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NEW: Massive brawl breaks out aboard Carnival cruise ship 'over CHICKEN TENDERS' Punches were thrown as shoes and phones went flying across the floor Many bystanders recorded the brawl on their phones, while one shouted: “Where the f** is security?” The man filming flipped his camera toward himself and... show more

Unlimited L's

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5,442,168 просмотров • 1 год назад •via X (Twitter)

Здоровье и велнес Новости и политика Юмор

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🇬🇧 FRIED CHICKEN, VIDEO GAMES AND DRUGS - INSIDE BRITAIN’S MOST SHAMBOLIC PRISON Fried chicken is just the latest scandal for the chaos-ridden HMP Wandsworth, where inmates were caught on TikTok munching on smuggled Chicken Cottage meals - all from inside their cells. The prison, already infamous for jailbreaks, mistaken releases, staff-inmate sex scandals, and a catastrophic inspection, is now under fire yet again. One inmate bragged about his wings and burger before panning the camera to his cell door. The video has since been deleted, but the embarrassment lingers. Prison bosses have launched an investigation, suspecting bribed guards or drone drops. Officials say prisoners have paid hundreds for fast food that costs a fiver outside. In a jail where vermin roam, drugs flow, and violence runs high, criminals are dining like kings while staff absence hits 50% and security is “a joke.” Phones, drugs, weapons, and now takeout - Wandsworth isn’t a prison, it’s a badly run hotel with locks. The Ministry of Justice says those involved will face extra time, but for now, the chicken’s already been served. Source: Daily Mail

🇬🇧 FRIED CHICKEN, VIDEO GAMES AND DRUGS - INSIDE BRITAIN’S MOST SHAMBOLIC PRISON Fried chicken is just the latest scandal for the chaos-ridden HMP Wandsworth, where inmates were caught on TikTok munching on smuggled Chicken Cottage meals - all from inside their cells. The prison, already infamous for jailbreaks, mistaken releases, staff-inmate sex scandals, and a catastrophic inspection, is now under fire yet again. One inmate bragged about his wings and burger before panning the camera to his cell door. The video has since been deleted, but the embarrassment lingers. Prison bosses have launched an investigation, suspecting bribed guards or drone drops. Officials say prisoners have paid hundreds for fast food that costs a fiver outside. In a jail where vermin roam, drugs flow, and violence runs high, criminals are dining like kings while staff absence hits 50% and security is “a joke.” Phones, drugs, weapons, and now takeout - Wandsworth isn’t a prison, it’s a badly run hotel with locks. The Ministry of Justice says those involved will face extra time, but for now, the chicken’s already been served. Source: Daily Mail

Mario Nawfal

204,487 просмотров • 9 месяцев назад

TW- Can’t believe the scenes from Amsterdam last night as Jewish & Israeli football fans are lynched, thrown in canals & run over by people screaming ‘Free Palestine’ At least one man is still missing. Many hospitalised Their crime: being Jewish and watching the Europa League

TW- Can’t believe the scenes from Amsterdam last night as Jewish & Israeli football fans are lynched, thrown in canals & run over by people screaming ‘Free Palestine’ At least one man is still missing. Many hospitalised Their crime: being Jewish and watching the Europa League

KOSHER KEITH

45,029 просмотров • 1 год назад

NEW: Two toddlers in their diapers walk away fine after being thrown from a Jeep that had flipped on a Texas highway. "The kids stood alone, a good sign. Just scrapped up," the man who originally shared the post on FB said. "Deputies responded to a major crash on the main lanes of the East Freeway at Freeport. A two-car crash where one of the cars flipped over several times causing ejection," said Ed Gonzalez on X. "The car was occupied by one adult and two children. They are being transported to a hospital. No reported injuries to the occupants in the other car." The incident reportedly happened on the Interstate 10 East Freeway in Freeport, Texas.

NEW: Two toddlers in their diapers walk away fine after being thrown from a Jeep that had flipped on a Texas highway. "The kids stood alone, a good sign. Just scrapped up," the man who originally shared the post on FB said. "Deputies responded to a major crash on the main lanes of the East Freeway at Freeport. A two-car crash where one of the cars flipped over several times causing ejection," said Ed Gonzalez on X. "The car was occupied by one adult and two children. They are being transported to a hospital. No reported injuries to the occupants in the other car." The incident reportedly happened on the Interstate 10 East Freeway in Freeport, Texas.

