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Pretty THOT let them run a train and gets 3 facials before class #pyt #pytthot #ebony #ebonythot #train #threesome #blowjob #backshots #lightskin #latina #sexy #fatass #cum #cumshot #facial

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Let's talk about training and how hard you need to push yourself at home before you go for any trials. I remember when I knew that I will be traveling for a trial, i stopped going out of my neighbourhood to play football and I just locked in on training for 2month straight. I will do a roadside jogging from my house to the pitch at Ashiribo and I will train for like 2hrs or more and that was my routine every week except Sundays to rest and I did that for 2 months. Victor McDonald assigned me a coach to train and get me ready and he was by far the hardest I have ever trained. Days where I will tie a tyre around my waist to run on the sand, I did a lot of running,strength training, speed work on the sand with tyre. People who see me train have no idea why I was k!lling myself to train that hard. I once trained with Raphael Edereho a guy who I was looking up at that time and I was not able to walk for 2 days after training with him. I trained like my life depends on it. And I stayed away from many things that will slow me down like, bad friends, drinking, sm0king, including girls and I was just locked in on my purpose to make it happen and it paid off. After 3 months that I left Nigeria the news broke out that I signed for Sölvesborg GIF and People were surprised to see it in the news paper and even my father got asked questions like how or when did I traveled. I thought I trained well enough but to my surprise I was no where near ready at all. I couldn't believe what I saw during the trainings I had to call one of my coaches back home and tell him how hard the trainings are for me. The new generation of young players don't like to train and they except someone to just come and say I will take you to trials. Many have failed not because they don't have the talent but because they don't train enough to meet the standards and social media has made them think otherwise. Your preparation is the most important thing you can do for sure yourself and just like Kobe Bryant said if you are well prepared for it you will not be afraid of failure.

Abiola Dauda

15,507 次观看 • 4 个月前

Just so we are all on the same page here... Decarlos Brown Jr knew EXACTLY what he was doing when he m*rdered Iryna Zarutska: >He carried a folding knife onto the train before Iryna ever boarded, he brought a weapon with him DELIBERATELY >He had no train ticket and was riding illegally, meaning he was already hiding his presence from authorities >He spent HOURS riding the light rail before the attack, functioning well enough to navigate the ENTIRE TRANSIT SYSTEM on his own, without help >When two security guards walked past him at 8:18 PM, he went quiet and let them pass without incident, which means he recognized a security presence and adjusted his behavior accordingly >After Iryna sat down in front of him, he waited 4.5 minutes before doing anything... >The video shows he pulled the knife out, unfolded it, and then paused before standing up and attacking, which is clearly deliberate steps with a pause in the middle >He grabbed the seat bar with his left hand to brace himself and st*bbed with his right, a controlled, two-handed technique >He targeted her neck and chest, the two most lethal areas of the human body >He struck her 3 times, not once, three >IMMEDIATELY after, he walked through the train car saying "I got that white girl" TWO TIMES... which is an acknowledgment of a completed criminal, lethal act, with ZERO confusion >AFTERWARDS, he removed his blood-soaked sweatshirt on the train which was an attempt to conceal evidence >He acknowledges to another passenger, "I just st*bbed this girl..." >He attempts to justify the attack by screaming "She called me a n***er" >He wrapped his injured hand before police arrived, which was a calm, purposeful behavior seconds after the killing >He exited at the very next stop and was attempting to leave the area when police caught him... literally fleeing a crime scene is LEGALLY recognized as consciousness of guilt >FURTHERMORE, in a recorded jail call to his sister, he acknowledged killing Iryna, he has NEVER claimed he didn't know what happened >He was previously convicted of armed robbery, served MANY years in prison for it, and understood that using a weapon against another person has legal consequences >In January 2025, 7 months before the m*rder, he was coherent enough to call 911 himself, articulate a specific complaint to officers, argue with those officers when he disagreed with them, and then call 911 a SECOND TIME while they were still standing there to demand more police. Despite all of this evidence, he has been determined to be incompetent to stand trial. The fact that this man is still breathing the same air that we are 1 year after this attack is a travesty of justice. The entire case is on video, and it is horrific and evil…

