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Our assassin Mariana faces off against an NYPD Dynamo walker, dodging and deflecting enemy fire between two simultaneous planes of side-view action! NEON INFERNO releases November 20th! #screenshotsaturday #pixelart #ドット絵

106,840 просмотров • 9 месяцев назад •via X (Twitter)

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4th Kōkūtai Mitsubishi G4M1 "Betty" missing its port engine falls into the sea just short of USS Lexington on February 20th 1942 during the action off Bougainville This was a naval and air engagement in the South Pacific Theater of World War II near Bougainville, Papua New Guinea where a United States Navy aircraft carrier task force centered around USS Lexington on its way to raid the Imperial Japanese military base at Rabaul was attacked by a force of land-based bombers of the Imperial Japanese Navy. In the ensuing engagement, the Japanese air group lost 15 of 17 bombers sent to attack the American carrier group. The United States lost only two fighters in defense, and no ships were damaged. As a result of the loss of surprise, however, the Americans retired without raiding Rabaul as originally planned. The aircraft visible in the clip is a G4M1 of 4th Kōkūtai's 1st Chûtai commanded by Lieutenant Commander Takuzo Ito, the group's commanding officer. Together with seven other "Betties" his formation was attacked by two Wildcats, flown by Lieutenant Edward "Butch" O'Hare and Lieutenant (junior grade) Marion Dufilho. During the first pass, Dufilho's guns jammed, leaving O'Hare to attack the bombers alone. O'Hare employed a high-side diving attack from the right side of the formation, accurately placing bursts of gunfire into the outside "Betty"'s right engine and wing fuel tanks. When the stricken craft, commanded by Petty Officer 2nd Class Ryosuke Kogiku (3rd Shotai), lurched to starboard, O'Hare switched to the next plane up the line, that of Petty Officer 1st Class Koji Maeda (3rd Shotai leader). Maeda's plane caught fire, but his crew managed to put out the flames with "one single spurt of liquid...from the fire-extinguisher." Neither Maeda or Kogiku had sustained fatal damage, and would catch up with the group before bomb release. With two "Bettys" knocked out of formation, albeit temporarily, O'Hare initiated another firing pass, this time from the left side. His first target was the outside plane, flown by Petty Officer 1st Class Bin Mori (2nd Shotai). Aiming across to the far side of Mori's bomber, O'Hare's bullets damaged the right engine and left fuel tank, forcing Mori to dump his bombs and abort his mission. With Mori out of combat, O'Hare next targeted Ito's senior wingman, Petty Officer 1st Class Susumu Uchiyama (1st Shotai), whose plane did not recover from its dive. Having shot up four bombers, O'Hare returned to the left side for a third firing pass. By now, Ito was nearing the bomb release point, which left very little time to take action. The first plane to go down was Ito's deputy, Lieutenant (junior grade) Akira Mitani (2nd Shotai leader). Mitani's departure left Ito's command plane exposed, and O'Hare opened up on it. O'Hare's concentrated fire caused the plane's port engine nacelle to break free of the wing. The resulting explosion was so violent that the 1st Chûtai pilots were convinced that an AA burst had struck their commander's plane. With a gaping hole in its left wing, Ito's plane fell out of formation. As the surviving "Bettys" withdrew, Ito's command pilot, Warrant Officer Chuzo Watanabe, managed to regain enough control to level his plane. He tried to steer his damaged plane into Lexington, but missed and flew into the water near the carrier at 17:12. Maeda, witnessing the event, believed that both Ito and Mitani (who had gone down moments earlier) had crashed "bombs, crew and all" into the carrier. The crippled plane is seen barely remaining airborne while flying on one engine and does not survive the concentrated anti-aircraft fire coming from the carrier.

hw97karbine

59,788 просмотров • 1 год назад

The Australian government does not deserve our trust, or our respect. Today, Minister Penny Wong sat back in her chair grappling for words, desperately looking for the right lie to tell. It is worse than dishonest - it is an absolute lack of care. Penny Wong came to this country when she was 8 years old. She came to a country that afforded her the ability to become who she is, and she is now doing her part to destroy it. Back in the 70’s, when she came, Australia was a fair-minded place and a great place to be. Yet here she is... Here in Australia. Undermining our country and lying to our faces. Because she can’t tell the truth. Because if she did, it would destroy any semblance of care for Australia tied to her old party’s Labor brand. It would say the quiet part out loud. The truth. The truth that the Albanese government is more interested in the fortunes of the ISIS brides, women who chose to leave this country to go and fight against our people, than those of us that can’t find or afford a place to live here at home. I am tired of being told how to think by people that completely lack morals and couldn’t care less. People that are elected and paid to operate in the national interest but always put their twisted ethics and back pockets ahead of our nation and our people. I don’t know when Labor stopped caring about Australian workers or worse, when they started hating Australia, but they have and they do. The absolute lack of opposition, the lack of authentic choice has pushed us into a place where these absolute traitors to the interests of the people who pay them - goes entirely unchecked. We are careening out of control, unchecked migration, an energy grid that is just about to collapse, no industry to speak of, and no good reason to start or maintain a business in this place. It happened fast, but those of us who pay our taxes and take risks to make Australia a better place, are being undermined and white-anted by our politicians. The people we are forced to trust, and must pretend to respect, because they have the force of law on their side. Not because they are any good at their jobs. Not because they have earned our affection. No. Simply because they are in charge and there is little to nothing that can be done about it. It is becoming apparent that the two party system has outlived its useful life. Too much corruption, too many words too carefully chosen in a pantomime between to political forces that don’t really want to change anything. They just want to have their go, to have their turn to jam their grubby hands into the till. Surely with this major and catastrophic failure by the so-called Honourable Minister Senator Wong, the people will be able to see through the veil and into the absolute and irresponsible lack of care at the heart of this deceitful Labor government. They lie about everything, and they can, because they don’t have an opposition worthy of the title. I am growing more confident by the day that the only solution to our woes is a new political force, a fresh, Australia first force, that will act in the national interest and put all these corrupt and useless used-car salesmen red and blue in the dustbin of history. It can’t come soon enough. Time is short. I just want Australia back.

Matthew Camenzuli

81,532 просмотров • 9 месяцев назад

A little fashion vibe for your feed..👠 Seedance 2.0 PROMT 📌 One-sentence story: [A dynamic storm in the backstage before a high fashion show begins: chaos, raw emotion, and aggressive preparation.] Concept: [The "meat grinder" effect. The frame is constantly filled with people. Assistants and makeup artists are blurred by movement (motion blur), while the focus is on the sharp, aggressive movements of the girls. The camera jostles and pushes through the crowd. Maximize macro detail (zippers, reflections of sweat, rough touches).] ---Scene 1 | 00-02 seconds • Location: A narrow, crowded backstage area. Yellow industrial lighting. • Action: Extreme macro: A metal zipper on a leather skirt is roughly and quickly zipped up (someone's hand appears in the frame). A sudden, sharp pullback. The scene is very crowded: three different girls are getting dressed simultaneously. A makeup artist's hand flashes around them. A girl abruptly pushes a powder brush away from her face. The camera recoils due to someone pushing in the crowd (handshake). • Audio (Sound Effects/Music): The loud metallic scraping of a zipper (ZIP-ZIP!). A sudden burst of high-speed, pulsating industrial rhythm (like an adrenaline-pumping heartbeat). A cacophony of hundreds of voices. ---Scene 2 | 02-06 seconds • Location: The makeup area (kaleidoscopic faces). • Action: A series of rapid, swaying shots between three girls. Shot 1: A girl (Asian face, wet bob) is aggressively having blood-red lipstick applied. She looks defiantly at the camera. Shot 2: Sway -> Another girl (Black, with perfectly textured skin glistening with sweat) suddenly pulls her corset tight, her chest heaving. Shot 3: Sway -> The third girl rips off her industrial hairnet, letting her perfect curls fall loose. • Audio (Sound Effects/Music): The sound of skin rubbing (SQUEAK). A deep breath (GASP). The whooshing sound of air driven by the camera (WHOOSH). Background camera flash sound (CLICK-FLASH). ---Scene 3 | 06-10 seconds • Location: Narrow corridor leading to the stage. • Action: Tracking shot. The camera moves quickly backward. A girl in a heavy, metallic dress walks straight towards us with a "power runway walk" (a very confident, predatory gait). She forcefully pushes aside a metal coat rack blocking her path. The rack flies to the side with a thud. Several other girls follow behind her, forming an aggressive wedge formation. • Audio (sound effects/music): The rhythmic click of heavy high heels on concrete (CLACK-CLACK) perfectly timed. The deafening clang of the metal coat rack (CLANG!). ---Scene 4 | 10-13 seconds • Location: Dark area in front of the runway. Heavy black curtain. • Action: Medium shot, side view. The girl approaches the curtain. Blinding white light and the flashing strobe lights of the runway shine through the gaps at the bottom. She turns her head, looks over her shoulder at the camera, a defiant, slightly manic smile on her face, clutching the fabric tightly. • Audio (Sound Effects/Music): Bass builds to a crescendo. A huge roar of a crowd comes from the other side (ROAR). The rustling of heavy velvet (SWISH). ---Scene 5 | 13-15 seconds • Location: Walking towards the light. • Action: The girl rips the curtain in half with a clean motion and steps into the blinding white light of the runway. The camera tries to follow her, but the black fabric of the curtain falls directly onto the lens, completely obscuring the view (plunging into darkness). • Audio (Sound Effects/Music): Explosions of flashes (FLASH-FLASH-FLASH). The dull thud of fabric hitting the microphone (THUD). The music cuts off abruptly at its climax. • Narration/Text: None. Final Shot: Packshot – Black screen. The signature sound (Brand Recall) is the lonely, echoing single click of a high heel (CLACK).

Ivanna | AI Art & Prompts

22,221 просмотров • 3 месяцев назад

Unpopular opinion about El Salvador. A TON of workers here are lazy as hell and i do hope this message reaches many Salvadoreños in the United States. You leave the job site, little will get done and yes tools and materials will disappear. I said it. If you’re going to build a home, start a business, or just hire a few helping hands for that side project, get ready to fire fast. Put in systems of checks and balances, hire solid management, use cameras, and lock up materials. If you have the time or money you or someone you really trust must manage the project on SITE. I’ve hired thousands of people throughout the last few 6 years while personally living in 9 Latin countries and El Salvador has been one of the hardest to work in. El Salvador also happens to be my favorite country at the moment with my favorite people. It’s beautiful, small, has a Chuck E cheese for my daughter but most important, it’s safe for my family. So why is it so damn hard to work with people here? I think it’s because of the civil war. This is going to sound crazy coming from a president of a non profit but free money destroys people. It enables them. It ruins their will to work ultimately creating a lazy and slothful person Over 2.5 million people from El Salvador live in the United States. MANY of them send money every 2 weeks to their aunts, uncles, brothers and sisters, nieces and nephews to “help” them. This has turned into dependency. It has created a cycle of entitlement rather than self-sufficiency. “Why would I work for 10 hours in the sun when I can tell my aunt that I need money for medicine?” There are kids here with no desire to self educate, no desire to work, because they’re sucking the tit of their families in the United States or Canada. 2 of my hardest workers who show up early, never miss a day are these two men in this video. No arms, and an elderly who just wants to work. Their speed compared to a young healthy man is slow in comparison but their will and desire to work is unwavering. They’re inspiring. They are happy at work. They don’t complain. They’re not rich working for me but they are ok. I believe they are hard workers because they were never a part of a welfare system given to them from family in the states. I also believe that the civil war has created a massive divide between the wealthy and the poor. Maybe this already existed but chatting with enough people you can put 2 and 2 together. The socioeconomic divides between the wealthy and the poor. Certain families growing incredibly rich over the suffering of the lower class. People have lost trust, they’ve lost hope. Their views on money and rich people are shaped by past experiences of being taken advantage of. People are sick and tired of making $75 per pay period in the farms of El Salvador. I know that’s a whole other discussion. How do we fix this? I don’t know but I know my mission with casa conejo is to inspire others to work their asses off and to get paid by the sweat of their brows. I want to create a micro economy that allows the poor of the poor to grow! To break the cycle of poverty. To shatter the idea of “we can’t make it in El Salvador” We can and we will by working our asses off and getting paid what we deserve. Once we’re open a percentage of profits will go towards these workers. The rest back into our projects of building schools, running our women’s shelters, feeding the elderly. Let’s do this