Collin Rugg

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I went to Varanasi. Every man goes there to pray. It's a beautiful city. Look at her. She knows what she's doing. But I won't say anything. They've made a mockery of our religion and worship too. Many were making reels on the ghats, with their husbands and boyfriends recording them. But it's their choice. This is the reality of girls these days. If phones were banned, do you think she'd go there?

I went to Varanasi. Every man goes there to pray. It's a beautiful city. Look at her. She knows what she's doing. But I won't say anything. They've made a mockery of our religion and worship too. Many were making reels on the ghats, with their husbands and boyfriends recording them. But it's their choice. This is the reality of girls these days. If phones were banned, do you think she'd go there?

︎ ︎venom

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An interesting footage recorded by one of the Argentine pilots flying one of the six newly delivered F-16s of the #ArgentineAirForce from #Denmark to #Argentina shows the aircraft receiving fuel from a #USAF KC-135R during the ferry flight. This Friday (December 5, 2025) marked a historic milestone for the #ArgentineAirForce as it received the first six F-16s out of 24 procured from Denmark under Project Peace Condor. The delivered batch consisted of two F-16AMs and four F-16BMs. The aircraft departed Skrydstrup Air Base in Denmark and flew to Tandil Air Base in Argentina, where they were officially handed over to their new operator, Grupo Aéreo 6 de Caza. #F16 #F16FightingFalcon #F16Viper #Airpower #CombatAircraft #MilitaryAviation #FighterJet

An interesting footage recorded by one of the Argentine pilots flying one of the six newly delivered F-16s of the #ArgentineAirForce from #Denmark to #Argentina shows the aircraft receiving fuel from a #USAF KC-135R during the ferry flight. This Friday (December 5, 2025) marked a historic milestone for the #ArgentineAirForce as it received the first six F-16s out of 24 procured from Denmark under Project Peace Condor. The delivered batch consisted of two F-16AMs and four F-16BMs. The aircraft departed Skrydstrup Air Base in Denmark and flew to Tandil Air Base in Argentina, where they were officially handed over to their new operator, Grupo Aéreo 6 de Caza. #F16 #F16FightingFalcon #F16Viper #Airpower #CombatAircraft #MilitaryAviation #FighterJet

Babak Taghvaee - The Crisis Watch

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🚨 NOW: President Trump is blasting Elton John’s “Don’t Let the Sun Go Down on Me” across the White House lawn as the sun sets over DC, and the best part is this is happening right next to where the fake news camps out. They have no choice but to sit there and listen to it while pretending not to lose their minds. Crank it, 47. Let them hear every second.

🚨 NOW: President Trump is blasting Elton John’s “Don’t Let the Sun Go Down on Me” across the White House lawn as the sun sets over DC, and the best part is this is happening right next to where the fake news camps out. They have no choice but to sit there and listen to it while pretending not to lose their minds. Crank it, 47. Let them hear every second.

ⁿᵉʷˢ Barron Trump 🇺🇸

22,498 просмотров • 9 месяцев назад

Man who went viral for remaining in his seat as he ate food during the WH Correspondents' Dinner shooting says he didn't want his new tux on the dirty Hilton floor. He also said he is from New York, so he hears sirens and activity all the time. "I’m a New Yorker. We live with sirens and activity happening all the time," Michael Glantz, an agent at Creative Artists Agency, said. "I wasn’t scared. There are hundreds of Secret Service agents hurtling themselves over tables and chairs, and I wanted to watch." "First of all, I have a bad back. I couldn’t get on the floor, and if I did get on the floor, they’d have to bring in people to get me off the floor. And No. 2, I’m a hygiene freak. There was no freaking way I was getting in my new tux on the dirty Hilton floor. It was not happening."

Man who went viral for remaining in his seat as he ate food during the WH Correspondents' Dinner shooting says he didn't want his new tux on the dirty Hilton floor. He also said he is from New York, so he hears sirens and activity all the time. "I’m a New Yorker. We live with sirens and activity happening all the time," Michael Glantz, an agent at Creative Artists Agency, said. "I wasn’t scared. There are hundreds of Secret Service agents hurtling themselves over tables and chairs, and I wanted to watch." "First of all, I have a bad back. I couldn’t get on the floor, and if I did get on the floor, they’d have to bring in people to get me off the floor. And No. 2, I’m a hygiene freak. There was no freaking way I was getting in my new tux on the dirty Hilton floor. It was not happening."

