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34,401 görüntüleme • 2 gün önce •via X (Twitter)

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Angel addresses the eviction storyline and makes it clear that her roots have always been in Maryland. She says her father, sister and niece are in Maryland and her mother is buried there. Angel explains that she was actively looking for a house in Maryland before she ever considered joining #RHOP. While searching, she planned to enrol her children in school in Colorado only because they could not secure a home in Maryland in time. She stresses that the plan was always to return to Maryland. Angel says the short term rental is on Airbnb and it did cost $14K a month, not $1K. She says she was supposed to move into a larger home on July 11th, but there was confusion, as the rental owners believed she said July 1st. As a result, they rented the property to someone else, so Angel had to leave. She shares that producers asked her to show this situation on camera, which she was hesitant to do, but ultimately agreed because she wanted to be a team player and understood the nature of reality television. When Keiarna and Tia came to film a scene at her home about the situation, Angel says she was upset that the details were later relayed to Gizelle. She describes Gizelle as mean spirited and says the situation was turned into something it was not. Angel also addresses comments about her husband, Bobby, saying that when he told the women they would get there when they get there, she fully stands by him and believes the women deserved that energy. Angel says “code switching Ashley is trying to dog whistle him being an aggressive black man and I didn’t appreciate that.” Angel says the women’s behaviour felt like hazing and explains that if she truly did not want to get to know them, she would not have invited them into her home more than once. She also recalls a moment when Gizelle lost power and she offered her home if Gizelle needed a place to shower etc. Angel says she is hurt by what she describes as mean girl antics and rejection, especially when she feels she has done nothing other than show up as a human being. Podcast: Way Up With Angela Yee
6:14

Angel addresses the eviction storyline and makes it clear that her roots have always been in Maryland. She says her father, sister and niece are in Maryland and her mother is buried there. Angel explains that she was actively looking for a house in Maryland before she ever considered joining #RHOP. While searching, she planned to enrol her children in school in Colorado only because they could not secure a home in Maryland in time. She stresses that the plan was always to return to Maryland. Angel says the short term rental is on Airbnb and it did cost $14K a month, not $1K. She says she was supposed to move into a larger home on July 11th, but there was confusion, as the rental owners believed she said July 1st. As a result, they rented the property to someone else, so Angel had to leave. She shares that producers asked her to show this situation on camera, which she was hesitant to do, but ultimately agreed because she wanted to be a team player and understood the nature of reality television. When Keiarna and Tia came to film a scene at her home about the situation, Angel says she was upset that the details were later relayed to Gizelle. She describes Gizelle as mean spirited and says the situation was turned into something it was not. Angel also addresses comments about her husband, Bobby, saying that when he told the women they would get there when they get there, she fully stands by him and believes the women deserved that energy. Angel says “code switching Ashley is trying to dog whistle him being an aggressive black man and I didn’t appreciate that.” Angel says the women’s behaviour felt like hazing and explains that if she truly did not want to get to know them, she would not have invited them into her home more than once. She also recalls a moment when Gizelle lost power and she offered her home if Gizelle needed a place to shower etc. Angel says she is hurt by what she describes as mean girl antics and rejection, especially when she feels she has done nothing other than show up as a human being. Podcast: Way Up With Angela Yee

Bye Wig Hello Drama

113,094 görüntüleme • 8 ay önce

‼️Candace Owens Is BACK — And She’s Already Coming for Turning Point USA 👀 After a week away, Candace Owens returned to her podcast wearing “Russian red lipstick” as a troll to the people calling her a spy. She joked about the latest round of accusations before getting straight to the point: while she was gone, Turning Point USA dropped another video trying to push the narrative that Charlie Kirk wanted Erika to take over everything. Candace didn’t hold back, calling out how weird and forced the whole thing looks. She made it clear she’s ready to address it head-on. This is exactly why they panic whenever Candace goes quiet. The second she steps away, they start pushing more sloppy propaganda. Now she’s back, and they’re already in damage control. FOLLOW Candace Owens, RT and watch her FULL episode linked below.👇 ⚠️My channel is under attack to try to bankrupt me. If you want to support me and help me keep exposing these clowns Donate here:🔗
0:43

‼️Candace Owens Is BACK — And She’s Already Coming for Turning Point USA 👀 After a week away, Candace Owens returned to her podcast wearing “Russian red lipstick” as a troll to the people calling her a spy. She joked about the latest round of accusations before getting straight to the point: while she was gone, Turning Point USA dropped another video trying to push the narrative that Charlie Kirk wanted Erika to take over everything. Candace didn’t hold back, calling out how weird and forced the whole thing looks. She made it clear she’s ready to address it head-on. This is exactly why they panic whenever Candace goes quiet. The second she steps away, they start pushing more sloppy propaganda. Now she’s back, and they’re already in damage control. FOLLOW Candace Owens, RT and watch her FULL episode linked below.👇 ⚠️My channel is under attack to try to bankrupt me. If you want to support me and help me keep exposing these clowns Donate here:🔗

Project Constitution

67,113 görüntüleme • 3 ay önce

‼️Corey Comperatore’s WIDOW Just Said Butler Was an INSIDE Job — And Candace Owens Draws STARK Contrast To Erika Kirk's LACK Of Grief 🧐 Candace Owens highlighted a powerful interview tonight that should make a lot of people pause. Helen Comperatore, the widow of Corey Comperatore — the only person killed during the Butler, Pennsylvania shooting — sat down with NewsNation and made it clear she does not buy the official narrative. She stated she believes Thomas Crooks was working with someone inside the government and that the entire event was an inside job. Two years later she is still grieving, still asking questions, and still waiting for real answers. The Secret Service didn’t even contact her for a full year after her husband was killed. Candace then drew a direct comparison to Erika Kirk. She pointed out that Helen never ran a PR campaign, never hired influencers to attack people asking questions, never jumped into her husband’s role within days, and never declared the investigation closed while the wounds were still fresh. Helen simply wants the truth. That is what real grief and real unanswered questions look like. When a widow of a victim is openly saying the government covered it up, while another widow is treated as an untouchable emotional asset, something is deeply wrong. FOLLOW Candace Owens, RT and watch her FULL episode linked below.👇
6:50

‼️Corey Comperatore’s WIDOW Just Said Butler Was an INSIDE Job — And Candace Owens Draws STARK Contrast To Erika Kirk's LACK Of Grief 🧐 Candace Owens highlighted a powerful interview tonight that should make a lot of people pause. Helen Comperatore, the widow of Corey Comperatore — the only person killed during the Butler, Pennsylvania shooting — sat down with NewsNation and made it clear she does not buy the official narrative. She stated she believes Thomas Crooks was working with someone inside the government and that the entire event was an inside job. Two years later she is still grieving, still asking questions, and still waiting for real answers. The Secret Service didn’t even contact her for a full year after her husband was killed. Candace then drew a direct comparison to Erika Kirk. She pointed out that Helen never ran a PR campaign, never hired influencers to attack people asking questions, never jumped into her husband’s role within days, and never declared the investigation closed while the wounds were still fresh. Helen simply wants the truth. That is what real grief and real unanswered questions look like. When a widow of a victim is openly saying the government covered it up, while another widow is treated as an untouchable emotional asset, something is deeply wrong. FOLLOW Candace Owens, RT and watch her FULL episode linked below.👇

Project Constitution

16,388 görüntüleme • 2 ay önce

A Hong Kong fire survivor broke down in tears when talking about the last moments he shared with his wife of 40 years before she died in the blaze that killed more than 150 people. Yip Ka-kui told CBS News he was about to take a nap when his wife, Bai Shui Lin, called him from the other room to say a fire was climbing up the building next door, where their son lived. While he made it out, she remained in the building and couldn't move through the thick smoke. They spoke over the phone as he hoped firefighters would put out the flames in time, but he could only watch from behind the police cordon. "I couldn't find my wife," he said through tears. "I tried everything." While Yip says he feels guilty over the loss of his wife, he says she helped at least three families make it out before it was too late. "If I'd asked her to leave a minute earlier, I think she would have survived," he told CBS News. "But we know her. She wouldn't have left without warning others."
1:37

A Hong Kong fire survivor broke down in tears when talking about the last moments he shared with his wife of 40 years before she died in the blaze that killed more than 150 people. Yip Ka-kui told CBS News he was about to take a nap when his wife, Bai Shui Lin, called him from the other room to say a fire was climbing up the building next door, where their son lived. While he made it out, she remained in the building and couldn't move through the thick smoke. They spoke over the phone as he hoped firefighters would put out the flames in time, but he could only watch from behind the police cordon. "I couldn't find my wife," he said through tears. "I tried everything." While Yip says he feels guilty over the loss of his wife, he says she helped at least three families make it out before it was too late. "If I'd asked her to leave a minute earlier, I think she would have survived," he told CBS News. "But we know her. She wouldn't have left without warning others."

CBS News

286,725 görüntüleme • 10 ay önce

THIS IS SO PURE AND SWEET~~ lom got herself such a fairytale type of love 🫠🫳🏻🫳🏻 #เสน่หาวาโย *SPOILERS* :) . . . "lom?" the beautiful woman called out the name of the person she shared the house with. however, since she had woken up a little later than usual this morning and wayo hadn't come to wake her, when she got up, she found the house empty. after celebrating with wine last night, she was feeling a bit hungover, but not as much as the sickness caused by the local liquor that had made her feel ill before. "where could she have gone? she didn't leave a note" it had become an unspoken rule between them ever since they had to face the rebels that they always inform each other before going anywhere, so they would always know the other was safe. but today, catherine didn't understand why wayo had broken that rule. if she didn't hear from her, she would have to go look around the house or ask the villagers. "blew" "what are the kids doing here?" "come on, let's go" catherine looked at shasha, who eagerly grabbed her hand, pulling her to walk along. the other children surrounded her, leaving no chance to ask where they were going. having been there for a week, catherine had become close with the children, just as she had with wayo. the kids often invited her and wayo to play or to teach them activities during their free time. "where are we going, shasha?" "it's a secret" the little girl giggled and led her to a resting area on a hill. then she instructed her to stop and wait there, telling her to close her eyes and count in her mind. catherine agreed to follow the instructions, but as she was counting, she heard the sound of children running down the hill. perhaps it was a prank. or maybe just their idea of fun. "you can open your eyes now" "lom! what's going on? don't tell me you planned this with the kids" "yes, i asked the kids to help bring you here" wayo smiled as she appeared to reveal the surprise that had been planned. she had come up with this idea the night before and successfully prepared it with the help of the children early that morning. "don't do that—i woke up, and you were gone. i was worried" "sorry, but i've been with you the whole time. i didn't know when to prepare the surprise. i woke up early today to get ready" in truth, she had spent the whole night planning it, as she had felt a deep desire in their relationship that had been there long before anything had become clear between them. but as they spent every day together, their love grew stronger, making it harder to pull away. wayo wanted to make everything clear, to show catherine that she was committed to their love more than anything. "surprise?" "a flower crown. it might be a little crooked and not as pretty as rose's, but i made it for you" "it's beautiful.." "it's not as beautiful as you—but let me put it on you" catherine nodded and let wayo carefully place the flower crown on her head. she loved the surprise so much that she wanted to take a picture and keep it as a memory. she would treasure the effort of the one she loved, who loved her in return. "but that's not all" "there's more of a surprise?" "do you know, in my eyes, you're always a princess, and you'll always be my princess" "a matching ring?" wayo opened her hand to reveal a simple silver ring, two matching bands that she had found from the local area. they weren't royal diamonds, but every bit of their simplicity held pure love. "even though we've only known each other for a short time, we've been through dangerous situations and life-or-death moments together. we've built so many memories, proving the love we have for each other. i don't know if time matters in love. but i've never once doubted loving you—not even for a moment. i've always been confident in the love i have for you, and from this moment on, i always will be. and if you feel the same, there's one thing i want to ask you right now" "..." "blew, will you marry me?"
0:33

