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Seeking help with Final IK plugin! 🆘 Trying to modify Humanoid animation clips using a Control rig in Unity's Timeline. Smooth playback during animation, but previewing causes noticeable jerks. 🤔 Disabled fixTransforms, but issue persists. Any advice or solutions? 🙏 #Unity3D

AnkiiMMD安琪🔞

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19,247 просмотров • 2 лет назад •via X (Twitter)

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CSS in 2024 🤯 You can create a range slider with updating value tooltip and color changing track without using any JavaScript 🤯 ::-webkit-slider-thumb{ view-timeline: --thumb inline; } Scroll animation on the slider thumb that animates a number between the "min" and "max" of the range 😅 @property --value { syntax: ' '; } @keyframes sync { to { --value: 100; }} Tie that up to the contain animation-range ⚡️ .control { animation: sync both linear reverse; animation-timeline: --thumb; animation-range: contain; } Hoist the view timeline so the tooltip can use the value too! :root { timeline-scope: --thumb; } Then use it in the counter which goes in the tooltip 😇 .tooltip { counter-reset: val var(--value); } .tooltip::after { content: counter(val); } Then the accent color is based on the value too 🎨 [type=range] { accent-color: hsl(var(--value) 90% 65%); } The magic from the quoted post is using anchor positioning on the range thumb to position that tooltip 👏 Never thought of that when working on the spec for this API. This API lets you tether elements to other elements. Using the pseudo is a clever move! ::-webkit-slider-thumb { anchor-name: --thumb; } .tooltip { position: absolute; anchor-default: --thumb; left: anchor(50%); bottom: calc(anchor(top) + 25%); } The last piece is the little bounce transition... OK. I used a line or two of JavaScript for that 🙏😬 const updateDelta = ({ movementX }) => { document.documentElement.style.setProperty('--delta-x', movementX) } document.body.addEventListener('pointermove', updateDelta) But only so you can pass the movement delta to CSS and then reset the position with linear() to get that bouncy transition 😎 .hint { rotate: calc(clamp(-60, var(--delta-x) * -1, 60) * 1deg); transition: rotate 1s linear( 0, 0.2178 2.1%, 1.1144 8.49%, ... ); } Should probably do a video on this one. Lots of little tricks to break down with it for sure! 💯 As always, any questions, let me know! Also, this one only works in Chrome Canary with the Experimental Web Platform Features flag enabled ✅ This one almost feels like rocket science ha 🚀 CodePen.IO link below! 👇

CSS in 2024 🤯 You can create a range slider with updating value tooltip and color changing track without using any JavaScript 🤯 ::-webkit-slider-thumb{ view-timeline: --thumb inline; } Scroll animation on the slider thumb that animates a number between the "min" and "max" of the range 😅 @property --value { syntax: ' '; } @keyframes sync { to { --value: 100; }} Tie that up to the contain animation-range ⚡️ .control { animation: sync both linear reverse; animation-timeline: --thumb; animation-range: contain; } Hoist the view timeline so the tooltip can use the value too! :root { timeline-scope: --thumb; } Then use it in the counter which goes in the tooltip 😇 .tooltip { counter-reset: val var(--value); } .tooltip::after { content: counter(val); } Then the accent color is based on the value too 🎨 [type=range] { accent-color: hsl(var(--value) 90% 65%); } The magic from the quoted post is using anchor positioning on the range thumb to position that tooltip 👏 Never thought of that when working on the spec for this API. This API lets you tether elements to other elements. Using the pseudo is a clever move! ::-webkit-slider-thumb { anchor-name: --thumb; } .tooltip { position: absolute; anchor-default: --thumb; left: anchor(50%); bottom: calc(anchor(top) + 25%); } The last piece is the little bounce transition... OK. I used a line or two of JavaScript for that 🙏😬 const updateDelta = ({ movementX }) => { document.documentElement.style.setProperty('--delta-x', movementX) } document.body.addEventListener('pointermove', updateDelta) But only so you can pass the movement delta to CSS and then reset the position with linear() to get that bouncy transition 😎 .hint { rotate: calc(clamp(-60, var(--delta-x) * -1, 60) * 1deg); transition: rotate 1s linear( 0, 0.2178 2.1%, 1.1144 8.49%, ... ); } Should probably do a video on this one. Lots of little tricks to break down with it for sure! 💯 As always, any questions, let me know! Also, this one only works in Chrome Canary with the Experimental Web Platform Features flag enabled ✅ This one almost feels like rocket science ha 🚀 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

251,867 просмотров • 2 лет назад

OH, HELL NO!!! Some poor sap just reported that we have a game-breaking bug in our port of Super Mario 64 to the Sega Dreamcast! EVIDENTLY you are rewarded for collecting all 120 stars and defeating the final Bowser encounter with... a game-breaking glitch that causes Mario to die as he flies off to into the sunset??? 🤣 Here's an actual hardware capture of me loading it up on my DC to see if I could repro... and sure enough... not only that, but the circles caused by Bowser stomping the ground are flying up in the air??? WOW. We missed this on the first release! Lucky for you guys, the same chad who reported the issue, Gazu, is not only working diligently to fix these bugs, but he has also taken the liberty of implementing VMU extras into the game! Now the VMU plays a scrolling animation of Mario's face during cutscenes and shows the power gauge during normal gameplay or the breathe gauge while underwater, in real-time! I'll let you guys know when we're ready for an updated release!

OH, HELL NO!!! Some poor sap just reported that we have a game-breaking bug in our port of Super Mario 64 to the Sega Dreamcast! EVIDENTLY you are rewarded for collecting all 120 stars and defeating the final Bowser encounter with... a game-breaking glitch that causes Mario to die as he flies off to into the sunset??? 🤣 Here's an actual hardware capture of me loading it up on my DC to see if I could repro... and sure enough... not only that, but the circles caused by Bowser stomping the ground are flying up in the air??? WOW. We missed this on the first release! Lucky for you guys, the same chad who reported the issue, Gazu, is not only working diligently to fix these bugs, but he has also taken the liberty of implementing VMU extras into the game! Now the VMU plays a scrolling animation of Mario's face during cutscenes and shows the power gauge during normal gameplay or the breathe gauge while underwater, in real-time! I'll let you guys know when we're ready for an updated release!

