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more CSS <table> tricks 👇 highlight the row being edited and blur out the distractions table:focus-within tbody tr:not(:focus-within) { filter: blur(4px) saturate(0.2); opacity: 0.5; } bonus: color-mix for accent coloring 🎨

jhey ʕ•ᴥ•ʔ

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155,318 Aufrufe • vor 1 Jahr •via X (Twitter)

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more CSS <table> tricks 👇 stick the first row using <thead> so you don't lose context, and give it a margin so you don't lose the last row on scroll thead { position: sticky; top: var(--header-height); margin-bottom: 1lh; /* or whatever row height */ }

more CSS <table> tricks 👇 stick the first row using <thead> so you don't lose context, and give it a margin so you don't lose the last row on scroll thead { position: sticky; top: var(--header-height); margin-bottom: 1lh; /* or whatever row height */ }

jhey ʕ•ᴥ•ʔ

122,020 Aufrufe • vor 1 Jahr

CSS Trick 🫠 You can create gooey effects with filter using CSS or SVG if you want color 🎨 .blobs { filter: blur(20px) contrast(30); } .blobs { filter: url(#goo); } The trick is to blur the thing, then cut the blur off with contrast. You can make some cool effects with it ✨ The CSS approach is basic and limits you to black and white. You need to blur the subject and then use contrast to lessen the blur. .blobs { filter: blur(20px) contrast(30); } The SVG approach gives you a lot more freedom. That looks like a lot 😬 What the filter does is take some source and pipe it through different effects. At a high level, you're doing this: 1. Blur the subject with standard deviation "stdDeviation" 2. Mess with the alpha channel values inside feColorMatrix to get the contrast 3. Composite the effects Good thing with SVG filters is you can rinse and repeat and use them on other things 🤙 Have a play with the demo and check out the DevTools where you can see the effects of using different values CodePen.IO link below! 👇

CSS Trick 🫠 You can create gooey effects with filter using CSS or SVG if you want color 🎨 .blobs { filter: blur(20px) contrast(30); } .blobs { filter: url(#goo); } The trick is to blur the thing, then cut the blur off with contrast. You can make some cool effects with it ✨ The CSS approach is basic and limits you to black and white. You need to blur the subject and then use contrast to lessen the blur. .blobs { filter: blur(20px) contrast(30); } The SVG approach gives you a lot more freedom. That looks like a lot 😬 What the filter does is take some source and pipe it through different effects. At a high level, you're doing this: 1. Blur the subject with standard deviation "stdDeviation" 2. Mess with the alpha channel values inside feColorMatrix to get the contrast 3. Composite the effects Good thing with SVG filters is you can rinse and repeat and use them on other things 🤙 Have a play with the demo and check out the DevTools where you can see the effects of using different values CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

190,822 Aufrufe • vor 2 Jahren

$CSS Tip! 🤙 You can use mask-composite and some JavaScript to create this pointer proximity following glow border ✨ .glow { mask-composite: intersect; mask-clip: padding-box, border-box; mask: linear-gradient(#0000, #0000), conic-gradient(#0000 0deg, #fff, #0000 45deg); } The trick is to mask a background-image with a combination of mask layers. mask-composite: intersect; means the mask used will be the intersection of the layers 🔥 use source-in, xor; in browsers that don't support intersect; In this demo, you can use pseudoelements and rely on scoped custom properties to do a lot of the heavy lifting for you 🙌 Once you've masked the background, you need to update the starting angle of the conic-gradient on pointermove 👆 You can work that out by getting the center point of each card and then calculating the angle between that and the pointer with Math.atan2 🤓 let ANGLE = Math.atan2( event?.y - CARD_CENTER[1], event?.x - CARD_CENTER[0] ) * 180 / Math.PI ANGLE = ANGLE < 0 ? ANGLE + 360 : ANGLE; CARD.style.setProperty('--start', ANGLE + 90) You plug that into your conic-gradient mask as a custom property accounting for --spread ⚡️ conic-gradient(from calc((var(--angle) - (var(--spread) * 0.5)) * 1deg), #000 0deg, #fff, #0000 calc(var(--spread) * 1deg)); To get the blur, you apply a blur to the glow container on each card 🤙 .glows { filter: blur(calc(var(--blur) * 1px); } That's it! Layers of masks that are clipped and composited before being blurred 😎 The added trick is to fade each one in when the pointer is in the defined proximity of the card. For example, don't show unless within 100px of a card. You can see that in the video. Check out the JavaScript code for that 🫶 Couldn't resist making this one 😁 CodePen.IO link below! 👇$

CSS Tip! 🤙 You can use mask-composite and some JavaScript to create this pointer proximity following glow border ✨ .glow { mask-composite: intersect; mask-clip: padding-box, border-box; mask: linear-gradient(#0000, #0000), conic-gradient(#0000 0deg, #fff, #0000 45deg); } The trick is to mask a background-image with a combination of mask layers. mask-composite: intersect; means the mask used will be the intersection of the layers 🔥 use source-in, xor; in browsers that don't support intersect; In this demo, you can use pseudoelements and rely on scoped custom properties to do a lot of the heavy lifting for you 🙌 Once you've masked the background, you need to update the starting angle of the conic-gradient on pointermove 👆 You can work that out by getting the center point of each card and then calculating the angle between that and the pointer with Math.atan2 🤓 let ANGLE = Math.atan2( event?.y - CARD_CENTER[1], event?.x - CARD_CENTER[0] ) * 180 / Math.PI ANGLE = ANGLE < 0 ? ANGLE + 360 : ANGLE; CARD.style.setProperty('--start', ANGLE + 90) You plug that into your conic-gradient mask as a custom property accounting for --spread ⚡️ conic-gradient(from calc((var(--angle) - (var(--spread) * 0.5)) * 1deg), #000 0deg, #fff, #0000 calc(var(--spread) * 1deg)); To get the blur, you apply a blur to the glow container on each card 🤙 .glows { filter: blur(calc(var(--blur) * 1px); } That's it! Layers of masks that are clipped and composited before being blurred 😎 The added trick is to fade each one in when the pointer is in the defined proximity of the card. For example, don't show unless within 100px of a card. You can see that in the video. Check out the JavaScript code for that 🫶 Couldn't resist making this one 😁 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

1,180,399 Aufrufe • vor 2 Jahren

Future CSS Tip! 📜 You can create these landing page effects with CSS scroll-driven animations and zero JavaScript 🔥 Blurred text on exit? 👀 @keyframes fade { to { opacity: 0; filter: blur(2rem); } } h2 { animation: fade; animation-timeline: view(); animation-range: cover 40% cover 85%; } Lots of treats in this one! ✨ How about the circular shape on scroll? That's an animated clip-path 😮 @keyframes unclip { to { clip-path: ellipse(220% 200% at 50% 175%); } } Create a clip-path with a large size that's offset vertically. On scroll, animate it in ⭐️ .content { clip-path: ellipse(220% 200% at 50% 300%); animation: unclip both linear; animation-timeline: --article; animation-range: entry; } That second section combines unclipping with scaling down an image at the same time 🤓 Using the same animation-timeline 🫶 @keyframes scale-down { 0% { scale: 5; } } img { animation: scale-down; animation-timeline: --article; 👈 animation-range: entry; } Every section gets a scoped view-timeline of --article. That's scoped so we can reuse it for all the animations we need 🙌 article { view-timeline-name: --article; } Honestly, the more you play with this stuff, the more tricks you will find 💯 And it also makes you think "Wow! CSS can do this!" As always, CodePen.IO link below! 👇

Future CSS Tip! 📜 You can create these landing page effects with CSS scroll-driven animations and zero JavaScript 🔥 Blurred text on exit? 👀 @keyframes fade { to { opacity: 0; filter: blur(2rem); } } h2 { animation: fade; animation-timeline: view(); animation-range: cover 40% cover 85%; } Lots of treats in this one! ✨ How about the circular shape on scroll? That's an animated clip-path 😮 @keyframes unclip { to { clip-path: ellipse(220% 200% at 50% 175%); } } Create a clip-path with a large size that's offset vertically. On scroll, animate it in ⭐️ .content { clip-path: ellipse(220% 200% at 50% 300%); animation: unclip both linear; animation-timeline: --article; animation-range: entry; } That second section combines unclipping with scaling down an image at the same time 🤓 Using the same animation-timeline 🫶 @keyframes scale-down { 0% { scale: 5; } } img { animation: scale-down; animation-timeline: --article; 👈 animation-range: entry; } Every section gets a scoped view-timeline of --article. That's scoped so we can reuse it for all the animations we need 🙌 article { view-timeline-name: --article; } Honestly, the more you play with this stuff, the more tricks you will find 💯 And it also makes you think "Wow! CSS can do this!" As always, CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

426,640 Aufrufe • vor 2 Jahren

CSS Trick ⚡️ (˗ˏˋ rogie ˎˊ˗ challenge edition 🤙) You can create this secret code reveal with only CSS using :has() and trig functions 🔥 .digit::hover + .digit, .digit:has(+ .digit:hover) { --active: var(--lerp-1); } :root { --lerp-1: calc(sin(50deg)); } .digit { scale: calc(var(--active) + 0.5); } There are a couple of moving parts. The first thing we can do is set up a scale. :root { --lerp-0: 1; /* === sin(90deg) */ --lerp-1: calc(sin(50deg)); --lerp-2: calc(sin(45deg)); --lerp-3: calc(sin(35deg)); --lerp-4: calc(sin(25deg)); --lerp-5: calc(sin(15deg)); } The digit styles define scale and blur. They also dictate the transition duration .digit { transition: scale calc(((1 - var(--active, 0)) + 0.2) * 1s); } When a digit is hovered, then you can set the --active custom property based on the digit position 🤙 The digit that is hovered. .digit:hover { --active: var(--lerp-0); } And the digit on either side of that hovered digit .digit:is(:hover, :focus-visible) + .digit, .digit:has(+ .digit:is(:hover, :focus-visible)) { --active: var(--lerp-1); } We can select the previous sibling using :has() and the next sibling with the sibling combinator (+) And that's it! ⭐️ That's how you create these hover scale interactions with CSS 🙌 We're jus' waiting on Firefox for :has() support. When that lands, it'll likely break the internet 😅 CodePen.IO link below! 👇