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wait what?? Seedance 2.0 went crazy with this prompt 🦾 This is real early 2000s home video footage shot on a VHS camcorder at a crowded public swimming pool. The video has the typical grain, color, and soft quality of consumer video from that era. The camera is very shaky and handheld, filming from the side of the pool. On the diving board there is a very fat man wearing a homemade jetpack made out of what looks like metal tubes and bottles strapped to his back. A group of people around the pool are cheering and laughing, hyping him up. The guy runs and jumps off the diving board, then activates the jetpack mid-air. He manages to fly a few meters forward over the pool, but the jetpack starts struggling under his weight. He slowly loses height and ends up crashing into the water with a big splash. Right after he falls in, another fat guy with a mullet haircut jumps into the pool holding a can of beer. He swims over to the guy with the jetpack, who is still half-floating with the device on, and hands him the beer. The jetpack guy takes it and starts drinking while still in the water. Everyone around the pool goes crazy cheering and laughing at the whole scene. The camera movement is extremely shaky and reactive the entire time, with constant motion, motion blur during the jump and the crash, and the typical imperfections of someone filming with an old camcorder in a crowded place. There are several fast, unplanned cuts as the person filming tries to follow the chaos. Natural sound only: people cheering and laughing, the sound of the jetpack, the big splash when he crashes, and general pool ambience recorded with the camcorder microphone. The result must feel like authentic raw early 2000s home video of someone casually filming an absolutely ridiculous moment at a public swimming pool. Now is your turn! Tweak it and share it 🫡

wait what?? Seedance 2.0 went crazy with this prompt 🦾 This is real early 2000s home video footage shot on a VHS camcorder at a crowded public swimming pool. The video has the typical grain, color, and soft quality of consumer video from that era. The camera is very shaky and handheld, filming from the side of the pool. On the diving board there is a very fat man wearing a homemade jetpack made out of what looks like metal tubes and bottles strapped to his back. A group of people around the pool are cheering and laughing, hyping him up. The guy runs and jumps off the diving board, then activates the jetpack mid-air. He manages to fly a few meters forward over the pool, but the jetpack starts struggling under his weight. He slowly loses height and ends up crashing into the water with a big splash. Right after he falls in, another fat guy with a mullet haircut jumps into the pool holding a can of beer. He swims over to the guy with the jetpack, who is still half-floating with the device on, and hands him the beer. The jetpack guy takes it and starts drinking while still in the water. Everyone around the pool goes crazy cheering and laughing at the whole scene. The camera movement is extremely shaky and reactive the entire time, with constant motion, motion blur during the jump and the crash, and the typical imperfections of someone filming with an old camcorder in a crowded place. There are several fast, unplanned cuts as the person filming tries to follow the chaos. Natural sound only: people cheering and laughing, the sound of the jetpack, the big splash when he crashes, and general pool ambience recorded with the camcorder microphone. The result must feel like authentic raw early 2000s home video of someone casually filming an absolutely ridiculous moment at a public swimming pool. Now is your turn! Tweak it and share it 🫡

TechHalla

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Meanwhile in reality this is why people are "Islamophobic." "BREAKING: Muslim extremists in Sydney screamed “ISIS STILL LIVES” while bashing and torturing a young gay Australian man on camera." "In one video, the gang forces a different 16-year-old into a toilet block and repeatedly punches him while calling him a "f*****" and a "kaffir", or nonbeliever. Blood runs down his face as he begs, "I'll do anything." Remember this? I do.

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Meanwhile in reality this is why people are "Islamophobic." "BREAKING: Muslim extremists in Sydney screamed “ISIS STILL LIVES” while bashing and torturing a young gay Australian man on camera." "In one video, the gang forces a different 16-year-old into a toilet block and repeatedly punches him while calling him a "f*****" and a "kaffir", or nonbeliever. Blood runs down his face as he begs, "I'll do anything." Remember this? I do.

Aja ♀️🇬🇧

256,943 просмотров • 5 месяцев назад

🚨#BREAKING: Police and businesses are panicking in Winston-Salem NC as over 200 teenagers took over the streets of downtown, blocking traffic until 2AM. The teens began dancing on cars, fighting, drinking alcohol while throwing scooters, and even macing each other in the face with pepper spray. According to one business owner, kids began to throw scooters at "friends they didn't like at school" and then the teens began macing each other in the face and fighting. The city is considering banning all teens from downtown after 8PM after businesses had to close early and police were pulled from all over the city to control the chaos. This is absolutely insane... WHERE ARE THEIR PARENTS?!!!!

🚨#BREAKING: Police and businesses are panicking in Winston-Salem NC as over 200 teenagers took over the streets of downtown, blocking traffic until 2AM. The teens began dancing on cars, fighting, drinking alcohol while throwing scooters, and even macing each other in the face with pepper spray. According to one business owner, kids began to throw scooters at "friends they didn't like at school" and then the teens began macing each other in the face and fighting. The city is considering banning all teens from downtown after 8PM after businesses had to close early and police were pulled from all over the city to control the chaos. This is absolutely insane... WHERE ARE THEIR PARENTS?!!!!