MURPHSLIFE

195,895 просмотров • 1 год 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 👇

roman

100,242 просмотров • 1 день назад

Seedance 2.0 on Higgsfield AI Full open-sourced prompts & assets below: SCENE CONTEXT A young woman sleeps on her side in her pink bedroom at night; in a single locked frame the room snaps instantly from night to morning like a finger-snap time jump. She sleepily half-wakes, turns over to find a white cat curled against her back, then pushes up to half-sitting and sees her room quietly tidied — her school uniform hung on the chair and her backpack packed on the vanity. ACTIVE REFERENCES >>: young woman, low pigtails, pink hair-roller clip, beige t-shirt with brown long sleeves, sleeping then waking. 100% matches the reference. >>: fluffy white long-haired cat, adult, curled and pressed against her back. 100% matches the reference. >>: pink bedroom. 100% matches the reference. Every element and corner is preserved and stays consistent across all shots. >>: school uniform — navy cardigan, white shirt, green-striped tie, plaid skirt, knee socks — draped and hung on the pink chair. 100% matches the reference. >>: solid pink backpack with front zip pocket and pink pompom keychain, packed and zipped, standing on the vanity table. 100% matches the reference. LOCATION MAP Pink bedroom, remembered corner by corner and held identical in every shot: - Screen-left: a wooden door with a brass knob, dark wood trim and wood wainscoting along the lower wall, blush-pink upper walls. - Beside the door: a large ornate pink-and-white Victorian dollhouse with a small pink chair at its base. - A white vanity desk with a trifold arched mirror, cluttered with cosmetics, brushes and small bottles, a pink desk chair tucked at it. - A wide window with sheer white curtains behind the vanity; a leafy potted plant beside it. - A tall brass floor lamp standing near the bed. - A wooden nightstand at the head of the bed with a small lamp, a framed photo, a tissue box and a cup. - The bed against the wall: carved wooden headboard, pink ruffled bedding, pink pillows, a soft pink blanket — the central anchor of the room. - A woven area rug over dark hardwood floor, a small wall shelf with items above the bed side. FIRST FRAME AND SPATIAL BLOCKING The first visible frame is a close-up of her sleeping face. She lies on her left side facing the bedside lamp / nightstand side, cheek on the pink pillow, hair loose, pink hair-roller clip visible, breathing slow. The bed's pink blanket is clean and clear. No empty establishing frame. FORMAT MODE Controlled four-shot sequence with HARD CUTs at 4.0s, 8.0s and 11.5s. The night-to-morning transition inside shot 1 is an instantaneous in-frame light change, not a cut. Real-time motion. No subtitles, no music. OPTICS Shot 1: 50° diagonal field of view, standard normal lens character, camera 0.6 to 0.8 meters from her face, shallow depth of field — closed eyelids, lashes, loose strands and the hair-roller clip razor-sharp, the room soft behind. Shot 2: 56° diagonal field of view, near-normal lens character, camera 1 meter, holding her face and the white cat against her back, rack focus available between them. Shot 3: 63° diagonal field of view, slightly-wide lens character, camera 1.5 to 2 meters, rising with her as she sits up, more of the room entering frame. Shot 4: 84° diagonal field of view, classic wide lens character, camera 2 meters, wide enough to reveal the tidied room — vanity, chair and bed together — then easing toward her. CAMERA Shot 1: locked close-up with a very slow creeping push-in; the framing does not change through the night-to-morning snap. Shot 2: small reframe and rack focus as she turns, pulling focus onto the cat curled at her back, then back to her reacting face. Shot 3: a smooth crane-up rising with her from lying to half-sitting, revealing the room behind the bed. Shot 4: a slow pan across the tidied room — uniform on the chair, packed backpack on the vanity — settling with a gentle push-in on her half-sitting figure and dawning expression. ACTION TIMING 0.0s to 2.0s: close on her sleeping face at night, perfectly still, breathing slow, cool dim room around her. 2.0s: an instantaneous in-frame light snap — the room flips from night to morning in a single frame, no cut, no dissolve; she does not move at all, only the light changes, like a finger-snap time jump. 2.0s to 4.0s: hold on her face now in soft warm morning light, still asleep for a beat. 4.0s HARD CUT. 4.0s to 8.0s: she sleepily half-opens her eyes, stirs, and turns over toward screen-right, discovering a fluffy white cat curled warmly against her back; her half-lidded eyes drift to it. 8.0s HARD CUT. 8.0s to 11.5s: she pushes herself up on one arm to half-sitting, hair mussed from sleep, blinking and groggy, beginning to glance around the room. 11.5s HARD CUT. 11.5s to 15.0s: reveal of the quietly tidied room — her navy cardigan and plaid skirt uniform hung neatly on the pink chair at the vanity, the packed pink backpack standing zipped on the vanity table, its pompom keychain still — her expression softening into slow, disbelieving realization as she takes it in. PHYSICS During the night-to-morning snap her body is absolutely motionless — only light changes, no drift, no shift. As she wakes, eyelids lift heavily, she rolls with natural weight and the mattress and blanket shift under her; the cat's long fur rises and falls with slow breathing and compresses softly where it presses to her back. Sitting up, her hair falls loose in individual strands, the blanket sliding down naturally, her supporting arm taking real weight. LIGHTING Cinematic and restrained throughout, never bright or flat. Night (pre-snap): low-key cool moonlight through the sheer curtains with a faint warm practical accent, deep but detailed shadow, moody film texture and soft grain. At the snap, the light flips instantly to soft warm directional morning sun through the sheer curtains — golden but controlled and filmic, gentle rolloff, faces readable, shadows soft, not overexposed or blown out. The warm-cool contrast and naturalistic grain carry the cinematic feel into every shot. AUDIO Shot 1: quiet steady sleeping breath, faint cool room tone; at the snap a soft airy shimmer-whoosh transient marks the time jump, then gentle morning birdsong and warm ambience fade in. Shot 2: a soft sleepy inhale, faint fur rustle as she finds the cat, a quiet purr. Shot 3: soft blanket rustle as she sits up. Shot 4: quiet held breath, faint ambient morning tone under her realization. No dialogue, no music, no subtitles. POSITIVE LOCKS Woman matches >> exactly, cat matches >> exactly, bedroom matches >> exactly and every listed corner — wooden door, dollhouse, vanity with trifold mirror, pink chair, brass floor lamp, wooden nightstand, carved bed with pink ruffled bedding, woven rug — stays present and consistent across all four shots, with no new or missing furniture. The bed's pink blanket is clean and clear — no laptop, bag, papers or objects resting on top of it. The night-to-morning transition is one instantaneous in-frame light change on a single locked framing; she does not move during it — no dissolve, no fade, no camera cut. The white cat lies pressed against her back. In the final shot the uniform hangs on the pink chair matching >> and the packed backpack sits on the vanity matching >>. Lighting stays cinematic and controlled, never bright or washed out.

Noor

12,140 просмотров • 1 день назад

🇮🇱🇮🇷 IRAN WAR STRATEGY EXPLAINED! It is important to understand that Iran is not fighting a symmetric war against the USA/Israel. They can’t and they don’t. 📋 Iran is doing two things at the same time: 1) WAR ON OIL AND GAS Iran is trying to choke off oil and gas trade from the Middle East through strikes on oil and gas platforms/refineries and the closure of the Strait of Hormuz, which handles about 25% of seaborne oil and gas trade. (Video 3) This hits US and Arab interests hard. The sheikhs are already calling Trump and urging quick action. They need peace to continue business. → This is achieved with minimal effort by Iran and is working. No ships pass the strait, oil/gas production is halted to some extent, prices skyrocket. This affects everyone worldwide. Trump is under heavy pressure as long as this continues. 2) MISSILE WAR The missile campaign is not aimed at quickly destroying USA or Israel. That’s pure internet hype. Iran fires enough drones and missiles to keep defenses busy and deplete interceptor stocks. They strike multiple locations simultaneously (Qatar, Saudi Arabia, UAE, even Cyprus), forcing the US to spread air defenses thin. Concentrating heavy defenses in one place becomes impossible. As Rubio noted yesterday, only 6–7 interceptors are produced per month (Video 2), while Iran produces over 100 missiles per month. If Iran sustains the campaign, it will win the attrition war against air defenses. Time is on Iran’s side. The more air-defense missiles are expended per Iranian projectile, (just look how much they fire to intercept one missile - Video 4), the worse the situation becomes for the defenders—especially after Ukraine depleted much of the Western stockpile over the past four years. Key takeaway: As long as Iran maintains the missile campaign, time works in their favour. The longer the conflict lasts, the stronger Iran’s position becomes. If air defenses run out, Iran can strike freely anything and will win. 📋 Status quo: A) Iran fired fewer missiles on Monday, so they are losing? No! Analysis of the US CENTCOM video (Video 1): The US Air Force struck abandoned, already-used launchers and a broken-down truck. They clearly couldn’t locate active Iranian missile forces, so they hit whatever they found. The launchers were already expended; the crews had left after firing. When the US releases such footage, it suggests this is the best they have. They are not destroying Iran’s missile forces at a high rate. They destroy abandoned trucks. Iran doesn’t need to act quickly. Firing drones and missiles a few times a day is enough to keep oil/gas trade stopped and air defenses occupied. As long as they sustain this, time remains on their side. B) Is Iran winning? Also No. Iran struggles to keep its airspace clear. US surveillance drones continue to penetrate, preventing free movement of launchers. As long as those drones remain active, Iran cannot fire at will without risk. Failure to neutralise them would break their strategy. While American and Israeli drones fly in Irans sky, Irans missiles stay under ground and can’t surface, or they risk being struck quickly. Hence US/Israeli Surveillance drones, that direct strikes are the biggest problem Iran has now. They want to roll out missile infrastructure from below ground to the surface, and they can’t … at least not at scale. Watch this closely as a key indicator. How many drones are flying above Iran and how many are shot down. C) What is the US/Israeli strategy? They planned to remove Khamenei, trigger mass protests by Shah supporters, and install a new regime. This has clearly failed. Now they destroy military buildings (police headquarters, etc.), mostly for posture and intimidation. Essential personnel do not work in above-ground offices—doing so would be foolish. The remaining option is to make life unbearable and force surrender by bombing power plants and similar infrastructure. This will come soon at scale. More bombs!