CSS Trick ⚡️ (˗ˏˋ rogie ˎˊ˗ challenge edition 🤙) You can create this secret code reveal with only CSS using :has() and trig functions 🔥 .digit::hover + .digit, .digit:has(+ .digit:hover) { --active: var(--lerp-1); } :root { --lerp-1: calc(sin(50deg)); } .digit { scale: calc(var(--active) + 0.5); } There are a couple of moving parts. The first thing we can do is set up a scale. :root { --lerp-0: 1; /* === sin(90deg) / --lerp-1: calc(sin(50deg)); --lerp-2: calc(sin(45deg)); --lerp-3: calc(sin(35deg)); --lerp-4: calc(sin(25deg)); --lerp-5: calc(sin(15deg)); } The digit styles define scale and blur. They also dictate the transition duration .digit { transition: scale calc(((1 - var(--active, 0)) + 0.2) 1s); } When a digit is hovered, then you can set the --active custom property based on the digit position 🤙 The digit that is hovered. .digit:hover { --active: var(--lerp-0); } And the digit on either side of that hovered digit .digit:is(:hover, :focus-visible) + .digit, .digit:has(+ .digit:is(:hover, :focus-visible)) { --active: var(--lerp-1); } We can select the previous sibling using :has() and the next sibling with the sibling combinator (+) And that's it! ⭐️ That's how you create these hover scale interactions with CSS 🙌 We're jus' waiting on Firefox for :has() support. When that lands, it'll likely break the internet 😅 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

375,402 Aufrufe • vor 2 Jahren

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ____________________________________________________ In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

🎓Learn how to create a powerful Torn Fabric smart material in a matter of seconds in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. In this video, the steps are as follows: 1. Create a base fill layer containing no information. We will use this layer to call out the core effects. Add a black mask to this layer and inside that mask add a paint layer and draw a simple pill shape. 2. Next, add a blur directional and be sure the direction is the same direction that your fabric is flowing to. 3. Add a UV border generator set to subtract to mask out any uv seams followed by an anchorpoint. Additionally, add a messy Fibers 3 fill layer set to overlay. 4. Use a levels to adjust the mask along with a sharpen filter. A warp filter should also be added to introduce some randomness. Add an anchor point at the top of the mask as well. 5. Create another fill layer with its opacity channel set to black and apply a black mask to the fill layer. Inside its mask retrieve the anchorpoint information from the previous fill layer. 6. Create an additional fill layer with a bright diffuse color along with a black mask applied to it. Add the anchorpoint information from the previous mask into its mask as well and this should give us some white fibers on the edges. Now we have a torn fabric effect wherever we paint using the paint layer created inside the callout mask! More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #tutorial #3dmodeling #hardsurface #texturing

Cohen Brawley

78,842 Aufrufe • vor 2 Jahren

This comes from her recent chat with David Axelrod at the University of Chicago. She was asked about possibly running for president in 2028, and she basically said her goals are way bigger than any title like president or senator. Her exact words were something like, “They assume that my ambition is positional… a title or seat, and my ambition is way bigger than that. My ambition is to change this country.” She pointed out that presidents and members of Congress come and go, but things like single-payer healthcare, a living wage, and workers’ rights are “forever.” She’s been open about being a democratic socialist for years and wanting systemic change in that direction. This just frames it as her real focus, not chasing higher office. AOC backed Zohran Mamdani, the democratic socialist mayor, from the start and spoke at his inauguration, calling it a “new era” for the city where they chose “prosperity for the many over spoils for the few.” She frames the challenges as inherited problems, not results of socialist policies. NYC does face real issues right now: ongoing population decline across income levels, businesses and high earners leaving, and questions about whether Mamdani’s new budget truly fixed the big deficit or just kicked it down the road with state aid and taxes on the wealthy. The bigger point about socialism clashing with a constitutional republic, that’s a fundamental tension. The U.S. system is built on limited government, individual rights, and private property. Heavy redistribution and central planning strain that framework. AOC sees “democratic socialism” as just expanding the welfare state and regulating markets within democracy, not replacing the Constitution. Critics argue that’s a distinction that tends to blur over time when the incentives shift toward more control. History has plenty of Countries to learn from where it’s been proven Socialism and Communism do not work.

This comes from her recent chat with David Axelrod at the University of Chicago. She was asked about possibly running for president in 2028, and she basically said her goals are way bigger than any title like president or senator. Her exact words were something like, “They assume that my ambition is positional… a title or seat, and my ambition is way bigger than that. My ambition is to change this country.” She pointed out that presidents and members of Congress come and go, but things like single-payer healthcare, a living wage, and workers’ rights are “forever.” She’s been open about being a democratic socialist for years and wanting systemic change in that direction. This just frames it as her real focus, not chasing higher office. AOC backed Zohran Mamdani, the democratic socialist mayor, from the start and spoke at his inauguration, calling it a “new era” for the city where they chose “prosperity for the many over spoils for the few.” She frames the challenges as inherited problems, not results of socialist policies. NYC does face real issues right now: ongoing population decline across income levels, businesses and high earners leaving, and questions about whether Mamdani’s new budget truly fixed the big deficit or just kicked it down the road with state aid and taxes on the wealthy. The bigger point about socialism clashing with a constitutional republic, that’s a fundamental tension. The U.S. system is built on limited government, individual rights, and private property. Heavy redistribution and central planning strain that framework. AOC sees “democratic socialism” as just expanding the welfare state and regulating markets within democracy, not replacing the Constitution. Critics argue that’s a distinction that tends to blur over time when the incentives shift toward more control. History has plenty of Countries to learn from where it’s been proven Socialism and Communism do not work.

Patricia 🇺🇸

43,102 Aufrufe • vor 3 Monaten

Hollywood has a dirty secret. That perfectly clean green screen shot in your favorite Marvel movie? A human being sat in a dark room for 6 hours fixing it frame by frame. The AI keyer got the body. A person painted every strand of hair. By hand. At 2 AM. For 400 frames. The software costs $5,000 a year. And it still cannot key hair. Nuke: $4,988/year. Cannot key hair in motion blur. After Effects: $264/year. Cannot key transparent glass. Boris FX: $1,865. Cannot key fine edges without haloing. The industry's solution for 30 years has been the same: pay for expensive software, then pay a human to fix what the software couldn't. The YouTubers behind Corridor Crew looked at this and asked a different question. What if the AI didn't try to remove the green? What if it figured out what color was actually there before the green contaminated it? They trained a neural network on synthetic 3D data. Not scraped footage. Not stolen clips. Perfectly rendered scenes where every pixel's true color was already known. Hair strands. Motion blur. Transparent glass. All simulated with known ground truth. Then they fed it real green screen footage. It worked. They called it CorridorKey. Then they open sourced it. → Feed it raw green screen footage → AI reconstructs the true foreground color for every pixel → Hair stays perfect. Every strand. → Motion blur stays intact. Every frame. → Transparent glass stays transparent. → 16-bit and 32-bit EXR output. Nuke-ready. Resolve-ready. → Handles 4K natively → Runs on consumer GPUs. 6 GB VRAM minimum. → Runs on Apple Silicon via MLX → Auto-detects green or blue screen → Removes tracking markers automatically → DaVinci Resolve plugin live → Standalone GUI for non-technical users → One-click installer. No Python setup. Here's the wildest part: Within 2.5 months: 13,000+ GitHub stars. 787 forks. Active Discord. Community built a cloud render farm so you can process footage without owning a GPU. DaVinci Resolve plugin shipped. Nuke and After Effects plugins in development. VFX freelancers are already offering CorridorKey-powered services to production companies. One person. One GPU. Hollywood-quality keys. A business built on free software. Nuke: $4,988/year. Still needs manual cleanup. After Effects: $264/year. Still needs manual cleanup. Rotoscope artist: $50 to $150/hour. For the cleanup. CorridorKey: $0. No cleanup needed. One honest flag: the license is CC BY-NC-SA 4.0. Free forever for personal projects, students, indie films, and learning. Commercial use requires permission from Corridor Digital. They did not pretend it was MIT. A problem that plagued Hollywood for 30 years. Solved by YouTubers. Open sourced for free. 13,000+ stars. 787 forks. CC BY-NC-SA 4.0. Your footage. Your keys. No rotoscoping.

Hollywood has a dirty secret. That perfectly clean green screen shot in your favorite Marvel movie? A human being sat in a dark room for 6 hours fixing it frame by frame. The AI keyer got the body. A person painted every strand of hair. By hand. At 2 AM. For 400 frames. The software costs $5,000 a year. And it still cannot key hair. Nuke: $4,988/year. Cannot key hair in motion blur. After Effects: $264/year. Cannot key transparent glass. Boris FX: $1,865. Cannot key fine edges without haloing. The industry's solution for 30 years has been the same: pay for expensive software, then pay a human to fix what the software couldn't. The YouTubers behind Corridor Crew looked at this and asked a different question. What if the AI didn't try to remove the green? What if it figured out what color was actually there before the green contaminated it? They trained a neural network on synthetic 3D data. Not scraped footage. Not stolen clips. Perfectly rendered scenes where every pixel's true color was already known. Hair strands. Motion blur. Transparent glass. All simulated with known ground truth. Then they fed it real green screen footage. It worked. They called it CorridorKey. Then they open sourced it. → Feed it raw green screen footage → AI reconstructs the true foreground color for every pixel → Hair stays perfect. Every strand. → Motion blur stays intact. Every frame. → Transparent glass stays transparent. → 16-bit and 32-bit EXR output. Nuke-ready. Resolve-ready. → Handles 4K natively → Runs on consumer GPUs. 6 GB VRAM minimum. → Runs on Apple Silicon via MLX → Auto-detects green or blue screen → Removes tracking markers automatically → DaVinci Resolve plugin live → Standalone GUI for non-technical users → One-click installer. No Python setup. Here's the wildest part: Within 2.5 months: 13,000+ GitHub stars. 787 forks. Active Discord. Community built a cloud render farm so you can process footage without owning a GPU. DaVinci Resolve plugin shipped. Nuke and After Effects plugins in development. VFX freelancers are already offering CorridorKey-powered services to production companies. One person. One GPU. Hollywood-quality keys. A business built on free software. Nuke: $4,988/year. Still needs manual cleanup. After Effects: $264/year. Still needs manual cleanup. Rotoscope artist: $50 to $150/hour. For the cleanup. CorridorKey: $0. No cleanup needed. One honest flag: the license is CC BY-NC-SA 4.0. Free forever for personal projects, students, indie films, and learning. Commercial use requires permission from Corridor Digital. They did not pretend it was MIT. A problem that plagued Hollywood for 30 years. Solved by YouTubers. Open sourced for free. 13,000+ stars. 787 forks. CC BY-NC-SA 4.0. Your footage. Your keys. No rotoscoping.