Matt Van Swol

121,583 次观看 • 1 个月前

I am a 4’11” 130lb woman with curves and small hands. Every week it never fails that I have someone in my class telling me they have a gun they have never shot but they got it for their wife or a wife who has a gun their husband picked for them and expects them to carry. As much as I appreciate good men who want to arm and protect the ladies in their lives, please understand that a woman’s right to choose exists - THE RIGHT TO CHOOSE HER OWN FIREARM. You should shoot guns before you commit to buying them. Make a list of the guns you shot, what you liked, what you didn’t like. How comfortable and confident are you that you can function and conceal that firearm? Do you have the capabilities to shoot it one handed? (Maybe not the skill set yet, but can you touch the trigger, mag release, slide stop without compromising your one handed grip?) Can you rack the slide? If not, consider a pop up barrel, wheel gun, etc. Can you mitigate the recoil? Is it just right that you can conceal it, deploy it and place defensive rounds on target consistently and confidently? Your every day carry needs to be a gun that you LOVE to shoot. If you don’t love it, you won’t carry it, you won’t train with it and you darn sure won’t be ready if a threat actually presents itself. Let the ladies decide what they want to shoot. Get them training with a vetted educator like myself. Get them on range with that educator and help them grow their skills. If you need help, here I am! Stay armed. Stay dangerous. Stay alive. 💋

Alicia Garcia

440,270 次观看 • 10 个月前

Dropout by hand ✍️ ~ 10 steps walkthrough below Dropout is the simplest trick in deep learning that actually works: during training you randomly switch neurons off, so the network cannot lean on any one of them. It is two lines of code and almost nobody has worked through what those lines do to the numbers. So I drew and calculated one entirely by hand. Goal: train one pass through a small network with two dropout layers, then run inference with dropout switched off. The network: Linear(2,4), ReLU, Dropout(0.5), Linear(4,3), ReLU, Dropout(0.33), Linear(3,2). = 1. Given = A training set of two examples, X1 and X2, and the weight matrices for all three linear layers. = 2. Draw the first random numbers = Let us draw 4 random numbers, one per neuron in the first hidden layer. Above 0.5 we keep (◯), below we drop (╳). Here that gives [◯, ╳, ◯, ╳]. = 3. Build the first dropout matrix = We turn that pattern into a diagonal matrix. The scaling factor is 1/(1-p) = 2, so a kept neuron gets 2 and a dropped one gets 0. Multiplying by it does both jobs at once: it deletes the 2nd and 4th neurons and doubles the two that survive. = 4. Draw the second random numbers = Let us do it again for the 3 neurons in the next layer, this time against p = 0.33. The result is [◯, ◯, ╳]. = 5. Build the second dropout matrix = We set the diagonal to 1.5 where kept and 0 where dropped. Only the 3rd neuron goes. = 6. Feed forward = Let us run the whole thing top to bottom: one matrix multiplication per layer, ReLU setting the negatives to zero, and the two dropout matrices doing their work in between. The outputs Y come out at the bottom. = 7. MSE loss gradients = We compare Y against the targets Y', subtract, and multiply each element by 2. That is the whole gradient of the mean squared error. = 8. Update the weights = Let us push those gradients back through the network and update the weights (marked in light red). = 9. Deactivate dropout = Training is over, so we set both dropout matrices to the identity. Every neuron is back, and nothing is scaled. = 10. Feed forward again = One more pass, this time on unseen data, to make the prediction. You have just trained and run a network with dropout by hand. ✍️ The outputs: Training outputs Y = [-6, 9; 13, 4] Loss gradients = [-4, 4; 6, -2] Inference outputs = [13, 13; 4, 3] 💾 Save this post! #AIbyHand #Dropout #DeepLearning #NeuralNetworks