Falco Girgis

72,278 просмотров • 4 месяцев назад

I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

I vibe coded and built a sprite animation pipeline 🛠️ (Day 22 of making the engine+game) ⬇️ Watch the video if you don't wanna read the wall of text - it directly shows what I do. Shoutout to Jidé ✨ for showing me a paper on black/white combination to get alpha, it's the cleanest method yet, and to Cursor for enabling this entire journey. If you prefer the wall of text here you go: The hardest part of using general image models for 2D sprites isn’t getting a nice-looking frame, it’s getting consistent motion across a whole sprite sheet. You can fake a sheet, but frames won’t align, timing drifts, and you end up with weird artifacts. Even if you manually cut frames + interpolate, the animation often looks “off” because each frame is basically a new interpretation, not the same character evolving over time. This is especially noticeable with public API models like gpt-image-1.5 and Nano Banana. Some custom LoRAs for open models exist, but this is intended for less techy folks. My workaround: use a video model first, then post-process into a sprite sheet. Render the animation over a solid background (white/black/magenta/green), then chroma-key it out (my engine tool supports this). If the motion stays inside the silhouette, this works surprisingly well. You can do this in almost any video editing software too! The catch: keying almost always leaves an “aura” (edge spill). My best results come from interpolating the keyed animation with a clean base sprite, so you keep crisp edges and only “borrow” motion/detail where needed. If the animation extends outside the silhouette (tree branches, hair wisps, foliage), I usually skip “true sprite animation” and do it with shaders instead. Keying can’t fully remove halos there, no matter how much feathering/tuning you do. Another annoying issue: pixel corruption. AI rarely generates a perfectly flat background (pure #000000 or #FF00FF). That tiny noise breaks clean extraction and creates crawling garbage pixels around the subject. For clean base sprites (and even PBR maps), a useful trick is generating the same asset on white + black backgrounds and deriving alpha from the difference. This is basically a matte workflow: white = opaque, black = transparent. It fixes aura… but you’d need it per-frame to fix animation, which is still hard. For simple pixel art (single-digit frames), you can sometimes generate a sprite sheet, then ask the model to recreate it on black/white while preserving alignment… but it’s still manual-heavy. Honestly, at this point, for some projects it’s easier to go 3D → 2D and render clean sprites/maps directly. But I still love pushing “pure 2D” and seeing how far we can take it. Thanks for reading! Follow/bookmark/repost if interested in this kind of content!

Startracker 🔺

20,181 просмотров • 6 месяцев назад

$CSS Tip! 🤯 You can create a CSS-only version of this balance slider using a scroll animation on the underlying input[type=range] 🚀 ::-webkit-slider-thumb { view-timeline: --thumb inline; } Scroll animation driven by the slider thumb animates a number between the "min" and "max" of the range 😅 @property --value { inherits: true; initial-value: 0; syntax: ' '; } @keyframes sync { to { --value: 100; }} Tie that up to the contain animation-range ⚡️ .control { animation: sync both linear reverse; animation-timeline: --thumb; animation-range: contain; } Hoist the view timeline so all the parts of the control can use it! .control { timeline-scope: --thumb; } Use that value in a counter which is used for the labels. Create a low and a high for each side 😇 .control__label { counter-reset: low var(--value) high calc(100 - var(--value)); } .control__label::before { content: "COFFEE " counter(low) "%"; } .control__label::after { content: counter(high) "% MILK"; } That's the magic of updating the label values ✨ For the big track, it's a fake track. You can make use of the same --value property and do some calc() to work out the width of each part. .control__track::before { width: calc(var(--value) * 1% - 0.5rem); background: var(--coffee); border-radius: 4px; transition: width 0.1s; } The width leaves a little gap for the indicator piece 🤙 The color calculation for --coffee isn't too wild but again you can use the same --value .control__track { --coffee: hsl(24 74% calc( 24% + (30% * ((100 - var(--value, 0)) / 100)) / 1 ) / 0.4); } Now for the last piece. Making the track change height. You could set up another custom property and animate its value using the --thumb timeline too 🔥 @property --shift { initial-value: 0; inherits: true; syntax: ' '; } @keyframes shift { 0%, 31%, 61%, 100% { --shift: 0; } 32%, 60% { --shift: 1; } } Then use that --shift to update the translation of the label and height of the track 🤓 .label { transform: translateY(calc(var(--shift) * 50%)); transition: transform var(--speed) var(--timing); } Cool part here is that you can use the control to work out the @keyframes percentages 😅 Oh. And the timing for that little bounce? Use the linear() function 😎 :root { --timing: linear( 0, 0.5007 7.21%, 0.7803 12.29%, 0.8883 14.93%, 0.9724 17.63%, 1.0343 20.44%, 1.0754 23.44%, 1.0898 25.22%, 1.0984 27.11%, 1.1014 29.15%, 1.0989 31.4%, 1.0854 35.23%, 1.0196 48.86%, 1.0043 54.06%, 0.9956 59.6%, 0.9925 68.11%, 1 ); } Should probably do a video on this one. Lots of little custom property tricks for sure! 💯 It's not too far off the range slider with the tooltip that came up previously As always, any questions, let me know! Also, this one only works in Chrome currently ✅🥲 This one's a bit rocket science ha 🚀 CodePen.IO link below! 👇$

CSS Tip! 🤯 You can create a CSS-only version of this balance slider using a scroll animation on the underlying input[type=range] 🚀 ::-webkit-slider-thumb { view-timeline: --thumb inline; } Scroll animation driven by the slider thumb animates a number between the "min" and "max" of the range 😅 @property --value { inherits: true; initial-value: 0; syntax: ' '; } @keyframes sync { to { --value: 100; }} Tie that up to the contain animation-range ⚡️ .control { animation: sync both linear reverse; animation-timeline: --thumb; animation-range: contain; } Hoist the view timeline so all the parts of the control can use it! .control { timeline-scope: --thumb; } Use that value in a counter which is used for the labels. Create a low and a high for each side 😇 .controllabel { counter-reset: low var(--value) high calc(100 - var(--value)); } .controllabel::before { content: "COFFEE " counter(low) "%"; } .controllabel::after { content: counter(high) "% MILK"; } That's the magic of updating the label values ✨ For the big track, it's a fake track. You can make use of the same --value property and do some calc() to work out the width of each part. .controltrack::before { width: calc(var(--value) * 1% - 0.5rem); background: var(--coffee); border-radius: 4px; transition: width 0.1s; } The width leaves a little gap for the indicator piece 🤙 The color calculation for --coffee isn't too wild but again you can use the same --value .control__track { --coffee: hsl(24 74% calc( 24% + (30% * ((100 - var(--value, 0)) / 100)) / 1 ) / 0.4); } Now for the last piece. Making the track change height. You could set up another custom property and animate its value using the --thumb timeline too 🔥 @property --shift { initial-value: 0; inherits: true; syntax: ' '; } @keyframes shift { 0%, 31%, 61%, 100% { --shift: 0; } 32%, 60% { --shift: 1; } } Then use that --shift to update the translation of the label and height of the track 🤓 .label { transform: translateY(calc(var(--shift) * 50%)); transition: transform var(--speed) var(--timing); } Cool part here is that you can use the control to work out the @keyframes percentages 😅 Oh. And the timing for that little bounce? Use the linear() function 😎 :root { --timing: linear( 0, 0.5007 7.21%, 0.7803 12.29%, 0.8883 14.93%, 0.9724 17.63%, 1.0343 20.44%, 1.0754 23.44%, 1.0898 25.22%, 1.0984 27.11%, 1.1014 29.15%, 1.0989 31.4%, 1.0854 35.23%, 1.0196 48.86%, 1.0043 54.06%, 0.9956 59.6%, 0.9925 68.11%, 1 ); } Should probably do a video on this one. Lots of little custom property tricks for sure! 💯 It's not too far off the range slider with the tooltip that came up previously As always, any questions, let me know! Also, this one only works in Chrome currently ✅🥲 This one's a bit rocket science ha 🚀 CodePen.IO link below! 👇