Nav Toor

295,780 Aufrufe • vor 3 Monaten

CSS Trick 🧲 You can create magnetic links with the power of custom properties and some JavaScript 💪 a { translate: calc(clamp(-1, var(--x), 1) * var(--pad-x)) ...; transition: translate var(--s, 1s) var(--ease, var(--elastic)); } a:hover { --s: 0s; } The trick here is to pad out the list items wrapping your links and use that as a translation limit 🛑 Start by using some JavaScript to calculate a value between -1 and 1 for both the x/y axis on pointermove for each list item, not the link! 🔗 If your pointer was at the center of the item, you'd get [0,0]. If it was in the top right, you'd get [1,-1] ☝️ It's worth checking out the JavaScript snippet to see how the mapping function works. Essentially, you create a function that when given a value between two bounds, will give you a mapped value back 🤙 const mapX = mapRange( item.offsetWidth * -0.5, item.offsetWidth * 0.5, 1, -1 ) Then, on pointermove, you plug the pointer position in to get the value back out and pass that into your CSS const x = mapX(item.centerX - event.x) document.documentElement.style.setProperty(--x, x) When the pointer leaves the list item, you make sure to reset these values back to 0 ✨ Once CSS has your values, it's the trick of updating the translation of each part You know that in each axis, you only want to translate the link by the padding amount li a { translate: calc(clamp(-1, var(--x), 1) * var(--pad-x)) calc(clamp(-1, var(--y), 1) * var(--pad-y)); transition: translate var(--speed, 1s) var(--ease, var(--elastic)); } This will translate the link within the list item by the desired amount. The cool part here is that you can set an offset for the text inside the link and have that move at a different rate ⭐️ By only updating the --pad-x/y custom properties for the inside the link, you can control how much it moves nav a span { --pad-x: 0.25rem; --pad-y: 0.25rem; } And the last piece, how do you update the behavior for transition speeds? And so it springs back like that? Again, use custom properties ✨ a:hover { --s: 0s; } a { transition: translate var(--s, 1s) var(--ease, var(--elastic)); } By default, a link will use --elastic easing via linear() and have a transition-duration of 1s. When a link is hovered that speed becomes 0s because you want the link to magnetise to your pointer. How about that little gap between when your pointer enters the item but hasn't hovered the link? Set a different transition so it transitions to being hovered 🫶 nav li:hover a { --ease: ease-out; --speed: 0.1s; } That's kinda it! 🙌 Use JavaScript (~40 loc) to get the information and then let CSS do all the lifting for you 💪 Any questions or suggestions, let me know 🙏 If you want a walkthrough video, also let me know please 🙏 CodePen.IO link below 👇

CSS Trick 🧲 You can create magnetic links with the power of custom properties and some JavaScript 💪 a { translate: calc(clamp(-1, var(--x), 1) * var(--pad-x)) ...; transition: translate var(--s, 1s) var(--ease, var(--elastic)); } a:hover { --s: 0s; } The trick here is to pad out the list items wrapping your links and use that as a translation limit 🛑 Start by using some JavaScript to calculate a value between -1 and 1 for both the x/y axis on pointermove for each list item, not the link! 🔗 If your pointer was at the center of the item, you'd get [0,0]. If it was in the top right, you'd get [1,-1] ☝️ It's worth checking out the JavaScript snippet to see how the mapping function works. Essentially, you create a function that when given a value between two bounds, will give you a mapped value back 🤙 const mapX = mapRange( item.offsetWidth * -0.5, item.offsetWidth * 0.5, 1, -1 ) Then, on pointermove, you plug the pointer position in to get the value back out and pass that into your CSS const x = mapX(item.centerX - event.x) document.documentElement.style.setProperty(--x, x) When the pointer leaves the list item, you make sure to reset these values back to 0 ✨ Once CSS has your values, it's the trick of updating the translation of each part You know that in each axis, you only want to translate the link by the padding amount li a { translate: calc(clamp(-1, var(--x), 1) * var(--pad-x)) calc(clamp(-1, var(--y), 1) * var(--pad-y)); transition: translate var(--speed, 1s) var(--ease, var(--elastic)); } This will translate the link within the list item by the desired amount. The cool part here is that you can set an offset for the text inside the link and have that move at a different rate ⭐️ By only updating the --pad-x/y custom properties for the inside the link, you can control how much it moves nav a span { --pad-x: 0.25rem; --pad-y: 0.25rem; } And the last piece, how do you update the behavior for transition speeds? And so it springs back like that? Again, use custom properties ✨ a:hover { --s: 0s; } a { transition: translate var(--s, 1s) var(--ease, var(--elastic)); } By default, a link will use --elastic easing via linear() and have a transition-duration of 1s. When a link is hovered that speed becomes 0s because you want the link to magnetise to your pointer. How about that little gap between when your pointer enters the item but hasn't hovered the link? Set a different transition so it transitions to being hovered 🫶 nav li:hover a { --ease: ease-out; --speed: 0.1s; } That's kinda it! 🙌 Use JavaScript (~40 loc) to get the information and then let CSS do all the lifting for you 💪 Any questions or suggestions, let me know 🙏 If you want a walkthrough video, also let me know please 🙏 CodePen.IO link below 👇

jhey ʕ•ᴥ•ʔ

164,863 Aufrufe • vor 2 Jahren

CSS Tip! 🎠 You can create a responsive infinite marquee animation with container queries and no duplicate items 🤙 li{ animation: slide; } @keyframes slide { to { translate: 0% calc(var(--i) * -100%);}} The trick is animating the items, not the list 😎 More tricks 👇 To get this one working, you need to animate the items and not the list (Watch the video first?). Each item needs to know its row index (--i) in the list and the parent needs to know how many rows are in the list: ul { --count: 12; } li:nth-of-type(1), li:nth-of-type(2) { --i: 0; } li:nth-of-type(3), li:nth-of-type(4) { --i: 1; } Once you have that, translate each item based on its row index in the list li { translate: 0% calc((var(--count) - var(--i)) * 100%); } Now for the animation. The key here is that each row has an animation-delay calculated from its index (--i). That number is offset to make it negative so the animation start is offset ✨ ul { --duration: 10s; } li { --delay: calc((var(--duration) / var(--count)) * (var(--i) - 8)); animation: slide var(--duration) var(--delay) infinite linear; } Make sure to wrap that animation in: @media (prefers-reduced-motion: no-preference) { ... } Lastly, the fun parts! 🤓 To create the "vignette" mask. Use a layered mask on the container 😷 .scene { --buff: 3rem; height: 100%; width: 100%; mask: linear-gradient(transparent, white var(--buff) calc(100% - var(--buff)), transparent), linear-gradient(90deg, transparent, white var(--buff) calc(100% - var(--buff)), transparent); mask-composite: intersect; } To create the 3D skewed effect, use a chained transform (Try toggling it in the demo ⚡️): .grid { transform: rotateX(20deg) rotateZ(-20deg) skewX(20deg); } As for the responsive part, use container queries! 🔥 article { container-type: inline-size; } When the article (card) is narrower than 400px update the grid and animation settings 🤙 Double the rows means double the duration! @container (width < 400px) { .grid { --count: 12; grid-template-columns: 1fr; } li:nth-of-type(1) { --i: 0; } li:nth-of-type(2) { --i: 1; } li:nth-of-type(3) { --i: 2; } li:nth-of-type(4) { --i: 3; } li { --duration: 20s; } } CSS has the magic to be able to update those animations at runtime based on your custom property values 😎 An added bonus in this demo is that it doesn't require any JavaScript at all, for any of it 🤯 We can use CSS :has() for those toggles that update the styles, even the theme toggle! 🫶 Any questions, let me know! Make sure to check out the video. Will do a walkthrough one to follow-up 🤙 CodePen.IO link below! 👇

CSS Tip! 🎠 You can create a responsive infinite marquee animation with container queries and no duplicate items 🤙 li{ animation: slide; } @keyframes slide { to { translate: 0% calc(var(--i) * -100%);}} The trick is animating the items, not the list 😎 More tricks 👇 To get this one working, you need to animate the items and not the list (Watch the video first?). Each item needs to know its row index (--i) in the list and the parent needs to know how many rows are in the list: ul { --count: 12; } li:nth-of-type(1), li:nth-of-type(2) { --i: 0; } li:nth-of-type(3), li:nth-of-type(4) { --i: 1; } Once you have that, translate each item based on its row index in the list li { translate: 0% calc((var(--count) - var(--i)) * 100%); } Now for the animation. The key here is that each row has an animation-delay calculated from its index (--i). That number is offset to make it negative so the animation start is offset ✨ ul { --duration: 10s; } li { --delay: calc((var(--duration) / var(--count)) * (var(--i) - 8)); animation: slide var(--duration) var(--delay) infinite linear; } Make sure to wrap that animation in: @media (prefers-reduced-motion: no-preference) { ... } Lastly, the fun parts! 🤓 To create the "vignette" mask. Use a layered mask on the container 😷 .scene { --buff: 3rem; height: 100%; width: 100%; mask: linear-gradient(transparent, white var(--buff) calc(100% - var(--buff)), transparent), linear-gradient(90deg, transparent, white var(--buff) calc(100% - var(--buff)), transparent); mask-composite: intersect; } To create the 3D skewed effect, use a chained transform (Try toggling it in the demo ⚡️): .grid { transform: rotateX(20deg) rotateZ(-20deg) skewX(20deg); } As for the responsive part, use container queries! 🔥 article { container-type: inline-size; } When the article (card) is narrower than 400px update the grid and animation settings 🤙 Double the rows means double the duration! @container (width < 400px) { .grid { --count: 12; grid-template-columns: 1fr; } li:nth-of-type(1) { --i: 0; } li:nth-of-type(2) { --i: 1; } li:nth-of-type(3) { --i: 2; } li:nth-of-type(4) { --i: 3; } li { --duration: 20s; } } CSS has the magic to be able to update those animations at runtime based on your custom property values 😎 An added bonus in this demo is that it doesn't require any JavaScript at all, for any of it 🤯 We can use CSS :has() for those toggles that update the styles, even the theme toggle! 🫶 Any questions, let me know! Make sure to check out the video. Will do a walkthrough one to follow-up 🤙 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

