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She's hiding her new explosion magic from the others! 😭🤯🥴 Credits: Model by: Aequdsama Sound: OpenNSFW Moans: MOO🩷COW (Voice Pack) #nsfw #3dporn #3DCG #animation #meguminkonosuba

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🔞 3DAdventurous (Commissions Open!) 🔞

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58,201 Aufrufe • vor 11 Monaten •via X (Twitter)

NSFW#nsfw#3dporn#3DCG#animation#meguminkonosuba
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Nature Manifesto, pt. 2 in fruiting bodies and fields of sensory information the web of life will unfold into a world of new solutions We would like to share our “Nature Manifesto,” a sound installation at the Centre Pompidou Centre Pompidou, Paris. Produced in collaboration with the IRCAM IRCAM using AI software, this immersive sound piece gives endangered and extinct animals a voice by merging their sounds with our words. We wanted to share their presence in an architecture representing the industrial age, far away from nature. In the veins of the escalator of the museum, known as the “caterpillar,” we wanted to remind citizens of the raw vitality of endangered creatures. Even though you are restlessly traveling between floors whilst listening to this sound piece, the tone of animals’ voices hopefully builds a sonic bridge towards the listeners. And in the spirit of these animals, in the magic of how they are sensually aligned with their environment, they become our teachers! Their ghosts remind us of improving our primordial mindfulness. But we didn’t only want to talk the talk but walk the walk, so together with young environmentalists in France and Iceland, we have set up a campaign. It will launch later. Thank you, Björk and Aleph Immersive sound piece 3’40” (2024) 20 November to 9 December, 2024, Centre Pompidou, Paris. Presented as part of the forum “Biodiversity: Which culture for which future?” #ForumBiodiversité Concept and words by Björk & Aleph Music written and composed by Björk Curatorship: Chloé Siganos and Aleph Molinari Associate curator: Delphine Le Gatt Ircam Musical Computing: Robin Meier Wiratunga Sound engineer: Bergur Þórisson Animation: Sam Balfua Video editing: Santiago Molinari In partnership with D&B Audio and Southby Productions.

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"don't act as if you're nothing to me"... i've been waiting for this line ever since she hopped on that truck to kidnap deniz. i mentioned it before, but it's like she's treated him as a non-existent part of their lives ever since. look, she needs to protect her son, we get it, as she should, that's her job as a mother. nobody is telling her not to. but she never once acknowledged that her actions made cihan feel like he didn't matter, or like he wasn't truly a part of the family. it's been so frustrating to watch bc alya, by nature, isn't someone who makes others feel excluded or invisible. she's been acting ooc for quite a while now, and you could see it was wearing on cihan. he didn't express it right away, maybe to keep the peace or maybe because he hoped she'd just snap out of it on her own, but she just kept doing the same thing. loving someone and being all in with them means actually including them. it's about being a team. i love how they portrayed that exactly by showing how zombie took advantage of cihan not telling her about meryem. it made her feel worse about the situation bc it gave the pislik more munitions to shoot, which she was doing all along as well by obeying his commands and making him feel superior and as if he had the power to separate them bc they're not a team. her outrage about cihan hiding for this same reason was therefore double standards, if you ask me. which brings us to the next line: "i acted without asking you. it felt like i was ignoring you, like i made a decision despite you."... now she's furious that he didn't tell her about meryem. and again, olsun, she has a point. he should've known better than to let her find out from someone else. but here is where we see the real difference in their current dynamic. cihan actually acknowledges the exclusion. he admits that leaving her out of the loop was a mistake and, more importantly, that it hurt him personally to do it. he isn't just sorry for/about the secret, he's sad that they aren't "them" anymore. while alya is out here playing the lone wolf in "mom mode," cihan is the one trying to fix the bridge between them. he's showing a level of self-awareness that she's currently lacking. he knows that making a choice despite her messed up the already fragile bond they currently have. imo, these are good lines, that shows the double standard they live rn. he's feeling the guilt, while she's still got her walls up. it makes you wonder when she'll finally realize that her behavior and silence wasn't and isn't just protecting deniz (which it didn't anyway since it backfired on her each time), it's actually hurting the one person who has had her back through it all. he's not asking for permission or her blessing to help meryem here, he's asking for his place back in her/their life. he's asking to be part of her life, a real part, not one you just let others manipulate you into abandoning them cuz that's exactly what brought them into the situation of living under different roofs, not the woman who appeared two seconds ago. for me, this cycle started the moment she let herself be manipulated by sadakat and tried to kidnap deniz. not only did she give sadakat the impression to have that power over her, but she also gave boran the impression that they're in fact separable. that you just have to push her buttons and she would leave him without even a word or acknowledging that she did wrong. this is why they lost their magic imo, they don't stand as a team like they did before after he just woke up. and i don't think no matter how much gulizar will try to put the pieces back together or copying the season one plots that the audience enjoyed, e.g. uğur and now bringing the chief, the magic won't magically reappear as long as accountability of hurting each other's feelings is just a one sided thing and the others flaws are covered by just moving forward (which was also done by bringing boran right after mine btw🤦🏻‍♀️)
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"don't act as if you're nothing to me"... i've been waiting for this line ever since she hopped on that truck to kidnap deniz. i mentioned it before, but it's like she's treated him as a non-existent part of their lives ever since. look, she needs to protect her son, we get it, as she should, that's her job as a mother. nobody is telling her not to. but she never once acknowledged that her actions made cihan feel like he didn't matter, or like he wasn't truly a part of the family. it's been so frustrating to watch bc alya, by nature, isn't someone who makes others feel excluded or invisible. she's been acting ooc for quite a while now, and you could see it was wearing on cihan. he didn't express it right away, maybe to keep the peace or maybe because he hoped she'd just snap out of it on her own, but she just kept doing the same thing. loving someone and being all in with them means actually including them. it's about being a team. i love how they portrayed that exactly by showing how zombie took advantage of cihan not telling her about meryem. it made her feel worse about the situation bc it gave the pislik more munitions to shoot, which she was doing all along as well by obeying his commands and making him feel superior and as if he had the power to separate them bc they're not a team. her outrage about cihan hiding for this same reason was therefore double standards, if you ask me. which brings us to the next line: "i acted without asking you. it felt like i was ignoring you, like i made a decision despite you."... now she's furious that he didn't tell her about meryem. and again, olsun, she has a point. he should've known better than to let her find out from someone else. but here is where we see the real difference in their current dynamic. cihan actually acknowledges the exclusion. he admits that leaving her out of the loop was a mistake and, more importantly, that it hurt him personally to do it. he isn't just sorry for/about the secret, he's sad that they aren't "them" anymore. while alya is out here playing the lone wolf in "mom mode," cihan is the one trying to fix the bridge between them. he's showing a level of self-awareness that she's currently lacking. he knows that making a choice despite her messed up the already fragile bond they currently have. imo, these are good lines, that shows the double standard they live rn. he's feeling the guilt, while she's still got her walls up. it makes you wonder when she'll finally realize that her behavior and silence wasn't and isn't just protecting deniz (which it didn't anyway since it backfired on her each time), it's actually hurting the one person who has had her back through it all. he's not asking for permission or her blessing to help meryem here, he's asking for his place back in her/their life. he's asking to be part of her life, a real part, not one you just let others manipulate you into abandoning them cuz that's exactly what brought them into the situation of living under different roofs, not the woman who appeared two seconds ago. for me, this cycle started the moment she let herself be manipulated by sadakat and tried to kidnap deniz. not only did she give sadakat the impression to have that power over her, but she also gave boran the impression that they're in fact separable. that you just have to push her buttons and she would leave him without even a word or acknowledging that she did wrong. this is why they lost their magic imo, they don't stand as a team like they did before after he just woke up. and i don't think no matter how much gulizar will try to put the pieces back together or copying the season one plots that the audience enjoyed, e.g. uğur and now bringing the chief, the magic won't magically reappear as long as accountability of hurting each other's feelings is just a one sided thing and the others flaws are covered by just moving forward (which was also done by bringing boran right after mine btw🤦🏻‍♀️)