Tom Yeh

14,442 次观看 • 2 个月前

🐻Hey, we're watching live. 🐰I know~~That's why I'm not coming. 🐹Jungkookie's here. 🐨Jungkook-ah, come here. 🐹Hey, now that Jungkook's here, let's end the live. 🐰You can't do that. 🐥Hey, why aren't you eating? 🐰Ah, I'm filming something inside again. 🐻What did you film? 🐨Breaking news. 🐥Is it because we're eating that we can't hand these out? 🐻What do you mean? 🐥No. 🐹No, it's nothing. They already took everything. Take it all. 🐥But there's something warm here. Do you want it? 🐰No no~~ I'm eat after this finished 🐹Jungkook doesn't usually eat things like this anyway. 🐹Hey, Jungkook, there's a train. There's a train. 🐰There's a train. 🐻Wait, wait. 🐹Look.~~On the left... Play the song again. 🐥If you ask Gok~~ he'll answer. You know, those... 🐰Balance game quizzes?? 🐹No, look.There's a train. Jimin is tied up on the left. If you turn the train to the left, Jimin dies. But there are five strangers on the right. The train is heading toward them. Which side would you choose? You're the train conductor. 🐨I'd let it pass by. The right side. 🐹So you'd save Jimin. What if there were a hundred strangers? 🐰See? This is exactly why balance games are a problem. 🐥But in my opinion... 🐰But the problem is that people keep saying, 'Try it, try it,' and end up creating these ridiculous (trash) scenarios. 🐹No, if there were a hundred people, I'd tell them to come over to my side. 🐨"First of all, they decide who's going to be the 'trash' (the one to sacrifice), and then build the scenario around that." 🐥Yeah, if it were a hundred people, I'd tell them to come to my side too. 🐰Still... they're family. 🐹Then the number becomes ten thousand, then a million. Eventually it's, "Everyone on Earth except our members and family is over there." 🐰This is why balance games are the problem. No, seriously... 🐻Exactly~~Right. 🐰"They're like, 'What about this?' It just gets so ridiculous." 🐰Hey~~Jungkook's crooked. 🐻Hey, look over there. Jungkook, bring that macaron over here. 🐰The macaron?Where? 🐻Over there.🐰Where? 🐻That one that looks like a squirrel trapped in a garden. 🐰Ah, this one? 🐨Wow, "a squirrel trapped in a garden." 🐰Choco, choco 🐥Wow, "a squirrel trapped in a garden..." 🐹Isn't that the one from when we filmed Run BTS? 🐥That's you. 🐹Back when we filmed Run BTS. 🐥He's the one who did it. 🐻That one doesn't really look alike, though. 🐰Just by looking at it...Oh. 🐥You're right~It looked like that. 🐰Just by looking at it, this one looks the most delicious. 🐻Lately I've been craving desserts. 🐥I seriously felt like throwing up because of that. 🐻Just take that one out. 🐰It looks the tastiest. 🐥Wait, you can eat this? 🐰"A squirrel trapped in a garden." The hotel prepared these. They even have the Arirang logo on them. 🐻What's that?( Showing something to RM) 🐥Can I just look at it? What's this? 🐰A chocolate macaron. 🐻A stamp. 🐹I don't really like desserts. Should we play rock-paper-scissors? ( Jungkook adjustimg camera while members talking ) 🐰The angle is... 🐹You should explain that first. 🐰Like this... 🐹I need to shower too. 🐰Like this. 🐹Yeah. It's already twelve o'clock. 🐰Like this~Like thi~~That's right. Like this, This, this, this... Right, right, right. 🐹Hey, Namjoon-ah. I have something to tell you. 🐨Okay. 🐹Come out for a second. 🐨Okay Okay. 🐰We're going to end it? You're trying to end it, aren't you? 🐹No, no, no, no, no, that's not it. 🐨Let's all turn on our phones. Let's all use your phone. No. 🐨I was going to do that after this ended. 🐹Namjoon, come here. 🐨I just really want to shower. 🐥This is seriously a crossroads. 🐰I've..Been through something before. It's already twelve. 🐻Sit down, sit down. 🐰Go take a shower. 🐨My battery's dead. 🐻Sit down~~Let's talk a bit. 🐥It's Hyung's phone. 🐰Oh, it's Hyung's phone. 🐻But first~~ 🐰Then we should go. 🐹No, I have no intention of ending it. 🐨Turn them all on. Turn them all on. +