542,515 Aufrufe • vor 2 Jahren

Following our breakdown of Ultra Red, another finish that deserves an engineering deep dive is Pearl White Multi-Coat. While it is one of the most common Tesla colors on the road, the factory science behind its layered construction is exceptionally complex 🔥 🚗 Pearl White served as the primary no-cost paint option across much of Tesla's North American lineup starting in 2019, making it a familiar sight. Tesla later transitioned the included color to Midnight Silver Metallic and eventually Stealth Grey on newer configurations, returning Pearl White to a paid upgrade depending on the specific model and market. 🔬 The fundamental difference between Ultra Red and Pearl White comes down to how each paint stack manipulates light. Ultra Red relies on chromatic absorption, using a translucent red mid-coat to filter light and amplify color saturation. In contrast, Pearl White relies on optical interference, combining a high-opacity foundation with pearlescent effect platelets. 🎨 Known by the factory paint code PPSW, the process begins with an opaque white ground coat applied after the e-coat and primer stages. Like most high-opacity automotive whites, this ground coat likely relies heavily on titanium dioxide pigment, which provides the opacity and uniform hiding required for the effect layer above. ✨ The signature dimension happens in the translucent mid-coat layer. The layer contains pearlescent effect pigments, which in automotive coatings commonly consist of microscopic mica or synthetic platelets coated with metal oxides. When sunlight hits this layer, light reflects and transmits across multiple interfaces within the coated platelets. These light waves interfere with one another, creating a dynamic shimmer and soft color shift across the body contours. ☀️ This optical interference explains why Pearl White can look noticeably different depending on the ambient lighting. In diffuse overcast conditions, directional sparkle is subdued and the solid white ground coat dominates the appearance. Under direct sunlight, the microscopic platelets catch the light, creating a warm, multi-dimensional iridescence that contours around every curve. 🧩 That sensitive flake behavior also explains the occasional factory color mismatch seen between plastic bumpers and adjacent metal quarter panels. Bumpers are often painted separately using plastic-specific coating processes and lower curing temperatures, sometimes with flexibility additives. Differences in substrate behavior, evaporation rate, application method, curing conditions, and part geometry can cause the pearl particles to orient differently. Curved plastic and metal surfaces also reflect light at different angles, making even a small color variation more visible at the mating seam. 🛠️ Much like Ultra Red, this multi-stage system makes repainting a damaged panel notoriously demanding for collision centers. While an Ultra Red painter is managing color darkness and saturation, a Pearl White technician is managing mid-coat film thickness, coverage, particle orientation, and spray technique. 💸 The translucent mid-coat is the most sensitive variable in the paint booth. Applying too light a coat leaves the repair looking flat and chalky, while additional film build can alter the brightness, hue, and pearl effect enough to make the repaired area visibly different. 🏎️ To prevent mismatched panels, painters typically spray a let-down panel or a series of spray-out cards to determine the best-matching mid-coat pass count required for the finish. Technicians may also need to blend the base and mid-coat into adjacent undamaged panels to ensure a seamless visual transition before applying clearcoat edge-to-edge across each affected panel. 💰 Both Ultra Red and Pearl White show how Tesla uses multi-coat engineering to elevate automotive colors. Whether selectively filtering light through high-chroma translucent pigments or relying on microscopic pearl interference platelets, achieving that factory depth requires serious precision on the assembly line and in the paint booth.

Following our breakdown of Ultra Red, another finish that deserves an engineering deep dive is Pearl White Multi-Coat. While it is one of the most common Tesla colors on the road, the factory science behind its layered construction is exceptionally complex 🔥 🚗 Pearl White served as the primary no-cost paint option across much of Tesla's North American lineup starting in 2019, making it a familiar sight. Tesla later transitioned the included color to Midnight Silver Metallic and eventually Stealth Grey on newer configurations, returning Pearl White to a paid upgrade depending on the specific model and market. 🔬 The fundamental difference between Ultra Red and Pearl White comes down to how each paint stack manipulates light. Ultra Red relies on chromatic absorption, using a translucent red mid-coat to filter light and amplify color saturation. In contrast, Pearl White relies on optical interference, combining a high-opacity foundation with pearlescent effect platelets. 🎨 Known by the factory paint code PPSW, the process begins with an opaque white ground coat applied after the e-coat and primer stages. Like most high-opacity automotive whites, this ground coat likely relies heavily on titanium dioxide pigment, which provides the opacity and uniform hiding required for the effect layer above. ✨ The signature dimension happens in the translucent mid-coat layer. The layer contains pearlescent effect pigments, which in automotive coatings commonly consist of microscopic mica or synthetic platelets coated with metal oxides. When sunlight hits this layer, light reflects and transmits across multiple interfaces within the coated platelets. These light waves interfere with one another, creating a dynamic shimmer and soft color shift across the body contours. ☀️ This optical interference explains why Pearl White can look noticeably different depending on the ambient lighting. In diffuse overcast conditions, directional sparkle is subdued and the solid white ground coat dominates the appearance. Under direct sunlight, the microscopic platelets catch the light, creating a warm, multi-dimensional iridescence that contours around every curve. 🧩 That sensitive flake behavior also explains the occasional factory color mismatch seen between plastic bumpers and adjacent metal quarter panels. Bumpers are often painted separately using plastic-specific coating processes and lower curing temperatures, sometimes with flexibility additives. Differences in substrate behavior, evaporation rate, application method, curing conditions, and part geometry can cause the pearl particles to orient differently. Curved plastic and metal surfaces also reflect light at different angles, making even a small color variation more visible at the mating seam. 🛠️ Much like Ultra Red, this multi-stage system makes repainting a damaged panel notoriously demanding for collision centers. While an Ultra Red painter is managing color darkness and saturation, a Pearl White technician is managing mid-coat film thickness, coverage, particle orientation, and spray technique. 💸 The translucent mid-coat is the most sensitive variable in the paint booth. Applying too light a coat leaves the repair looking flat and chalky, while additional film build can alter the brightness, hue, and pearl effect enough to make the repaired area visibly different. 🏎️ To prevent mismatched panels, painters typically spray a let-down panel or a series of spray-out cards to determine the best-matching mid-coat pass count required for the finish. Technicians may also need to blend the base and mid-coat into adjacent undamaged panels to ensure a seamless visual transition before applying clearcoat edge-to-edge across each affected panel. 💰 Both Ultra Red and Pearl White show how Tesla uses multi-coat engineering to elevate automotive colors. Whether selectively filtering light through high-chroma translucent pigments or relying on microscopic pearl interference platelets, achieving that factory depth requires serious precision on the assembly line and in the paint booth.

Ming

35,590 Aufrufe • vor 12 Tagen

$How I turn my templates into real landing pages. Works for any vibe coding platform or site. This is my full guide. I start with Gemini 3. I copy the HTML code and paste to Cursor/v0/lovable and prompt "Create a new landing page /page-name using this design but adapted to {site_name}. Replace the header and footer with the ones from my site. Adapt the whole page, keep everything: {HTML_code}" Details that can to be adapted or improved: Fonts: "Use {font_name} Google font for headings and {font_name} for body text." Icons: "Use Iconify {icon_set} icons" Colors: "Change primary color to blue. Everything else should be monotone." Bonus: "Make the outlines subtle" for a cleaner design. Animation intro/on scroll: "Animate when in view observed, fade in, slide in, blur in, element by element. Use 'both' instead of 'forwards'. Don't use opacity 0." Static to animated: "Animate details with {animate_type} and decorations.". Example types: line, beam animation, noodles, grid, sonar, etc. Background animation: "Apply the background animation using Unicorn Studio {animation_code}" Details to make your layout stand out: "Add vertical container-size lines. Add 01 02 03 number details." Stand out from generic-looking: "Make this more upscale with large tall fonts, Newsreader font and black and white agency". Adapt content: "Adapt the content to {copy and paste site texts}". Buttons: "Change main button to {code}. Add a 1px border beam animation around the pill-shaped button on hover." Adding sections like testimonials: "Adapt a new section after {section} using this code: {component code}". You can copy the code from Codepen, 21st dev or Aura. Responsiveness: "Make this responsive. Add a hamburger menu for mobile. Hide this {element} for mobile." Making forms work: "Make the form send an email to {your_email}". Payments: "Link the buy button to {LemonSqueezy payment link}". I use composer-1 for quick fixes. I finish with Claude Opus 4.5 for code reviews "Please review the code for performance and robustness". The template HTML code should give you a blueprint for all these, but I think it's important to keep iterating for your specific site.$

How I turn my templates into real landing pages. Works for any vibe coding platform or site. This is my full guide. I start with Gemini 3. I copy the HTML code and paste to Cursor/v0/lovable and prompt "Create a new landing page /page-name using this design but adapted to {site_name}. Replace the header and footer with the ones from my site. Adapt the whole page, keep everything: {HTML_code}" Details that can to be adapted or improved: Fonts: "Use {font_name} Google font for headings and {font_name} for body text." Icons: "Use Iconify {icon_set} icons" Colors: "Change primary color to blue. Everything else should be monotone." Bonus: "Make the outlines subtle" for a cleaner design. Animation intro/on scroll: "Animate when in view observed, fade in, slide in, blur in, element by element. Use 'both' instead of 'forwards'. Don't use opacity 0." Static to animated: "Animate details with {animate_type} and decorations.". Example types: line, beam animation, noodles, grid, sonar, etc. Background animation: "Apply the background animation using Unicorn Studio {animation_code}" Details to make your layout stand out: "Add vertical container-size lines. Add 01 02 03 number details." Stand out from generic-looking: "Make this more upscale with large tall fonts, Newsreader font and black and white agency". Adapt content: "Adapt the content to {copy and paste site texts}". Buttons: "Change main button to {code}. Add a 1px border beam animation around the pill-shaped button on hover." Adding sections like testimonials: "Adapt a new section after {section} using this code: {component code}". You can copy the code from Codepen, 21st dev or Aura. Responsiveness: "Make this responsive. Add a hamburger menu for mobile. Hide this {element} for mobile." Making forms work: "Make the form send an email to {your_email}". Payments: "Link the buy button to {LemonSqueezy payment link}". I use composer-1 for quick fixes. I finish with Claude Opus 4.5 for code reviews "Please review the code for performance and robustness". The template HTML code should give you a blueprint for all these, but I think it's important to keep iterating for your specific site.

Meng To

41,015 Aufrufe • vor 8 Monaten

BREAKING NEWS🚨🚨🚨: An unknown force within the Norfolk County District Attorney's Office has edited a video in the public records production released just moments ago related to the John O'Keefe and Karen Read case. The edit was done to obfuscate footage of the Mystery Man, who carries something away from the taillight area of Karen's Lexus in the footage, and the proof is plain as day! The newly-released Sallyport video contains upwards of 12 jump cuts at the precise moment when the Mystery Man appears behind Karen's Lexus in the aforementioned Canton Police Department Sallyport. The new video also contains the exact same yellow-blur box that was visible in the original video provided to Karen's legal team during discovery in the John O'Keefe trials. As such, that means this video has been edited twice (the first time when it was provided to Karen's team and the second time when this public records request was filled late Friday afternoon), and, further, that both series of edits were specifically designed to obfuscate the identity of the Mystery Man in question. The Mystery Man is seen standing near former State Trooper Michael Proctor --who is currently in the news due to his disgusting and bigoted text messages with former Canton Police Officer Sean Goode being made public-- in the area of Karen's taillight at 5:38PM ET (this taillight would show up, just minutes later circa 5:45PM ET, broken and scattered on the lawn of a home in Canton, Massachusetts, where John O'Keefe's body was discovered earlier that morning). Of note, in some of the newly released Proctorgate messages, Proctor discusses "planting cocaine" on suspects. Read more background on the Proctor/Goode files here - Karen Read, for her part, was acquitted on criminal charges related to John's death after two trials and, now, Karen has filed a civil lawsuit against the State Police and the Town Of Canton related to, what Karen alleges, was a bad-faith investigation of John's death that intentionally focused on Karen to the exclusion of all other suspects. In turn, the Mystery Man, and his identity, may end up playing a key role in that ongoing civil case. To this day, John O'Keefe's death remains unsolved. For context: Previously, on February 17, 2026, I reported; I believe I have found conclusive proof that the Canton Police Department Sallyport video from 5:38pm ET on 1/29/2022 involving Karen Read's Lexus was edited and, furthermore, an unknown man carried something away from the area of Karen's car near her right rear taillight. Read that report here - I then reported, that same day, the following: Here is the cleaned up footage from the Canton PD Sallyport at 5:38pm ET on 1/29/2022. It is clear that this video was manipulated with a yellow blur box to obfuscate the identity and movements of a mystery man standing with Michael Proctor near Karen Read's right rear taillight. Read that report here - Find more follow up reporting here - CC: The Trial Channel , Kyle Sharkey, Emily See, Didi, @MarburyvVeryMad. David Yannetti. Werksman Jackson & Quinn LLP