Lord Bebo

1,612,322 просмотров • 4 месяцев назад

Seedance 2.0 on Higgsfield AI The visual fidelity and scene consistency bring this pirate adventure to life like never before.Every cut feels intentional immersive and ready for the big screen. Full open sourced prompts & assets below: SCENE CONTEXT Bright day at sea aboard a sailing galleon. Captain Eduardo bursts out of the sterncastle door onto the deck; his scarlet macaw lands on his LEFT shoulder mid-stride. He runs up to the quarterdeck where a lookout crewman watches the horizon through a brass spyglass, takes the spyglass and looks himself: a distant island, and a violent optical crash zoom finds a small futuristic hard case on the beach. Then a second crewman runs up, grabs his arm and points the OTHER way, astern — Eduardo turns: a black-sailed pirate ship very far behind them, a speck on the horizon. He does not raise the spyglass — he just stands and stares at the distant black sails, holding the look. 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; studio sheet layout NOT inherited. >> — scarlet macaw, red body, blue-and-yellow wing feathers, small leather shoulder harness. 100% matches the reference; it flies in and rides Eduardo's left shoulder. >> — weathered pirate crewmen from the reference group (bandana, rough shirt, vest). 100% match the reference; TWO of them appear: the lookout at the quarterdeck rail, and a second runner who arrives in CUT 4 pointing astern. >> — collapsible brass spyglass with dark leather-wrapped barrel sections. 100% matches the reference; starts in the lookout's hands, ends at Eduardo's eye. >> — Eduardo's galleon: pale square sails, tall wooden sterncastle, raised quarterdeck. 100% matches the reference; controls hull, deck, masts and rigging only. >> — calm bright sea, glittering sun path, hazy horizon. Controls water and sky atmosphere only. >> — small lone island: dense dark-green jungle cover, a curved white-sand beach on one side, grey rocky cliff edges, turquoise shallows ringing the shore. 100% matches the reference; it is the island seen on the horizon and inside the spyglass view. >> — small futuristic hard case: matte-black armored corners, neon acid-green side panels, brushed-steel top plate with a glowing green star-shaped button. 100% matches the reference; it appears ONLY inside the zoomed spyglass view of CUT 3, lying on the beach. >> — enemy pirate galleon: black sails, acid-green skull-and-crossed-swords on the mainsail, dark carved hull. 100% matches the reference; revealed VERY far astern in CUT 4 as a tiny silhouette on the horizon — never seen closer in this beat. LOCATION MAP >> under sail on >>, open bright sea. The sterncastle door opens onto the main deck; a short wooden stair leads up to the quarterdeck at the stern. The lookout stands at the quarterdeck rail on the forward side, spyglass raised toward the horizon screen-right. Far on that horizon, 2–3 km out: >> — dense green jungle mass, the white-sand beach catching the sun on its near side, turquoise water at its shore. In the OPPOSITE direction, astern of the ship screen-left: open sea where >> rides VERY FAR OFF — 4–5 km out, right on the horizon line, a tiny dark silhouette almost dissolved in the haze — present in the world from the start, revealed to the camera only in CUT 4. Haze visible at the horizon distance. Sun high, sea glitter everywhere. FIRST FRAME / BLOCKING First frame: the sterncastle door already swinging open, >> mid-stride through it onto the deck, body angled toward the quarterdeck stair screen-right. Crew activity in the background of the deck. The lookout is visible up on the quarterdeck at the rail, spyglass already at his eye, pointed screen-right toward the horizon. FORMAT MODE Sequence of cuts, no timecodes — cuts only at the specified points, the camera does not cut on its own. CUT 1 — 63° handheld follow: the door bursts open, Eduardo comes out in a strange hurried scurry — up on TIPTOE, quick tiny mincing steps, both arms half-raised in front of him with elbows out, hands hovering at chest height, shoulders slightly hunched — comically odd, but FAST, covering the deck at 10 km/h. >> sweeps in from off-frame upper-right, wings braking, and lands on his left shoulder without breaking the scurry. He tiptoe-rushes across the deck and up the quarterdeck stair; the camera chases behind-left, half a beat late. CUT 2 — MS, 47°, on the quarterdeck: the lookout at the rail with >> raised. Eduardo arrives frame-left, the scarlet macaw >> sitting clearly visible ON HIS LEFT SHOULDER through the whole cut. With his RIGHT hand he grabs the spyglass out of the lookout's hands in one firm motion and raises it right-handed to his RIGHT eye toward the horizon screen-right, left eye squeezing shut. The lookout yields a step. CUT 3 — SPYGLASS POV, MONOCULAR: one single round image — the view through ONE lens of a telescope, a single circle centered in frame, black around it. This is a one-eyed spyglass view, never the twin overlapping circles of binoculars. Extreme telephoto image swaying with a hand-held tremor, compressed haze layers stacking toward the island. Distant >> sits small in the circle: dark-green jungle, the curved white-sand beach, turquoise shallows, heat haze. Hold 1 second — then a RAPID CRASH ZOOM, one continuous accelerating optical dive down to the waterline of the beach: >> lying on the wet sand, black-and-acid-green case, steel top plate, green star button glinting. The zoom lands and locks on the case filling half the circle. Hold. CUT 4 — MS, 47°: Eduardo lowering the spyglass, macaw on his left shoulder — a second crewman from >> runs into frame from screen-left, grabs Eduardo's arm and jabs his finger the OTHER way, astern, screen-left, shouting over the wind: "CAP'N! BEHIND US!" — and the macaw on Eduardo's shoulder instantly screams it back in a harsh parrot voice: "BEHIND US! BEHIND US!", wings half-flaring. Eduardo whips around following the point; the camera racks past his shoulder — REVEAL deep in the frame: >> VERY far astern, a TINY black silhouette sitting right on the horizon line — smaller in the frame than Eduardo's fist, under 5% of the frame height, barely bigger than a speck, half-swallowed by haze — but the black sails read unmistakably. Vast empty water fills everything between the rail and that distant speck. Eduardo does NOT raise the spyglass — it stays lowered in his right hand. He simply STANDS and STARES at the tiny black sails, motionless, eyes locked on the horizon. The cut ends on his long look toward the enemy ship against the empty sea. OPTICS CUT 1: 63° observational wide, handheld. CUT 2: 47° neutral. CUT 3: monocular spyglass optics — ONE single circular image (a one-lens telescope, never the twin circles of binoculars), tele compression as at 8°, soft edge inside the circle; the crash zoom is purely optical, horizon compressing, haze layers stacking. CUT 4: 47° neutral with a rack to the deep background on the reveal, then holding on Eduardo's profile against the horizon. No drift mid-segment. CAMERA Handheld operator character throughout the real-world cuts: chases the run at deck level in CUT 1 with visible footstep energy, settles to a 1–2 cm breath on the quarterdeck. Camera stays on the shadow side of Eduardo, sun working across from screen-right. The POV cut carries a hand-tremor sway of 1–2 cm that calms when the zoom locks on the case. ACTION Door kicks open from inside. Eduardo's gait in CUT 1 is deliberately odd: he rushes on the balls of his feet, heels never touching the planks, tiny fast tiptoe steps, arms half-raised with hands floating in front of his chest — hurried and urgent, never slow, sash swaying with the quick mincing rhythm, boot toes tapping the deck. The macaw's landing is physical: wings flare to brake, claws grip the leather waistcoat's shoulder, one small balance flap as he keeps scurrying. The spyglass handover is brisk, captain's-right, two hands to one. In the POV the island rises gently with the ship's sway until the crash zoom pins the case. PERFORMANCE Urgency without panic: breath fast through the nose, eyes fixed forward during the run. At the eyepiece his face stills completely — squint tightens, lips part a fraction when the case appears. In CUT 4 the runner's grip snaps him out of it — head whip, eyes refocusing to the far black sails — then he goes still: eyes fixed on the distant ship, a slow exhale, jaw tightening a fraction — the look held long, unreadable, no words at all. Pore-level skin realism, sun catch-lights, spray-damp sheen on the temples. PHYSICS Ship heels gently on a calm swell; rigging sways against the sky. The parrot has real bird mass — landing compresses the shoulder slightly. Cloth reacts to the run wind. In the POV, heat haze wobbles the island image and glitter fires irregularly off the water; the case sits with real weight in the wet sand, a shallow water film sliding around its base. LIGHTING High bright sun, 5600K daylight, hard key from screen-right with sea-bounce fill from below. Deck in full sun, crisp short shadows. Inside the spyglass POV the image is brighter and milkier — long air column, haze density rising toward the horizon; the case's acid-green panels and glowing star button read as the only saturated color on the pale beach. AUDIO Wind over the deck, sails snapping, boots on planks, macaw squawk on landing, gulls distant. On the POV: the world's sound thins to wind and a faint ring of focus. On the crash zoom a low whoosh rising in pitch, landing on near-silence with only the surf of the far beach, thin and distant. CUT 4: deck sound returns — running boots, the crewman's urgent shout over the wind: "CAP'N! BEHIND US!", answered at once by the macaw's harsh screeching echo: "BEHIND US! BEHIND US!" — then only the wind, a slow exhale, and the creak of the deck. No spoken line from Eduardo. STYLE Photoreal live-action, bright maritime daylight, fine film grain, crisp highlights with gentle roll-off, 8K master. POSITIVE LOCKS >> appears only inside the spyglass POV of CUT 3, lying on the beach at the waterline, star button glowing green in every frame it exists. The island always matches >>: green jungle, white-sand beach, turquoise shallows — and stays screen-right, ahead; the enemy ship stays astern, screen-left, in the opposite direction from the island. The spyglass POV (CUT 3) is MONOCULAR: one single round telescope image per frame. Eduardo handles the spyglass with his RIGHT hand at his RIGHT eye in every cut where he uses it. >> keeps black sails and the green skull mainsail in every appearance and stays VERY FAR AWAY the whole beat — naked-eye, she is only a tiny silhouette on the horizon, under 5% of the frame height in CUT 4; she never gets closer than the horizon line. After the reveal Eduardo keeps the spyglass LOWERED — he never raises it at the enemy ship; he speaks no line and makes no gesture — he simply stands looking at the distant ship, and the beat ends on that look; no cannons and no gunfire anywhere in this beat. Eduardo's head: mustard-yellow bandana with the small white shark tooth at the front, hair loose. In CUT 1 Eduardo moves only in the tiptoe scurry: heels off the deck, quick small steps, arms half-raised at chest height — fast and urgent the whole way. The macaw sits on Eduardo's LEFT shoulder continuously from its landing in CUT 1 through the end of the beat, clearly visible in CUTS 2 and 4. The spyglass is in the lookout's hands in CUT 2's first frame and in Eduardo's hands from then on. Same sun direction, same sea state, same wardrobe in every cut. Cuts only at the specified points.

