photoreal environment with coherent liquid, foam, gravity and vehicle scale. The final launch uses deliberately exaggerated slapstick physics, but remains visually photorealistic. No gore. No visible injury. No fire. No combustion explosion. [LOCKED SET / VEHICLES] LEFT ahead through the windshield: A full-size stainless-steel beverage tanker with bright yellow-and-white SPARKLING LEMONADE branding. Large lemon graphics. The words: “SPARKLING LEMONADE” and “CARBONATED LEMON DRINK” are clearly readable. A large ragged torn hole is already present in the tanker wall. A thick pale-yellow carbonated lemonade jet is ALREADY blasting from the hole when the video begins. The liquid is translucent yellow with heavy carbonation. It splashes violently onto the asphalt and has already created a large spreading lemonade lake. White-yellow foam forms where the jet strikes the pavement. The tanker remains stopped or crawling. BESIDE IT: A white commercial box truck clearly branded: “BAKING SODA” “FOOD GRADE” “SODIUM BICARBONATE” Blue-and-white industrial food-supply livery. Graphics of baking-soda cartons and large paper sacks. Rear doors are CLOSED when we arrive. No powder is leaking at the beginning. The baking-soda truck is slightly ahead of or directly alongside the lemonade tanker. The two vehicles form one obvious cluster on the LEFT side of the highway. HIGHWAY: The highway continues beyond the trucks toward a long, clear vanishing-point horizon. Normal distant traffic may exist farther ahead. No additional vehicle belongs to the woman. [LOCKED CAST] THE WOMAN: ONE woman only. Clearly adult, approximately 25–30 years old. Attractive adult woman with a naturally voluptuous figure and a noticeably full bust, realistic adult proportions. No exaggerated cartoon anatomy. Long dark hair, slightly messy from humid roadside weather. Natural makeup. Real skin texture. She wears: a fitted white ribbed spaghetti-strap camisole / tank top, secure opaque fabric, natural neckline, denim shorts, casual sneakers. Clothing remains identical for the entire clip. No wardrobe malfunction. No transparent fabric. No nudity. She has confident, reckless, chaotic roadside energy, behaving as if this absurd situation is completely normal. She is alone. No second person. She does NOT exit any vehicle. She ENTERS FRAME FROM THE RIGHT SIDE of the windshield view, already walking on foot from the roadside / shoulder. [HERO OBJECT] One giant transparent gas-station plastic drink jug / oversized Big-Gulp-scale clear cup. She carries it in her RIGHT hand. At first it is completely EMPTY. Daylight can clearly be seen through the empty transparent plastic. It stays in her right hand through the filling and drinking sequence. The jug is only lost during the final foam blast. [DIEGETIC AUDIO] Beginning: normal road hum, tires on wet pavement, wind, engine noise. Approaching the trucks: increasing loud pressurized lemonade hiss and splashing. Jug filling: liquid hammering plastic, violent fizzy splashes. Drinking: large gulps, brief coughing / breath. Truck: metal latch clunk, rear doors creaking. Reaction: rapid fizzing grows from thousands of tiny bubbles into a deep roaring foam eruption. Launch: phone microphone clips, wind rush, short Doppler scream as she rapidly travels away. No soundtrack. No cinematic score. [IMAGE REFERENCE] [ref_image] = locked opening smartphone still from inside the moving car looking through the windshield at: the SPARKLING LEMONADE tanker, the exact ragged hole, the pale-yellow lemonade jet, the BAKING SODA delivery truck, the wet highway, and the in-car windshield foreground. These visual elements are LAW. The clip begins while the car is still rolling toward that exact truck cluster. [TIMELINE — SECOND BY SECOND] 0–3s: [HOOK — ARRIVING + FIRST ZOOM] Phone is already recording. The car is moving toward the incident. Through the windshield, both trucks are clearly visible on the LEFT. The sparkling-lemonade tanker is ALREADY leaking. A powerful pale-yellow carbonated stream blasts through the ragged hole and crashes onto the highway. The lemonade lake is already widening. The vehicles visibly grow larger as we approach. Around 1s: digital pinch-zoom quickly punches toward the torn metal and lemonade jet. Bubbles and yellow-white spray are visible. Autofocus briefly hunts. Around 2.5s: the driver brakes. The phone and camera body dip slightly with the deceleration. 3–5s: [STOP + WOMAN ENTERS FROM RIGHT] The car finishes stopping before reaching the liquid. Engine idles. Natural handheld phone shake continues. Digital zoom pulls back slightly. THE WOMAN enters frame FROM THE RIGHT. She is already walking on foot. She never exits any car or truck. Her appearance stays consistent: adult woman, long dark hair, white fitted ribbed spaghetti-strap tank top, denim shorts, sneakers, naturally voluptuous figure. In her RIGHT hand is the giant completely EMPTY transparent jug. Light passes visibly through the jug. She raises it casually while staring at the lemonade tanker. Then she steps directly into the shallow spreading lemonade lake. 5–9s: [FILL — HOLD THE SHOT] She approaches the tanker leak. ONE CLEAR CONTACT: She forcefully pushes the mouth of the empty jug directly INTO the high-pressure sparkling-lemonade jet. The phone immediately slam-zooms toward the jug. HOLD THIS ACTION. Do not skip it. The jug remains underneath the stream for approximately TWO FULL SECONDS. Show the liquid level visibly rising through the transparent plastic: empty, one-quarter, half-full, almost full. Pale-yellow carbonated lemonade churns violently inside. Millions of bubbles. White foam builds around the rim. The pressurized stream continuously hammers the jug opening. Overflow splashes across her hand, forearm and tank top. The jug becomes visibly heavy. Only after this clear multi-second fill does she pull it away from the stream. She raises the now-full jug. 9–12s: [CHUG] She immediately tilts the giant jug and starts drinking. Huge exaggerated gulps. Carbonated lemonade pours toward her mouth. Some spills naturally down the front of the white tank top. She keeps drinking until most of the jug is empty. She lowers it. Gasps for air. Makes a quick surprised face from the intense carbonation. Still holding the jug. Then she notices the BAKING SODA delivery truck. She turns toward it. Phone zooms back enough to simultaneously frame: the woman, the lemonade jet, the spreading yellow puddle, and the rear of the baking-soda truck. 12–16s: [OPEN + BAKING SODA AVALANCHE] She reaches the rear of the baking-soda truck. ONE CLEAR CONTACT: She grabs the metal latch. YANKS it open. Both rear doors swing outward. Inside: large stacks of FOOD-GRADE BAKING SODA. White cardboard cartons. Huge brown-and-white paper sacks. “SODIUM BICARBONATE” labels visible. She grabs one oversized sack near the edge. Pulls it. The heavy sack tears open. A huge avalanche of white baking-soda powder pours out of the truck. Additional cartons tumble and split. A dense waterfall of white powder falls directly toward the lemonade lake. Phone digital-zooms onto the falling powder. Show individual white powder clouds and clumps striking the yellow liquid. She remains standing inside the shallow lemonade puddle with the mostly empty clear jug still in her hand. 16–18s: [REACTION STARTS] For a fraction of a second, nothing huge happens. Then: tiny bubbles begin appearing everywhere around the baking soda. Fizz races rapidly outward across the pale-yellow puddle. The entire lemonade lake starts bubbling. Yellow liquid rapidly turns cloudy and pale. Thousands of CO2 bubbles expand across the road surface. The sound changes from small fizzing into an increasingly loud rolling hiss. Foam races around the woman's shoes. She looks down. Confused. The reaction accelerates dramatically. 18–20s: [IT GOES] The carbonation and acid-base fizz become absurdly intense. The entire center of the puddle suddenly swells upward. A huge WHITE-AND-PALE-YELLOW FOAM COLUMN erupts vertically between the two trucks. No fire. No flame. No smoke explosion. Only violently expanding wet beverage foam. ONE CLEAR CONTACT: The rising foam column strikes the woman from BELOW. Her feet abruptly leave the asphalt. The giant clear jug flies from her hand. Her hair shoots upward. She is propelled vertically and then forward along the highway axis. The phone operator reacts late. A violent handheld jerk. Then a slam digital zoom catches her leaving the ground. 20–24s: [HUMAN LEMONADE ROCKET] The woman is now airborne. She becomes a dark human figure riding the huge white-yellow foam column. Her body rotates once naturally in the air. Hair and clothing react to wind. One sneaker nearly comes loose but remains on. No injury. No gore. The foam geyser tilts toward the open highway horizon. The sparkling-lemonade tanker continues feeding liquid into the reaction. Baking soda continues pouring from torn sacks. Foam hits the windshield. Wet white-yellow streaks temporarily obscure parts of the view. The phone jerks backward inside the car but NEVER leaves the car. Autofocus struggles through the wet windshield. Digital zoom hunts for the woman's airborne silhouette. 24–26s: [SHRINKS] Camera zooms back out through foam streaks on the windshield. Farther down the highway: the woman is still airborne. Now much smaller. A tiny spinning adult figure carried along a long white spray trail. The baking-soda truck remains visible behind her with both rear doors open. The sparkling-lemonade tanker continues spraying from the original hole. The reaction is still producing a huge foamy fountain. Phone digital-zooms aggressively toward the shrinking airborne figure. Pixelation and smartphone digital zoom artifacts become visible. Then zooms back out again. 26–29s: [DISAPPEARS INTO HORIZON] The woman becomes smaller and smaller. First human-sized. Then tiny. Then only a dark moving speck above the highway vanishing point. The camera desperately tracks her. Slight rolling shutter. Autofocus pumping. She finally disappears into the bright gray horizon haze. Her short distant Doppler scream fades away. 29–30s: [PAYOFF — EMPTY HORIZON] The camera holds on the exact spot where she vanished. Nothing there now. Only an empty highway horizon. Foreground remains chaotic: towering white-yellow foam between the trucks, sparkling lemonade still blasting from the tanker, baking-soda doors open, wet windshield, yellow liquid and white foam covering the highway. Final tiny digital pinch-zoom into the completely empty vanishing point. Hold. The roaring fizz continues. CUT / LOOP. [STYLE & QUALITY BOOSTERS] Photoreal handheld smartphone footage from inside a real car. Vertical 3:4. Continuous uninterrupted single take. Approaching movement first, then braking and stopping. No cinematic camera movement. No drone shot. No third-person cutaway. No external camera. Digital pinch-zooms only. Authentic consumer-phone autofocus and exposure behavior. Windshield remains part of the visual language throughout. One adult woman only. Woman enters from the RIGHT already on foot. She never exits a vehicle. Consistent face, body, hair and clothing throughout. Naturally voluptuous adult proportions. Secure opaque white spaghetti-strap tank top. Denim shorts. No nudity. Empty transparent jug visibly fills on camera for multiple seconds. Sparkling lemonade must remain pale yellow and visibly carbonated. Baking soda must remain white powder. Reaction begins where the powder physically contacts the lemonade. Reaction progresses visibly: small bubbles → rapid fizz → spreading foam → swelling foam → giant white-yellow geyser. No flame. No fireball. No black smoke. No electrical explosion. Exaggerated slapstick launch physics presented with photoreal visual rendering. The woman is launched toward the highway VANISHING POINT and visibly shrinks until she completely disappears. Identity lock to [ref_image] for: both trucks, truck positions, lemonade tanker graphics, ragged tank hole, lemonade stream, highway geometry, weather, windshield framing, A-pillar, dashboard foreground.

underwood

176,967 次观看 • 6 天前

prompt:[STYLE / CINEMATIC SETUP] 30 seconds, 16:9 landscape, high definition and fine detail. A photorealistic AAA third-person urban action game. Bright weekday morning, realistic city surroundings, escalating absurd comedy, serious and natural character reactions. One continuous shot from 0–27 seconds. Exactly one hard cut at 27 seconds, followed by a locked two-person medium shot. Real-time motion, no slow motion. A compact, physically connected route: Stopped train carriage at a ground-level metro station → open exit passage at the end of the platform → bicycle parking outside → small wedding setup outside an office building → open company entrance → reception attendance terminal. The station exit is directly beside the office building. No underground platforms, long staircases or travel across multiple city blocks. The bicycle is approximately 25 meters from the office entrance. The wedding setup includes a low platform with broad, shallow ramps on both ends and a central arch made from thin paper flowers and balloons. At reception, a broad, thick, securely attached loading ramp connects the floor to a low, wide countertop. An attendance terminal is mounted on the wall at its far end. Establish these structures before they are used. Begin beside and slightly in front of the woman, then continuously move behind her right shoulder as she exits the train. Follow at approximately 1.5 meters, normally with a 47-degree field of view, widening smoothly to 63 degrees for obstacles. During cycling, primarily frame her upper body, handlebars and forward route. The rear passenger stays near the frame edge or behind her, with his face clearly revealed only after the final cut. No sexualized body framing. Vehicle: one dark-green vintage city bicycle with a metal front basket, black saddle, extended rear passenger seat, conventional pedals and chain, and no motor. Owner: adult man wearing a white shirt, black trousers, crooked tie and black-framed glasses, holding a steamed bun. At his first appearance, he is already sitting sideways on the rear seat, both feet supporting the bicycle, looking at his phone. The front saddle is empty. The woman does not know he is her boss. Chinese dialogue, no dialogue subtitles. Quiet, urgent electronic game music. Clear train chimes, running footsteps, bicycle chain and bell, tires hitting ramps, bursting balloons and attendance confirmation. Classic GTA-style flat HUD, thick black outlines, bold Simplified Chinese, translucent black backing and three-percent margins. Upper left: 【L 移动】【R 视角】【□ 互动】【○ 冲刺】, changing the final line to 【○ 猛蹬】 during cycling. Upper right: white fist icon, green health bar, thin stamina bar, currency 【$000000028】. Lower left: square grayscale neighborhood map, white player arrow and yellow office route. Top center: gold-brown notification banner, yellow main line and white secondary line, one notification at a time. Opening bottom mission: 【赶在九点前打卡】. An additional upper-right countdown starts at 【00:24】 and stops at successful clock-in at 24 seconds. [IMAGE REFERENCES] Use the newly uploaded subway photograph as the sole identity and wardrobe reference, replacing all previous character references. Preserve the same adult woman's facial structure, features, skin tone, dark eyes, dark brown-black hair, wispy bangs, hair tied behind her head, loose facial strands and body proportions. Preserve her ivory fine-ribbed fitted sleeveless tank top; dark-blue denim miniskirt with its waistband, button and pocket construction; white sneakers; delicate silver necklace and small pendant; black shoulder bag hanging from her left shoulder at her left side. The bag swings naturally. She may secure it against her side with her left upper arm. It never disappears or changes sides. Clothing retains normal coverage throughout movement. Extract identity and appearance only. Do not reproduce the raised-arm pose, high camera angle, image text or watermark. [TIMELINE SECOND BY SECOND] 0–4s: [Front-side medium shot continuously moving to rear-right tracking, real-time speed] She stands beside the doors of the stopped train when her phone announces: “还有二十四秒,你就迟到了。” The doors open; her eyes widen, she stuffs the phone into her bag and bolts onto the platform as the camera exits with her and moves behind her right shoulder, revealing the nearby exit passage. HUD: 【主线任务:保住全勤】 4–8s: [Full-body third-person tracking with light running movement, real-time speed] She rushes through the open exit passage, passing a station attendant who has just raised a hand to ask her to slow down; she shouts: “上班!救命!” Outside, she spots the dark-green bicycle a few meters away: its front saddle is empty, while its owner sits sideways on the rear seat, eating a bun and looking at his phone with both feet on the ground. HUD: 【发现载具】 / 【道德暂时下线】 8–13s: [Rear-side medium-full tracking shot, real-time speed] She grabs the handlebars, mounts the empty front saddle and immediately pedals away, shouting: “借一下!要迟到了!” The owner rocks backward as he is carried away, quickly lifts his feet and secures himself to the rear seat; he holds the bun between his teeth, hurriedly pockets his phone and grips the seat firmly, while she pedals hard without looking back. HUD: 【载具获取成功】 / 【附赠原车主一名】 13–18s: [Rear-right tracking, widening to establish the platform and bystanders, real-time speed] The wedding setup blocks the direct route, so she pedals up its broad ramp and breaks through the arch's thin central paper flowers; paper tears and two balloons burst. A bride arranging her bouquet beside the route releases it in surprise, dropping it into the front basket; the bicycle descends the opposite ramp, making the rear passenger bounce and settle as he grips tightly, his bun still secure. HUD: 【穿越婚礼副本】 / 【获得道具:捧花】 18–23s: [Continuous medium-full tracking, rising along the loading ramp, real-time speed] She rides through the open office entrance and takes the already established loading ramp onto the low, wide reception counter; the front and rear wheels strike the countertop in succession with two dull thumps. The receptionist steps aside clutching documents as the woman applies the brakes; the bouquet sways in the basket, a torn paper flower hangs from the handlebars, and the woman's body still obscures the passenger's face. HUD: 【已进入公司】 / 【请勿在前台骑行】 23–24s: [Front-right medium close-up, small continuous lateral movement, real-time speed] The bicycle stops; she plants her left foot on the broad countertop and holds the handlebars with her left hand, pressing her right index finger against the wall-mounted attendance reader. The countdown reaches zero as the terminal announces: “打卡成功。” HUD: 【极限打卡】 / 【全勤奖保住了】 24–27s: [Front-side medium close-up, camera settles, real-time speed] She folds over the handlebars, panting, then raises her head with a relieved smile; the receptionist looks behind her toward the offscreen passenger, suddenly stands straight and respectfully says: “老板早。” Her smile freezes, her eyes slowly glance backward and her shoulders tense; hold the framing without revealing the owner's face. HUD: 【触发隐藏事件】 / 【后座身份正在确认】 27–30s: [The only hard cut, locked side-on two-person medium shot, real-time speed] Show her still astride the front saddle with her left foot braced on the counter, and the boss still sitting sideways on the same rear seat, tie crooked, glasses slipping down his nose, holding half a steamed bun. He looks at her and calmly says: “下班也按这个速度。” She gives one stiff nod, and he casually takes another bite; retain the bouquet, torn paper flower and shoulder bag. HUD: 【老板已送达】 / 【解锁岗位:专属司机】 [STYLE & QUALITY BOOSTERS] Maintain facial identity, hair, clothing and bag placement. Realistic skin, hair, ribbed fabric, denim, metal frame and rubber tires. The central joke is taking the bicycle together with its owner, followed by increasingly absurd commuting shortcuts. Her pedaling drives the bicycle; wheels contact surfaces, chain movement matches the pedals, and steering and braking convey weight and inertia. The owner occupies the rear seat from his first appearance, lifts his feet at departure and remains on the same bicycle. His body responds naturally to ramps and bumps. The final cut changes only the viewing angle, never their positions. Retain the bouquet in the basket after the wedding sequence and the torn paper flower after the collision. Wedding participants and the receptionist remain outside the travel path and are unharmed. Primary negative constraints: 1. No face changes, costume changes, duplicate protagonist or return to the previous blonde hospital-gown character. 2. No cuts, teleportation, time jumps or concealed edits during 0–27 seconds. One hard cut at 27 seconds; lock the final three seconds. 3. No self-driving bicycle, motorcycle transformation, levitation or body/frame clipping. The owner never suddenly appears or disappears. 4. No upskirt framing, wardrobe exposure, injuries or additional chase subplots. 5. No dialogue subtitles, English HUD, photographic watermark, playback controls or slow motion. Maintain HUD placement and scale across the cut.

underwood

41,426 次观看 • 8 天前

One perfect summer day in Hawaii 🌺🌊 Prompt: Create a 30-second premium cinematic tropical travel vlog following a very beautiful 20-year-old woman enjoying a dreamy summer vacation in Hawaii. The overall feeling should be luxury travel film + authentic personal vlog + nostalgic 35mm vacation diary. It should feel spontaneous and emotionally immersive rather than like generic stock travel footage. VISUAL DIRECTION 4K cinematic video, 24fps, 35mm film aesthetic, subtle organic film grain, warm nostalgic color grading, realistic skin texture, shallow depth of field, soft atmospheric lighting, natural highlights, realistic autofocus breathing, subtle motion blur, authentic handheld camera movement. Combine polished cinematic shots with imperfect handheld moments so the video feels like a real luxury vacation captured by a talented friend. Use natural camera movement, environmental sound feeling, realistic hair and clothing physics, believable crowds and atmospheric details. COLOR PALETTE Warm tropical sunlight, soft cream, sandy beige, turquoise ocean, lush greens, sunset orange, pink and lavender skies, warm amber night lighting. Keep colors rich but natural and cinematic, never oversaturated. SCENE 1 — HOTEL MORNING → TROPICAL STREET | 0–4s Start inside a beautiful luxury Hawaiian hotel room. Soft morning sunlight enters through sheer white curtains while a tropical breeze moves the fabric. Close-up of the woman reaching for her sunglasses and woven beach bag. Cut to a handheld shot from behind as she exits the hotel. She walks down a bright tropical street wearing a flowing elegant floral summer dress, sunglasses resting naturally on her face. Palm trees sway above colorful buildings and small cafes. Camera follows her from behind before smoothly moving around to a close-up. She removes her sunglasses slightly and smiles naturally toward the camera. Sunlight catches her hair as wind moves the waves around her face. Transition: a palm tree briefly fills the frame and naturally wipes into the next scene. SCENE 2 — SECRET BEACH DISCOVERY | 4–8s Reveal the ocean through a narrow tropical street. The woman notices the beach and instinctively changes direction. Camera follows her as she walks faster toward the water. She removes her sandals and carries them in one hand. Cut to an elegant low-angle shot of her feet stepping onto wet sand. A small wave reaches her ankles. She laughs softly and walks along the shoreline, lifting the edge of her dress slightly. Close-up of her face with wind blowing through her hair. Wide cinematic shot reveals: crystal turquoise ocean, volcanic mountains, bright tropical sky and expansive coastline. Use natural handheld movement mixed with cinematic slow motion. SCENE 3 — JUNGLE LIGHT → OCEAN CLIFF | 8–12s Start with a dramatic worm's-eye shot beneath towering Hawaiian palm trees. Sunlight streams through the leaves, creating subtle cinematic lens flares. Cut to her walking through lush tropical vegetation. Her hair catches the warm sunlight. Match cut from moving palm leaves to her standing beside a rugged ocean cliff. Camera begins behind her, showing the huge Pacific Ocean ahead. Slow cinematic push-in. She turns slightly toward the camera, gives a subtle peaceful smile, then looks back at the ocean. Her dress and hair move naturally in the coastal wind. SCENE 4 — SLOW MORNING CAFE | 12–16s Move into a small sophisticated beachfront cafe. She sits beside an open window overlooking the ocean. Warm sunlight falls softly across her face. Close-up details: Her fingers holding a chilled tropical drink. Condensation sliding down the glass. Sunglasses and jewelry resting naturally on the table. Ocean reflections moving across the window. She takes a slow sip and looks outside thoughtfully. Camera focuses on her reflection in the glass before gently pulling focus back to her eyes. She gives a tiny smile as if remembering something beautiful. Make this scene intimate, quiet and personal. SCENE 5 — TURQUOISE OCEAN ADVENTURE | 16–20s Cut to a more energetic sequence. She floats on a surfboard in crystal-clear turquoise water. Start with an underwater camera shot looking upward, sunlight shimmering across the surface. Camera rises above the water to reveal her smiling on the board. She paddles forward through gentle waves. Water-level tracking shot circles around her. She looks directly toward the camera and laughs naturally as a small wave passes. Her wet hair moves realistically in the breeze. Wide shot reveals tropical mountains and coastline in the background. Keep every movement natural and physically believable. SCENE 6 — HAWAII NIGHT MARKET | 20–24s Transition from bright ocean sunlight into warm evening. Use a match cut where sunlight sparkling on the water transforms into a glowing market lantern. She walks through a lively Hawaiian night market wearing an elegant lightweight evening outfit. Warm hanging lights, tropical flowers, wooden food stalls and colorful decorations surround her. Camera follows closely like a friend capturing the moment. She tries a fresh tropical fruit skewer. Close-up of her first reaction. She smiles and laughs naturally. Quick atmospheric inserts: Steam rising from food. Hands preparing tropical dishes. Warm lantern bokeh. Her face illuminated by market lights. People passing softly in the background. Keep the environment lively but realistic. SCENE 7 — THE LAST SUNSET | 24–27s Suddenly slow everything down. Wide cinematic shot of the woman standing barefoot at the shoreline. She wears a simple flowing summer dress. The sunset fills the sky with: soft orange, pink, peach and lavender tones. The colors reflect beautifully across the water and wet sand. A gentle wave moves around her feet. Camera slowly pulls backward, revealing the enormous ocean horizon. She quietly watches the final sunlight disappear. Her silhouette becomes the main visual focus. The moment should feel nostalgic, emotional and peaceful. SCENE 8 — NIGHTTIME MEMORY | 27–30s Return to the luxury hotel at night. The woman stands on a high-rise balcony wearing a simple elegant white dress. Behind her, tropical city lights sparkle across the night. Warm curtains move gently in the ocean breeze. She rests her arms on the balcony railing and looks out over the city. Her dark wavy hair is slightly looser and naturally imperfect. Soft warm bedside lighting illuminates her face. She looks directly into the camera. A small genuine smile. Camera slowly pushes toward her face. Cut to black. The final feeling should be: “One perfect summer day I never want to forget.” CAMERA LANGUAGE Use a mixture of: Handheld travel-vlog shots, POV perspectives, slow cinematic push-ins, low-angle beach shots, water-level tracking, subtle camera shake, realistic autofocus adjustments, shallow depth of field, soft focus transitions, natural motion blur, reflections, silhouettes, foreground wipes and motivated match cuts. Camera movement should feel human and intentional, never robotic. FINAL LOOK Photorealistic luxury Hawaii travel film. Dreamy but realistic. Beautiful but natural. Cinematic but authentic. Premium but personal. The woman should look consistently gorgeous and highly photogenic throughout every scene, inspired by the attached reference's overall beauty aesthetic. NEGATIVE PROMPT No cartoon style, no CGI appearance, no plastic skin, no excessive beauty filter, no uncanny face, no exaggerated facial symmetry, no distorted anatomy, no extra fingers, no deformed hands, no duplicate people, no face morphing, no changing identity, no changing eye color, no changing hairstyle, no inconsistent age, no unrealistic hair physics, no stiff expressions, no unnatural walking, no artificial movements, no oversaturated colors, no excessive lens flare, no fake-looking ocean, no generic stock footage aesthetic, no blurry face, no warped background, no flickering details, no facial inconsistencies.