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THIS IS SO PURE AND SWEET~~ lom got herself such a fairytale type of love 🫠🫳🏻🫳🏻 #เสน่หาวาโย *SPOILERS* :) . . . "lom?" the beautiful woman called out the name of the person she shared the house with. however, since she had woken up a little later than usual this morning and wayo hadn't come to wake her, when she got up, she found the house empty. after celebrating with wine last night, she was feeling a bit hungover, but not as much as the sickness caused by the local liquor that had made her feel ill before. "where could she have gone? she didn't leave a note" it had become an unspoken rule between them ever since they had to face the rebels that they always inform each other before going anywhere, so they would always know the other was safe. but today, catherine didn't understand why wayo had broken that rule. if she didn't hear from her, she would have to go look around the house or ask the villagers. "blew" "what are the kids doing here?" "come on, let's go" catherine looked at shasha, who eagerly grabbed her hand, pulling her to walk along. the other children surrounded her, leaving no chance to ask where they were going. having been there for a week, catherine had become close with the children, just as she had with wayo. the kids often invited her and wayo to play or to teach them activities during their free time. "where are we going, shasha?" "it's a secret" the little girl giggled and led her to a resting area on a hill. then she instructed her to stop and wait there, telling her to close her eyes and count in her mind. catherine agreed to follow the instructions, but as she was counting, she heard the sound of children running down the hill. perhaps it was a prank. or maybe just their idea of fun. "you can open your eyes now" "lom! what's going on? don't tell me you planned this with the kids" "yes, i asked the kids to help bring you here" wayo smiled as she appeared to reveal the surprise that had been planned. she had come up with this idea the night before and successfully prepared it with the help of the children early that morning. "don't do that—i woke up, and you were gone. i was worried" "sorry, but i've been with you the whole time. i didn't know when to prepare the surprise. i woke up early today to get ready" in truth, she had spent the whole night planning it, as she had felt a deep desire in their relationship that had been there long before anything had become clear between them. but as they spent every day together, their love grew stronger, making it harder to pull away. wayo wanted to make everything clear, to show catherine that she was committed to their love more than anything. "surprise?" "a flower crown. it might be a little crooked and not as pretty as rose's, but i made it for you" "it's beautiful.." "it's not as beautiful as you—but let me put it on you" catherine nodded and let wayo carefully place the flower crown on her head. she loved the surprise so much that she wanted to take a picture and keep it as a memory. she would treasure the effort of the one she loved, who loved her in return. "but that's not all" "there's more of a surprise?" "do you know, in my eyes, you're always a princess, and you'll always be my princess" "a matching ring?" wayo opened her hand to reveal a simple silver ring, two matching bands that she had found from the local area. they weren't royal diamonds, but every bit of their simplicity held pure love. "even though we've only known each other for a short time, we've been through dangerous situations and life-or-death moments together. we've built so many memories, proving the love we have for each other. i don't know if time matters in love. but i've never once doubted loving you—not even for a moment. i've always been confident in the love i have for you, and from this moment on, i always will be. and if you feel the same, there's one thing i want to ask you right now" "..." "blew, will you marry me?"

r

30,649 görüntüleme • 3 ay önce

Emma Came To Talk Business. Meghan Came To Talk Meghan. After sitting through the full Emma Grede podcast with Meghan Markle, here’s my brief take. Emma asked good questions. Not gossip questions. Not royal questions. Business questions. Questions about pivots, imposter syndrome, criticism, building a brand, and what Meghan had learned from speaking to other female founders. Meghan had every opportunity to give people a real look at how she approaches business. Instead, we got the familiar stories. The childhood scrunchies. The jam. Faith over fear. The baby mama dance. The media. The noise. Time and again, questions that could have led somewhere interesting circled back to the same themes and the same carefully polished version of Meghan. Emma was trying to have a conversation about business. Meghan seemed far more interested in talking about Meghan. We learned a lot about the story she wants people to believe. We learned very little about the business itself. Most founders can talk for hours about the things that went wrong. Failed launches. Bad decisions. Partnerships that didn’t work out. Customer complaints. Unexpected problems. Expensive mistakes. The lessons that come from getting things wrong. Those are the stories that teach people something. Those are the stories that make people credible. Their absence here was noticeable. The contradictions didn’t help either. Meghan talks a lot about truth, authenticity and correcting false narratives, yet there seems to be very little reflection on her own changing stories over the years. She presents herself as a fearless risk-taker, but As Ever launched with advantages most entrepreneurs could only dream of: global name recognition, celebrity connections, media attention and a royal title. The humble beginnings narrative sits awkwardly beside all of that. The As Ever journey was also a missed opportunity. It could have been a chance to talk honestly about what didn’t work, what had to change, what she misjudged and what she learned along the way. Instead, obstacles mostly appeared as things that happened around her rather than things she might have contributed to or learned from. One answer summed up the entire interview for me. When Emma asked what Meghan had learned from the female founders she’d interviewed on her own podcast, I expected something specific. After all those conversations with successful women, surely there would be a lesson that changed her thinking, a mistake she saw repeated over and over, or advice she applied to her own business. Instead, the takeaway seemed to boil down to the idea that building a business is hard and people have regrets. Well… yes. That’s hardly a groundbreaking insight. After an entire season interviewing founders, entrepreneurs and business leaders, that’s the conclusion? Not a lesson that changed the way she operates. Not a mistake she was determined to avoid. Not a piece of advice she applied to As Ever. Just that building a business is difficult and people have regrets. By the end of the interview, the difference between Emma and Meghan couldn’t have been clearer. Emma was talking business. Meghan was talking narrative. The more the conversation went on, the more it felt like Meghan was sidestepping the substance of Emma’s questions and steering everything back to familiar talking points and personal stories. For someone positioning herself as a founder, she spent remarkably little time discussing the realities of building a business. Emma gave Meghan multiple opportunities to move beyond the carefully managed public image and show people how she thinks as a businesswoman. She never really did. What we got instead was another polished chapter in the ongoing Meghan Markle story.
1:19:42

Emma Came To Talk Business. Meghan Came To Talk Meghan. After sitting through the full Emma Grede podcast with Meghan Markle, here’s my brief take. Emma asked good questions. Not gossip questions. Not royal questions. Business questions. Questions about pivots, imposter syndrome, criticism, building a brand, and what Meghan had learned from speaking to other female founders. Meghan had every opportunity to give people a real look at how she approaches business. Instead, we got the familiar stories. The childhood scrunchies. The jam. Faith over fear. The baby mama dance. The media. The noise. Time and again, questions that could have led somewhere interesting circled back to the same themes and the same carefully polished version of Meghan. Emma was trying to have a conversation about business. Meghan seemed far more interested in talking about Meghan. We learned a lot about the story she wants people to believe. We learned very little about the business itself. Most founders can talk for hours about the things that went wrong. Failed launches. Bad decisions. Partnerships that didn’t work out. Customer complaints. Unexpected problems. Expensive mistakes. The lessons that come from getting things wrong. Those are the stories that teach people something. Those are the stories that make people credible. Their absence here was noticeable. The contradictions didn’t help either. Meghan talks a lot about truth, authenticity and correcting false narratives, yet there seems to be very little reflection on her own changing stories over the years. She presents herself as a fearless risk-taker, but As Ever launched with advantages most entrepreneurs could only dream of: global name recognition, celebrity connections, media attention and a royal title. The humble beginnings narrative sits awkwardly beside all of that. The As Ever journey was also a missed opportunity. It could have been a chance to talk honestly about what didn’t work, what had to change, what she misjudged and what she learned along the way. Instead, obstacles mostly appeared as things that happened around her rather than things she might have contributed to or learned from. One answer summed up the entire interview for me. When Emma asked what Meghan had learned from the female founders she’d interviewed on her own podcast, I expected something specific. After all those conversations with successful women, surely there would be a lesson that changed her thinking, a mistake she saw repeated over and over, or advice she applied to her own business. Instead, the takeaway seemed to boil down to the idea that building a business is hard and people have regrets. Well… yes. That’s hardly a groundbreaking insight. After an entire season interviewing founders, entrepreneurs and business leaders, that’s the conclusion? Not a lesson that changed the way she operates. Not a mistake she was determined to avoid. Not a piece of advice she applied to As Ever. Just that building a business is difficult and people have regrets. By the end of the interview, the difference between Emma and Meghan couldn’t have been clearer. Emma was talking business. Meghan was talking narrative. The more the conversation went on, the more it felt like Meghan was sidestepping the substance of Emma’s questions and steering everything back to familiar talking points and personal stories. For someone positioning herself as a founder, she spent remarkably little time discussing the realities of building a business. Emma gave Meghan multiple opportunities to move beyond the carefully managed public image and show people how she thinks as a businesswoman. She never really did. What we got instead was another polished chapter in the ongoing Meghan Markle story.

Queen Esther

66,638 görüntüleme • 3 ay önce

I didn’t travel 18 hours just to meet someone. I traveled to witness the beginning of something unforgettable. The first time I saw #linglingkwong‌ was in Chiang Mai. I stood between her and Nong Orm, almost afraid to move, afraid to interrupt their space just listening, observing, absorbing the moment. She was calm, introverted, gentle. The first thing she asked me was, “Did you really fly 18 hours to come here?” than she said "Waww" That small question carried so much warmth. She smiled quietly while Orm spoke more. Watching, listening, present in her own peaceful way. Beauty on screen is one thing… but meeting her in real life is something entirely different. My real miracle moment came at the fancon. I was in a wheelchair, supported by security, struggling to walk. She noticed immediately. She remembered me from Chiang Mai. She asked with concern: “Are you okay? Do you need help? What happened?” Not out of politeness, but out of real care. She was more worried about me than I was about myself 😅 She even spoke to me on stage a lot, and I kept saying, “I’m okay, I’m okay don’t worry.” Later, at LEGO, the introvert side softened She talked more, She laughed.. We spoke for more than 7 minutes in beautiful, professional cute English🫠 I promised her Lebanese chocolate next time, our chocolate ranks among the top in the world 😇 She smiled and said, “Yes please, give it to my manager.” And now I truly believe 2026 must deliver that promise☺️ This is who #linglingkwong‌ truly is. Not only breathtakingly beautiful but emotionally intelligent, respectful, and deeply human. The way she walks, smiles, speaks, dances, listens everything carries elegance, and intelligence. She was born to shine but she also worked for every step. Nothing about her journey feels accidental. Discipline, patience, growth shaped the woman she is today. Her impact built on effort. Confidence built on consistency. A true leader in the making. 2025 was her beginning. A powerful year of visibility, growth, and becoming a #Dior Brand house Ambassador a global statement in itself. But I truly believe 2026 will unlock even greater chapters: more influence, more excellence, more global presence, more legacy😉 Before Thailand, I always said she is the first choice for brands. After meeting her, I am absolutely certain this woman will always be the first choice. Not because of hype. But because of character, I never introduced myself as a director. I didn’t speak about titles or roles. I was simply happy being a fan, standing quietly, witnessing something rare. In one of the Thailand clips you’ll see, my friend asked me, “Why are you smiling?” I replied, “I’m not… you’re the one smiling,” because every time I see Lingling Kwong, I find myself smiling without even realizing it, happy, and full of quiet joy. Lingling has the kind of intelligence that observes before acting. The kind of soul that understands people deeply. The kind of presence that builds trust naturally for brands, for audiences, for the future. She remembers faces. She respects every fan, regardless of background, language, or status. This purity cannot be trained. It is lived. I’m grateful beyond words to witness this journey from the beginning. To grow alongside a woman who carries both grace and power so naturally. To witness a global icon rising quietly, beautifully... Congratulations to Dior you truly chose wisely. See you in Paris. ✨ Here’s to growing, evolving, and shining together. GROWING2026 WITH LINGLING #GrowWithLingling2026 linglingsirilak #linglingkwong‌ #หลิงหลิงคอง
0:55