Matt Van Swol

705,577 просмотров • 5 месяцев назад

It just works. Seedance 2.0 prompts are below 👇 Authentic live-action cinematic footage shot on real 35mm film as one continuous dynamic tracking shot in an urban city during overcast daylight. Natural light, real city atmosphere, subtle film grain, smooth yet energetic camera movement following the action without any cuts. Authentic physics and surprise, no CGI. Use the exact man from the reference image: 40-year-old white man with short dark beard, wearing black beanie, thick gold chains, black and grey plaid shirt over white t-shirt, blue jeans. Tough, street-wise appearance. 0-3s: The man stands clearly at the edge of a gritty urban rooftop, cornered, hands in pockets, looking down with a calm, determined expression. The camera slowly pushes in on him as he leans back and deliberately lets himself fall backwards off the roof into the void. 3-6s: As he plummets toward the ground, just before impact his body transforms in a quick burst of white mist and subtle particles into an ordinary city pigeon. The pigeon immediately takes flight with powerful wingbeats. The camera plunges down with him and then smoothly transitions into following the pigeon as it flies low over the street toward a nearby park. 6-10s: The camera continues tracking the pigeon as it flies into the park and lands among other pigeons on the ground. An old man is sitting on a bench throwing bread crumbs. The pigeon walks forward and starts eating the bread naturally. The camera moves to ground level, smoothly following the pigeon as it eats. 10-13s: While the pigeon is eating, it transforms back into the man in a quick flash of white mist and particles. He rises from a crouch, stands up, and casually shakes his shoulders and arms. The camera rises with him and continues tracking as he walks calmly toward the old man on the bench. 13-15s: The man reaches the old man. They share a quick, respectful fist bump. The man then turns and walks away confidently into the park. The camera slowly pulls back in one continuous movement, revealing the old man watching him leave with his mouth slightly open in quiet astonishment. Photorealistic real film capture, ultra-detailed skin, clothing, feathers and urban textures, perfect real-world physics during the fall and transformations, natural motion blur, cinematic color grading, heavy realistic film grain, stable real performer, no digital artifacts, authentic urban location quality, 100% practical footage feel with subtle mystical transformation effects captured on film. share yours!

It just works. Seedance 2.0 prompts are below 👇 Authentic live-action cinematic footage shot on real 35mm film as one continuous dynamic tracking shot in an urban city during overcast daylight. Natural light, real city atmosphere, subtle film grain, smooth yet energetic camera movement following the action without any cuts. Authentic physics and surprise, no CGI. Use the exact man from the reference image: 40-year-old white man with short dark beard, wearing black beanie, thick gold chains, black and grey plaid shirt over white t-shirt, blue jeans. Tough, street-wise appearance. 0-3s: The man stands clearly at the edge of a gritty urban rooftop, cornered, hands in pockets, looking down with a calm, determined expression. The camera slowly pushes in on him as he leans back and deliberately lets himself fall backwards off the roof into the void. 3-6s: As he plummets toward the ground, just before impact his body transforms in a quick burst of white mist and subtle particles into an ordinary city pigeon. The pigeon immediately takes flight with powerful wingbeats. The camera plunges down with him and then smoothly transitions into following the pigeon as it flies low over the street toward a nearby park. 6-10s: The camera continues tracking the pigeon as it flies into the park and lands among other pigeons on the ground. An old man is sitting on a bench throwing bread crumbs. The pigeon walks forward and starts eating the bread naturally. The camera moves to ground level, smoothly following the pigeon as it eats. 10-13s: While the pigeon is eating, it transforms back into the man in a quick flash of white mist and particles. He rises from a crouch, stands up, and casually shakes his shoulders and arms. The camera rises with him and continues tracking as he walks calmly toward the old man on the bench. 13-15s: The man reaches the old man. They share a quick, respectful fist bump. The man then turns and walks away confidently into the park. The camera slowly pulls back in one continuous movement, revealing the old man watching him leave with his mouth slightly open in quiet astonishment. Photorealistic real film capture, ultra-detailed skin, clothing, feathers and urban textures, perfect real-world physics during the fall and transformations, natural motion blur, cinematic color grading, heavy realistic film grain, stable real performer, no digital artifacts, authentic urban location quality, 100% practical footage feel with subtle mystical transformation effects captured on film. share yours!