jhey ʕ•ᴥ•ʔ

377,657 просмотров • 2 лет назад

Within the next month or so, I'm planning to make the first section of this course: free on YouTube. It'll help with future YouTube tutorials to give some baseline to point people to so I can cover more interesting stuff without rehashing the basics each time. Reason I'm mentioning this is because if anyone is planning to buy the course primarily for the first section (roughly one third of the full course) and you're willing to wait a little, you don't need to buy it. And I don't want people annoyed that they bought it then the main section they were interested in gets released free. There's more to the course, with a lot of info in the rest, but the first part is probably the most valuable in terms of learning procedural movement animation. If you can't wait or want the rest, the above link is the lowest discount possible (for 5 day time limit). Attached are some clips/examples I've made using the system we set up in the first section of the course.

Within the next month or so, I'm planning to make the first section of this course: free on YouTube. It'll help with future YouTube tutorials to give some baseline to point people to so I can cover more interesting stuff without rehashing the basics each time. Reason I'm mentioning this is because if anyone is planning to buy the course primarily for the first section (roughly one third of the full course) and you're willing to wait a little, you don't need to buy it. And I don't want people annoyed that they bought it then the main section they were interested in gets released free. There's more to the course, with a lot of info in the rest, but the first part is probably the most valuable in terms of learning procedural movement animation. If you can't wait or want the rest, the above link is the lowest discount possible (for 5 day time limit). Attached are some clips/examples I've made using the system we set up in the first section of the course.

Lincoln Margison - Game Development

19,193 просмотров • 11 месяцев назад

I don’t think she was supposed to say that….. SHOCKING ADMISSION FROM FULTON COUNTY, GA: KNOWINK REMOTELY ACCESSES AND WIPES POLL PADS! In a jaw-dropping State Election Board revelation, Fulton County officials confessed to a series of stunning lapses and capabilities in their election systems. "We agree with some facts and disagree with others," they admitted, confirming that THREE POLL PADS VANISHED into thin air. But here's the bombshell: They INSIST they didn't fail to notify the Secretary of State's office—yet the key person overseeing this mess? GONE, no longer with the office! These weren't just any poll pads—they were training devices, supposedly empty of real data. But wait, it gets worse: Fulton County REVEALED that KnowInk, the company behind this tech—WAS IMMEDIATELY NOTIFIED and, in a chilling display of remote control, KNOWINK REMOTELY WIPED THEM CLEAN! "It is UNDISPUTED that KnowInk was able to remotely wipe them," they declared, downplaying it as "no security issue here." Why tell KnowInk but allegedly skip the Secretary? "That doesn't make a ton of sense," they shrugged, while boldly requesting the entire case be DISMISSED. And the final gut-punch? When pressed—"Did KnowInk wipe them virtually? Like REMOTELY?"—the answer was a flat-out "YES." Disabled or not, this exposes a vulnerability that could shake the foundations of election integrity!

I don’t think she was supposed to say that….. SHOCKING ADMISSION FROM FULTON COUNTY, GA: KNOWINK REMOTELY ACCESSES AND WIPES POLL PADS! In a jaw-dropping State Election Board revelation, Fulton County officials confessed to a series of stunning lapses and capabilities in their election systems. "We agree with some facts and disagree with others," they admitted, confirming that THREE POLL PADS VANISHED into thin air. But here's the bombshell: They INSIST they didn't fail to notify the Secretary of State's office—yet the key person overseeing this mess? GONE, no longer with the office! These weren't just any poll pads—they were training devices, supposedly empty of real data. But wait, it gets worse: Fulton County REVEALED that KnowInk, the company behind this tech—WAS IMMEDIATELY NOTIFIED and, in a chilling display of remote control, KNOWINK REMOTELY WIPED THEM CLEAN! "It is UNDISPUTED that KnowInk was able to remotely wipe them," they declared, downplaying it as "no security issue here." Why tell KnowInk but allegedly skip the Secretary? "That doesn't make a ton of sense," they shrugged, while boldly requesting the entire case be DISMISSED. And the final gut-punch? When pressed—"Did KnowInk wipe them virtually? Like REMOTELY?"—the answer was a flat-out "YES." Disabled or not, this exposes a vulnerability that could shake the foundations of election integrity!