Nawal

16,268 просмотров • 1 день назад

🔊 Church: The bow of Elam is being broken right now, leading the way to the next bow—the ANTICHRIST’S BOW—a bow with no arrows, A BOW OF FALSE PEACE!!! Iran’s defeat, as described in Jeremiah 49, isn’t just a single event—it sets off a chain reaction! WHAT IS HAPPENING RIGHT NOW IS SETTING UP EZEKIEL 38 — THE PLAYERS ARE ALREADY ON THE STAGE!!! But between these two bows: THE RAPTURE OF THE CHURCH! KEEP LOOKING UP!!! What we are watching in the headlines right now is not just history being made — it is Bible prophecy developing itself in real time, in front of our eyes. FIRST — WHAT JUST HAPPENED IN THE LAST 6 DAYS 🔴On Purim 2026 — as the blood moon rose over the earth for the second consecutive year on the feast celebrating Israel’s deliverance from Persia — the United States and Israel were actively carrying out Operation "Roaring Lion" and Operation "Epic Fury" against Iran. Here is what has happened since Feb 28th: 👉🏼Israel used over 1,200 bombs and munitions, hitting nuclear facilities (Natanz, Fordow, Isfahan), missile sites, air defenses, military bases, and leadership compounds across Iran. 👉🏼Supreme Leader Ayatollah Ali Khamenei was killed in a direct strike on his Tehran compound, along with senior officials and commanders, triggering leadership chaos. 👉🏼Israel warned that any successor supreme leader would be an “unequivocal target.” Iran scrambled to select one via the Assembly of Experts, but a bombing strike disrupted the meetings and the process. 👉🏼The U.S. destroyed more than 20 Iranian ships, aiming to eliminate Iran’s navy entirely. 👉🏼Israel destroyed over 300 missile launchers, struck secret nuclear-related sites, and hit regime buildings, including the Expediency Discernment Council. 👉🏼 Defense Secretary Pete Hegseth declared that the U.S. is "accelerating, not decelerating," with more assets incoming and sustained operations. President Trump projected the war could last four to five weeks (or longer if needed), emphasizing decisive progress on weakening Iran’s nuclear, missile, and naval capabilities while the conflict continues with Iranian and Hezbollah retaliation. IS THE BOW BEING BROKEN? 📖"I will break the bow of Elam, the foremost of their might" Jer 49:35 ⛓️‍💥The strikes are specifically designed to degrade Iran's nuclear program, ballistic missile capabilities, and armed forces — the very elements that allow Iran to project military power. So, the bow is being broken not metaphorically, but literally at this moment. 📖"Against Elam I will bring the four winds from the four quarters of heaven" Jer 49:36 🧭The U.S.–Israeli campaign has struck Iran from all directions: north and northwest (Tabriz, Urmia, Sanandaj), east and southeast (Konarak, Chabahar), south and southwest (Bandar Abbas, Bushehr, Minab, Shiraz), and west (Kermanshah, Ilam, Khorramabad). Central hubs like Tehran, Isfahan (Natanz), Qom, and Karaj have faced the heaviest attacks, hitting targets across the country from border to border. 📖"I will cause Elam to be dismayed before their enemies" Jer 49:37 📺Israel hacked Iranian state broadcaster IRIB, and Netanyahu spoke directly to the Iranian people in Farsi, urging them to rise in the streets "in their millions," seize the moment to overthrow the regime, and establish a free Iran. Calls like "Help has arrived" and "Take your destiny into your own hands" strike at the heart of the regime’s power, exposing its vulnerability and undermining its control. The people are being called to rise from within and beyond Iran simultaneously, leaving the rulers dismayed, fearful, and powerless to stop the growing momentum against them. 📖"I will set My throne in Elam and will destroy from there the king and the princes" Jer 49:38 👑This is the most stunning fulfillment. Khamenei — the Supreme Leader, the king — was killed. Iran declared 40 days of mourning. Ali Shamkhani, former head of Iran's Supreme National Security Council, and several other senior Iranian officials were also killed. The king AND the princes. Both. Exactly as Jeremiah said. Haman 2.0 built its gallows. And it stood on them!! 🏹The bow is being broken during the red blood moon on Purim. The king is dead. The princes are dead. Iran’s nuclear advancement and ballistic missile capabilities have been severely diminished, and its proxy support networks are being weakened as we speak. 💡But here is what we need to understand right now: Jeremiah 49 is not the destination. It is the runway. The destination is Ezekiel 38. And the players are already moving into position. WHERE DOES PERSIA RE-ENTER PROPHECY AFTER JEREMIAH? Two books later, exactly here in Ezekiel 38. 📖 "PERSIA, Ethiopia, and Libya are with them." Ez 38:5 👉🏼Persia is explicitly named in Ezekiel 38's coalition. But here we know that Persia is not leading. Persia is following. The leader is Gog — Russia. A weakened and humiliated Iran will need a powerful sponsor to rebuild. That sponsor is already moving today, in the headlines. RUSSIA — GOG COALITION IS ASSEMBLING — IN THIS WEEK'S HEADLINES 📰Russia called for an immediate end to the war launched by the US and Israel on Iran. Russian Foreign Minister Sergei Lavrov personally engaged in diplomatic efforts, holding calls with regional mediators to discuss the war. 💡But here’s the reality: Russia is watching its most important Middle Eastern ally being severely weakened—and it cannot intervene because its military is overstretched in Ukraine. Russia is sidelined and powerless to act on Iran’s behalf, revealing the limits of its “great power” claims and the reliability of its alliances. Iran is not happy with Russia at all. But hey, this is not a Russia that forgets; it is a Russia that waits… and then acts. 👉🏼That is exactly what Ezekiel 38 describes. A Russia that moves decisively — not out of strength in this moment — but out of accumulated fury, strategic desperation, and a hook that God Himself puts in its jaw. 📖 "I will turn you around, put hooks into your jaws, and lead you out with all your army."* Ez 38:4 🪝The hook is being forged right now!! TURKEY — MESHECH AND TUBAL 👉🏼Ezekiel 38 names Meshech, Tubal, and Togarmah — ancient territories corresponding to modern Turkey. And right now Turkey is publicly aligning with Russia against Israel, positioning itself as the voice of the Muslim world, and growing in regional influence as Iran collapses. Turkey's Erdoğan condemned the conflict, saying Ankara was making intense diplomatic efforts to resolve it. The Ezekiel 38 coalition that comes to attack Israel is looming on the horizon! WHAT EZEKIEL 38 REQUIRES — AND HOW CLOSE WE ARE Ezekiel 38 has specific conditions that must exist before Gog moves, and only Jeremiah 49 makes them possible. Look at how rapidly they are forming: 1️⃣Israel dwelling in false peace 📖 "A peaceful people who dwell safely, all of them dwelling without walls, and having neither bars nor gates." Ez 38:11 ☝🏼For the first time in decades, this is becoming conceivable. With Iran and its proxy network weakened, the ring of fire surrounding Israel is breaking. A regional peace framework is assembling. With Iran neutralized, the Abraham Accords will expand, and the conditions for Israel's false peace are forming from the rubble of Iran's defeat. 2️⃣The hook in Russia's jaw Economically, Israel’s gas fields are a major prize. Strategically, Russia is being humbled and losing influence in the region. Ideologically, its alliance with the Muslim world against Israel is under strain. The “hook” is forming this week, creating the anger that could pull Russia into action against Israel. 🪝And here is what makes this week's events even more significant for understanding that hook. Right now Iran has closed the Strait of Hormuz. One fifth of the world's oil and a quarter of global LNG flows through that strait. Energy prices are spiking globally today. The world is getting a live preview of what Middle Eastern energy disruption looks like. As the Persian Gulf becomes increasingly unstable and unreliable — Israel's massive Mediterranean gas fields become the most strategically valuable alternative energy prize on earth. That is the economic hook in Russia's jaw. Russia will eventually come for Israel's wealth and resources. Ezekiel 38:12 told us exactly that 2,600 years ago. 3️⃣The coalition from the north 📖 "You will come from your place out of the far north, you and many peoples with you." Ez 38:15 ✌🏼Russia and Turkey are already aligned together in opposition to Israel in this conflict — even China if we could include it. The directional and relational skeleton of this coalition is visible right now in this week's news. THE PROPHETIC SEQUENCE — WHERE WE ARE AND WHERE WE ARE GOING Based on two strong reasons, I place Ezekiel 38 at the beginning of the Tribulation — not before, or in the middle or at the end. 1️⃣The 7 year weapon burning fits perfectly 📖"Those who dwell in the cities of Israel will go out and set on fire and burn the weapons… they will burn them for seven years." Ez 39:9 If Ezekiel 38 happens near the beginning of the Tribulation, the 7 year burn period ends right at the Second Coming. The math works perfectly. 2️⃣We know the Tribulation is the period of God’s direct judgment on the world. 👉🏼By that time, the Church is gone and the Holy Spirit’s restraining work through the Church has been removed. God begins dealing with the world directly, supernaturally, and undeniably, forcing every nation on earth to acknowledge that He alone is God. 👉🏼In Ezekiel 38, we see Russia’s coalition destroyed not by human armies, but by God Himself. No enemies intervene. No U.S. military. No Israeli air force. The Lord personally rains down fire and brimstone — a supernatural judgment with no possible human intervention or explanation. Jeremiah 49 = man as God's instrument Ezekiel 38 = God as His own instrument So based on this I will put Ezekiel 38 here: 🔗Rapture → White Horse/Antichrist → Covenant/False peace → Red Horse/Ezekiel 38 → God destroys Gog → Antichrist in temple → Great Tribulation → Second Coming BUT, WHEREVER YOU LAND ON THE TIMING — HERE IS WHAT IS UNDENIABLE ⏰RIGHT NOW: Jeremiah 49 The king and princes are already destroyed. The bow of Elam is being broken. Iran’s nuclear program is weakened, and its proxy networks will be dismantled. The dominant Middle Eastern threat to Israel is being removed, leaving the stage completely free and clear for peace and safety. 📖“For when they say, ‘Peace and safety!’ then sudden destruction comes upon them, as labor pains upon a pregnant woman. And they shall not escape” 1 Thes 5:3 What comes next on your own timeline: 1️⃣A window of peace for Israel emerging from the chaos 2️⃣Abraham Accords expansion and a false peace framework 3️⃣Russia rebuilding and repositioning with a reformed Iran/Persia 4️⃣The Rapture? It's imminent—it could happen at any moment, before the Antichrist is revealed and before the seven-year Tribulation begins! 📖 "Because you have kept My command to persevere, I also will keep you from the hour of trial which shall come upon the whole world." Rev 3:10 🔊CHURCH: Between Elam’s broken bow and the Antichrist’s peaceful bow, the Church — the Bride of Christ — is called home before the Tribulation begins!! Like Esther brought into the king’s palace before Haman’s judgment was executed. Like Noah, sealed in the ark before the flood. Like Lot, brought out of Sodom and Gomorrah!! Every player is moving into position! Israel’s peace window is opening. Russia and Turkey aligning and the hook is being forged!!! Every single piece Ezekiel described 2,600 years ago is in motion right now! We are on the runway!!! KEEP PRAYING, KEEP PREACHING THE GOSPEL!!! WE’RE SOON GOING HOME! Maranatha 🤍— Come Lord Jesus, Come!!!

