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MLM June Compilation: [DelDank] Original scene made by Moonlight Mask: 🔞moonlightmask🔞 My Pixiv page for cards and other downloadable content: #koikatsu #animated #3D #コイカツ #OC #NTR

57,428 görüntüleme • 1 ay önce •via X (Twitter)

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Blended-NeRF: Zero-Shot Object Generation and Blending in Existing Neural Radiance Fields paper page: Editing a local region or a specific object in a 3D scene represented by a NeRF is challenging, mainly due to the implicit nature of the scene representation. Consistently blending a new realistic object into the scene adds an additional level of difficulty. We present Blended-NeRF, a robust and flexible framework for editing a specific region of interest in an existing NeRF scene, based on text prompts or image patches, along with a 3D ROI box. Our method leverages a pretrained language-image model to steer the synthesis towards a user-provided text prompt or image patch, along with a 3D MLP model initialized on an existing NeRF scene to generate the object and blend it into a specified region in the original scene. We allow local editing by localizing a 3D ROI box in the input scene, and seamlessly blend the content synthesized inside the ROI with the existing scene using a novel volumetric blending technique. To obtain natural looking and view-consistent results, we leverage existing and new geometric priors and 3D augmentations for improving the visual fidelity of the final result. We test our framework both qualitatively and quantitatively on a variety of real 3D scenes and text prompts, demonstrating realistic multi-view consistent results with much flexibility and diversity compared to the baselines. Finally, we show the applicability of our framework for several 3D editing applications, including adding new objects to a scene, removing/replacing/altering existing objects, and texture conversion.

AK

62,768 görüntüleme • 3 yıl önce

When I saw the mask "Tribes of the Calf" from Kanbas I knew I had to make it into reality. The jewelry and gold really made it stand out for me. Since Sam Spratt's The Masquerade was revealed, I have been spending time sculpting and dissecting the mask to recreate it in 3D as faithfully as possible. I delved into the creation of this mask for many reasons. I love a good challenge and this mask surely was one for me. Creating something in 3D from a 2D image is not easy, and especially when the source has generative nature, some stuff is hard to interpret, but I tried my best to make sure the visual integrity of the mask is as close to the original as possible. Splitting the whole mask into parts, filling the missing pieces so I can build the textures was quite a lot of work. I tried to present the mask in my own style with a slightly different colorway to adapt to the mask itself. Please enjoy this short animation, and turn on sound🔊 This piece is my statement that I am here to stay. That I have a voice that often feels being lost in the void. That I have been creating and posting digital art for over 20 years now and will continue until I'm gone. I have a story to tell and I want to be heard. The space we have here is small, and is shrinking day by day. It doesn't have to be like that. We need to support each other and push ourselves and people here, otherwise we are all doomed. As Kanbas has put in their observation of the mask: "Inspirational. Emotional. Natural." This is what our space can be, and this is me making a statement with this homage. I will share a 4k still below as well as a short video showing the 3D GLB interactive model together with a yt link to the 4k video since compression here is pretty bad.

shoneec

17,531 görüntüleme • 1 yıl önce

Here’s a Summary if you’re still wondering what $LUMI is all about… A Thread 🧵🍿😁 🗓️ When did the Lumiterra Yapper Leaderboard launch? 🗓️ The Lumiterra Testnet went live on June 26, 15:30 UTC+8….and is fully on and functioning😁 The campaign is now active and will run until TGE. 📝 Do I need to sign up or register to join the leaderboard? No,Just start talking about Lumiterra on X and let Kaito do the rest by automatically tracking your posts, and your rank will update on the leaderboard ASAP. Smooth right?😉 💬 What qualifies as a “Yap”? Yaps are high-quality contributions recognized by Kaito’s algorithm, which evaluates content based on depth, originality, and engagement value. Earn yaps by talking about gameplay moments: PvP highlights, dungeon runs, livestream clips ❕creative images featuring $LUMI ❕Post guides for beginners or newly onboarded $LUMI testers ❕post hot takes about Lumi Terradas ❕Yap about Epic fails, game bugs faced in the game for easy rectification by the team ❕Post thoughtful analysis of Lumiterra’s game, token design, or reward systems. 🎁 What’s the total reward allocation for yappers? ❕A whooping 1% of total $LUMI supply has been set aside for Kaito Yappers 👀🔥🤩 - 0.6% for Lumiterra-specific contributors - 0.4% for contributors across the broader Kaito ecosystem. 📍 How do I join the Lumiterra Yapper Leaderboard? Visit:[ page, Connect your X account and and give access to Kaito AI 🌊 , start creating and sharing quality $LUMI content and replies and watch your rank rise as the leaderboard updates. 🗓️ When can I claim rewards? Reward distribution details and claiming process are TBA so stay tuned for updates from only Lumi TerradasGame official page. 📈 How can I maximize my Yapper rewards? -Engage all my $LUMI posts😁 -Post quality info and talks about $LUMI - Engage with the $LUMI community and the top Yappers and top testers like Voracytis Lark (builder mode) Dashred Inspector⚡ Vincent Duraku 0xdahua|大华 🎮. |🧠SENT 丨 MemeMax ⚡️ and so many more🫡👀 - Share content that helps others understand the game and its ecosystem. - Show your personality —be real with yourself and the $LUMI community. 📖 Where can I learn more about Lumiterra? You can visit their X official page Lumi Terradas and join their discord community ( for a deeper understanding and guide of the ecosystem go to Wiki/guide: [LumiTerra Game Guide]( ❓When can I play Lumiterra? You can play on browser and also download through the link below WANT TO HEAR THE FUN PART? 🔓 No whitelist required 🆕 New users can create an account without needing a ref code or and access code😮‍💨 ⏳ Campaign runs until TGE 📉 Progress will not carry over to mainnet 🎮 Get ready to explore, fight, farm, and craft in the world of $LUMI.! Shout to Pshyc_ he made this possible🫡🧡 Check out this short gameplay from Inspector⚡