Holly Kesler

219,108 просмотров • 7 месяцев назад

🙌Meet Artifig: A Figma Plugin to Generate Figma Plugins Do you use Figma and ever feel like this: - Your mind is bursting with plugin ideas, but you can't bring them to life because you don't know how to code? - You want to focus on design, but repetitive tasks keep slowing you down? - You dream of creating custom tools for your team, but lack the time or resources? I’ve been there too. That’s why I created Artifig. ✨ What is Artifig? Artifig is an AI-powered Figma plugin that empowers anyone to build their own Figma plugins using just natural language. No coding needed—simply describe what you want, and watch as your idea transforms into a fully functional, real-time plugin. 🚀 Redefining Figma Plugin Development The core philosophy of Artifig is simple: Designers often have countless ideas and creative visions, but many of them remain unrealized due to a lack of technical skills. We believe designers shouldn’t be limited by their inability to code. You should focus on creating, not be held back by technical barriers or repetitive tasks. Artifig takes you directly from "description" to "implementation." 🛠️ How Does It Work? 1. Describe Your Needs: Tell Artifig what you want, like “Create a skew transformation tool for objects, supporting horizontal and vertical skew with real-time preview functionality.” 2. Generate and Run the Plugin: Artifig instantly generates the plugin and runs it right within Figma. For example, the generated plugin can apply skew transformations to objects, precisely controlled via matrix transformations, with an intuitive user experience. 3. Optimize and Iteration: Need adjustments? Simply describe them, and Artifig will Iterating the plugin step by step. 4. Share Your Creations: Publish your plugins to the Artifig community, or remix plugins shared by others to build on their ideas. No learning curve. No complex steps. It’s as simple as that. 🌟 Key Features - Zero Barrier to Entry: No coding experience needed—any Figma user can create plugins effortlessly. - Multilingual Support: Works in multiple languages, including English, Chinese, French, Japanese, and German. - What-You-See-Is-What-You-Get: Generated plugins run in real-time, so you can quickly validate and refine your ideas. - Open and Flexible: The generated plugin code is 100% yours—modify it, distribute it, even use it commercially. - Global Community: Share your plugins, explore others’ creations, and publish your plugins to the Figma community. 🎯 Why is Artifig a Game-Changer? 1. No More Repetitive Work Let AI handle the tedious, time-consuming tasks: batch renaming layers, auto-aligning elements, or applying styles in bulk. All you need to do is say, “Import a PDF and arrange each image on the canvas with 20px spacing.” 2. Quickly Bring Ideas to Life From color contrast checks to data imports and custom components, all your “what if we could” ideas can now become plugins. Just one natural language description, and Artifig makes it happen. 3. Custom Tools for Your Team Build tailored tools for your team, creating unique solutions to streamline your workflow. 4. Not Just a Tool, But a Learning Experience Artifig explains the logic behind the code it generates, helping you understand Figma APIs and JavaScript. Today, you’re a designer; tomorrow, you could also be a design engineer. 🧑‍🚀👩🏻‍💻🥷🏻 Who is Artifig For? - Beginners: No development experience needed—just describe your ideas and let Artifig do the rest. - Experts: Save time and focus on high-value tasks while Artifig handles the repetitive work. - Learners: Use Artifig as a bridge to deepen your understanding of development. - Teams: Build custom tools to enhance collaboration and efficiency. 🎉 Ready to Get Started? I believe designers’ time and focus should be spent on creating, not on wrestling with complex tools. Artifig is the first step toward realizing this vision. Try Artifig now and experience an unprecedented flow of creativity!

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yancymin

21,222 просмотров • 1 год назад

Hi Guys Back from Canberra. The last two weeks had been another exercise in holding back the tide and nothing more. The Disinformation/Misinformation Bill was blocked but the Online Safety Bill was passed. A number of other bills were passed which mainly involved giving subsidies for housing instead of cutting immigration. Labor’s proposed stand alone Independent Environment Watchdog was not put up which was also a win. Unfortunately I didn’t get very far with ASIO in regard to the politician who sold us out. I wrote to them asking for more information but said they couldn’t tell us anything. ASIO can’t be trusted. They are more interested in protecting the Establishment than the people. Same for Avoca Road. Labor refused to hand over the business case for spending $100 million to Albanese Beach House. This stinks to high heaven. The big picture in all of this that gets overlooked is debt levels. Nothing controls the people like debt and bills. Even the media can’t exercise the kind of control the banks do. Thats why the government need to focus on solutions to our economic malaise rather than trying to control us. Unfortunately none of the major or minor parties have any idea on how to deal with Australias debt other than People First. That’s because I’ve worked in Finance my entire life and understand how to generate wealth and control costs. Australia desperately needs an Infrastructure Bank as a way to internally fund Infrastructure instead of using foreign debt. We also need to cut the bureaucracy and reform the tax act to fund income tax cuts. And finally superannuation and childcare support need to be much more flexible. I will be focusing on selling these solutions along with getting candidates for PeopleFirst over the Holiday Season. For anyone interested in hearing more about these solutions I will be up at Maleny this Wednesday night and Bridgeman Downs next Monday night. Talk soon.

Hi Guys Back from Canberra. The last two weeks had been another exercise in holding back the tide and nothing more. The Disinformation/Misinformation Bill was blocked but the Online Safety Bill was passed. A number of other bills were passed which mainly involved giving subsidies for housing instead of cutting immigration. Labor’s proposed stand alone Independent Environment Watchdog was not put up which was also a win. Unfortunately I didn’t get very far with ASIO in regard to the politician who sold us out. I wrote to them asking for more information but said they couldn’t tell us anything. ASIO can’t be trusted. They are more interested in protecting the Establishment than the people. Same for Avoca Road. Labor refused to hand over the business case for spending $100 million to Albanese Beach House. This stinks to high heaven. The big picture in all of this that gets overlooked is debt levels. Nothing controls the people like debt and bills. Even the media can’t exercise the kind of control the banks do. Thats why the government need to focus on solutions to our economic malaise rather than trying to control us. Unfortunately none of the major or minor parties have any idea on how to deal with Australias debt other than People First. That’s because I’ve worked in Finance my entire life and understand how to generate wealth and control costs. Australia desperately needs an Infrastructure Bank as a way to internally fund Infrastructure instead of using foreign debt. We also need to cut the bureaucracy and reform the tax act to fund income tax cuts. And finally superannuation and childcare support need to be much more flexible. I will be focusing on selling these solutions along with getting candidates for PeopleFirst over the Holiday Season. For anyone interested in hearing more about these solutions I will be up at Maleny this Wednesday night and Bridgeman Downs next Monday night. Talk soon.

Gerard Rennick

40,788 просмотров • 1 год назад

NEW: Bill Belichick rips CBS Sports for "selectively editing" his interview over the weekend to make his girlfriend Jordon Hudson look bad. Belichick is suggesting that CBS set him up after previously agreed-upon conditions were "not honored." "I agreed to speak with CBS Sunday Morning to promote my new book, 'The Art of Winning – Lessons from My Life in Football.' Prior to this interview, I clearly communicated with my publicist at Simon & Schuster that any promotional interviews I participated in would agree to focus solely on the contents of the book." "Unfortunately, that expectation was not honored during the interview. I was surprised when unrelated topics were introduced, and I repeatedly expressed to the reporter, Tony Dokoupil, and the producers that I preferred to keep the conversation centered on the book." "After this occurred several times, Jordon, with whom I share both a personal and professional relationship, stepped in to reiterate that point to help refocus the discussion." "She was not deflecting any specific question or topic but simply doing her job to ensure the interview stayed on track. Some of the clips make it appear as though we were avoiding the question of how we met, but we have been open about the fact that Jordon and I met on a flight to Palm Beach in 2021." "The final eight-minute segment does not reflect the productive 35-minute conversation we had, which covered a wide range of topics related to my career. Instead, it presents selectively edited clips and stills from just a few minutes of the interview to suggest a false narrative – that Jordon was attempting to control the conversation – which is simply not true."

