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SAYING ALOT AS PINK! 🩷(( SUBMISSIONS OPEN!!! )) comment down below!! 👇(rules in thread) #deltarune #SALOT #Pink #madmewmew #ch5 #deltarunefanartㅤㅤㅤㅤ

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Created this video using Gemini Omni Flash on Fotor Try here: prompt: Cinematic summer beverage commercial for FIZZI Sparkling Tonic — Grapefruit, high-end style in a warm golden-hour color grade with teal-turquoise pool contrast and coral-pink accents, mixing lifestyle wide shots with hyper-detailed macro product close-ups, slow-motion moments, fun youthful carefree energy, upbeat tropical pop and sound design of can hiss, carbonation fizz, pool splashes and laughter. The product is a tall slim coral-pink aluminum can with condensation droplets — bold retro-rounded lowercase magenta "fizzi" at the top, "sparkling tonic" below, a 4x4 pop-art grid of illustrated grapefruit circles in pink, coral, hot pink and pale yellow, with "0% Alcohol" and "GRAPEFRUIT" at the bottom. At golden hour on a stylish rooftop pool, a young woman in a coral-pink swimsuit sits at the pool edge with her feet in turquoise water, lifting an ice-cold FIZZI can to her lips and closing her eyes in pleasure, friends mingling and string lights twinkling in a dreamy soft-focus blur behind her, condensation catching the golden light. A slightly wider shot shows her floating on a clear inflatable beside a friend in a pale yellow swimsuit, both laughing as they clink their coral-pink cans with a small splash, shot at water level with sparkling reflections dancing across the frame. An extreme macro slowly pans across the coral-pink can surface in hyper-detail — beads of condensation catching prismatic light, the glistening magenta "fizzi" logo filling the frame, then down to the crisp pop-art grapefruit grid with shimmering turquoise bokeh behind. Another dreamy slow-motion macro shows tiny carbonation bubbles racing up through pale-pink sparkling liquid in a glass with a glowing grapefruit slice floating, the can softly out of focus behind, with ASMR fizzing crackle. Finally the camera pulls back to a wide golden-hour shot of the full party — both women floating with cans, friends dancing and lounging on coral towels, grabbing FIZZI from an ice bucket of grapefruit halves — then slowly pushes in as they raise their cans toward camera and clean white text fades in: "Grab an ice cold fizzi," with "© 2026 FIZZI Beverages Co." below, holding then fading out.

Sharon Riley

44,826 views • 17 days ago

This Animation turned out cool 🔥 Seedance 2.0 on Higgsfield Full open-sourced prompts and assets below Prompt: Generation 1 Aoi = Image 1 · Kaijin = Image 2 · Mio = Image 3 · Ren = Image 4 · Classroom = Image 5 All shots take place in the Classroom Shot 1 (0–3s) — Low static shot. Aoi slumped on the tiled floor between the desk rows, overcast daylight from the tall windows right, overturned desks and scattered notebooks around her, sweat soaking her bangs, neckerchief pulled loose, hand pressed to her stomach, breath ragged. Wall clock ticking. Shot 2 (3–5s) — Tight close-up on Aoi's hand on the tile, fingernails darkening and lengthening into claws, veins raising black under the skin, a pink flush blooming beneath the flesh; ragged breathing turning to wet clicking. Shot 3 (5–8s) — Rapid three-frame cut, Aoi becoming Kaijin: spine erupting through the blouse in a row of ivory spines; jaw splitting as bone-white plate sheets over the skull; a second eyelid tearing open on the collarbone, grey iris rolling into place. Hard cuts, wet cracking, cold blue-grey light on pink tissue. Shot 4 (8–10s) — Fast vertical tilt up Kaijin rising hunched to full height, shredded sailor collar and blue neckerchief hanging off its shoulder, central eye fixing forward, ivory horns catching window light, tiles splitting under its claws, guttural roar against the green chalkboard. Shot 5 (10–12s) — Camera in the dim corridor. Mio and Ren sprinting toward the wooden door on the left, scythe and hammer in hand; they burst through into the grey daylight and freeze, Mio recognizing the sailor collar on Kaijin. Mio (Japanese, low): 「遅かった。」 ("We're late.") Shot 6 (12–13.5s) — Low dutch angle. Ren charging first, hammer swinging into Kaijin's leg; whip-pan as the counterblow throws him sideways through a desk into the corkboard wall, papers scattering off the pins. Shot 7 (13.5–15s) — Close-up slow motion, Mio vaulting the wreckage, hook connecting across Kaijin's forearm, hot pink ichor spraying in thick suspended arcs against the window light — freeze on the ichor mid-air. Generation 2 Aoi = Image 1 · Kaijin = Image 2 · Mio = Image 3 · Ren = Image 4 · Classroom = Image 5 Last frame = Image Shot 8 (15–17s) — Wide static two-anchor frame. Kaijin backhands Mio toward the cracking chalkboard as Ren is swatted into a row of desks opposite; both impacts land in the same beat. Ren (Japanese, groaning): 「まだやれる…お前は?」 ("Still good… you?") Mio (Japanese, pushing up): 「当然。」 ("Obviously.") Shot 9 (17–19s) — Floor-level tracking, Kaijin's clawed feet splitting tiles as it stalks toward Mio, central eye dilating, torso eyes blinking out of sync, desks shoved aside, pages lifting in the draft. Shot 10 (19–21s) — Close-up on Ren rising, blood at his temple, hammer up into a two-handed grip, eyes locked on Kaijin's exposed ribs. Shot 11 (21–23s) — Extreme close-up slow motion, hammer head into the ribs, bone-white shards and hot pink fluid bursting frame by frame, Kaijin staggering off-balance. Shot 12 (23–25s) — Fast orbit around Mio and Ren flanking the staggered Kaijin from opposite sides, hook and hammer both rising, overcast light streaking the lens. Shot 13 (25–28s) — Slow motion, Mio driving the hook into Kaijin's shoulder joint and wrenching down with a full-throated scream, burst of hot pink; Ren's hammer follows a half-beat later into the same joint; the mass folds and collapses face-first, torn sailor collar settling in the pink pool. Shot 14 (28–30s) — Pull back to wide. Mio and Ren standing over the corpse, chests heaving, weapons hanging loose; Mio staring at the blue neckerchief in the ichor; a notebook page drifts down past frame — hold, cut to black.