I didn’t travel 18 hours just to meet someone. I traveled to witness the beginning of something unforgettable. The first time I saw #linglingkwong‌ was in Chiang Mai. I stood between her and Nong Orm, almost afraid to move, afraid to interrupt their space just listening, observing, absorbing the moment. She was calm, introverted, gentle. The first thing she asked me was, “Did you really fly 18 hours to come here?” than she said "Waww" That small question carried so much warmth. She smiled quietly while Orm spoke more. Watching, listening, present in her own peaceful way. Beauty on screen is one thing… but meeting her in real life is something entirely different. My real miracle moment came at the fancon. I was in a wheelchair, supported by security, struggling to walk. She noticed immediately. She remembered me from Chiang Mai. She asked with concern: “Are you okay? Do you need help? What happened?” Not out of politeness, but out of real care. She was more worried about me than I was about myself 😅 She even spoke to me on stage a lot, and I kept saying, “I’m okay, I’m okay don’t worry.” Later, at LEGO, the introvert side softened She talked more, She laughed.. We spoke for more than 7 minutes in beautiful, professional cute English🫠 I promised her Lebanese chocolate next time, our chocolate ranks among the top in the world 😇 She smiled and said, “Yes please, give it to my manager.” And now I truly believe 2026 must deliver that promise☺️ This is who #linglingkwong‌ truly is. Not only breathtakingly beautiful but emotionally intelligent, respectful, and deeply human. The way she walks, smiles, speaks, dances, listens everything carries elegance, and intelligence. She was born to shine but she also worked for every step. Nothing about her journey feels accidental. Discipline, patience, growth shaped the woman she is today. Her impact built on effort. Confidence built on consistency. A true leader in the making. 2025 was her beginning. A powerful year of visibility, growth, and becoming a #Dior Brand house Ambassador a global statement in itself. But I truly believe 2026 will unlock even greater chapters: more influence, more excellence, more global presence, more legacy😉 Before Thailand, I always said she is the first choice for brands. After meeting her, I am absolutely certain this woman will always be the first choice. Not because of hype. But because of character, I never introduced myself as a director. I didn’t speak about titles or roles. I was simply happy being a fan, standing quietly, witnessing something rare. In one of the Thailand clips you’ll see, my friend asked me, “Why are you smiling?” I replied, “I’m not… you’re the one smiling,” because every time I see Lingling Kwong, I find myself smiling without even realizing it, happy, and full of quiet joy. Lingling has the kind of intelligence that observes before acting. The kind of soul that understands people deeply. The kind of presence that builds trust naturally for brands, for audiences, for the future. She remembers faces. She respects every fan, regardless of background, language, or status. This purity cannot be trained. It is lived. I’m grateful beyond words to witness this journey from the beginning. To grow alongside a woman who carries both grace and power so naturally. To witness a global icon rising quietly, beautifully... Congratulations to Dior you truly chose wisely. See you in Paris. ✨ Here’s to growing, evolving, and shining together. GROWING2026 WITH LINGLING #GrowWithLingling2026 linglingsirilak #linglingkwong‌ #หลิงหลิงคอง

justine debs

32,182 görüntüleme • 8 ay önce

Floor-crossing MP Lori Idlout is even worse than we thought Remember when Lori Idlout crossed the floor? Yeah, that was bad. Nunavut voters elected her as an NDP MP by just 41 votes. A handful of families changing their minds would’ve flipped the result. Then she handed that seat to Mark Carney’s Liberals anyway. A quiet deal in Ottawa that erased the choice voters made. But now we know more. It turns out Lori Idlout wasn’t just playing politics. She was also billing taxpayers for purchases from her own business. House of Commons disclosures show four transactions in 2025 tied to her company, Carvings Nunavut, totalling about $1,756. That includes multiple smaller purchases and one larger one just under $1,400. Only after media questions did she suddenly realize this was a problem. Her explanation? It was an “error.” Right. Because apparently, running purchases from your own company through your parliamentary expense account just… happens. And we’re supposed to believe this wasn’t noticed until reporters started asking questions? She paid it back. But let’s be very clear about what that means: she didn’t stop — she got caught. Now zoom out because this is where the pattern matters. Idlout’s own ethics disclosures show she has full ownership of Carvings Nunavut and full ownership of Nunavut Holdings. She’s also listed as a director in federal corporate records. Long before this expense scandal broke, there were already serious questions about federal money flowing to companies connected to her interests and her household, including sole-sourced contracts worth hundreds of thousands of dollars while she was a sitting MP. After all of that, she crosses the floor to join the very government that controls those contracts. If you tried to design a textbook example of how public office and private interest can collide, you’d struggle to make it clearer than this. As long as everything is technically within the rules — rules written by the same political class — nobody in power wants to pull the thread. But Canadians aren’t stupid. They can see the sequence. Win as an NDP MP, have business interests tied to government money. Bill your own company through taxpayer expenses, call it an “error” after getting caught. Then cross the floor to the governing Liberals. And the people of Nunavut are stuck with it. If Lori Idlout thinks this is all above board if she truly believes she still has the confidence of Nunavut, then there’s a simple test: resign, run again as a Liberal and defend her record to voters. Because right now, she’s holding a seat she didn’t win under the banner she’s serving. REPORT by Sheila Gunn Reid:
5:05

Floor-crossing MP Lori Idlout is even worse than we thought Remember when Lori Idlout crossed the floor? Yeah, that was bad. Nunavut voters elected her as an NDP MP by just 41 votes. A handful of families changing their minds would’ve flipped the result. Then she handed that seat to Mark Carney’s Liberals anyway. A quiet deal in Ottawa that erased the choice voters made. But now we know more. It turns out Lori Idlout wasn’t just playing politics. She was also billing taxpayers for purchases from her own business. House of Commons disclosures show four transactions in 2025 tied to her company, Carvings Nunavut, totalling about $1,756. That includes multiple smaller purchases and one larger one just under $1,400. Only after media questions did she suddenly realize this was a problem. Her explanation? It was an “error.” Right. Because apparently, running purchases from your own company through your parliamentary expense account just… happens. And we’re supposed to believe this wasn’t noticed until reporters started asking questions? She paid it back. But let’s be very clear about what that means: she didn’t stop — she got caught. Now zoom out because this is where the pattern matters. Idlout’s own ethics disclosures show she has full ownership of Carvings Nunavut and full ownership of Nunavut Holdings. She’s also listed as a director in federal corporate records. Long before this expense scandal broke, there were already serious questions about federal money flowing to companies connected to her interests and her household, including sole-sourced contracts worth hundreds of thousands of dollars while she was a sitting MP. After all of that, she crosses the floor to join the very government that controls those contracts. If you tried to design a textbook example of how public office and private interest can collide, you’d struggle to make it clearer than this. As long as everything is technically within the rules — rules written by the same political class — nobody in power wants to pull the thread. But Canadians aren’t stupid. They can see the sequence. Win as an NDP MP, have business interests tied to government money. Bill your own company through taxpayer expenses, call it an “error” after getting caught. Then cross the floor to the governing Liberals. And the people of Nunavut are stuck with it. If Lori Idlout thinks this is all above board if she truly believes she still has the confidence of Nunavut, then there’s a simple test: resign, run again as a Liberal and defend her record to voters. Because right now, she’s holding a seat she didn’t win under the banner she’s serving. REPORT by Sheila Gunn Reid:

Rebel News

83,642 görüntüleme • 6 ay önce

Seedance 2.5 full 30s prompt + H3 lipsync workflow are below 👇 [3_panel_ref] is a three-panel character turnaround (front, left profile, rear) that strictly defines one single continuous Black woman: short black hair with a sharp undercut on one side, large gold hoop earrings, thick gold curb-chain necklace, fitted black short-sleeve crop top exposing the midriff, baggy green woodland-camouflage cargo pants with large side pockets, and black-and-white Nike high-top sneakers with leopard-print heel and tongue panels. Use only her exact face, body proportions, hair, clothing and accessories. Do not use the plain studio background or any lighting from this image. [outdoor_ref] provides the outdoor lakeside music festival environment at blue-hour dusk: dense standing crowd, main stage with large LED screens and vibrant purple-cyan-pink lighting, scattered white and colored tents, flags, gravel paths, dark forested hills, and calm reflective lake water. Use this only for location layout, spatial depth, ambient lighting mix (cool dusk sky + warm practical tent lights + stage color spill), and background crowd density. Do not promote any specific individuals from this image into the main subject role. Generate a continuous 30-second photorealistic cinematic sequence of the exact same woman from [3_panel_ref] advancing through the dense festival crowd of [outdoor_ref] while carrying a clear plastic cup of beer in each hand. Her path is a single continuous forward trajectory from deep inside the packed crowd toward a slightly clearer edge near the water where her friends wait. All camera work and cuts preserve the unbroken sense of her physical progress and direction of travel. No dialogue, no subtitles, no on-screen text. 0-3s: Hybrid SnorriCam + Steadicam locked on her face and upper torso. She pushes and weaves through tightly packed bodies, constantly bumped from left, right and behind. Both beer cups tilt and liquid sloshes; her expression cycles between tight frustration and stubborn determination. She never stops advancing. Stage lights and crowd motion blur behind her. 3.0-4.5s: Medium side tracking shot. A tall man shoulders into her hard — brief slow-motion impact, beer liquid arcs upward, then hard speed-ramp recovery as she re-centers and keeps moving forward. 4.5-6.0s: Extreme close-up on her right hand clamped around the plastic cup. Foam and golden liquid sway violently with each jolt; knuckles and gold chain details sharp. 6.0-7.5s: Low-angle close-up of her Nike sneakers with leopard accents stepping carefully between other people’s feet, discarded cups and uneven grass, still pushing ahead. 7.5-9.0s: Tight facial close-up with rapid zoom-in to her eyes and the swinging gold hoop earring. She glances sideways at a near-miss, jaw tight, then locks forward again. 9.0-10.5s: Medium three-quarter shot. She ducks under a raised dancing arm, speed-ramp on the duck and straighten, beers held high, continuing the same forward line. 10.5-12.0s: Slightly elevated back three-quarter. A surge of people passes; her crop top and gold chain catch stage light as she twists her torso to slip through without stopping. 12.0-13.5s: Extreme close-up on the left beer cup as it is jolted — liquid nearly overflows, catching a purple stage flash, then settles as she stabilizes. 13.5-15.0s: Dutch-angle medium shot. She brushes past a person with a large backpack; camo cargo pockets scrape fabric; her stride never breaks. 15.0-16.5s: Close-up on the undercut side of her head and short black hair moving with the motion, gold earring flashing. 16.5-18.0s: Slightly high angle looking down as she navigates a tighter cluster near tents; bodies part just enough for her to thread through, still advancing. 18.0-19.5s: Slow-motion medium close-up of her upper body and face as a drift of stage fog and colored light crosses her; skin, gold jewelry and black fabric catch the colors while she keeps walking. 19.5-21.0s: Side tracking speed-ramp. She sidesteps a couple holding hands, beers lifted protectively, path still straight toward the water edge. 21.0-22.5s: Extreme close-up on her slightly parted lips and focused eyes looking ahead, concentration unbroken. 22.5-24.0s: Medium full-body as the crowd density begins to thin near the lake. She picks up a half-step of speed while still carefully balancing both cups. 24.0-25.5s: Tracking from behind as she emerges into a small clearer zone. Two female friends in casual festival clothes are waiting a few meters ahead, already noticing her. 25.5-27.0s: Medium shot as she reaches them, stops, still holding both beers upright. Shoulders begin to drop. 27.0-30s: Close-up on her face. She releases a long, deep sigh of pure relief, a small tired smile appears, eyes soften toward her friends. Soft bokeh of lake water and residual stage lights behind her. Hold the final frame. Visual treatment: photorealistic live-action, natural blue-hour mixed with vibrant stage color spill, shallow depth of field on all close-ups, grounded handheld energy that never loses her continuous forward path. Audio: dense overlapping crowd murmur and chatter, distant muffled bass and music from the main stage, liquid sloshing inside the cups, soft body impacts and fabric rustle, her slightly elevated breathing, final clear relieved exhalation. No added music bed beyond the distant stage sound. Keep the woman’s identity, clothing, cup ownership and direction of travel completely stable across every cut. If you need the prompts for the references used, check the quoted post! 🫡
0:30