UNRULY|LUMI 🀄️

17,949 görüntüleme • 1 yıl önce

I built a Three.js rendering study inspired by Tiny Glade’s painterly aesthetic, and got it running at 120fps in the browser. Over the past few weeks, I’ve been studying how stylized games achieve that soft, handcrafted look in real time. Tiny Glade was a huge inspiration, and I wanted to use the browser as a constraint: no compute shaders, no native GPU access, and single-threaded JavaScript. As part of this study, I implemented: - GPU-driven instanced brick walls with procedural noise jitter and elastic build animations - Tree, bush, and flower rendering with billboard card expansion, wind sway, and grow animations - Procedural grass with terrain conformance and interactive push deformation - Animated water with layered noise, interactive ripples, and Fresnel-based reflections - Procedural terrain with slope-aware triplanar materials, dirt paths, and rocks - A 7-pass post-processing stack with TAA, bloom, depth of field, painterly filtering, ACES tonemapping, 3D LUT color grading, and film grain The hardest part wasn’t writing any single shader. It was making all of these systems work together at high frame rates inside WebGL, where every millisecond counts and performance problems compound quickly across animation, materials, post-processing, and scene management. Some techniques in this study were inspired by analyzing Tiny Glade’s rendering approach, while others were original implementations built from scratch from visual reference. That contrast taught me a lot: recreating an effect is one challenge, but designing your own shaders and systems to achieve a similar feel is a very different one. This is a private educational rendering study. Some temporary placeholder content is being used during the research phase, and any public or production version would use original or properly licensed assets. Huge credit to Pounce Light for the incredible art direction and rendering work in Tiny Glade: Three.js #gamedev #webgl #threejs #rendering #graphics #realtimerendering #shaderdev

Ibrahim Boona

58,625 görüntüleme • 3 ay önce

Fast Company just published a great piece on World Labs , Fei-Fei Li , Marble, and the idea that spatial intelligence / world models may be one of the next big shifts in AI. I was happy to be quoted in the article, but I also wanted to share more context about my own experience with World Labs and Marble, and why this direction is especially interesting to me. My starting point: volumetric capture — For the past few years I’ve been exploring and using volumetric capture and reconstruction (photogrammetry, NeRFs, 3D Gaussian Splats) mostly capturing locations around Montreal. Alleys, museums, urban interiors. I love every step of it: the capture itself, the pipeline, and what can be done with the output. Turning real spaces into real-time explorable systems. I do this personally, sharing explorations here, and professionally as chief technologist, and co-founder of Dpt. Physical reality + generative manipulation — In my work I’m especially drawn to mixing physical reality with generative and digital manipulation: using physical interfaces (light, clay, ink, ... ) to drive generative AI pipelines, building mixed reality prototypes that reshape your surroundings, or starting from real captured spaces and transforming them using tools like Marble. Like many people, I saw the World Labs announcement on Twitter in September 2024, and Marble when it surfaced in early December. But by then, I already had a sense something was coming. The first conversation — As someone deep into volumetric capture and radiance fields, I obviously knew about Ben Mildenhall and his pioneering work on NeRF. To my surprise, Ben reached out to me in late June 2024. He’d been following some of my experiments and wanted to chat about my process and workflows and how I was using this “stuff” creatively. At that point he didn’t share what he was building, but we had a genuinely great conversation about radiance fields, AI, and my work. He was curious about the creative perspective, not just the technical one. When the World Labs announcement dropped a few months later, it all made sense. I understood what Ben had been working on, and why the creative angle mattered to them. Then in August 2025, he invited me to try the Marble beta, and I’ve been experimenting with it since. Experimenting with Marble — The first thing I used Marble for was materializing scene and world concepts during ideation at the studio, and seeing if and how it could fit into our production pipeline. In parallel, I dove into a series of experiments focused on world manipulation: starting from real captured spaces and transforming them using Marble. I’d already been exploring that idea using img2img diffusion with ControlNet on NeRF renders, real-time video streams, and even mixed reality using headset camera feeds. But Marble brings something different. It generates persistent, spatially cohesive 3D worlds that can be rendered in real time across a wide range of devices. That’s a real shift. Experiment 01: Parallel Realities — The first experiment, Parallel Realities, starts from a volumetric capture of a real location, reconstructed as 3D Gaussian Splats. Using Marble, I generate an alternate version of that same space, something informed by the original architecture: abandoned, nature-reclaimed, alternate era. Then, using Spark (World Labs’ 3D Gaussian Splatting renderer for THREE.js) I make both realities coexist in the same spatial coordinate system. From there, I use a portal UX mechanic to let the user step between the real reconstruction and the Marble-generated version. Experiment 02: Hidden Depth The second experiment, Hidden Depth, does not transform a space as much as expand it. A captured location has a visual boundary (a mural, a doorway, a dark corridor) and Marble generates what exists beyond it. For example: a Montreal alley has a painted mural; step through it and you’re inside a world informed by what is actually depicted there. World Labs showcased part of this work here: And in their Spark 2.0 post: The project page is here: Why this matters to me — Being able to start from a real 3D Gaussian Splat scene and manipulate it with Marble opens up a lot of ideas. The 3DGS pipeline is becoming an increasingly compelling foundation for exploration, experimentation, and storytelling. What matters most to me right now is more control. The more I can steer the generated scene or world, the more useful the tool becomes. I want more features like the already existing multiple input images and Chisel, the blockout-based approach. I would like better local control, the ability to expand a generated world more and more while preserving coherence, and the ability to directly import 3D Gaussian Splat scenes to be used as a starting point. I want more ways to shape the result, not just a “prompt and hope” approach. — It is exciting to see this field moving from research and demos toward actual creative workflows.