H A J R A

21,242 次观看 • 6 天前

On October 3, 2022, the defense for #KarenRead vigorously argued its Rule 17 Motion (filed September 16, 2022) addressing the fact that none of the several witnesses who left 34 Fairview saw the dead body on the front lawn. Surely, if there were any possible witnesses who could’ve seen Officer #JohnOKeefe’s body there—in the investigation of the murder of a fellow Police Officer—investigators would’ve interviewed them promptly, right? Certainly, if someone possessed such critical information, honest homicide detectives would want to know it, right? This would be pertinent information in a murder investigation, right? Presumably, they wouldn’t wait until over 8 months to speak with such an individual—whose existence they were aware of on day 1, since January 29, 2022, right? WRONG! Enter: Julie Nagel. Is it convenient or just a coincidence that only AFTER the defense argued this Rule 17 Motion—requesting cell records of all the individuals who were present at the Albert residence on the night in question—conflicted Lead Investigator Michael Proctor miraculously is able to produce a witness who would say she “observed a dark object in the white snow by the flagpole”? In fact, it was just 2 days later (on October 5, 2022) that Proctor for the first time interviewed this individual, Julie Nagel, despite being aware of her identity/presence at 34 Fairview since January 29, 2022. Seems awfully convenient, doesn’t it? When looking at the procedural history of the #KarenRead case, it becomes clear that much of the Commonwealth’s (CW) actual case was reactionary—contrived in response to the actual factual basis of events brought forth & slowly trickled out by the defense. This seems to be, in large part, reflected in their trial strategy. We’re three weeks into trial & have seen little, if any, case or evidence whatsoever regarding how the defendant, Karen Read, was supposedly on the “outs” with her boyfriend, had a toxic, tumultuous relationship, was intoxicated, was fighting so badly with her boyfriend that she wanted to murder him, or how she supposedly murdered him with her taillight. The defense points out the obvious problems with the CW’s case—like the fact that a body not being on the front lawn from approximately 12:30am onward, means Karen Read did not kill Officer O’Keefe—and days/weeks later, the CW gets a witness to say they saw a blob on the lawn to assuage the Court. …Because the last thing they want is to have to turn over Brian Albert or Colin Albert’s cellphone data to the defense, pursuant to their Rule 17 filing. But, there’s a few problems with the credulity of Julie Nagel’s claims: 1) She self-admittedly was drunk 2) She wasn’t interviewed until at least eight months after the fact 3) She’s close enough to Jen McCabe to have: provided child- and dog-care for her, been to her house, and had a nickname for her—a fact that Nagel was hardly forthcoming about But, we’re supposed to believe that this witness, who was drunk at the time, had such astute recall, of a mere flash in time over 8 months ago, to remember seeing—over Sara Levinson’s shoulder (from the opposite side of the car) out the window, while in a moving car—a black blob where Officer O’Keefe’s body was later found. And after months & months of having presumably heard the state’s story that Karen hit John, leaving his body in the front lawn before Nagel would’ve left 34 Fairview. How accurate is one’s memory after 8 months anyway? How accurate is Nagel’s memory given she was intoxicated at the time? And how reliable is her testimony, as it’s presumably biased by her relationship with the McCabes? My question is: If Julie Nagel truly saw a black blob, where she would’ve been well aware Officer O’Keefe’s body was found as early as January 29, 2022—obviously critical information for investigators—why would she wait for them to come to her, over 8 months later, to share it? #KarenReadTrial #JusticeForJohnOKeefe #CantonCoverup

Olivia

127,213 次观看 • 2 年前

Law firms are putting AI in the wrong place. Sullivan & Cromwell, Latham, Allen & Overy - every major firm is racing AI into legal research, drafting, and memos. That's exactly where hallucinations become malpractice. A single fabricated case citation has already sanctioned real lawyers (Mata v. Avianca, 2023 - the ChatGPT lawyers). A hallucinated statute in client advice is worse. Meanwhile the one place AI is genuinely safe - intake, qualification, and scheduling still runs on PDF questionnaires and paralegal phone tag at almost every firm in the country. So last night I built what lawyers should actually be building. A demo website for a fictional U.S. immigration firm - Sterling & Reed, lead partner Ann Sterling (all names are fictional). An AI intake concierge named Evelyn qualifies every prospect through 17 consultative questions, books the consultation on Ann's Calendly, and emails a two-page matter brief straight to her Gmail before she joins the call. No briefs. No citations. No advice. No hallucination surface. Any immigration lawyer on this app can replicate it. Here are the 12 exact prompts I used - copy-paste into Claude Code: ━━━━━━━━━━━━━━━━━━━━ 1/ BRAND FOUNDATION "Design a boutique U.S. immigration firm website. Fictional founding partner, two offices (NY + Miami). Palette: deep navy + bronze + warm paper. Fonts: Instrument Serif for display, Inter for body. Luxury + editorial - no generic templates, no blue-chip blue." 2/ HERO "Full-screen dark cinematic hero. Centered serif headline: 'Your immigration lawyer, already [prepared].' The last word cycles every 3.5s, character-by-character morph - rotating through prepared / briefed / engaged / on your side. Background: 6 US city night-skyline photos crossfading every 5s with Ken Burns drift. Horizon glow + starfield overlay." 3/ AI INTAKE CONCIERGE "Build Evelyn, an AI intake concierge. 17-turn immigration intake: greeting → visa pathway → citizenship + status + expiration → professional background → timeline → visa-specific qualifier (EB-5 capital, O-1 evidence, E-2 treaty, etc.) → source of funds / sponsor → prior visa history + derivatives → red flag on prior denials → red flag on arrests / overstays → biggest concern → referral source → name → email → WhatsApp → present 3 slots → booking confirmation. Voice: warm, consultative, never rushed. Frame red flags as 'no wrong answers - Ann prefers to know upfront.'" 4/ THINKING STATE "Before each Evelyn reply, show a thinking state. Spinning bronze ring + context-aware label per turn ('Identifying visa pathway...' / 'Cross-referencing denials database...' / 'Preparing brief to Ann...'). Then typing dots. Then the reply. Feels deliberate, not robotic." 5/ AGENT AVATAR "Evelyn's avatar: real photo of a professional woman in a circle. Bronze conic-gradient ring rotating around her, sonar pulse rings expanding outward, green live-status dot bottom-right. Three states synced to chat activity: idle (gentle breathing), thinking (faster pulse + bronze glow halo), speaking (bronze waveform bars below photo)." 6/ BOOKING - CALENDLY INTEGRATION "After intake completes, embed the firm's Calendly inline in the chat for slot selection. On confirmation, show an animated card: 30-particle bronze burst + 4 cascading checkmarks 300ms apart - Brief delivered to Ann's Gmail → Calendar dispatched via Calendly → WhatsApp queued → Prep checklist attached." 7/ HOW IT WORKS - SCROLL-PINNED "4-step section pinned with GSAP ScrollTrigger: 01 Intake, 02 Routing, 03 Consultation, 04 Engagement. Each step: custom animated SVG (chat dots pulsing / checkmarks drawing / calendar slot pulsing / signature stroke drawing itself). As you scroll, active step scales up + glows, inactive steps dim + blur. Bronze progress bar fills the bottom of the active step." 8/ LIVE STAT BAND "One horizontal line: '1,247 Matters filed | 38 Countries of origin | 97% Approval rate.' White italic Instrument Serif numbers, bronze vertical rules between. On scroll-in: scramble-resolve animation over 1.5s. First stat then becomes a live ticker - every 10-24s increments by 1 with champagne flash + floating '+1 EB-5' / '+1 O-1' / '+1 Family' badge (weighted random matter type)." 9/ BEFORE vs AFTER "Editorial band showing '21 days → 6 minutes.' Left: huge italic serif '21 days' with diagonal strike-through that draws in on scroll + five struck-through bullets (12-page PDF, five emails, paralegal screening, conflicts memo, partner hand-off). Arrow. Right: italic bronze '6 minutes' + five clean bullets. Below: live session clock + three real-time counters (briefs filed, conflict checks cleared, calendar holds reserved) ticking up while the visitor reads." 10/ EDITORIAL TESTIMONIAL "Pull quote block. 200px italic bronze opening mark (❝) fades in at 18% opacity. Two-line quote with 300ms staggered reveal. Bronze underline draws under emphasized phrases. Below: bronze divider + initials circle + name + verified green pill ('● Verified client · 2025'). Bronze corner brackets top-left and bottom-right." 11/ REPRESENTATIVE WORK "3 recent matters as a vertical bronze timeline. On scroll, the line draws top-to-bottom and marker dots pop in with staggered sonar rings. Per matter: visa tag (EB-5 / O-1 / E-2), matter number ('No. 1,247'), italicized key figures, green outcome pill (I-526E Approved / Premium Processing Approved / First-Interview Approved)." 12/ BLOG + CONTACT + FLOATING BUTTONS "3 blog cards (Instrument Serif italic titles, bronze gradient placeholders): EB-5, O-1, Family-based. Simple contact form: name + email + country of citizenship + visa type + note. Dark footer with both offices. Two floating FABs: WhatsApp bottom-right (green sonar pulse, pre-filled message) + music toggle bottom-left." ━━━━━━━━━━━━━━━━━━━━ Built entirely in Claude Code. No Cursor, no React boilerplate, no design team. The intake bot runs as a deterministic server flow - no AI inference during the conversation itself, which is why it can't hallucinate. Briefs pipe to Gmail. Consultations book through Calendly. Deployed on Vercel in 15 minutes. Every tool a lawyer needs for this is either free or already in the firm. Swap the fictional firm for your name, your practice areas, your matters - customize and you're live by the weekend. The AI sits in intake, not in your brief. No hallucination, no malpractice, no sanction risk. Just a qualified lead, a warmed prospect, and a partner who walks into the consultation already prepared.

Ann Srivastava

18,982 次观看 • 5 个月前

I made this 30-second clip on Higgsfield AI 🧩 Prompt: Create a 30-second first-person POV cinematic food-and-pet video. On a rainy evening, inside a compact but beautifully lived-in contemporary European-style home kitchen, an adult man's hands prepare a complete comforting dinner: pan-seared salmon, roasted baby potatoes, honey-glazed carrots, and a creamy mushroom soup. During the preparation, he prepares a tiny cooled piece of salmon for his small puppy waiting nearby. The video is intimate, observational, natural and completely unscripted in feeling. The entire sequence uses a controlled multi-camera-feeling POV structure created through hard cuts. Every cooking action is shown clearly and physically. At the end, the complete dinner is arranged on a wooden serving board and carried to a small dining table. SCENE SETTING: A compact, warm modern home kitchen that has clearly been used for years. The kitchen contains matte cream cabinets, a dark stone countertop, a stainless-steel induction cooktop, a small convection oven, an old wooden cutting board, ceramic bowls, a cast-iron skillet, a medium saucepan and a compact countertop rice/steam cooker. On the counter are the prepared ingredients in separate containers: a skin-on salmon fillet, baby potatoes, small carrots, fresh mushrooms, heavy cream, garlic, butter, fresh rosemary, thyme, olive oil, a small bowl of honey, black pepper, sea salt, and chopped parsley. A wooden dining table is visible several steps away from the kitchen. Near the table sits a small cream-colored fluffy puppy with slightly darker ears. The puppy is lying on a folded gray blanket, quietly watching the man's hands. It occasionally raises its head when it smells the salmon but otherwise remains patient. A large kitchen window is above the sink. Outside, heavy evening rain falls against the glass. Water droplets slowly travel down the window, and blurred streetlights glow through the wet glass. Whenever the camera faces the window, the rain remains clearly visible. The refrigerator contains a few ordinary magnets and a small blank paper note. No readable branding, logos, recognizable labels or copyrighted imagery appear anywhere. POV LOCK: Every shot is first-person POV from the eye level of an approximately 178cm tall adult man working naturally in the kitchen. Only his hands, wrists and forearms are visible. His face and body are never shown, including reflections. The hands have medium-light natural skin, short clean fingernails and a small faint healed scratch near the left thumb. He wears a charcoal-gray long-sleeve home shirt with the sleeves casually rolled to the forearms and a dark beige kitchen apron. These exact hand, sleeve and apron details remain consistent throughout the entire video. The camera behaves like a real human head. It moves only when the person naturally turns, bends, reaches, looks toward the stove, looks toward the puppy or walks toward the table. No independent cinematic camera movement. Slight natural body sway, subtle breathing movement, tiny framing imperfections and realistic handheld instability are allowed. FORMAT MODE: Controlled multi-shot sequence. Real-time speed. Hard cuts only. Every segment begins with an action already in progress. Hands, utensils or food must already be visible immediately after every cut. No empty establishing shots. No slow motion. No artificial time-lapse. No dissolves. The emotional center is the small interaction between the man and the puppy. The final complete dinner is the visual culmination. COOKING CONTINUITY LOCK: This is a high-priority continuity rule. Every pan, bowl, saucepan, tray and plate must contain exactly what was previously placed inside it. Nothing appears or disappears without being visibly handled. Every completed action happens only once. No cooking action is repeated after it has already occurred. The salmon remains the same individual fillet throughout the video. The same potatoes remain the same potatoes. The same soup remains in the same saucepan. The puppy's salmon piece comes from the same salmon fillet that is eventually served. No duplicate food is allowed. Unused ingredients remain inside their original containers until visibly used. The salmon journey is locked: Beat 1 — the raw salmon fillet is placed skin-side down into the hot cast-iron skillet. Beat 2 — the salmon remains in the skillet while its underside sears. Beat 3 — the same salmon is turned once and continues cooking. Beat 4 — the cooked salmon is removed from the skillet. Beat 5 — a small piece is taken from the edge of that exact fillet and cooled for the puppy. Beat 6 — the remaining salmon is placed onto the final serving board. The missing piece remains visibly missing from the salmon until the end. ACTION BEATS: BEAT 1 — SALMON + POTATOES At the beginning, the cast-iron skillet is empty and heating. The man's right hand places the same skin-on salmon fillet into the skillet with metal tongs. A strong natural sizzle begins immediately. The salmon remains in the exact same position while the skin gradually becomes crisp. With the other hand, he places halved baby potatoes into a separate shallow roasting pan. A small amount of olive oil and rosemary is added. The oven door opens and the potatoes are placed inside. The oven closes. Hard cut. BEAT 2 — SALMON SEARING The salmon remains inside the same skillet. The edges begin turning opaque while the skin becomes golden and crisp. The man's hand adds a small knob of butter, crushed garlic and fresh thyme beside the fish. The butter melts around the salmon. He gently tilts the skillet and spoons the hot butter over the top of the fish several times. Steam rises naturally. No fish is removed yet. Hard cut. BEAT 3 — SOUP The same saucepan is now visible on the second burner. The saucepan contains sliced mushrooms and butter. The man's hand stirs them slowly until they soften. Cream is poured into the saucepan. The cream mixes naturally with the mushrooms. A small amount of black pepper and salt is added. The soup begins steaming gently. The rain continues audibly outside. Hard cut. BEAT 4 — FINAL SALMON + PUPPY The man returns to the skillet. Using the same metal tongs, he carefully turns the same salmon fillet ONCE. The underside is beautifully browned and the surface glistens with butter. He cooks it briefly. He then removes the salmon from the skillet and places it onto the wooden cutting board. The puppy, hearing the movement, raises its head from the blanket. The man notices the puppy. He smiles subtly. Using a fork, he separates a very small flaky piece from the edge of the salmon. The missing section remains visible. He places the small piece into his palm. He brings it close to his mouth and gently blows on it twice to cool it. The man's face remains completely outside the frame. The camera naturally lowers as he crouches beside the puppy. The puppy is now sitting upright with its tail gently moving. He places the cooled salmon piece on the gray blanket in front of the puppy. The puppy carefully approaches. It takes the salmon in small bites. Its eyes narrow slightly while chewing. Its tail gives a few happy movements. The man's hand gently scratches the puppy behind one ear. The puppy leans its head into his fingers. This interaction is quiet, natural and affectionate. Hard cut. BEAT 5 — PLATING At the beginning of this beat, an empty rectangular wooden serving board is on the dining table. The roasted potatoes are removed from the oven and placed into a small ceramic bowl. The mushroom soup is ladled into a deep ceramic bowl. The honey-glazed carrots are transferred onto a narrow plate. The salmon, still with the small missing section from the puppy's piece, is lifted from the cutting board using the tongs. It is placed onto a long ceramic plate. A few rosemary leaves and chopped parsley are added naturally. The four finished components are arranged together on the wooden serving board. Nothing is duplicated. Every portion comes from the food previously prepared. Steam rises naturally from the soup, salmon and potatoes. The plating is attractive but imperfect and homemade. Hard cut. BEAT 6 — DINNER TABLE The serving board begins exactly as it appeared at the end of Beat 5. The man grips both sides of the wooden board. He turns away from the kitchen and walks several natural steps toward the dining table. The camera moves with his body. The image sways subtly with each step. The rainy window passes through the background. The puppy follows behind him with its tail raised. He gently places the serving board onto the dining table. The puppy sits beside the table and looks up at him. His hands enter the lower portion of the frame. He briefly scratches the puppy's head. The final frame holds on the steaming homemade dinner with the puppy sitting beside the table. OPTICS AND CAMERA: Natural first-person human POV. Approximately 45–50 degree diagonal field of view. No artificial zoom. No gimbal. No drone movement. No impossible camera transitions. Camera movement comes exclusively from realistic head and body movement. When reaching toward the skillet, the camera naturally leans forward. When looking toward the puppy, the head turns downward. When crouching, the camera lowers with the body. When walking to the dining table, natural footstep-induced vertical movement is visible. Autofocus behaves naturally between hands, food, puppy and background. Slight focus breathing is allowed. Minor framing imperfections are encouraged. No fisheye distortion. No exaggerated lens effects. No cinematic crane shots. PHYSICS: Hyper-realistic cooking physics. Salmon skin crackles and becomes crisp. Butter melts immediately when touching the hot skillet. Steam rises according to heat. Cream swirls naturally into the mushroom mixture. Potatoes have believable weight and moisture. Honey coats the carrots rather than floating separately. Food never duplicates, disappears or changes shape unnaturally. The puppy's fur reacts naturally to touch. The puppy's ears move subtly according to sound and attention. Its pupils adjust naturally. Its jaw and mouth movements during eating remain realistic. The puppy must never behave like a human. No floating objects. No clipping. No impossible hand positions. No teleporting food. LIGHTING: Warm practical kitchen lighting from overhead fixtures. Cool blue-gray ambient light from the rainy window. Soft reflections on the dark countertop. Subtle warm highlights around the skillet and oven. Natural exposure prioritizing hands and food without making the scene look like a commercial. The rain outside creates a gentle cool contrast against the warm kitchen interior. No extreme HDR. No excessive bloom. No artificial beauty lighting. No perfect food-commercial presentation. REALISM: The final result should feel like an authentic first-person home video captured by a real person, but with exceptionally high visual fidelity. Food must look edible and naturally imperfect. The salmon should have uneven browning. The potatoes should have slightly different shapes. The carrots should vary subtly in size. The soup surface should contain natural movement. The serving board should not look perfectly symmetrical. The puppy should feel like a real young dog rather than a cartoon mascot. FRAME RATE: Stable real-time 24fps. No slow motion. No speed ramping. No frame interpolation artifacts. No ghosting. No stuttering. No temporal deformation. AUDIO: Only natural synchronized environmental audio. Continuous rain against the kitchen window. Soft distant city ambience. Skillet sizzling. Butter bubbling. Knife touching the cutting board. Potatoes moving inside the roasting pan. Oven door opening and closing. Soup gently simmering. Ceramic bowls touching the countertop. Tongs lightly clicking against the skillet. Soft puppy breathing. Tiny puppy chewing sounds. The puppy's collar makes a very subtle metallic sound when it moves. Wooden serving board makes a soft dull sound when placed on the table. No narration. No dialogue. No music. No subtitles. No text overlays. No logos. No watermark. FINAL NEGATIVE LOCK: No Japanese kitchen. No Japanese meal. No mackerel. No tamagoyaki. No rice set meal. No tabby cat. No copied character design. No recognizable branded products. No readable logos. No artificial food duplication. No changing hand appearance. No changing sleeves. No changing puppy appearance. No changing kitchen layout. No random ingredients appearing. No objects teleporting. No impossible physics. No cinematic camera that moves independently from the person's body. No CGI-looking food. No advertisement aesthetic. No staged comedy. No exaggerated animal behavior. The entire video must maintain one coherent physical reality from the first frame to the final frame.