TechHalla

42,633 просмотров • 1 месяц назад

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇

THIS ENTIRE CINEMATIC ACTION SHOT WAS GENERATED WITH AI. AND YOU CAN SEE EXACTLY HOW IT WAS MADE. Higgsfield has just open-sourced its Originals, giving creators full access to the workflow behind some of its best productions. For every project you can inspect: → the complete prompt → every image and audio reference → the exact generation settings, including model, quality and resolution This scene combines a continuous one-take camera move, large-scale naval combat, realistic explosions, character consistency and cinematic pacing, all driven by a single prompt. Nothing is hidden. You can study it, copy it, recreate it or use it as the starting point for your own projects. Full prompt: "SCENE CONTEXT One continuous shot. The camera faces down the wrecked, burning deck toward the BOW of the ship — and Eduardo, blown off the raised STERN DECK behind the camera by a blast, comes FLYING IN from ABOVE AND BEHIND — leaping off the second level, sailing in over the lens on a forward arc, through raining seawater — slams onto the MAIN deck one level below, AHEAD of the camera, and rolls through a tumbling somersault, momentum carrying him toward the bow. Two crewmen flee past him — one leaps overboard. Eduardo fights his way toward the bow under incoming fire: an explosion bursts on his LEFT — he dodges away and is knocked down; he struggles back to his feet — a second explosion on his RIGHT — he ducks and shields behind debris; then he breaks into a sprint for the bow — the camera sweeps around ahead of him and settles OFF THE BOW, FRONTAL: he leaps over the bow rail TOWARD the camera, the ship filling the background behind him — and THE INSTANT he clears the rail, a COLOSSAL explosion consumes the ship behind him: the blast wall catches him MID-AIR and he VANISHES inside it — he never escapes. The cloud overtakes the camera; the frame floods to 100% smoke and dust. The shot ENDS inside the dust: no transition, no reveal — it holds to the end. ACTIVE REFERENCES >> — lean pirate captain, dark curly hair falling free from under a dusty mustard-yellow cloth bandana, a small white shark tooth pinned to the front of the bandana above his temple, thin moustache, gold hoop earrings, cream linen shirt under a worn brown leather waistcoat, cloth sash and leather belts. 100% matches the reference; the man fighting down the deck toward the bow. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle. 100% matches the reference; controls the ship's exterior — sails, masts, rigging and hull; already battle-damaged in this shot — burst bulwark, smoldering rigging, debris on the deck. >> — the deck of the same galleon seen FROM THE RAISED STERN DECK LOOKING FORWARD TOWARD THE BOW: the great wheel and brass compass binnacle in the near foreground, an ornate lantern post, a carved balustrade, a staircase descending to the long MAIN deck — weathered planking, small cannons along both rails, black gratings, coiled ropes, the mainmast amidships, the forecastle and bow in the far depth, open sea on both sides. 100% matches the reference; controls the full on-deck geography, set dressing AND the shot's base viewing direction — from the stern toward the bow. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — weathered pirate crewmen (bandanas, rough shirts, vests). 100% match the reference; TWO of them appear early in the shot, fleeing — one leaps overboard. LOCATION MAP The deck of >> aboard >> on >> — the raised stern deck (wheel, binnacle, balustrade) at the BACK, the staircase down, the long main deck with cannons, gratings and the mainmast running FORWARD to the distant BOW, exactly as on the reference — the main deck now a wrecked corridor of splintered planks, fallen spars, torn rigging and small fires. The camera sits at the forward edge of the raised stern deck, just past the wheel, LOOKING FORWARD along the whole deck toward the bow — the reference's own vantage; the wheel and binnacle may edge the near foreground. The bow rail and bowsprit are the destination, background-center, open sea beyond them. Sea and smoke beyond the broken side rails; seawater from near-miss columns rains down over the deck in the opening. FIRST FRAME / BLOCKING First frame: deck level, MS, camera facing down the wrecked deck toward the BOW in the background-center — the view of >>: from the stern-deck edge the long main deck runs away to the bow and bowsprit against open sea and sky, cannons along both rails, the mainmast mid-depth, smoke streaming across the frame, small fires burning left