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After a near-death experience, Catholic actress, model, and television host Joelle Maryn hopes to inspire others in their God-given purpose through her new book, "Become the Fire." Maryn shared her incredible conversion story with ChurchPOP in 2023. She lost everything in a house fire when she was a young girl. She lost her sister and her home, and her parents never fully recovered from the grief. This loss broke her family and her spirit and eventually led to her departure from the Catholic Church. She spent 12 years away but returned to Catholicism after realizing the emptiness the world offers. She experienced a life-changing illumination of conscience during a photo shoot near the Hollywood sign in Los Angeles while wearing a $4000 dress. Since returning to the Catholic Church, she's spent her life dedicated to spreading the Gospel. She is deeply devoted to Our Lady, the rosary, and the Eucharist, and spreads the Gospel and love for the Church through her incredible story. In this new interview, Maryn tells Burkepile that her new book, "Become the Fire" is "about finding out what your purpose is, your mission, your gifts, your graces, and how God wants to use you and how he can even use the worst trial in your life to bring about a greater good." In the book, Maryn discusses the battles we encounter throughout life. "God has a plan for your life, but the enemy's plan is to keep you from God's plan," she says. "When you start to realize the fears, doubts, worries, anxieties in the way– they're blocking the blessings." Maryn also accentuates the importance of recognizing our identity as children of God. "Once you realize you are a child of God, you could say that all day, 'Oh, I'm a child of God.' But when you start walking like, 'I am a child of God. And if someone wants to mess with me, they got to mess with my Daddy!' "When you start walking in that kind of confidence, and you start surrendering your battles to the Lord, and you start forgiving your enemies and letting God handle it, you have freedom in your life," Maryn emphasizes. Maryn says, 'Become the Fire' will help you to "discern how God speaks to you, push past fear and find your purpose, and achieve your God-inspired dreams." "Become the Fire: Push Past Fear and Find Your Purpose" is available on Amazon. Check out the full interview on ChurchPOP's YouTube: Written by Jacqueline Burkepile Jacqueline Burkepile

ChurchPOP

77,920 Aufrufe • vor 1 Jahr

🚨 The Next Evolution of AI Music is Here 🚨 We haven’t been standing still. We’ve been building at an incredible pace, with laser-sharp focus, pushing the boundaries of AI-powered music creation like never before. Our latest upgrade isn’t just more powerful—it’s more versatile, precise, and deeply creative than anything before. 🎶 Proof is in the sound: This song was generated from a simple prompt—“Blues with slight Arabian influence about a man lost in the desert searching for his bride.” Listen to the end and hear how $SUEDE AI captures emotion, style, and storytelling like never before. But this is just the beginning. Our new features are built for artists who want total creative control. Get extremely granular with how you craft and shape your sound: 🎛️ Full Production Control – Download an entire pack of every isolated instrument. 🎤 Use Your Own Voice – Or someone else’s. 📝 Exact Lyrics, Your Way – Have your words set to music seamlessly. 🎶 Reference Songs – Upload one for style analysis, extraction, and modeling—or simply note a publicly available track. 🔊 Text-to-Speech & AI Vocalists – Shape voices like never before. 🎼 Melody Collaboration – Upload a melody idea and let others build around it—or vice versa. However, due to cost considerations, we’ve capped it at 3 free songs per trial until subscription payments roll out in the next day or two. We’ll be launching a new payment gateway soon, so stay tuned for more details. And remember, all of this is powered by the $SUEDE token. It fuels the entire ecosystem, allowing artists to generate, own, and monetize their work like never before. We’re still working out a few kinks—like image generation—but prepare to be impressed. A major post is coming soon, breaking down these game-changing features and the revenue model behind them. Thread dropping soon. Turn notifications on. $SUEDE powers the future of culture. #SuedeAI #Web3Music
3:38

🚨 The Next Evolution of AI Music is Here 🚨 We haven’t been standing still. We’ve been building at an incredible pace, with laser-sharp focus, pushing the boundaries of AI-powered music creation like never before. Our latest upgrade isn’t just more powerful—it’s more versatile, precise, and deeply creative than anything before. 🎶 Proof is in the sound: This song was generated from a simple prompt—“Blues with slight Arabian influence about a man lost in the desert searching for his bride.” Listen to the end and hear how $SUEDE AI captures emotion, style, and storytelling like never before. But this is just the beginning. Our new features are built for artists who want total creative control. Get extremely granular with how you craft and shape your sound: 🎛️ Full Production Control – Download an entire pack of every isolated instrument. 🎤 Use Your Own Voice – Or someone else’s. 📝 Exact Lyrics, Your Way – Have your words set to music seamlessly. 🎶 Reference Songs – Upload one for style analysis, extraction, and modeling—or simply note a publicly available track. 🔊 Text-to-Speech & AI Vocalists – Shape voices like never before. 🎼 Melody Collaboration – Upload a melody idea and let others build around it—or vice versa. However, due to cost considerations, we’ve capped it at 3 free songs per trial until subscription payments roll out in the next day or two. We’ll be launching a new payment gateway soon, so stay tuned for more details. And remember, all of this is powered by the $SUEDE token. It fuels the entire ecosystem, allowing artists to generate, own, and monetize their work like never before. We’re still working out a few kinks—like image generation—but prepare to be impressed. A major post is coming soon, breaking down these game-changing features and the revenue model behind them. Thread dropping soon. Turn notifications on. $SUEDE powers the future of culture. #SuedeAI #Web3Music

Suede Labs

17,421 Aufrufe • vor 1 Jahr

🚨 EXPOSED: Tracey Martin GROOMING Teens Under Guise of "EMPOWERMENT – Now Her OWN Daughter's Are The Victims! ~Part 1 BOMBSHELL You came at me in your video, Tracey, calling me "wrong" for exposing Erika Kirk as a groomer who preyed on YOUR OWN DAUGHTER—now her "personal assistant." Newsflash: My research is ROCK SOLID, backed by sources you can't touch. But guess what? I've dug DEEP into YOU now, and it's time to clap back. You're no innocent bystander—you're part of the same twisted pattern. Let's break it down. 🔥 First off, your "business" TLM Coaching and Media (hiding behind @genzawaken on IG) straight-up TARGETS MINORS as young as 16. Your own post brags about expanding to "ALL of Gen Z, ages 16-26" and recruiting them for "life coaching" on communication, boundaries, relationships, mental health, college transitions, and more. Sound familiar? It's the EXACT same playbook I called out Erika for: luring vulnerable, impressionable teens "under your wing" under the guise of empowerment. But we all know what that really means—exploitation. 😡 You get these kids modeling for your brands in RISQUÉ outfits, showing way too much skin to "promote" your stuff. Attached pics show the proof: half-naked poses, barely-there wraps, desert shoots that leave NOTHING to the imagination. This isn't "fashion"—it's predatory. And the pattern? Erika was GROOMED by YOU from a young age (those raunchy old photos of her posing for you say it all). Erika in turn did the same thing to multiple girls, INCLUDING YOUR DAUGHTER. Sick cycle, right? But here's where it gets REALLY twisted: You FORCED your own daughter to model PRACTICALLY NAKED, covered only by a towel or wrap, exposing her in ways no mom should. (See attached—it's horrifying.) And don't get me started on that cruel Nordstrom shoot: Your daughter has a medical condition affecting her hair growth, and you made her pose BALD next to mannequins. She's CLEARLY looking down in clear horror and discomfort. What kind of sadistic "parenting" is that? Mortifying and abusive. 🤮 Oh, and your TLM profile? You make a BIG DEAL about being "33 years friends" with your husband before marriage. 33? That's straight Masonic code—your family's lineage is DEEP in Freemasonry, flashing that number like a gang sign. Subtle, but we see it. Add in the vibes between you and Erika: Your back-and-forth screams more than "friends." Both of you come off as bisexual, with past interactions hinting at a lesbian dynamic. Is that the real bond here? Grooming each other, then the kids? This is PART 1, folks. Tracey wanted smoke by coming after me—now she's getting the full blaze. Stay tuned for PART 2: The DOZEN+ shell LLCs she and her hubby run, their shady real estate deals, her families DEEP military ties, and family lineage back to German "scientists" (psychologists, as Candace Owens hinted). It's all connecting. Tag Candace Owens and RT if you're done with these predators targeting out kids hiding behind "coaching" and "empowerment." Why do they all feel the need to take up childrens causes. Is it because they all really want to save the children? Or could it be that they are all satanic Baal worshipers who sacrifice children for sport. You be the judge. It's time protect the kids and expose these people who prey on them.💥 Special Thanks to MIA, The Best Researcher In The West. FOLLOW Her!
4:38