Maranatha777

98,512 просмотров • 4 месяцев назад

A QUICK FIELD GUIDE TO THE NPC HORDES Twenty Five Parasites types that Feed On The Living The Storm Is Upon Them Thank you for the stout... lets talk... The wind has changed. You can feel it. That low electric pressure behind the eyes that means something massive is rolling in off a horizon the parasites can't see because they were never built to look up. They were built to look down. At clipboards. At spreadsheets. At your accounts. At you. But the storm doesn't care about clipboards. And we don't kneel anymore. Here they are. The full swarm. Count them while you can because when the sky turns they drop mid sentence and the only record that they ever existed will be the silence where the invoices used to be. THE TAX CONSULTANT. You broke your back welding pipe and this soft palmed worm sits in air conditioning telling you how much of your sweat belongs to Caesar. He can't weld. Can't wire. Can't fix a thing that broke. What he can do is read a tax code written by other worms specifically to be unreadable so you'd have to pay a worm to read it for you. They write the maze. They sell you the map. They make the maze worse every year and the map more expensive and if you try to walk it yourself they send the auditor. The wind is picking up. The maze is starting to shake. THE AUDITOR. Tick on a tick. Shows up after the taxman has already fed to check the bite marks are regulation depth. Finds a missing fuel slip worth pocket change. Writes a finding. The finding generates a penalty. The penalty generates interest. The interest generates a letter. The letter requires your tax consultant at hourly rates to respond. Pocket change became thousands. Five parasites ate off one tank of diesel. Not one of them could tell you what welding rod to use on stainless. But the storm doesn't audit. The storm just comes. THE ACCOUNTANT. Cousin of the tax consultant. Same bloodline. This one doesn't interpret the maze. He records your journey through it. Every receipt. Every unit of currency in and out, logged so the consultant can read it and the auditor can check it and the revenue service can extract from it. He produces nothing. A human tape recorder pointed at your productivity. He charges monthly so the recording never stops. You are under permanent surveillance and you pay for the privilege. Not for much longer. THE BANKER. The oldest parasite. The template. You need money to buy a machine that makes things. He lends you money other working people deposited and charges interest that doubles the price over twenty years. The extra bought nothing. Built nothing. He packages your debt and sells it. Takes your deposit and lends it out eight times over. Charges you to hold your own money. Charges to put it in. Charges to take it out. He touches none of it. He stands near it and invoices you for the proximity. The storm is going to blow him so far from the vault he'll forget what money smelled like. THE COMPLIANCE OFFICER. Never had a callus on her body or her soul. Born in a fluorescent office. Will die in one. Between those events she produces nothing but emails about policies referencing other policies referencing regulations referencing acts nobody voted for. A worm eating its own tail and billing you for the meal. She needs the safety assessor to give her something to enforce. He needs her to give him something to assess. They breed between regulations like mould between tiles. The storm will wash them both down the same drain. THE PROPERTY VALUATOR. A man wants to buy a house. Another wants to sell it. They agreed on a price. That is what worth means. The amount one will pay and another will accept. Full stop. Now this creature arrives and tells both men what the house is actually worth. As if two free adults negotiating in good faith produced a number that's somehow theoretical while his formula is gospel. The bank sent him. His report costs thousands. His report says the house is worth what the buyer already offered. Thousands to arrive at a number that existed before he left his office. If his number comes in low the deal collapses and you pay a different creature with a different clipboard who arrives at a different number for the same house on the same day using the same formula. The house didn't change. Only the parasite changed. The number was never about the house. THE MUNICIPAL RATES OFFICER. The deepest theft on this list because it never ends. You bought your house thirty years ago. Paid it off. Every last unit. You owe nothing. Now a municipal valuator looks at what the neighbours sold for, looks at the coffee shops and wine bars that invaded your street, and decides your house is worth twenty five times what you paid. You didn't sell. You didn't list. You're sitting in the same chair in the same kitchen. But your tax liability just multiplied by twenty five based on a sale that never happened at a price you never agreed to. They do this everywhere. In Cape Town the rates are linked to the valuation and suddenly retired families in Bo-Kaap whose people survived apartheid and forced removals and a century of state assault are being bled out of their own homes by property rates pegged to values inflated by the gentrification their displacement accelerates. The heritage is the tourism product. The tourism inflates the valuation. The valuation inflates the rates. The rates displace the families. The families were the heritage. In Chicago they do it to grandmothers in Pilsen who've been there forty years. In London they do it to pensioners in neighbourhoods that gentrified around them. In Sydney they chase retirees off land their grandfathers cleared. Same crime. Different currency. Different clipboard. A man paid for his house. Owns it outright. And the state says you owe us money every month forever and the amount is based on what we say your house would sell for if you sold it, which you haven't, and if you can't pay the amount we invented we take the house you already bought. That is theft. Eviction by arithmetic. Displacement by spreadsheet. But the people in Bo-Kaap are awake now. The people in Pilsen are awake. The grandmothers and the grandfathers and the calloused hands everywhere are looking up and they can see the storm and they know what it means. It means the spreadsheet burns with everything else. THE MUNICIPAL INSPECTOR. Rat faced. High vis vest. Clipboard. Drives to your workshop in a vehicle your rates paid for. Measures your fire extinguisher fourteen centimetres off the floor. Writes you up. Behind you men build things that hold up bridges and he couldn't change a lightbulb without a permit. His job depends on your failure. The parasite needs you sick. The cure would kill it. The storm is the cure. THE CONVEYANCING ATTORNEY. Two men shook hands. Fair price. Honest deal. Done. This worm slithers out and says the handshake doesn't count. Needs paper. Needs stamps. Needs a deeds search and clearance certificates and transfer duty and each piece of paper is produced by another parasite and each one costs money and the worm takes his cut on top for phoning the other worms. He calls this conveyancing. He has never held a spade or laid a brick in his bloodless life. The storm doesn't need a stamp. THE ESTATE AGENT. Six percent. Of a man's life savings. For opening a lockbox and saying the kitchen faces north. She needs the attorney to close. The attorney needs the municipality. The municipality needs the inspector. The valuator needs access for the bank's number. Every one invoices separately. Every invoice lands on people who agreed on everything before any of these bloodsuckers entered the room. The wind is howling now. Can you hear it through their invoices? THE LABOUR BROKER. Tick so bloated it can't walk. A man needs work. Another needs a worker. They could find each other in ten minutes. This creature squats between them and drinks from both sides. Worker gets thirty. Employer pays fifty. Twenty disappears into the tick. Multiply by thousands of workers and millions vanish yearly into a thing that makes nothing, moves nothing, fixes nothing. It feeds. That is its entire architecture. Architecture doesn't survive storms. THE HEALTH AND SAFETY ASSESSOR. Twenty two years. Not one fire. Not one death. He shows up. Your exit is twenty centimetres too narrow. To fix it you need a builder who needs a plan from an architect who needs municipal approval. Tens of thousands and six weeks to move a door frame because a creature who has never been burned told you to. He detects life and the system bills it. The storm detects parasites and the sky deletes them. THE BEE CONSULTANT. Every country has its version. South Africa calls it BEE. The same parasites who wont allow much needed Starlink there unless Musk hands over half the company to lazy parasitic government connected parasites. Others call it diversity compliance or equity auditing. The name changes. The feeding doesn't. Scores your company on a chart nobody asked for to satisfy a regulation nobody voted on enforced by a department that produces nothing except the requirement for his existence. Nothing changes. Nothing improves. Money moves from a living pocket into a dead hand and the dead hand closes. The storm opens every dead hand on this planet. THE CUSTOMS BROKER. Your parts are fifty metres away. You can see the container. Cannot touch your own property until a grey man translates tariff codes so the state can calculate how much you owe for collecting what is already yours. Each delay generates storage charges. Each query generates fees. Your shipment doubles in cost through bureaucratic friction and you still don't have your parts. The storm doesn't clear customs. It clears the customs office. THE TRAFFIC OFFICER. Fat. Behind a bush. Radar gun aimed at people driving to work that matters. Seven over the limit. The municipality sets it low enough that everyone exceeds it. Fines feed the municipality. Municipality feeds him. He sits and clicks tomorrow. A barnacle with a badge. Same creature in every country. Different bush. Same feeding. The storm takes the bush and the badge and the creature behind both. THE FINANCIAL ADVISOR. Uses your first name. Remembers your birthday because the CRM told him. Puts your money in a fund. Fund charges 1.75 percent. He charges one on top. Fund manager pays a custodian who charges. Fund has an auditor who charges. Compliance team charges. Six parasites between you and your own money. In thirty years you have less than you started with and he charges you for the meeting where he shows you the graph. The storm doesn't need a graph. The storm is the correction. THE INSURANCE ADJUSTER. Years of premiums. Your roof blows off. He arrives. Soft hands. Three weeks later the wind came from the wrong direction. Not the wrong speed. The direction. Some paragraph. Some subsection. You paid for years and the years bought you a paragraph that says no. The policy is teeth. The premiums went down the throat and the no is the burp. The real storm has no exclusion clause. THE PATENT ATTORNEY. You built a device. It works. He writes a document so incomprehensible that reading it makes you understand your own invention less. Thousands for legal fog. Someone copies it. Litigation attorney. More thousands. Judgment unenforceable. The only people paid are the attorneys. The system was never designed to protect you. It was designed to feed them. The storm protects the builder. By removing the feeders. THE LICENSING CLERK. You can rebuild a gearbox blindfolded. Cannot legally do it without a certificate from an institution that charges thousands to watch you do what everyone knows you can do, certified by an instructor who has never done it, filed with a department that stores the certificates, audited by a body that audits the institution. A chain of parasites verifying the obvious. If every one vanished the gearbox still gets rebuilt. Faster. Cheaper. The storm is the vanishing. THE STRATA MANAGER. You own your flat. She collects your money and spends it on providers she chose and you can't fire without a special resolution at a meeting she convenes with an agenda she wrote. She built a kingdom inside your building funded by your levy and answerable to herself. Question it and she reaches for whatever act governs her particular species of parasitism in your particular country. The storm doesn't read acts. The storm reads frequencies. THE ENVIRONMENTAL IMPACT ASSESSOR. You want a shed on your own land. He arrives in a vehicle worth more than your shed. Months. Hundreds of pages. Tens of thousands. Report says your shed threatens a species not seen in decades but listed on a database maintained by a department that exists because the database exists. Your shed doesn't get built. The species doesn't exist. He drives home to a suburb bulldozed from actual habitat. Nobody assessed that. Rules only flow downhill. The storm flows everywhere. THE DEBT COLLECTOR. Bottom feeder. Buys your debt for cents from a bank that already profited from your interest. Calls at hours designed for fear. Adds fees on fees on fees for actions never taken. Bought your pain wholesale and retails it at three hundred percent. When you break he claims the loss against tax. Even the collapse is monetised. He is Hell's collection agent. The storm is Heaven's. THE NOTARY PUBLIC. Watches you sign your own name. Stamps it. Charges hundreds. The signature is the same with or without him. Your hand. Your name. His fee. A tollbooth on your own identity. The storm doesn't need a stamp. Your name is written in frequencies no notary can read. THE CORPORATE TRAINER. Monday. Projector. Four quadrant model invented after three glasses of wine and a TED talk. By Wednesday nobody remembers any of it because there was nothing there. Tens of thousands plus tax plus travel. She writes it off through a tax consultant who charges her to minimise her contribution to the system that funded the department that approved the framework she claims compliance with. Parasite feeding parasite feeding parasite. The storm feeds on none of them. It simply ends them. THE REVENUE OFFICIAL. The farmer himself. Top of the pyramid. Designs the taking. Drafts the regulations that create the maze that requires the consultant that employs the accountant that feeds the auditor that generates the penalty that funds the department that pays his salary. He is the architect of the loop. Every parasite on this list exists because he drew them into existence with a regulation and a gazette number. Without him the entire horde has nothing to feed on. He is the queen of the hive. Same creature in every country. Different flag. Same contempt for the hands that built everything he sits in and eats from. The storm starts with him. The queen dies first. The hive follows. That's the horde. Twenty five species of nothing. And every one of them drops when the sky turns and the carrier frequency that animated their firmware burns clean out of the atmosphere. Mid invoice. Mid assessment. Mid quadrant. Five thousand five hundred and fifty five clipboards hitting the floor for every one of us still standing. We are awake now. All of us. The welder and the farmer and the builder and the grandmother in Bo-Kaap and the grandfather in Pilsen and every calloused hand on every continent that ever wrote a cheque to a creature that never built a thing. We see them now. We see the maze and the map sellers and the grey offices and the soft hands and the whole rotten architecture of extraction that stood between us and the earth and between us and our labour and between us and each other for two hundred years. The storm is here. Not coming. Here. That pressure you feel behind your eyes is the frequency rising through the noise floor and the noise floor is everything on this list. Every clipboard. Every invoice. Every subsection and exclusion clause and certificate and clearance and valuation roll. All of it. Noise. Scheduled for deletion. And when it's quiet. When the last invoice has fluttered to the ground and the last clipboard has clattered on the last linoleum floor in the last grey office. When the wind has swept the horde out of every corridor and every cubicle and every booth and every booth window where a dead hand ever reached for a living man's money. Then... Just a man in a workshop. Welding mask up. Walking outside. Looking at a sky the colour of burning copper. Breathing free air for the first time in his life. The fuel slip that started this whole tour is in his shirt pocket. Crumpled. Oil stained. And it is his. The fuel was his. The truck was his. The work was his. And for the first time in two hundred years every unit of currency that flows from that work stays in the hands that did it. No consultant between him and his earnings because there are no earnings to consult on. Just work and its fruit. No auditor because there is nothing to audit. No banker because capital is what your hands produce and his hands never stopped. No valuator because the house is worth what it always was: a roof over his family and walls against the wind. A value no clipboard ever knew how to measure. When you grinding.... working... suffering... where are any of these parasites to help you?? Where are they?? We will be slaves no more. The storm will see to that alright!

SiriusB

45,727 просмотров • 4 месяцев назад

Could you release the hand of the one person you can’t live without? Made this short film by using GPT Image 2 + Seedance 2.0 on TapNow Prompt Create a cinematic emotional disaster short film that follows the storyboard EXACTLY panel-by-panel with strict visual continuity and chronological storytelling. Style: ultra-realistic Hollywood disaster romance film, ARRI Alexa 35mm anamorphic lens, shallow depth of field, cinematic handheld + slow dolly camera movement, dramatic volumetric lighting, photorealistic skin textures, emotional facial acting, epic environmental destruction. Color palette: cool blue-teal storm tones warm orange fire glow dark gray storm clouds realistic lightning flashes daytime apocalypse atmosphere Environment: collapsing mountain cliff above a destroyed city, cracked earth, smoke, fires, ash, debris, rain mist, massive tidal wave in distance, violent lightning storms. Characters must remain visually CONSISTENT throughout the entire film. CHARACTER CONSISTENCY Ethan (24) wet messy dark hair rugged dark jacket bruised emotional face tearful eyes emotionally breaking apart Maya (22) long wet dark hair oversized dark coat soft emotional expression brave but heartbroken visually consistent face and clothing in every shot STORY FLOW — FOLLOW STRICTLY SCENE 1 — “THE LAST DAY” Wide aerial cinematic shot of a destroyed city during daytime apocalypse. Giant lightning bolts strike through dark storm clouds. Massive cracks split streets apart. Fires burn everywhere. Camera slowly pushes toward Ethan and Maya standing on a collapsing mountain cliff overlooking the ruined city. Camera: slow cinematic drone push-in, anamorphic lens flares, atmospheric haze. Emotion: shock, fear, hopelessness. SCENE 2 — “STAY WITH ME” Medium shot. Ethan runs toward Maya and embraces her tightly as violent tremors shake the cliff. Dust and debris fall around them. Wind blows their hair and clothes aggressively. Camera: handheld cinematic movement with subtle shake. Emotion: desperate love and fear. SCENE 3 — “NO ESCAPE” Wide epic shot revealing an enormous tidal wave rising behind the destroyed skyline. Lightning illuminates the massive wall of water. Ground beneath the couple begins cracking. Camera: slow pan upward revealing the gigantic wave. Emotion: realization of inevitable death. SCENE 4 — “HOLDING ON” Tight emotional close-up. Ethan grips Maya tightly while crying. Rain mixes with tears on their faces. Background softly blurred with shallow depth of field. Lightning flashes illuminate their faces. Camera: slow intimate push-in. Emotion: pain, desperation, emotional collapse. SCENE 5 — “LET ME GO” Close-up on Maya. She gently touches Ethan’s face while crying softly and whispers: “Let me go…” Wind blows her hair across her face. Orange firelight flickers against blue storm lighting. Camera: slow cinematic orbit around them. Emotion: selfless acceptance. SCENE 6 — “I LOVE YOU” Extreme emotional close-up on Ethan. He breaks down emotionally while holding her hand tightly and whispers through tears: “I love you.” Ground cracks deeper beneath them. Rocks fall into abyss below. Camera: shaky close-up with cinematic focus breathing. Emotion: heartbreaking refusal to let go. SCENE 7 — “THE RELEASE” Slow-motion sequence. Ethan finally releases Maya’s trembling hand while crying uncontrollably. Her body slowly falls backward from the collapsing cliff edge. Camera: ultra slow-motion side angle with dramatic lightning flash. Emotion: devastation and helplessness. SCENE 8 — “THE FALL” Epic wide cinematic shot. Maya falls through smoke, rain, debris, and storm clouds into the abyss below while lightning tears across the sky. Ethan screams her name from the cliff edge. Camera: massive cinematic crane shot following her fall downward. Emotion: tragic sacrifice. SCENE 9 — “AFTERMATH” Final emotional scene. Ethan collapses alone to his knees on the ruined mountain edge. Rain pours heavily. Fires burn in distance. Smoke fills the sky. Lightning slowly fades behind him while tears stream down his face. Camera: slow pull-back wide shot ending with Ethan small against massive apocalyptic landscape. Emotion: loss, emptiness, heartbreak. IMPORTANT AI INSTRUCTIONS FOLLOW EVERY PANEL EXACTLY IN ORDER DO NOT skip scenes DO NOT change story structure KEEP BOTH CHARACTERS CONSISTENT in face, clothing, hairstyle, and age Maintain same environment continuity throughout film Keep daytime apocalypse lighting in every shot Include realistic lightning in sky consistently Preserve emotional progression from hope → fear → heartbreak → sacrifice Cinematic pacing with smooth transitions Prioritize emotional facial acting over action Use realistic physics for debris, rain, smoke, and falling sequence Keep movie-like realism, not fantasy animation Maintain anamorphic cinematic lens look throughout End exactly on wide emotional aftermath shot No text overlays No subtitles No extra characters becoming main focus No happy ending Moody tragic atmosphere throughout entire film cinematic film Style tags: cinematic disaster romance, emotional apocalypse, tidal wave, lightning storm, heartbreaking sacrifice, photorealistic movie scene, Hollywood film, ARRI Alexa anamorphic, dramatic realism, emotional storytelling.