BREAKING NEWS🚨🚨🚨: An unknown force within the Norfolk County District Attorney's Office has edited a video in the public records production released just moments ago related to the John O'Keefe and Karen Read case. The edit was done to obfuscate footage of the Mystery Man, who carries something away from the taillight area of Karen's Lexus in the footage, and the proof is plain as day! The newly-released Sallyport video contains upwards of 12 jump cuts at the precise moment when the Mystery Man appears behind Karen's Lexus in the aforementioned Canton Police Department Sallyport. The new video also contains the exact same yellow-blur box that was visible in the original video provided to Karen's legal team during discovery in the John O'Keefe trials. As such, that means this video has been edited twice (the first time when it was provided to Karen's team and the second time when this public records request was filled late Friday afternoon), and, further, that both series of edits were specifically designed to obfuscate the identity of the Mystery Man in question. The Mystery Man is seen standing near former State Trooper Michael Proctor --who is currently in the news due to his disgusting and bigoted text messages with former Canton Police Officer Sean Goode being made public-- in the area of Karen's taillight at 5:38PM ET (this taillight would show up, just minutes later circa 5:45PM ET, broken and scattered on the lawn of a home in Canton, Massachusetts, where John O'Keefe's body was discovered earlier that morning). Of note, in some of the newly released Proctorgate messages, Proctor discusses "planting cocaine" on suspects. Read more background on the Proctor/Goode files here - Karen Read, for her part, was acquitted on criminal charges related to John's death after two trials and, now, Karen has filed a civil lawsuit against the State Police and the Town Of Canton related to, what Karen alleges, was a bad-faith investigation of John's death that intentionally focused on Karen to the exclusion of all other suspects. In turn, the Mystery Man, and his identity, may end up playing a key role in that ongoing civil case. To this day, John O'Keefe's death remains unsolved. For context: Previously, on February 17, 2026, I reported; I believe I have found conclusive proof that the Canton Police Department Sallyport video from 5:38pm ET on 1/29/2022 involving Karen Read's Lexus was edited and, furthermore, an unknown man carried something away from the area of Karen's car near her right rear taillight. Read that report here - I then reported, that same day, the following: Here is the cleaned up footage from the Canton PD Sallyport at 5:38pm ET on 1/29/2022. It is clear that this video was manipulated with a yellow blur box to obfuscate the identity and movements of a mystery man standing with Michael Proctor near Karen Read's right rear taillight. Read that report here - Find more follow up reporting here - CC: The Trial Channel , Kyle Sharkey, Emily See, Didi, @MarburyvVeryMad. David Yannetti. Werksman Jackson & Quinn LLP

Grant Smith Ellis

210,400 Aufrufe • vor 2 Monaten

Gpt image 2 + Seedance 2.5 on Higgsfield Prompt: 30-SECOND CINEMATIC SHORT Create a 30-second cinematic sequence with the visual discipline of a major feature film. The world is entirely made from paper, cardboard, ink, and delicate handcrafted materials. 00:00–00:05 — THE FIRST FOLD Begin with an extreme macro shot of a blank sheet of textured paper. A single fold slowly forms across its surface. Lens: 100mm macro Camera: Completely static Soft daylight moves across the paper as the fold continues. Cut precisely as the paper reaches its final shape. 00:05–00:11 — THE CITY EMERGES Transition into a 50mm shot. The folded paper begins forming miniature streets and architectural structures. Buildings rise naturally from the surface through carefully constructed paper folds. The camera slowly tracks sideways. Tiny windows catch the light. Nothing feels computer-generated; every surface should have believable paper fibers, folds, shadows, and imperfections. 00:11–00:17 — THE REVEAL Move into a 35mm shot. The camera pulls backward. The small arrangement is revealed as an enormous handcrafted paper city stretching across a large table. Roads connect different districts. Bridges cross miniature rivers. Paper trees move gently from an unseen breeze. 00:17–00:23 — MORNING Transition into a slow overhead crane shot. Warm sunlight gradually spreads across the paper city. Shadows from the buildings become longer and more defined. Tiny paper windows begin reflecting the sunlight. The camera continues rising, revealing the geometric relationship between the streets and buildings. 00:23–00:27 — THE DETAIL Cut to an 85mm close-up. Focus on a tiny paper clock mounted on one building. The clock moves forward by one minute. Rack focus from the clock to the miniature skyline behind it. 00:27–00:30 — FINAL IMAGE Return to an extreme wide shot. The entire paper city sits beneath a large studio window. The morning light completely fills the miniature world. Camera slowly pulls backward until the city becomes a small object within the larger room. Fade to black. CINEMATOGRAPHY Large-format feature-film aesthetic. 100mm macro for texture. 85mm for detail. 50mm for natural perspective. 35mm for environmental shots. Controlled dolly and crane movements. Realistic depth of field. Natural focus transitions. Soft motion blur. Subtle lens imperfections. No artificial camera shake. MATERIAL DIRECTION Every surface must visibly behave like physical paper. Visible paper fibers. Natural folds. Tiny imperfections. Soft cardboard edges. Realistic contact shadows. Believable paper thickness. Natural material deformation. LIGHTING Soft morning daylight. Large window as the primary source. Natural bounce light. Gentle shadows. Subtle warm highlights. No artificial neon effects. No excessive visual effects. CONTINUITY The same paper city throughout the entire sequence. Buildings maintain identical shapes and positions. Roads remain connected. Paper materials remain consistent. No random transformations. No flickering. No duplicated structures. No sudden environmental changes. DIRECTOR’S NOTE Treat this as a miniature feature film, not a visual-effects demonstration. The camera should discover the world gradually. Start intimate. Reveal scale. Return to detail. Finish wide. The audience should feel that they are watching a real handcrafted world photographed with a cinema camera. Photorealistic 4K • tactile materials • feature-film cinematography • sophisticated lighting • realistic miniature photography • cinematic depth • precise camera movement • seamless visual continuity.

Gpt image 2 + Seedance 2.5 on Higgsfield Prompt: 30-SECOND CINEMATIC SHORT Create a 30-second cinematic sequence with the visual discipline of a major feature film. The world is entirely made from paper, cardboard, ink, and delicate handcrafted materials. 00:00–00:05 — THE FIRST FOLD Begin with an extreme macro shot of a blank sheet of textured paper. A single fold slowly forms across its surface. Lens: 100mm macro Camera: Completely static Soft daylight moves across the paper as the fold continues. Cut precisely as the paper reaches its final shape. 00:05–00:11 — THE CITY EMERGES Transition into a 50mm shot. The folded paper begins forming miniature streets and architectural structures. Buildings rise naturally from the surface through carefully constructed paper folds. The camera slowly tracks sideways. Tiny windows catch the light. Nothing feels computer-generated; every surface should have believable paper fibers, folds, shadows, and imperfections. 00:11–00:17 — THE REVEAL Move into a 35mm shot. The camera pulls backward. The small arrangement is revealed as an enormous handcrafted paper city stretching across a large table. Roads connect different districts. Bridges cross miniature rivers. Paper trees move gently from an unseen breeze. 00:17–00:23 — MORNING Transition into a slow overhead crane shot. Warm sunlight gradually spreads across the paper city. Shadows from the buildings become longer and more defined. Tiny paper windows begin reflecting the sunlight. The camera continues rising, revealing the geometric relationship between the streets and buildings. 00:23–00:27 — THE DETAIL Cut to an 85mm close-up. Focus on a tiny paper clock mounted on one building. The clock moves forward by one minute. Rack focus from the clock to the miniature skyline behind it. 00:27–00:30 — FINAL IMAGE Return to an extreme wide shot. The entire paper city sits beneath a large studio window. The morning light completely fills the miniature world. Camera slowly pulls backward until the city becomes a small object within the larger room. Fade to black. CINEMATOGRAPHY Large-format feature-film aesthetic. 100mm macro for texture. 85mm for detail. 50mm for natural perspective. 35mm for environmental shots. Controlled dolly and crane movements. Realistic depth of field. Natural focus transitions. Soft motion blur. Subtle lens imperfections. No artificial camera shake. MATERIAL DIRECTION Every surface must visibly behave like physical paper. Visible paper fibers. Natural folds. Tiny imperfections. Soft cardboard edges. Realistic contact shadows. Believable paper thickness. Natural material deformation. LIGHTING Soft morning daylight. Large window as the primary source. Natural bounce light. Gentle shadows. Subtle warm highlights. No artificial neon effects. No excessive visual effects. CONTINUITY The same paper city throughout the entire sequence. Buildings maintain identical shapes and positions. Roads remain connected. Paper materials remain consistent. No random transformations. No flickering. No duplicated structures. No sudden environmental changes. DIRECTOR’S NOTE Treat this as a miniature feature film, not a visual-effects demonstration. The camera should discover the world gradually. Start intimate. Reveal scale. Return to detail. Finish wide. The audience should feel that they are watching a real handcrafted world photographed with a cinema camera. Photorealistic 4K • tactile materials • feature-film cinematography • sophisticated lighting • realistic miniature photography • cinematic depth • precise camera movement • seamless visual continuity.