ₚᵣᵢₛₛₕᵢₑ𓍯𓂃𓏧♡

94,659 次观看 • 3 个月前

Journey through Hell made with seedance 2.5 prompt :One continuous 30-second chaotic amateur first-person smartphone video filmed by a standing passenger inside a completely packed magnetic-levitation commuter train. Single unbroken take with no cuts, jump cuts, dissolves, crossfades, double exposures, portals, morphing or artificial scene transitions. The train begins as an ordinary weekday commute on Earth and then physically travels downward on an impossible journey — through subway tunnels into bedrock, into a colossal void beneath the crust, past a soot-blackened waiting platform, through an immense eroded gate, out above a burning plain, down the terraced wall of a vast pit, and into the inhabited depths of Hell. Everything must feel physically connected, as though the same train is genuinely travelling down through each environment. The tone is bureaucratic dread, not horror-movie shock. This is a scheduled service. The route is old, the infrastructure is worn, and the train runs it the way it runs any other line. The horror comes from how ordinary the journey is and how enormous the destination turns out to be. The interior is a completely packed standing-room-only maglev commuter car. Passengers are pressed shoulder-to-shoulder, gripping overhead straps and vertical poles. Backpacks are squeezed between bodies, coats and loose clothing shift with acceleration, straps swing on their inertia, and the entire carriage constantly vibrates and rattles. The camera is a cheap smartphone held at chest height by one standing passenger who grips a pole with the other hand. The phone itself is NEVER visible because the phone is the camera. The framing is crooked, slightly off-centre, partially blocked by shoulders and arms, and imperfect like genuine accidental footage. The camera constantly shakes, rolls, yaws and gets thrown around by acceleration. Use realistic rolling-shutter distortion, autofocus hunting, exposure pumping, blown highlights, crushed noisy shadows, low-bitrate compression, macroblocking and smeared motion blur. It must look like genuine spontaneous smartphone footage, not professional cinematic footage. The camera always looks through the LEFT-SIDE WINDOWS at approximately 90 degrees to the train's direction of travel. The train always travels forward and the outside world always streams past the windows from front-to-back. Never switch to a forward-facing train-nose view. Never show the front of the train. The same carriage, same passengers, same poles, same straps and same windows remain visually consistent throughout the entire journey. The interior is the constant realistic anchor while the outside world becomes increasingly impossible. 0 to 3 seconds. Begin with an ordinary overcast weekday commute on an elevated urban line. Grey apartment blocks, rooftop water tanks, a scrapyard, overhead wires, a canal and traffic on a road below streak past the left windows at different distances with realistic parallax. The passengers are tired and mostly uninterested — some on phones, some staring out, some talking quietly. A calm public-address chime sounds and an announcer quietly says, "Next stop: Hell." Nobody reacts. One passenger glances up briefly and goes back to their phone. The train accelerates and everyone instinctively tightens their grip as the carriage gives a hard lateral jolt. 3 to 6 seconds. The line drops into a cutting and then into a tunnel. Tiled subway walls, cable runs, service lights and a passing platform strobe across the windows in hard bands of light and dark, throwing the carriage into stuttering illumination. The tunnel ages as the train descends: modern concrete becomes older brickwork, then rough-cut stone. The fittings become scorched and soot-caked — blackened signal lights, corroded brackets, cabling burnt down to bare metal. This route has been running a long time. The gradient steepens noticeably; passengers lean back against the pitch and the straps hang visibly off-vertical. 6 to 9 seconds. The tunnel wall becomes raw geology and the train is now clearly descending through the crust at impossible speed. Through the left windows the rock face streaks past in visible strata — pale limestone, dark shale, red iron-stained bands, seams catching the carriage light. The air begins to heat and passengers loosen collars. Then, under the mechanical roar, a sound arrives before anything is visible: a vast, distant, continuous mass of human voices, far away and heavily reverberant, never resolving into individual words. It is not loud. It is simply there, and it does not stop. Two passengers look at each other. Nobody says anything. 9 to 11.5 seconds. The rock wall falls away entirely and the train emerges into a void larger than a city, with no visible far side. It runs along a ledge on the wall; below the windows the space drops away into darkness. Stone columns kilometres tall stand in the void with strong parallax — near ones sweeping past, distant ones barely shifting. Far below and far ahead, a faint orange glow is already visible. It must already exist in the frame from this moment and grow continuously from here forward without ever popping or suddenly enlarging. The voices are louder here, spread across an enormous space. One passenger near the glass leans forward slightly. Another quietly says, "Ohh." 11.5 to 14 seconds. The train passes a station. A soot-blackened platform is cut into the rock wall — worn edge, dead lamps, faded markings unreadable under the grime — and figures are standing on it in an orderly queue, waiting, facing the track, completely motionless. They are seen for less than a second at speed, as dark shapes against the platform light, never close enough to read faces. The train does not slow. Nobody boards. The platform is gone behind the carriage. This is the moment the passengers understand. Several stop looking at their phones. Embers begin drifting upward past the windows from below. 