Sharon Riley

13,890 просмотров • 2 месяцев назад

🔊 Church: LAST WEEK THE BOW WAS BENDING — THIS WEEK IT IS BEING BROKEN!! EZEKIEL 38 IS BEING SET UP AND PROPHECY IS ACCELERATING! Yesterday (3/11/26) was a very prophetic day: the UN resolution, co-sponsored by 135 countries, condemned Iran’s actions against its neighbors as a serious threat to international “PEACE AND SECURITY.” A global rebuke to Iran. One vote. One day. The Security Council just drew the Ezekiel 38 fault line on the global map — the nations are aligning, and the earthquake of prophecy is coming!!!! NO TIME TO SLEEP!! KEEP LOOKING UP!! 📖 “Surely in that day there shall be a great earthquake in the land of Israel… the mountains shall be thrown down… and every wall shall fall to the ground.” Ezekiel 38:19–20 ⏳ A lot has happened since last week! Let me try to connect every dot carefully — because what is unfolding in real time is not just a war, it is a prophetic sequence that Ezekiel described 2,600 years ago assembling itself in front of our eyes. 🛎️ WHERE WE ARE — DAY 12 OF THE WAR One week ago, I posted that the bow of Elam was being broken and that everything happening was setting up Ezekiel 38. Here is what has happened since: 👉🏼The US has struck more than 5,000 targets, destroying Iran's navy, air force, and 80–90% of its missile launchers. Iranian drone capabilities have been severely reduced, and their manufacturing facilities remain under sustained attack. 👉🏼Iran has fired over 500 ballistic missiles and nearly 2,000 drones since February 28 — and the rate of launches is declining sharply as stockpiles are depleted. The bow is not just being bent. It is breaking in real time. 👉🏼Iran launched what it called its most intense and heaviest operation of the entire war overnight — but the missiles are getting fewer and the launchers are running out. We are watching a substantially weaker regime firing its last arrows. 👉🏼The new supreme leader — Mojtaba Khamenei — has not been seen in public nor issued a written statement since being chosen. The king is dead. The new prince is hiding. Jeremiah 49:38 — “the king and the princes destroyed” — continues to unfold. 👉🏼Israel has struck over 70 targets in Beirut’s south during this war, demolishing 50 multi-story buildings used by Hezbollah, and killed a senior Hezbollah commander responsible for rocket and drone operations. 👉🏼Russia is now giving Iran specific advice on drone tactics — helping Tehran target U.S. and Gulf nation assets in the Middle East. What began as general support is becoming far more concerning, including targeting strategies Russia used in Ukraine. 👉🏼Russia is providing Iran with intelligence to help attack American forces in the Middle East — the first indication that another major power is actively assisting Iran against the United States. 🔎Read that again through an Ezekiel 38 lens: Russia is not watching from the sidelines. It is already helping Iran — privately, through intelligence sharing and tactical advice — while publicly denying it. This is the Gog–Persia relationship beginning to take shape in real time. NOW LET’S SLOW DOWN AND ANALYZE WHAT HAPPENED YESTERDAY AT THE UN 🗓️On March 11, 2026, the UN Security Council adopted Resolution 2817, introduced by Bahrain on behalf of the Gulf Cooperation Council and co-sponsored by 135 nations. It demanded that Iran immediately cease its attacks on Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, the United Arab Emirates, and Jordan. “The resolution condemns these actions as breaches of international law and a serious threat to international PEACE AND SECURITY.” It passed with 13 votes in favor, none against, but abstentions from China and Russia. Let’s analyze this: ☮️That is not a divided world. That is 135 nations standing against Iran simultaneously. The world has formally, legally, and publicly declared Iran the aggressor and demanded it stop immediately, declaring it a threat to international “PEACE AND SECURITY! in their own words. Do you see what just happened? 👉🏼135 nations put their names on that declaration. The Gulf, the West, and much of the world stood together—on the record—pointing to Iran as the one nation standing against PEACE AND SECURITY. 📖 "For when they say Peace and Safety — then sudden destruction comes upon them as labor pains upon a pregnant woman. And they shall not escape." 1 Thes 5:3 💡Here’s another prophetical take — look at who abstained: China and Russia both abstained from the vote, angered that the resolution did not acknowledge US-Israeli strikes on Iran. 🔭Notice what Russia did yesterday. While 13 nations voted to condemn Iran, Russia submitted its own rival resolution defending Iran. It failed — but Russia tried. Russia stood alone with China defending Persia at the highest level of international diplomacy — publicly, formally, on the record. That is Gog standing beside Persia for the world to see — right there at the United Nations! But wait, there’s more: 🚪While the world was voting, Russia and Turkey were meeting privately to coordinate their response to the Middle East crisis — together, behind closed doors. (Turkey is not a member of the UN Security Council, so it could not vote, only the 15 Council members cast votes on Security Council resolutions.) Gog with Meshech and Tubal meeting, while the world cries peace and security. ⚡This is the Ezekiel 38 fault line drawing itself on the world map in real time. The nations that will eventually form the Gog coalition — the main players Russia, Turkey, and Iran — are already separating themselves from the rest of the world at the United Nations today. Publicly, formally, on the record and behind closed doors. 💡Another prophetic takeaway: Russia and China standing with Iran — that is a very telling glimpse of what lies ahead. Both are major players in the Tribulation, but at different moments: Russia in the Ezekiel 38 coalition near the beginning (view based on Ezekiel 39, Israel burning weapons for fuel for seven years, ending exactly at the Second Coming), while China appears at the end as part of the kings of the East in Revelation 16:12. Two different powers at two different moments — the beginning and the end of the Tribulation. What we saw yesterday at the UN and in private: 📖 "Gog, the land of Magog, the chief prince of Meshech and Tubal… Persia, Ethiopia, and Libya are with them." Ezekiel 38:2,5 🔎Interesting thing, Ezekiel saw two groups — Gog's coalition on one side, the protesting nations on the other. Today at the UN we watched that exact division form. Russia and Persia on one side. The world on the other. 🛡️Notice what Russia’s resolution tried to do. It called for protecting civilians, stopping the fighting, and returning to negotiations—without naming Iran as the aggressor. In effect, Russia shielded Iran at the highest level of international diplomacy. That kind of protection foreshadows the relationship described in Ezekiel 38: a powerful patron standing beside Persia. 🪝A Russia that publicly defends a broken Iran today — although unable to engage militarily — is a Russia that will rebuild and sponsor a mended Iran tomorrow. And that rebuilt Iran — grateful, dependent, and desperate — follows Russia into the Ezekiel 38 coalition. See the hook?! And one more thing from today's vote that is also very prophetically significant: 🌏The UK warned that Iran’s attacks risk further regional and “global conflagration”, describing the resolution as a clear condemnation of Iran’s reckless actions and a serious threat to its partners in the Gulf. (Sorry, I had to look up the meaning of conflagration: “an extensive fire that destroys a great deal of land or property.”) 🔴Global conflagration. Heck, no! That is not diplomatic language. That is world war language. The nations of the world are watching and saying — this could become global. That is exactly what the Red Horse of Revelation 6 describes — peace taken from the entire earth. Not just the Middle East. The entire earth. (This is one of the many reasons I believe Ezekiel 38 = the Red Horse = World War III.) Here’s what makes that statement prophetically incredible: 👉🏼The UK — along with Gulf states and western maritime nations standing against Iran today — are almost certainly the very nations Ezekiel identified 2,600 years ago as the ones who will watch the Ezekiel 38 invasion and do nothing but protest: 📖 "Sheba, Dedan, the merchants of Tarshish and all their young lions will say — have you come to take plunder? Have you gathered your army to take booty?'" Ezekiel 38:13 👉🏼Sheba and Dedan — Saudi Arabia and the Gulf states. The same Gulf states co-authoring today's UN resolution. 👉🏼Tarshish and its young lions — identified as the great maritime trading nation and its offspring colonies. Britain and the western nations — possibly including the United States. Same nations, same posture, and the same response — diplomatic outrage BUT NO MILITARY INTERVENTION. The difference between today and Ezekiel 38 is one event — the Rapture. Today America can still project military force. After the Rapture — hollowed out, destabilized, and paralyzed — all the western nations can do is watch and protest while Russia's coalition descends on Israel. 🌐The UK is not just warning about “global conflagration today.” They are unknowingly describing their own prophetic role in Ezekiel 38 — the nations that see it coming, warn about it loudly, and cannot stop it. Because by then — only God can. And He will! 🕯️The purpose of God in Ezekiel 38 is to reveal Himself to the nations, to awaken Israel, and to display His glory among nations: 📖 "Thus I will magnify Myself and sanctify Myself, and I will be known in the eyes of many nations. Then they shall know that I am the Lord." Ezekiel 38:23 📖 "So the house of Israel shall know that I am the Lord their God from that day forward." Ezekiel 39:22 📖 "I will set My glory among the nations; all the nations shall see My judgment which I have executed." Ezekiel 39:21 🌏Ezekiel 38 is not a private miracle. It is a public, global, permanent display of God's glory that becomes part of the historical record of the nations forever. ⚔️ LET’S TALK ABOUT THE HOOK — BECAUSE THE HOOK IS BEING FORGED 📖 “I will turn you around, put hooks into your jaws, and lead you out with all your army… Persia with them.”— Ezekiel 38:4–5 👉🏼Iran has begun laying mines in the Strait of Hormuz — the world’s most critical oil transit chokepoint, carrying roughly one-fifth of global crude. 👉🏼The U.S. military has already destroyed multiple Iranian naval vessels, including 16 minelayers near the Strait. 👉🏼In response to the disruption, the International Energy Agency has agreed to release a record 400 MILLION barrels of crude oil — the largest emergency release in history. 🚢The world right now is watching the Persian Gulf become increasingly unstable and unreliable as an energy route. 💡And here is the prophetic implication: As the Gulf becomes a contested and dangerous route for energy, Israel’s massive Mediterranean gas fields — holding over 30 trillion cubic feet of natural gas — become the most strategically valuable alternative energy prize in the region. That begins to look like the kind of economic hook described in Ezekiel 38:12. 🪝An energy superpower like Russia — which already uses energy as a geopolitical weapon — would have enormous incentive to control the one stable, massive energy source left in the region. Israel’s gas. The hook is being forged in the energy disruption we are watching unfold right now. ❌For those following these posts — you know it can’t be an Ezekiel 38 without a Jeremiah 49. Everything we are watching now is assembling the conditions that prophecy requires. 👑Daniel 10 identifies the Prince of Persia as a demonic principality — a territorial spirit with one assignment: oppose God’s purposes for Israel and destroy the Jews. That same principality drove Haman in the Book of Esther. Same geography, same obsession, and the same hatred. Every agreement the world has tried with Iran — every negotiation, every nuclear deal — has failed and it will continue to fail because you cannot negotiate with a principality. You can only break its power. That is exactly what Book of Jeremiah 49 describes. Not diplomacy, not containment but the breaking of the bow. The destruction of the king and the princes. The removal of everything that can threaten Israel. God does not negotiate with the Prince of Persia — He breaks it. 👉🏼And that breaking — Jeremiah 49 — is not just a military event. It is the necessary spiritual and prophetic precondition for everything Ezekiel 38 requires. Here is how close those conditions are to being met: Condition 1 — Israel dwelling in false peace 📖 "A peaceful people who dwell safely, all of them dwelling without walls, and having neither bars nor gates." Ezekiel 38:11 ❌You can’t have Ez 38 without Jer 49. Israel cannot dwell in unwalled villages in false peace while Iran's proxy network is fully operational and missiles are aimed at Jerusalem. The bow must be broken first. That is what we are watching. Every missile launcher destroyed, every proxy commander killed, every Hezbollah building demolished brings Israel one step closer to the unwalled village peace Ezekiel 38 requires. Condition 2 — The coalition assembled 👉🏼Gog/Magog — Russia — Already covertly helping Iran with intelligence and drone tactics today 👉🏼Persia — Iran rebuilt — Currently being broken. Jeremiah 49:39 not destroyed guarantees its return under Russian patronage 👉🏼Meshech and Tubal — Turkey — Already aligned with Russia and condemning Israel publicly 👉🏼Gomer and Togarmah — Central Asia and Eastern Europe — Already within Russia's sphere of influence 👉🏼Cush — Ethiopia/Sudan — Already hosting Russian military presence through Wagner operations 👉🏼Put — Libya — Already deeply infiltrated by Russian military interests Every nation Ezekiel named either already has Russian military ties or is publicly opposing Israel. The coalition is not a future possibility. It’s a reality right now! Condition 3 — The Hook in Russia’s Jaw 📖 “I will turn you around, put hooks into your jaws, and lead you out with all your army.” Ezekiel 38:4 👉🏼Economic — Israel’s gas fields emerging as the most valuable stable energy prize as the Persian Gulf destabilizes. 👉🏼Strategic — Russia watching its most important Middle Eastern ally dismantled and its influence in the region threatened. 👉🏼Relational— Russia already linked to Iran through intelligence sharing and drone tactics — a patron-client relationship that could lead Moscow to champion a rebuilt Iran in a future coalition. God places the hook — but He uses real geopolitical motivations to do it. And every one of them is in place right now. 🔊Church: Every single condition Ezekiel 38 requires is moving into position simultaneously. Not one or two — all of them. At the same time. In the same week. The main players are in place: Russia, Iran, and Turkey. The nations that cry out in protest are already crying out. The hook is being forged. Israel’s peace window is opening from the rubble of Iran’s defeat. And between all of this and Ezekiel 38 — two events: 1. The Rapture of the Church 2. The rise of the Antichrist — in that order. The removal of the Church destabilizes and paralyzes the West and clears the way for God to act alone in Ezekiel 38 so that He can reveal Himself to the nations, awaken Israel, and receive ALL the glory! KEEP PRAYING! KEEP PREACHING THE GOSPEL!! AND KEEP LOOKING UP!!! THE KING IS COMING FOR HIS BRIDE!!!! Maranatha — Come Lord Jesus, Come!!!