NEW: Bill Belichick rips CBS Sports for "selectively editing" his interview over the weekend to make his girlfriend Jordon Hudson look bad. Belichick is suggesting that CBS set him up after previously agreed-upon conditions were "not honored." "I agreed to speak with CBS Sunday Morning to promote my new book, 'The Art of Winning – Lessons from My Life in Football.' Prior to this interview, I clearly communicated with my publicist at Simon & Schuster that any promotional interviews I participated in would agree to focus solely on the contents of the book." "Unfortunately, that expectation was not honored during the interview. I was surprised when unrelated topics were introduced, and I repeatedly expressed to the reporter, Tony Dokoupil, and the producers that I preferred to keep the conversation centered on the book." "After this occurred several times, Jordon, with whom I share both a personal and professional relationship, stepped in to reiterate that point to help refocus the discussion." "She was not deflecting any specific question or topic but simply doing her job to ensure the interview stayed on track. Some of the clips make it appear as though we were avoiding the question of how we met, but we have been open about the fact that Jordon and I met on a flight to Palm Beach in 2021." "The final eight-minute segment does not reflect the productive 35-minute conversation we had, which covered a wide range of topics related to my career. Instead, it presents selectively edited clips and stills from just a few minutes of the interview to suggest a false narrative – that Jordon was attempting to control the conversation – which is simply not true."

Collin Rugg

1,952,655 просмотров • 1 год назад

This was a pro-Palestine rally in New York. As you can see, it was only during the BLM protests three years ago that we had such a large crowd. I've been trying to understand what's going on. What changes are taking place? What messages are being sent? The government was saying, we stand with Israel. The media outlets were saying, we stand with Israel. The New York City Mayor also said we stand with Israel. Online influencers were saying, we stand with Israel. But across the country and the world, pro-Palestinian rallies were growing in numbers and attendance in the streets. Many people were dismissing them as terrorists or terrorists' sympathizers. But, very few people really tried to understand the social movement or change that was taking place. My question has been the same, how is it that the people on the street are going against the recommendations and advice of politicians in Washington, London, Paris, and everywhere else across the world? Why are they not simply listening to the mainstream media? It seems to me that this is not just about Palestine and Israel. This is something much bigger, much deeper, and widespread, which we do not yet understand, despite some simple explanations thrown out here and there by people who have not even been at any of those rallies and rely only on some online clips.

This was a pro-Palestine rally in New York. As you can see, it was only during the BLM protests three years ago that we had such a large crowd. I've been trying to understand what's going on. What changes are taking place? What messages are being sent? The government was saying, we stand with Israel. The media outlets were saying, we stand with Israel. The New York City Mayor also said we stand with Israel. Online influencers were saying, we stand with Israel. But across the country and the world, pro-Palestinian rallies were growing in numbers and attendance in the streets. Many people were dismissing them as terrorists or terrorists' sympathizers. But, very few people really tried to understand the social movement or change that was taking place. My question has been the same, how is it that the people on the street are going against the recommendations and advice of politicians in Washington, London, Paris, and everywhere else across the world? Why are they not simply listening to the mainstream media? It seems to me that this is not just about Palestine and Israel. This is something much bigger, much deeper, and widespread, which we do not yet understand, despite some simple explanations thrown out here and there by people who have not even been at any of those rallies and rely only on some online clips.

Simon Ateba

1,016,879 просмотров • 2 лет назад

Can anyone help scientifically explain this clip of James heating up the object?🧐🤔 Let me just start off by saying I’m pretty 50/50 on if this is whole thing is truly real or an elaborate hoax. But I found this one clip from one of his previous videos to be very interesting. As part of his testing, he uses a MAPP gas blowtorch to heat up the object and the only physical reaction that can be seen is condensation forming in the areas around where the blowtorch is making contact with the object. Even when he focuses it on one specific area for 5-10 secs, no reaction occurs other than some type of small vapor being produced. I’ve been trying to research online what would happen to materials like stainless steel during a test like this and from what I could find, seems like there should’ve been some other material reaction like discoloring. Even James makes this comment in the video and I couldn’t help but think the same thing. Especially when he holds the torch on one specific area but maybe since the torch was getting low, it wasn’t producing enough heat? I guess potentially the object consists of high thermal conductivity metals or ceramic cylinder with metallic plating but I do not have enough materials science expertise to explain the processes involved in creating these types of materials, if it would be feasible for a hoaxer. I want to reiterate that I am no materials science/metals expert, just using my own knowledge/research to form this question. I would love to hear from people who know more about this topic, is there a specific scientific explanation for what occurred during this test?

Can anyone help scientifically explain this clip of James heating up the object?🧐🤔 Let me just start off by saying I’m pretty 50/50 on if this is whole thing is truly real or an elaborate hoax. But I found this one clip from one of his previous videos to be very interesting. As part of his testing, he uses a MAPP gas blowtorch to heat up the object and the only physical reaction that can be seen is condensation forming in the areas around where the blowtorch is making contact with the object. Even when he focuses it on one specific area for 5-10 secs, no reaction occurs other than some type of small vapor being produced. I’ve been trying to research online what would happen to materials like stainless steel during a test like this and from what I could find, seems like there should’ve been some other material reaction like discoloring. Even James makes this comment in the video and I couldn’t help but think the same thing. Especially when he holds the torch on one specific area but maybe since the torch was getting low, it wasn’t producing enough heat? I guess potentially the object consists of high thermal conductivity metals or ceramic cylinder with metallic plating but I do not have enough materials science expertise to explain the processes involved in creating these types of materials, if it would be feasible for a hoaxer. I want to reiterate that I am no materials science/metals expert, just using my own knowledge/research to form this question. I would love to hear from people who know more about this topic, is there a specific scientific explanation for what occurred during this test?