Hugues Bruyère

65,393 görüntüleme • 1 ay önce

Zimbabwean-born author Sukoluhle "Sue" Nyathi is living a dream after a South African super-novella, The Polygamist, produced by Gugu Zuma-Ncube is dominating the screens locally and elsewhere. The Polygamist is based on the explosive 2012 debut novel by Nyathi who studied finance and investment at National University of Science & Technology in Bulawayo, Zimbabwe's second-largest city. It was produced by Zuma-Ncube, a South African producer, actress and daughter of former president Jacob Zuma and his ex-wife Nkosazana Dlamini-Zuma, a retired long-serving minister. Zuma-Ncube is daughter-in-law to Zimbabwean politician Welshman Ncube, a professor of law. She is married to Wesley Bongani Ncube. The Polygamist was directed by prominent Nigerian-born South African actor and writer best known for his role as Khaya Motene in the SABC 1 soapie Generations. Originally self-published in 2012 after being rejected by multiple publishers, the book became a massive cultural phenomenon following its June 2026 global adaptation into a 22-episode Netflix supernovela. The explosive story explores the deep complexities, secrets, and emotional wreckage of undercover polygamy in modern society. African societies have a long history of polygamy which still exists, although it is now mainly underground. Polygamy, specifically polygyny, where one man has multiple wives, is practiced by roughly 2% of the global population. It is highly localised, with the highest concentration occurring in the "polygamy belt" of West and Central Africa, alongside select parts of the Middle East and South Asia. It is also prevalent in Southern Africa, where Eswatini King Mswati III is the most prominent and leading polygamist with 16 wives, although some of them have died, quit or were divorced. According to biblical and historical accounts, King Solomon of ancient Israel had 700 wives and 300 concubines. The second Shah of Qajar Iran (1797–1834) is documented to have had more than 1 000 spouses. A controversial Islamic cleric from Bida, Nigeria, gained international attention in 2008 for having 86 wives. By the time of his passing in 2017, he reportedly had around 130 wives and 203 children. Within days of its release, the hit drama, The Polygamist, soared to the No.3 spot on Netflix worldwide, holding the No. 1 position in South Africa, Nigeria, Kenya, and several other countries across Africa, Europe, and the Caribbean. Premiered on June 12, 2026, the series explores themes of wealth, deception, and family dynamics, sparking viral debates across the continent and internationally. The dramatic film follows a wealthy businessman named Jonas Gomora (played by S'dumo Mtshali) and his public image as a family man when he was living as a closet polygamist. When he dies, Gomora's carefully hidden life of polygamy unravels, revealing a web of secret marriages, mistresses, and infidelity. The drama — which features other prominent stars like Gugu Gumede— centres on his social media influencer wife uncovering the deception. It is trending because the show has viewers and critics passionately debating the blurred lines between traditional polygamy and mere infidelity. It has sparked huge debate on polygamy, infidelity, patriarchy, domestic violence and absent fathers. Traditional polygamy requires consent and transparency, whereas the show's protagonist normalises deception and infidelity as part of his complicated life. The film has also caused a spike in reading the original source material - the book - across South Africa and Zimbabwe, among other countries. The Polygamist has South Africans from all walks of life talking and debating in animated and emotional ways. In this Newzroom Afrika interview, Arabile Gumede speaks to Nyathi, and Zuma-Ncube, the women who made it happen.