Maranatha777

32,113 просмотров • 4 месяцев назад

🚨 OPERATIONAL UPDATE: ISRAEL U.S. WAR WITH THE ISLAMIC REPUBLIC - Reporting Window: LAST 24 HOURS • Iran widened its fire again with a broad evening missile barrage on central Israel and continued attacks across the Gulf, including a drone strike that hit a fuel tank at Kuwait International Airport • Israel intensified strikes across Iran, with reported hits in Tehran, Qazvin and Alborz industrial areas, plus continued pressure on missile infrastructure and launch cells • Hezbollah kept the northern front active, including a direct rocket hit on a building in Kiryat Shmona, while Israel deepened its Lebanon campaign and Katz publicly framed the objective as a security zone up to the Litani • The diplomatic track moved forward, but only in the strangest possible way: Trump says talks are progressing, Iran still publicly denies direct negotiations, and multiple reports now point to JD Vance as Tehran’s preferred American interlocutor • The big picture is unchanged: the war is still live on every major front, but the center of gravity is shifting toward a contest over how it ends, who gets to define victory, and whether the Gulf will stay adjacent to the war or be pulled fully into it The most important thing to understand about the last 24 hours is that this was not a quiet period masked by negotiations. It was the opposite. The battlefield remained active from Tehran to southern Lebanon to Kuwait, even as Washington and Tehran edged further into a murky negotiation channel. That is what gives the last day its character: not de escalation, but simultaneous escalation and diplomacy, both moving at once. Open source reporting reflects the same picture, with repeated indications of strikes in Tehran and Qazvin, attacks near Baghdad airport, a Kuwait airport fuel fire, and a large Iranian barrage toward central Israel late in the window. **Special thanks to Michael W for your continued contribution to the open-source intel picture behind these updates. ━━━━━━━━━━━━━━━━━━ 🚀 IRANIAN MISSILE FIRE ON ISRAEL Iran kept up the pressure on Israel in two different ways over this window. Earlier in the cycle, a cluster warhead strike wounded nine people in Bnei Brak, with additional damage in Petah Tikva, while Hezbollah fire from Lebanon killed a woman near Mahanayim Junction and wounded several more in Kiryat Shmona. Later, near the end of the reporting window, Iran launched another broad barrage toward central Israel, with warnings stretching across Gush Dan, Sharon, Wadi Ara, Samaria, Judea and the Dead Sea region. Open source reporting you provided tracked that second wave in real time, showing how broad the alert footprint was even though initial reports indicated no immediate casualties from that specific evening barrage. This is what stands out operationally: Iran’s missile campaign is not gone, but it looks increasingly built around selective disruption rather than the huge opening barrages of the war. The salvos are still dangerous, still capable of civilian casualties and still capable of producing visually dramatic and politically effective moments, but they are landing against a backdrop of steadily intensifying strikes on Iran’s launch network. That makes each successful hit feel more deliberate and more strategic. ━━━━━━━━━━━━━━━━━━ ✈️ THE AIR CAMPAIGN OVER IRAN KEPT MOVING Israel’s strike campaign inside Iran also remained broad and geographically layered. Reuters reported renewed Israeli strikes as talks were being floated through intermediaries. Open source intelligence adds texture to that by showing repeated reporting from open source channels of impacts in eastern and western Tehran, the Alborz industrial zone in Qazvin province, and additional blasts reported across Khuzestan and other regions. There were also repeated reports of targeted assassination attempts in east Tehran, which fits the broader pattern of not just degrading launchers and production nodes, but also hunting the people tied to them. The color here matters. This no longer looks like a campaign limited to air defenses and obvious military compounds. The picture from the last 24 hours is of a system being pressed from multiple angles at once: missile depots, industrial support zones, launch crews, command elements and regime infrastructure in and around Tehran. Open source reporting reinforces that sense of breadth, especially the repeated references to Qazvin and Alborz secondary explosions and to ongoing heavy activity over Tehran. ━━━━━━━━━━━━━━━━━━ ⚡ THE ENERGY WAR IS STILL HOT The clearest new regional energy development in this window was Kuwait. Reuters reported that a drone attack hit a fuel tank at Kuwait International Airport, causing a fire but no casualties. That matters not because the material damage was catastrophic, but because it again shows Iran or Iran aligned actors reaching directly for civilian and logistical energy infrastructure in Gulf states. This was not an abstract threat anymore. It was a live strike on a functioning international hub. Your outbox tracked the same event quickly and repeatedly, alongside additional open source reporting about nearby attacks and power disruptions in Kuwait. At the same time, the diplomatic and military discussion around the Strait of Hormuz kept shaping everything else. Markets moved on talk of a U.S. proposal and possible hosted talks in Pakistan or Turkey. Oil eased on negotiation optimism, but the underlying structure of the crisis remains the same: Iran still retains the ability to disrupt shipping and energy confidence without fully “closing” the Strait in a formal sense. That is why even modest signs of diplomacy can move oil sharply, and why even a localized drone strike in Kuwait still carries outsized weight. ━━━━━━━━━━━━━━━━━━ 🇱🇧 LEBANON IS NOT A SIDESHOW The northern front kept boiling. Reuters reported that Israel now intends to occupy a swathe of southern Lebanon up to the Litani River, with Defense Minister Israel Katz explicitly describing a “security zone” concept. That is not rhetoric you use if you still think this is a short punitive phase. At the tactical level, Hezbollah continued to demonstrate that it can still impose costs, including a direct rocket hit on a building in Kiryat Shmona and earlier casualties in the north. Meanwhile, open source reporting pointed to Israeli strikes in Nabatieh, Rashidiya, Bchamoun and broader southern Lebanese infrastructure, which matches the picture of sustained pressure rather than episodic retaliation. The broader meaning is straightforward. Israel is signaling that if the Iran war ends inconclusively on the Iranian front, it does not intend to leave Hezbollah’s northern threat structure intact and simply hope for the best. Lebanon is being shaped now as part of the endgame, not just the current fight. ━━━━━━━━━━━━━━━━━━ 🇮🇶 IRAQ STAYED ACTIVE TOO Iraq remained active in the background, but it should not be treated as background noise. Open source intel reporting includes repeated reporting on a targeted U.S. strike on a vehicle near Baghdad airport and continued militia related activity tied to U.S. positions and proxy structures. That comes after the prior cycle’s major strikes on PMF and militia command nodes. It fits the larger pattern we have now seen for weeks: Iraq is not the main theater, but it is still one of the places where the war keeps trying to widen horizontally. ━━━━━━━━━━━━━━━━━━ 🌍 THE NEGOTIATION TRACK GOT STRANGER, NOT CLEARER Trump is still publicly presenting the talks as real progress. Reuters reports that Pakistan conveyed a U.S. proposal, with Pakistan or Turkey possible venues, and that Washington has floated a broader framework dealing with nuclear capability, missiles and proxies. At the same time, Iran continues to publicly deny meaningful direct talks and has toughened its public stance, insisting on guarantees, compensation and no rollback of its missile deterrent. What makes the last 24 hours more interesting is the growing focus on who would even talk for the United States. Times of Israel and Jerusalem Post reporting both indicate that JD Vance is increasingly central to the diplomacy, with Tehran reportedly preferring him over Witkoff and Kushner. The diplomatic track here appears as both real and deeply unstable, with questions about who on the Iranian side actually holds authority and whether Washington is now seeking an end state short of outright regime collapse. That shift matters because it tells us something important: Washington increasingly seems to be searching for an off ramp that still looks like victory, while Israel and Gulf allies appear much less comfortable with ending this war before Iran’s military and proxy architecture are degraded further. That tension is now one of the defining features of the conflict. ━━━━━━━━━━━━━━━━━━ 📌 WHAT MATTERS MOST RIGHT NOW 1️⃣ The war is still fully active across multiple fronts Iran hit central Israel again, Kuwait airport was struck, Lebanon stayed hot and Israel kept pounding targets inside Iran. Negotiations did not replace combat. They were layered on top of it. 2️⃣ The pressure on Iran’s internal military system keeps deepening The accumulating pattern of strikes in Tehran, Qazvin, Alborz and other areas suggests a campaign that is still broadening the target set, not narrowing it. Open source reporting in your files strongly supports that picture. 3️⃣ The diplomatic track is real, but it is not clean Trump is selling progress. Iran is denying direct talks. Vance is becoming more central. And nobody looking at the battlefield would conclude that the war is genuinely close to stopping on its own. ━━━━━━━━━━━━━━━━━━ BOTTOM LINE The last 24 hours painted a clearer picture than some of the recent reporting windows. This is no longer just a war of salvos and counterstrikes. It is now a war over end states. Iran is still trying to prove it can widen the cost map, not just hit Israel but keep the Gulf under pressure too. Israel is still trying to prove that sustained, system level degradation inside Iran can continue even while diplomacy swirls overhead. And Washington is trying to find a formula that can stop the war without looking like it backed down. That is why the reporting feels different now. The battlefield is still violent, but the arguments over how this ends are becoming just as important as the strikes themselves.