Seedance 2.5 full 30s prompt + H3 lipsync workflow are below 👇 [3_panel_ref] is a three-panel character turnaround (front, left profile, rear) that strictly defines one single continuous Black woman: short black hair with a sharp undercut on one side, large gold hoop earrings, thick gold curb-chain necklace, fitted black short-sleeve crop top exposing the midriff, baggy green woodland-camouflage cargo pants with large side pockets, and black-and-white Nike high-top sneakers with leopard-print heel and tongue panels. Use only her exact face, body proportions, hair, clothing and accessories. Do not use the plain studio background or any lighting from this image. [outdoor_ref] provides the outdoor lakeside music festival environment at blue-hour dusk: dense standing crowd, main stage with large LED screens and vibrant purple-cyan-pink lighting, scattered white and colored tents, flags, gravel paths, dark forested hills, and calm reflective lake water. Use this only for location layout, spatial depth, ambient lighting mix (cool dusk sky + warm practical tent lights + stage color spill), and background crowd density. Do not promote any specific individuals from this image into the main subject role. Generate a continuous 30-second photorealistic cinematic sequence of the exact same woman from [3_panel_ref] advancing through the dense festival crowd of [outdoor_ref] while carrying a clear plastic cup of beer in each hand. Her path is a single continuous forward trajectory from deep inside the packed crowd toward a slightly clearer edge near the water where her friends wait. All camera work and cuts preserve the unbroken sense of her physical progress and direction of travel. No dialogue, no subtitles, no on-screen text. 0-3s: Hybrid SnorriCam + Steadicam locked on her face and upper torso. She pushes and weaves through tightly packed bodies, constantly bumped from left, right and behind. Both beer cups tilt and liquid sloshes; her expression cycles between tight frustration and stubborn determination. She never stops advancing. Stage lights and crowd motion blur behind her. 3.0-4.5s: Medium side tracking shot. A tall man shoulders into her hard — brief slow-motion impact, beer liquid arcs upward, then hard speed-ramp recovery as she re-centers and keeps moving forward. 4.5-6.0s: Extreme close-up on her right hand clamped around the plastic cup. Foam and golden liquid sway violently with each jolt; knuckles and gold chain details sharp. 6.0-7.5s: Low-angle close-up of her Nike sneakers with leopard accents stepping carefully between other people’s feet, discarded cups and uneven grass, still pushing ahead. 7.5-9.0s: Tight facial close-up with rapid zoom-in to her eyes and the swinging gold hoop earring. She glances sideways at a near-miss, jaw tight, then locks forward again. 9.0-10.5s: Medium three-quarter shot. She ducks under a raised dancing arm, speed-ramp on the duck and straighten, beers held high, continuing the same forward line. 10.5-12.0s: Slightly elevated back three-quarter. A surge of people passes; her crop top and gold chain catch stage light as she twists her torso to slip through without stopping. 12.0-13.5s: Extreme close-up on the left beer cup as it is jolted — liquid nearly overflows, catching a purple stage flash, then settles as she stabilizes. 13.5-15.0s: Dutch-angle medium shot. She brushes past a person with a large backpack; camo cargo pockets scrape fabric; her stride never breaks. 15.0-16.5s: Close-up on the undercut side of her head and short black hair moving with the motion, gold earring flashing. 16.5-18.0s: Slightly high angle looking down as she navigates a tighter cluster near tents; bodies part just enough for her to thread through, still advancing. 18.0-19.5s: Slow-motion medium close-up of her upper body and face as a drift of stage fog and colored light crosses her; skin, gold jewelry and black fabric catch the colors while she keeps walking. 19.5-21.0s: Side tracking speed-ramp. She sidesteps a couple holding hands, beers lifted protectively, path still straight toward the water edge. 21.0-22.5s: Extreme close-up on her slightly parted lips and focused eyes looking ahead, concentration unbroken. 22.5-24.0s: Medium full-body as the crowd density begins to thin near the lake. She picks up a half-step of speed while still carefully balancing both cups. 24.0-25.5s: Tracking from behind as she emerges into a small clearer zone. Two female friends in casual festival clothes are waiting a few meters ahead, already noticing her. 25.5-27.0s: Medium shot as she reaches them, stops, still holding both beers upright. Shoulders begin to drop. 27.0-30s: Close-up on her face. She releases a long, deep sigh of pure relief, a small tired smile appears, eyes soften toward her friends. Soft bokeh of lake water and residual stage lights behind her. Hold the final frame. Visual treatment: photorealistic live-action, natural blue-hour mixed with vibrant stage color spill, shallow depth of field on all close-ups, grounded handheld energy that never loses her continuous forward path. Audio: dense overlapping crowd murmur and chatter, distant muffled bass and music from the main stage, liquid sloshing inside the cups, soft body impacts and fabric rustle, her slightly elevated breathing, final clear relieved exhalation. No added music bed beyond the distant stage sound. Keep the woman’s identity, clothing, cup ownership and direction of travel completely stable across every cut. If you need the prompts for the references used, check the quoted post! 🫡

TechHalla

14,854 görüntüleme • 1 ay önce

20 shots in 30seconds. Yes! you can do that much with Seedance 2.5! Made on LovartAI Prompt 👇 Create a 30-second cinematic continuous one-shot where both the world and the character are constantly moving. The transformation must never feel like a girl simply walking while backgrounds change. Her body, momentum, balance, position, and reactions should actively cause or motivate each transition. No cuts, no fades, no dissolves. The camera may whip, orbit, dive, roll, pass behind objects, move overhead, go low to the ground, rush toward her, or briefly lose sight of her behind foreground elements, but it must remain one physically continuous shot. Character: A realistic Japanese girl in her early 20s. Natural features, long dark hair, athletic and expressive. Casual modern clothes that stay readable as they get wet, dusty, torn, and transformed by each world. Photoreal, not anime. Start in a bright Candy World. Giant lollipops, frosting hills, candy-cane trees, and sugar dust in the air. The girl hears a rumble and spins around. The camera rushes backward in front of her as she runs toward a gigantic painting of a lava cake. She skids to a stop. Molten chocolate lava suddenly explodes out of the canvas. She dives sideways as real lava-cake flood crashes across the candy floor. The camera drops almost to floor level with the rushing chocolate. She grabs a giant candy bench to stop herself. The bench stretches beneath her hands and becomes a fallen log. The camera swings around her. She is suddenly in the Year of the Dinosaurs, hanging from a tree as a massive dinosaur charges past. She pulls herself up, runs, jumps over a sliding boulder, ducks beneath a swinging vine, then grabs a giant leaf. The camera rises with the leaf. The leaf wraps around her. She tears through it and tumbles onto a paper world. The same leaf is now a huge sheet of folded paper. She rolls across paper mountains, pushes herself up, and immediately begins running as paper buildings unfold around her. The camera races sideways with her. Paper edges whip past the lens and transform into glass. The paper city becomes a modern skyscraper corridor. She runs across glossy floors as windows race past. She loses her footing near an open shaft and falls. The camera dives with her. The glass walls become rough stone. She lands hard inside a prehistoric BC cave. Torches flicker. She crawls forward, then sprints as the cave opens onto an ancient battlefield. Spears and banners rush past. She drops flat as riders leap over her. From ground level a giant war banner falls toward the lens. She grabs its edge. The wind yanks her upward. For a moment she is lifted completely off the ground. As the camera rotates with her, the banner becomes the feathers of a gigantic bird. She is suddenly riding on the big bird’s back high in the sky. She holds on as it banks through clouds. The bird dives. She slips, grabs a talon, then drops. The camera falls with her. She plunges into an underground river. Now underwater, her momentum continues naturally. She swims with the current through a dark cavern, then breaks the surface onto an abandoned island. Skeletons lie scattered across the sand and rocks. She stands, panting, then steps on a glass shard. The island shrinks around her. The camera pulls back as the whole island is revealed inside a giant glass bottle. She is trapped inside the bottle. The bottle tips. She slides, slams against the glass, and the glass becomes a dusty window. She crashes through it into a creepy house. Creaking floors, peeling wallpaper, long hallways. She runs. A door slams open. The house corridors fill with a zombie world. She dodges reaching hands, leaps over fallen furniture, and bursts through a classroom door. She is suddenly in a school classroom. Desks scatter as she sprints across them and jumps through an open window. The camera follows her through the window. She does not land in a yard. She lands on the top of a building. Wind slams her. She runs across the rooftop, then slips off the edge. The camera dives beside her. She hits water. Now underwater again. She swims upward toward a bright shape. When she breaks the surface, she is pulling herself into a pilot’s cockpit of a flying plane. Instruments shake. She grabs the controls, then the plane punches through clouds into a dense forest. The cockpit becomes tree branches. She tumbles through leaves, rolls across moss, and slams onto a mattress. Instantly she is sitting upright in bed. Morning. Silence. The camera is now extremely close to her face. She gasps awake. For the first time in the entire film, everything becomes completely still. Her bedroom is ordinary. She looks around. She touches the mattress. Checks her hands. Relieved, she lies back down. Then something drips onto her forehead. She looks up. The ceiling above her bed is gently rippling like candy glaze mixed with water. A large shadow slowly moves across it. Her expression changes from relief to disbelief. Then the entire bed suddenly tilts. She grabs the mattress as her alarm clock, pillow, lamp, and furniture begin sliding toward one side of the room. End exactly as she begins sliding out of bed, suggesting that waking up was only another stage of the transformation. The action should feel choreographed like a physical adventure. The girl must run, sprint, skid, dive, fall, climb, hang, swing, crawl, jump, roll, swim, land, sit, get thrown through spaces, and briefly become weightless. Her position within the frame should constantly change: close-up, full-body, profile, silhouette, overhead, low-angle, behind her, directly in front of her, underwater, upside down, falling beside her, and orbiting around her. Transitions should be triggered by her actions. When she grabs something, it becomes something else. When she falls, the next world catches her. When she jumps through an opening, that opening becomes another location. When an object crosses the camera, it transforms while hiding part of the environment. Use physical match transitions such as: candy bench → dinosaur-era log giant leaf → paper sheet paper edges → skyscraper glass falling shaft → BC cave stone war banner → giant bird feathers bird dive → underground river island sand → bottle glass bottle glass → creepy house window house door → zombie world zombie corridor → classroom classroom window → rooftop rooftop fall → underwater water surface → pilot cockpit cockpit / clouds → forest branches forest ground → bedroom mattress The camera movement itself should help generate transitions. A whip-pan can turn one moving object into another. A 360-degree orbit can reveal a completely transformed environment by the time it completes. Passing behind fabric, pillars, people, waves, vehicles, doors, or the girl’s body can briefly obscure parts of the frame while the transformation happens continuously. Despite the speed, every transformation must remain visually understandable. The result should feel less like a transformation montage and more like one impossible 30-second physical journey in which the girl is being chased, thrown, carried, dropped, and pulled through realities that continuously grow out of one another. Tone: exhilarating, mysterious, playful, cinematic, photoreal, large-scale, dreamlike, and full of wonder.
0:30