TheNewsHawks

85,640 görüntüleme • 28 gün önce

I’m thrilled to announce the launch of Spatial Film—an immersive 180° and 360° film app we’ve built: After months of self-teaching Swift and app development, I finally turned my dream of having a platform dedicated to showcasing the highest-quality immersive films into reality. I’m not a developer by trade—I’m an immersive filmmaker—but I wanted a space where our original 3D 180 and 360 films could shine, free from the heavy compression of typical platforms. So, four months ago, I dove into coding, and here we are with version 1! This journey has been both challenging and incredibly rewarding, and I couldn’t have done it alone. My gratitude goes out to the immersive and VR community, our loyal Patreon members, and developers around the world who generously offered advice and encouragement along the way. What makes Spatial Film unique? It’s 100% original content, from immersive films to 360° environments, all crafted to provide an unparalleled experience. Some of you might recognize us as immersive filmmakers and educators on YouTube, where we’ve shared tutorials and inspired countless creators on Meta, Apple, Pico, HTC, and even back in the early YouTube VR days. Now, we’re taking advantage of Vision Pro’s stunning display to bring our work to you in the best quality possible. Our journey with immersive content goes way back—we’ve worked with 12K camera rigs like Jaunt, Google Jump, and Yi Halo, creating wild experiences for brands. But despite our efforts, our films were often stuck on platforms with heavy compression, which limits the quality. Vision Pro changed that for us, but it’s taken a lot of work to adapt. We’re still learning, refining, and working hard to optimize this new pipeline. Our hope with Spatial Film is to champion immersive storytelling on our own terms, without big corporations that might restrict artistic freedom. We’re here to bring you genuine, immersive stories—not influenced by financial projections. This platform is small, just me and a Shiba Inu sidekick named Kimchi, and we plan to keep it that way. No outside investment, no mission drift—just pure, immersive storytelling. And the best part? We’re releasing free films every other week, so you can explore and download our latest releases without a paywall. Every film also comes with its own immersive environment, free of charge. If you’d like to support us, you can subscribe to access the full library for a super affordable price, helping us keep this going as a true “mom-and-pop” shop on VisionOS. Feedback is more than welcome as we continue learning, optimizing, and improving the experience for all of you. Thank you for being part of this journey with us!

Hugh Hou

17,540 görüntüleme • 1 yıl önce

Summary of Kurogames Recruit Interview Translated by Xu I. Introduction to Types of Planning 1. Combat Planner: Responsible for character skills and combat system design. 2. Narrative Planner: Responsible for writing the storyline, worldbuilding, character backstories, etc. 3. System Planner: Responsible for UI, event portals. 4. Quest Planner: Responsible for the logical design and flow of main and side quests. 5. Level Planner: Mainly responsible for building the narrative platform (product design), creating engaging interactions, etc. II. Core Responsibilities of Level Planning Building the Narrative Platform (Product Structure Design) 1. Use whiteboards and self-made processes to communicate to teammates what kind of scene content the level planner wants, e.g., reverse design of the mission scene for Jiyan Companion Quests dungeon. 2. Make good use of existing in-game mechanics and engine tools (such as UE Blueprints) to implement gameplay prototypes. Only through multiple iterations and feedback can a satisfying outcome be achieved — e.g., using flower seeds to connect paths in Camellya Companion Quests dungeon. 3. Use scripting tools to support smooth and exciting level flow — e.g., 1.3 Black Shores skiing segment. III. Open World Level Design - Example Regions: mt firmament, Black Shores, Nimbus Sanctum, Avinoleum Pioneers of Scene Pipeline Level planners mainly handle the following in massive open-world design tasks: 1. Provide basic map size, terrain structure, main roads, and points of interest (including main quest locations) 2. Propose and lead the design of core gameplay features, such as time reversal, Tethys portals, gliding, gravity inversion, etc. 3. Use top-down maps, whiteboxes, and even self-made models to push scene artists (2D, 3D, lighting) into action For example, the “first look” view — open-world level planners must emphasize its design and guide artists to focus accordingly. IV. Growth Path of a Level Planner Creative Master - Beginner Level Designer: Familiar with the game and development environment, capable of handling simple design work and basic configurations. Example: Completing an interactive mechanism “Chronosorter” in Mt. Firmament from version 1.1 / Placing wild monsters in Mt. Firmament. Senior Level Designer: Capable of completing full level content under the team lead’s guidance. Example: Designing the scene flow of version 2.0 Exploration quest “Where Wind Returns to Celestial Realms” under guidance. - Veteran Level Designer: Able to independently handle full level flow, area or area-themed gameplay design, and proactively push downstream execution efficiently. Example: Independently designing the themed gameplay “Tethys Portal” in version 1.3, and following through with visual performance so other level teammates can configure it smoothly. ➥Extension — Version Level Owner: Leads the level team to accomplish set design goals, guides new team members, coordinates with other departments, and ensures high-quality implementation. Example: Planning the map design of version 2.2 Avinoleum, coordinating cooperation between level planners and other departments. - Creative Master: Able to lead the team in creating level content that exceeds market expectations. Key Point: Able to repeatedly do the above! Examples: — Chief planner and owner of mt firmament and Time Reversal gameplay in version 1.1 — Chief planner and owner of Black Shores map and Tethys Portal in version 1.3 — Chief planner and owner of Flight gameplay in Rinascita in version 2.0 V. Q&A Q: At the end of version 1.0, exploration felt tedious and repetitive. Although version 2.0 introduced some fresh ideas, it’s hard to see how future updates can keep innovating without falling back into the same monotony. A: Everyone already recognized that issue in 1.0, which is why we iterated heavily in 2.0. The goal is simple — to get every planner thinking. We look at everyone's interesting ideas or even creative mechanics from other games that we can integrate. These will definitely feel refreshing, so please stay tuned — it will happen for sure. Q: Older maps felt darker in tone, BGM was monotonous, and overall gameplay was dull. While Rinascita was a major improvement, it felt fragmented, as if each person built something pretty in isolation. It’s hard to describe the region with a unified theme. A: That’s true — it was indeed pieced together by many people. The disjointed feeling came from insufficient communication. We’re aware of the issue and will solve it in version 3.0 or even later versions in the 2.x series. Once there’s a clear theme, the sense of disjointedness won’t be as strong. Q: How do planners decide what kind of map to make? What’s the workflow? A: Narrative, level, quest, and programming planners all sit down together to discuss what we want to make. Everyone shares ideas one by one, and we consolidate them based on data. Q: I’m a veteran of Wuthering Waves and Punishing Gray Raven. I think the four-person team setup, stationary dialogues, map, art, tech, and story are all great. Before Wuthering Waves came out, I used to play a competitor title — Genshin... (includes critical feedback) A: During development, we didn’t aim to compete directly. Comparisons don’t help us create anything better. We’re focused on what we can do and what we’re good at. Q: For the anniversary event, it seems like there was a disconnect between the company’s and players’ expectations. A: Yes, version 2.3 didn’t do well. We’ve already apologized — it was an issue. For the next anniversary, we’ll take it more seriously. Operations is aware of the problem. We’re learning and growing with each mistake. Everyone encounters problems, but we accept them and improve. That’s the best feedback we can give our players. #punishinggrayraven #WutheringWaves