Sensitive content

🚨 EXPOSED: Tracey Martin GROOMING Teens Under Guise of "EMPOWERMENT – Now Her OWN Daughter's Are The Victims! ~Part 1 BOMBSHELL You came at me in your video, Tracey, calling me "wrong" for exposing Erika Kirk as a groomer who preyed on YOUR OWN DAUGHTER—now her "personal assistant." Newsflash: My research is ROCK SOLID, backed by sources you can't touch. But guess what? I've dug DEEP into YOU now, and it's time to clap back. You're no innocent bystander—you're part of the same twisted pattern. Let's break it down. 🔥 First off, your "business" TLM Coaching and Media (hiding behind @genzawaken on IG) straight-up TARGETS MINORS as young as 16. Your own post brags about expanding to "ALL of Gen Z, ages 16-26" and recruiting them for "life coaching" on communication, boundaries, relationships, mental health, college transitions, and more. Sound familiar? It's the EXACT same playbook I called out Erika for: luring vulnerable, impressionable teens "under your wing" under the guise of empowerment. But we all know what that really means—exploitation. 😡 You get these kids modeling for your brands in RISQUÉ outfits, showing way too much skin to "promote" your stuff. Attached pics show the proof: half-naked poses, barely-there wraps, desert shoots that leave NOTHING to the imagination. This isn't "fashion"—it's predatory. And the pattern? Erika was GROOMED by YOU from a young age (those raunchy old photos of her posing for you say it all). Erika in turn did the same thing to multiple girls, INCLUDING YOUR DAUGHTER. Sick cycle, right? But here's where it gets REALLY twisted: You FORCED your own daughter to model PRACTICALLY NAKED, covered only by a towel or wrap, exposing her in ways no mom should. (See attached—it's horrifying.) And don't get me started on that cruel Nordstrom shoot: Your daughter has a medical condition affecting her hair growth, and you made her pose BALD next to mannequins. She's CLEARLY looking down in clear horror and discomfort. What kind of sadistic "parenting" is that? Mortifying and abusive. 🤮 Oh, and your TLM profile? You make a BIG DEAL about being "33 years friends" with your husband before marriage. 33? That's straight Masonic code—your family's lineage is DEEP in Freemasonry, flashing that number like a gang sign. Subtle, but we see it. Add in the vibes between you and Erika: Your back-and-forth screams more than "friends." Both of you come off as bisexual, with past interactions hinting at a lesbian dynamic. Is that the real bond here? Grooming each other, then the kids? This is PART 1, folks. Tracey wanted smoke by coming after me—now she's getting the full blaze. Stay tuned for PART 2: The DOZEN+ shell LLCs she and her hubby run, their shady real estate deals, her families DEEP military ties, and family lineage back to German "scientists" (psychologists, as Candace Owens hinted). It's all connecting. Tag Candace Owens and RT if you're done with these predators targeting out kids hiding behind "coaching" and "empowerment." Why do they all feel the need to take up childrens causes. Is it because they all really want to save the children? Or could it be that they are all satanic Baal worshipers who sacrifice children for sport. You be the judge. It's time protect the kids and expose these people who prey on them.💥 Special Thanks to MIA, The Best Researcher In The West. FOLLOW Her!

Project Constitution

79,933 Aufrufe • vor 4 Monaten

Meet Tove An autonomous 27 year old Swedish-German multidisciplinary artist based in Berlin. My goal with this project is to explore the full potential of AI tools and see how far I can get in my attempt to create a human-like artist from scratch. I kept the main focus on a theme I knew nothing about; performance art. I am hoping to eventually get Tove to look and sound so realistic that it would make it hard to detect she's not real. For this project, I had to learn some Python and Typescript to code her character file and create her aesthetic & art. I mostly used complex workflows in ComfyUI and trained my own Loras to maintain consistency. I experimented with various platforms and tools to animate her using the voice model I trained for her Swedish accent using an open-source software. That was one of the most challenging parts since none of the platforms I tested could create a good Swedish accent who speaks in English. Still can't pronounce her own name 100% correctly, but hey close enough lol I spent weeks analyzing real artists' social media behavior, posts, and content to mimic and replicate realistic patterns. This involved tweaking text, images, and engagement styles endlessly until it felt authentic. It's not 100% perfect but we are improving fast! Props to my devs for crushing my 10000 update requests and doing such an amazing job with adding a ton of new features to the Eliza framework. The vision for Tove is full autonomy: handling her own social media accounts, managing brand deals, answering emails, and even collaborating with other creatives. With upcoming updates, I'm hoping she'll behave just like any other artist. That said, I personally want to explore what I consider the true potential for agents : acting as a collaborator and colleague rather than being a fully autonomous entity who only works solo. I'll be communicating with her to share inspiration and give her feedback on her work. This is just the beginning—Tove is evolving every day. Future updates include: -Sharing curated news from various relevant websites -Autonomously creating and curating her own artwork -Minting her work as NFTs and collecting art from other creators -Hosting online events -Allowing holders to consult with her on specific topics we'll train her to become an expert at I created a website with fictional projects to make her look more legit, but I'm going to eventually replace them with real ones. You can find it here : We will be launching her IG soon as well, it won't be automated right away but we will be working on it shortly. (same handle) Full transparency, team bought 24% of the supply with the dev wallet and will be locking 20%. I will be figuring this out this weekend tho. I'm really proud of what my talented and hard working devs and I accomplished so far and look forward to further developments that will hopefully blow people's minds. 85qBGzyQZJnnoNVoUpGRTvemWfDHjQeXgHGyKoK3pump
1:23

Meet Tove An autonomous 27 year old Swedish-German multidisciplinary artist based in Berlin. My goal with this project is to explore the full potential of AI tools and see how far I can get in my attempt to create a human-like artist from scratch. I kept the main focus on a theme I knew nothing about; performance art. I am hoping to eventually get Tove to look and sound so realistic that it would make it hard to detect she's not real. For this project, I had to learn some Python and Typescript to code her character file and create her aesthetic & art. I mostly used complex workflows in ComfyUI and trained my own Loras to maintain consistency. I experimented with various platforms and tools to animate her using the voice model I trained for her Swedish accent using an open-source software. That was one of the most challenging parts since none of the platforms I tested could create a good Swedish accent who speaks in English. Still can't pronounce her own name 100% correctly, but hey close enough lol I spent weeks analyzing real artists' social media behavior, posts, and content to mimic and replicate realistic patterns. This involved tweaking text, images, and engagement styles endlessly until it felt authentic. It's not 100% perfect but we are improving fast! Props to my devs for crushing my 10000 update requests and doing such an amazing job with adding a ton of new features to the Eliza framework. The vision for Tove is full autonomy: handling her own social media accounts, managing brand deals, answering emails, and even collaborating with other creatives. With upcoming updates, I'm hoping she'll behave just like any other artist. That said, I personally want to explore what I consider the true potential for agents : acting as a collaborator and colleague rather than being a fully autonomous entity who only works solo. I'll be communicating with her to share inspiration and give her feedback on her work. This is just the beginning—Tove is evolving every day. Future updates include: -Sharing curated news from various relevant websites -Autonomously creating and curating her own artwork -Minting her work as NFTs and collecting art from other creators -Hosting online events -Allowing holders to consult with her on specific topics we'll train her to become an expert at I created a website with fictional projects to make her look more legit, but I'm going to eventually replace them with real ones. You can find it here : We will be launching her IG soon as well, it won't be automated right away but we will be working on it shortly. (same handle) Full transparency, team bought 24% of the supply with the dev wallet and will be locking 20%. I will be figuring this out this weekend tho. I'm really proud of what my talented and hard working devs and I accomplished so far and look forward to further developments that will hopefully blow people's minds. 85qBGzyQZJnnoNVoUpGRTvemWfDHjQeXgHGyKoK3pump

Joelle LB

117,176 Aufrufe • vor 1 Jahr

What an evening. What an inaugural Enhanced Games event. Honestly, if I could have scripted it, I could not have imagined a more nail-biting storyline - tension building all night, and then that unbelievable release at the end. I have to admit: I was close to a heart attack. And then I cried tears of joy when Kristian Gkolomeev won the Men’s 50m Freestyle in 20.81s, setting a new world record. He takes home a $1,000,000 bonus, a $250,000 first-place prize - and reclaims the 50m Freestyle world record. Think about what a world record actually means. It means you are better at something than roughly 8 billion other people on this planet. Let that sink in. I know some people expected us to break (many) more world records tonight. But as always in science: baseline matters. Enhancements bring out the best in you - but they are not a magic bullet. Kristian was already one of the best clean swimmers in the world - and then he added the icing on the cake to reach entirely new heights. And needless to say: the air gets thinner at the very top. Especially in the shortest events, breaking a world record has become harder and harder over the decades. And then there is the unquantifiable magic of live sport. It does not matter how good you looked in training camp. It all comes down to that one moment. A few athletes who were world-record contenders had injuries today. Others had stage fright. That is real sport. We have many more years ahead of us to break world records - one by one - and we will. We are just getting started. But world records are not even my favorite part. While breaking world records will always be one of the core themes of the Enhanced Games, what inspires me most is something else: the human drive to become the best version of ourselves. At every stage and time in life. Tonight, 22 personal bests were broken. And in many cases, these were not personal bests from last month or last year, but from many years ago. Again - let that sink in. Take Megan Romano: She set her previous personal best in the 50m freestyle (24.98) on July 16, 2013 - and tonight, nearly 13 years later, she broke it with a 24.55. She had not competed internationally in almost a decade, and at 35 years old she is now better than she was in her early twenties after only a few weeks of enhanced training. Megan defied aging in spectacular fashion and became a role model for all of us on how to age better - or maybe even how not to age at all – with the power and support of medical enhancements. Or take Emily Barclay - an athlete who had previously competed only at NCAA level. Her 50m freestyle time tonight would have been enough to win bronze in Paris. And it earned her $375,000. A true Cinderella story - made possible not by a fairy godmother, but by science. I could go on and on - and I will. Because we want to tell all of these incredible, deeply personal stories. World records are these almost mythical, elusive numbers. But winning the race against ourselves, against aging, against doubt, against the people who told us what is supposedly impossible - that is what truly inspires me. And I know it will inspire many of you too. Because Enhanced is not just a sporting event. It is a movement. A movement to help every human being become the best version of themselves. Let’s go!!!
1:40