14 to 16 seconds. Ahead, a wall crosses the entire void — a single continuous barrier extending beyond sight in both directions and upward past the ceiling. The train passes through an immense gateway cut into it, an arch hundreds of metres tall, its stone eroded smooth by an unimaginable volume of traffic, its carved markings worn past legibility. For half a second the carriage is in the shadow of the arch and everything goes dark. Then it is through, and the light on the far side is completely different: warm, hard, and coming from below. 16 to 19 seconds. The train races above a burning plain. Outside the left windows: a vast crusted expanse of dark solidified ground cracked into slow-moving plates with brilliant orange fissures running between them, distant fountains of molten material rising and falling in slow motion because of their true scale, and smoke columns standing kilometres high. Running across it are raised stone causeways, and on the causeways are crowds — dense, continuous, moving slowly, all in the same direction, extending to the limit of visibility. They are seen only as masses at distance, never in detail. The light entering the carriage is now dominant and hard, throwing sharp orange edges on faces, poles and straps with deep black shadows behind them. The interior air is visibly hazy. The voices are constant. 19 to 21 seconds. The plain ends at the rim of a colossal pit — a shaft so wide the far wall is only a suggestion in the haze. The train races over the edge and begins descending along the interior wall. The wall is terraced: enormous concentric ledges receding downward, each deeper and darker than the last, disappearing into smoke layers. The descent acceleration pushes the passengers down and forward against the poles. Ash begins striking the windows and streaking backward. 21 to 23 seconds. The terraces are populated. Endless slow processions move along every ledge, strings of figures following the curve of the wall down into the smoke and out of sight, lit from below by the fires beneath them. There is no chaos in it — it is orderly, patient and entirely without end, which is worse. Furnace mouths open in the rock face, glowing white at their throats, and long queues stand before them. Everything is at distance. Nothing is close enough to resolve. The light entering the carriage takes on a deeper red and the fluorescents are overwhelmed. Passengers nearest the window press slightly closer to the glass. 23 to 25 seconds. Enormous shapes move among the terraces — figures many times the height of the crowds around them, walking slowly along the ledges, their scale established only by comparison. They do not look at the train. Distant winged forms cross beneath the carriage at low altitude with slow heavy wingbeats appropriate to their size and vanish into the smoke. Stone pens and barred openings are cut into the wall in their thousands, receding into the haze like housing. Ash accumulates in the corners of the windows. The carriage is hot enough that the glass fogs and clears in waves. 25 to 27 seconds. The train reaches the deep layer and the full extent of Hell reveals itself. It is not a city on a human plan and it is not a cavern. It is a continuous inhabited geology extending in every direction — towers of black stone fused into cliff faces, vaults hollowed out of the rock at cathedral scale, rivers of molten material running in cut channels between districts and falling in slow luminous cataracts to levels further down, bridges spanning gaps kilometres across, and everywhere on all of it, crowds. Smoke columns rise for kilometres and flatten against unseen ceilings. Every level is lit by its own fires. The train races along a ridge line through the middle of it; arches and aqueduct spans pass overhead and terraces stream past below the window with violent parallax. It is impossible to see where any of it ends. 27 to 29 seconds. The depths continue past the windows. The camera struggles badly with the contrast, blowing out the fires and crushing everything else into noise. Ash cakes the corners of the glass. Passengers are pressed against the windows in total silence, faces lit from below in hard orange, expressions stunned and completely still. One person quietly whispers, "What is that?" Nobody answers. Autofocus hunts between the ash on the glass and the world beyond it. 29 to 30 seconds. The fires end. The train passes out of the smoke and the lowest region opens — and it is not burning. It is a vast frozen plain stretching beyond the visible horizon, an impossibly wide sheet of dark grey ice, absolutely still, lit by nothing but a faint pale glow from within itself. Shapes are visible held motionless within it, spaced far apart, receding to the horizon, never shown in detail. Every exterior sound stops at once — the voices, the fires, everything — leaving only the carriage. The heat drops out and frost blooms instantly across the outside of the windows. The scale feels planetary. The passengers stare in complete silence. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." The train continues moving. The camera keeps shaking naturally as the frozen expanse extends endlessly beyond the left window. Lighting The lighting must evolve naturally throughout the journey. Begin with flat overcast daylight around 6500K. In the tunnels use harsh strobing bands from passing service lights against near-total dark, then let the sources become sparse until the carriage's own weak fluorescent tubes are the only illumination. In the void the interior lights fall off into nothing. Then introduce a growing warm orange from below — first a faint wash on the lower half of faces, then mixing with the cold interior white, then completely dominating it: hard, high-contrast, sharp-edged, with deep black shadows. Above the burning plain it should be strong enough to blow out the phone's sensor at the window. In the deep layer it becomes red-orange and omnidirectional from countless fires at every distance. In the final second all warm light vanishes and is replaced by a faint pale luminance from the ice, cold and almost sourceless. All exterior light must enter naturally through the LEFT-SIDE WINDOWS and fall across passengers' faces and clothing at every stage. Do not add artificial interior lighting to create the colours. Passengers Keep all passengers completely ordinary throughout the journey. Realistic skin texture, subtle