Shara

15,361 次观看 • 25 天前

FORTNITE GENO - ULTIMATE REALITY FULL INFO:🟥 Part 2 releases in a month right for Halloween💀oh i wonder why... These are the best lore Quests ever 🔰Geno begins watching all loopers, trying to find the strongest of all. You prove him worthy by him watching you survive. 🔰After choosing Geno sneaks into your mind Stellan ch4 style, reading your thoughts and talking to you in your own brain... 🔰He first uses you to watch and learn what Jones, Slone & The Order think of him. Very Curious about their opinions on himself. 🟪THE ORDER: Geno watches as his own daughter calls him Worst man she has ever known. Mad at Geno for loss of Imagined. Determined to stop him at all cost. 🟪JONES: He brings up how much history he has with Geno, only brings up how Geno is probably the most evil guy in all reality. As Geno watches him say it 🟪THE INNOVATION: Dr Slone is the least harsh against Geno, only brings up how she does not agree with the "Perfection" idea at all, only protecting realities. 🔰Geno is very disappointed at all 3, giving us these blue balls that share memories of his own past with us, 3 focused on memories of each character we talked to 🟪THE ORDER: Seeing memories of how he engineered the Sisters since birth to become the most powerful woman in all of existance to serve Geno's mission. They were meant to embody perfection and police its standards, basically forcefully make people be perfect. Geno takes responsibility that The Sisters left ULTIMATE REALITY. Because of his love for them, not being harsh enough and instead freeing them from himself. Leading to the sisters falling for "The Seven Propaganda" and fighting against what they are instead. That is why the sisters are called IMAGINED AND ORDER, they represent Geno's dream. But the icons of Perfection not being there means Geno needs a replacement for The Sisters... a new Lieutenant. Someone to take the role Sisters were meant to have and police Perfect Reality Since Hush is said to be Lieutenant of Geno, she might have been chosen as the perfect looper who joined his side? Replacing the Sisters This exact thing is also why Geno was watching loopers trying to find the best one, to replace his daughters since Order dissapointed him. 🟪DR SLONE - INNOVATION: Geno brings up how Slone was basically his right hand, together building something incredible, A PERFECT WORLD captured in a PERFECT LOOP Confirming finally why The Imagined Order invented the loop. To not only train loopers make people become perfect But also to fuse loop and reality into one, so Paradise and a perfect world keeps looping never ending, no one inside of it ever dying too. That is why this season is so digital and glitching, reality and loop are fusing The reason why Geno wants an ULTIMATE REALITY is confirmed to be because of all the pain, all the fights, and agonizing chaos of reality. He wants it all to end. The fights everything. Only paradise and fun The only way to reach this is end Omniverse form 1 reality only, only perfect people are allowed inside of it, him always watching and controlling everyone He wants chaos to end forever. Geno admits he abused Slone's stubbornness to make her always do exactly what he wanted, which is why Slone will now be more of a liability on us... EHM last season moment Dr Slone wants Omniverse to keep existing unlike Geno, she likes the chaos that he hates. So its our time, what do we want. Chaos or Eternal peace? A peace that comes with great cost 🟪JONES: Geno feels awful for Jones.. Geno says how Jones is fated to fade away in a lonely part of a random reality, nameless unimportant, a loser. Geno for fun took this as a challenge on himself, wanting to see if he can turn someone he sees as so useless, make him become something, a hero That is why he sent IO to take Jones in as an agent, why he made choices causing Jones to betray IO, like taking his access away etc. Geno basically admits he put Jones in this path of becoming a hero, he was behind what Jones has become... But saying Jones was never a hero, he is not made out of hero stuff... "I set him up to fail" Telling us havent u seen Jones fail over and over again?? SO I WAS RIGHT😭all this time manipulating The Seven etc... Geno was trying to make us hate The Seven and Jones, see them as untrustworthy who keep losing Keep failing and having us in chaos and mess... Even The Sevens failures, everything was carefully planned to manipulate US THE LOOPERS... Holy mastermind Geno calls Jones flawed, but says we are perfect... we are different. This also shows how Jones becomes The Legend, the very person Geno saw as useless and weak will become the very flaw in his entire plan. 🔰Geno shows off his devices to us specially override consoles. Explaining how these devices when we activated them not only they fuse the loop and reality into one even more But also they extract matter out of the island, feeding it into THE EYE. as that device manipulates the matter of this reality and turns them into PERFECT ATOMS those atoms then forming the cloud on top of the device, very atmos which will create his Ultimate Reality. So the plan is to consume all Omniverse make it perfect turn it into 1 world only. This plan soon will effect other realities too not just this one. Once World of Perfect Order is ready, all the worthy will come with us into it. Which is why an Eye as a device. It watches to pick who is worthy. Everyone else dies 🔰Geno sends us to kill weaker loopers collecting their magic essence. He will use these to charge up a special new version of his Override devices HMMMMMMMMMMMMMMMMM 🔰Geno gives us one final challenge if we want to prove ourselves to him... To become his lieutenant. 🔰After watching The Order call him the worst man ever, most evil, stop him no matter what. He depressingly forces himself to say there is no other option, time for The Order to DIE... Even if he loves The Order, getting to spend time with her again. He is forcing himself to give up on everything, for the sake of Ending chaos, sake of perfection. 🔰We betray Geno not being willing to back stab Order. And Geno gives us a lesson for going against his words, showing us how powerless we trully are agains him He kills u in 1 second🥲lets us try once again just to show us how if we are against him, no matter what we do it will be useless. 🔰Geno still hopes u will change your mind, teasing you with a hack "YourThoughtsAreMine" Showing how he is in your mind, reading what you even think of. And he begins here and there talking to you, manipulating you to join his side before Judgment Day THIS IS THE BEST FORTNITE LORE EVER MAN???

Scyan

38,571 次观看 • 20 天前

"We loved our daughter and we wanted to help her." ~Tim Gallaudet This is way too long but I hope you enjoy it. As far as Steven Greenstreet 🐷's posts about the Gallaudets, hauntings and psychics? First off, Tim Gallaudet's wife, "was also a Naval Academy graduate and a master’s recipient from Scripps, having earned her degree in 2001." Source: We know the resume of retired Rear Admiral and oceanographer, Tim Gallaudet, but what about his wife, Caren? She's a big part of this story, so any journalist covering it would want you to know a little something about her. But not Greenstreet, who is, as I said, not a journalist. He leaves out any detail that doesn't fit his debunker, mocking narrative. And he just blocked me. Good. Trash. More... “(My wife Caren) is an inspiration to me, first because she was a Navy diver, and you don’t need to say more. And second, she was a Navy diver as a female during a time when it was not easy. In the late 1980s/early 1990s there was a lot of sexual harassment in the Navy.” ~RDML Tim Gallaudet ~~~ This episode of "The Dead Files," S6E8 ("You Will Be Mine") aired May 20th, 2016. Caren: "People think I'm crazy but it's hard to do battle with an enemy you don't understand. There are things moving around the house. We're hearing voices. We've all had nightmares. We've seen full apparitions. Now things are getting physical." (I would liked to have heard more about full apparitions and exactly who saw them. Having multiple witnesses to alleged phenomena is important. And yes, people will think you're crazy but screw 'em. People have been experiencing this type of phenomena all over the world. At the time this was shot (2015 or 2016), their oldest of three daughters, Laurel, was 14, Aspen was 8, and the youngest, Cedar, was 6.) Caren: "My husband works for the Department of Defense and he travels a lot, so he's rarely here." (They bought the property in 2007 but the odd activity in the house didn't start until Cedar turned 3.) Caren: "Cedar has drawn pictures. This is the man with the brown arms. He lives in her room in her closet. This one she saw in my bathroom, it was a man covered with blood. And I have a book with over 40 drawings. She has become anxious and depressed." (Why didn't the family bring her to a psychiatrist or psychologist first before immediately seeking out a medium? What? They did? Why didn't hack Greenstreet tell us that? Because his goal is to make anybody connected to UFO disclosure look bad.) Caren: "We've seen psychiatrists, psychologists. They all say she's a normal little girl. But she says things that 5 and 6 year old children should not be saying. I love her with all my heart but, at times, I don't know who she is." How is Caren handling it? Caren: "Not very well. When I'm alone, I do a lot of crying. I feel isolated, I feel exhausted." (The kids fight and the older sisters blame Cedar for what's going on. That fighting may be related to the phenomena. Watch the video clip I included below for context. ~~~ Caren: "We're wiling to do whatever it takes. We're ready." (My take: It's obvious they were desperate for help in a situation where nobody else was offering up anything to fix the problem. So they turned to an alleged medium, Amy Allan, and former NYPD homicide investigator, Steve DiSchiavi, who were part of a TV show, "The Dead Files." I am NOT a fan of those types of shows and I would tell people to avoid them if they had a problem like what the Gallaudet's described. But I wasn't in their shoes so who knows what I might have done to get help for the people I love? Luckily, I've never had to deal with a situation like that.) Caren: "I was in the kitchen, and I opened the cupboard. And before doing anything, all the dishes and the bowls fell on top of me." (Sounds like poltergeist activity. And when I say poltergeist, I don't necessarily mean a ghost, spirit, etc. If you read Dr. Barry Taff's book, "Aliens Above, Ghosts Below," he talks about something called Recurrent Spontaneous Psychokinesis, or RSPK. The term was coined by parapsychologist, the late Dr. William Roll. The theory is that the paranormal activity taking place is originating from one of the people in the house. Usually, a young, adolescent boy or girl. "After receiving a report of poltergeist-like activities, two investigators from the Rhine visited a site and observed disturbances that were classified as Recurrent Spontaneous Psychokinesis or RSPK. RSPK is the modern interpretation of what was previously called poltergeist activity. It occurs when an individual – in this case an adolescent boy – is present in every case where a poltergeist-like effect is observed. The activity is interpreted as the result of unconscious psychokinesis activities coming from the individual who is called the PK-Agent." Source: ~ Here's a transcription of the video clip I included below: Parapsychologist Dr. Barry Taff: "The original belief, regarding poltergeist, was that they were, basically, mischievous, prank-playing ghosts. That's what the German word means. The modern theorist in parapsychology consider a quite different type of belief system is operating here, or phenomena is operating. They believe that there are young children present, pubescent, adolescent children, and the research tends to support this belief. These young children are present with a lot of emotional animosities, belligerence, a lot of very intense interactions. And this emotional interaction will produce an emission of unconscious energy from these children, which will affect matter, objects around them. Make them move, affect electrical appliances, make them turn on and off. Make things speed up and slow down, affect televisions, affect radios. Dishes may explode, furniture may move across the room, cameras may go off by themselves, light bulbs may explode suddenly." ~ "A person-focused poltergeist tends to (but not always) involve a female adolescent who is suffering from emotional turmoil when the activity begins. That said however, not all so called 'focal agents' are teenagers. Indeed, William G. Roll, a pioneer in poltergeist research, found the age of people reporting experiences of poltergeist activity ranged from eight to 78 years." Source: ~~~ (That may explain what went on in the Gallaudet home but it's still not accepted by mainstream science as a valid theory. Unfortunately, Allan (the alleged medium) didn't offer up any alternative explanations for the paranormal activity in the home and focused solely on the alleged spirts of dead people as the answer. She thought Cedar was a physical medium who could cause that type of activity to occur, but again, 100% related it to the spirits of dead people, without offering any other explanation. IMO, it's possible one of the girls (or Caren) is a PK-Agent and this had nothing to do with spirits. Then again, maybe it IS connected to non-physical entities? Spirits of the dead? Keel's ultraterrestrials, who he believed impersonated the dead? A mix? Something different? Impossible to prove, either way. So, I don't know. But I DO believe SOMETHING anomalous was going on. If you want an example of how an alleged haunting, ghost or poltergeist case should be investigated, watch this. The clip I attached at the end is from this video. If these folks were still doing investigations, I'd refer anybody who was dealing with this type of situation to them.) "We don't consider our pictures proof of anything, we consider them part of the struggle to gather evidence to try to understand this phenomena." ~Kerry Gaynor Watch it... 👆🏼👆🏼👆🏼 ~~~ Caren: Also, "my daughter, Laurel, and I were right here having a conversation. And all of a sudden she screamed. She said, 'Someone just touched me on my back.' And there was no one else in the room." The bedroom... Caren: "I was woken by a noise. Immediately, I looked to the door and saw a giant, black shadow coming at me from the door. It came over the bed and came straight over top of me. I was scared to death. I've never been that scared in my life." (This is very similar to what happened to people who visited Skinwalker Ranch (and other locations) and reported taking "something" home with them. Also known as the hitchhiker effect. ) Caren: "I was asleep and I felt a hand grab my hair and yank me up. It was a very aggressive pull. I screamed, and I did not go back to sleep after that. There was no one around. Tim wasn't here. It was not a nightmare. I don't sleep most nights, but I'm glad that I had the experience because I understand what Cedar's going through. If I saw that every night, I think I'd act like her, too." Caren's mother, Jan: "Something's going on with Cedar. She's changed dramatically in the last year, year and a half. To do this to my grandchildren makes me angry. My husband and I were babysitting here and we heard Cedar cry out, yelling and screaming, 'Stop it, stop it. Leave me alone!' So I rubbed her back and she went back into her sleep. And then I heard a low voice (that sounded male) say, 'It's gonna be alright. It's alright.'" (From the investigation, Jan wants, "peace among the girls. They don't tend to get along. It's more than just sibling rivalry. It's something else." She thinks the girls are in physical danger. As Taff noted, intense interactions among people in the house could be the cause of all of this. Why did it take a few years for the activity in the house to start? Did anything change in the family dynamic? Cedar is interviewed and she tells the investigator what she's experienced, which includes a scary dream with blood on the floor and dead people. She says she sees the man with brown arms and brown skin who yells at her, "Get out of here, this is not your room. This is my room." Later on, the medium says that this man was there to protect Cedar. Based on what he allegedly said, that makes zero sense. I'm not a fan of this medium (Allan), to put it mildly. Aspen, eight years old, says she sees a shadow man in her room who sits near her dresser. She also saw a little girl who was wet. "I felt a thumb press on my neck really hard." During the nighttime walkthrough of the house, the medium says that one of the spirits looks wet. Is this confirmation or was the medium fed information about what the children experienced? Impossible to know as it's an edited TV show.) Caren says Cedar has seen over a hundred spirits. "It's every night." Medium Allan says this one spirit is tormenting the kids because she's jealous of them and wants Caren to be her mother.) Amy Allan: "The only way (this spirit) could be with you is if you were to kill yourself, then you guys would spend entirety together, and you would forever be her mother, alone." (I'm sorry but without any evidence to back that up, it's an irresponsible thing to say and, IMO, a bunch of sensational bs.) You can watch the entire episode if you log in with your cable subscription. Or watch it at Greensteet's post... ~~~ Tim Gallaudet was on with “Jay Anderson” a few years ago and spoke about the phenomenon and what his family has experienced. Tim Gallaudet (TG): "You see a sort of grouping of UAP and paranormal and how does it intersect. And the answer is: I don't know." TG: "We were all grown up in traditional, kind of, religion. But at some point in our lives, my youngest daughter had real serious behavior issues. And to sum it all up, she is like many of these mediums that you see. She could see spirits, she saw them all the time. A lot of listeners might just think this is just a joke or made up." (I definitely don't think it's a joke, but if she still has these abilities when she gets older, try to take her to get tested at Windbridge Research. Some people (who call themselves mediums) claim they can acquire information via something other than their five senses and have shown the ability to do so under controlled conditions. Are they speaking to the dead or is it something else? I don't know. And FYI, a medium claims they can speak to the dead and also provides alleged psychic readings to people about their lives and sometimes the future. Nine times out of ten, a psychic does not claim to speak with the dead.) TG: "There are people that have this ability to tap into whatever we wanna call it. The Other Side, where people go when they die, whatever that is. The energy that people leave behind. There's a lot of ways to explain it. It was real and...real to us." (They're allegedly able to see the spirits of the dead and can acquire information they have no way of knowing via their five senses. To me, the part about them acquiring information they have no way of knowing through means other than their five senses has been proven. Maybe there's some storehouse of information that they're accessing, like an Akashic Records type of thing? Or, maybe they're really communicating with the dead or some other entities? Again, I don't know where the information is coming from. As TG said, there are lots of ways to explain it.) TG: "She had real experiences, it was affecting her. And through a lot of therapy, we were able to basically have her - now she's thirteen - she became adjusted and has kind of dealt with that. She's sort of suppressed it, actually, which is okay. I mean, she's only thirteen. We can take a pause and help her develop as a person and human before coming to groups with that incredible ability." (TG and his wife did everything they could to help their daughter. When traditional methods failed, they sought help in other ways. Why anybody would have a problem with that is beyond me.) TG: "My wife and I, through this experience, to just be able to help her, we came to meet several mediums who are incredibly gifted." One of them was the Long Island medium, Theresa Caputo. (I like to see Caputo tested in a lab. If you'd like to see what that looks like, watch this HBO documentary on Life After Death and mediums. You'll have to search for the other parts. Part 1 of Life Afterlife ) ~~~ TG said he and his wife had a camera in Cedar's room when this activity was taking place and, "there was orbs flying all around this video. It was so active." (I'd like to see this video and see if those were orbs or particles of dust.) TG: "We loved our daughter and we wanted to help her. And so, through just meeting people, doing a lot of reading about people, these experiences, it became real to us and it opened our minds. I don't have all the answers but I know what we experienced, I know what she saw. We contacted [the show] because we thought she could help her and she ultimately did help my daughter." (That's really all that matters! TG says he has some family history with this type of thing but doesn't have any details as people were less willing to talk about it back then.) TG "She was not the Devil, she was seeing real things (laughs), and that's it. We were not gonna brand her or blame her. And I ultimately know, it was that love that we shared - my wife and I - for her, that opened our minds and create the right outcome. For being well-adjusted, having that in our history, and not being afraid of it or ashamed of it. And being aware and open now to a lot of other things that happen in life and maybe seeing their meaning." (Well said. After learning about this, my respect for Tim and his family has only increased.) ~~~ Last and definitely least...Greenstreet's comments. SG: "In an interview with TheProjectUnity, former Navy Admiral Tim Gallaudet claims his young daughter is a 'medium' who sees spirits and can communicate with them." (He said that but also added this...) TG: "There are people that have this ability to tap into whatever we wanna call it. The Other Side, where people go when they die, whatever that is. The energy that people leave behind. There's a lot of ways to explain it." SG: "Gallaudet's wife claims their house is haunted by violent poltergeists." (His wife explained what the family was experiencing. I don't recall anyone involved mentioning poltergeists or that the house was haunted. This are buzzwords SG uses to disparage people. Just like his "monsters" garbage. ) SG: "Their youngest daughter, 6, thinks ghost monsters are hiding in her room and both the TV show stars and her parents validate her fantasies as real." (His wife and daughters were having experiences they couldn't explain. They took the youngest to a psychiatrist and psychologist and they couldn't help. So they sought out the show. You left out the part about them seeking professional help first. Why? Because you're a piece of trash who will do anything to disparage anybody involved in this. I think YOU should seek help.) SG: "Gallaudet says he's taken his young daughter to multiple psychics to try to 'help her.'" (Nope. Mediums. For a so-called journalist, you should know the difference. And again, this was AFTER they sought out traditional help.) SG: "It should be noted that Gallaudet is "close friends" with Jay Stratton, another retired Navy official who claims his house was/is also haunted by violent poltergeists who attacked his children." (Talk to Stratton and you'll see he doesn't define what happened to his family. Oh, that's right, he won't talk to you because you're an azzhole. And it makes sense that those two would bond since their families experienced similar things. I hope Tim shares more details about what's currently going on with his family and what he experienced himself.)