K

21,742 Aufrufe • vor 16 Tagen

🚨The world would be catapulted into a GREAT DEPRESSION if US-Iran negotiations fail and result in a FOREVER WAR —Retired US Air Force Lt. Col. William J. Astore ‘I don’t think Iran trusts us at all. And I wouldn’t blame them. I don’t trust the news coming out of my own government. So why should Iran trust diplomats? We don’t even send diplomats. We send Trump’s son-in-law and we send a friend of Trump and a real estate developer. So we don’t even rely on the professionals within our own State Department. But I think Iran is being prudent. Iran recognises, I think, as sane people do, that diplomacy is better than a forever war where tens, if not hundreds of thousands of people may end up dead. What’s so worrisome here is that we Americans, and our president…they all talk about short wars, they all talk about mission accomplished moments. ‘Oh yes, the war will be over in a few weeks, maybe a few months.’ We heard the same kind of rhetoric during the Vietnam War that, once we sent troops in 1965, that war would be over once American troops hit the ground. Well, that war stretched for another 10 years and we ended up losing that war. So this is always the rhetoric. And what I worry about the Iran war is that, yes, we’d like to think the war will be over soon, but we also thought the Russia-Ukraine war was going to be over in a matter of weeks or months and now it’s more than four years. I perish the thought that the Iran war could last a year or two or three. It would catapult the world into something like a Great Depression.’ Watch the full interview in the quoted post below👇

🚨The world would be catapulted into a GREAT DEPRESSION if US-Iran negotiations fail and result in a FOREVER WAR —Retired US Air Force Lt. Col. William J. Astore ‘I don’t think Iran trusts us at all. And I wouldn’t blame them. I don’t trust the news coming out of my own government. So why should Iran trust diplomats? We don’t even send diplomats. We send Trump’s son-in-law and we send a friend of Trump and a real estate developer. So we don’t even rely on the professionals within our own State Department. But I think Iran is being prudent. Iran recognises, I think, as sane people do, that diplomacy is better than a forever war where tens, if not hundreds of thousands of people may end up dead. What’s so worrisome here is that we Americans, and our president…they all talk about short wars, they all talk about mission accomplished moments. ‘Oh yes, the war will be over in a few weeks, maybe a few months.’ We heard the same kind of rhetoric during the Vietnam War that, once we sent troops in 1965, that war would be over once American troops hit the ground. Well, that war stretched for another 10 years and we ended up losing that war. So this is always the rhetoric. And what I worry about the Iran war is that, yes, we’d like to think the war will be over soon, but we also thought the Russia-Ukraine war was going to be over in a matter of weeks or months and now it’s more than four years. I perish the thought that the Iran war could last a year or two or three. It would catapult the world into something like a Great Depression.’ Watch the full interview in the quoted post below👇

Going Underground

38,254 Aufrufe • vor 4 Monaten

Alarming New Video Shows Robot Making Incredibly Realistic Facial Expressions | Victor Tangermann, The_Byte A robotics company in China has shown off a humanoid robotic head that can express emotions through extremely subtle movements of its facial features. A video that has gone viral on social media shows the face glancing around the room with a quizzical expression. Its eyes blink in an eerily lifelike way, selling the illusion surprisingly well. Hangzhou, China-based outfit AheadForm, which is behind the impressive demo, claims on its website to combine "self-supervised AI algorithms" and wide-range "bionic actuation" to "express authentic emotions and lifelike facial expressions." The demo goes to show how far human mimicry in the field of humanoid robotics has come, landing in the furthest reaches of the uncanny valley. "Well... 'Westworld' is closer than I thought," one Reddit user pondered in response to the video, referring to the hit HBO sci-fi show — and 1973 movie, and Michael Crichton novel — about a fictional amusement park populated by android "hosts." AheadForm says it's already developed a series of "ultra-lifelike" humanoid "elves," which can "perceive the world, communicate, learn, and interact intelligently with its surroundings" thanks to an "advanced AI learning algorithm." According to the company's founder, Hu Yuhang, the lines between human and robot are bound to continue to blur, eventually becoming barely distinguishable from each other. "Within ten years, we might interact with robots and feel like they are almost human; maybe in 20 years, they could walk normally and perform some tasks just like a human," he told the South China Morning Post last year. For now, the humanoid robot industry's main focus is productivity, rather than mimicking human personality expressions. A growing cohort of companies, including Tesla, is aiming to replace human labor with their offerings, teach them how to kickbox, and selling them as the ultimate household aid. However, as Yuhang suggests, such a future appears to still be a long way out. Not everybody's convinced that bipedal robots are the answer, either, with some arguing that purpose-built industrial robots will always be a better option. In the meantime, AheadForm aims to prepare us for an android-filled future by using AI to make human-robot interactions more "natural and engaging." But given their robots' disconcertingly probing eyes, that won't be an easy task.

Alarming New Video Shows Robot Making Incredibly Realistic Facial Expressions | Victor Tangermann, The_Byte A robotics company in China has shown off a humanoid robotic head that can express emotions through extremely subtle movements of its facial features. A video that has gone viral on social media shows the face glancing around the room with a quizzical expression. Its eyes blink in an eerily lifelike way, selling the illusion surprisingly well. Hangzhou, China-based outfit AheadForm, which is behind the impressive demo, claims on its website to combine "self-supervised AI algorithms" and wide-range "bionic actuation" to "express authentic emotions and lifelike facial expressions." The demo goes to show how far human mimicry in the field of humanoid robotics has come, landing in the furthest reaches of the uncanny valley. "Well... 'Westworld' is closer than I thought," one Reddit user pondered in response to the video, referring to the hit HBO sci-fi show — and 1973 movie, and Michael Crichton novel — about a fictional amusement park populated by android "hosts." AheadForm says it's already developed a series of "ultra-lifelike" humanoid "elves," which can "perceive the world, communicate, learn, and interact intelligently with its surroundings" thanks to an "advanced AI learning algorithm." According to the company's founder, Hu Yuhang, the lines between human and robot are bound to continue to blur, eventually becoming barely distinguishable from each other. "Within ten years, we might interact with robots and feel like they are almost human; maybe in 20 years, they could walk normally and perform some tasks just like a human," he told the South China Morning Post last year. For now, the humanoid robot industry's main focus is productivity, rather than mimicking human personality expressions. A growing cohort of companies, including Tesla, is aiming to replace human labor with their offerings, teach them how to kickbox, and selling them as the ultimate household aid. However, as Yuhang suggests, such a future appears to still be a long way out. Not everybody's convinced that bipedal robots are the answer, either, with some arguing that purpose-built industrial robots will always be a better option. In the meantime, AheadForm aims to prepare us for an android-filled future by using AI to make human-robot interactions more "natural and engaging." But given their robots' disconcertingly probing eyes, that won't be an easy task.

Owen Gregorian

105,829 Aufrufe • vor 11 Monaten

Kobe Bryant spent 15 years writing every day because he wanted to become the next Walt Disney. Now, Jimmy Soni is telling that story. The first part of our conversation is Kobe’s secret obsession with writing. Then we got into why Michael Lewis once wrote under a pen name, why the publishing industry is broken, and why Jimmy loves writing with AI. Highlights: 1. The world is a conspiracy designed to prevent you from writing. 2. Jimmy sees himself in a battle against that world to find four hours per day to do focused writing. 3. “I’m researching” is often an excuse not to write. People spend decades researching books they never write, and it’s a writers' job to come up with ways to get research done without falling down a black hole. 4. Using AI to write is like using a very sharp knife to cook. The tool might make it easier, but you still have to cook the meal. 5. If you can’t out-write the AI, what are you doing writing in the first-place? 6. Find a Model Book to serve as the "plaster cast" for the book you’re writing and study it obsessively. Jimmy wanted his book, “The Founders” to be like “The Everything Store” by Brad Stone, and read it more than 20 times to understand what made it so good. 7. People think that being a professional writer means going to a lot of cocktail parties. Nope... the reality is that the craft of writing involves showing up to work every day, putting away the distractions, and focusing for many, many hours. You go to bed early, you wake up early, you get your work done. Do it every day for months in a row and you’ll have a book. 8. A problem with traditional publishing is that the entire system is predicated on your book being a hit within the first two weeks. If it’s not, publishers largely give up and move onto something else. 9. What looks like a talent gap is often just a focus gap. Amateur writers severely underestimate just how much time and effort goes into great books. 10. A/B test the cover art for your book. It’s so easy, so cheap, and the saying is true: People judge a book by its cover. 11. Before Michael Lewis was “Michael Lewis,” he wrote under the pen name of Diana Bleecker because he was writing about Wall Street while working on Wall Street, and didn’t want people to know who he was. 12. Michael Lewis was an art history major at Princeton, and once recounted that a lot of Renaissance-era paintings look quite similar. But if you want to see the idiosyncrasies, look at the toenails. That’s where the artists would lose their steam or put in the most individuality, so they’re some of the most distinctive parts of the art. Many fields have an equivalent — a place where you can find hidden answers, if only you know where to look. 13. Ambition is fuel that can burn relatively clean for a little while, only to become dirty later on. Jimmy says: “For the true greats, the sustained motivation needs to come from something deeper. It needs to come from love. That’s the only sustaining force there is.” 14. Kobe built his own publishing company because he didn’t feel like the big publishing houses could deliver the level of quality he demanded. 15. Kobe once spent two weeks redesigning the barcode on one of his books because he wanted it to blend more fluidly with the back cover design (no traditional publisher would do something like this). I've shared the full conversation with Jimmy Soni below. The first ~25 minutes are about Kobe Bryant. The rest is about a hodgepodge of other topics. If you'd rather watch the full thing on YouTube or listen on Apple / Spotify, check out the links in the reply tweets.

Kobe Bryant spent 15 years writing every day because he wanted to become the next Walt Disney. Now, Jimmy Soni is telling that story. The first part of our conversation is Kobe’s secret obsession with writing. Then we got into why Michael Lewis once wrote under a pen name, why the publishing industry is broken, and why Jimmy loves writing with AI. Highlights: 1. The world is a conspiracy designed to prevent you from writing. 2. Jimmy sees himself in a battle against that world to find four hours per day to do focused writing. 3. “I’m researching” is often an excuse not to write. People spend decades researching books they never write, and it’s a writers' job to come up with ways to get research done without falling down a black hole. 4. Using AI to write is like using a very sharp knife to cook. The tool might make it easier, but you still have to cook the meal. 5. If you can’t out-write the AI, what are you doing writing in the first-place? 6. Find a Model Book to serve as the "plaster cast" for the book you’re writing and study it obsessively. Jimmy wanted his book, “The Founders” to be like “The Everything Store” by Brad Stone, and read it more than 20 times to understand what made it so good. 7. People think that being a professional writer means going to a lot of cocktail parties. Nope... the reality is that the craft of writing involves showing up to work every day, putting away the distractions, and focusing for many, many hours. You go to bed early, you wake up early, you get your work done. Do it every day for months in a row and you’ll have a book. 8. A problem with traditional publishing is that the entire system is predicated on your book being a hit within the first two weeks. If it’s not, publishers largely give up and move onto something else. 9. What looks like a talent gap is often just a focus gap. Amateur writers severely underestimate just how much time and effort goes into great books. 10. A/B test the cover art for your book. It’s so easy, so cheap, and the saying is true: People judge a book by its cover. 11. Before Michael Lewis was “Michael Lewis,” he wrote under the pen name of Diana Bleecker because he was writing about Wall Street while working on Wall Street, and didn’t want people to know who he was. 12. Michael Lewis was an art history major at Princeton, and once recounted that a lot of Renaissance-era paintings look quite similar. But if you want to see the idiosyncrasies, look at the toenails. That’s where the artists would lose their steam or put in the most individuality, so they’re some of the most distinctive parts of the art. Many fields have an equivalent — a place where you can find hidden answers, if only you know where to look. 13. Ambition is fuel that can burn relatively clean for a little while, only to become dirty later on. Jimmy says: “For the true greats, the sustained motivation needs to come from something deeper. It needs to come from love. That’s the only sustaining force there is.” 14. Kobe built his own publishing company because he didn’t feel like the big publishing houses could deliver the level of quality he demanded. 15. Kobe once spent two weeks redesigning the barcode on one of his books because he wanted it to blend more fluidly with the back cover design (no traditional publisher would do something like this). I've shared the full conversation with Jimmy Soni below. The first ~25 minutes are about Kobe Bryant. The rest is about a hodgepodge of other topics. If you'd rather watch the full thing on YouTube or listen on Apple / Spotify, check out the links in the reply tweets.