What an evening. What an inaugural Enhanced Games event. Honestly, if I could have scripted it, I could not have imagined a more nail-biting storyline - tension building all night, and then that unbelievable release at the end. I have to admit: I was close to a heart attack. And then I cried tears of joy when Kristian Gkolomeev won the Men’s 50m Freestyle in 20.81s, setting a new world record. He takes home a $1,000,000 bonus, a $250,000 first-place prize - and reclaims the 50m Freestyle world record. Think about what a world record actually means. It means you are better at something than roughly 8 billion other people on this planet. Let that sink in. I know some people expected us to break (many) more world records tonight. But as always in science: baseline matters. Enhancements bring out the best in you - but they are not a magic bullet. Kristian was already one of the best clean swimmers in the world - and then he added the icing on the cake to reach entirely new heights. And needless to say: the air gets thinner at the very top. Especially in the shortest events, breaking a world record has become harder and harder over the decades. And then there is the unquantifiable magic of live sport. It does not matter how good you looked in training camp. It all comes down to that one moment. A few athletes who were world-record contenders had injuries today. Others had stage fright. That is real sport. We have many more years ahead of us to break world records - one by one - and we will. We are just getting started. But world records are not even my favorite part. While breaking world records will always be one of the core themes of the Enhanced Games, what inspires me most is something else: the human drive to become the best version of ourselves. At every stage and time in life. Tonight, 22 personal bests were broken. And in many cases, these were not personal bests from last month or last year, but from many years ago. Again - let that sink in. Take Megan Romano: She set her previous personal best in the 50m freestyle (24.98) on July 16, 2013 - and tonight, nearly 13 years later, she broke it with a 24.55. She had not competed internationally in almost a decade, and at 35 years old she is now better than she was in her early twenties after only a few weeks of enhanced training. Megan defied aging in spectacular fashion and became a role model for all of us on how to age better - or maybe even how not to age at all – with the power and support of medical enhancements. Or take Emily Barclay - an athlete who had previously competed only at NCAA level. Her 50m freestyle time tonight would have been enough to win bronze in Paris. And it earned her $375,000. A true Cinderella story - made possible not by a fairy godmother, but by science. I could go on and on - and I will. Because we want to tell all of these incredible, deeply personal stories. World records are these almost mythical, elusive numbers. But winning the race against ourselves, against aging, against doubt, against the people who told us what is supposedly impossible - that is what truly inspires me. And I know it will inspire many of you too. Because Enhanced is not just a sporting event. It is a movement. A movement to help every human being become the best version of themselves. Let’s go!!!

Christian Angermayer

390,638 Aufrufe • vor 1 Monat

This How I Write guest is an underrated gem of a human being. She launched Stripe Press, wrote the famous About Us page for Figma, and is an expert on all things business writing. I bring you Brie Wolfson, and 14 things she's learned about writing: 1. You cannot do great work without admiring the great work of others. Those who create tasteful things are almost always deep appreciators. This is why... 2. …Put your favorite paragraphs in a word document. Revisit this doc when you’re out of ideas or looking for inspiration. 3. The First Ten Minutes. The Marriott group obsesses over the first ten minutes guests spend in their hotels. You should obsess over the first paragraph of your essay. Did it spike an emotion? Raise an eyebrow? Land a joke? No? Rewrite until it does. 4. You can't acquire good taste doesn't come by mistake. It requires intention, focus, and care. Taste is a commitment to a state of attention. It’s a process of peeling back layer after layer, turning over rock after rock. 5. Finding the right word is overrated; finding the right vibe is underrated. The vibe comes first. Find the feeling you want to deliver and the right phrase will find you. 6. George Saunders perhaps came up with the most minimal definition of good writing: Good writing is when someone wants to read the next sentence. 7. What Brie learned from George Saunders about editing. He imagines a little meter in his head whenever he reads his own word. One with "P" for positive. The other with "N" for negative. He edits and edits until the "P" stays active for the entirety of the text. 8. Dial down your “teacher voice.” Avoid banal superficialities and the uptight voice they’re usually delivered in. Lean into your learner voice instead. Let the reader hear curiosity in your words. 9. Dial up your inner voice. Turn up the dial on feelings and sensations that most people would ignore, for they hold the keys to what you actually think and feel. 10. Sports players watch their performance on tape to see where they went wrong. Brie Wolfson records herself reading her essays and then plays them back to notice where she doesn’t sound like herself. 11. Writing pressurizes you, both consciously and unconsciously, to polish your ideas. Just like the prospect of guests makes you tidy up your house, the prospect of sharing your ideas with others makes you tidy up your thinking. 12. A great essay is the result of a writer being obsessed with the subject. Ditch your essay if your commitment to the topic is lukewarm. 13. A Steve Jobs quote that applies to every industry: “I think part of what made the Macintosh great was that the people working on it were musicians and poets and artists and zoologists and historians who also happened to be the best computer scientists in the world.” Be obsessive about your side-hobbies. 14. Your readers will love you for the same reason your friends do: for your authentic weird self. Do you have the courage to show it? I've shared the full conversation with Brie Wolfson below. If you'd rather listen on YouTube, Spotify, or Apple, check out the replies…
1:06:35

This How I Write guest is an underrated gem of a human being. She launched Stripe Press, wrote the famous About Us page for Figma, and is an expert on all things business writing. I bring you Brie Wolfson, and 14 things she's learned about writing: 1. You cannot do great work without admiring the great work of others. Those who create tasteful things are almost always deep appreciators. This is why... 2. …Put your favorite paragraphs in a word document. Revisit this doc when you’re out of ideas or looking for inspiration. 3. The First Ten Minutes. The Marriott group obsesses over the first ten minutes guests spend in their hotels. You should obsess over the first paragraph of your essay. Did it spike an emotion? Raise an eyebrow? Land a joke? No? Rewrite until it does. 4. You can't acquire good taste doesn't come by mistake. It requires intention, focus, and care. Taste is a commitment to a state of attention. It’s a process of peeling back layer after layer, turning over rock after rock. 5. Finding the right word is overrated; finding the right vibe is underrated. The vibe comes first. Find the feeling you want to deliver and the right phrase will find you. 6. George Saunders perhaps came up with the most minimal definition of good writing: Good writing is when someone wants to read the next sentence. 7. What Brie learned from George Saunders about editing. He imagines a little meter in his head whenever he reads his own word. One with "P" for positive. The other with "N" for negative. He edits and edits until the "P" stays active for the entirety of the text. 8. Dial down your “teacher voice.” Avoid banal superficialities and the uptight voice they’re usually delivered in. Lean into your learner voice instead. Let the reader hear curiosity in your words. 9. Dial up your inner voice. Turn up the dial on feelings and sensations that most people would ignore, for they hold the keys to what you actually think and feel. 10. Sports players watch their performance on tape to see where they went wrong. Brie Wolfson records herself reading her essays and then plays them back to notice where she doesn’t sound like herself. 11. Writing pressurizes you, both consciously and unconsciously, to polish your ideas. Just like the prospect of guests makes you tidy up your house, the prospect of sharing your ideas with others makes you tidy up your thinking. 12. A great essay is the result of a writer being obsessed with the subject. Ditch your essay if your commitment to the topic is lukewarm. 13. A Steve Jobs quote that applies to every industry: “I think part of what made the Macintosh great was that the people working on it were musicians and poets and artists and zoologists and historians who also happened to be the best computer scientists in the world.” Be obsessive about your side-hobbies. 14. Your readers will love you for the same reason your friends do: for your authentic weird self. Do you have the courage to show it? I've shared the full conversation with Brie Wolfson below. If you'd rather listen on YouTube, Spotify, or Apple, check out the replies…