20 shots in 30seconds. Yes! you can do that much with Seedance 2.5! Made on LovartAI Prompt 👇 Create a 30-second cinematic continuous one-shot where both the world and the character are constantly moving. The transformation must never feel like a girl simply walking while backgrounds change. Her body, momentum, balance, position, and reactions should actively cause or motivate each transition. No cuts, no fades, no dissolves. The camera may whip, orbit, dive, roll, pass behind objects, move overhead, go low to the ground, rush toward her, or briefly lose sight of her behind foreground elements, but it must remain one physically continuous shot. Character: A realistic Japanese girl in her early 20s. Natural features, long dark hair, athletic and expressive. Casual modern clothes that stay readable as they get wet, dusty, torn, and transformed by each world. Photoreal, not anime. Start in a bright Candy World. Giant lollipops, frosting hills, candy-cane trees, and sugar dust in the air. The girl hears a rumble and spins around. The camera rushes backward in front of her as she runs toward a gigantic painting of a lava cake. She skids to a stop. Molten chocolate lava suddenly explodes out of the canvas. She dives sideways as real lava-cake flood crashes across the candy floor. The camera drops almost to floor level with the rushing chocolate. She grabs a giant candy bench to stop herself. The bench stretches beneath her hands and becomes a fallen log. The camera swings around her. She is suddenly in the Year of the Dinosaurs, hanging from a tree as a massive dinosaur charges past. She pulls herself up, runs, jumps over a sliding boulder, ducks beneath a swinging vine, then grabs a giant leaf. The camera rises with the leaf. The leaf wraps around her. She tears through it and tumbles onto a paper world. The same leaf is now a huge sheet of folded paper. She rolls across paper mountains, pushes herself up, and immediately begins running as paper buildings unfold around her. The camera races sideways with her. Paper edges whip past the lens and transform into glass. The paper city becomes a modern skyscraper corridor. She runs across glossy floors as windows race past. She loses her footing near an open shaft and falls. The camera dives with her. The glass walls become rough stone. She lands hard inside a prehistoric BC cave. Torches flicker. She crawls forward, then sprints as the cave opens onto an ancient battlefield. Spears and banners rush past. She drops flat as riders leap over her. From ground level a giant war banner falls toward the lens. She grabs its edge. The wind yanks her upward. For a moment she is lifted completely off the ground. As the camera rotates with her, the banner becomes the feathers of a gigantic bird. She is suddenly riding on the big bird’s back high in the sky. She holds on as it banks through clouds. The bird dives. She slips, grabs a talon, then drops. The camera falls with her. She plunges into an underground river. Now underwater, her momentum continues naturally. She swims with the current through a dark cavern, then breaks the surface onto an abandoned island. Skeletons lie scattered across the sand and rocks. She stands, panting, then steps on a glass shard. The island shrinks around her. The camera pulls back as the whole island is revealed inside a giant glass bottle. She is trapped inside the bottle. The bottle tips. She slides, slams against the glass, and the glass becomes a dusty window. She crashes through it into a creepy house. Creaking floors, peeling wallpaper, long hallways. She runs. A door slams open. The house corridors fill with a zombie world. She dodges reaching hands, leaps over fallen furniture, and bursts through a classroom door. She is suddenly in a school classroom. Desks scatter as she sprints across them and jumps through an open window. The camera follows her through the window. She does not land in a yard. She lands on the top of a building. Wind slams her. She runs across the rooftop, then slips off the edge. The camera dives beside her. She hits water. Now underwater again. She swims upward toward a bright shape. When she breaks the surface, she is pulling herself into a pilot’s cockpit of a flying plane. Instruments shake. She grabs the controls, then the plane punches through clouds into a dense forest. The cockpit becomes tree branches. She tumbles through leaves, rolls across moss, and slams onto a mattress. Instantly she is sitting upright in bed. Morning. Silence. The camera is now extremely close to her face. She gasps awake. For the first time in the entire film, everything becomes completely still. Her bedroom is ordinary. She looks around. She touches the mattress. Checks her hands. Relieved, she lies back down. Then something drips onto her forehead. She looks up. The ceiling above her bed is gently rippling like candy glaze mixed with water. A large shadow slowly moves across it. Her expression changes from relief to disbelief. Then the entire bed suddenly tilts. She grabs the mattress as her alarm clock, pillow, lamp, and furniture begin sliding toward one side of the room. End exactly as she begins sliding out of bed, suggesting that waking up was only another stage of the transformation. The action should feel choreographed like a physical adventure. The girl must run, sprint, skid, dive, fall, climb, hang, swing, crawl, jump, roll, swim, land, sit, get thrown through spaces, and briefly become weightless. Her position within the frame should constantly change: close-up, full-body, profile, silhouette, overhead, low-angle, behind her, directly in front of her, underwater, upside down, falling beside her, and orbiting around her. Transitions should be triggered by her actions. When she grabs something, it becomes something else. When she falls, the next world catches her. When she jumps through an opening, that opening becomes another location. When an object crosses the camera, it transforms while hiding part of the environment. Use physical match transitions such as: candy bench → dinosaur-era log giant leaf → paper sheet paper edges → skyscraper glass falling shaft → BC cave stone war banner → giant bird feathers bird dive → underground river island sand → bottle glass bottle glass → creepy house window house door → zombie world zombie corridor → classroom classroom window → rooftop rooftop fall → underwater water surface → pilot cockpit cockpit / clouds → forest branches forest ground → bedroom mattress The camera movement itself should help generate transitions. A whip-pan can turn one moving object into another. A 360-degree orbit can reveal a completely transformed environment by the time it completes. Passing behind fabric, pillars, people, waves, vehicles, doors, or the girl’s body can briefly obscure parts of the frame while the transformation happens continuously. Despite the speed, every transformation must remain visually understandable. The result should feel less like a transformation montage and more like one impossible 30-second physical journey in which the girl is being chased, thrown, carried, dropped, and pulled through realities that continuously grow out of one another. Tone: exhilarating, mysterious, playful, cinematic, photoreal, large-scale, dreamlike, and full of wonder.

MrDejie

33,788 görüntüleme • 1 ay önce

In the beginning, Jenny McCarthy said she was flooded with appreciation. Parents from all over reached out, thanking her for speaking up and helping them feel less alone. “I had about six months of just enormous amounts of parents going, ‘Thank you. I’m looked at as not crazy now.’” But that support didn’t last. Public praise quickly turned into public backlash. Rumors swirled, critics piled on, and soon, people began calling her crazy. Then something even more sinister happened: Someone showed up at her organization, Generation Rescue, with a private warning that stopped her in her tracks. “I had someone come to my organization… and say to me, ‘Listen, I was approached by, let’s just say a government agency to be hired.’” The man said his job was to craft PR campaigns designed to discredit voices like hers. “What I do is I set up PR campaigns to go against the narrative. And I’m telling you privately because I turned them down, but I wanted to give you forewarning that it’s happening because they’re going to hire someone else.” He told her the only reason he said no was because his own child had experienced the same thing—and he couldn’t be part of silencing someone who was just trying to tell the truth. McCarthy was floored. “Hold on, hold on, hold on. I have chills all over my body. I need you to tell me that whole thing all over again,” she said. “Because the shock almost didn’t let everything sink in.” The man confirmed it once more. “I basically am a PR agency, a very high echelon one, and I was approached by a government agency to create a narrative against you, and it’s going to be called you’re anti-vaccine.” McCarthy remembered asking how they could go after her when she’d made her position clear in every interview. But the man said, “doesn’t matter… they’re going to come after you with everything they’ve got. And they’ve got the media on their side.” The attacks eventually hit her where it hurt—her ability to make a living. “It didn’t really hurt me until it started taking jobs away from me,” she said. “I was a single mother still trying to heal my son.” Companies pulled McCarthy from campaigns. Opportunities vanished. And this backlash came before the term “cancel culture” even existed. “I was the beginning of that cancel culture,” McCarthy said. “Cancel culture wasn’t even a phrase yet.” Despite everything, she didn’t back down. “I just heavily relied on still writing my books and not giving up,” she said. “You can try to cancel me, but I’m still going to be here.” “And now looking back,” McCarthy said, “my son is 22 years old and I’m still here.”
3:33

In the beginning, Jenny McCarthy said she was flooded with appreciation. Parents from all over reached out, thanking her for speaking up and helping them feel less alone. “I had about six months of just enormous amounts of parents going, ‘Thank you. I’m looked at as not crazy now.’” But that support didn’t last. Public praise quickly turned into public backlash. Rumors swirled, critics piled on, and soon, people began calling her crazy. Then something even more sinister happened: Someone showed up at her organization, Generation Rescue, with a private warning that stopped her in her tracks. “I had someone come to my organization… and say to me, ‘Listen, I was approached by, let’s just say a government agency to be hired.’” The man said his job was to craft PR campaigns designed to discredit voices like hers. “What I do is I set up PR campaigns to go against the narrative. And I’m telling you privately because I turned them down, but I wanted to give you forewarning that it’s happening because they’re going to hire someone else.” He told her the only reason he said no was because his own child had experienced the same thing—and he couldn’t be part of silencing someone who was just trying to tell the truth. McCarthy was floored. “Hold on, hold on, hold on. I have chills all over my body. I need you to tell me that whole thing all over again,” she said. “Because the shock almost didn’t let everything sink in.” The man confirmed it once more. “I basically am a PR agency, a very high echelon one, and I was approached by a government agency to create a narrative against you, and it’s going to be called you’re anti-vaccine.” McCarthy remembered asking how they could go after her when she’d made her position clear in every interview. But the man said, “doesn’t matter… they’re going to come after you with everything they’ve got. And they’ve got the media on their side.” The attacks eventually hit her where it hurt—her ability to make a living. “It didn’t really hurt me until it started taking jobs away from me,” she said. “I was a single mother still trying to heal my son.” Companies pulled McCarthy from campaigns. Opportunities vanished. And this backlash came before the term “cancel culture” even existed. “I was the beginning of that cancel culture,” McCarthy said. “Cancel culture wasn’t even a phrase yet.” Despite everything, she didn’t back down. “I just heavily relied on still writing my books and not giving up,” she said. “You can try to cancel me, but I’m still going to be here.” “And now looking back,” McCarthy said, “my son is 22 years old and I’m still here.”