UFO mania

89,331 просмотров • 8 месяцев назад

YouTube Creator Insider Request to Lift Upload Ban on Acharya Prashant’s English Channel — Seeking Help After 8 Days of Trying to Resolve Issue with YouTube Support I am tweeting on behalf of Acharya Prashant (Acharya Prashant) whose English+Hindi channels have 60 Million+ subscribers. We normally handle such matters quietly with Support — but after 8 days of going back & forth, we have no choice but to tweet. We need your genuine help NOW. Timeline: 1️⃣ Our English channel received a strike on 7th Aug for “violent content.” The video (attached) was actually about non-violence towards dogs. 2️⃣ To avoid any conflict, we deleted the video. 3️⃣ YouTube Support told us in writing: “You can’t appeal as you deleted the video. Wait for 7 days → Uploads will start automatically.” (Screenshot attached) 4️⃣ We waited the full 7 days. Today is the 8th day, and until yesterday, the support personnel told us that the ban would be lifted at 15th Aug, 4AM IST. 5️⃣ However on the 8th day (15th Aug), Support suddenly said: “You didn’t acknowledge an email, so you still can’t upload.” This “email acknowledgment” step was never mentioned — not in the strike notice, not in the original Support chat/email, and not at any point during these 7 days. 📌 Channel link: We’ve followed every instruction exactly, yet we’re still unable to upload even after the penalty period has ended, while millions of viewers are waiting. Support has now asked us to wait another 7 days, making it a 14-day penalty 😐 — please review this urgently and help us restore our ability to upload. YouTube Creators India YouTube India TeamYouTube YouTube Creators YouTube Creator Insider Neal Mohan ---- Our channels links for reference: Youtube Hindi Channel (57M Subscribers): Youtube English Channel (3M Subscribers): Website: Twitter:

YouTube Creator Insider Request to Lift Upload Ban on Acharya Prashant’s English Channel — Seeking Help After 8 Days of Trying to Resolve Issue with YouTube Support I am tweeting on behalf of Acharya Prashant (Acharya Prashant) whose English+Hindi channels have 60 Million+ subscribers. We normally handle such matters quietly with Support — but after 8 days of going back & forth, we have no choice but to tweet. We need your genuine help NOW. Timeline: 1️⃣ Our English channel received a strike on 7th Aug for “violent content.” The video (attached) was actually about non-violence towards dogs. 2️⃣ To avoid any conflict, we deleted the video. 3️⃣ YouTube Support told us in writing: “You can’t appeal as you deleted the video. Wait for 7 days → Uploads will start automatically.” (Screenshot attached) 4️⃣ We waited the full 7 days. Today is the 8th day, and until yesterday, the support personnel told us that the ban would be lifted at 15th Aug, 4AM IST. 5️⃣ However on the 8th day (15th Aug), Support suddenly said: “You didn’t acknowledge an email, so you still can’t upload.” This “email acknowledgment” step was never mentioned — not in the strike notice, not in the original Support chat/email, and not at any point during these 7 days. 📌 Channel link: We’ve followed every instruction exactly, yet we’re still unable to upload even after the penalty period has ended, while millions of viewers are waiting. Support has now asked us to wait another 7 days, making it a 14-day penalty 😐 — please review this urgently and help us restore our ability to upload. YouTube Creators India YouTube India TeamYouTube YouTube Creators YouTube Creator Insider Neal Mohan ---- Our channels links for reference: Youtube Hindi Channel (57M Subscribers): Youtube English Channel (3M Subscribers): Website: Twitter:

Pradeep Vaghasiya

14,194 просмотров • 11 месяцев назад

Struggling to improve your bench press? Here’s how to identify and fix your weaknesses to increase your bench Let’s start with some form tips Big Arch - Retract your shoulder blades and drive your traps into bench by digging them into the pad. Maintain that tightness throughout the duration of the lift Bend the Bar - Act like you’re trying to bend the bar before you lift off. This causes you to externally rotate elbows to engage your lats which is crucial for a heavy bench Deep Breath - Take a deep breath before lift off and hold it in until you lift the bar where you’ll blow the air out on the way up Keep wrists straight - Wrap up your wrists tight with some wrist wraps. Don’t let wrists go limp on the concentric (lifting portion of the press). You’re losing poundage if you do Lower the bar with control - This is where lats and rear delts come into play. Nice and controlled descent and hit just below pecs Keep the arch - don’t let the bar sink into your chest and lose your arch. Keep air in and core tight the entire lift. This shortens the range of motion and allows you to stay tight and in control of the bar Leg drive and act like you’re standing up off the bench - As you explode up, drive your feet and push the bar back as if you’re trying to stand up off the bench. Weak off the chest? Likely an issue with pec strength. Here’s some exercises to help with that: -Pause Bench (1-3 seconds) -Wide Grip Bench -Incline Barbell Press -Spoto Presses -Weighted Dips -DB Flat/Incline Presses Weak with the lockout portion of the lift? Likely a weakness in your triceps or shoulders. Exercises to help with that: -Close Grip Bench -Board Presses -Pin Presses -Floor Presses -Skullcrushers -Weighted Dips -Military Presses -Slingshot Press -JM Presses -Overhead Presses Few other pieces of advice: 1) Get that back as big and strong as you can! Makes it a helluva lot easier to control the weight and add stability if our lats can support the weight. This will also carry over into your squat and deadlift. Row, row, and then row some more. Pullups/Pulldowns like crazy especially before you bench to get blood flowing back there which will help you feel and engage your lats before you lift. 2) Get a mini bicep pump from some curls before you press. Nothing heavy but having some blood in the biceps can help with tendonitis issues and help protect your joints. 3) Warm up the shoulders using a resistance band to get blood flowing to the rear delts and loosen up the shoulders. Take a foam roller and scrub the hell out of your lats as well to loosen up your shoulders.