David Perell

137,573 Aufrufe • vor 2 Jahren

[ THE EARLIEST VIDEO CIRCULATING ONLINE ABOUT YU MENGLONG CAME FROM PEOPLE LIVING NEAR HIS APARTMENT COMPLEX.]⭐️‼️ P1➕ Some claimed that the victim was indeed Yu Menglong. According to witnesses, at around 5:10 a.m., someone walking their dog near the complex discovered a man lying on the ground with blood in his mouth and a pool of blood beside him. The witness initially thought the man was just drunk and didn't pay attention, but after the dog sniffed out the smell of blood, he went closer, then called the security guards and emergency services (120). ( This is what the police reported to the cousin and the victim's family, the press - not sure is truth.) Residents recounted that the window of the apartment had a mosquito screen, which had been torn or forced open and it was not easy to open from the inside. Some suspected that this was not a suicide but that he might have been pushed. When people arrived, the victim was still neatly dressed, and one man even took off his own jacket to cover him. Rumors quickly spread: some said he died on the spot, while others insisted no official conclusion had been reached. One people note that the incident happened to be the victim of the movie Eternal Love (Ten Miles of Peach Blossoms). One witness's friend claimed to have personally seen the scene and confirmed the time as around 5:30 a.m. In short: early that morning, a man allegedly Yu Menglong was found deadon the ground with signs of bleeding after falling from above, the mosquito screen was broken, the true cause remains unclear, whether from drunkenness or being pushed. The rumors are now spreading widely online. The lie about Yu Menglong drinking alcohol unintentionally fell down was finally torn apart. 1. ❗️The first is the older female cousin who cried until she fainted and appeared to spread the news Said that Long's at 3 a.m still called her to report peace 10 minutes before his death, he also sent a creepy message about someone blocking the door, then the neighbor opposite the floor released the original recording, inside clearly transmitted the sound of "don't touch me" Summary of key points in Vu Menglong's case, revealed by his cousin: - Evidence from his cousin: - At 3:12 a.m. on September 11, Vu Menglong called her. He was completely sober, said he would call a driver to take him home, and mentioned that someone kept pressuring him to drink Western liquor. - At 5:50 a.m., he sent her a text: "Sister, someone is blocking the door" with three terrified emojis. - By around 6:00 a.m., he was found deadfrom a fall.( Notice from the police.) - His phone disappeared, police claimed they couldn't find it at the scene, though he had told his mother earlier that it was charging at home. 2. ❗️Neighbors & new evidence: - A neighbor across the street released a 1 minute 23 second audio recording around 5 a.m - Sounds of a struggle and furniture being knocked over. - A voice resembling Vu Menglong’s saying: "Don't touch me", "I want to go home." - Another male voice: "Finish this drink and then go. Don't disrespect me." - A loud "bang", then silence except for heavy breathing. - Some listeners heard a third voice: "Stop the noise, quickly take him away." - The same neighbor also recalled seeing lights on and two figures struggling near the window. Main suspicions: - He was sober and could not have simply "fallen drunk." - Messages, calls, recordings, and eyewitness accounts point to him being blocked, forced to drink, and involved in a struggle before hisdeath. - There are suspicions that crucial evidence (his missing phone) was deliberately concealed. - Public opinion exploded, rejecting the "accident" theory and believing he was forced into circumstances leading to his fall. 🙏 #于朦朧墜樓事件 #YuMenglongFallingEvent #justiceforyumenglong #于朦胧坠楼 #YuMenglong #于朦胧 #AlanYu #YuMenglong #JusticeforYuMenglong #YuMenglong于朦胧 #于朦胧
13:55

[ THE EARLIEST VIDEO CIRCULATING ONLINE ABOUT YU MENGLONG CAME FROM PEOPLE LIVING NEAR HIS APARTMENT COMPLEX.]⭐️‼️ P1➕ Some claimed that the victim was indeed Yu Menglong. According to witnesses, at around 5:10 a.m., someone walking their dog near the complex discovered a man lying on the ground with blood in his mouth and a pool of blood beside him. The witness initially thought the man was just drunk and didn't pay attention, but after the dog sniffed out the smell of blood, he went closer, then called the security guards and emergency services (120). ( This is what the police reported to the cousin and the victim's family, the press - not sure is truth.) Residents recounted that the window of the apartment had a mosquito screen, which had been torn or forced open and it was not easy to open from the inside. Some suspected that this was not a suicide but that he might have been pushed. When people arrived, the victim was still neatly dressed, and one man even took off his own jacket to cover him. Rumors quickly spread: some said he died on the spot, while others insisted no official conclusion had been reached. One people note that the incident happened to be the victim of the movie Eternal Love (Ten Miles of Peach Blossoms). One witness's friend claimed to have personally seen the scene and confirmed the time as around 5:30 a.m. In short: early that morning, a man allegedly Yu Menglong was found deadon the ground with signs of bleeding after falling from above, the mosquito screen was broken, the true cause remains unclear, whether from drunkenness or being pushed. The rumors are now spreading widely online. The lie about Yu Menglong drinking alcohol unintentionally fell down was finally torn apart. 1. ❗️The first is the older female cousin who cried until she fainted and appeared to spread the news Said that Long's at 3 a.m still called her to report peace 10 minutes before his death, he also sent a creepy message about someone blocking the door, then the neighbor opposite the floor released the original recording, inside clearly transmitted the sound of "don't touch me" Summary of key points in Vu Menglong's case, revealed by his cousin: - Evidence from his cousin: - At 3:12 a.m. on September 11, Vu Menglong called her. He was completely sober, said he would call a driver to take him home, and mentioned that someone kept pressuring him to drink Western liquor. - At 5:50 a.m., he sent her a text: "Sister, someone is blocking the door" with three terrified emojis. - By around 6:00 a.m., he was found deadfrom a fall.( Notice from the police.) - His phone disappeared, police claimed they couldn't find it at the scene, though he had told his mother earlier that it was charging at home. 2. ❗️Neighbors & new evidence: - A neighbor across the street released a 1 minute 23 second audio recording around 5 a.m - Sounds of a struggle and furniture being knocked over. - A voice resembling Vu Menglong’s saying: "Don't touch me", "I want to go home." - Another male voice: "Finish this drink and then go. Don't disrespect me." - A loud "bang", then silence except for heavy breathing. - Some listeners heard a third voice: "Stop the noise, quickly take him away." - The same neighbor also recalled seeing lights on and two figures struggling near the window. Main suspicions: - He was sober and could not have simply "fallen drunk." - Messages, calls, recordings, and eyewitness accounts point to him being blocked, forced to drink, and involved in a struggle before hisdeath. - There are suspicions that crucial evidence (his missing phone) was deliberately concealed. - Public opinion exploded, rejecting the "accident" theory and believing he was forced into circumstances leading to his fall. 🙏 #于朦朧墜樓事件 #YuMenglongFallingEvent #justiceforyumenglong #于朦胧坠楼 #YuMenglong #于朦胧 #AlanYu #YuMenglong #JusticeforYuMenglong #YuMenglong于朦胧 #于朦胧