The Vigilant Fox 🦊

62,519 görüntüleme • 1 yıl önce

Doggy is trending because Nollywood’s Baba Tee said he didn’t have sex with Ijoba Lande’s wife Dara, that it was just ‘small’ Truth or Dare Doggy. [Full Story One Piece] Last week, content creator Lande announced his marriage had ended, because Dara slept with up to 21 nollywood colleagues. And he had evidence. Adding that, some of them are powerful people. And if he mentioned their names, they’ll kll him. Although, he mentioned actor, Babatunde Tayo (Baba Tee). Lande also accused his manager, and Dara’s bestie, Mary Gold for being the facilitator and the pimp behind his wife’s decadence. In reaction, Baba Tee denied, asked for evidence and threatened a defamation lawsuit against Lande. Over the weekend, Mary Gold confessed. She said, she took Dara to Baba Tee’s house. But when they got there. Dara started seducing Baba Tee, then they played a game. Dara herself dared Baba Tee to do sex with her. Charging him to make the game ‘romantic’. Then, Mary Gold said she left them, went to cook. And later slept off, leaving Dara and Baba Tee alone in the living room. Which she regrets doing. She denied claims of pimping Dara to men. Arguing that, Dara herself seduces these men. But most of all, Baba Tee didn’t know Dara was a married woman, talk less of Ijoba Lande’s wife. Following this.. Baba Tee had no other choice than to admit and narrate his own part. He said, Mary lied. That everything happened in the kitchen. And Mary was with them, and they asked her to look away while it happened. That, Mary was even the one daring Dara to do dirty things like twerk, moan, and asking him to spank her hass. But the doggy was brief. And he’s now suspecting they set him up. Because he was shocked how Ijoba found out, when it only happened amidst three of them. And they all did it with clear eyes. After that, they left his place. Now Darasimi’s Version. She’s saying, she was drunk. Hmm.. Anyways. According to her, Mary asked her to follow her to Baba Tee’s place to invite him as an MC for an event. When they got there, Mary initiated the truth or dare. They did the games in the kitchen. Mary participated, she was the one who asked them to make the game “Romantic”, since they were all adults. (Contrary to Mary’s claim) Mary then dared Dara (Lande’s) wife to give Baba Tee doggy. Baba Tee said he won’t pay money again, that they should just do it. So he whipped out a condom, but she refused. Only offered to “sit” on his laps. Which she did.? When they pressed her. She further said. She and Baba Tee didn’t do anything. Because BT didn’t even get an erection. When they pressed her again, reminding her that Baba Tee said they did Doggy but it was brief. Guess what Dara said. “Maybe it happened and I didn’t know, because I was drunk on 10shots”. Now, experienced players are saying they are all lying. And Baba Tee is irresponsible for sleeping with someone’s wife, even though he claims he’s not aware she was married. Also, Lande should do a DNA test on his kids. The summary of it all is, three adults played dirty truth or dare and it got casted. Follow Trending Explained for daily explanations!
13:14

Sensitive content

Doggy is trending because Nollywood’s Baba Tee said he didn’t have sex with Ijoba Lande’s wife Dara, that it was just ‘small’ Truth or Dare Doggy. [Full Story One Piece] Last week, content creator Lande announced his marriage had ended, because Dara slept with up to 21 nollywood colleagues. And he had evidence. Adding that, some of them are powerful people. And if he mentioned their names, they’ll kll him. Although, he mentioned actor, Babatunde Tayo (Baba Tee). Lande also accused his manager, and Dara’s bestie, Mary Gold for being the facilitator and the pimp behind his wife’s decadence. In reaction, Baba Tee denied, asked for evidence and threatened a defamation lawsuit against Lande. Over the weekend, Mary Gold confessed. She said, she took Dara to Baba Tee’s house. But when they got there. Dara started seducing Baba Tee, then they played a game. Dara herself dared Baba Tee to do sex with her. Charging him to make the game ‘romantic’. Then, Mary Gold said she left them, went to cook. And later slept off, leaving Dara and Baba Tee alone in the living room. Which she regrets doing. She denied claims of pimping Dara to men. Arguing that, Dara herself seduces these men. But most of all, Baba Tee didn’t know Dara was a married woman, talk less of Ijoba Lande’s wife. Following this.. Baba Tee had no other choice than to admit and narrate his own part. He said, Mary lied. That everything happened in the kitchen. And Mary was with them, and they asked her to look away while it happened. That, Mary was even the one daring Dara to do dirty things like twerk, moan, and asking him to spank her hass. But the doggy was brief. And he’s now suspecting they set him up. Because he was shocked how Ijoba found out, when it only happened amidst three of them. And they all did it with clear eyes. After that, they left his place. Now Darasimi’s Version. She’s saying, she was drunk. Hmm.. Anyways. According to her, Mary asked her to follow her to Baba Tee’s place to invite him as an MC for an event. When they got there, Mary initiated the truth or dare. They did the games in the kitchen. Mary participated, she was the one who asked them to make the game “Romantic”, since they were all adults. (Contrary to Mary’s claim) Mary then dared Dara (Lande’s) wife to give Baba Tee doggy. Baba Tee said he won’t pay money again, that they should just do it. So he whipped out a condom, but she refused. Only offered to “sit” on his laps. Which she did.? When they pressed her. She further said. She and Baba Tee didn’t do anything. Because BT didn’t even get an erection. When they pressed her again, reminding her that Baba Tee said they did Doggy but it was brief. Guess what Dara said. “Maybe it happened and I didn’t know, because I was drunk on 10shots”. Now, experienced players are saying they are all lying. And Baba Tee is irresponsible for sleeping with someone’s wife, even though he claims he’s not aware she was married. Also, Lande should do a DNA test on his kids. The summary of it all is, three adults played dirty truth or dare and it got casted. Follow Trending Explained for daily explanations!

Trending Explained

88,789 görüntüleme • 1 yıl önce

American Airlines Flight 5342 Crash update: On January 29, the Black Hawk crew did not execute visual separation effectively as per a report by New York Times. It has been revealed that the pilot flying the Black Hawk that crashed into a plane, claiming the lives of 67 people, repeatedly ignored commands to lower her altitude and a final order to turn left, which would have avoided the collision. The pilot who was flying was given multiple warnings and was directly told by her instructor/copilot to turn the opposite direction of the passenger jet to avoid a collision. She didn’t listen “Not only was the Black Hawk flying too high, but in the final seconds before the crash, the pilot (flying) failed to heed a directive from her co-pilot, an Army flight instructor, to change course.” The report also puts blame on the air traffic controller for not being clear and urgent enough. “He told her he believed that air traffic control wanted them to turn left, toward the east riverbank.” “Turning left would have opened up more space between the helicopter and Flight 5342, which was heading for Runway 33 at an altitude of roughly 300 feet. She did not turn left,” as per the NYT. Source: The New York Times. Previous Post: #investigation #crash #aviation
0:30

American Airlines Flight 5342 Crash update: On January 29, the Black Hawk crew did not execute visual separation effectively as per a report by New York Times. It has been revealed that the pilot flying the Black Hawk that crashed into a plane, claiming the lives of 67 people, repeatedly ignored commands to lower her altitude and a final order to turn left, which would have avoided the collision. The pilot who was flying was given multiple warnings and was directly told by her instructor/copilot to turn the opposite direction of the passenger jet to avoid a collision. She didn’t listen “Not only was the Black Hawk flying too high, but in the final seconds before the crash, the pilot (flying) failed to heed a directive from her co-pilot, an Army flight instructor, to change course.” The report also puts blame on the air traffic controller for not being clear and urgent enough. “He told her he believed that air traffic control wanted them to turn left, toward the east riverbank.” “Turning left would have opened up more space between the helicopter and Flight 5342, which was heading for Runway 33 at an altitude of roughly 300 feet. She did not turn left,” as per the NYT. Source: The New York Times. Previous Post: #investigation #crash #aviation

FL360aero

55,951 görüntüleme • 1 yıl önce

Maybe “Downtown” Doesn’t Make Us Miss the Past—Maybe It Makes Us Miss the Feeling of Being Happy I’ve watched this performance a few times now, and what keeps me watching isn’t one particular lyric. It’s Petula Clark’s smile. She stands onstage in a yellow polka-dot dress, with her short hair and a sparkling necklace catching the stage lights. Behind her, dancers dressed in black move across a backdrop suggesting a busy city. Petula sings while moving with the rhythm, turning from time to time and gesturing naturally. It’s pretty simple. And that’s exactly what I like about it. “Downtown” was released in 1964, and from the opening notes, the song has a kind of energy that is hard to resist. Not the kind that overwhelms you. It feels more like opening the door on a beautiful evening, stepping outside, and suddenly wanting to go somewhere. What’s interesting is that the lyrics actually begin with an unhappy feeling: loneliness, sadness, the sense of being stuck by yourself. But Petula doesn’t sing it like a song about sadness. She sings it as if simply leaving the room might make everything feel different. That may be why “Downtown” remains so easy to enjoy more than 60 years later. I especially like the way Petula performs it. She doesn’t stand behind a microphone trying to prove that she is a great singer. She moves around, interacts with the space and the dancers behind her. Some of the movements may look unmistakably “1960s” today, but that is exactly what gives the performance its character. And then there’s the music. The orchestra behind her sounds full, bright, and alive. When the chorus arrives, everything seems to open up. Petula’s voice remains clear in the middle of it all, making the song feel more like an invitation than a performance. I think that’s why people still share clips like this. Not simply because “Downtown” is a famous song. But because it lets us glimpse a time when joy in music felt very direct. A yellow dress, a few dance steps, a band playing behind her, and a singer who genuinely seems to be enjoying her own song. It doesn’t need much more than that. And honestly, after watching it, I don’t think I miss the 1960s as much as I miss the feeling of a song being able to make people happy almost immediately. Maybe that’s what “Downtown” has managed to preserve after all these years. Not the 1960s. Just a little bit of the simple joy of being human.
2:09

Maybe “Downtown” Doesn’t Make Us Miss the Past—Maybe It Makes Us Miss the Feeling of Being Happy I’ve watched this performance a few times now, and what keeps me watching isn’t one particular lyric. It’s Petula Clark’s smile. She stands onstage in a yellow polka-dot dress, with her short hair and a sparkling necklace catching the stage lights. Behind her, dancers dressed in black move across a backdrop suggesting a busy city. Petula sings while moving with the rhythm, turning from time to time and gesturing naturally. It’s pretty simple. And that’s exactly what I like about it. “Downtown” was released in 1964, and from the opening notes, the song has a kind of energy that is hard to resist. Not the kind that overwhelms you. It feels more like opening the door on a beautiful evening, stepping outside, and suddenly wanting to go somewhere. What’s interesting is that the lyrics actually begin with an unhappy feeling: loneliness, sadness, the sense of being stuck by yourself. But Petula doesn’t sing it like a song about sadness. She sings it as if simply leaving the room might make everything feel different. That may be why “Downtown” remains so easy to enjoy more than 60 years later. I especially like the way Petula performs it. She doesn’t stand behind a microphone trying to prove that she is a great singer. She moves around, interacts with the space and the dancers behind her. Some of the movements may look unmistakably “1960s” today, but that is exactly what gives the performance its character. And then there’s the music. The orchestra behind her sounds full, bright, and alive. When the chorus arrives, everything seems to open up. Petula’s voice remains clear in the middle of it all, making the song feel more like an invitation than a performance. I think that’s why people still share clips like this. Not simply because “Downtown” is a famous song. But because it lets us glimpse a time when joy in music felt very direct. A yellow dress, a few dance steps, a band playing behind her, and a singer who genuinely seems to be enjoying her own song. It doesn’t need much more than that. And honestly, after watching it, I don’t think I miss the 1960s as much as I miss the feeling of a song being able to make people happy almost immediately. Maybe that’s what “Downtown” has managed to preserve after all these years. Not the 1960s. Just a little bit of the simple joy of being human.