capillary variation, natural blinking, breathing, eye movement and imperfect facial symmetry. Clothing has realistic folds and responds to acceleration. Passengers must continuously perform small independent movements: shifting weight, adjusting grip, loosening a collar in the heat, wiping fog from the glass, turning their heads, tightening their hands around poles. Do not make them freeze. Do not make everyone react at the same moment. Do not let them perform dramatic acting. Their emotional progression is subtle: indifference at the announcement → mild confusion in the tunnels → unease when the voices arrive → the exact moment of understanding as the waiting platform passes → dread on the descent → complete stunned silence in the depths. No screaming. Only one soft "Ohh" at the first glow and one whispered "What is that?" near the end. The most powerful reaction is no reaction — just faces pressed against the glass, lit from below by something that should not exist. Physics The train always travels forward and always downward after the tunnel. Passengers sway according to acceleration and lean against the gradient; straps hang off-vertical on the descents. Loose clothing reacts to movement. Exterior objects have different velocities and distances with strong realistic parallax at every stage — near stone columns sweep past, mid-distance terraces move steadily, distant districts barely shift. Ash and embers must move independently of the train, drifting upward on thermal currents rather than streaming with the carriage. Heat must be expressed physically: window fogging and clearing, haze inside the carriage, frost at the very end. Enormous figures and flying forms must move slowly, because they are enormous. Nothing teleports, nothing freezes, nothing suddenly appears, and nothing changes position without physical cause. No transitions There are absolutely no visual transitions. No dissolves, crossfades, portals, morphing or ghosted overlays. Every environment change happens because the train physically travels into the next environment. The city becomes a cutting, the cutting becomes a tunnel, the tunnel becomes bedrock, the bedrock opens into the void, the void contains the waiting platform, the void ends at the wall, the gateway gives onto the burning plain, the plain ends at the pit rim, the rim becomes a terraced descent, the terraces fill with processions, the processions become the full inhabited depths, and the depths open onto the frozen plain. It must feel like one physically continuous impossible journey where every step is the inevitable consequence of the step before it. Audio Audio must be entirely diegetic with no music. Use cheap compressed smartphone microphone quality. The train produces a constant deep maglev roar, mechanical clatter, rattling poles, vibrating windows, swinging straps and low-frequency carriage rumble, plus passenger breathing and clothing movement. In the tunnels add hard reverberant slap-back and pressure changes as the train passes openings. The defining sound of this video is the voices. They must arrive at 6 to 9 seconds, before anything is visible, as a distant continuous mass of human voices with enormous reverberation, never resolving into words and never rising to screaming. From that point they never stop. They grow with depth and spread across a wider stereo field as the spaces open up. Beneath them, a very low frequency resonance builds steadily, felt more than heard. Above the burning plain add a broad distant roar and irregular deep concussions at long intervals. Ash strikes the hull as fine irregular ticking. In the depths the voices are vast, layered at many distances, and mixed with immense indistinct industrial-scale sound that never resolves into detail. In the final second every exterior sound stops at once — total silence outside, leaving only the carriage, the passengers' breathing, and ice creaking against the hull. At approximately 29.7 seconds the calm PA voice says quietly, "Welcome to Hell." Style and content limits The overall style must remain dirty photorealistic amateur smartphone footage despite the spectacular environments. Vertical 9:16, real-time speed, no slow motion, no stabilisation, no cinematic camera, no perfect composition, no clean VFX presentation. Use heavy shadow noise, blown highlights, low-bitrate compression, rolling-shutter skew, autofocus hunting, auto-exposure pumping, smeared motion blur and crooked framing. The camera should occasionally be partially blocked by a shoulder, arm or nearby passenger, and should struggle badly with the extreme contrast between fire and darkness. Hell is conveyed through scale, architecture, crowds at distance, fire, ash and sound. Do not show suffering, injury, bodies, blood, restraints or any graphic content. Every figure outside the train stays a distant silhouette or part of a mass — none is ever close enough for its face or condition to be read. Do not use recognisable religious iconography or legible text of any kind; all markings are eroded past legibility. Do not make it look like a game cinematic or a clean VFX render. The world outside should be overwhelming and physically impossible, but the recording itself must look raw, accidental and believable. The most important rule ONE SINGLE CONTINUOUS TAKE. No cuts, no jump cuts, no dissolves, no crossfades, no scene resets and no artificial transitions. The same train, same passengers and same camera remain present from beginning to end. The orange glow must be visible as a faint distant smudge from the first cavern and grow continuously and inevitably until it fills the window. The voices must arrive before the fire and never stop until the final second. The heat must build physically across the whole descent so that its total disappearance at the end lands as a shock. The population must emerge gradually — the waiting platform, then crowds on the causeways, then processions on the terraces, then the full inhabited depths — never appearing all at once. End while the train is still moving, the frozen plain extending endlessly beyond the left window, passengers silent, carriage still shaking, the PA announcement fading into the sound of ice.