Lex

34,375 views • 23 days ago

🚨 JUSTIN BIEBER’S “YUMMY” VIDEO JUST BLEW WIDE OPEN AFTER THE EPSTEIN FILES - AND IT’S DARK AS HELL This woman lays it all out on camera, frame by frame - and once she says it, you cannot unsee it. She starts with the rollout. Justin Bieber promoted Yummy using baby photos, the words “yummy” and “pizza,” and imagery that now hits very differently - especially since “yummy” appears hundreds of times in the Epstein files, a detail almost nobody talked about at the time. Then she walks through the video itself: Justin enters through a kitchen, like he’s being served, led to a table of old, wealthy elites. Young people are positioned as entertainment, not equals. Paparazzi are filming inside the party, which she says implies this isn’t hidden - it’s normalized, documented, and protected. On the table: A sandwich guarded by bread, topped with a red cherry/olive on red sticks - later replaced by black olives with black sticks as the food turns darker and more grotesque. A pink drink in front of him that visually resembles pizza. Then pink goo with circus peanuts appears during the lyric “you ain’t never running low on supply.” She asks it plainly: what do the pink stuff and the peanuts represent? Adults rotate in and out, taking turns sitting with him. A cat sits at the center of the table, which she says symbolizes him as the entertainer. Hands reach in, consume the food, wash it down with water and pink drinks. Justin looks increasingly out of it - not participating, being consumed. When the lyric “lost control of myself, I’m compromised” hits, Puff Daddy appears - a moment she says is impossible to ignore. She stresses the word “compromised” isn’t poetic - it’s the exact language of leverage and control. Girls dressed in white crawl out from under the table. Clothes come off. A white party unfolds. After it’s over, a red outfit is left draped on a chair, like something that can’t be put back. She points out a man eating cake who resembles a major record label executive, surrounded by more pink drinks. Then comes the image that stops people cold: a baby pig placed on the table - not a full pig, a baby. Justin’s plate shows cake, peas, and cherries, which she says symbolize innocence being consumed. She reminds viewers that young Justin was later used again to promote Yummy - the word written on a cake, holding a single cherry. She notes Justin reportedly had mental breakdowns during and after this era - after, not before. When Ellen later asks what the song is about, he says his intimate life - then awkwardly sips tea. She ends by saying this is alleged, for entertainment purposes only - but asks the question everyone’s now asking: If this was ‘just a music video’… why does it look like a warning no one was supposed to decode?

HustleBitch

348,784 views • 6 months ago

Trying to aggressively execute pitches to a location to dominate the hitter and trying to defensively not walk batters to avoid getting punished by your coach are completely different things. I can't imagine there are many who would throw more strikes (and certainly wouldn't have better stuff) in the latter scenario. I believe your point is that -Command matters (we agree) -Walks should be minimized (we agree) -Different messaging will be interpreted differently by different players (we agree) It comes down to whether you lean into positive or negative reinforcement. Perhaps a small minority may respond better to negative reinforcement & a defensive mindset, but my experience as a player and coach would lead me to conclude that these athletes are rare. I'd also argue that responding better to positive reinforcement & an offensive mindset doesn't make a player mentally soft, any more than someone would be mentally soft for thinking about a Pink Elephant when someone tells them not to think about a Pink Elephant. Pitching is all about finding that ideal mental state where you can have both your best stuff & command. Strategies that push too far to one side (only focused on locating while stuff suffers or only focused on stuff with no attention paid to location) aren't viable options. Each pitcher must balance both variables when competing, and I've found that the vast majority tend to find their sweet spot by erring more on the aggressive side of this equation, as Kershaw describes below. I'd love for other coaches and players to weigh in with their thoughts below.

Ben Brewster

29,990 views • 1 year ago