Narushio

226,844 görüntüleme • 1 yıl önce

Franco Nero on how he was cast for 'Django' (1966) & his experience while working with Sergio Corbucci: "Interviewer: You once said that the time in which the original DJANGO was made was almost like a fairy tale. Nero: Yes, because it was a great time for Italian cinema. We invented Italian westerns. Our photography was the best in the world. We had great directors. I managed to work with the top of the Italian directors at that time. The sixties were the best period for Italian cinema, I think. Still, today, all over the world they know DJANGO. When Quentin went to Cancun to present the movie for Sony he said there were hundreds of journalists asking about me: Where is Franco Nero? [Laughs] Interviewer: But you were hesitant to do DJANGO in 1966. Nero: Yes. I was in a car with a great Italian director named Elio Petri, and I said to him: Elio, they are asking me to do a western. I come from the Piccolo Teatro di Milano! And he said: Do people know you? I said: No. Nobody knows me. And he said: So you have nothing to lose. Just do the movie. You know why they chose me? One producer wanted a Spanish actor called Peter Martell. The other wanted Mark Damon, who went on to become a big producer. Corbucci wanted me. So the distributor asked for three close up photo’s of the three actors and when he got them he pointed to my face. And that was it. Interviewer: Sergio Leone had already made an unofficial remake of YOJIMBO with A FISTFUL OF DOLLARS. In what way was Corbucci influenced by Kurosawa’s film? Nero: He wanted this atmosphere with the mud and the rain, you understand? Corbucci was a very funny man. He had a lot of humor. In the morning he would say something like: How many did we ki!! yesterday? Thirty? And he would say to the cameraman, very seriously: I need you to put a special lens in the camera for those blue lakes - by which he meant my eyes. He made many jokes on the set. One time I had to drag that coffin up a hill for a scene. It was very heavy. I became really tired. Corbucci said: For the next take, you drag it over the hill, until you reach the river and you are out of the shot. I will call you back when I cut the scene. So I did it. I dragged the coffin over the hill and when I reached the river I was so tired. I waited and waited for him to call. But nobody called. Finally I just went back and they were all gone! He was very funny." (Franco Nero's interview originally published in Dutch fanzine Schokkend Nieuws, 2012 - From 'AGAIN, NO SCRIPT!', Flashback Files)

DepressedBergman

15,713 görüntüleme • 8 ay önce

If you have followed my journey as a solo artiste and even before, you will notice that I give people their due credit where necessary as I am a firm believer in team work; I know my strengths, where I need assistance or guidance I am not afraid to ask or work with those who are strong in the areas I am not; this includes the process of creating music, executing concepts and ideas etc. I will always give people their due credit for their contributions to my projects. Sometime in June 2022, I stumbled upon a producer based in Ghana named Vampire, and had my team and I also personally reached out to him via DM, that I liked his work and was interested in working with him. Before getting him to Lagos, I presented the idea of this producer to my twin brother and our team, getting their buy in before I got him flight tickets and flew him to Lagos. It was when he got into Lagos I asked if he would be open to working on P-SQUARE’s next album project, that the 5 songs I had penned down from my end to be presented to our A&R team for the album project these were: JAIYE, WINNING, FIND SOMEBODY, LEGENDARY, and ATTENTION, based on tracks he had produced. We started with my own 5 songs that needed to be submitted for PSQUARE's album, which he produced for me: The idea for WINNING came from one of his beats that I discovered. I came up with the idea of changing the chord progression from the original version to what it is today with my own producer Goldswarm who is the co-producer of the song WINNING. I had also engaged a songwriter known as CALYPSO who wrote and composed the song WINNING and sent it to me on the beats through a voice note. And we started working on the song. Mind you, he worked on some other songs that were to make the album as well, so my brother was aware of his input to the production as we were all in the studio during this period. Then when my twin brother heard the song WINNING, which we had already created the hook/chorus for, he then wanted to start creating a verse. Our agreed-on process for each song presented by us was: arrange the song, leave a verse for the other person, then we both harmonise the chorus and refrain bits together. He wasn’t supposed to until Calypso and I finished it as part of my own song submission to the LEGENDARY ALBUM. After that, we finished and shared verses among ourselves. I do not wish to get into details of why the album didn’t see the light of day till date but it takes a different level of psychosis for one to steal what is theirs already; as since the release of this song, I have been labeled and called all sorts online and they have even gone as far as asking for the song to be taken down on various platforms, to what end? It was never part of his 5, now 6 (according to him) songs for submission, yet when he felt I was not interested in making music because I chose my sanity over the constant berating and drama that seemed to come up over creative direction in the group. If it were his song, why do I have all the music data including initial conversations and picture/video evidence on the above-mentioned titles/songs? Which of his songs do I have its data in my possession in that case? All because he was hoping for me to quit music. Even when I learnt that he had removed my vocals on songs we did together, suggesting that he sing the entire songs including the ones that he planned to present for the album without my input (a very absurd idea as we both make up the duo not just the one), but we both perform them on stage, I begun to have a rethink of the entire situation. Let me leave this here. Maybe because I was not posting anything music related on my social media page for over 4 months. He believes I have lost interest in music. I took a breather to get my mind and head in the right space and when that was done, my epiphany was WINNING!