Joe Murgia

88,583 次观看 • 2 年前

Kenalin lia hobinya mancing Seedance 2.5 prompt: Reference mode: Use karakter sheet - location 1 - location 2 (image) # Seedance 2.5 — Lia Morning Village Home Video — 30 Seconds FORMAT: Seedance 2.5 image-reference-to-video. Duration: exactly 30 seconds. Aspect ratio: 16:9. Photorealistic animated video from still-image references, rendered as believable live-action documentary footage rather than cartoon or CGI. Two continuous documentary scenes with only one intentional hard cut at approximately 17.5 seconds. REFERENCE ROLES: * gambar 1 = strict identity and appearance reference for LIA. Preserve Lia as the exact same adult woman throughout the entire video: same facial structure, eyes, nose, lips, skin tone, freckles/skin details, body proportions, tied-back dark brown hairstyle with naturally loose strands, earrings, white fitted top, brown patterned wrap skirt/sarong, and white sandals. Do not redesign or beautify her. * gambar 2 = strict environment and architectural reference for SCENE 1 only. Preserve the modest Indonesian house facade, open tiled front terrace, roof shape, terracotta roof feeling, columns, doors, windows, front yard, trees, plants, overhead electrical cables, scale, and spatial layout. Do not copy any character identity from this image. * gambar 3 = strict environment and composition reference for SCENE 2 only. Preserve the narrow asphalt village road, rice-field surroundings, village rooftops, utility lamp poles, tropical vegetation, distant green hill, open blue morning sky, and rural Indonesian spatial feeling. Do not copy character identity from this image. GLOBAL CHARACTER LOCK: Lia must remain visually identical to gambar 1 in both locations. Same face, body proportions, hairstyle, outfit, accessories, skin texture, and footwear. Her clothes should behave like real cotton and woven fabric, slightly worn and everyday rather than glossy or fashion-perfect. Lia's personality is relaxed and naturally playful. When she talks she becomes noticeably more excited and expressive: bright eyes, quick eyebrow lifts, small head tilts, spontaneous smiles and teasing expressions. Natural Indonesian speech with a light authentic Javanese-Indonesian accent, lively and conversational, never theatrical or caricatured. CAMERAMAN: The cameraman is always physically behind the camera and NEVER appears on screen, in reflections, windows, shadows, or background. His voice is recorded naturally from directly behind the camcorder. When the cameraman speaks, Lia does not lip-sync his dialogue. Lia only reacts with natural eye movement, a small smile, breathing, or subtle head movement. Only Lia's own spoken lines animate Lia's lips. VISUAL STYLE: Ultra-realistic documentary realism. Genuine candid behavior. Unscripted everyday slice-of-life feeling. Natural imperfect body language. Deep environmental authenticity of a rural Indonesian morning. The result should feel like a forgotten family home video recorded in Indonesia in the early 2000s: warm, mundane, affectionate, slightly funny, imperfect and deeply believable. Output may be high-resolution / 8K master quality, but the acquisition aesthetic must strongly emulate an early-2000s consumer DV camcorder: warm slightly faded colors, soft contrast, mild sensor noise, subtle digital compression, limited highlight latitude, natural motion blur, very mild rolling shutter, slightly imperfect white balance, no glossy modern HDR, no modern cinematic color grade, no beauty filter, no excessively shallow depth of field. HUMAN-OPERATED CAMERA: Camera movement must feel physically operated by a real friend holding a consumer camcorder. Use: subtle hand tremor, natural breathing drift, slightly imperfect horizon, small delayed reframing, occasional lens breathing, brief autofocus searching caused by subject movement, minor exposure pumping when moving between shade and bright sunlight. Every camera imperfection must have a physical reason. No gimbal stabilization. No drone. No orbit. No crane. No perfect tracking. No dramatic cinematic push-ins. No stylized speed ramp. No artificial cinematic camera choreography. SCENE 1 — TERRACE MORNING, based on gambar 2 00:00–00:02.8 Begin immediately with Lia already seated casually on the front terrace of the house from gambar 2. Use a loose eye-level medium-wide three-quarter shot, as if the cameraman is standing several steps in front of the terrace. Lia sits relaxed on the existing porch seating, shoulders loose, one foot slightly forward. Her LEFT hand naturally holds a simple glass cup of dark morning coffee. Her RIGHT hand holds one lit cigarette between index and middle finger. Keep object ownership consistent: coffee always remains in the left hand until she puts it down, cigarette remains in the right hand until she extinguishes it. A thin natural stream of cigarette smoke rises and bends with the morning air. Lia briefly takes a small sip of coffee, lowers the glass, casually looks toward the cameraman behind the lens and gives a tiny amused smile. Camera is not perfectly centered and slowly drifts a few centimeters while the operator settles his grip. Tropical morning sunlight illuminates the yard while Lia remains partially under terrace shade. Moving leaves create soft shifting dappled shadows. Exposure reacts slightly to the bright yard behind her. 00:02.8–00:04.5 CAMERAMAN speaks from behind the camera, playful and casually surprised: "widiihh lia santai amat" The cameraman remains completely off-screen. While listening, Lia keeps her lips closed except for a tiny amused smile. She glances toward the lens/operator, lightly raises her eyebrows and relaxes the cigarette hand near her knee. 00:04.5–00:09.7 LIA answers, conversational and excited with a natural light Javanese-Indonesian accent: "iya mas pagi hari itu wajib ngopi dan udud kalau ga bisa pusing loh" Accurate Indonesian lip sync ONLY for Lia. She speaks while sitting naturally rather than performing for camera. Small head movement, lively eyebrows, natural blinking, relaxed shoulders. She gestures once gently with the cigarette hand without waving it excessively. Smoke responds naturally to the movement. Toward the end of the sentence she gives a teasing half-smile. After finishing the spoken line, she takes a tiny relaxed breath; do not make her drink while her mouth is actively speaking. The camera operator makes a very small late correction to keep her face centered. Autofocus briefly breathes, then settles back on Lia. 00:09.7–00:11.5 CAMERAMAN asks from behind the camera: "habis udud mau kemana lia?" Lia remains silent while he speaks. No Lia lip-sync. She tilts her head slightly, looks amused and shifts her weight forward as if preparing to get up. 00:11.5–00:14.5 LIA answers with growing excitement and a playful inviting expression: "ayo ikut aku mancing mas mauu?" Accurate lip sync. On "mauu?" she lifts her eyebrows, smiles toward the cameraman and leans forward slightly, inviting him to follow. Keep the delivery spontaneous, like talking to a real friend, not presenting to an audience. 00:14.5–00:17.5 Dialogue pauses. Lia naturally completes the current activity before leaving. First she places the coffee glass down with her LEFT hand on the nearby terrace surface. Then she taps the cigarette once and extinguishes the cigarette completely in a small simple ashtray using her RIGHT hand. The cigarette state changes from LIT to EXTINGUISHED only after visible contact with the ashtray. After this moment there is no new cigarette smoke. She plants both sandal-covered feet firmly, shifts her weight forward, stands with believable human balance, straightens her skirt naturally and takes her first step away. Realistic cloth movement and hair secondary motion. Foley: soft glass contact, small ashtray tap, woven skirt rustle, sandal movement. CUT LOGIC: At approximately 00:17.5, make ONE simple hard cut after Lia has fully stood and started leaving. No transition effect. No dissolve. No montage. SCENE 2 — VILLAGE ROAD WALK, based on gambar 3 00:17.5–00:21.7 Hard cut directly to Lia already walking along the narrow asphalt village road from gambar 3. Camera follows approximately 2–3 meters BEHIND Lia at natural walking height. Medium-wide rear follow framing shows Lia's full walking movement and enough environment to clearly recognize the road, fields, utility poles, rooftops, tropical vegetation and distant green hill. The cameraman walks behind her, producing gentle vertical footstep bob, mild hand tremor and slightly imperfect framing. Lia walks at an unhurried natural pace. Real heel-to-toe steps. No sliding feet. Her patterned woven skirt reacts naturally to each stride. Her tied-back hair and loose strands respond subtly to the breeze. The cameraman occasionally falls a fraction behind, then naturally catches up. Do not turn this into a smooth professional tracking shot. 00:21.7–00:24.2 Without stopping completely, Lia slows slightly and turns her head and upper torso back over her shoulder toward the cameraman. The movement begins with her eyes, then head, then shoulders. Her lower body continues moving forward slowly. Because she unexpectedly turns back, the camera reacts a little late. Framing briefly drifts off-center and autofocus searches for her face for a fraction of a second before locking. LIA speaks toward the cameraman with teasing curiosity: "mas mau tau aku kemana?" Accurate natural lip sync. Excited light Javanese-Indonesian delivery. Playful half-smile. 00:24.2–00:25.4 CAMERAMAN responds from behind the camera: "kemana tuuuuh" He remains completely off-screen. Lia's mouth stops speaking while his line is heard. She keeps looking back with a mischievous expression, suppressing a laugh. Camera continues physically walking behind her with natural small shake. 00:25.4–00:29.2 LIA gives the punchline: "aku mau cari om om loh mas eee" She delivers it playfully and excitedly, building toward the final "eee". Accurate Indonesian lip sync. Immediately after finishing "eee", she bursts into a genuine spontaneous laugh. Her shoulders bounce naturally from laughter. She briefly squints, smiles widely and turns her face partly forward again while still chuckling. The laugh feels uncontrolled and candid, not like scripted acting. The cameraman reacts physically by momentarily losing perfect framing while continuing to walk. The camera dips slightly and catches up again. Do not add any new spoken words. 00:29.2–00:30.0 Lia is still walking and laughing softly. She begins turning her attention forward again while the cameraman follows. The framing drifts slightly toward one side because the operator is walking and laughing/reacting behind the camera. End imperfectly: the recording abruptly cuts to black MID-MOTION at exactly 30 seconds, without a polished ending, fade-out, pose, title or outro. ENVIRONMENTAL AUTHENTICITY: The environment must feel alive but never distract from Lia. SCENE 1 background: subtle tropical leaves moving in morning air, occasional distant motorbike passing outside the main foreground, one distant resident casually sweeping with a traditional broom when composition permits, small household plants moving, occasional water drip, overhead electrical cables, terracotta roofing, weathered concrete, real glass and ceramic surfaces, one cat may briefly react or cross far in the background only if naturally integrated. SCENE 2 background: rice and grasses moving gently in the breeze, distant village activity, occasional far motorbike, subtle birds, coconut or tropical foliage moving, utility poles remaining stable, no crowds, no staged extras. Background activity must continue independently of Lia as if the village exists beyond the scene. LIGHTING: Natural tropical morning light only. SCENE 1: bright morning yard with softer shade beneath the house terrace. Dappled foliage shadows shift subtly. Consumer camcorder exposure pumps very slightly when framing includes more bright yard or shaded Lia. SCENE 2: strong but natural morning daylight matching gambar 3. No artificial key light. No rim-light setup. No cinematic backlighting. Exposure may briefly adjust when Lia's face turns from forward light to backward-facing light. PHYSICAL MATERIAL DETAIL: Real skin texture with pores and tiny imperfections. No plastic skin. White cotton top moves subtly with breathing. Patterned woven skirt has visible fabric weight and folds. Sandals flex naturally at the feet. Concrete and tiled terrace retain worn real-world texture. Coffee is contained inside a real glass with believable reflections. Cigarette paper, ember and ash behave realistically before extinction. Terracotta roofing, asphalt, dry grass and green vegetation retain physically believable texture. AUDIO: Zero music. Zero narration. No voice-over other than the naturally recorded off-screen cameraman dialogue. No added soundtrack. Use authentic layered location sound. SCENE 1 close layer: Lia's clothing rustle, subtle breathing, glass touching the porch/table, small cigarette and ashtray contact, sandals shifting. Medium layer: broom brushing ground, occasional water drip, leaves rustling. Far layer: rooster crow, distant motorcycle, soft rural morning ambience. SCENE 2 close layer: Lia's sandal footsteps on asphalt, woven skirt swish, breathing and genuine laughter. Medium layer: grass and leaves moving in the breeze. Far layer: occasional rooster, distant motorcycle, birds and rural village ambience. Dialogue must remain clearly intelligible but retain realistic camcorder microphone perspective. The cameraman's voice should sound close to the microphone because he is holding the camera. Lia's voice becomes slightly more spatially distant during the rear-follow scene while remaining clear. MOTION QUALITY: Natural human-scale acceleration and deceleration. Stable foot contact. Correct left/right limb ownership. Real body weight and balance. Natural hip and shoulder counter-motion while walking. Believable hair and cloth secondary motion. No floating. No rubber limbs. No foot sliding. No teleporting. No sudden speed changes. CONTINUITY: Lia remains the exact same person from gambar 1 throughout both scenes. Same: face, skin, hair, hairstyle, body proportions, earrings, white top, brown patterned wrap skirt, white sandals. SCENE 1 prop continuity: coffee = left hand until placed down. cigarette = right hand until visibly extinguished. After Lia leaves the terrace: coffee remains behind at the house. cigarette remains extinguished at the house. Neither object appears in Lia's hands on the road. SCENE 2 begins only after the intentional hard cut. Do not visually morph gambar 2 into gambar 3. NEGATIVE CONSTRAINTS: No identity drift or face redesign. No hairstyle change. No wardrobe change. No changing Lia's body proportions. No beauty filter or plastic skin. No duplicate Lia. No cameraman visible anywhere. No random foreground characters interacting with Lia. No incorrect speaker lip-sync. Lia's lips stay silent during cameraman dialogue. No extra dialogue. No subtitles. No captions. No watermark. No logos. No duplicate coffee glass. No switching coffee between hands. No duplicate cigarette. No switching cigarette between hands. No cigarette magically relighting after extinction. No cigarette smoke during the road scene. No random location morphing. No unexplained teleportation. No random jump cuts. Only one intentional hard cut between the terrace and road scenes. No gimbal stabilization. No cinematic orbit. No drone shot. No glossy cinematic grading. No modern HDR look. No dramatic lens flare. No artificial slow motion. No speed ramps. No background music. No narrator. FINAL GOAL: A believable forgotten early-2000s Indonesian home video — candid, imperfect, funny, warm and unscripted. It should feel as though a real friend casually picked up a consumer DV camcorder one tropical morning, found Lia drinking coffee and smoking on her terrace, chatted with her spontaneously, then followed her down a village road while she jokingly teased the cameraman. The viewer should feel that life in the environment continues naturally whether or not the camera is recording.

CUPANG

32,105 次观看 • 1 个月前

The Altar for sacrificing the red heifers in Jerusalem has just been built, and they are saying the ceremony may take place any day as I've been warning about for many years now. But what exactly does this all mean? Let's talk about how it relates to biblical prophecy and how even most professing Christians are missing the deeper biblical narrative unfolding beyond what's just on the surface. The Red Heifer prophecy from the Book of Numbers involves a unique ritual for purification in Jewish tradition. A completely red heifer is sacrificed and burned, and its ashes are mixed with water to create a "water of cleansing" for those who've touched a corpse, which symbolizes purification from death's impurity. This commandment is linked to Messianic hopes and the rebuilding of the Temple in Jerusalem. Jews are awaiting a Messiah who aligns with specific prophecies, such as bringing peace to the Middle East and the world through his political power. They believe Jesus didn't fulfill these expectations during his first coming, but we as Christians hold that He will achieve this in his Second Coming as He told the apostles and explained in Revelation 19. The Red Heifer ritual taking place now is seen as part of their preparations for this future era. We as Christians, however, obviously believe Jesus is the Messiah and see His rejection as setting the stage for the rise of their false messiah. John 5, particularly verses 43-47, where Jesus says, "I have come in my Father's name, and you do not accept me; but if someone else comes in his own name, you will accept him," The New Testament, especially the Gospels, tells a story of how Jewish leaders and many people didn't recognize Jesus as the Messiah, symbolizing a common human struggle to see divine truth. This theme is captured in John 1:11, where despite Jesus coming to His own, He was not accepted. This led to the destruction of the Temple in 70 AD, which was divine judgment for this rejection. Here's where people really need to pay attention as to not be deceived by this deception as most people will: I want people to keep in mind that God used rebellious, pagan nations such as Rome and Assyria as instruments of wrath against Jerusalem for her harlotry, illustrating His supreme sovereignty and His unique capability to employ the wicked to enact judgment on the wicked. What we are about to witness is a repeat of the judgement cycles on Israel. In the book of Amos, the prophet warns Israel of a coming "Day of the Lord" where they will face punishment for their disobedience (Amos 5:18-20). Similarly, the prophet Zephaniah uses the term to describe a day of wrath and distress that will come upon Jerusalem (Zephaniah 1:14-18). That’s what brought the day of the Lord, was their harlotry, God delivered Israel into the hands of their enemies because she played the harlot. And so it will be at the end, when the Great day of the Lord comes in the final days and the Lord God delivers Jerusalem, the harlot, into the hands of her enemies, which will ultimately be the beast and his kings as described in Revelation 17:16. If we interpret the Bible with the Bible, as we should, you will see that the harlot of Babylon, can only be Jerusalem. Let’s first look at Revelation 11:8 which speaks of the death of the two witnesses. “And their dead bodies shall lie in the street of THE GREAT CITY, which spiritually is called Sodom and Egypt, where also OUR LORD WAS CRUCIFIED.” So obviously “that great city” is also where Our Lord was crucified. Now keep in mind the phrase ‘the great city.’ Let’s look at Revelation 14:8, “And there followed another angel, saying, Babylon is fallen, is fallen, that great city, because she made all nations drink of the wine of the wrath of her fornication.” In Revelation 17:18 we read, “And the woman which thou sawest is that great city, which reigneth over the kings of the earth.” So we can see in when speaking about Babylon or the harlot, the same phrase, ‘the great city’ is also used. In chapter 11 ‘the great city’ is identified as Jerusalem, and the great city is also used in chapters 14 and 17 when speaking of Babylon. If we let the Bible interpret the Bible, we can’t come to any other conclusion than that the harlot of Babylon is Jerusalem. Which also makes because Jerusalem is the only city that God would call a harlot, because it’s the only city that God ever made a Holy Covenant with. It’s the only city that He tried to make His bride. The martial analogy is used throughout scripture both with Jerusalem and Israel as well as the general body of believers who become part of Israel spiritually. The body of believers, both Jew and gentile make up God’s bride. And so there’s really no reason for God to call a city a harlot unless that city or the people of it betrayed a holy covenant with God. And there’s only one nation God made a covenant with, which is Jerusalem and the nation of Israel. Harlotry is not a reference to mere wicked acts, it’s specifically a reference to betrayal. I think it’s pretty clear that Jerusalem is that great city, Babylon the harlot, the unfaithful wife who has continually betrayed her marriage with God. And of course Jerusalem and Israel are referred to a harlot in Isaiah 1:21, Jer 2;20, 3:1-11, Ez. 16;1-43, and Gal. 4:25. Revelation 17:7 shows the beast initially supporting the harlot, symbolizing their alliance in the beginning. The beast's backing is key for the harlot's power, indicating they start off in a partnership where they rely on each other. The partnership between Jerusalem (Mystery Babylon) and the beast kicks off with a phase of mutual support, where the beast's political might boosts Jerusalem's position. This alliance, rooted in common goals, political gain, or perhaps mutual respect, sees Jerusalem siding with the beast, likely aiming to ensure a prominent and secure spot on the world stage. The turning point comes as an unholy, multi-faith gentile alliance, led by the beast, becomes "awakened" to the dark agenda of Mystery Babylon (the Zionist, Talmudic-led New World Order). This realization or awakening leads them to view Jerusalem not as a city to be protected or championed but as the source of crimes against humanity by Mystery Babylon, Jerusalem. This shift reflects a broader disillusionment with the initial alliance, as the true nature and consequences of Jerusalem's actions and influence become apparent to the beast and his coalition. Driven by their realization, the beast and its allies turn against Jerusalem, fulfilling Revelation 17:16's prophecy. Their initial partnership ends dramatically as they destroy the harlot, judging Jerusalem for her crimes and dark agendas. This act is depicted as complete and ruthless, demonstrating the intensity of the betrayal and the beast's deep hostility after the alliance dissolves. After destroying Jerusalem (Mystery Babylon), the beast and its allies bring about a short-lived period of false peace. This time, free from the harlot's influence, feels like a victory and freedom from her tyrannical agenda. However, this peace is not genuine but a poor imitation of God's true kingdom. It marks the height of the beast's power, where his rule goes unopposed. But this phase is temporary, serving as a calm before the storm of ultimate divine judgment and intervention. And that's exactly why, towards the end of the tribulation, after the harlot is taken down, they'll start declaring "peace and safety." (1 Thessalonians 5:3) They'll be under the impression that Satan's empire has been toppled and that the Millennium (1,000 Years of peace) is about to kick off. But that's when they're going to be hit with a harsh reality check as Christ makes His entrance, coming in the clouds to crash their party, which is the sudden destruction talked about in 1 Thess 5:3. And I believe that's exactly what Christians are unknowingly getting involved in when they only focus on the great reset and the whole tyrannical leftist/communist/zionist NWO agenda. They do not even realize the full scope of what they're gradually aligning themselves with. People who hyper-fixate on the obvious dark side believe they're revealing the impending kingdom of the beast, but in reality, they're actually uncovering the harlot, the very adversary that the beast is destined to destroy as told in Revelation 17:16. That explains why many people, including dominionist proponents of the NAR and seven-mountain mandate, like Lance Wallnau from Bethel Church, often emphasize the idea of "invading Babylon", which he wrote a book about. Because, in essence, what they're building isn't the millennial kingdom of Christ but rather a counterfeit version of it by defeating Babylon and inadvertently ushering in the beast. The world's current turmoil: moral decline, societal upheaval, and the emergence of charismatic leaders promising restoration, isn't new, it's a repeat of history and biblical narratives. This scenario often splits into two camps: those pushing boundaries towards blatant immorality and those advocating for a return to moral and national pride, albeit sometimes through questionable means. Consider Jezebel's story as a metaphor for today's extreme immorality, countered by a force that, while claiming to champion morality, mistakenly aligns with spiritual adversaries in a false unity known as ecumenism. Jehu's story in the Old Testament is a fascinating case of the difference between outward actions and inner spiritual commitment. Externally, Jehu appeared passionate about serving God, notably in his actions against Ahab's family, Jezebel and Baal worship, which might seem like true righteousness. Yet, Jehu's heart wasn't completely devoted to God. His main issue was his selective enthusiasm: he was eager to get rid of God's foes but failed to address the need for his own spiritual purification and that of Israel. Jehu's neglect becomes clear with his acceptance of the golden calf idols in Dan and Bethel. These idols, created by Jeroboam to keep Israelites from worshiping in Jerusalem, were a major departure from genuine worship. Jehu's decision to let these idols stay showed a compromised version of Judaism—one that appeared to respect God on the surface but was fundamentally flawed. The Antichrist reflects a larger, more deceptive version of Jehu's conflict. He will perform actions that look good, like destroying foreign idols and transparently dark agendas, seeming to follow God's will. Yet, his critical failure, akin to Jehu's, will be in what he neglects. He'll ignore the modern-day "golden calves" — subtler forms of idolatry that are not as easy to spot or discern. These may not be as obvious as the overt darkness of Mystery Babylon but are just as offensive to God. This misleading form of Christianity, similar to Jehu's insincere Judaism, will display an outward show of being righteous by targeting external foes while neglecting the deep, inner changes true faith demands, such as the need for sincere repentance and humbling of the heart. It serves as a powerful call for ongoing self-reflection and realignment with God's will, demonstrating that real righteousness involves not just fighting visible wrongs but also facing and rejecting the subtler forms of idolatry that can seep into our lives without us realizing it. This eerily mirrors the Weimar Republic, a period before Nazi Germany, where a struggle between societal depravity and a flawed sense of virtue set the stage for disaster. Jehu's and Jezebel's biblical showdown, where Jehu becomes a vessel of judgment against Jezebel, parallels the rise of figures like Hitler. Hitler, driven by a distorted zeal, identified Judah as the enemy, which history is poised to repeat through unveiling the dark agendas of Mystery Babylon, Jerusalem. Today, we see a cultural war marked by extreme stances on issues like LGBT rights, violence, racism, and especially abortion, which are akin to Jezebel's overt wickedness. The real threat lies not just in the cultural shift towards immorality but in the response it provokes—an ecumenical movement that, though aimed at combating immorality, risks aligning with deceit, setting the stage for the rise of the Antichrist kingdom, a counterfeit kingdom of God as imagined by humanity through defeating Mystery Babylon, which will be misperceived as Satan's ultimate empire. This figure will likely emerge, claiming to oppose these immoral forces, only to lead people into a new and subtler form of idolatry, much like Jehu's false zeal. There's something about standing up against these glaringly obvious social wrongs and oppressive forces that really inflates one's ego. The more time you spend hyper-focused on obvious evils and tyranny the more you'll start to feel not so evil, just like the Pharisee in Luke 18. He convinced himself he was righteous simply because he wasn't as bad as "those other people." Another lesson from history, like King Ahaz's unholy alliance with Assyria, warns us against forming alliances with spiritual enemies for worldly security against physical threats that stem from fearing the world, rather than fearing the Lord. At its heart, the Red Heifer ceremony is more than just a ritual; it's a chapter in the bigger story of faith and prophecy that's been unfolding throughout human history. It's a sign to look inward, to really think about where we stand and what we believe in. It's a pivotal moment that challenges us to choose: Do we follow the path of patience, perseverance, repentance and not following the world's desire for peace and safety as Jesus says, or do we get lost chasing shadows? As we make our way through these stormy times, let's hold tight to the promise of a redemption that goes beyond the chaos surrounding us. Please pray on all of this, my brothers and sisters. May God bless each and every one of you.