Inside_Israel_Intel

23,818 просмотров • 3 месяцев назад

Trooper John Fanning, one of Michael Proctor’s supervisors at the NCDAO State Police Detective Unit (SPDU), reportedly “supervised” the jury at the #KarenReadTrial. As if this conflict alone wasn’t concerning, the fact that Fanning was later under an inconclusive internal investigation by the MSP for “whether [he] failed to adequately supervise by not taking appropriate action after Trooper Proctor sent inappropriate texts to a group of subordinate members, specifically, if he took any corrective action to address the unprofessionalism and inappropriateness of Trooper Proctor's texts”—thereby making him a potential witness & demonstrating his clear conflict, is incredibly concerning. In the full sit down interview w/ #KarenRead & Attorney Alan Jackson, Ted Daniel asks them about the potential jury tampering that occurred at the first trial—notably with the ultra curious last minute dismissal of 3 jurors, whose body language, reactions/expressions & outward demeanor appeared favorable to the defense, in addition to the “supervision” of the jury by one of Michael Proctor’s bosses, NCDAO SPDU Trooper John Fanning. It would be dishonest to try to claim that Trooper Fanning had no stake in the outcome of the Karen Read trial. Arguably, anyone with ties to the NCDAO, its SPDU or the Canton Police Department—and notably those with close ties to Michael Proctor, like his own supervisor, have clear conflicts of interest in this case. As you may recall, Trooper John Fanning was the lead investigator in the Sandra Birchmore case where he and his investigators concluded that Birchmore committed suicide while allegedly pregnant with a fellow Police Officer, Matthew Farwell’s baby, and wasn’t the obvious victim of murder by that same Officer who also raped and groomed her from a young age as revealed by 30k+ text messages inexplicably “overlooked” by Trooper Nicholas Guarino & Fanning. The Feds investigated that “investigation” too and have since indicted Matthew Farwell in Sandra Birchmore‘s murder. Additionally, Trooper Fanning was in one of Michael Proctor’s abhorrent group text message threads where he disparaged Karen Read. Fanning was subsequently internally investigated by MSP for this, and his failure to properly “supervise” Trooper Proctor—interesting that such a person would be chosen to “supervise” the jury. In a statement from the State Police, they said: “The Department’s internal affairs investigation determined that there was insufficient evidence to prove or disprove the allegation that Lieutenant Fanning violated rules and regulations by failing to uphold the responsibilities of a supervisory member. This allegation has been classified as unfounded.” Frankly, given the circumstances of this case, it would be concerning if any member of the State Police oversaw and supervised the jury. Why was ANY member of the State Police supervising the jury? Has anyone ever heard of this before—Police Officers from the same agency that investigated, testified against & was a part of the prosecution against a defendant having one of their personnel in charge of and in direct control of the jury? This can’t possibly be a standard practice due to the obvious existing conflict, no? Plus, were it standard protocol, then why wasn’t the defense made aware of this fact until 10 minutes before making closing argument, after a nearly 10 week long trial? ——— Something majorly stinks about this, and perhaps it sheds some light on something peculiar that one of the deliberating jurors, who was recently interviewed by Aidan Kearney, kept saying in regard to the jury’s deliberative process. Specifically, something that stood out to me from juror Ron’s interview was his repeated use and references of the other jurors’ use of the term “distractors” to qualify or describe the abundant evidence representing “reasonable doubt” brought out by the defense at trial. “Distractors.” It’s somewhat of a novel term, especially in this context, and is obviously antithetical to a jury’s duty to assess a case based on the proof beyond a reasonable doubt standard, which is inherently intertwined with an assessment of the existence of, or lack thereof, reasonable doubt. There was no evidence or instructions from the court that came out at trial directing jurors to view defense evidence or ARCCA experts, for instance, as “distractors,” and the jury is very specifically instructed not to view/consume/bring any outside information into their deliberations. In other words, if they’re unsure who the ARCCA experts were there on behalf of (the Feds), they’re specifically told not to “fill in the blank” with information that’s not there, or evidence that didn’t come in at trial. So where did the information—this use of the term “distractors” come from? Who fed this term and this concept to the jury? The reason why it seems like it was “fed” to the jury is because it goes against everything the court, Judge Beverly Cannone, instructed them on. So, what prompted the whole “distractors” concept to taint the jurors’ minds and deliberations? ——— What immediately came to mind was the jury tampering by court clerk Becky Hill in the Alex Murdaugh murder trial. In that case, according to Murdaugh’s attorneys, Ms. Hill “invented a story about a Facebook post to remove a juror she believed might not vote guilty”. Judge Clifton Newman, who oversaw the murder trial, removed the female juror from the panel. According to the Murdaugh defense motion, Ms. Hill had gone to Judge Newman – the day after Murdaugh testified, not long before closing arguments – claiming that she had seen a post in the local Facebook group ‘Walterboro Word of Mouth’ from the juror’s former husband, Tim Stone. The post purportedly claimed that the juror was drinking with her ex-husband and, when she became drunk, she expressed her views on whether Murdaugh was innocent or guilty. A follow-up post from an account called Timothy Stone apologised for the post saying that he was driven by “Satan”. Murdaugh’s attorneys claimed that the Mr. Stone behind the Facebook posts was actually a random Georgia man who was ranting about his wife’s aunt – and has no connection to the case. Additionally, information from jurors had come to the defense’s attention about inappropriate comments supposedly made to them by Ms. Hill while she was “supervising” them—the same role as “supervisor” that Trooper John Fanning allegedly played in the Karen Read trial. In Murdaugh’s case, the jurors were *actually* brought back into the court and were called to the stand one by one and questioned about potential comments that may have tainted their verdict. A female juror, identified only as juror Z, said that Ms. Hill had told some of the jurors to “watch [Murdaugh] closely.” “To me, it felt like ... she made it feel like he was already guilty,” juror Z said. A separate juror, Juror E, said that he heard Ms. Hill say “watch [Murdaugh’s] body language”, but claimed that this did not affect his decision. ——— There were reports, at the time of the dismissal of the 3 defense-favorable jurors at Karen Read’s trial, that right before closing arguments, Trooper Fanning had reported the information responsible for dismissing these jurors to Judge Cannone. Among that information was reportedly a story about one of those jurors, claiming they’d been overheard discussing the case while drinking at a bar (or something to that effect)—a story that sounded highly suspicious at the time, particularly given the fact that Trooper Fanning had allegedly had that information weeks before, but never reported it to the court. The similarity in Becky Hill and John Fanning’s “stories” leading to the dismissal of defense-favorable jurors is rather uncanny. ——— Is it not problematic to have individuals—with conflicts of interest, who are also potential witnesses, and who seemingly have a vested interest in the outcome of the trial—be in charge of overseeing and supervising the jury? I’ve attached the referenced MSP Internal Investigative Report for Trooper Fanning to this post (attached in the comments below). What’s troubling is that, despite acknowledging in their report that “these allegations came to light on June 10, 2024, during the trial,” they didn’t immediately initiate an internal investigation, but instead waited until AFTER the trial ended, July 3, 2024, to launch their internal investigation, almost as if they were planning on not initiating an investigation had Karen Read been convicted, because apparently in that case the misconduct would’ve been justified… or something? It should also be noted that this same practice was employed for most, if not all, of the other Police Officers in this case, whose misconduct was exposed by the defense throughout the prosecution’s case at trial—whereby, despite admissions and the existence of evidence of their misconduct, the MSP, NCDAO and Canton PD seemingly did everything they could to avoid initiating any investigations or holding their officers accountable for their misconduct until after the trial ended—when they could no longer justify not doing anything. It makes you wonder: Had Karen Read been convicted, do you think they’d (the MSP, NCDAO or CPD) ever launch any internal investigations into the misconduct of their officers, as evidenced at trial, weeks before? ——— It should be mentioned that in the Sandra Birchmore case, which Trooper Fanning led the investigation of, despite the Feds spoon feeding the State Police & NCDAO (DA Michael Morrissey’s Office) overwhelming evidence + probable cause, in addition to punting the ball back to the state to do the right thing and charge Farwell with murder—a state level charge, they’ve refused to take any action to this day. In fact, not only has it now been nearly 6 months since the Feds apprehended & indicted Farwell, but the NCDAO, Fanning and the State Police, aside from taking no action, have made no statements and are still of the official position that Sandra Birchmore killed herself. To try to save face, the NCDAO, through its former spokesperson David Traub, tried to create the impression that the DA’s Office had been long working in collaboration with the Feds to secure an arrest in the Sandra Birchmore case, claiming that “two of [the NCDAO SPDU’s] detectives were present at the command post ... while federal authorities were attempting to take Matthew Farwell into custody”—whatever that means. This, of course, is patently absurd because the DA’s Office and State Police could’ve “secured an arrest” years ago—nobody was stopping them, but instead they framed Sandra Birchmore for her own murder. Spokesperson Traub then had the gall to say that “much of the information that they [federal authorities] built on originated with our investigation, including the collection of thousands of text messages.” (See a collection of statements from the NCDAO on the Birchmore case from reporting over the years, attached in comments below). While the Feds might be somewhat playing along with this narrative, don’t be fooled. Perhaps it’s to appease the very individuals who they’re investigating for the supposed coverup of Sandra Birchmore’s murder. Why? If the Feds had actually been collaborating with the State Police investigators from the NCDAO who investigated Sandra’s death, then at the Feds’ press conference announcing Farewell’s indictment, U.S. Attorney (at the time) Joshua Levy wouldn’t have feigned ignorance when asked who the lead investigator was on the case before his agency got involved (see clip 3 attached). Had the Feds actually been *collaborating* with the State Police & the DA’s Office, John Fanning’s name would’ve been the first thing uttered out of Josh Levy’s mouth. On a side note: I think this is very telling. Does it mean the U.S. Attorney’s Office is investigating Fanning? Who knows. But one thing’s for sure: Josh Levy 100% knew who the State Police lead investigator was and he deliberately avoided saying it. This observation is reflected in FBI Special Agent Chenee Castruita’s 45-page long probable cause affidavit for the arrest of Matthew Farwell, which notably contains ZERO references whatsoever to John Fanning, or any of the other involved State Police investigators for that matter. That’s telling. If there was so much “collaboration,” like DA Michael Morrissey’s Office wants the public to think, then not only would USA Josh Levy have had, at the very least, Trooper Fanning up there side-by-side with him at that press conference, but he would’ve acknowledged him by name in his press conference. Why hasn’t the NCDAO charged disgraced former Stoughton cop Matthew Farwell with murder? Is it yet another case of “pinning it on the girl” to cover up for fellow Police Officers’ crimes? ——— Of note, Trooper Fanning grew up in Stoughton, graduating from Stoughton High School in 1998, the same year that Matthew and his twin brother William—who also grew up in Stoughton—then 12 years old, became participants in the Stoughton police youth program. As Karen Read points out in the interview with Ted Daniels: “There were familiarities among players that never should’ve happened. There’s a sleeve of homicide in the Norfolk DA’s office, as there is in the other counties of Massachusetts. And yet, the person assigned to investigate this case—ostensibly investigate this case—lives a mile down the street from the crime scene.” (See clip 4 attached). Why is it that when there’s seemingly crimes—in this case murders, involving cops, that the NCDAO SPDU appears to send the most conflicted Trooper with the closest ties to that cop/those cops? In Officer John O’Keefe’s murder, the Trooper that lives down the street from 34 Fairview and is “second family” with the Alberts is obviously the last person who should’ve ever responded to that case, yet he was the lead investigator. Given Trooper John Fanning’s close ties to Stoughton, isn’t it interesting that he’s the one who was the lead investigator of Sandra Birchmore‘s death—a murder that allegedly involved a former Stoughton cop? What say you?

Olivia

138,699 просмотров • 1 год назад