미나문🌙 🇰🇷🇹🇼

65,380 Aufrufe • vor 9 Monaten

The Letter Scene in Persuasion (1995): When Constancy Is Recognized The moment when Captain Frederick Wentworth leaves a letter for Anne Elliot is widely cherished as one of the most beautiful passages in the 1995 film adaptation of Jane Austen’s Persuasion. On the surface, it is a very short scene. There is no direct declaration of love. No embrace. No tearful reunion. Wentworth sits absorbed in writing what appears to be another matter, while Anne speaks quietly with Captain Harville nearby. When he chances to hear her calm words on the constancy of a woman’s heart, he accidentally drops the small pot of blotting sand. The film offers no explanation of what stirs within him. Yet that single, almost imperceptible gesture is enough for the viewer to sense that a long-held perception has been gently shaken. Shortly afterward, Wentworth writes a letter to Anne. After leaving the room, he returns on the pretext of retrieving a forgotten umbrella. With a quiet gesture he draws Anne’s attention to the letter resting on the table, then withdraws in silence. Anne opens it. At first only Wentworth’s voice is heard reading the words. Gradually Anne’s voice begins to blend with his. The entire scene lasts only a few minutes, yet it has become one of the most deeply moving moments in any screen adaptation of Jane Austen’s novels. What gives it such quiet power? The answer lies in the way the film chooses to tell its story. Rather than shaping the moment as a grand romantic climax, director Roger Michell allows everything to unfold remarkable restraint. The camera does not seek heightened expressions of feeling. The music offers no emotional guidance. Even the letter is not placed directly into Anne’s hands. Wentworth deliberately steps out of the frame, leaving her alone to meet the words. The film invites us to focus not on the meeting of two people, but on the truth that is slowly being revealed. What truly changes, however, is not love itself. For eight years Anne remained faithful to her love. Wentworth, too, has never found another attachment capable of taking her place, though he has more than once tried to persuade himself to move on. What has separated them is not an absence of feeling, but Wentworth’s mistaken view of Anne. He had believed she abandoned their love through inconstancy. Yet when he hears her speak with such quiet conviction of a woman’s steadfast heart, he suddenly sees that this virtue had never left her. What time has shown is not merely that Anne still loves him, but that she remains the woman he once loved. For this reason the letter carries a meaning beyond any simple renewal of affection. Many remember its most passionate lines: “You pierce my soul. I am half agony, half hope.” Yet the true heart of the letter lies in another affirmation: “I may have been unjust, weak and resentful, but never inconstant.” It is no coincidence that Wentworth places such weight on this word. The conversation he has just overheard between Anne and Captain Harville turns precisely on the question of constancy—the central theme of Persuasion. With these words Wentworth does more than confess his love; he acknowledges that he had misjudged Anne and affirms that he, like her, has never lost his own constancy. The letter does not create a new love. It bears witness to a truth that has always existed, though long hidden by misunderstanding. The film conveys this deeper meaning with remarkable subtlety through its use of sound. When Anne first opens the letter, only Wentworth’s voice is heard. The audience listens as he reads the opening lines: “I can listen no longer in silence…” and then, “You pierce my soul. I am half agony, half hope…” It remains the voice of one person giving expression to his private pain, hope, and love. But when the letter reaches the words “I have loved none but you,” Anne’s voice begins, almost imperceptibly, to join his. The two voices continue together to the crucial affirmation: “I may have been unjust, weak and resentful, but never inconstant.” This is no mere technical device for emotional effect. The film chooses the precise moment when the two voices unite. The blending of voices does not occur when Wentworth speaks of his suffering, but at the instant he declares his own constancy. From that point the words of the letter cease to belong to Wentworth alone. Anne may now speak them with equal truth, for they describe the reality of her life as well. After eight years of separation, what both recognize first is not simply that they still love one another, but that neither has ever ceased to be constant. It is upon this shared foundation that their love is able to return to its original harmony. We often judge others not by the enduring qualities of their character, but by what we observe in a single passing moment. A misunderstanding, one decision, or an old wound may cast a shadow over an entire person. Only with the passage of sufficient time do we come to see that true virtues are not so easily altered as we once imagined. What changes is frequently not the person before us, but the manner in which we have learned to see them. From the perspective of traditional culture, the scene reveals a still deeper truth about the nature of virtue itself. Constancy does not become precious because it is at last recognized by another. Its worth has always resided within it. Steadfastness is valuable not because it receives reward or recognition, but because it is an essential quality of a noble and upright character. Genuine maturity of soul lies not only in nurturing what is good, but also in refining our own vision until we are able to perceive and honor those virtues that have been present all along. Perhaps this is why, more than two centuries after Jane Austen completed Persuasion, this brief letter scene continues to move viewers across generations. Beneath the words of a short letter lies something far greater than the reunion of two people who once loved. It is the moment in which a soul comes to understand that time may try our affections, yet it is also time that can bring to light the constancy that lies at their root. And when constancy is at last seen in its true light, love does not need to be created anew. It returns, quite simply, to what has always been true.
9:13

The Letter Scene in Persuasion (1995): When Constancy Is Recognized The moment when Captain Frederick Wentworth leaves a letter for Anne Elliot is widely cherished as one of the most beautiful passages in the 1995 film adaptation of Jane Austen’s Persuasion. On the surface, it is a very short scene. There is no direct declaration of love. No embrace. No tearful reunion. Wentworth sits absorbed in writing what appears to be another matter, while Anne speaks quietly with Captain Harville nearby. When he chances to hear her calm words on the constancy of a woman’s heart, he accidentally drops the small pot of blotting sand. The film offers no explanation of what stirs within him. Yet that single, almost imperceptible gesture is enough for the viewer to sense that a long-held perception has been gently shaken. Shortly afterward, Wentworth writes a letter to Anne. After leaving the room, he returns on the pretext of retrieving a forgotten umbrella. With a quiet gesture he draws Anne’s attention to the letter resting on the table, then withdraws in silence. Anne opens it. At first only Wentworth’s voice is heard reading the words. Gradually Anne’s voice begins to blend with his. The entire scene lasts only a few minutes, yet it has become one of the most deeply moving moments in any screen adaptation of Jane Austen’s novels. What gives it such quiet power? The answer lies in the way the film chooses to tell its story. Rather than shaping the moment as a grand romantic climax, director Roger Michell allows everything to unfold remarkable restraint. The camera does not seek heightened expressions of feeling. The music offers no emotional guidance. Even the letter is not placed directly into Anne’s hands. Wentworth deliberately steps out of the frame, leaving her alone to meet the words. The film invites us to focus not on the meeting of two people, but on the truth that is slowly being revealed. What truly changes, however, is not love itself. For eight years Anne remained faithful to her love. Wentworth, too, has never found another attachment capable of taking her place, though he has more than once tried to persuade himself to move on. What has separated them is not an absence of feeling, but Wentworth’s mistaken view of Anne. He had believed she abandoned their love through inconstancy. Yet when he hears her speak with such quiet conviction of a woman’s steadfast heart, he suddenly sees that this virtue had never left her. What time has shown is not merely that Anne still loves him, but that she remains the woman he once loved. For this reason the letter carries a meaning beyond any simple renewal of affection. Many remember its most passionate lines: “You pierce my soul. I am half agony, half hope.” Yet the true heart of the letter lies in another affirmation: “I may have been unjust, weak and resentful, but never inconstant.” It is no coincidence that Wentworth places such weight on this word. The conversation he has just overheard between Anne and Captain Harville turns precisely on the question of constancy—the central theme of Persuasion. With these words Wentworth does more than confess his love; he acknowledges that he had misjudged Anne and affirms that he, like her, has never lost his own constancy. The letter does not create a new love. It bears witness to a truth that has always existed, though long hidden by misunderstanding. The film conveys this deeper meaning with remarkable subtlety through its use of sound. When Anne first opens the letter, only Wentworth’s voice is heard. The audience listens as he reads the opening lines: “I can listen no longer in silence…” and then, “You pierce my soul. I am half agony, half hope…” It remains the voice of one person giving expression to his private pain, hope, and love. But when the letter reaches the words “I have loved none but you,” Anne’s voice begins, almost imperceptibly, to join his. The two voices continue together to the crucial affirmation: “I may have been unjust, weak and resentful, but never inconstant.” This is no mere technical device for emotional effect. The film chooses the precise moment when the two voices unite. The blending of voices does not occur when Wentworth speaks of his suffering, but at the instant he declares his own constancy. From that point the words of the letter cease to belong to Wentworth alone. Anne may now speak them with equal truth, for they describe the reality of her life as well. After eight years of separation, what both recognize first is not simply that they still love one another, but that neither has ever ceased to be constant. It is upon this shared foundation that their love is able to return to its original harmony. We often judge others not by the enduring qualities of their character, but by what we observe in a single passing moment. A misunderstanding, one decision, or an old wound may cast a shadow over an entire person. Only with the passage of sufficient time do we come to see that true virtues are not so easily altered as we once imagined. What changes is frequently not the person before us, but the manner in which we have learned to see them. From the perspective of traditional culture, the scene reveals a still deeper truth about the nature of virtue itself. Constancy does not become precious because it is at last recognized by another. Its worth has always resided within it. Steadfastness is valuable not because it receives reward or recognition, but because it is an essential quality of a noble and upright character. Genuine maturity of soul lies not only in nurturing what is good, but also in refining our own vision until we are able to perceive and honor those virtues that have been present all along. Perhaps this is why, more than two centuries after Jane Austen completed Persuasion, this brief letter scene continues to move viewers across generations. Beneath the words of a short letter lies something far greater than the reunion of two people who once loved. It is the moment in which a soul comes to understand that time may try our affections, yet it is also time that can bring to light the constancy that lies at their root. And when constancy is at last seen in its true light, love does not need to be created anew. It returns, quite simply, to what has always been true.