David Perell

195,076 Aufrufe • vor 1 Jahr

Baroness Warsi Claims Campaigning Against The Pakistani Rape Gangs is Racism, Bigotry and Fascism. She is Wrong. Once again, a leading Pakistani Muslim politician has reached for the same tired euphemism used for nearly three decades to blur the truth and shield those responsible. “I think the quicker we move to a position where individuals are judged by their individual characteristics, and the actions of bad people within groups are not superimposed onto entire communities and used as a tool to demonise them, the better. Otherwise we effectively single those communities out as targets for racism and abuse.” Baroness Warsi's interview is a calculated act of moral evasion. The same denial that allowed these crimes to flourish in the first place is now being used to deflect from a simple truth. The industrial scale gang rape of little White girls are not the actions of individuals. They are the consequences of a cultural belief that is deeply embedded in a community. The refusal to acknowledge this is part of a long tradition in Britain of avoiding hard conversations about the communities we imported and the ideologies they carried with them. Successive governments, terrified of upsetting a fragile multicultural consensus, have chosen denial over honesty. To this day, they continue to bury the truth beneath polite language and bureaucratic vagueness, creating the conditions in which this poison has taken root and continues growing unchecked. The Pakistanis who arrived in Britain in large numbers during the 1950s and 1960s did not come as ideologically neutral migrants. They brought with them a worldview forged in the fires of rape, genocide, and ethnic cleansing that underpinned the brutal birth of the Islamic Republic of Pakistan. For decades, that worldview was reinforced by the Pakistani government's propaganda promoting the belief that Islam’s survival depended on separation, control, and purity. In Britain, this ideology went unchallenged. And so, here, it festered. To understand the rape gangs and the industrial scale sexual exploitation of this nation’s children, we must confront the deep rooted racial and religious prejudices embedded within these communities. These Men Did Not Emerge From a Vacuum They were shaped by a culture that long ago learned to rationalise violence against those deemed inferior or impure. Only then can we see that what is happening in Britain today is not a cultural aberration, but a continuation, a modern echo of what their fathers, grandfathers and great grandfathers once did in Pakistan. The same doctrine that justified the slaughter and rape of Hindus, Sikhs and Bengalis during Partition has found new expression in Britain. What had once been political has become social. What was once a war between nations has become a war for dominance within neighbourhoods. The ideology that sanctified conquest and control now justifies the exploitation of White girls who, in their worldview, are seen as morally corrupt, religiously impure and therefore sexually available. These Are Not The Actions of Individuals It is behaviour rooted in cultural conditioning that is sustained by collective acceptance. Within these communities, the subjugation of women, the authority of elders and the policing of behaviour are not extremes. They are norms. This theology of social power, where men rule women, elders rule youth and sects rule one another, has created a world in which silence and submission are expected. It was within that silence, and under the cover of communal respectability, that the rape gangs are able to thrive. This is why a judge summing up the latest convictions in Rochdale raised concerns of how they all knew. And they all did nothing. The rape gangs themselves reflect this same social architecture. They operate along clan lines, often involving brothers, cousins, uncles, and family friends who protected one another through blood loyalty and communal silence. These are not isolated predators but organised networks bound by kinship, secrecy, and a shared contempt for the girls they targeted. When this ideology metastasised into organised sexual exploitation of working class White girls, Britain’s institutions looked away. Police officers, councillors and social workers, many of them knowing full well what was happening, chose silence over truth. Fear of being called racist became more powerful than the duty to protect a child. The result was moral paralysis, an entire generation of girls sacrificed to maintain a comforting illusion of community cohesion. Behind This Silence Stands Another Motive Political survival. In many towns and cities, Labour councillors rely on tightly controlled bloc votes from Pakistani communities to keep power. These votes are delivered through local power-brokers, elders and mosque committees who demand loyalty in return for turnout. The price of that loyalty is silence. Politicians know that confronting the rape gangs means confronting the same networks that deliver their majorities. So they look the other way, protected their careers, and branded truth-tellers as racists and troublemakers. The state, terrified of offending a vocal minority and addicted to the arithmetic of bloc politics, allows the language of diversity to become the armour of depravity. What began as political cowardice has since hardened into cultural orthodoxy The same fear that once silenced whistleblowers now shapes our national conversation. Those who protected their bloc votes in the town halls now protect their reputations in Westminster, the media and academia. Instead of reckoning with what happened, they have rewritten the narrative, shifting blame, censoring debate, and recasting moral cowardice as tolerance. This double standard runs deep. The same institutions that silenced victims and ignored predators now lecture the rest of us on morality. The Lesson is Clear In modern Britain, moral outrage is permitted only when it is politically convenient. The same nation that now claims to confront Islamophobia still cannot speak the truth about who is raping its children. _________ I’m Raja Miah MBE. For seven years, I led a campaign that exposed how senior Labour politicians helped protect Pakistani rape gangs. The people of my town helped force the national inquiry. You won’t see me on the BBC. You won’t read my work in the legacy press. That’s not an accident. I take this to a place from where there is no coming back. I document everything in my newsletter. It’s 100% free to read. If this work matters to you, if you believe it must continue, I need your backing. My work is free. No paywalls. No gatekeeping. No exclusions. Because the truth shouldn’t belong only to those who can afford it. If you can afford to do so, supporting me costs as little as 75p a week (£30 a year). Sign up here; 👉 If you can’t commit to a regular subscription, a one-off contribution genuinely helps keep this alive. You can support me using one of these links; 👉 👉 We’re up against a machine, politicians, police, officials, and media, working together to shrink, sanitise, and bury the truth. This work survives because of you. If you’ve ever shared my posts, learned something, or felt less alone reading them, stand with me. I need your help. Raja 🙏

Baroness Warsi Claims Campaigning Against The Pakistani Rape Gangs is Racism, Bigotry and Fascism. She is Wrong. Once again, a leading Pakistani Muslim politician has reached for the same tired euphemism used for nearly three decades to blur the truth and shield those responsible. “I think the quicker we move to a position where individuals are judged by their individual characteristics, and the actions of bad people within groups are not superimposed onto entire communities and used as a tool to demonise them, the better. Otherwise we effectively single those communities out as targets for racism and abuse.” Baroness Warsi's interview is a calculated act of moral evasion. The same denial that allowed these crimes to flourish in the first place is now being used to deflect from a simple truth. The industrial scale gang rape of little White girls are not the actions of individuals. They are the consequences of a cultural belief that is deeply embedded in a community. The refusal to acknowledge this is part of a long tradition in Britain of avoiding hard conversations about the communities we imported and the ideologies they carried with them. Successive governments, terrified of upsetting a fragile multicultural consensus, have chosen denial over honesty. To this day, they continue to bury the truth beneath polite language and bureaucratic vagueness, creating the conditions in which this poison has taken root and continues growing unchecked. The Pakistanis who arrived in Britain in large numbers during the 1950s and 1960s did not come as ideologically neutral migrants. They brought with them a worldview forged in the fires of rape, genocide, and ethnic cleansing that underpinned the brutal birth of the Islamic Republic of Pakistan. For decades, that worldview was reinforced by the Pakistani government's propaganda promoting the belief that Islam’s survival depended on separation, control, and purity. In Britain, this ideology went unchallenged. And so, here, it festered. To understand the rape gangs and the industrial scale sexual exploitation of this nation’s children, we must confront the deep rooted racial and religious prejudices embedded within these communities. These Men Did Not Emerge From a Vacuum They were shaped by a culture that long ago learned to rationalise violence against those deemed inferior or impure. Only then can we see that what is happening in Britain today is not a cultural aberration, but a continuation, a modern echo of what their fathers, grandfathers and great grandfathers once did in Pakistan. The same doctrine that justified the slaughter and rape of Hindus, Sikhs and Bengalis during Partition has found new expression in Britain. What had once been political has become social. What was once a war between nations has become a war for dominance within neighbourhoods. The ideology that sanctified conquest and control now justifies the exploitation of White girls who, in their worldview, are seen as morally corrupt, religiously impure and therefore sexually available. These Are Not The Actions of Individuals It is behaviour rooted in cultural conditioning that is sustained by collective acceptance. Within these communities, the subjugation of women, the authority of elders and the policing of behaviour are not extremes. They are norms. This theology of social power, where men rule women, elders rule youth and sects rule one another, has created a world in which silence and submission are expected. It was within that silence, and under the cover of communal respectability, that the rape gangs are able to thrive. This is why a judge summing up the latest convictions in Rochdale raised concerns of how they all knew. And they all did nothing. The rape gangs themselves reflect this same social architecture. They operate along clan lines, often involving brothers, cousins, uncles, and family friends who protected one another through blood loyalty and communal silence. These are not isolated predators but organised networks bound by kinship, secrecy, and a shared contempt for the girls they targeted. When this ideology metastasised into organised sexual exploitation of working class White girls, Britain’s institutions looked away. Police officers, councillors and social workers, many of them knowing full well what was happening, chose silence over truth. Fear of being called racist became more powerful than the duty to protect a child. The result was moral paralysis, an entire generation of girls sacrificed to maintain a comforting illusion of community cohesion. Behind This Silence Stands Another Motive Political survival. In many towns and cities, Labour councillors rely on tightly controlled bloc votes from Pakistani communities to keep power. These votes are delivered through local power-brokers, elders and mosque committees who demand loyalty in return for turnout. The price of that loyalty is silence. Politicians know that confronting the rape gangs means confronting the same networks that deliver their majorities. So they look the other way, protected their careers, and branded truth-tellers as racists and troublemakers. The state, terrified of offending a vocal minority and addicted to the arithmetic of bloc politics, allows the language of diversity to become the armour of depravity. What began as political cowardice has since hardened into cultural orthodoxy The same fear that once silenced whistleblowers now shapes our national conversation. Those who protected their bloc votes in the town halls now protect their reputations in Westminster, the media and academia. Instead of reckoning with what happened, they have rewritten the narrative, shifting blame, censoring debate, and recasting moral cowardice as tolerance. This double standard runs deep. The same institutions that silenced victims and ignored predators now lecture the rest of us on morality. The Lesson is Clear In modern Britain, moral outrage is permitted only when it is politically convenient. The same nation that now claims to confront Islamophobia still cannot speak the truth about who is raping its children. _________ I’m Raja Miah MBE. For seven years, I led a campaign that exposed how senior Labour politicians helped protect Pakistani rape gangs. The people of my town helped force the national inquiry. You won’t see me on the BBC. You won’t read my work in the legacy press. That’s not an accident. I take this to a place from where there is no coming back. I document everything in my newsletter. It’s 100% free to read. If this work matters to you, if you believe it must continue, I need your backing. My work is free. No paywalls. No gatekeeping. No exclusions. Because the truth shouldn’t belong only to those who can afford it. If you can afford to do so, supporting me costs as little as 75p a week (£30 a year). Sign up here; 👉 If you can’t commit to a regular subscription, a one-off contribution genuinely helps keep this alive. You can support me using one of these links; 👉 👉 We’re up against a machine, politicians, police, officials, and media, working together to shrink, sanitise, and bury the truth. This work survives because of you. If you’ve ever shared my posts, learned something, or felt less alone reading them, stand with me. I need your help. Raja 🙏