Mr Psquare

712,892 görüntüleme • 1 yıl önce

Here’s my info dump on vampires… In fact, jews were the original inspiration for the vampire & witch caricatures because of their desire for blood (actually vampires, demons, witches, ogres, goblins are all inspired by jews). They will tell you it’s all antisemitic blood libel, but I can assure you that it’s 100% true. 1️⃣ “If jews are vampires, can someone explain the garlic weakness?” >Build up of porphyrins cause inability to process garlic. Porphyria is the disease which causes severe intestinal pain and aversion to light and blood transfusions are the only way to treat it. It's genetic. If jews don't interbreed with non-jews within several generations they will develop it. 2️⃣ In Romanian folklore, jews worked with the devil at an evil school called Scholomance. They were called Solomonari after Solomon but some say it’s a corruption of Zalmoxis and a continuation of the ancient cult (more likely Zalmoxis and Solomon are the same figure). Bran Stoker mentions them too, he called them schlomo school. Solomonari jews were also involved in Romanian vampire folklore for drinking the blood of Christian children and killing them in blood rituals. This is one of the earliest origins of what the jews would later refer dismiss as “blood libel”. And judges and local leaders would dismiss the claims, probably because the jews had paid them off. 3️⃣ The fangs are a misconception caused by the two piercings left on the victims neck. People assume the vampire bit into the neck but in reality they are caused by a nail-like device to drain the blood (similar to the ones shown in attached videos). The scroll gets pulled inside the device and the needles hold in the scroll, which is a great alibi for needles used in blood draining (aka Ritual blood magik). One shown was found by Turkish authorities in the car of smugglers, but I’m not sure about the other, and there’s also a book-bound version. The images from the scroll are often shared with that story, but they're two separate pieces. Just add that to the colossal pile of "forgeries and fakes”. By the way, a “forgery”, like the ‘Protocols of the Learned Elders of Zion’ doesn't mean it's fake, just that it isn't the original copy. It’s just a pilpul game of wordplay and semantics (or should I say ‘semitics’ lol). 4️⃣ Werewolves were never men who transformed into wolves; that's a misnomer—they were wolf-men, as in men with domesticated wolves, who would go out on full moons to hunt jews before they could kill others. They went out on full moons because jews with polymorphia can't go outside during the daytime and thus would hunt by moonlight or using a lantern. Hence, Hitler was called the Wolf of Europe (hence his compound called the Wolf's Lair) for this reason. It was also said that if a vampire is chasing you, escape maybe possible by dropping a coin to distract them. 5️⃣ Gentiles made dracula to warn people about jews. They associated him with a bat, a blood drinking animal. Centuries later, jews came up with a plan to negate this association. 100 years ago or before, if you asked someone, who is a man that is like a bat? The answer was dracula. Now days, the answer is Batman. Batman is Jewish propaganda.
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Here’s my info dump on vampires… In fact, jews were the original inspiration for the vampire & witch caricatures because of their desire for blood (actually vampires, demons, witches, ogres, goblins are all inspired by jews). They will tell you it’s all antisemitic blood libel, but I can assure you that it’s 100% true. 1️⃣ “If jews are vampires, can someone explain the garlic weakness?” >Build up of porphyrins cause inability to process garlic. Porphyria is the disease which causes severe intestinal pain and aversion to light and blood transfusions are the only way to treat it. It's genetic. If jews don't interbreed with non-jews within several generations they will develop it. 2️⃣ In Romanian folklore, jews worked with the devil at an evil school called Scholomance. They were called Solomonari after Solomon but some say it’s a corruption of Zalmoxis and a continuation of the ancient cult (more likely Zalmoxis and Solomon are the same figure). Bran Stoker mentions them too, he called them schlomo school. Solomonari jews were also involved in Romanian vampire folklore for drinking the blood of Christian children and killing them in blood rituals. This is one of the earliest origins of what the jews would later refer dismiss as “blood libel”. And judges and local leaders would dismiss the claims, probably because the jews had paid them off. 3️⃣ The fangs are a misconception caused by the two piercings left on the victims neck. People assume the vampire bit into the neck but in reality they are caused by a nail-like device to drain the blood (similar to the ones shown in attached videos). The scroll gets pulled inside the device and the needles hold in the scroll, which is a great alibi for needles used in blood draining (aka Ritual blood magik). One shown was found by Turkish authorities in the car of smugglers, but I’m not sure about the other, and there’s also a book-bound version. The images from the scroll are often shared with that story, but they're two separate pieces. Just add that to the colossal pile of "forgeries and fakes”. By the way, a “forgery”, like the ‘Protocols of the Learned Elders of Zion’ doesn't mean it's fake, just that it isn't the original copy. It’s just a pilpul game of wordplay and semantics (or should I say ‘semitics’ lol). 4️⃣ Werewolves were never men who transformed into wolves; that's a misnomer—they were wolf-men, as in men with domesticated wolves, who would go out on full moons to hunt jews before they could kill others. They went out on full moons because jews with polymorphia can't go outside during the daytime and thus would hunt by moonlight or using a lantern. Hence, Hitler was called the Wolf of Europe (hence his compound called the Wolf's Lair) for this reason. It was also said that if a vampire is chasing you, escape maybe possible by dropping a coin to distract them. 5️⃣ Gentiles made dracula to warn people about jews. They associated him with a bat, a blood drinking animal. Centuries later, jews came up with a plan to negate this association. 100 years ago or before, if you asked someone, who is a man that is like a bat? The answer was dracula. Now days, the answer is Batman. Batman is Jewish propaganda.