Donnie Discerned

715,507 次观看 • 2 年前

Leaving work at five shouldn’t require stealth mode, but her boss made it a mission. Seedance 2.5 0n SJinn Agent Prompt SCENE CONTEXT A 30-second realistic AAA third-person stealth-action game sequence set in a Japanese corporate office at exactly 5:00 PM on a bright weekday afternoon. The player character, NAGI, has finished her work and must reach the elevator without being stopped by her boss and given another assignment. ACTIVE REFERENCES [Image] = NAGI’s facial identity, if a character reference is supplied. Use only her facial appearance as the identity reference; replace any school clothing and background with the adult office character and environment specified below. NAGI: Japanese woman, 25, long straight black hair with blunt bangs, white short-sleeve office blouse, charcoal tailored trousers, black leather belt, white minimalist sneakers, employee ID clipped to her waistband, small black work tote held close to her body. Voice: light, breathy adult female voice, speaking Japanese in a hushed whisper. Keep her face, hairstyle, outfit, proportions, and accessories identical throughout. CAST SEPARATION Four distinct adult office characters appear, each with a different silhouette, age, and hairstyle so they read as separate people: TEAM LEADER: man in his 40s, 170 cm, average build, full head of short black hair parted at the side, thin metal-framed glasses, white dress shirt with a loosened navy tie. Appears only beside the first desk cluster, checking his watch. PAPERWORK COWORKER: woman in her 20s, 160 cm, slim, brown hair in a high ponytail, beige cardigan over a white blouse, carrying a thick stack of printouts. Appears only in the printer aisle. BOSS: man in his 60s, 160 cm, stout and round-shouldered, completely bald with a shiny scalp and a fringe of white hair above the ears, round gold-rimmed glasses, charcoal three-piece suit with a company lapel badge, carrying a blue assignment folder. Appears at the corridor T-junction and remains in that connected corridor during the whiteboard sequence. OFFICE ASSISTANT: man in his early 30s, 182 cm, lean and broad-shouldered, thick full black hair swept back, short beard, navy shirt with rolled sleeves, dark trousers, no glasses. Pushes the mobile whiteboard from the meeting-room alcove toward the elevator lobby. The BOSS is the only bald character in the entire video. The OFFICE ASSISTANT keeps a full head of thick black hair and a beard, stands more than 20 cm taller than the BOSS, and is clearly a different, much younger man. LOCATION MAP One unbroken spatial route the camera travels with her: Her workstation → low desk partition → printer aisle → corridor T-junction → meeting-room alcove with mobile whiteboard → elevator lobby → elevator interior. Keep the route compact and physically traversable within the 27-second continuous section. Foreground: polished linoleum floor, office desks, steel filing cabinets, rolling chairs, and reflective glass meeting-room partitions. Background: window wall on camera-right overlooking neighboring office buildings, dust suspended in the sunbeams. Light enters from camera-right along the office route. ELEVATOR GEOMETRY The elevator entrance is at the end of the office corridor. The call button is on the wall beside the entrance. The elevator is empty when NAGI enters. Inside the elevator: brushed-metal rear wall, side handrails, softly illuminated ceiling, control panel beside the doorway. No rear exit and no mirror creating a second NAGI. NAGI enters facing the rear wall, then turns to face the open elevator doors. For the final reverse shot, the camera is positioned INSIDE the elevator, immediately beside the doorway, looking inward at NAGI. The brushed-metal rear wall is behind her. The elevator doors close behind the camera, allowing her face to remain visible throughout the final shot. FIRST FRAME / BLOCKING First frame is already in motion: NAGI darts in from lower-left toward camera-right, work tote clutched to her chest, and drops into a crouch-slide behind a low desk partition beside her workstation. Camera behind her right shoulder. Game HUD fully visible from frame one. A small desk clock reads 17:00. FORMAT MODE One continuous unbroken take from 0.0s to 27.0s with no cuts of any kind, then a single HARD CUT at 27.0s to one final locked reverse shot that runs to 30.0s. Exactly one cut exists in the whole video, at 27.0s. The camera does not cut anywhere else. OPTICS One lens for the continuous section: 47° third-person over-the-shoulder framing as the baseline, breathing in to 29° on reaction beats and out to 63° for the boss encounter and moving-whiteboard concealment. All FOV changes in that section happen as smooth continuous zoom breathing, never as a jump. The final shot after the cut is a fixed 29° frontal framing of NAGI, no drift. CAMERA For the continuous section, the camera is a physical object flying with her. Chest-height, 1.5 meters behind NAGI, slightly camera-right of her spine, swinging with a soft spring delay half a beat behind her turns like an analog-stick gameplay camera. It dips to knee height when she crouches, rises when she stands, slides sideways along the filing cabinets with her, swings wide to corridor-left to reveal the boss encounter, drifts behind her for the moving whiteboard, and follows her through the open elevator doorway. The camera travels through open space around desks and partitions. It never clips through furniture, walls, the whiteboard, or elevator doors. After the cut, the camera is repositioned inside the elevator beside the doorway, looking inward at NAGI — locked off, eye level, completely static, no movement. ACTION [Beat 1 — 0.0s to 6.0s] NAGI crouch-slides behind the low desk partition, back flat against it, chest heaving. She leans out 20 cm to peek at the TEAM LEADER checking his watch beside the adjacent desk cluster, then pulls back. She whispers in Japanese: {定時だ…捕まったら終わり。} HUD flashes 【5:00 PM — SHIFT OVER】 and the mission banner 【OBJECTIVE: REACH THE ELEVATOR UNDETECTED】. The TEAM LEADER turns toward a ringing desk phone. NAGI slips behind his back, staying below the desk-partition line, and moves into the printer aisle. The camera follows without stopping. [Beat 2 — 6.0s to 12.0s] The camera stays with her beside the steel filing cabinets. NAGI presses her spine flat against the cabinets and shuffles sideways at 2 km/h, sneakers rolling heel-to-toe in silence. The camera tracks sideways with her at the same speed. The PAPERWORK COWORKER walks past the end of the row carrying a thick stack of printouts, scanning the office for someone available to help. NAGI holds her breath, pupils tracking the coworker without moving her head, and whispers: {来ないで…こっち見ないで。} The minimap vision cone sweeps past NAGI’s marker and turns away. HUD shows 【SNEAKING MODE】. The PAPERWORK COWORKER exits frame-left. NAGI exhales, crouches beneath the edge of the last desk, and slips into the corridor with the camera still on her shoulder. [Beat 3 — 12.0s to 18.0s] The BOSS steps around the T-junction two meters in front of her, blue assignment folder in hand. He catches a brief glimpse of movement. A red exclamation marker snaps above his bald head with a sharp alert sting. The HUD edge pulses red: 【ALERT】. He starts saying in Japanese: {なぎさん、追加の仕事が…} The camera swings wide to corridor-left as NAGI reacts in one motion: hugs her tote tightly against her ribs, drops below his eye line, pivots around the corner of a tall filing cabinet, and slips into the adjacent meeting-room alcove. The cabinet fully blocks his view before he can finish approaching her. She whispers: {今だけは無理…!} HUD prints 【EVASIVE MANEUVER】 and 【BREAK LINE OF SIGHT】. The BOSS takes a step toward the place where he last saw her, looking around the cabinet. NAGI has already moved to the far side of a mobile whiteboard in the alcove. The camera falls in behind her again. [Beat 4 — 18.0s to 24.0s] The OFFICE ASSISTANT starts pushing the mobile whiteboard out of the meeting-room alcove toward the elevator lobby. The whiteboard is a tall, opaque rectangular board on a metal frame with four caster wheels. Its panel extends low enough to conceal NAGI’s crouched torso and head; only her white sneakers occasionally show below the frame. NAGI crouches on the side opposite the BOSS and shuffles with the board, matching its rolling speed exactly. She keeps her tote tucked close so it never protrudes beyond the board’s edge. The camera tracks low on her concealed side, showing her careful steps and the BOSS intermittently visible beyond the board’s far edge. The BOSS pauses, looks toward the moving whiteboard for a full beat, then turns back toward the office with his assignment folder. From behind the board, NAGI whispers: {ホワイトボード…最強。} HUD prints 【MOBILE COVER EQUIPPED】, then 【ENEMY LOST CONTACT】. The alert bar drains to green. The OFFICE ASSISTANT steers the board into a wall recess beside the elevator lobby. NAGI slips away from its concealed side as it stops. [Beat 5 — 24.0s to 27.0s] NAGI reaches the elevator call button and taps it once. A soft arrival chime sounds. The elevator is already waiting on this floor; its doors slide fully open. She slips through the clear doorway. The camera follows her inside, staying behind her shoulder. She turns to face the entrance and presses the door-close button once. Her shoulders remain tense, tote held tightly in both hands. The doors remain open until the cut. 27.0s HARD CUT [Beat 6 — 27.0s to 30.0s] Locked static reverse shot from inside the elevator beside the doorway, looking inward: NAGI stands facing camera, shoulders squared, work tote held in front of her, chest still rising fast. Behind her are the brushed-metal rear wall and a horizontal handrail. Off camera behind the lens, from the distant office corridor, the BOSS calls in Japanese: {なぎさん、ちょっといい?} The elevator doors slide closed behind the camera. Their narrowing opening is registered by the shrinking patch of corridor light across NAGI’s face and the sliding-door sound. NAGI answers brightly, looking straight down the lens: {お先に失礼します!} The doors finish closing. Her shoulders drop with relief. HUD prints 【MISSION COMPLETE】, 【STEALTH RANK: S】, 【ADRENALINE +150】, and the final notification: 【AFTER-HOURS TASK EVADED】 Final frame: NAGI facing camera, a tiny triumphant smile pulling at one corner of her mouth. PERFORMANCE Photographic human realism indistinguishable from live-action footage: skin with visible pores, fine vellus hair catching the light, subsurface scattering in the earlobes and fingertips, capillary flush across her cheeks and ears from running, individual flyaway strands lifting off her hair, wet living eyes with true window catchlights and a faint red inner rim, clean matte skin. Visible fast breathing at the collarbone, eyes darting a half-second before her head turns. Tension shown by muscle: shoulders drawn up to her ears, fingers clamped white on the tote handles, jaw set, then a full-body shoulder drop on each escape. All adults have equally real skin, real hair follicles, and natural asymmetric faces. PHYSICS Her blouse and tailored trousers crease naturally during crouches and turns. Hair lags and sweeps across her face on fast direction changes. The work tote has real weight: its handles pull taut in her hands, and its body swings with inertia before settling against her torso. The mobile whiteboard has real mass. Its caster wheels rotate against the floor, swivel when steered, and rattle lightly over a flooring seam. The board wobbles subtly when the OFFICE ASSISTANT starts and stops it. NAGI moves with her own visible footsteps; the board does not drag or transport her. The coworker’s printouts flex slightly while walking. The BOSS’s folder stays in his hand. Elevator doors slide smoothly on fixed tracks and close only after NAGI and the camera are fully inside. Contact shadows stay glued under every foot, every knee, every furniture leg, and every caster wheel. LIGHTING One continuous light logic across the office route: bright late-afternoon sun at 5600K entering from the window wall on camera-right, throwing long window-frame stripes across the floor. NAGI passes through light and shadow as she travels. Soft bounce fill off the pale linoleum lifts her face. Fine dust hangs suspended in the sunbeams. The elevator lobby receives the same window light. Inside the elevator, neutral overhead illumination provides continuous soft fill. In the final reverse shot, the same corridor daylight enters from camera-left through the open doorway, raking across her cheek. As the doors close behind the lens, this daylight narrows and disappears naturally, leaving the elevator’s established overhead light. Exposure rolls smoothly as she moves between bright and shadowed stretches, and the color temperature matches exactly across the cut. HUD GTA-style real-time game HUD locked to fixed screen positions for the whole 30 seconds, with every on-screen word written in English: Circular minimap bottom-left with the player arrow and yellow vision cones for the office characters; health and stamina bars top-left; alert-state bar shifting green to amber to red; controller button prompts bottom-right; English mission objective text top-center; floating red exclamation markers over alerted characters; notification cards sliding in from screen-right. The HUD stays in the same screen positions across the cut. No subtitles or caption bars anywhere on screen. The HUD is a clean flat graphic overlay composited on top of fully photographic live-action-grade footage. AUDIO Tense minimalist stealth synth loop with a pulsing heartbeat underneath, running unbroken across the cut and resolving to a short bright victory fanfare at the end. Ambience carries continuously through the cut. Office sounds become naturally muffled as the elevator doors close. All dialogue is spoken in Japanese. STYLE Photoreal live-action realism, real human beings and real fabric, natural skin tones with true-to-life color science, physically correct materials, realistic human proportions and anatomy, real optical depth of field, real floor reflections, subtle handheld gameplay motion blur, fine film grain at 5%, sharp detail intent. OUTPUT SETTINGS 16:9, real-time speed throughout, one continuous 27-second take plus one 3-second locked shot after a single hard cut. POSITIVE LOCKS Exactly one cut in the entire video, at 27.0s — everything before it is a single unbroken take with the camera connected to NAGI. NAGI is consistently an adult office employee, 25, with the same face, long black hair with blunt bangs, white office blouse, charcoal tailored trousers, black belt, white sneakers, clipped employee ID, and black work tote throughout, with dry clean skin. The work tote stays with her throughout. The mobile whiteboard appears only from the meeting-room alcove onward and is physically pushed by the OFFICE ASSISTANT. It remains between NAGI and the BOSS during the concealment beat. The bald BOSS in the charcoal suit and the tall bearded OFFICE ASSISTANT with thick black hair are unmistakably different men. The office route remains spatially continuous. Characters do not teleport between locations. NAGI enters the elevator before turning toward its doors. In the final shot, the camera is inside the elevator beside the doorway, with NAGI facing the lens and the brushed-metal rear wall behind her. The doors close behind the camera; they never pass between the lens and her face. All on-screen text is English. The last 3 seconds hold a locked frontal eye-level shot of NAGI facing camera. HUD elements stay in the same screen corners throughout. One single NAGI on screen at all times. All spoken lines are in Japanese. Sunlight direction stays consistent across the office route, with a physically motivated transition to elevator lighting as the doors close. Final notification: 【AFTER-HOURS TASK EVADED】.