Music over time🎻

62,633 görüntüleme • 1 ay önce

‼️Candace Owens Just SLUT-SHAMED Emily Ratajkowski Over Her New Article —Says She Is RUINING Her Own Life! 👀 In her latest episode, Candace Owens didn’t hold back while reacting to Emily Ratajkowski’s recent article in The Cut, calling it one of the most degrading and pornographic pieces she’s read in years. Emily Ratajkowski wrote openly about intentionally sleeping with as many men as possible after her divorce, framing it as some kind of empowering “super slut” phase. She even described dressing provocatively to pick up her five-year-old son from school as a way to “punish men.” Candace called it exactly what it is: pathetic and miserable. She pointed out that this isn’t empowerment — it’s a woman in obvious pain trying to turn self-destruction into a personality. And while Ratajkowski may think she’s winning some kind of game, Candace made it clear that this kind of behavior doesn’t lead to happiness. It leads to emptiness. The most important point Candace made was this: Ratajkowski is a mother. And there’s something deeply disturbing about a woman publicly celebrating this lifestyle while raising a young son who will one day be old enough to read it. Modern feminism told women that sleeping around, degrading themselves, and rejecting any sense of dignity was “liberating.” Candace called it what it actually is — a fast track to misery. FOLLOW Candace Owens, RT this and watcher her FULL episode below.. More young women need to hear this. ⚠️My channel is under coordinated attack to bankrupt and silence this investigation into the Charlie Kirk assassination. If you believe in independent journalism and want the truth to keep coming, your support right now is everything. DONATE Here:
8:23

‼️Candace Owens Just SLUT-SHAMED Emily Ratajkowski Over Her New Article —Says She Is RUINING Her Own Life! 👀 In her latest episode, Candace Owens didn’t hold back while reacting to Emily Ratajkowski’s recent article in The Cut, calling it one of the most degrading and pornographic pieces she’s read in years. Emily Ratajkowski wrote openly about intentionally sleeping with as many men as possible after her divorce, framing it as some kind of empowering “super slut” phase. She even described dressing provocatively to pick up her five-year-old son from school as a way to “punish men.” Candace called it exactly what it is: pathetic and miserable. She pointed out that this isn’t empowerment — it’s a woman in obvious pain trying to turn self-destruction into a personality. And while Ratajkowski may think she’s winning some kind of game, Candace made it clear that this kind of behavior doesn’t lead to happiness. It leads to emptiness. The most important point Candace made was this: Ratajkowski is a mother. And there’s something deeply disturbing about a woman publicly celebrating this lifestyle while raising a young son who will one day be old enough to read it. Modern feminism told women that sleeping around, degrading themselves, and rejecting any sense of dignity was “liberating.” Candace called it what it actually is — a fast track to misery. FOLLOW Candace Owens, RT this and watcher her FULL episode below.. More young women need to hear this. ⚠️My channel is under coordinated attack to bankrupt and silence this investigation into the Charlie Kirk assassination. If you believe in independent journalism and want the truth to keep coming, your support right now is everything. DONATE Here:

Project Constitution

18,626 görüntüleme • 3 ay önce

🚨BREAKING: Candace Owens Just REACTED To President Trump Telling Erika Kirk To SUE All Of Us —And I AGREE With Her... Bring it on.🔥💪 At the White House Easter celebration, Trump looked at Erika Kirk and told her to "sue their ass off," claiming everyone investigating her is just "jealous." Candace's response is legendary. She calls it "so middle school" and delivers a masterclass in what real power is. She points out the absurdity: "We wanna know who killed Charlie Kirk, so could you park aside the lawyers and get information for us, Trump?" Then she lays down the ultimate challenge. She says most of us investigating this WELCOME a lawsuit. Why? Because discovery is a beautiful thing. A lawsuit would force them to turn over all the information we've been asking for. No more guessing. We could demand the receipts, the chain of custody on the flawed bullet analysis, and everything else they're hiding. Candace delivers the knockout blow: "The reason you should never sue... is if truth is not on your side." She asks the simple question that cuts through all the noise: If you're innocent, why not just answer the questions? Do a long, public sit-down and clear it all up? But they won't, because they can't. Instead, they hide behind power and money, using lawyers as a shield. Candace exposes this for what it is: "The reason we lie is because we're rich and we can. We have lawyers that make it okay, and you don't, peasants." This is their playbook. Use wealth and influence to silence truth-seekers. But as Candace declares, "There is no true power without truth." All their power is an illusion, and it's very easy to cut through that illusion with the truth. They sound nervous. They should be. They think money can buy silence. They're about to find out the truth is louder. Drop a 🔥 in the comments if you're ready for them to sue! FOLLOW Candace Owens, RT and watch her FULL episode linked below.👇
3:44

🚨BREAKING: Candace Owens Just REACTED To President Trump Telling Erika Kirk To SUE All Of Us —And I AGREE With Her... Bring it on.🔥💪 At the White House Easter celebration, Trump looked at Erika Kirk and told her to "sue their ass off," claiming everyone investigating her is just "jealous." Candace's response is legendary. She calls it "so middle school" and delivers a masterclass in what real power is. She points out the absurdity: "We wanna know who killed Charlie Kirk, so could you park aside the lawyers and get information for us, Trump?" Then she lays down the ultimate challenge. She says most of us investigating this WELCOME a lawsuit. Why? Because discovery is a beautiful thing. A lawsuit would force them to turn over all the information we've been asking for. No more guessing. We could demand the receipts, the chain of custody on the flawed bullet analysis, and everything else they're hiding. Candace delivers the knockout blow: "The reason you should never sue... is if truth is not on your side." She asks the simple question that cuts through all the noise: If you're innocent, why not just answer the questions? Do a long, public sit-down and clear it all up? But they won't, because they can't. Instead, they hide behind power and money, using lawyers as a shield. Candace exposes this for what it is: "The reason we lie is because we're rich and we can. We have lawyers that make it okay, and you don't, peasants." This is their playbook. Use wealth and influence to silence truth-seekers. But as Candace declares, "There is no true power without truth." All their power is an illusion, and it's very easy to cut through that illusion with the truth. They sound nervous. They should be. They think money can buy silence. They're about to find out the truth is louder. Drop a 🔥 in the comments if you're ready for them to sue! FOLLOW Candace Owens, RT and watch her FULL episode linked below.👇

Project Constitution

181,026 görüntüleme • 6 ay önce

Before their promised debut, HYBE discarded and benched NewJeans—then known as N Team—indefinitely, in favor of another group. The girls were crushed, almost to the point of giving up on their dreams of becoming idols. Min Hee-jin didn’t just stand by. She gave up her HYBE shares and requested to establish ADOR, a separate label where she can launch NewJeans. She battled tooth and nail, going head to head with disputes and obstacles to give them a proper stage and deliver on the promise that the girls will debut. When NewJeans finally debuted under ADOR, representatives at HYBE showed them very little faith. They thought “Attention” was a flat debut song with an unpopular sound style and doubted Min Hee-jin’s unconventional three-title track strategy. They didn’t believe in NewJeans’ potential, convinced the group wouldn’t succeed because they didn’t fit the typical K-pop mold. The recently revealed HYBE Internal industry reports paint a clear picture: Early on in their careers, in reports about them just days after debuting and even from before debut, HYBE never really saw NewJeans as their own. To them, NewJeans was a complementary piece—there to shine a light to their favorite girl group. Even after the NewJeans early meteoric success, HYBE never acknowledged them and they never let go of the idea that NewJeans can be discarded… expendable. They never respected NewJeans, and they seemed set on taking Min Hee-jin down at all cost. What’s twisted is how they exploited the multi-label system’s Shared services to discriminate, undermine, sabotage and undercut NewJeans, and with a system where success came with a cost: the more a subsidiary achieved, the more they had to pay HYBE. They charged ADOR more the higher NewJeans climbed and it’s for a sub par service that hampers more than it helps. But NewJeans proved unstoppable, leading a new wave in K-pop and leaving their doubters at HYBE with metaphorical bald spots from stress. Everything NewJeans achieved, HYBE seemingly took as shattering blows to their pride. NewJeans’ local and global success wasn’t just a victory; it was a statement. When MHJ raised an issue internally calling out another subsidiary for plagiarism among other issues, HYBE saw their chance, pounced and launched a very public full-blown attack, most notably through media play, using the power they have over their golf buddies, desperate to be rid of MHJ and the group she built. But the love they’ve gotten from the public, especially after the first press conference, despite all HYBE and their minions’ attempts at reverse viral attacks is something HYBE did not anticipate. More than half a year later, HYBE’s moves look increasingly foolish in hindsight. Their schemes are unraveling, and all the damage they’ve caused is finally coming back to haunt them. It’s poetic justice. This story is far from over, but HYBE has ruined their name chasing a petty vendetta. Their shortsightedness has compromised the future of K-pop, and now the truth is out. The world sees them for who they are, and the price they have to pay is steep. 💙🩷💛💚💜🧢🐰 #NewJeans #뉴진스 #NewJeans_Never_Die #HYBEOUT #버니즈_뉴진스와함께_준비갈완료
0:22