Freikorps Unite

30,954 görüntüleme • 1 yıl önce

DAVID BOWIE ‘HEROES’ - THE POWERFUL & EVOCATIVE FINAL SONG IN THE SERIES FINALE OF NETFLIX’S STRANGER THINGS ‘HEROES’ IS AVAILABLE TO STREAM NOW ON PARLOPHONE: WATCH THE HD REMASTERED 'HEROES' VIDEO: New Year’s Day saw the broadcast on Netflix of the final episode of the phenomenally successful and critically lauded stranger things . Ten years in the making, the final song of the entire series is ‘Heroes’ by David Bowie, one of music’s boldest innovators and most enduring visionaries. After the final scene of Series 5 Episode 8 plays, the show doesn’t jump to its typical credits sequence. Instead, it rolls into a nostalgic animated end-credits segment and lets Bowie’s “Heroes” play all the way through. The decision to end the show with the iconic track was suggested by actor Joe Keery, who plays Steve Harrington on the show and records music under the name Djo. Speaking to Netflix Tudum, the show’s co-creator Ross Duffer says, “Once Joe said that, we immediately knew that was the right song to end the show on because it is, in some ways, an anthem for Stranger Things. To use the original Bowie version just felt right and fitting for the conclusion.” Initially released in September 1977, ‘Heroes’ is the title track of the second instalment of Bowie’s hugely influential ‘Berlin Trilogy’ of albums produced by Bowie and Tony Visconti and featuring Brian Eno. Recorded at Hansa Studios in West Berlin, which was situated only 150 metres away from the Berlin Wall and co-written with Eno, the song references the East German soldiers that could be seen from the studio’s control room and a love affair between a couple kissing in the shadow of the Wall. The song, which has become an iconic anthem, was recorded by Bowie in English, German and French and has been covered by artists such as Oasis, Prince, Coldplay, Yungblud, Lady Gaga, Arcade Fire, Smashing Pumpkins, Depeche Mode, Blondie, Neil Finn, Peter Gabriel, King Crimson, Bon Jovi, Motorhead, Miley Cyrus, Aurora, Moby, David Byrne & St Vincent and The Wallflowers, who took it into the US top 10. A decade after the 1977 release of ‘Heroes’, Bowie brought his Glass Spider Tour to Berlin during the Summer of 1987. He performed as part of a series of shows at the Reichstag, a poignant symbol of the divided city just metres away from the Wall. The concert was held near the border, where many East Berliners crowded along to listen to music forbidden by the Soviet government, allowing the two halves of the city to hear the same show, with ‘Heroes’ as the emotional highlight for both sides. Bowie later remarked, “We kind of heard that a few of the East Berliners might actually get the chance to hear the thing, but we didn’t realise in what numbers they would. And there were thousands on the other side that had come close to the wall. So it was like a double concert where the wall was the division. And we would hear them cheering and singing along from the other side. God, even now I get choked up. It was breaking my heart. I’d never done anything like that in my life, and I guess I never will again.” During the shows, the East German authorities cracked down on the fans, attacking them with water cannons and arresting hundreds. The shows helped change the mood around the Wall, which had stood for over a quarter of a century, and was now seen with renewed anger. Within two years, the Wall came down, and it has long been believed that the Concerts For Berlin were a turning point in the East. When Bowie died in 2016, the German Foreign Office confirmed as much by posting a live version of ‘Heroes’ on social media and declaring, ‘Good-bye David Bowie. You are now among #Heroes. Thank you for helping bring down the #wall’ #StrangerThings #BowieHeroes