Sharon Riley

62,727 次观看 • 9 天前

The Royal High Courts are certainly a place of grandeur and perhaps some are intimidated by the surroundings. Well that impressive 19th century Gothic architecture is a sight to behold but the Judges less so. I’ve seen too many judges in the UK and Pakistan and by God, they leave a lot to be desired. Especially when one comes across McGowan the Mediocre. What should have been a straightforward win has turned into a cheating exercise by the very judiciary meant to uphold justice in this country. Why do I say straightforward? Let’s recap. After 3-4 failed complaints to the GMC, the Jewish lobbies upped the ante. First came my loss of contract at South Tyneside and Sunderland NHS Foundation Trust where I was doing some clinics. No investigation. Just blocked from the email and can’t address patient queries. Then started the defamation in the press – articles in the Jewish News, Jewish Chronicle and Telegraph followed by loss of contract with Medinet with whom I’d worked since 2018 intermittently and had glowing reviews. The GMC now opens an investigation – given the pressure from Wes Streeting, elected in July 2024. They wanted an Interim Orders Tribunal (IOT) to decide if any sanction should be imposed whilst I was being “investigated”. I had a trip abroad for my brother’s assassination case and I had clinics. Patients who had waited 12-18 months to see a Neurologist. The GMC and MPTS didn’t care. The Medical Practitioners Tribunal Service (MPTS) is allegedly an independent body to the GMC and runs the IOT panels. They would not move the IOT by 11 working days as the GMC had refused (so much for independence!) – instead of 20th December I had suggested 13th January 2025. Recall this was over the Christmas period – people going on holidays and yet I was expected to get legal advice when I was in clinic from 8am – 6pm. I told them patients came first – I stand by that. Hurt Jewish feelings aren’t urgent and they don’t come before my patient care. I requested deferment by 11 working days, told them I would defend every single tweet and indeed, looked forward to it. This was all via email. Multiple emails. All ignored – including the one letter that contained my “defences”. They would not budge – the Jewish lobbies were demanding action and the GMC wasn’t going to risk their ire again. Wes Streeting was breathing down their necks. On 20th December 2024, I saw my Neurology patients and on 23rdDecember, I found out that I’d been suspended for 18 months. No other doctor had an 18-month suspension or got one since – in their absence. My remaining clinics in December and January all cancelled. Some patients were cancelled as they were making their way to my clinic. I requested the transcript of the IOT hearing – the GMC had been demanding conditions on my license on public interest grounds yet 3 batty women decided I should be suspended for 18 months for public interest and patient protection! Later, the barrister for the indemnity body stated he “couldn’t get purchase on” how they came to that decision. In any case, after being misled by my indemnity body – who suggested that I first ask for an early review, delayed asking for it and then the GMC refused. They were refusing to allow me to be heard after claiming I wouldn’t attend. The indemnity body then reneged on the agreed High Court action. The GMC even send me the Rule 7 letter – the final “allegations” against me on 5 February 2025 which they then updated in March. Ordinarily this takes about 9 months to send – in my case, they managed to do it within 6 weeks! Yet one of the reasons they claimed I needed to be suspended for 18 months was because of the lengthy investigation…. I had to reply by 5 May 2025 which I did via a191-page response. The GMC usually respond within 3-4 weeks. As of 21 January 2026, I have yet to hear from them. I then took matters into my own hand. Let down by cowardly lawyers except one (Yasmin), I filed a High Court application under Section 41 A(10) of the Medical Act 1983 to challenge my unlawful suspension. I requested an urgent expedited hearing as I was being left with no way to earn a living. There were 10 grounds of appeal. The High Court date was set for 10th July 2025. Meanwhile, the MPTS is obliged to give a 6-month review – 16th June 2025 afternoon was scheduled. I stated I wanted this in person and in public. I flew back from Kashmir on 9th June – it’s cheaper to live there - and found myself arrested at Holyhead under s12 of the Terrorism Act for “alleged support of proscribed groups” – apparently I was “on the wanted list. I’m released 14 hours later. They’d seized my mobile phones and laptop and wait for it, all my GMC documents that I’d carefully put together. I’m still not sure why I couldn’t get those back. I learn that the GMC is seeking information about this non-reportable arrest within 24 hours of it – they know. In any case, I go for the IOT hearing – and the GMC Counsel attempts to utilise the arrest. I object. The panel agree that it will not be considered. However, the MPTS have set an insufficient amount of time for the hearing – they would have known. There were over 1000 pages in the bundle of nonsense – the only worthwhile part of that was my beautifully written 191-page response. I was quite proud of it if I’m honest. It could be considered my second PhD thesis. As I have to return to Pakistan for hearings and the High Court case was 10thJuly, the IOT hearing was re-scheduled for 14th July 2025. So, fast forward to 10th July 2025. Under 48 hours before the hearing is due, the GMC submit their skeleton arguments – ordinarily submitted 7-14 days before – no doubt, to wrong foot me. They finally admit that the IOT panel made an “error of law” in not properly applying the Article 10 rights but argue they got to the “right decision but by the wrong route” (!) I am self-representing in Court 1 at the Royal Courts of Justice – the GMC have their in-house lawyer, their GMC Counsel and her clerk. But I have the best lawyer (currently abroad) and an excellent McKenzie friend, Sean Naughton and my well wishers who attended to support me. We start at 10 30am – and I ask the Judge to review the admission of illegality. On that basis alone, my suspension should be revoked. She declines and wants to hear the case. I then detail the IOT powers and how the grounds to sanction me had not been met – they had not proven public interest or public protection. I discussed the GMC actions, the unfairness, disproportionality, the abuse of process, the outright lies by the GMC, the draconian 18-month suspension, the persecution by the Jewish lobbies and the breach of my rights under Articles 8, 9 and 10 of the ECHR. My opening lines: “I submit that the suspension was political in nature. It was subject to bias and external pressure was clearly evident. It was unlawful and demonstrated seriously flawed reasoning. It was manifestly wrong and the panel erred in law. It was completely unnecessary. It’s been tainted by marked procedural errors, unfairness and it has demonstrated gross abuse of process by the GMC and the MPTS and the IOT panel and those abuses have continued. The suspension is draconian and disproportionate and inconsistent with other decision makings of the IOT panels. It is a complete violation of my rights under Article 8, 9 and especially Article 10 of the European Court of Human Rights. And it is demonstrated also limitation of the panel’s expertise, both in terms of law, but also, importantly, the context of the rights of the Palestinian people and it brings into serious question whether the GMC should be policing speech of doctors. It should certainly not be policing or interfering in political speech.” I went through each ground in detail giving the relevant case law. I talked openly about the nature of that persecution: “All of the complaints against me have been made by Jewish and pro-Israeli affiliated organisations and I think it’s necessary to list them – Lawyers for Israel, in collaboration with Gnasherjew, the Jewish Medical Association twice; the unnamed Jewish Zionist doctor; the Jewish News who defamed me; the reporter is Michelle Rosenberg - who is Jewish and Zionist; the Daily Telegraph defamation - George Chesterton is married to a Jewish woman; Miranda Levy and Jacob Freedland are both Jewish and Zionist. I had the Jewish Chronicle defamation - Jane Prinsley is Jewish and has a home in Israel; Campaign Against Antisemitism by Stephen Silverman, who is Jewish and has submitted three similar tweets in March 2025 to the GMC which have been included in my Rule 7 letter without due process the GMC is obliged to follow on receipt of a new complaint. And then, twice in the Jerusalem Post - Mathilda Heller and Michael Starr are both Jewish Zionists. And despite the suspension, Sabrina Miller, a Jewish Zionist journalist at the Daily Mail attacked a number of pro-Palestinian doctors, including myself. So, these previous complaints that have been dismissed by the GMC included tweets of a similar nature. The tweets have not changed, but I would contend that the priorities of the GMC had and my complaint was clearly being handled by individuals who appeared conflicted. In my witness statement, I have detailed the behaviour of XXX, XXX, XXX who refused to respond to emails on where disclosures from the GMC themselves, since I submitted this appeal, have since revealed that XX XX had made false notes on my record claiming I had prior FTP history. In addition, in July 2024, Wes Streeting became the Health Secretary. I refer Your Honour to pages 327 to 337 of the bundle. There’s a Declassified article, incidentally, that’s been written by a Jewish journalist, Matt Kennard. He has investigated Streeting’s support of Israel since his days at the National Union of Students. It documents that he visited Israel in 2022 paid for by the Labour Friends of Israel. That organisation’s former chair was Joan Ryan, infamously found to be discussing her £1 million payment from Israel with Shai Masot, the Israeli diplomat. Streeting has taken over £20,000 from Israeli lobbyist, Trevor Chinn. Trevor Chinn’s father heads the Jewish National Fund which supports illegal Israeli settlements and from Lord Mendelsohn and David Menton. The Jewish Chronicle even ran a profile of him entitled “Wes Streeting, our friend at the NUS”. So, there’s little surprise that Wes Streeting made comments in The Telegraph stating he would urge medical regulators to discipline staff expressing views which he, as a pro-Israeli and Zionist, opposed. He stated that regulators had the power to set conditions that a healthcare professional must work under. Suspend them or strike them entirely from the medical register. He made similar comments to The Times. He then met with the Board of Deputies for Community Security Trust, which is also behind my complaint, the Jewish Leadership Council and the Jewish Medical Association, reiterating “I expect employers and regulators to take action”. The idea that this political pressure by the Health Secretary in November 2024 was irrelevant to my suspension is untenable in the face of this clear intervention, which actually represents political interference and undermines the alleged independence of the GMC.” And I made clear the Jewish privilege at play “So, from what I’ve just presented, it’s very clear that the red line concerns Israel. Tweets, that’s words. Criticising an entity, carrying out the mass slaughter against innocent civilians will be punished more severely than malpractice, blatant dishonesty, criminal convictions or even genuine Jew hatred, as long as you are not a Muslim. And if you’re Jewish and you belong to a powerful lobby group like the Jewish Medical Association, then the GMC gives you a clear pass as shown in the case of Liz Lightstone and Justin Stebbing.” I made clear that even the GMC referral to the MPTS explicitly stated “that there was no evidence of [her] racially discriminating against anyone or discriminating against Jewish people.” I stated in the High Court “And I should point out that the Jewish people are not a race; Judaism is a religion” and “It is my inalienable right to be able to disagree with the narrative from Israeli lobbies and express it. Their free speech does not trump mine.” I made sure that she understood that my patients and even Grok approved of me: “In fact, Grok is positively glowing – “Dr Rehiana Ali’s tweet carry a fiery, unapologetic tone blending sharp intellect with a raw defiance against injustice echoing the spirit of Malcolm X, mirrors Malcolm’s blend of moral clarity, confrontational rhetoric and distain for oppressive systems.” “I can’t think of a better person to be compared to.” I further stated “I do not believe that legal, that legitimate political commentary or reporting facts can be antisemitic. I do not believe that any groups, be they Jewish, Muslims or Christians, are exempt from criticism where the situation warrants it. I do not believe in hate speech, as that’s the very antithesis of free speech, but also, importantly, there is no tweet of mine that demonstrates hatred for any group simply by virtue of their religious identity and, indeed, none has been identified as such.” I even quoted the Queen: “I do not accept that stating facts becomes anti-Jewish simply because the majority of those committing the crimes are Jewish. If you take that to the logical conclusion, that would mean that no Jewish person could ever be criticised for their bad behaviour. That cannot be right. I would also point out that the late Queen, according to the Israeli press, and the ex-President of Israel Rivlin, was reported to have viewed every Israeli as a terrorist or the son of a terrorist. Who would have thought that the Monarch would have been so based?” At 1pm, the Judge wants a lunch-break – I haven’t finished. We continue after lunch break – and I complete my submission dealing with the GMC’s arguments. “Before I sum up, I’ll just briefly address the skeleton arguments that the defence submitted on 8 July. And obviously I’ve already raised disgruntlement about that but I think it’s important to note, that the GMC has finally conceded, after over two months since receiving my skeleton arguments, that the IOT erred in law. On that basis alone, that suspension should be quashed today. If the GMC was capable of self- reflection, it would have withdrawn its objections to my appeal gracefully but that is probably too optimistic an outcome to expect of this bureaucratic monster which has become a law unto itself…” Then the GMC repeats their arguments and argues that the High Court have broad powers and should take original jurisdiction over the matter: “And that is an exercise that this Court can properly make, exercising its original jurisdiction” In fact, the words “original jurisdiction” were repeated about 7-8 times. The GMC Counsel repeated to the Judge “We accept that you have a free-er hand” and again “Because, as I say, this Court is free-er to exercise the original jurisdiction” and so on. Look at the tweets! She said “Mossad did 9/11” and that “Israelis shouldn’t be allowed near humanity”. She said “Israelis are involved in organ trafficking”. All true. I was amused. Ordinarily the High Court usually looks at technical and legal aspects without going into the actual details of the issue itself (e.g. on covid, they wouldn’t debate the merits of the covid vaccine – the issue was whether the conditions/suspension was legal according to rules and procedural fairness). I reply I have no issue but it wasn’t necessary – the grounds did not require that. However, if the Judge wanted to look at the tweets she should acquaint herself with the facts that I presented in my 191-page response. I request a judgement that day or the next day. I had no faith in the MPTS and GMC. That review hearing was due a few days later on 14 July 2025. Judge McGowan was fully aware of that review IOT hearing. She stated “We need to finish this during the course of today. It cannot go part heard and I understand that your review hearing is listed on Monday next.” She stated the following: “And if there is not a decision from this Court today then, presumably, the review hearing will be made aware of these proceedings, but their decision is independent of this. If they decide to not lift the suspension, then my decision either does the same or lifts or terminates the suspension. If they terminate the suspension on Monday, then my decision probably becomes quite academic, but necessary, nonetheless.” Even the GMC Counsel admitted that the Court’s decision was “of interest” I didn’t agree it was “academic” The Judge continued: “There is too much material. It is too important.” And later that her decision was “nonetheless, an important exercise.” I emphasised in my response that I wanted the High Court to rectify that injustice done to me in December 2024 and that “the overarching question is “was my original suspension, was it correct or not?” McGowan replied : “I – I do understand that and in order to reach a decision about that I have to look at what you say are the procedural mistakes. I have to look at what you say are the errors of law. I have to look at what you say is unfair about the way the hearing was conducted...” and again,“Until I have made my mind up about the procedural unfairness and all the other points you have raised, I have got to consider everything.” I again pointed out “..I would argue it’s an abuse of the system and I’m actually paying the price for their deficiencies, or rather procedural irregularities. I’m having to live with the consequences of being deprived of an income…” In other words, there have been consequences for me – financially and professionally. And I ended with “I have no faith in the IOT. I have no faith in the MPTS, and I have no faith in the GMC, and I am not the only one to feel that way. The fact that we are calling for a different body and we’re calling for the GMC to be dismantled. I’m simply asking that the injustice that was done in December is rectified…” The concluding remarks of McGowan? “Well, I am certainly not going to give judgment in this case at 3.55pm. You raised an awful lot of important issues. The importance of a decision to you, personally, is obviously great. The importance of a decision to your potential patients is high and the importance of a decision to the public is equally important. So, all of those matters have to be considered and balanced and I will get to a decision early next week. I think that is probably the best way, which will be handed down in the usual way. All right, well thank you both very much. Thank you all very much for your attendance.” At no point did McGowan state there would be no Judgement. On 14 July 2025, my suspension was revoked. I self-represented and I didn’t concede a single point or any tweet. What happened next was a shocking abuse of the judicial process. My registration was reinstated – no conditions. But that 7 months suspension remains on my record visible to every employer. The very next day GMC emails the Court to state that the High Court no longer has jurisdiction over the matter as the suspension was revoked! The IOT panel has very limited powers so whilst it revoked my suspension, it will not deem it unlawful or indeed make any comment about the previous panel’s decision – and certainly not its legality. The MPTS admitted that only the High court could rule it was unlawful. I contacted the Court pointing this out and that I was expecting a judgement as per McGowan’s position in the High Court. The High Court had a full day’s hearing and the court was independent of the tribunal and had seized jurisdiction. All my grounds including the legality of the suspension were outstanding. The revocation was to some extent irrelevant to the Court issuing the Judgement – if anything, it rather supported my contention that the suspension imposed on me in December 2024 was unlawful. I ask the GMC to provide what law they’re relying upon….they quote this section and claim it is written in the present tense! “Section 41A(10 of the Medical Act 1983, Interim Orders, states Where an order has effect under any provision of this section, the relevant court may –..” Yes – that is the best they could come up with it. Needless to say, the convention in UK legislative drafting is the simple present tense …because the law is “always speaking”. I call and even visit the Royal Courts of Justice. The Court staff chase the Clerk …I’m asked to be patient and await the Judgement. Even up to 6th August 2025 I was told that the Judgement was coming. On 11th August 2025, I am informed by email that there will be no Judgement!! I spoke to a number of barristers and solicitors – it’s almost unheard of. They're all useless though. I get no replies to my emails to the High Court. So in November 2025, I requested the Hearing transcript. On 12th December 2025 – over 5 months after the substantive hearing – I received an Order (not a Judgement). It was a bare order – simply stating “Upon the Court hearing the substantive hearing on this matter on 10 July 2025 And upon following consideration of the documents lodged by Respondent on 15 July 2025 confirming revocation of the Interim Order pursuant to Section 41A of the Medical Act 1983, the application is dismissed.” No reasons whatsoever as to why the Judge had contradicted her own position in Court. I replied to the Court and file an application for permission to appeal – not just to McGowan (the system is so barmy that you have to ask the same judge for permission to appeal) but also to the Court of Appeal – the latter for both permission to appeal and the appeal itself concerning McGowan’s bare unreasoned order. McGowan now responds (miraculously) via the Court staff wanting a 30-minute hearing for permission to appeal – that is set for Tuesday 13 January 2026. So, yet again I am at the High Court now requesting permission to appeal. To be honest, I wasn’t expecting much. McGowan had shown she lacks the spine to address the issues – and has zero integrity. You don’t get a DBE in the UK for nothing. In fact, she started this hearing by asking the GMC to interpret the Section 41A of the Medical Act!!! Then she turned to me – the Claimant – and asked if “I understood what was being said”. I replied that I understood full well. English after all is my first language and I’m a Cambridge graduate. I can understand basic English. She clearly has difficulties though – I later learnt that she dropped English at Manchester University for Law. At the expense of sounding very snobbish, I just knew she wasn’t Oxbridge material…. I present my arguments – including case law. The GMC has no relevant case law – their arguments are “it is written in the present tense” (I did correct them that in actual fact, it was written in the simple present tense to be more precise) and that the decision of the High Court “is final”. Of course, I point out that finality is based on two aspects – firstly, getting a reasoned Judgement! I never got a judgement. I effectively got a blank piece of paper. On no grounds, could that be considered “a decision”. And secondly, if there were any errors of law, procedural irregularities …they were always appealable. Appeal however was not automatic – all that meant was that one had to request permission to appeal. Can you imagine a system where a Judge makes an error but you can’t appeal it?! I point out that every issue remains live. I even simplify it for them – I point out that in the case of rape, and using GMC logic, we’d never prosecute the rapist – after all, the rape was no longer in progess. That is not justice. The High Court seized jurisdiction by having a substantive hearing and had to produce a judgement. Of course, I understood that had I appealed after the revocation, the application would have been dismissed. McGowan sat there clearly not listening. This was merely an exercise to show there’d been a hearing. She tried to claim she has “no power”!! She then had the audacity to say “You’ve had a success. Why aren’t you satisfied with that?” I point out that I was suspended unlawfully – I had 20 years of an impeccable record and it states “misconduct” on my record. I have a right to get that unlawful suspension struck from my record and remedy with regards to the consequences I had suffered. The GMC – a public body – should be held accountable not just for my sake but for other doctors and I remind her of her own words “for the wider public interest”. In fact, I quote liberally from the transcript and point out her contradictions. At no point did she ever state – because it’s not possible – that the High Court lost jurisdiction. That’s the legal principle: “Once seized, always seized.”

DR REHIANA ALI BA MB BCHIR (Cantab) MA MRCP PhD

18,659 次观看 • 8 个月前

.Christian Rivera (el que dijo que KOI era un equipo de mierda y se dedicaba a acosar a los jugadores) me llama nena en su stream, me dice que no tengo idea de lol y que soy un cagón. Obviando la fantasmada histórica, vamos a hablar un poco de mí y de este estafador: 👇 Lo voy a hacer en inglés para que puedan salir todos sus fanboys (tres o cuatro) y para que no tenga la excusa de la traducción. Yo no necesito esconderme. Le dais al translate y pilláis rápidamente el flow. As for the question of who am I, I think it is the mark of a moron to expect your name to carry your takes. Anyone can and will make plenty of mistakes when talking about complicated and opinionated subjects such as League. I feel context is necessary if you are coming late to what is quickly becoming a shouting match. My beef with Dom is based on me accusing him of basically being a grifter. Someone pretending to understand competitive League at a high level to sell gambling content to unaware kids after, in one of his many desperate attempts to claw his way back into pseudo-relevance, he declared KOI players to be "shit" and made this a running joke within his fandom. These alleged "shit players" in a "shit team" made finals on their first split and worlds on their first year. After upgrading their midlane to Jojopyun, have just now won LEC and made MSI. 2/5 finals, 2/4 internationals and a 3-1 LEC split finals against Cap's G2. Seems to me that, after combining defamatory language with such an ill-informed professional blunder (I don't consider him a analyst but he does, so it is a professional blunder from his pretended pov), it would fall on Dominate to give a proper public explanation. Instead, he hides on his stream while accusing others of cowardice. Let's put a pin on that and come back to the subject of what have I ever done (a weak whataboutism that barely qualifies as an excuse for running a harassment campaign against rookie players). I started taking League seriously and joined the scene as a writer in 2017. By the end of that year I managed to join Mad Lions, a team that would find great success without me during 2018, being that I left within the span of two weeks. After an argument with then coach Araneae, I became disillusioned with the competitive side of League. In this argument my head coach, a veteran player and unarguably successful coach before and since, was adamant about the idea that lane matchups decide strongside. I argued that it is actually jungle windows of play that determine who should get to push the wave. Today, we all know it's a bit of a mixed bag, and winning matchups have evolved much beyond who gets to crash any given wave. We agreed that both of us were people that have a hard time letting go of our opinions and parted ways amicably. To me, what makes League a worthwhile pursuit is exploring the interesting ideas that can be built through it, not necessarily the drive to win. I left the team wanting to use content as a means to an end, as after that argument, I became obsessed with understanding the competitive jungle. It took me a year and a half, and you can call it luck, but I'm actually quite proud of the narratives I was able to push building around that knowledge. By MSI 2019, attended by at the time world champion "Ning" and mechanical prodigy "Clid", I pushed Jankos as the clear best jungler of the tournament. I understand the English speaking community has no way of knowing this, but I faced significant backlash for putting a western player above these two greats. His cover style of jungle allowed G2 to greedily succeed in getting the most of their flex-heavy drafts that often landed them on the winning side of matchups, and coasted them into a midgame where they found no match. G2 took that tournament and set a record for the quickest international finals. By the time EU legend Jankos arrived at worlds, many had them as the key player/mvp that made 2019 G2 work. This time, even though most experts had Clid as clear top 1 jungler and I had just found success (maybe luck?) through Jankos, I actually pushed Tian as the top 1. Admittedly, this one is kind of murky, since it was Doinb's understanding of midlane windows that actually had Tian play the peak of his career. Still, the fact remains that FPX brought the best jungle/river play system and ended up taking the tournament. Finally, after a clear-cut exceptional Canyon that dominated 2020 and pushed the limits of what jungle efficiency is (hard to argue against his inherent quality nor was I ever inclined to do so), I had Wei as my top jungler for 2021's MSI. This time, professional junglers (with whom I had an amicable relationship, this was not in bad faith) wrote to me privately, joking about how they were expecting for the tournament to end and Canyon to stomp Wei so they could laugh at me publically and quote-RT my tierlist. I was committing the sacrilege of putting some chinese guy above the best jungler to ever play the game, in the tournament following his peak performance. Sadly, their time never came. Wei's mastery of damage limits and unique skill with the Rumble pick (which was disgustingly broken, even if only one guy could actually play it, never mind what Phreak's winrate analysis told you) made Canyon's Morgana spam look disappointing to say the least. Bear in mind that Canyon is still in my mind the best jungler to ever play the game, he just wasn't in his best form at that particular MSI. Call it luck if you want, but bringing three dark horse takes in a row and have them all pay you back is no easy feat. Ask Dom how his KOI take is doing, I don't think he's too happy with it. I can't sit here with you and spend all day exploring every bullseye I've ever gotten (there isn't enough room in a tweet), but I can tell you a few more. Had Fnatic becoming a dysfunctional team over Razork´s transition from selfish jungler into adc lapdog, recently confirmed by Vladi in chat (I think he is a bit better than Dom at the game). Had "Nisqy will never make an international tournament ever again" after he parted ways with Elyoya, while other content creators were pushing the opposite. We had to sit for years and pretend he was enabling Elyoya to look good and not the other way around. Nisqy seems like a fun guy, I'm actually low-key a fan of his, but I don't build my takes on whose dick I can suck deep enough so that they might show up on my stream and give me credibility by association (unlike other people). I had 2023 T1 beating JDG when the narrative was JDG's royal road. How? Because since MSI 2022 I've been pushing every team to study T1's early vision system. Like, I literally said over and over again, whoever is not studying this team's early vision system is hard trolling. Recorded several videos on it. This is before Faker ever made world finals against DRX. Back when I was saying T1 had revolutionized competitive League of Legends, accusations were that T1 were washed and chokers (remember which side of that narrative jungle soloq genius IWD was on?). After they made three World's finals in a row and won two of them, it seems like I was onto something, wasn't I? I also made a very controversial video in 2022 that titles "The Second Korean Age", speaking about how T1's advancement in vision systems would push Korea ahead for years to come. It was pretty controversial back then, in 2022, when China had won 3/5 of the last world championships. Now Korea has won three years in a row, not so controversial anymore. Lucky again. However, my proudest work is not something that seems that impressive at first glance. It's called "Pyramids towards 13.19". It's a work that explores the evolution of season 13's World's metagame, drawing a paralellism between understanding a patch and the religions in the lost city of Teotihuacán, wherein they'd build towards the sky in order to get a bit closer to the gods without any possible end to that process. Just as a side note, I also have a video about how laning between turrets is sleeper op and Riot will have to nerf it eventually. T1 and some Chinese teams were toying with it last summer, but everyone focused on swaps instead (as they were easier to build and had a more solid body of working examples). I recorded my theory in 2023 MSI and watched the best teams in the world converge on it a year later. There is more stuff like this, but again, I can't list it all. Not bad for a nobody, I wonder how that compares to knowing what item is op on Volibear in terms of respectable and interesting knowledge of the game. I often get professional coaching offers, including at the LEC level, despite only having two weeks of experience on the job. I've made a habit of declining them in order to keep working on what I consider to be interesting. Other than that, I've built quite a successful private media platform centered around analytical pro League discussion (that thing everyone tells you no one actually cares for) in a dwindling ecosystem where no one understands what people care about enough to pay for. I'd say that's pretty impressive in and of itself. As far as I can see, your numbers keep going down, so maybe I can help you with that too. So at this point I wonder, at which point am I allowed to ask what has Dominate ever done? Other than harassing players, a pattern older than his beef with KOI. I remember he used to gloat and act like an absolute turd, reacting to Rekkles' tears for YouTube views back when he had that string of public breakdowns. Is this a moral standard on which he gets to call me out on the crime of (and I wish I was kidding), posting a screenshot without context and then defending the Kcorp player "Vladi" in it to my Spanish-speaking fans? What a fucking ass I am. I wish I could harass kids online, sell gambling to minors, and bully people having public breakdowns so I could have the legitimacy of a real, tried-and-true voice of the community. The absolute gall to call me a pussy while you hide behind reaction content disguised as insight, a parasite of the co-streaming era of content, while I put my best foot forward building interesting stories that no one is talking about and get proven right; over and over. How is that KOI take aging mate, are you proud of that one? Where are your deep explanations? The actual content, where is it? Other than ragebaiting I mean. I'd really love to check it out, since you are sooo good at clicking with Udyr on the NA server. I want to remind everyone, as this can't be stressed enough, that this whole beef is about a guy making a shit (joke intended) take. Posing as a respectable professional to sell gambling while completely uninformed, driving a harassment campaing against players he knows nothing about, and then being butthurt that some Spanish guy calls him out on his pattern of abuse. You see, my mistake was that he can get Challenger on Dr. Mundo or whatever the fuck he plays, which somehow turns this into a debate and not someone being called out for acting like an absolute asshole. Then it invalidates my whole career, as I don't speak 3rd grade English natively and am unwilling to leave behind my people who supported me from the beginning. All I know about you, Dom, is that you are a bully who seems to enjoy it. Believe it or not, I'm not eager to get into a screaming match while I teach you league for free, all while joining your stream that averages similar numbers (while having streaming rights for years) as mine does broadcasting a stopwatch whenever I feel like streaming once in a blue moon. I don't think it takes courage to do that. It takes pity, of which I don't have enough for you, or perhaps a morbid curiosity for whatever might you say when actually confronted by a human. But I don't have that either, since I already know what you are going to say, the same thing you always say. "One time, ten years ago, I almost was"