Struggling to improve your bench press? Here’s how to identify and fix your weaknesses to increase your bench Let’s start with some form tips Big Arch - Retract your shoulder blades and drive your traps into bench by digging them into the pad. Maintain that tightness throughout the duration of the lift Bend the Bar - Act like you’re trying to bend the bar before you lift off. This causes you to externally rotate elbows to engage your lats which is crucial for a heavy bench Deep Breath - Take a deep breath before lift off and hold it in until you lift the bar where you’ll blow the air out on the way up Keep wrists straight - Wrap up your wrists tight with some wrist wraps. Don’t let wrists go limp on the concentric (lifting portion of the press). You’re losing poundage if you do Lower the bar with control - This is where lats and rear delts come into play. Nice and controlled descent and hit just below pecs Keep the arch - don’t let the bar sink into your chest and lose your arch. Keep air in and core tight the entire lift. This shortens the range of motion and allows you to stay tight and in control of the bar Leg drive and act like you’re standing up off the bench - As you explode up, drive your feet and push the bar back as if you’re trying to stand up off the bench. Weak off the chest? Likely an issue with pec strength. Here’s some exercises to help with that: -Pause Bench (1-3 seconds) -Wide Grip Bench -Incline Barbell Press -Spoto Presses -Weighted Dips -DB Flat/Incline Presses Weak with the lockout portion of the lift? Likely a weakness in your triceps or shoulders. Exercises to help with that: -Close Grip Bench -Board Presses -Pin Presses -Floor Presses -Skullcrushers -Weighted Dips -Military Presses -Slingshot Press -JM Presses -Overhead Presses Few other pieces of advice: 1) Get that back as big and strong as you can! Makes it a helluva lot easier to control the weight and add stability if our lats can support the weight. This will also carry over into your squat and deadlift. Row, row, and then row some more. Pullups/Pulldowns like crazy especially before you bench to get blood flowing back there which will help you feel and engage your lats before you lift. 2) Get a mini bicep pump from some curls before you press. Nothing heavy but having some blood in the biceps can help with tendonitis issues and help protect your joints. 3) Warm up the shoulders using a resistance band to get blood flowing to the rear delts and loosen up the shoulders. Take a foam roller and scrub the hell out of your lats as well to loosen up your shoulders.

Bailey Schober | Men’s Fitness & Nutrition Coach

26,038 просмотров • 7 месяцев назад

China’s pretty humanoid robot stuns by opening a car door in a ‘world’s first’ | Jijo Malayil, Interesting Engineering Mornine used onboard sensors and full-body control to locate the handle, adjust posture, and open a car door—no human input needed. AiMOGA Robotics has claimed to have reached a significant milestone in embodied AI with its humanoid robot, Mornine, autonomously opening a car door inside a functioning Chery dealership in China. Relying solely on onboard sensors, full-body motion control, and end-to-end reinforcement learning, Mornine performed the task without any human input. Unlike scripted or teleoperated robots, Mornie identified the door handle, adjusted its posture, and used coordinated force across its limbs and torso to complete the action—demonstrating advanced autonomy in a real-world setting. “The deployment marks one of the first instances of a service robot executing such a high-friction, physical interaction in a live commercial setting,” said the firm in a statement. In April, at the Shanghai Auto Show, automotive brands Omoda and Jaecoo, subsidiaries of Chery Automobile, introduced Mornine, designed for use in car dealerships. From sim to service Opening a car door may seem like a simple task, but AiMOGA Robotics views it as a pivotal moment in robotics—signaling a shift from simulation to real-world service, and from basic command execution to autonomous capability. Using only onboard sensors and full-body motion control, Mornine identified the door handle, adjusted her posture, and applied coordinated force across her limbs to open the door—entirely without human intervention. Mornine’s advanced sensor suite includes 3D LiDAR, depth and wide-angle cameras, and a visual-language model (VLM), enabling real-time perception of door position and opening status. Uniquely, Mornine wasn’t explicitly programmed to recognize door handles. Instead, she learned through reinforcement learning, undergoing millions of simulated cycles to focus on the right region and perform the task independently. “We never explicitly told the robot what a door handle is. It learned to focus on that region by itself,” said the engineering team at AiMOGA Robotics in a statement. The learned model was transferred to the real world using Sim2Real methods. Mornine continuously gathers live sensor data during operation, which feeds into a cloud-based training loop, allowing her to improve through continuous learning in real-world settings, reports Robotics Tomorrow. Now active in multiple Chery 4S dealerships in China, Mornine not only opens car doors but also assists with customer greetings, vehicle introductions, and item delivery—marking a step forward in humanoid robotics for commercial retail environments. AI meets retail Originally introduced as the AiMOGA Robot, Mornine was developed to support dealership sales by performing tasks such as explaining vehicle specifications, leading showroom tours, serving refreshments, and engaging with customers in multiple languages. First conceived by Chery as a virtual character to appeal to Generation Z using metaverse and virtual human technologies, Mornine gradually evolved into a real-world interactive humanoid. After multiple iterations of character and model design, Mornine debuted as a digital persona in animations, livestreams, and promotional content, gaining brand recognition. Chery later expanded the concept beyond the virtual space, resulting in the creation of the AiMOGA humanoid robot. Leveraging Chery’s expertise in autonomous driving, environmental sensing, and control systems, AiMOGA features full-stack capabilities in perception, cognition, decision-making, and execution. It uses multimodal sensing—combining speech, vision, and environmental data—to interpret user gestures, commands, and showroom dynamics. A bionic motion system and automotive-grade hardware enable dexterous movement and upright mobility, while multi-robot collaboration allows for coordinated tasks like guided tours. At the decision-making layer, Deepseek’s large language models enable natural language understanding and personalized interaction. In April 2025, Mornine officially began commercial service as an “Intelligent Sales Consultant” at the OMODA C5 JOYSTAR 4S dealership in Kuala Lumpur, Malaysia—marking her full transition from a virtual concept to a real-world humanoid sales assistant.

Owen Gregorian

67,975 просмотров • 1 год назад

🚨A woman in labor was put on a LIVE video court hearing… from her hospital bed… because she refused a C-section, in Florida. And she wasn’t “uninformed”… She’s a professional doula, and had already had THREE prior C-sections… one that caused a hemorrhage… and she was trying to avoid another dangerous surgery and a brutal recovery. She understood the risks. She even said during the hearing the risk of uterine rupture was under 2%… and that she would agree to a C-section if it became an actual emergency. That’s called informed consent. But, instead of respecting that… the hospital called the state attorney, who rushed to get a judge involved… And suddenly she’s in labor, in pain, being forced to defend her bodily autonomy, on a screen, in front of a room full of strangers. At one point she asked them: “Are any of you gonna help me bathe or shower? Are you gonna help change my pad? Are you gonna help lift the baby out of the bed and put me in the bed because I can’t lift my legs? Is anyone going to help me?” Silence. Because none of them have to live with the consequences of the surgery they were trying to force on her. Then, when she asked for a Black doctor or nurse… because Black women in the US are about 3.5x more likely to die from pregnancy-related causes than white women, and far more likely to have pain ignored, or dismissed, by providers… A white male judge actually questioned why that would matter. The f*cking audacity. In normal medical care, patients have the right to refuse treatment. Hospitals follow strict consent laws… You cannot be forced into surgery against your will. Except here. Because in Florida, pregnant women are somehow treated like they don’t have the same right to say no. When the emergency C-section finally happened, it lasted two and a half hours. Doctors had to cut around existing scar tissue, avoid her bladder, and the incision was an upside-down T, requiring a wound vac to help it heal. Recovery was brutal, and doctors told her she should never get pregnant again. But, if she did get pregnant again, would she be forced to carry out the pregnancy?