and right, seawater spray falling across the deck like rain, the deck listing, loose gear sliding; the wheel and binnacle just behind/beside the camera, edging the near foreground. Eduardo is NOT in the first frame; within the first half second he comes off that second level behind the camera — his body sweeping in OVER the lens from above and behind, boots crossing the top of the frame, flying FORWARD and DOWN one deck-height into the depth of the shot toward the bow. FORMAT MODE One continuous shot — the camera does not cut on its own. The shot ENDS inside the dust whiteout; there is NO location change and NO reveal after it. PHASE 1 — the landing and the gauntlet: >> comes FLYING IN from ABOVE AND BEHIND the camera — blown off the stern deck by a blast, his body sweeping in over the lens and arcing DOWN-AND-FORWARD one full deck-height onto the main deck below, arms out in front of him, back to camera — falling THROUGH a curtain of seawater raining down from a collapsed near-miss column; he SLAMS onto the wet MAIN-deck planks in the depth of the frame and rolls through a hard tumbling somersault AWAY from the lens, toward the bow, water bursting off him and the boards, scattering debris, coming up to a crouch facing the bow, soaked and shaken. TWO crewmen of >> bolt past him in panic — one sprints aft past the camera, the other vaults the side rail and LEAPS OVERBOARD, legs kicking. Eduardo starts working down the deck toward the bow, camera following behind. An incoming round EXPLODES on his LEFT — a burst of flame, planks and spray — he flinches away to the right and is knocked off his feet onto the deck. He struggles up, heavy and unsteady, one hand pushing off a fallen spar — and a second round EXPLODES on his RIGHT — he ducks hard, shielding his head behind a broken mast stump, debris raining over him. PHASE 2 — the sprint, the frontal jump, the blast, the dust: he shoves off and breaks into a desperate sprint at 12 km/h for the bow — and as he runs, the camera SWEEPS AROUND him in one continuous arc, ending positioned OFF THE BOW, out over the open water, FACING BACK at the ship: now Eduardo sprints STRAIGHT AT THE CAMERA, the burning ship towering behind him. He plants one boot on the bow rail and LEAPS OVERBOARD TOWARD THE CAMERA — body launching up and out over the water, frontal, face and reaching arms filling the frame — and THE INSTANT he clears the rail, mid-air, the ENTIRE SHIP EXPLODES behind him in full view: a colossal white flash silhouetting his flying body for two frames, the whole vessel going up in one blast — and the expanding wall of flame-lit smoke and debris CATCHES HIM IN THE AIR from behind, swallowing his silhouette whole before he can fall clear — he VANISHES inside the explosion, never escaping it — and the cloud overtakes the lens, the dust filling 100% of the frame. The dust churns, a deep orange glow pulsing inside it and fading. HOLD inside the full dust to the last frame — the generation ENDS here, inside the dust. He never reaches the water; the blast takes him mid-air. OPTICS 47° neutral through the landing, the gauntlet and the jump. No drift. Focus rides Eduardo throughout; in the final dust the frame is pure particulate with no fixed plane. CAMERA Handheld chase behind him for the entire shot, deck level, always looking TOWARD THE BOW — footstep energy visible, jolted by each explosion; in phase 2 it accelerates after his sprint, then arcs around him in one unbroken move and settles off the bow over the water, FRONTAL to Eduardo — he runs and leaps straight into the lens with the ship in the background of his jump. The final blast is the WHOLE SHIP exploding behind his airborne body — a colossal flash, then the wall of smoke bursting forward, swallowing him mid-air and then the lens — the camera stays buried, holding inside the churning dust until the end. ACTION Strict order of events: flying entry from above through falling seawater → hard landing roll (somersault over one shoulder, forward momentum carrying the roll toward the bow, ending in a crouch) → two crewmen flee past, one over the side → left explosion → dodge right → knocked down → a hard, clumsy struggle back to his feet → right explosion → duck and shield behind the mast stump → shove off → full sprint to the bow, camera arcing around to meet him head-on → one boot on the rail → LEAP overboard straight toward the camera → THE INSTANT he clears the rail, the ENTIRE SHIP EXPLODES behind him → the blast wall catches him MID-AIR and swallows him whole → the cloud overtakes the camera → dust to 100% → hold in the dust → END. He never escapes and