Ciri

19,504 次观看 • 1 个月前

I still don’t understand why this setup hasn’t become the standard yet. Elon Musk reposted my Grok Bot guide, and this exact agent architecture is how I close weeks in solid profit, without staring at charts all day and without burnout. Eight AI agents on a single desk for $99 a month completely replace a crypto fund's research floor, which used to cost $680,000 a year just in analyst salaries. Here’s what each agent does: 1. SEARCH ➔ extracts real-time alpha before anyone else: dev GitHubs, fresh pools on pump fun, and unindexed Telegram signals before CT catches on. 2. RISK ➔ audits smart contracts instantly, checking mint authority, freeze rights, and LP locks via rugcheck + solscan. Honeypots are filtered out before entry. 3. SNIPER ➔ prepares and executes lightning-fast DEX orders the exact second RISK issues a CLEAR badge. 4. WHALE ➔ tracks smart money wallets with a 60%+ win rate and flags stealth accumulation long before it shows up on the chart. 5. RUG ➔ monitors the dev wallet and liquidity pool status 24/7. At the slightest hint of an LP pull, it immediately triggers a full position dump. 6. EXIT ➔ dynamically trails stops and locks in profit as liquidity builds. Zero averaging down. 7. SHILL ➔ analyzes social volume across X and Telegram, clearly separating organic momentum from paid promo. 8. HEAD OF DESK ➔ never trades. It strictly coordinates the funnel, enforces protocol, and brings me the single decision that requires a human APPROVE. Hundreds of tokens scanned. Dozens of setups filtered out. Precise, profitable trades closed while the laptop stays shut. Every agent gets its own virtual browser in the cloud, local memory, and a crystal-clear role. This isn't just an "assistant" anymore. It's a fully autonomous desk running while you sleep. The setup is much simpler than it looks: > Download Grok Bot and hire your coordinator (Head of Desk) first. > Give the remaining 7 agents strict charters, just like onboarding new hires. > Train them: run one full trade workflow on your screen while they watch, making sure to include a scenario where you reject a token. > Set up a single Trading Floor group chat with a strict message format by LEAD ID and connect your webhooks. > No VPS, no code, no waiting on developers. A crypto trading floor used to mean 16-hour screen time, fatigue, and paid alpha groups. This system takes one evening to set up. Save this guide before your next trade.

Ridark

52,680 次观看 • 1 个月前

I genuinely want an explanation for this. SCAM run by IRCTC For the same train, same class (2AC), and the same date (9th), IRCTC shows a fare of ₹3,780 with a dynamic charge of ₹521. When I move across dates and come back to the exact same journey, the fare drops to around ₹3,505 while the dynamic charge suddenly falls to ₹261. If a seat is sold with a ₹261 dynamic charge, why was a higher dynamic charge being shown moments earlier for the same availability? Dynamic pricing is supposed to reflect demand, not behave like a slot machine. Ye Can Ministry of Railways and IRCTC explain how passengers are expected to trust fare calculations when the same seat appears to attract different dynamic charges within minutes? Passengers deserve transparency, not a pricing black box. And I'm really stunned to see that for the 60-day advance reservation the price is, at one instance, shown without dynamic fare & In the other instance when I switch between previous day and next day, the prices are again inflated. This is absolutely ridiculous. Just before people tell me that I should be checking on the app, the same behavior is on the app as well. I'm saying the same behavior on the desktop website of IRCTC. This is absolutely unacceptable by all means. What on earth are you doing Ashwini Vaishnaw!?? Congress Raghav Chadha please raise these issues in the parliament. Railways is what a common man would just traveling long distances and cheating them like this is unfair!!! Consumer Affairs #IRCTC #Railways #IndianRailways #ConsumerRights