Manu 𓃵𓃶

1,202,188 次观看 • 1 年前

Mehdi Hasan unmasked: this is how he sees non-Muslims as animals, as diseased and ignorant kafirs. A Muslim for whom the Quran as presented here serves as his lens on the world; and yet he lies and conceals this fact from us to advance the Quran's goal: our destruction. In these recordings he is caught saying his true thoughts about us without realizing it. 1. different from the rest of the non-Muslims, from the rest of those human beings who live their lives as animals, bending any rule to fulfill any desire. Once we do that, we are lost. In Islam, to believe is to know. To disbelieve is not to know. That is what it fundamentally comes down to. It is to remain ignorant, to cover up knowledge, after all, what is Kafir? Kafir comes from the root word, which means to cover up, to conceal. 2. The Kafir is the one who covers up that knowledge which is clear. The French orientalist scholar Lamendes, he once wrote that the Quran is not far from considering unbelief, disbelief as an infirmity, as an illness, as a disease of the human mind. SubhanAllah, non-Muslims point this out to us. 3. and of course the Kafir, the disbelievers, the atheists who remain deaf and blind to the teachings of Islam, the rational message of the Quran, they are described in the Quran as quote, a people of no intelligence, Allah said, not of no morality, not of no belief, a people of no intelligence. because they are incapable of the intellectual effort it requires to shake off those blind prejudices, to shake off those easy assumptions about this world, about the existence of God. In this respect, the Quran described the atheists as cattle, as cattle as those who go into graves and do not suffer wonder about this world. 4. All of these unanimously agree that at the very minimum, If Yazid was not a Kafir then at the very minimum, he was a Fasiq, a transgressor, a breaker of Islamic laws, a corrupt individual, a tyrant, a killer, a drunkard, a dog lover, a music lover, a homosexual, a paedophile a sexual deviant, someone who slept with his own mother. Quran 7:179 And surely, We have created many of the jinn and mankind for Hell. They have hearts wherewith they understand not, and they have eyes wherewith they see not, and they have ears wherewith they hear not (the truth). They are like cattle, nay even more astray; those! They are the heedless ones. Islamic Art of War By: Ofer Binshtok Islam wages a continuous global war through various methods and with varying intensity against non-Muslims 24/7, as commanded by the Quran and Muhammad, a war that has persisted for approximately 1400 years and will continue indefinitely. In places where non-Muslims grow weary of conflict and seek peace, avoiding confrontation and attempting to appease Islam, believing they have achieved tranquility through signing agreements with Islam and even allowing its migration into their territories, during this time, Islam builds its strength and attacks them when it senses it has the upper hand, from within and from outside, in the most brutal way possible. This war strategy relies on the Islamic Art of War, based on the Quran and Muhammad's Sunnah. Quran 8:39 - The goal: a world containing only Muslims through war. Quran 98:6 - Demonization of non-Muslims. Quran 3:28 - Deceive non-Muslims. Quran 47:35 - Do not seek peace when you have the upper hand. In other words, attack. Quran 8:60 - During a hudna (ceasefire), Islam prepares for war. Quran 9:123 - Attack nearby non-Muslims. Quran 9:5 - Kill every non-Muslim in the world. In 622 AD, Muhammad migrated from Mecca to the settlement of Medina (Yathrib) in the Arabian Peninsula, where he was received as a refugee by the Jews who had established and controlled the prosperous region, granting him shelter. Within approximately eight years, after building his strength, Muhammad eliminated the presence of Jews and other non-Muslims in the area. In 628 AD, Muhammad signed a ten-year hudna (truce) agreement in Hudaibiya with the Quraysh tribe of Mecca, as his forces were weaker than theirs. In 630 AD, when his power was sufficiently strong, he violated the agreement with the Quraysh, attacked Mecca, conquered it with ease, and eradicated all other cultures present there. Muhammad's Sunnah, which is binding in Islam according to Quran 33:21, commands every Muslim to emulate all of Muhammad’s words and deeds, which are considered sacred. A Muslim must be loyal only to the Islamic Ummah" By: Ofer Binshtok The identity of the Muslim is solely to be a part of the global Islamic Ummah, without any connection to a nation-state or to another culture that is not the Islamic Ummah. The idea of independent Islamic nation-states contradicts the Islamic idea as it is found in the Quran and Muhammad's Sunnah. A Muslim, wherever he is in the world, is part of the Islamic Ummah. A Ummah that should be ruled by a caliph through Sharia law. Islam is a global political-religious worldview of a world without borders. The existing Islamic nation-states are actually an act of heresy. A disbeliever who converts to Islam must completely break away from his former identity, become part of the Islamic Ummah, and serve its purposes personally. Every Muslim, wherever he is, is personally obligated to act so that the Islamic Ummah will be established—that is to say, to collapse every nation-state that exists in the world so that the Islamic Ummah will replace it. The fact that the idea of Ummah is included in the central motif of the Quran is evidence of the vital significance of this concept. In Islamic terminology, the term "Ummah" refers to the religious community, also known as the Islamic holy community. This is the primary interpretation of the phrase found in the Quran. Quran 5.51: "O you who believe! Take not the Jews and the Christians as Auliyâ’ (friends, protectors, helpers), they are but Auliyâ’ of each other. And if any amongst you takes them (as Auliyâ’), then surely he is one of them. Verily, Allâh guides not those people who are the Zâlimûn (polytheists and wrong-doers and unjust)." Quran 2.143 "Thus, have We made of you an Ummat justly balanced, that ye might be witnesses over the nations, and the Messenger a witness over yourselves; and We appointed the Qibla to which thou wast used, only to test those who followed the Messenger from those who would turn on their heels (From the Faith). Indeed it was (A change) momentous, except to those guided by Allah. And never would Allah Make your faith of no effect. For Allah is to all people Most surely full of kindness, Most Merciful." Quran 3.104 "Let there be one nation of you, calling to good, and bidding to honour, and forbidding dishonour; those are the prosperers." Quran 3.110 "You are the best nation produced [as an example] for mankind. You enjoin what is right and forbid what is wrong and believe in Allah. If only the People of the Scripture had believed, it would have been better for them. Among them are believers, but most of them are defiantly disobedient." Quran 16.92 "And be not like her who undoes the thread which she has spun after it has become strong, by taking your oaths a means of deception among yourselves, lest a nation may be more numerous than another nation. Allah only tests you by this [i.e who obeys Allah and fulfills Allah's Covenant and who disobeys Allah and breaks Allah's Covenant]. And on the Day of Resurrection, He will certainly make clear to you that wherein you used to differ [i.e. a believer confesses and believes in the Oneness of Allah and in the Prophethood of Prophet Muhammad SAW which the disbeliever denies it and that was their difference amongst them in the life of this world]." Tafsir Al-Qurtubi, volume 1, page 649: Muhammad said, "The earth was made a mosque for me." Sahih al-Bukhari, 3167: "The Prophet said, "If you embrace Islam, you will be safe. You should know that the earth belongs to Allah and His Apostle." Because Muhammad admitted to using terrorism, committing an act of terrorism is considered as a holy deed in Islam." (122) CHAPTER. The statement of the Prophet: I have been made victorious for a distance of one month journey with terror (cast in the hearts of the enemy). The Statement of Allah: "We shall cast terror into the hearts of those who disbelieve...(V.3:151) Sahih Al-B ukhari\ translated by Muhammad Muhsin Khan.- Riyadh. Volume 4. (122) CHAPTER. (56 - THE BOOK OF JIHAD) (Fighting for Allah's Cause) Page – 140. Hadith 2977 - Narrated AbU Hurairah: Allah's Messenger A said: "....and I have been made victorious with terror (cast in the hearts of the enemy)... Sahih Al-B ukhari\ translated by Muhammad Muhsin Khan.- Riyadh. Volume 4. (122) CHAPTER. (56 - THE BOOK OF JIHAD) (Fighting for Allah's Cause) Page – 140. Quran 68.4 And indeed, you are (Muhammad) of a great moral character. Quran 33.21 "Indeed in the Messenger of Allâh (Muhammad (صلى الله عليه وسلم you have a good example to follow for him who hopes for (the Meeting with) Allâh and the Last Day, and remembers Allâh much." "When a Muslim looks at a non-Muslim, the Quran creates a lens for him through which he sees and understands the non-Muslim, composed of these three verses (and there are many more):" 8:55, 98:6, and 9:28. Verses 8:55 and 98:6 portray non-Muslims as the worst creatures, even worse than cockroaches, bedbugs, and ticks. Verse 9:28 portrays non-Muslims as physically and spiritually filthy, akin to the filth of excrement. In summary: When a Muslim looks at a non-Muslim, he sees him through the lens of the Quran as the worst creatures, worse than cockroaches and ticks, and physically and spiritually filthy to the level of excrement. Quran 8.55 “Verily, The worst of moving (living) creatures before Allâh are those who disbelieve, - so they shall not believe.” Quran 98.6: "Verily, those who disbelieve (in the religion of Islâm, the Qur’ân and Prophet Muhammad صلى الله عليه وسلم) from among the people of the Scripture (Jews and Christians) and Al-Mushrikûn will abide in the Fire of Hell. They are the worst of creatures." Quran 9.28: “O you who believe (in Allâh’s Oneness and in His Messenger Muhammad!) Verily, the Mushrikûn (polytheists, pagans, idolaters, disbelievers in the Oneness of Allâh, and in the Message of Muhammad) are Najasun (impure). [1] So let them not come near Al-Masjidal-Harâm (at Makkah) after this year; and if you fear poverty, Allâh will enrich you if He wills, out of His Bounty. Surely, Allâh is All-Knowing, All-Wise.” (V.9:28) Their impurity is spiritual and physical: spiritual, because they don’t believe in Allâh’s Oneness and in His Prophet Muhammad; and physical, because they lack personal hygiene (filthy as regards urine, stools and blood). And the word Najas is used only for those persons who have spiritual impurity e.g. Al-Mushrikûn. Quran 9.14 "Fight against them so that Allâh will punish them by your hands and disgrace them and give you victory over them and heal the breasts of a believing people." Quran 8.39: "...fight them until disbelief (non-Muslims) disappears and the whole Dean (way of life) is for Allah alone...(for Islam)” Quran 9.5: “...kill the Mushrikun (non-Muslims) wherever you find them…" Al-Bukhari: "To wage war against Allah means to reject faith in Him." Quran 2.191: "The sin of disbelief in Allah is greater than committing murder." "The concept of Jihad as defined by Sharia law." By: Ofer binshtok. 09.0 JIHAD (0: Jihad means to war against non-Muslims, and is etymologically derived from the word mujahada, signifying warfare to establish the religion. And it is the lesser jihad. As for the greater jihad, it is spiritual warfare against the lower self (nafs), which is why the Prophet (Allah bless him and give him peace) said as he was returning from jihad, "We have returned from the lesser jihad to the greater jihad." The scriptural basis for jihad, prior to scholarly consensus (def: b7) is such Koranic verses as: (1) "Fighting is prescribed for you" (Koran 2:216); (2) "Slay them wherever you find them" (Koran 4:89); (3) "Fight the idolators utterly" (Koran 9:36); and such hadiths as the one related by Bukhari and Muslim that the Prophet (Allah bless him and give him peace) said: "I have been commanded to fight people until they testify that there is no god but Allah and that Muhammad is the Messenger of Allah, and perform the prayer, and pay zakat. If they say it, they have saved their blood and possessions from me, except for the rights of Islam over them. And their final reckoning is with Allah"; and the hadith reported by Muslim, "To go forth in the morning or evening to fight in the path of Allah is better than the whole world and everything in it." Details concerning jihad are found in the accounts of the military expeditions of the Prophet (Allah bless him and give him peace), including his own martial forays and those on which he dispatched others. The former consist of the ones he personally attended, some twenty seven (others say twenty-nine) of them. He fought in eight of them, and killed only one person with his noble hand, Ubayy ibn Khalaf, at the battle of Uhud. On the latter expeditions he sent others to fight. himself remaining at Medina, and these were forty-seven in number.) THE OBLIGATORY CHARACTER OF JIHAD 09.1 Jihad is a communal obligation (def: c3.2). When enough people perform it to successfully accomplish it, it is no longer obligatory upon others (0: the evidence for which is the Prophet's saying (Allah bless him and give him peace), "He who provides the equipment for a soldier in jihad has himself performed jihad," and Allah Most High having said: "Those of the believers who are unhurt but sit behind are not equal to those who fight in Allah's path with their property and lives. Allah has preferred those who fight with their property and lives a whole degree above those who sit behind. And to each. Allah has promised great good" (Koran 4:95). If none of those concerned perform jihad, and it does not happen at all, then everyone who is aware that it is obligatory is guilty of sin, if there was a possibility of having performed it. In the time of the Prophet (Allah bless him and give him peace) jihad was a communal obligation after his emigration (hijra) to Medina. As for subsequent times, there are two possible states in respect to non-Muslims. The first is when they are in their own countries, in which case jihad (def: 09.8) is a communal obligation, and this is what our author is speaking of when he says, "Jihad is a communal obligation," meaning upon the Muslims each year. The second state is when non-Muslims invade a Muslim country or near to one, in which case jihad is personally obligatory (def: c3.2) upon the inhabitants of that country, who must repel the non-Muslims with whatever they can). 09.2 jihad is personally obligatory upon all 'those present in the battle lines (A: and to flee is an enormity (dis: pH)) (0: provided one is able to fight. If unable, because of illness or the death of one's mount when not able to fight on foot, or because one no longer has a weapon, then one may leave. One may also leave if the opposing non-Muslim army is more than twice the size of the Muslim force). 09.3 Jihad is also (0: personally) obligatory for everyone (0: able to perform it, male or female, old or young) when the enemy has surrounded the Muslims (0: on every side, having entered our territory, even if the land consists of ruins, wilderness, or mountains, for non-Muslim forces entering Muslim lands is a weighty matter that cannot be ignored, but must be met with effort and struggle to repel them by every possible means. All of which is if conditions permit gathering (A: the above-mentioned) people, provisioning them, and readying them for war. If conditions do not permit this, as when the enemy has overrun the Muslims such that they are unable to provision or prepare themselves for war, then whoever is found by a non-Muslim and knows he will be killed if captured is obliged to defend himself in whatever way possible. But if not certain that he will be killed, meaning that he might or might not be, as when he might merely be taken captive, and he knows he will be killed if he does not surrender, then he may either surrender or fight. A woman too has a choice between fighting or surrendering if she is certain that she will not be subjected to lin indecent act if captured. If uncertain that she will be safe from such an act, she is obliged to fight, and surrender is not permissible). Source: Reliance of the Traveller - Revised Edition. The Classic Manual of Islamic Sacred Law 'Umdat al-Salik by Ahmad ibn Naqib al-Misri (d. 769/1368) in Arabic with Facing English Text, Commentary, and Appendices. Edited and Translated by Nuh Ha Mim Keller.

Ofer Binshtok - Kafir - עופר בינשטוק

86,713 次观看 • 1 年前

Islamic Art of War By: Ofer Binshtok Islam wages a continuous global war through various methods and with varying intensity against non-Muslims 24/7, as commanded by the Quran and Muhammad, a war that has persisted for approximately 1400 years and will continue indefinitely. In places where non-Muslims grow weary of conflict and seek peace, avoiding confrontation and attempting to appease Islam, believing they have achieved tranquility through signing agreements with Islam and even allowing its migration into their territories, during this time, Islam builds its strength and attacks them when it senses it has the upper hand, from within and from outside, in the most brutal way possible. This war strategy relies on the Islamic Art of War, based on the Quran and Muhammad's Sunnah. Quran 8:39 - The goal: a world containing only Muslims through war. Quran 98:6 - Demonization of non-Muslims. Quran 3:28 - Deceive non-Muslims. Quran 47:35 - Do not seek peace when you have the upper hand. In other words, attack. Quran 8:60 - During a hudna (ceasefire), Islam prepares for war. Quran 9:123 - Attack nearby non-Muslims. Quran 9:5 - Kill every non-Muslim in the world. In 622 AD, Muhammad migrated from Mecca to the settlement of Medina (Yathrib) in the Arabian Peninsula, where he was received as a refugee by the Jews who had established and controlled the prosperous region, granting him shelter. Within approximately eight years, after building his strength, Muhammad eliminated the presence of Jews and other non-Muslims in the area. In 628 AD, Muhammad signed a ten-year hudna (truce) agreement in Hudaibiya with the Quraysh tribe of Mecca, as his forces were weaker than theirs. In 630 AD, when his power was sufficiently strong, he violated the agreement with the Quraysh, attacked Mecca, conquered it with ease, and eradicated all other cultures present there. Muhammad's Sunnah, which is binding in Islam according to Quran 33:21, commands every Muslim to emulate all of Muhammad’s words and deeds, which are considered sacred. ---- "A Muslim must be loyal only to the Islamic Ummah" By: Ofer Binshtok The identity of the Muslim is solely to be a part of the global Islamic Ummah, without any connection to a nation-state or to another culture that is not the Islamic Ummah. The idea of independent Islamic nation-states contradicts the Islamic idea as it is found in the Quran and Muhammad's Sunnah. A Muslim, wherever he is in the world, is part of the Islamic Ummah. A Ummah that should be ruled by a caliph through Sharia law. Islam is a global political-religious worldview of a world without borders. The existing Islamic nation-states are actually an act of heresy. A disbeliever who converts to Islam must completely break away from his former identity, become part of the Islamic Ummah, and serve its purposes personally. Every Muslim, wherever he is, is personally obligated to act so that the Islamic Ummah will be established—that is to say, to collapse every nation-state that exists in the world so that the Islamic Ummah will replace it. The fact that the idea of Ummah is included in the central motif of the Quran is evidence of the vital significance of this concept. In Islamic terminology, the term "Ummah" refers to the religious community, also known as the Islamic holy community. This is the primary interpretation of the phrase found in the Quran. Quran 5.51: "O you who believe! Take not the Jews and the Christians as Auliyâ’ (friends, protectors, helpers), they are but Auliyâ’ of each other. And if any amongst you takes them (as Auliyâ’), then surely he is one of them. Verily, Allâh guides not those people who are the Zâlimûn (polytheists and wrong-doers and unjust)." Quran 2.143 "Thus, have We made of you an Ummat justly balanced, that ye might be witnesses over the nations, and the Messenger a witness over yourselves; and We appointed the Qibla to which thou wast used, only to test those who followed the Messenger from those who would turn on their heels (From the Faith). Indeed it was (A change) momentous, except to those guided by Allah. And never would Allah Make your faith of no effect. For Allah is to all people Most surely full of kindness, Most Merciful." Quran 3.104 "Let there be one nation of you, calling to good, and bidding to honour, and forbidding dishonour; those are the prosperers." Quran 3.110 "You are the best nation produced [as an example] for mankind. You enjoin what is right and forbid what is wrong and believe in Allah. If only the People of the Scripture had believed, it would have been better for them. Among them are believers, but most of them are defiantly disobedient." Quran 16.92 "And be not like her who undoes the thread which she has spun after it has become strong, by taking your oaths a means of deception among yourselves, lest a nation may be more numerous than another nation. Allah only tests you by this [i.e who obeys Allah and fulfills Allah's Covenant and who disobeys Allah and breaks Allah's Covenant]. And on the Day of Resurrection, He will certainly make clear to you that wherein you used to differ [i.e. a believer confesses and believes in the Oneness of Allah and in the Prophethood of Prophet Muhammad SAW which the disbeliever denies it and that was their difference amongst them in the life of this world]." Tafsir Al-Qurtubi, volume 1, page 649: Muhammad said, "The earth was made a mosque for me." Sahih al-Bukhari, 3167: "The Prophet said, "If you embrace Islam, you will be safe. You should know that the earth belongs to Allah and His Apostle." --- "Because Muhammad admitted to using terrorism, committing an act of terrorism is considered as a holy deed in Islam." (122) CHAPTER. The statement of the Prophet: I have been made victorious for a distance of one month journey with terror (cast in the hearts of the enemy). The Statement of Allah: "We shall cast terror into the hearts of those who disbelieve...(V.3:151) Sahih Al-B ukhari\ translated by Muhammad Muhsin Khan.- Riyadh. Volume 4. (122) CHAPTER. (56 - THE BOOK OF JIHAD) (Fighting for Allah's Cause) Page – 140. Hadith 2977 - Narrated AbU Hurairah: Allah's Messenger A said: "....and I have been made victorious with terror (cast in the hearts of the enemy)... Sahih Al-B ukhari\ translated by Muhammad Muhsin Khan.- Riyadh. Volume 4. (122) CHAPTER. (56 - THE BOOK OF JIHAD) (Fighting for Allah's Cause) Page – 140. Quran 68.4 And indeed, you are (Muhammad) of a great moral character. Quran 33.21 "Indeed in the Messenger of Allâh (Muhammad (صلى الله عليه وسلم you have a good example to follow for him who hopes for (the Meeting with) Allâh and the Last Day, and remembers Allâh much." --- "When a Muslim looks at a non-Muslim, the Quran creates a lens for him through which he sees and understands the non-Muslim, composed of these three verses (and there are many more):" 8:55, 98:6, and 9:28. Verses 8:55 and 98:6 portray non-Muslims as the worst creatures, even worse than cockroaches, bedbugs, and ticks. Verse 9:28 portrays non-Muslims as physically and spiritually filthy, akin to the filth of excrement. In summary: When a Muslim looks at a non-Muslim, he sees him through the lens of the Quran as the worst creatures, worse than cockroaches and ticks, and physically and spiritually filthy to the level of excrement. Quran 8.55 “Verily, The worst of moving (living) creatures before Allâh are those who disbelieve, - so they shall not believe.” Quran 98.6: "Verily, those who disbelieve (in the religion of Islâm, the Qur’ân and Prophet Muhammad صلى الله عليه وسلم) from among the people of the Scripture (Jews and Christians) and Al-Mushrikûn will abide in the Fire of Hell. They are the worst of creatures." Quran 9.28: “O you who believe (in Allâh’s Oneness and in His Messenger Muhammad!) Verily, the Mushrikûn (polytheists, pagans, idolaters, disbelievers in the Oneness of Allâh, and in the Message of Muhammad) are Najasun (impure). [1] So let them not come near Al-Masjidal-Harâm (at Makkah) after this year; and if you fear poverty, Allâh will enrich you if He wills, out of His Bounty. Surely, Allâh is All-Knowing, All-Wise.” (V.9:28) Their impurity is spiritual and physical: spiritual, because they don’t believe in Allâh’s Oneness and in His Prophet Muhammad; and physical, because they lack personal hygiene (filthy as regards urine, stools and blood). And the word Najas is used only for those persons who have spiritual impurity e.g. Al-Mushrikûn. Quran 9.14 "Fight against them so that Allâh will punish them by your hands and disgrace them and give you victory over them and heal the breasts of a believing people." Quran 8.39: "...fight them until disbelief (non-Muslims) disappears and the whole Dean (way of life) is for Allah alone...(for Islam)” Quran 9.5: “...kill the Mushrikun (non-Muslims) wherever you find them…" Al-Bukhari: "To wage war against Allah means to reject faith in Him." Quran 2.191: "The sin of disbelief in Allah is greater than committing murder." --- "The concept of Jihad as defined by Sharia law." By: Ofer binshtok. 09.0 JIHAD (0: Jihad means to war against non-Muslims, and is etymologically derived from the word mujahada, signifying warfare to establish the religion. And it is the lesser jihad. As for the greater jihad, it is spiritual warfare against the lower self (nafs), which is why the Prophet (Allah bless him and give him peace) said as he was returning from jihad, "We have returned from the lesser jihad to the greater jihad." The scriptural basis for jihad, prior to scholarly consensus (def: b7) is such Koranic verses as: (1) "Fighting is prescribed for you" (Koran 2:216); (2) "Slay them wherever you find them" (Koran 4:89); (3) "Fight the idolators utterly" (Koran 9:36); and such hadiths as the one related by Bukhari and Muslim that the Prophet (Allah bless him and give him peace) said: "I have been commanded to fight people until they testify that there is no god but Allah and that Muhammad is the Messenger of Allah, and perform the prayer, and pay zakat. If they say it, they have saved their blood and possessions from me, except for the rights of Islam over them. And their final reckoning is with Allah"; and the hadith reported by Muslim, "To go forth in the morning or evening to fight in the path of Allah is better than the whole world and everything in it." Details concerning jihad are found in the accounts of the military expeditions of the Prophet (Allah bless him and give him peace), including his own martial forays and those on which he dispatched others. The former consist of the ones he personally attended, some twenty seven (others say twenty-nine) of them. He fought in eight of them, and killed only one person with his noble hand, Ubayy ibn Khalaf, at the battle of Uhud. On the latter expeditions he sent others to fight. himself remaining at Medina, and these were forty-seven in number.) THE OBLIGATORY CHARACTER OF JIHAD 09.1 Jihad is a communal obligation (def: c3.2). When enough people perform it to successfully accomplish it, it is no longer obligatory upon others (0: the evidence for which is the Prophet's saying (Allah bless him and give him peace), "He who provides the equipment for a soldier in jihad has himself performed jihad," and Allah Most High having said: "Those of the believers who are unhurt but sit behind are not equal to those who fight in Allah's path with their property and lives. Allah has preferred those who fight with their property and lives a whole degree above those who sit behind. And to each. Allah has promised great good" (Koran 4:95). If none of those concerned perform jihad, and it does not happen at all, then everyone who is aware that it is obligatory is guilty of sin, if there was a possibility of having performed it. In the time of the Prophet (Allah bless him and give him peace) jihad was a communal obligation after his emigration (hijra) to Medina. As for subsequent times, there are two possible states in respect to non-Muslims. The first is when they are in their own countries, in which case jihad (def: 09.8) is a communal obligation, and this is what our author is speaking of when he says, "Jihad is a communal obligation," meaning upon the Muslims each year. The second state is when non-Muslims invade a Muslim country or near to one, in which case jihad is personally obligatory (def: c3.2) upon the inhabitants of that country, who must repel the non-Muslims with whatever they can). 09.2 jihad is personally obligatory upon all 'those present in the battle lines (A: and to flee is an enormity (dis: pH)) (0: provided one is able to fight. If unable, because of illness or the death of one's mount when not able to fight on foot, or because one no longer has a weapon, then one may leave. One may also leave if the opposing non-Muslim army is more than twice the size of the Muslim force). 09.3 Jihad is also (0: personally) obligatory for everyone (0: able to perform it, male or female, old or young) when the enemy has surrounded the Muslims (0: on every side, having entered our territory, even if the land consists of ruins, wilderness, or mountains, for non-Muslim forces entering Muslim lands is a weighty matter that cannot be ignored, but must be met with effort and struggle to repel them by every possible means. All of which is if conditions permit gathering (A: the above-mentioned) people, provisioning them, and readying them for war. If conditions do not permit this, as when the enemy has overrun the Muslims such that they are unable to provision or prepare themselves for war, then whoever is found by a non-Muslim and knows he will be killed if captured is obliged to defend himself in whatever way possible. But if not certain that he will be killed, meaning that he might or might not be, as when he might merely be taken captive, and he knows he will be killed if he does not surrender, then he may either surrender or fight. A woman too has a choice between fighting or surrendering if she is certain that she will not be subjected to lin indecent act if captured. If uncertain that she will be safe from such an act, she is obliged to fight, and surrender is not permissible). Source: Reliance of the Traveller - Revised Edition. The Classic Manual of Islamic Sacred Law 'Umdat al-Salik by Ahmad ibn Naqib al-Misri (d. 769/1368) in Arabic with Facing English Text, Commentary, and Appendices. Edited and Translated by Nuh Ha Mim Keller. Amana publications-Beltsville. Maryland U.S.A. Page 599-601. [CERTIFICATION OF AL-AZHAR] IN THE NAME OF ALLAH, MOST MERCIFUL AND COMPASSIONATE al-Azhar Islamic Research Academy. General Department for Research, Writing, and Translation. Mr, Nuh Ha Mim Keller. Amman, Jordan. Peace be upon you, and the mercy of Allah and His blessings. To commence: In response to the request you have submitted concerning the examination of the English translation of the book 'Umdat al-salik wa 'uddat alnasik by Ahmad ibn Naqib in the Shafi'i school of jurisprudence, together with appendices by Islamic scholars on matters of Islamic law, tenets of faith, and personal ethics and character: we certify that the above-mentioned translation corresponds to the Arabic original and conforms to the practice and faith of the orthodox Sunni Community (Ahl al-Sunna wa al-Jama'a). There is no objection to printing it and circulating it. The stamping of the pages of the above-mentioned work with the seal of the department has been completed. May Allah give you success in serving Sacred Knowledge and the religion. Peace be upon you, and the mercy of Allah and His blessings. Composed on 26 Rajab 1411 A.H.l11 February 1991 A.D. General Director of Research, Writing, and Translation Fath Allah Ya Sin Jazar [signed] Muhammad 'Umar Muhammad 'Umar [signed] Seal of al-Azhar [stamped] General Department for Research, Writing, and Translation.