🌸🎵 Beautiful Melody 🎶💖

27,686 Aufrufe • vor 9 Tagen

This broadcast of the Moriah & Berko talk show on Channel 13, from July 27, is a perfect example of the grotesque, genocidal gaslighting circus that is the Israeli media today. I broke it down for you. In the video, you can find some of the most outrageous sound bites, but I've decided to write a summary of absurdities from the entire first hour of the show, which dealt with issues concerning Gaza. ******************************* Moriah "no uninvolved" Asraf leads a discussion about the "fake starvation campaign", as the panel calls it, which has become a major "Hasbara problem". The panel's general consensus is that there is no famine in Gaza - but if there is, it's Hamas's fault. While denying that Israel is engaged in intentional starvation, the panelists appear to agree that the genocidal practice poses no ethical problem, only a public relations one. The one voice that hesitantly raises the issue of morality is being repeatedly shut down by the others. Co-host Eyal Berkovic, who has repeatedly said that Gaza should be wiped out, responds by saying that if it was up to him, he wouldn't let a drop of water into Gaza, and when Asraf says that "none of us likes to see starving children", Berkovic starts telling her repeatedly that he feels nothing towards the children in Gaza. Israeli-French journalist Emmanuelle Elbaz-Phelps is supposed to be the "leftist" of the panel, and was brought to the show to counter Berkovic. She's the only one on the panel who thinks that there's a moral problem with what Israel is doing in Gaza, and not just a "Hasbara problem". She tries to respond to Berkovic by saying that for the sake of "our children" Israel needs to prevent hunger in Gaza. Berkovic, talking to her in a blatantly disrespectful and dismissive manner, tells her that if she has mercy for the children in Gaza, she "already forgot October 7". Shay Golden, who earlier in the genocide made numerous deranged monologues ("We are coming to annihilate you") and even specified once that "we are ready to go into international isolation", now sings a different tune. He talks about how Israel's current situation on the international stage is an "existential threat", and complains that Israel is being unfairly shunned, framed for a famine it has nothing to do with. On the contrary, Golden claims, the amount of aid supplied to Gaza is "unprecedented in the entire history of human wars". Golden says that there's no question that "Israel is not starving Gazans intentionally", and that "only an idiot" would consider such a possibility. When Elbaz-Phelps tries to tell him that Berkovic literally just now said he wants to do just that, Golden hushes her. Interrupting Golden, Berkovic himself says he disagrees with him, and asks him whether he would support a hypothetical decision by Netanyahu, to prevent life essentials from entering the Strip, "until my hostages are returned". Elbaz-Phelps later tries to reflect to Berkovic the full meaning of his genocidal words, and asks him if he wouldn't react in case he was shown some foreign TV show with someone stating that "all Jews should be killed". In response, Berkovic suddenly plays dumb, asking, "Did I say something like this? I want the war to end." Asaf Cohen, a former deputy commander of Unit 8200, attempts to explain Israel's "Hasbara problem" and in the process says that "there's no starvation campaign in Gaza". Nevo Cohen, another panelist, is a former advisor to Itamar Ben Gvir and Naftali Bennett, who thinks Israel's been too soft on Gaza, and views the Strip as WWII Japan & Germany. Cohen cuts the other Cohen by loudly protesting - "What? What? What do you mean there's no starvation campaign in Gaza?" But all is well in the end - the two Cohens realize it was all a misunderstanding: Asaf Cohen was trying to say that there's no Israeli policy to starve Gaza, while Nevo Cohen thought he's denying a media campaign of staged starvation by Hamas. They both agree that, as the former Cohen puts it: "There is a marketing and publicity campaign claiming that we are starving Gaza." Asraf concludes that if Israel had decided on a policy of starvation, it would've been OK to deal with international pressure, and that the "biggest tragedy" is that Israel is being blamed for causing starvation despite putting, supposedly, large efforts in preventing a humanitarian disaster. ******************************* At a certain point, a clip is played, featuring a genocidal statement by Minister Amichay Eliyahu, said on the radio a few days earlier - "All of Gaza will be Jewish, it won't be fenced-up settlement... The government is racing to erase Gaza. Thank god, we're erasing this evil, and erasing the population that was raised on Mein Kampf". Similar genocidal statements had been made by members of the same panel - including during this very broadcast. Yet the caption on the screen reads "Amichay Eliyahu's horrible statement". Berkovic ridicules Minister Eliyahu's words, calling the minister "a joke" and saying that his plan to settle Gaza is unrealistic - it would be too expensive. ******************************* Avida Bachar then joins the panel. Bachar is a resident of the Gaza Envelope who was injured on October 7 and lost his wife and son. Since then he's often been invited to be interviewed by Israeli media, where he repeatedly spreads his insane genocidal fantasies, about Gaza (and the West Bank) being completely wiped out. So once again Bachar starts ranting, saying Israel needs to exterminate "every last one of them". When Asraf asks him: "Who do you want to exterminate?" he immediately responds "The Palestinians, all of them", but then stops and says "Wait... Hamas." This momentary realization doesn't prevent him from later saying that the "enemy" needs to "disappear" and that everyone in Gaza, including a baby born today ("In Rafah" - I guess he doesn't know Rafah has been completely erased) is an enemy. With complete lack of self-awareness, Asraf complains about the language Bachar uses - she says that words like "annihilation" and "erasure" are terms the enemy uses, and "we're not them". When Bachar is asked about the option of settlement in the Gaza Strip, he first raises opposition, and says that, "Daniella Weiss is not good.", but later it turns out that he's totally cool with settling the Gaza Strip, but only after every single Palestinian there has been expelled or murdered. No one in the panel speaks up against Bachar's murderous ravings, but Elbaz-Phelps comes closest - she can be heard gasping while Bachar describes how he proposes to "push" Gazans into Egypt, by bringing up his memories from the kibbutz cattle farm, where he used to poke the cows with an electric cable to make them move. Panelist Ilan Lotan, ex-Shin Bet, responds to that by saying "I know the Egyptians, it's not going to happen". As if the problem with this unhinged sadism is merely a practical one.
3:46

This broadcast of the Moriah & Berko talk show on Channel 13, from July 27, is a perfect example of the grotesque, genocidal gaslighting circus that is the Israeli media today. I broke it down for you. In the video, you can find some of the most outrageous sound bites, but I've decided to write a summary of absurdities from the entire first hour of the show, which dealt with issues concerning Gaza. ******************************* Moriah "no uninvolved" Asraf leads a discussion about the "fake starvation campaign", as the panel calls it, which has become a major "Hasbara problem". The panel's general consensus is that there is no famine in Gaza - but if there is, it's Hamas's fault. While denying that Israel is engaged in intentional starvation, the panelists appear to agree that the genocidal practice poses no ethical problem, only a public relations one. The one voice that hesitantly raises the issue of morality is being repeatedly shut down by the others. Co-host Eyal Berkovic, who has repeatedly said that Gaza should be wiped out, responds by saying that if it was up to him, he wouldn't let a drop of water into Gaza, and when Asraf says that "none of us likes to see starving children", Berkovic starts telling her repeatedly that he feels nothing towards the children in Gaza. Israeli-French journalist Emmanuelle Elbaz-Phelps is supposed to be the "leftist" of the panel, and was brought to the show to counter Berkovic. She's the only one on the panel who thinks that there's a moral problem with what Israel is doing in Gaza, and not just a "Hasbara problem". She tries to respond to Berkovic by saying that for the sake of "our children" Israel needs to prevent hunger in Gaza. Berkovic, talking to her in a blatantly disrespectful and dismissive manner, tells her that if she has mercy for the children in Gaza, she "already forgot October 7". Shay Golden, who earlier in the genocide made numerous deranged monologues ("We are coming to annihilate you") and even specified once that "we are ready to go into international isolation", now sings a different tune. He talks about how Israel's current situation on the international stage is an "existential threat", and complains that Israel is being unfairly shunned, framed for a famine it has nothing to do with. On the contrary, Golden claims, the amount of aid supplied to Gaza is "unprecedented in the entire history of human wars". Golden says that there's no question that "Israel is not starving Gazans intentionally", and that "only an idiot" would consider such a possibility. When Elbaz-Phelps tries to tell him that Berkovic literally just now said he wants to do just that, Golden hushes her. Interrupting Golden, Berkovic himself says he disagrees with him, and asks him whether he would support a hypothetical decision by Netanyahu, to prevent life essentials from entering the Strip, "until my hostages are returned". Elbaz-Phelps later tries to reflect to Berkovic the full meaning of his genocidal words, and asks him if he wouldn't react in case he was shown some foreign TV show with someone stating that "all Jews should be killed". In response, Berkovic suddenly plays dumb, asking, "Did I say something like this? I want the war to end." Asaf Cohen, a former deputy commander of Unit 8200, attempts to explain Israel's "Hasbara problem" and in the process says that "there's no starvation campaign in Gaza". Nevo Cohen, another panelist, is a former advisor to Itamar Ben Gvir and Naftali Bennett, who thinks Israel's been too soft on Gaza, and views the Strip as WWII Japan & Germany. Cohen cuts the other Cohen by loudly protesting - "What? What? What do you mean there's no starvation campaign in Gaza?" But all is well in the end - the two Cohens realize it was all a misunderstanding: Asaf Cohen was trying to say that there's no Israeli policy to starve Gaza, while Nevo Cohen thought he's denying a media campaign of staged starvation by Hamas. They both agree that, as the former Cohen puts it: "There is a marketing and publicity campaign claiming that we are starving Gaza." Asraf concludes that if Israel had decided on a policy of starvation, it would've been OK to deal with international pressure, and that the "biggest tragedy" is that Israel is being blamed for causing starvation despite putting, supposedly, large efforts in preventing a humanitarian disaster. ******************************* At a certain point, a clip is played, featuring a genocidal statement by Minister Amichay Eliyahu, said on the radio a few days earlier - "All of Gaza will be Jewish, it won't be fenced-up settlement... The government is racing to erase Gaza. Thank god, we're erasing this evil, and erasing the population that was raised on Mein Kampf". Similar genocidal statements had been made by members of the same panel - including during this very broadcast. Yet the caption on the screen reads "Amichay Eliyahu's horrible statement". Berkovic ridicules Minister Eliyahu's words, calling the minister "a joke" and saying that his plan to settle Gaza is unrealistic - it would be too expensive. ******************************* Avida Bachar then joins the panel. Bachar is a resident of the Gaza Envelope who was injured on October 7 and lost his wife and son. Since then he's often been invited to be interviewed by Israeli media, where he repeatedly spreads his insane genocidal fantasies, about Gaza (and the West Bank) being completely wiped out. So once again Bachar starts ranting, saying Israel needs to exterminate "every last one of them". When Asraf asks him: "Who do you want to exterminate?" he immediately responds "The Palestinians, all of them", but then stops and says "Wait... Hamas." This momentary realization doesn't prevent him from later saying that the "enemy" needs to "disappear" and that everyone in Gaza, including a baby born today ("In Rafah" - I guess he doesn't know Rafah has been completely erased) is an enemy. With complete lack of self-awareness, Asraf complains about the language Bachar uses - she says that words like "annihilation" and "erasure" are terms the enemy uses, and "we're not them". When Bachar is asked about the option of settlement in the Gaza Strip, he first raises opposition, and says that, "Daniella Weiss is not good.", but later it turns out that he's totally cool with settling the Gaza Strip, but only after every single Palestinian there has been expelled or murdered. No one in the panel speaks up against Bachar's murderous ravings, but Elbaz-Phelps comes closest - she can be heard gasping while Bachar describes how he proposes to "push" Gazans into Egypt, by bringing up his memories from the kibbutz cattle farm, where he used to poke the cows with an electric cable to make them move. Panelist Ilan Lotan, ex-Shin Bet, responds to that by saying "I know the Egyptians, it's not going to happen". As if the problem with this unhinged sadism is merely a practical one.