A 🇮🇳

27,293 次观看 • 3 个月前

This K3 context graph playbook is f*cking gold A senior data engineer just dropped the full 8-step method for building agent graphs that keep source disagreements instead of averaging them into fake certainty, I compiled it into a walkthrough: the shift: instead of asking one summarizer to reconcile five feeds, they build a graph that keeps every claim, marks every contradiction, and lets you query which conclusions actually have backup why flat reports fail: → 3 feeds report EV battery capacity growth: 41%, 34%, 19% → summarizer says "about a third" → nobody reported "about a third", the useful finding (19% counted passenger cars only) got averaged into a decimal → you never find out what got thrown away here's the 8-step K3 playbook: step 1 → name your sources by feed, every claim gets tagged with the feed it came from, unnamed sources produce untraceable claims step 2 → one node = one real entity, match on ticker or registration number so "Tesla", "Tesla Inc" and "TSLA" don't become three separate nodes with zero detected conflicts step 3 → lock unit, scope, and period for every field before launch, skip this and you get 40 fake conflicts that all say "your sources counted different things" step 4 → write CONNECT and CONFLICT rules in the launch prompt, CONFLICT tells K3 to keep both claims and tag the edge with reason (value, date, or scope), never average, never pick a winner step 5 → read the conflict count before the summary, zero conflicts across five feeds is a red flag, usually means all your agents hit the same aggregator wearing five hats step 6 → sort contradictions by reason, scope mismatch (fix definitions, re-run one field), stale data (keep newest, log old), real spread (keep both, this is your verify-by-hand shortlist) step 7 → run the drop-a-source test, ask which conclusions survive without each feed, single-source nodes are the ones that will embarrass you step 8 → extend the graph, keep open conflicts open, next run lands new claims on existing nodes instead of starting over the result: 100 nodes, 340 claims, 47 contradiction edges, 7 real disagreements worth an afternoon of verification, instead of one confident paragraph hiding all of it Confidence costs nothing to generate. It reads the same whether four sources agree or one unchecked feed said it once -- the contradiction edges are what let you tell them apart Read this playbook before running another agent swarm -- it breaks down the one architectural decision most orchestration tutorials skip Bookmark and build your own contradiction-aware graph from the full article below ↓

Ridark

12,686 次观看 • 1 个月前

The muscle group that makes men over 40 look old from behind: Rear delts. It's pretty easy to spot if this applies to you. Just stand side on in front of a mirror. You'll notice your shoulders will be rolled forward, likely your head is forward too, and your posture resembles something akin to Quasimodo. And you shouldn't be surprised. This is what happens after 25 years of pressing and desk work training the FRONT of your shoulder while the back of it did nothing. Every push you've ever done pulled your shoulders forward. Almost nothing you've done pulls them back into the socket. The fix I use (and recommend to clients too)? Seated single arm rear delt row with a high elbow and a roller squeezed between the knees. Why each piece matters: High elbow = this is what separates it from a normal row. Elbow travels out and up, in line with the rear delt fibers. Row with a tucked elbow and your lats take over. Lats are already strong. That's not the target. Seated + roller squeeze = pelvis anchored, ribs stacked, spine can't lean back to cheat the weight up. The rep comes from the shoulder, not momentum. No squeeze, and the lean-back creeps in by rep six. Single arm = most men over 40 have one shoulder blade that sits lower and works worse. Bilateral rows let the good side carry it. One arm at a time, the weak side gets found out and fixed. Cable = tension through the whole arc, including the stretched position in front of your body where the rear delt actually needs work. The rear delt pulls your arm back in line with your body. Train it and your shoulders sit where they did at 30. You'll find your shirts hang differently and you'll command a more assertive posture in board meetings and Zoom calls. Remember... User a lighter weight, high elbow and feel the back of the shoulder do the work. Most guys never have.

Simmo

35,522 次观看 • 2 个月前