never reaches the water. Each explosion visibly moves his body: the first throws him down, the second folds him behind cover. PERFORMANCE During the gauntlet: jaw clenched, eyes fixed forward, water streaming off his face after the landing. The fleeing crewmen are pure panic — arms pumping, one glance back, the vault over the rail desperate. In the final sprint: full commitment, arms reaching for the rail, eyes wide — in the jump: full commitment, arms reaching at the lens, eyes wide — and mid-air the world behind him turns white: his flying silhouette swallowed by the blast, reaching hands the last thing visible. PHYSICS The flying entry has true ballistic momentum: he arrives on an arc from above, and the landing roll absorbs it — impact compresses the body, the somersault carries the leftover energy, no weightless float. Falling seawater has real weight — it rains in heavy drops and sheets, splashing off planks, soaking cloth so it clings and darkens. The listing deck tilts his movement; debris has weight and stops his foot when hit. The two deck explosions throw real shockwaves — planks lift, flame flashes then roll into smoke, and Eduardo's falls carry true body weight, hard contact with the deck, no bounce. The overboard crewman drops with real gravity. The final whole-ship explosion obeys mass: the shockwave arrives first — cloth and hair snap flat, the deck bucks under his planted boot — then the fireball's light, then the wall of smoke and debris, heavy pieces falling short, fine dust travelling farthest and swallowing the frame. Dust churns with internal motion, dense, filling every corner of the frame. LIGHTING High sea daylight 5600K, hardened by fire-glow accents from the deck fires and smoke shadow sweeping the deck; falling water catches the sun as bright streaks; each of the two explosions throws a brief warm flash from its side of the frame. The final whole-ship blast: two frames of white-hot overexposure flooding from behind, then deep fire-orange glow inside the rolling dust, fading toward neutral grey-brown as the frame holds and ends. AUDIO Phase 1: a whistling whoosh as he drops in, heavy water raining on planks, a THUD and clatter of the landing roll, grunt, ragged breath; panicked boots of the fleeing crewmen, a yell and a distant splash as one goes over the side; then BOOM left, ringing ears, his grunt as he hits the deck; scrabbling boots; BOOM right, debris pattering down over him. Phase 2: sprinting boots hammering the deck, the wooden knock of his boot on the bow rail, half a beat of pure wind as he hangs in the air — then ONE colossal BOOM as the whole ship goes up behind him, the deepest sound of the film, cracking timber and folding masts inside the roar, everything collapsing into a muffled ring, sound buried with the picture — the ring and the churn of dust holding to the last frame. No music. STYLE Photoreal live-action, fine film grain, real pyrotechnic and particulate language, one unbroken take, 8K master. POSITIVE LOCKS One continuous shot; the camera stays at deck level, behind Eduardo, always looking TOWARD THE BOW. The shot OPENS with Eduardo NOT in frame; he flies in from ABOVE AND BEHIND the camera, over the lens, on a forward arc toward the bow, through falling seawater, and lands in a tumbling roll ahead of the camera — he does not walk into frame and never appears standing before the landing. Exactly TWO fleeing crewmen: one runs aft, one leaps overboard — they appear only in the opening beat. The deck explosions land in strict order after his landing: first LEFT of him (he dodges and falls), then RIGHT of him (he ducks behind cover), then the final blast — the ENTIRE SHIP exploding the INSTANT he clears the bow rail — three explosions total, no more. The jump is FRONTAL: the camera faces Eduardo from off the bow, he leaps toward the lens with the exploding ship behind him in frame. HE NEVER ESCAPES: the blast wall catches him MID-AIR and he vanishes inside the explosion before he can fall clear — no water contact, no landing, no survival beat; the dust swallows him and then the lens. The deck matches >> throughout the run — the shot holds the reference's vantage: from the stern deck forward to the bow, wheel and binnacle at the near edge of frame, never ahead of him; sails, masts and hull match >>. The dust reaches 100% frame coverage and the shot ENDS inside the dust: the frame stays fully dust-filled to the last frame, no clearing, no new location, no reveal. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose." Made with Seedance 2.0 on Higgsfield AI. Full open-sourced prompts & assets below 👇