David Bowie Official

88,316 görüntüleme • 6 ay önce

Remember that paper that started with ‘Certainly, here is a possible introduction for your topic’? How did that get past peer review?! I don’t want AI tools to do my research for me. I want AI tools to speed up boring tasks that take up my time, so I can focus on the important stuff. Anara moved to a new handle (formerly Unriddle) does exactly that. Here’s how you can use it for your research. 🧵👇 #SponsoredWalkthrough One of the biggest challenges in research is time. A solid literature review takes at least 2-3 months… sometimes even longer, depending on the depth of analysis needed. Reading, organising, and synthesising information is a slow process, but it’s absolutely necessary for high-quality work. AI can help speed it up. Not by replacing your critical thinking. It’s your PhD, your ideas need to be your own—but by automating the tedious, repetitive parts of research so you can focus on deep understanding, analysis, and writing. Unlike other AI tools, Anara works with almost any document format. This is what makes it really stand out from the rest. For instance, you can upload: ✅PDFs and other word-based documents ✅Images and presentations ✅Handwritten notes, voice memos, even videos There are so many resources out there that we can learn from. You can upload everything from research papers to YouTube videos and even your own notes and scribbles. It actually understands handwriting surprisingly well! You get automatic summaries when you upload documents. The AI extracts key information immediately, giving you quick insights. It can also help you keep your documents organised. Use the Groups feature to sort and categorise your resources. Create a group for your literature review and keep these papers separate from your other projects or chapters. Tip: Overwhelmed by the number of papers in your "to-be-read" folder? Upload your papers to Anara for immediate insights on each of them, then use these to decide which ones you want to read in more detail. Quickly identify which papers are worth your time—thank me later! You can also go deeper into the papers with Anara’s chat feature. Instead of endlessly scrolling through documents to find relevant sections, just ask the AI a question based on your uploaded files. The chat provides direct answers, all with citations. ✅Suggests questions based on your prompt, helping you refine your focus ✅Everything is sourced directly from your documents. So no random AI-generated nonsense ✅Switch between different AI models to suit your needs. Some are better for summarisation, others for deeper contextual analysis It actually sticks to the sources you give it. My favourite feature is the ability to make flashcards! After you upload a document, Anara can create flashcards to help you test your understanding. Perfect for revision and retention. But… can you trust it? The problem with many AI research tools is hallucination... meaning that they make things up. Anara doesn’t do that. It reduces hallucinations by only referencing the documents you upload. Plus, it provides detailed references and hyperlinks so you can check the original source down to the exact page number. This doesn’t mean you shouldn’t read the paper for yourself. It does mean that you can find what you need much faster, and then verify it with automatic citations. At the end of the day, these tools are here to help you, not replace you. If you’ve made it this far, then it’s (definitely) time to go to 👇 anara(dot)so and give it a try. Use code THEPHDPLACE20 for 20% off

The PhD Place

23,135 görüntüleme • 1 yıl önce

Until Monday, the X algorithm didn’t factor in who your mutuals were. That data was missing from the model. I give credit to X for saying it out loud and then shipping the fix the same day. Transparency matters. A lot. Now that we’re openly talking about improving the algorithm, I have a suggestion that moves us further in the same direction. I’m not a hater. I’m here every day. I want this place to win. I brought a use case for consideration: THE USE CASE • Same account (mine) • Two posts • Same followers • Hours apart • One got 7,700 reposts • The other got 136 A controlled experiment nobody designed. You voted 57 to 1 on which post you preferred. Lines of code vetoed you. THE DATA 7,700 to 136 is 57 to 1. Adjust for impressions and it’s still 29 to 1 (See chart below) THE PRICE Not all engagement is equal. A like is free, and nobody sees you cast it. A repost staples my words to your name, in front of your followers. It’s the most expensive vote on this platform, and 7,700 people paid it. X wasn’t listening. THE MACHINE The ranker is Phoenix, a transformer built from Grok. It reads your post and predicts how likely people are to like, reply, or repost. Distribution flows from that prediction, made before a single human sees the post. A machine guesses what we want. Then it decides what we get. That machine learned our taste by watching us. It’s a copy of us. Now the copy outvotes the original, and when it gets us wrong, nothing tells it. That loop isn’t broken. It was never built. This is the design, and a design is a choice. Respectfully, I think the design should be revisited. THE OBJECTION Maybe the first post just found its ceiling. Maybe 198,000 views was all the audience it had. Except 7,700 reposts isn’t a ceiling, it’s a battering ram. Those views weren’t Phoenix being generous. They were 7,700 people carrying the post by hand. I watched it climb minute by minute. No algo push. A crowd. THE SUGGESTION Monday worked because someone inside noticed the gap. Engineers see the code. Users see what it does to us. Each side holds half the picture. This post is my half. Elon already said it: “We need a complete overhaul of the algorithm.” Start here. Stop letting a robot predict what we’ll like. Use what we already told you we like. One is a guess. The other is actual humans. PS: Supporting data is in the comments. Please don’t throttle my account. I’m an active user and content creator, and I’m trying to be helpful.

Sovey

18,475 görüntüleme • 2 gün önce

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

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