Ofer Binshtok - Kafir - עופר בינשטוק

867,373 次观看 • 1 年前

When Shabana Mahmood, the Muslim appointed as Home Secretary of the United Kingdom, reads the Quran, which, as she testifies in this video, shapes her worldview and way of life, this is what the Quran commands her to follow and what she is committed to upholding. I’ve prepared a concise booklet’s worth of material for you, so you can understand what lies ahead. If you wish to delve deeper, you have the key points here. (The document contains about 4,000 words) ⬇️ The Prophet said: "The strongest bond to faith is to take the believers (Muslims) as allies and friends for the sake of Allah, to treat unbelievers as enemies for the sake of Allah, to love for the sake of Allah and hate for the sake of Allah, (Allah) be glorified and exalted". (Jalal al-Din al-Suyuti, Sahih. Al-Jami as-Saghir 2539 Sahih) 1. Islamic Art of War By: Ofer Binshtok Islam wages a continuous global war through various methods and with varying intensity against non-Muslims 24/7, as commanded by the Quran and Muhammad, a war that has persisted for approximately 1400 years and will continue indefinitely. In places where non-Muslims grow weary of conflict and seek peace, avoiding confrontation and attempting to appease Islam, believing they have achieved tranquility through signing agreements with Islam and even allowing its migration into their territories, during this time, Islam builds its strength and attacks them when it senses it has the upper hand, from within and from outside, in the most brutal way possible. This war strategy relies on the Islamic Art of War, based on the Quran and Muhammad's Sunnah. Quran 8:39 - The goal: a world containing only Muslims through war. Quran 98:6 - Demonization of non-Muslims. Quran 3:28 - Deceive non-Muslims. Quran 47:35 - Do not seek peace when you have the upper hand. In other words, attack. Quran 8:60 - During a hudna (ceasefire), Islam prepares for war. Quran 9:123 - Attack nearby non-Muslims. Quran 9:5 - Kill every non-Muslim in the world. In 622 AD, Muhammad migrated from Mecca to the settlement of Medina (Yathrib) in the Arabian Peninsula, where he was received as a refugee by the Jews who had established and controlled the prosperous region, granting him shelter. Within approximately eight years, after building his strength, Muhammad eliminated the presence of Jews and other non-Muslims in the area. In 628 AD, Muhammad signed a ten-year hudna (truce) agreement in Hudaibiya with the Quraysh tribe of Mecca, as his forces were weaker than theirs. In 630 AD, when his power was sufficiently strong, he violated the agreement with the Quraysh, attacked Mecca, conquered it with ease, and eradicated all other cultures present there. Muhammad's Sunnah, which is binding in Islam according to Quran 33:21, commands every Muslim to emulate all of Muhammad’s words and deeds, which are considered sacred. "A Muslim must be loyal only to the Islamic Ummah" By: Ofer Binshtok The identity of the Muslim is solely to be a part of the global Islamic Ummah, without any connection to a nation-state or to another culture that is not the Islamic Ummah. The idea of independent Islamic nation-states contradicts the Islamic idea as it is found in the Quran and Muhammad's Sunnah. A Muslim, wherever he is in the world, is part of the Islamic Ummah. A Ummah that should be ruled by a caliph through Sharia law. Islam is a global political-religious worldview of a world without borders. The existing Islamic nation-states are actually an act of heresy. A disbeliever who converts to Islam must completely break away from his former identity, become part of the Islamic Ummah, and serve its purposes personally. Every Muslim, wherever he is, is personally obligated to act so that the Islamic Ummah will be established—that is to say, to collapse every nation-state that exists in the world so that the Islamic Ummah will replace it. The fact that the idea of Ummah is included in the central motif of the Quran is evidence of the vital significance of this concept. In Islamic terminology, the term "Ummah" refers to the religious community, also known as the Islamic holy community. This is the primary interpretation of the phrase found in the Quran. Quran 5.51: "O you who believe! Take not the Jews and the Christians as Auliyâ’ (friends, protectors, helpers), they are but Auliyâ’ of each other. And if any amongst you takes them (as Auliyâ’), then surely he is one of them. Verily, Allâh guides not those people who are the Zâlimûn (polytheists and wrong-doers and unjust)." Quran 2.143 "Thus, have We made of you an Ummat justly balanced, that ye might be witnesses over the nations, and the Messenger a witness over yourselves; and We appointed the Qibla to which thou wast used, only to test those who followed the Messenger from those who would turn on their heels (From the Faith). Indeed it was (A change) momentous, except to those guided by Allah. And never would Allah Make your faith of no effect. For Allah is to all people Most surely full of kindness, Most Merciful." Quran 3.104 "Let there be one nation of you, calling to good, and bidding to honour, and forbidding dishonour; those are the prosperers." Quran 3.110 "You are the best nation produced [as an example] for mankind. You enjoin what is right and forbid what is wrong and believe in Allah. If only the People of the Scripture had believed, it would have been better for them. Among them are believers, but most of them are defiantly disobedient." Quran 16.92 "And be not like her who undoes the thread which she has spun after it has become strong, by taking your oaths a means of deception among yourselves, lest a nation may be more numerous than another nation. Allah only tests you by this [i.e who obeys Allah and fulfills Allah's Covenant and who disobeys Allah and breaks Allah's Covenant]. And on the Day of Resurrection, He will certainly make clear to you that wherein you used to differ [i.e. a believer confesses and believes in the Oneness of Allah and in the Prophethood of Prophet Muhammad SAW which the disbeliever denies it and that was their difference amongst them in the life of this world]." Tafsir Al-Qurtubi, volume 1, page 649: Muhammad said, "The earth was made a mosque for me." Sahih al-Bukhari, 3167: "The Prophet said, "If you embrace Islam, you will be safe. You should know that the earth belongs to Allah and His Apostle." "Because Muhammad admitted to using terrorism, committing an act of terrorism is considered as a holy deed in Islam." (122) CHAPTER. The statement of the Prophet: I have been made victorious for a distance of one month journey with terror (cast in the hearts of the enemy). The Statement of Allah: "We shall cast terror into the hearts of those who disbelieve...(V.3:151) Sahih Al-B ukhari\ translated by Muhammad Muhsin Khan.- Riyadh. Volume 4. (122) CHAPTER. (56 - THE BOOK OF JIHAD) (Fighting for Allah's Cause) Page – 140. Hadith 2977 - Narrated AbU Hurairah: Allah's Messenger A said: "....and I have been made victorious with terror (cast in the hearts of the enemy)... Sahih Al-B ukhari\ translated by Muhammad Muhsin Khan.- Riyadh. Volume 4. (122) CHAPTER. (56 - THE BOOK OF JIHAD) (Fighting for Allah's Cause) Page – 140. Quran 68.4 And indeed, you are (Muhammad) of a great moral character. Quran 33.21 "Indeed in the Messenger of Allâh (Muhammad (صلى الله عليه وسلم you have a good example to follow for him who hopes for (the Meeting with) Allâh and the Last Day, and remembers Allâh much." "When a Muslim looks at a non-Muslim, the Quran creates a lens for him through which he sees and understands the non-Muslim, composed of these three verses (and there are many more):" 8:55, 98:6, and 9:28. Verses 8:55 and 98:6 portray non-Muslims as the worst creatures, even worse than cockroaches, bedbugs, and ticks. Verse 9:28 portrays non-Muslims as physically and spiritually filthy, akin to the filth of excrement. In summary: When a Muslim looks at a non-Muslim, he sees him through the lens of the Quran as the worst creatures, worse than cockroaches and ticks, and physically and spiritually filthy to the level of excrement. Quran 8.55 “Verily, The worst of moving (living) creatures before Allâh are those who disbelieve, - so they shall not believe.” Quran 98.6: "Verily, those who disbelieve (in the religion of Islâm, the Qur’ân and Prophet Muhammad صلى الله عليه وسلم) from among the people of the Scripture (Jews and Christians) and Al-Mushrikûn will abide in the Fire of Hell. They are the worst of creatures." Quran 9.28: “O you who believe (in Allâh’s Oneness and in His Messenger Muhammad!) Verily, the Mushrikûn (polytheists, pagans, idolaters, disbelievers in the Oneness of Allâh, and in the Message of Muhammad) are Najasun (impure). [1] So let them not come near Al-Masjidal-Harâm (at Makkah) after this year; and if you fear poverty, Allâh will enrich you if He wills, out of His Bounty. Surely, Allâh is All-Knowing, All-Wise.” (V.9:28) Their impurity is spiritual and physical: spiritual, because they don’t believe in Allâh’s Oneness and in His Prophet Muhammad; and physical, because they lack personal hygiene (filthy as regards urine, stools and blood). And the word Najas is used only for those persons who have spiritual impurity e.g. Al-Mushrikûn. Quran 9.14 "Fight against them so that Allâh will punish them by your hands and disgrace them and give you victory over them and heal the breasts of a believing people." Quran 8.39: "...fight them until disbelief (non-Muslims) disappears and the whole Dean (way of life) is for Allah alone...(for Islam)” Quran 9.5: “...kill the Mushrikun (non-Muslims) wherever you find them…" Al-Bukhari: "To wage war against Allah means to reject faith in Him." Quran 2.191: "The sin of disbelief in Allah is greater than committing murder." "The concept of Jihad as defined by Sharia law." By: Ofer binshtok. 09.0 JIHAD (0: Jihad means to war against non-Muslims, and is etymologically derived from the word mujahada, signifying warfare to establish the religion. And it is the lesser jihad. As for the greater jihad, it is spiritual warfare against the lower self (nafs), which is why the Prophet (Allah bless him and give him peace) said as he was returning from jihad, "We have returned from the lesser jihad to the greater jihad." The scriptural basis for jihad, prior to scholarly consensus (def: b7) is such Koranic verses as: (1) "Fighting is prescribed for you" (Koran 2:216); (2) "Slay them wherever you find them" (Koran 4:89); (3) "Fight the idolators utterly" (Koran 9:36); and such hadiths as the one related by Bukhari and Muslim that the Prophet (Allah bless him and give him peace) said: "I have been commanded to fight people until they testify that there is no god but Allah and that Muhammad is the Messenger of Allah, and perform the prayer, and pay zakat. If they say it, they have saved their blood and possessions from me, except for the rights of Islam over them. And their final reckoning is with Allah"; and the hadith reported by Muslim, "To go forth in the morning or evening to fight in the path of Allah is better than the whole world and everything in it." Details concerning jihad are found in the accounts of the military expeditions of the Prophet (Allah bless him and give him peace), including his own martial forays and those on which he dispatched others. The former consist of the ones he personally attended, some twenty seven (others say twenty-nine) of them. He fought in eight of them, and killed only one person with his noble hand, Ubayy ibn Khalaf, at the battle of Uhud. On the latter expeditions he sent others to fight. himself remaining at Medina, and these were forty-seven in number.) THE OBLIGATORY CHARACTER OF JIHAD 09.1 Jihad is a communal obligation (def: c3.2). When enough people perform it to successfully accomplish it, it is no longer obligatory upon others (0: the evidence for which is the Prophet's saying (Allah bless him and give him peace), "He who provides the equipment for a soldier in jihad has himself performed jihad," and Allah Most High having said: "Those of the believers who are unhurt but sit behind are not equal to those who fight in Allah's path with their property and lives. Allah has preferred those who fight with their property and lives a whole degree above those who sit behind. And to each. Allah has promised great good" (Koran 4:95). If none of those concerned perform jihad, and it does not happen at all, then everyone who is aware that it is obligatory is guilty of sin, if there was a possibility of having performed it. In the time of the Prophet (Allah bless him and give him peace) jihad was a communal obligation after his emigration (hijra) to Medina. As for subsequent times, there are two possible states in respect to non-Muslims. The first is when they are in their own countries, in which case jihad (def: 09.8) is a communal obligation, and this is what our author is speaking of when he says, "Jihad is a communal obligation," meaning upon the Muslims each year. The second state is when non-Muslims invade a Muslim country or near to one, in which case jihad is personally obligatory (def: c3.2) upon the inhabitants of that country, who must repel the non-Muslims with whatever they can). 09.2 jihad is personally obligatory upon all 'those present in the battle lines (A: and to flee is an enormity (dis: pH)) (0: provided one is able to fight. If unable, because of illness or the death of one's mount when not able to fight on foot, or because one no longer has a weapon, then one may leave. One may also leave if the opposing non-Muslim army is more than twice the size of the Muslim force). 09.3 Jihad is also (0: personally) obligatory for everyone (0: able to perform it, male or female, old or young) when the enemy has surrounded the Muslims (0: on every side, having entered our territory, even if the land consists of ruins, wilderness, or mountains, for non-Muslim forces entering Muslim lands is a weighty matter that cannot be ignored, but must be met with effort and struggle to repel them by every possible means. All of which is if conditions permit gathering (A: the above-mentioned) people, provisioning them, and readying them for war. If conditions do not permit this, as when the enemy has overrun the Muslims such that they are unable to provision or prepare themselves for war, then whoever is found by a non-Muslim and knows he will be killed if captured is obliged to defend himself in whatever way possible. But if not certain that he will be killed, meaning that he might or might not be, as when he might merely be taken captive, and he knows he will be killed if he does not surrender, then he may either surrender or fight. A woman too has a choice between fighting or surrendering if she is certain that she will not be subjected to lin indecent act if captured. If uncertain that she will be safe from such an act, she is obliged to fight, and surrender is not permissible). Source: Reliance of the Traveller - Revised Edition. The Classic Manual of Islamic Sacred Law 'Umdat al-Salik by Ahmad ibn Naqib al-Misri (d. 769/1368) in Arabic with Facing English Text, Commentary, and Appendices. Edited and Translated by Nuh Ha Mim Keller. 2. Loyalty and Disavowal: The Principle of Al-Wala' Wal-Bara' The Islamic principle of Al-Wala' Wal-Bara' (loyalty and disavowal) forms a cornerstone of the declaration of faith, shaping a Muslim’s relationships and actions. Wala' (loyalty) arises from love for Allah, driving believers to cultivate closeness, offer support, and provide protection to those who follow His path. This loyalty manifests in tangible acts, such as defending the faith, aiding fellow Muslims, and honoring their shared commitment to Allah. Conversely, bara' (disavowal) stems from rejection of disbelief, leading to active opposition, distance, and enmity toward those who oppose Allah or His message. These principles are not mere sentiments but demand practical commitment in both speech and deeds, as evidenced by numerous references in the Qur'an and Sunnah. The Qur'an provides explicit guidance on maintaining loyalty to believers and dissociation from disbelievers. It warns Muslims against prioritizing alliances with disbelievers over fellow believers, stating that such actions sever one’s connection with Allah unless done cautiously for self-preservation (Qur'an 3:28 - Taqiyya). It emphasizes that true love for Allah is shown by following Muhammad, which earns divine love and forgiveness, while turning away aligns one with those Allah disapproves of (Qur'an 3:31-32). The Qur'an further cautions against befriending those who desire Muslims to abandon their faith, urging believers to avoid such ties unless the disbelievers embrace Allah’s path (Qur'an 4:89). It explicitly advises against taking Jews and Christians as intimate allies, noting that those who do so align themselves with their ranks and stray from divine guidance (Qur'an 5:51). Additionally, it praises those whom Allah loves and who love Him, demonstrating humility toward believers, firmness against disbelievers, and steadfast dedication to striving for Allah’s cause without fear of criticism (Qur'an 5:54). Further reinforcing this principle, the Qur'an instructs believers not to take disbelievers as allies when they oppose Allah and Muhammad, even if they are close relatives, warning that such alliances betray the faith (Qur'an 60:1). It also prohibits taking disbelievers as protectors in preference to believers, stating that those who do so will find no help from Allah (Qur'an 4:144). Moreover, it commands Muslims not to prioritize familial ties with disbelieving parents or siblings over their faith, emphasizing that true believers are those who align solely with Allah, Muhammad, and the faithful (Qur'an 9:23). The Qur'an also describes true believers as those who do not harbor affection for those who oppose Allah and Muhammad, even if they are close kin, as Allah strengthens their hearts with faith and promises them divine reward (Qur'an 58:22). Finally, the example of Prophet Ibrahim is highlighted, who declared to his people, “We disassociate ourselves from you and what you worship besides Allah. Enmity and hatred have arisen between us until you believe in Allah alone” (Qur'an 60:4), illustrating the resolute stance required in disavowing disbelief. The Sunnah further clarifies these teachings. Muhammad instructed a companion to swear an oath to offer sincere guidance to Muslims and refrain from forming close bonds with disbelievers. He reportedly said, “The strongest bond of faith is love for the sake of Allah and enmity for His sake.” Another narration emphasizes that true faith is achieved only through loving and opposing for Allah’s sake, forming alliances with believers and standing against disbelievers. A scholar explained that wala' entails not just affection but active solidarity, including defending Muslims, upholding their honor, and supporting them in times of need, such as during conflicts or hardships. Similarly, bara' requires concrete opposition, such as openly rejecting false ideologies, avoiding cooperation with those who oppose Islam, and, when necessary, confronting them through intellectual or physical struggle, as exemplified by Ibrahim’s rejection of idolatry (Qur'an 60:4). This principle underscores that loyalty to Allah involves loving and aiding His obedient followers, whether through charity, protection, or advocacy, while disavowal requires opposing His enemies with determination, such as by refuting their arguments or resisting their influence. The Qur'an distinguishes between the “party of Allah,” who are guided from darkness to light, and the “party of Satan,” who lead others into darkness (Qur'an 2:257). It describes believers as striving for Allah’s cause, while disbelievers fight for falsehood, urging Muslims to confront the allies of Satan, whose strategies are ultimately weak (Qur'an 4:76). Every prophet faced adversaries, human or jinn, who used deceptive rhetoric to mislead, yet Allah assures victory to His followers in both intellectual debates and physical struggles (Qur'an 6:112, 37:173). The enemies of Islam, whether atheists, secularists, or proponents of ideologies that contradict divine teachings, seek to erode Muslim faith and identity. They may promote deceptive concepts like universal brotherhood or the separation of religion from public life, aiming to weaken the Muslim community’s distinct character. For example, calls for “equality” that ignore religious differences or attempts to dilute Islamic values under the guise of modernity directly challenge Al-Wala' Wal-Bara'. Muslims must equip themselves with deep knowledge of their faith to counter these threats, using the Qur'an and Sunnah as tools to defend their beliefs. The declaration of faith demands unwavering devotion to Allah, loving what He loves, such as justice, piety, and unity among believers, and hating what He hates, such as disbelief, oppression, and hypocrisy. This commitment requires aligning exclusively with Muslims, supporting them in times of need, and opposing disbelievers, even if they are close relatives, as emphasized by scholars like Ibn Taymiyya. By embodying Al-Wala' Wal-Bara', Muslims ensure their actions and relationships reflect their submission to Allah, safeguarding their faith against external challenges. 3. Never, ever try to learn about Islam from Muslims. They will always lie to you, because this is part of their holy war against heresy and disbelievers. Don’t pay attention to a word that comes out of their mouth about Islam. By: Ofer Binshtok Do you really believe that if you ask Muslims whether Islam is a religion of violence, war, and terrorism, they will respond with a resounding "Yes"? Even if it is true? Do you believe they will acknowledge the truth? Does it make sense to ask them such a question? "Critical thinking means being able to make compelling arguments. Arguments consist of claims substantiated by evidence-supported reasons. Argumentation is a social process of two or more people making arguments, responding to one another—not simply restating the same claims and reasons—and modifying or defending their positions accordingly." "Islam's holy culture of lies and deception" "The claim" is that it is forbidden to attempt to learn and understand from Muslims about the eternal war they are ordered to wage against us, the heresy and disbelievers, through terror and various means, as they will always continue to lie to us on this subject. They will always continue to lie to us as a holy command from Allah in the Quran and Muhammad. For them it is a sacred commandment to lie to us as part of the jihad war that Islam is waging against us. “The argument” “Islam is in eternal state of war againt the heresy and the disbelievers”. Quran 9.29 begins with: “Fight those who do not believe in Allah...” The message is also from Quran 8.39 Fight the disbelievers until only Islam will exists in the world. Quran 9.123 begins with: "O you who believe, fight those disbelievers who are near you..." The message is also from Hadith Bukhari 25: Fight the disbelievers until they all convert to Islam and only then will their lives and property be protected. "In fact, from the verses above, along with many hadiths, it can be understood that believers, as commanded by Allah in the Quran and by Muhammad, are in a perpetual state of war against heresy and disbelievers 24/7/365, for approximately 1,400 years and indefinitely." And then: “It is permissible to lie in a state of war, as a tool of war.” Muhammad in Bukhari hadith 3029: Allah's Messenger (ﷺ) called,: "War is deceit". Muhammad in Hadith Sahih, in Tirmidhi 1939: “Lying in time of war”. The message from Quran 3.28: Permission to lie to disbelievers as a defense, when Islam is in a state of weakness. Taqiyya. The message from Quran 16.106: "...Whoever disbelieves in [i.e., denies] Allāh after his belief...except for one who is forced [to renounce his religion] while his heart is secure in faith..." In conclusion: we can learn from this argument that it is incorrect to attempt to learn from Muslims about the eternal war they are ordered to wage against us, the disbelievers, because they are actually commanded to lie to us and deceive us as part of the ongoing war of extermination that they are ordered to wage against us.

Ofer Binshtok - Kafir - עופר בינשטוק

197,351 次观看 • 1 年前