roman

106,768 просмотров • 1 месяц назад

Zuckerberg’s $300M Superyacht Stood By as Smaller Boat Ran Out of Fuel in Alaska On Monday night in Southeast Alaska, Mark Zuckerberg’s 387-foot, $300 million superyacht Launchpad was the closer vessel when a 21-foot skiff ran out of fuel between Petersburg and Juneau. Yet it was a much smaller cruise ship, the Wilderness Legacy, that answered the call and towed the stranded boat to safety in Farragut Bay. A passenger on the cruise ship reported that the captain announced Zuckerberg’s yacht had been nearer and “refused” to help. The reaction onboard? “There was near unanimous booing.” Zuckerberg’s spokesperson said the Meta CEO and his family were not aboard at the time. The statement added that the yacht’s crew was operating on a different radio channel, and by the time they reviewed the Coast Guard’s marine assistance request, help was already underway. “We’re grateful all parties are safe,” the statement concluded. Even if Zuckerberg wasn’t on the ship, the failure still lands on the people he employs to run a $300 million vessel. A basic duty of any vessel at sea is to respond when assistance is requested and it is within reach. Operating on the wrong channel is not a strong excuse when another ship farther away managed to help. Hire better, Zuck.

Zuckerberg’s $300M Superyacht Stood By as Smaller Boat Ran Out of Fuel in Alaska On Monday night in Southeast Alaska, Mark Zuckerberg’s 387-foot, $300 million superyacht Launchpad was the closer vessel when a 21-foot skiff ran out of fuel between Petersburg and Juneau. Yet it was a much smaller cruise ship, the Wilderness Legacy, that answered the call and towed the stranded boat to safety in Farragut Bay. A passenger on the cruise ship reported that the captain announced Zuckerberg’s yacht had been nearer and “refused” to help. The reaction onboard? “There was near unanimous booing.” Zuckerberg’s spokesperson said the Meta CEO and his family were not aboard at the time. The statement added that the yacht’s crew was operating on a different radio channel, and by the time they reviewed the Coast Guard’s marine assistance request, help was already underway. “We’re grateful all parties are safe,” the statement concluded. Even if Zuckerberg wasn’t on the ship, the failure still lands on the people he employs to run a $300 million vessel. A basic duty of any vessel at sea is to respond when assistance is requested and it is within reach. Operating on the wrong channel is not a strong excuse when another ship farther away managed to help. Hire better, Zuck.

Paul A. Szypula 🇺🇸

39,219 просмотров • 21 дней назад

repo from #zhanglinghe's arrival in new york 🛬 1. before Zhang Linghe came out, quite a few chinese passengers and airport staff from other flights noticed the signs and were discussing, "they're waiting for Zhang Linghe." 2. many walnutz flew to New York from different states across the 🇺🇸 and even from Canada to welcome him at the airport. (flying from the West Coast to New York takes around 5 hours, and the tickets aren't cheap.) 3. later, someone asked one of the security guards escorting him on the AirTrain, and the guard said the number of people welcoming Zhang Linghe this time was comparable to a popular K-pop group. (😲)

repo from #zhanglinghe's arrival in new york 🛬 1. before Zhang Linghe came out, quite a few chinese passengers and airport staff from other flights noticed the signs and were discussing, "they're waiting for Zhang Linghe." 2. many walnutz flew to New York from different states across the 🇺🇸 and even from Canada to welcome him at the airport. (flying from the West Coast to New York takes around 5 hours, and the tickets aren't cheap.) 3. later, someone asked one of the security guards escorting him on the AirTrain, and the guard said the number of people welcoming Zhang Linghe this time was comparable to a popular K-pop group. (😲)

张凌赫的小核桃𖹭

48,633 просмотров • 3 месяцев назад

In this viral January 2026 clip, a man returns home early from a trip or a night out. He films himself walking through his front door, narrating that he had a "weird feeling." The camera follows him into the living room, where he finds his girlfriend and his best friend (often identified in the video as someone he�s known since childhood) sitting together in a way that is unmistakably intimate. The "chaos" is the lack of noise. There is no screaming; instead, the man just stands there filming in total silence. The friend�s reaction is what made the video go viral: he doesn't run or hide, but instead puts his head in his hands, unable to look the man in the eye. The video ends with the man saying, "I invited you into my home," before the camera cuts to black.

In this viral January 2026 clip, a man returns home early from a trip or a night out. He films himself walking through his front door, narrating that he had a "weird feeling." The camera follows him into the living room, where he finds his girlfriend and his best friend (often identified in the video as someone he�s known since childhood) sitting together in a way that is unmistakably intimate. The "chaos" is the lack of noise. There is no screaming; instead, the man just stands there filming in total silence. The friend�s reaction is what made the video go viral: he doesn't run or hide, but instead puts his head in his hands, unable to look the man in the eye. The video ends with the man saying, "I invited you into my home," before the camera cuts to black.

Viral Incident

23,946 просмотров • 6 месяцев назад

🔥Out of everything said by Mike Lee in his over 90-minute speech on the Senate floor supporting the SAVE America Act, this moment NUKED Dems from orbit. “They're entitled to their opinions, Madam President.” “They are NOT entitled to their own facts. And those things that they want us to accept as facts are just DAMNED LIES.” This is what the American people need to hear!

🔥Out of everything said by Mike Lee in his over 90-minute speech on the Senate floor supporting the SAVE America Act, this moment NUKED Dems from orbit. “They're entitled to their opinions, Madam President.” “They are NOT entitled to their own facts. And those things that they want us to accept as facts are just DAMNED LIES.” This is what the American people need to hear!

Nick Sortor

338,462 просмотров • 5 месяцев назад