Before their promised debut, HYBE discarded and benched NewJeans—then known as N Team—indefinitely, in favor of another group. The girls were crushed, almost to the point of giving up on their dreams of becoming idols. Min Hee-jin didn’t just stand by. She gave up her HYBE shares and requested to establish ADOR, a separate label where she can launch NewJeans. She battled tooth and nail, going head to head with disputes and obstacles to give them a proper stage and deliver on the promise that the girls will debut. When NewJeans finally debuted under ADOR, representatives at HYBE showed them very little faith. They thought “Attention” was a flat debut song with an unpopular sound style and doubted Min Hee-jin’s unconventional three-title track strategy. They didn’t believe in NewJeans’ potential, convinced the group wouldn’t succeed because they didn’t fit the typical K-pop mold. The recently revealed HYBE Internal industry reports paint a clear picture: Early on in their careers, in reports about them just days after debuting and even from before debut, HYBE never really saw NewJeans as their own. To them, NewJeans was a complementary piece—there to shine a light to their favorite girl group. Even after the NewJeans early meteoric success, HYBE never acknowledged them and they never let go of the idea that NewJeans can be discarded… expendable. They never respected NewJeans, and they seemed set on taking Min Hee-jin down at all cost. What’s twisted is how they exploited the multi-label system’s Shared services to discriminate, undermine, sabotage and undercut NewJeans, and with a system where success came with a cost: the more a subsidiary achieved, the more they had to pay HYBE. They charged ADOR more the higher NewJeans climbed and it’s for a sub par service that hampers more than it helps. But NewJeans proved unstoppable, leading a new wave in K-pop and leaving their doubters at HYBE with metaphorical bald spots from stress. Everything NewJeans achieved, HYBE seemingly took as shattering blows to their pride. NewJeans’ local and global success wasn’t just a victory; it was a statement. When MHJ raised an issue internally calling out another subsidiary for plagiarism among other issues, HYBE saw their chance, pounced and launched a very public full-blown attack, most notably through media play, using the power they have over their golf buddies, desperate to be rid of MHJ and the group she built. But the love they’ve gotten from the public, especially after the first press conference, despite all HYBE and their minions’ attempts at reverse viral attacks is something HYBE did not anticipate. More than half a year later, HYBE’s moves look increasingly foolish in hindsight. Their schemes are unraveling, and all the damage they’ve caused is finally coming back to haunt them. It’s poetic justice. This story is far from over, but HYBE has ruined their name chasing a petty vendetta. Their shortsightedness has compromised the future of K-pop, and now the truth is out. The world sees them for who they are, and the price they have to pay is steep. 💙🩷💛💚💜🧢🐰 #NewJeans #뉴진스 #NewJeans_Never_Die #HYBEOUT #버니즈_뉴진스와함께_준비갈완료

1tokki

231,068 görüntüleme • 1 yıl önce

Been testing Seedance 2.5 on MOVO AI and honestly, I’m impressed. The motion feels noticeably more natural, the scenes hold together better, and the 30-second generation gives you much more room to build an actual sequence instead of just a short clip. Movo AI is definitely one I’ll be experimenting with more. 🔥 Prompt : Create a 25–30 second ultra-realistic cinematic sequence inside a photorealistic 1950s American diner. Chrome stools, deep red booths, checkerboard floor, warm window light and buzzing neon. Premium film grain with natural handheld texture. GIRL: Use the uploaded reference image as the exact character reference. Young woman with consistent face, hair, skin tone and body proportions, wearing a cream quarter-zip sweater, black pants and white sneakers. She sits calmly at the counter, completely focused on a thick milkshake. MAN: Young male waiter wearing a classic white diner shirt, dark trousers and apron, carrying a tray with a burger and large glass jug of orange juice. She slowly sips her milkshake as the waiter approaches behind her. A man rising from a nearby booth accidentally bumps into him. The tray, burger and orange juice launch into the air. Orange juice explodes into suspended droplets while the camera smoothly orbits around the frozen moment. Everyone freezes in shock. The girl at the counter remains completely unfazed, still slowly drinking her milkshake. The camera makes a full orbit around the frozen diner. Floating burger, tray and orange juice droplets hang in the air while she takes another deliberate sip. Time suddenly rewinds. The food, waiter and orange juice smoothly return to their original positions. The waiter regains his balance. The girl looks up just before the collision happens and quietly moves her milkshake out of the way. The accident is avoided. Final extreme close-up: she takes one last sip, gives a tiny knowing smile toward the camera and continues drinking. CAMERA: 35mm anamorphic look, handheld realism transitioning into a smooth 360° bullet-time orbit during the freeze, shallow depth of field, realistic motion blur, warm film grain, natural skin texture, photorealistic physics. AUDIO: Diegetic only — straw suction, ice moving inside the glass, tray clatter, glass impact, orange juice splash, diner ambience, brief silence during the freeze, reversed sound during rewind. No music. NEGATIVE: No gore, injuries, distorted faces, extra limbs, floating characters outside the freeze effect, unrealistic liquid physics, product deformation, text, subtitles or watermark.
0:30

Been testing Seedance 2.5 on MOVO AI and honestly, I’m impressed. The motion feels noticeably more natural, the scenes hold together better, and the 30-second generation gives you much more room to build an actual sequence instead of just a short clip. Movo AI is definitely one I’ll be experimenting with more. 🔥 Prompt : Create a 25–30 second ultra-realistic cinematic sequence inside a photorealistic 1950s American diner. Chrome stools, deep red booths, checkerboard floor, warm window light and buzzing neon. Premium film grain with natural handheld texture. GIRL: Use the uploaded reference image as the exact character reference. Young woman with consistent face, hair, skin tone and body proportions, wearing a cream quarter-zip sweater, black pants and white sneakers. She sits calmly at the counter, completely focused on a thick milkshake. MAN: Young male waiter wearing a classic white diner shirt, dark trousers and apron, carrying a tray with a burger and large glass jug of orange juice. She slowly sips her milkshake as the waiter approaches behind her. A man rising from a nearby booth accidentally bumps into him. The tray, burger and orange juice launch into the air. Orange juice explodes into suspended droplets while the camera smoothly orbits around the frozen moment. Everyone freezes in shock. The girl at the counter remains completely unfazed, still slowly drinking her milkshake. The camera makes a full orbit around the frozen diner. Floating burger, tray and orange juice droplets hang in the air while she takes another deliberate sip. Time suddenly rewinds. The food, waiter and orange juice smoothly return to their original positions. The waiter regains his balance. The girl looks up just before the collision happens and quietly moves her milkshake out of the way. The accident is avoided. Final extreme close-up: she takes one last sip, gives a tiny knowing smile toward the camera and continues drinking. CAMERA: 35mm anamorphic look, handheld realism transitioning into a smooth 360° bullet-time orbit during the freeze, shallow depth of field, realistic motion blur, warm film grain, natural skin texture, photorealistic physics. AUDIO: Diegetic only — straw suction, ice moving inside the glass, tray clatter, glass impact, orange juice splash, diner ambience, brief silence during the freeze, reversed sound during rewind. No music. NEGATIVE: No gore, injuries, distorted faces, extra limbs, floating characters outside the freeze effect, unrealistic liquid physics, product deformation, text, subtitles or watermark.

Smiling Khan

21,268 görüntüleme • 1 ay önce

🚨 BOMBSHELL: Erika Kirk’s Alibi DESTROYED. Was She Hiding In An Office For a CIA Front Company When Charlie Died? Candace Owens just dropped one of the most explosive, spine-chilling puzzle pieces of the entire September 10th timeline. For months, everyone has asked the same question: Where was Erika Kirk on the day her husband was assassinated? She claimed she collapsed in a parking lot. No witnesses. She claimed she rushed through a busy private airport terminal in Scottsdale with an entourage and a priest. No witnesses. For the widow of the most famous conservative organizer in the country, she was practically a ghost. Today, Candace finally revealed why nobody saw her. Erika Kirk was allegedly hiding inside an unmarked, hidden building. Here are the staggering receipts Candace just laid out. 👇 THE SHADOW BROKERAGE Candace’s team uncovered that when Erika received the final call from the doctor that Charlie was dead, she wasn't in the main Atlantic Aviation terminal. She was allegedly staging at the office of Hopkinson Aircraft—a "luxury jet brokerage." But there is a massive, glaring problem with Hopkinson Aircraft. Candace’s investigators discovered that Hopkinson does not have a real address. They use the public address of the busy Atlantic Aviation FBO, and Atlantic accepts all their mail. But Hopkinson is actually located in a separate, obscure, unmarked building hidden behind the main terminal. THE "CIA FRONT" THEORY Candace said the quiet part out loud: “It felt to me like a CIA front.” Think about it logically. Why would a luxury jet brokerage—where transactions are done by phone and the actual jets are housed all over the world—pay for a physical office space in a massively expensive Scottsdale terminal, only to operate out of an unmarked, hidden building with no address? And more importantly: Why was Erika Kirk staging inside this obscure, hidden facility at the exact moment her husband was shot? This explains everything about the flight anomalies and the missing executives. Candace theorizes that this unmarked building wasn't just a random stop—it was a pre-approved, secure location where you couldn't just "wander in." It was a place to stay completely unseen by the public. This brings us right back to TPUSA Spokesperson Andrew Kolvet. Was he flying out of Santa Barbara, or was he already on Charlie’s plane because this unmarked building was the secret rendezvous point for the syndicate? THE BOTTOM LINE You don't accidentally end up in an unlisted, unmarked aviation building while your husband is being assassinated. The timeline is shattering. The alibis are falling apart. It’s time to investigate Hopkinson Aircraft, subpoena the flight manifests, and find out exactly who was pulling the strings inside that room. 🇺🇸⚓️ FOLLOW Candace Owens, RT, and Watch her FULL episode below.
10:20

🚨 BOMBSHELL: Erika Kirk’s Alibi DESTROYED. Was She Hiding In An Office For a CIA Front Company When Charlie Died? Candace Owens just dropped one of the most explosive, spine-chilling puzzle pieces of the entire September 10th timeline. For months, everyone has asked the same question: Where was Erika Kirk on the day her husband was assassinated? She claimed she collapsed in a parking lot. No witnesses. She claimed she rushed through a busy private airport terminal in Scottsdale with an entourage and a priest. No witnesses. For the widow of the most famous conservative organizer in the country, she was practically a ghost. Today, Candace finally revealed why nobody saw her. Erika Kirk was allegedly hiding inside an unmarked, hidden building. Here are the staggering receipts Candace just laid out. 👇 THE SHADOW BROKERAGE Candace’s team uncovered that when Erika received the final call from the doctor that Charlie was dead, she wasn't in the main Atlantic Aviation terminal. She was allegedly staging at the office of Hopkinson Aircraft—a "luxury jet brokerage." But there is a massive, glaring problem with Hopkinson Aircraft. Candace’s investigators discovered that Hopkinson does not have a real address. They use the public address of the busy Atlantic Aviation FBO, and Atlantic accepts all their mail. But Hopkinson is actually located in a separate, obscure, unmarked building hidden behind the main terminal. THE "CIA FRONT" THEORY Candace said the quiet part out loud: “It felt to me like a CIA front.” Think about it logically. Why would a luxury jet brokerage—where transactions are done by phone and the actual jets are housed all over the world—pay for a physical office space in a massively expensive Scottsdale terminal, only to operate out of an unmarked, hidden building with no address? And more importantly: Why was Erika Kirk staging inside this obscure, hidden facility at the exact moment her husband was shot? This explains everything about the flight anomalies and the missing executives. Candace theorizes that this unmarked building wasn't just a random stop—it was a pre-approved, secure location where you couldn't just "wander in." It was a place to stay completely unseen by the public. This brings us right back to TPUSA Spokesperson Andrew Kolvet. Was he flying out of Santa Barbara, or was he already on Charlie’s plane because this unmarked building was the secret rendezvous point for the syndicate? THE BOTTOM LINE You don't accidentally end up in an unlisted, unmarked aviation building while your husband is being assassinated. The timeline is shattering. The alibis are falling apart. It’s time to investigate Hopkinson Aircraft, subpoena the flight manifests, and find out exactly who was pulling the strings inside that room. 🇺🇸⚓️ FOLLOW Candace Owens, RT, and Watch her FULL episode below.

Project Constitution

272,001 görüntüleme • 6 ay önce