Raja Miah

15,774 Aufrufe • vor 5 Monaten

//The Wire//1900Z March 25, 2026// //ROUTINE// //BLUF: WAR ESCALATES AGAIN IN THE MIDDLE EAST AS ISRAEL AND IRAN BEGIN MORE ROUTINE TARGETING OF EACH OTHERS NUCLEAR POWER PLANTS. MULTIPLE FPV DRONE ATTACKS REPORTED IN BAGHDAD. US ARMY RAISES ENLISTMENT AGE TO 42 FOR NEW RECRUITS.// -----BEGIN TEARLINE----- -International Events- Middle East: Multiple escalations of the conflict took place overnight. Following Israeli/American bombing yesterday, Iranian forces retaliated by striking multiple US bases/positions in Kuwait. In Israel, strikes were also reported at the Orot Rabin Power Plant in Hadera, however the munition appears to have missed the generation facilities by a narrow margin. Another Iranian strike targeted fuel tanks at Kuwait International Airport overnight, and similar strikes were reported in Tel Aviv which resulted in unknown damage. Iraq: Multiple significant events occurred overnight as the PMF begins more deliberate offensive operations. Yesterday morning, the United States conducted airstrikes at the personal residences of PMF leadership in Al Habbaniya. This strike killed Saad Al Baiji (an operations chief), and subsequently resulted in an intensification of targeting efforts on American positions throughout Baghdad. As a result of this targeting of PMF leadership, Iraqi Prime Minister ‌Mohammed ⁠Shia Al Sudani has authorized PMF militia groups to retaliate against American forces. Analyst Comment: This is a major escalation that could effectively open up another front in the war. The Popular Mobilization Forces (PMF) are a semi-autonomous, highly-organized militia group that serves as one of Iran's major proxy groups outside their own borders. Technically, they are linked to the Iraqi government, but in practice they mostly just do what they want while being supplied by the Iranians. The official Iraqi government stating that they will let them off leash (while not entirely surprising) is in effect a return to GWOT era, but this time the Iraqi government is openly endorsing their attacks on Americans. So in effect, battle lines are being drawn and the Iraqis are now taking the side of Iran. Depending on how kinetic PMF operations become, American forces may face more contested airspace over not just Iran, but Iraq as well. Otherwise, this week has witnessed an escalation of the war as FPV drone attacks have become more commonly carried out at Camp Victory by insurgents targeting American forces. In a video released yesterday evening, one HH-60M helicopter was targeted, along with a Sentinel radar array. Analyst Comment: The success of these attacks is not known, but the Iraqi militias conducting these attacks have significantly improved their targeting efforts with lessons learned from Ukraine, or probably more accurately...Russia. One of the FPV drones recorded the other drone attacking the radar site, before flying off to find another target. However, while searching for other targets of opportunity, the idiots accidentally targeted a MEDEVAC helicopter, which is evidenced by the video being edited to blur out the giant Red Cross painted on the side of the aircraft. After reviewing the tape, the militia group probably realized that makes them look bad, so they blurred the footage themselves. Kuwait: Civil Defense authorities have begun producing informational videos for the general public, regarding what to do in the event of a nuclear incident at a power plant in a neighboring country, such as if Israeli/American forces were to target the active reactor building at Bushehr Nuclear Power Plant. Analyst Comment: All eyes are on Bushehr. The Israelis dropped munitions in the parking lot a few days ago, probably as a warning, but in retaliation the Iranians hit the residential buildings housing scientists at Dimona yesterday, and this morning they hit an unknown target immediately adjacent to the Hadera plant. In response to this, the IAEA said that the Israeli's hit Bushehr again last night, with unknown impacts. As a result of these constantly rising threats when it comes to the Bushehr Nuclear Power Plant, most GCC states are now actively assuming that this facility will be struck within the next few days, which will probably result in a release of radioactive material. -HomeFront- Washington D.C. - Yesterday the Pentagon published the newest changes to the Regular Army and Reserve Components Enlistment Program. These changes raise the maximum enlistment age from 35 to 42, and also removed the need for a waiver for recruits who have a prior marijuana conviction. -----END TEARLINE----- Analyst Comments: This decision was probably made some time ago, but is now just coming into effect, due to the long-term effects of poor recruiting efforts over the years. Turns out, the reports of recruiting goals being met were probably inaccurate, and increasing the enlistment age window by a substantial margin is interesting, although most of the other services already had an age limit of 42 years for enlistment. So in effect this is probably just an administrative, pencil-whipped policy. However, this policy change coming about right now, during a time of war, is certainly a case of exceptionally poor timing. In wartime everyone defaults to the worst-case scenario. Even if this was a benign policy decision, in the context of this coming to light in the same week that the 82nd Airborne is being deployed to the Middle East...most people will think this is not exactly a good omen, and there's no real way to smooth things out when the Pentagon is not really interested in alleviating concerns themselves. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//

//The Wire//1900Z March 25, 2026// //ROUTINE// //BLUF: WAR ESCALATES AGAIN IN THE MIDDLE EAST AS ISRAEL AND IRAN BEGIN MORE ROUTINE TARGETING OF EACH OTHERS NUCLEAR POWER PLANTS. MULTIPLE FPV DRONE ATTACKS REPORTED IN BAGHDAD. US ARMY RAISES ENLISTMENT AGE TO 42 FOR NEW RECRUITS.// -----BEGIN TEARLINE----- -International Events- Middle East: Multiple escalations of the conflict took place overnight. Following Israeli/American bombing yesterday, Iranian forces retaliated by striking multiple US bases/positions in Kuwait. In Israel, strikes were also reported at the Orot Rabin Power Plant in Hadera, however the munition appears to have missed the generation facilities by a narrow margin. Another Iranian strike targeted fuel tanks at Kuwait International Airport overnight, and similar strikes were reported in Tel Aviv which resulted in unknown damage. Iraq: Multiple significant events occurred overnight as the PMF begins more deliberate offensive operations. Yesterday morning, the United States conducted airstrikes at the personal residences of PMF leadership in Al Habbaniya. This strike killed Saad Al Baiji (an operations chief), and subsequently resulted in an intensification of targeting efforts on American positions throughout Baghdad. As a result of this targeting of PMF leadership, Iraqi Prime Minister ‌Mohammed ⁠Shia Al Sudani has authorized PMF militia groups to retaliate against American forces. Analyst Comment: This is a major escalation that could effectively open up another front in the war. The Popular Mobilization Forces (PMF) are a semi-autonomous, highly-organized militia group that serves as one of Iran's major proxy groups outside their own borders. Technically, they are linked to the Iraqi government, but in practice they mostly just do what they want while being supplied by the Iranians. The official Iraqi government stating that they will let them off leash (while not entirely surprising) is in effect a return to GWOT era, but this time the Iraqi government is openly endorsing their attacks on Americans. So in effect, battle lines are being drawn and the Iraqis are now taking the side of Iran. Depending on how kinetic PMF operations become, American forces may face more contested airspace over not just Iran, but Iraq as well. Otherwise, this week has witnessed an escalation of the war as FPV drone attacks have become more commonly carried out at Camp Victory by insurgents targeting American forces. In a video released yesterday evening, one HH-60M helicopter was targeted, along with a Sentinel radar array. Analyst Comment: The success of these attacks is not known, but the Iraqi militias conducting these attacks have significantly improved their targeting efforts with lessons learned from Ukraine, or probably more accurately...Russia. One of the FPV drones recorded the other drone attacking the radar site, before flying off to find another target. However, while searching for other targets of opportunity, the idiots accidentally targeted a MEDEVAC helicopter, which is evidenced by the video being edited to blur out the giant Red Cross painted on the side of the aircraft. After reviewing the tape, the militia group probably realized that makes them look bad, so they blurred the footage themselves. Kuwait: Civil Defense authorities have begun producing informational videos for the general public, regarding what to do in the event of a nuclear incident at a power plant in a neighboring country, such as if Israeli/American forces were to target the active reactor building at Bushehr Nuclear Power Plant. Analyst Comment: All eyes are on Bushehr. The Israelis dropped munitions in the parking lot a few days ago, probably as a warning, but in retaliation the Iranians hit the residential buildings housing scientists at Dimona yesterday, and this morning they hit an unknown target immediately adjacent to the Hadera plant. In response to this, the IAEA said that the Israeli's hit Bushehr again last night, with unknown impacts. As a result of these constantly rising threats when it comes to the Bushehr Nuclear Power Plant, most GCC states are now actively assuming that this facility will be struck within the next few days, which will probably result in a release of radioactive material. -HomeFront- Washington D.C. - Yesterday the Pentagon published the newest changes to the Regular Army and Reserve Components Enlistment Program. These changes raise the maximum enlistment age from 35 to 42, and also removed the need for a waiver for recruits who have a prior marijuana conviction. -----END TEARLINE----- Analyst Comments: This decision was probably made some time ago, but is now just coming into effect, due to the long-term effects of poor recruiting efforts over the years. Turns out, the reports of recruiting goals being met were probably inaccurate, and increasing the enlistment age window by a substantial margin is interesting, although most of the other services already had an age limit of 42 years for enlistment. So in effect this is probably just an administrative, pencil-whipped policy. However, this policy change coming about right now, during a time of war, is certainly a case of exceptionally poor timing. In wartime everyone defaults to the worst-case scenario. Even if this was a benign policy decision, in the context of this coming to light in the same week that the 82nd Airborne is being deployed to the Middle East...most people will think this is not exactly a good omen, and there's no real way to smooth things out when the Pentagon is not really interested in alleviating concerns themselves. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//

S2 Underground

14,129 Aufrufe • vor 5 Monaten