🚨A woman in labor was put on a LIVE video court hearing… from her hospital bed… because she refused a C-section, in Florida. And she wasn’t “uninformed”… She’s a professional doula, and had already had THREE prior C-sections… one that caused a hemorrhage… and she was trying to avoid another dangerous surgery and a brutal recovery. She understood the risks. She even said during the hearing the risk of uterine rupture was under 2%… and that she would agree to a C-section if it became an actual emergency. That’s called informed consent. But, instead of respecting that… the hospital called the state attorney, who rushed to get a judge involved… And suddenly she’s in labor, in pain, being forced to defend her bodily autonomy, on a screen, in front of a room full of strangers. At one point she asked them: “Are any of you gonna help me bathe or shower? Are you gonna help change my pad? Are you gonna help lift the baby out of the bed and put me in the bed because I can’t lift my legs? Is anyone going to help me?” Silence. Because none of them have to live with the consequences of the surgery they were trying to force on her. Then, when she asked for a Black doctor or nurse… because Black women in the US are about 3.5x more likely to die from pregnancy-related causes than white women, and far more likely to have pain ignored, or dismissed, by providers… A white male judge actually questioned why that would matter. The f*cking audacity. In normal medical care, patients have the right to refuse treatment. Hospitals follow strict consent laws… You cannot be forced into surgery against your will. Except here. Because in Florida, pregnant women are somehow treated like they don’t have the same right to say no. When the emergency C-section finally happened, it lasted two and a half hours. Doctors had to cut around existing scar tissue, avoid her bladder, and the incision was an upside-down T, requiring a wound vac to help it heal. Recovery was brutal, and doctors told her she should never get pregnant again. But, if she did get pregnant again, would she be forced to carry out the pregnancy?

Jesus Freakin Congress

38,453 просмотров • 4 месяцев назад

“The No. 1 Thing I’ve Learned During the Right-Wing Civil War” The loudest voices on the Right —Tucker Carlson most prominently—wouldn’t last one day as openly Jewish Americans. When Tucker gets criticized for terrible takes, he doesn’t defend them; he cries censorship. But Tucker, no one’s silencing you! You’re being criticized because your takes are garbage: anti-American, anti-capitalist, and embarrassingly weak-minded. You hide behind a fake shield of “free speech” while trying to silence others. That’s not censorship. That’s cowardice. And it’s not your skin color or religion we reject; it’s your words and actions. The things YOU control. There’s this myth that Jews are weak, especially in America. But you? You’re weaker than our weakest. Because strength isn’t about avoiding criticism; it’s about facing it head-on. You want to play victim? Try being a Jew on camera in this country for a week. Look at Dave Portnoy (Dave Portnoy). Not exactly a Chabad Jew, but when some clown shouted “F*** the Jews” during a Pizza Review, Portnoy didn’t fold. He stood there, let the camera roll, and is about to make that bigot famous. That’s strength. That’s what the ADL doesn’t understand with their “Stop the Hate” campaigns. You don’t stop hate by banning it; you stop it by confronting it and destroying it. That’s what America did in 1945, and during the Cold War. (A reminder, Tucker: Russia were the baddies.) That’s what we’re doing now with you! Confronting weakness disguised as patriotism. When Ben Shapiro plays your own clips back to you, that’s not censorship; it’s accountability. We’re holding you to your own words, and you hate that. Because the truth is, you sound like a weaker version of Jonathan Greenblatt; whining about criticism while trying to muzzle it. So here’s my advice: grow a pair, and grow a perspective. Or go elsewhere. Because you’re going to lose this war. America is still the greatest country on earth, and we’re not letting frauds like you ruin it with your excuses and sympathy for tyrants. You’re being criticized not because of who you are, but because of what you’ve become: a liar for hostile regimes, a mouthpiece for moral rot, a man allergic to criticism. You talk about strength, but every time someone calls you out, you crumble. You project, you deflect, you play the victim. Doing anything to hide that you’ve betrayed the very values you claim to defend. You think Jews are the problem? No, Tucker. The problem is men who pretend to love America while trying to silence the people who actually do.

“The No. 1 Thing I’ve Learned During the Right-Wing Civil War” The loudest voices on the Right —Tucker Carlson most prominently—wouldn’t last one day as openly Jewish Americans. When Tucker gets criticized for terrible takes, he doesn’t defend them; he cries censorship. But Tucker, no one’s silencing you! You’re being criticized because your takes are garbage: anti-American, anti-capitalist, and embarrassingly weak-minded. You hide behind a fake shield of “free speech” while trying to silence others. That’s not censorship. That’s cowardice. And it’s not your skin color or religion we reject; it’s your words and actions. The things YOU control. There’s this myth that Jews are weak, especially in America. But you? You’re weaker than our weakest. Because strength isn’t about avoiding criticism; it’s about facing it head-on. You want to play victim? Try being a Jew on camera in this country for a week. Look at Dave Portnoy (Dave Portnoy). Not exactly a Chabad Jew, but when some clown shouted “F*** the Jews” during a Pizza Review, Portnoy didn’t fold. He stood there, let the camera roll, and is about to make that bigot famous. That’s strength. That’s what the ADL doesn’t understand with their “Stop the Hate” campaigns. You don’t stop hate by banning it; you stop it by confronting it and destroying it. That’s what America did in 1945, and during the Cold War. (A reminder, Tucker: Russia were the baddies.) That’s what we’re doing now with you! Confronting weakness disguised as patriotism. When Ben Shapiro plays your own clips back to you, that’s not censorship; it’s accountability. We’re holding you to your own words, and you hate that. Because the truth is, you sound like a weaker version of Jonathan Greenblatt; whining about criticism while trying to muzzle it. So here’s my advice: grow a pair, and grow a perspective. Or go elsewhere. Because you’re going to lose this war. America is still the greatest country on earth, and we’re not letting frauds like you ruin it with your excuses and sympathy for tyrants. You’re being criticized not because of who you are, but because of what you’ve become: a liar for hostile regimes, a mouthpiece for moral rot, a man allergic to criticism. You talk about strength, but every time someone calls you out, you crumble. You project, you deflect, you play the victim. Doing anything to hide that you’ve betrayed the very values you claim to defend. You think Jews are the problem? No, Tucker. The problem is men who pretend to love America while trying to silence the people who actually do.

Jake Donnelly

42,298 просмотров • 8 месяцев назад

$Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]$

Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]

DepressedBergman

39,125 просмотров • 1 год назад