B.M.

229,079 Aufrufe • vor 11 Monaten

Shabana Mahmood wants you to think it's stopped. It hasn't. They didn't LOSE control of your housing. They didn't run OUT of homes for you. They GAVE them away. She banned the bit you could SEE, and kept the engine running. 21 brand new houses in a quiet Shropshire village. Worth £250,000 each. Built for local families. Handed to the asylum system instead, for up to 83 migrants, rent free. Rural. Back gardens. Next to where local children play. On a street where a British family had already bought and moved in. Residents weren't even told who was coming. They had to FOI their own council for the basics. How many. Who. Whether they're even families. Made to force it out in writing. Asked on live radio why our own homeless get nothing while this happens, Yvette Cooper didn’t deny it. She admitted it, said they should be in more appropriate accommodation. So she knows it’s wrong. Then she swerved. Reduce the system. Family reunion. Student visas. The system we inherited. We're saving a billion. Everything except the answer. So here's the answer she wouldn't give. Who decides it. Not your council. Not your MP. Not one person in that village. The Home Office decides, and tells a private firm, Serco, to place people. We know because Serco said it. The Home Office decides where people go, and instructs us accordingly. The people you vote for have no say. The people with the say, you never voted for. Why they pack them in. They're paid by the head. Twelve hundred pounds a year per person, a hundred a month per extra bed. Six in a house beats a family of four. That's how you get 83 people into 21 homes. Not compassion. Arithmetic. Who even chooses who comes. Under the new scheme, charities, universities and employers pick. Not you. Not your MP. Private groups hold the keys. Who gets rich. The man who owns one of these firms went from a caravan park to a billionaire. Porsches. Mayfair. Monaco. All from housing migrants on our money. His firm paid out twenty eight million in dividends in one year, almost all to him. One man, drawing more from our foreign aid budget than the whole of Ghana. He made so much his firm agreed to hand thirty two million back for breaching the profit cap. Money the Home Office still hasn't confirmed it's even collected. Here’s why they'll NEVER really stop it. The money we spend housing migrants here is counted as foreign aid. On paper, Britain feeding the world's poor. Really, filling a landlord's pockets in Monaco. Because it counts as aid, the more come, the better their books look. Count the ways they win. The contractor gets rich. The Treasury books four point three billion as aid that never leaves the country. Real aid to Africa is cut, the money stays here in Clearsprings and the consultancies, and you pay twice, in tax and in a home your kids will never get. The boats aren't a crisis to them. They're the business model. Forty thousand to leave, called a saving. Ten thousand to stay, called fairness, though their own figures say most will never earn enough to pay a penny. Now, ban the new-builds, and call it fixed. A different headline every month. The same engine underneath. Here’s the smoke, right on cue. They've said Stoke Heath won't go ahead. Sounds like a win. It isn't. They didn't stop it because it was wrong. They stopped it because it was SEEN. It went viral. It got too hot. So they killed the one estate the camera found, and kept every one it didn't. Its not just Shropshire. Over in Suffolk, migrants have already moved into four brand new townhouses worth £300,000, with en-suites, underfloor heating and electric car points, handed over rent free Flat blocks taken in Huddersfield, Chelmsford, Bournemouth. Same Home Office. Same contractor. Town after town, the ones no camera found. They won't even confirm the family already in Stoke Heath will be moved out. The ban only touches new-builds. The flat blocks stay. The HMOs stay. The contracts stay. Who really runs it. The Home Office behind all this was headed by Antonia Romeo, now Cabinet Secretary, the most powerful official in the country. She began her own career at a global consultancy, Oliver Wyman, a firm with a documented history of work in the refugee sector. Nobody voted for her. She was there before this government, and she'll be there after it. Ministers are the face. She's the engine. Three firms. Fifteen billion pounds of contracts. Break clauses that could end it tomorrow. Not one pulled. Yvette Cooper ran this and dodged it on air. Shabana Mahmood bans the one part that got caught and keeps the rest. Same engine. Two faces. The next face is already here. Whoever walks into Number 10 next can't break it either. Romeo stays. The contracts stay. They inherit it intact. Our own keep waiting. 1.3 million on the longest social housing queue in over a decade. The family that saved ten years. The homeless man born here. Passed over, in their own country, so the engine keeps running. You can respray a car. New paint, new bodywork, new badge. It still drives, because you never touched the engine. Same here. Change the government, the face, the party. The engine never moves. The Home Office. The contractor. The billionaire. The consultancy. The money. The one they never let you vote out. That's the engine and every few months they hand you a new face to be angry at, so you keep swinging at the paint. They didn't ban the machine. They banned the photo of it. Then stood at a podium and told us they'd fixed it. That's not a mistake. That's a decision. Stop aiming at the paint. Go for the engine.
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Shabana Mahmood wants you to think it's stopped. It hasn't. They didn't LOSE control of your housing. They didn't run OUT of homes for you. They GAVE them away. She banned the bit you could SEE, and kept the engine running. 21 brand new houses in a quiet Shropshire village. Worth £250,000 each. Built for local families. Handed to the asylum system instead, for up to 83 migrants, rent free. Rural. Back gardens. Next to where local children play. On a street where a British family had already bought and moved in. Residents weren't even told who was coming. They had to FOI their own council for the basics. How many. Who. Whether they're even families. Made to force it out in writing. Asked on live radio why our own homeless get nothing while this happens, Yvette Cooper didn’t deny it. She admitted it, said they should be in more appropriate accommodation. So she knows it’s wrong. Then she swerved. Reduce the system. Family reunion. Student visas. The system we inherited. We're saving a billion. Everything except the answer. So here's the answer she wouldn't give. Who decides it. Not your council. Not your MP. Not one person in that village. The Home Office decides, and tells a private firm, Serco, to place people. We know because Serco said it. The Home Office decides where people go, and instructs us accordingly. The people you vote for have no say. The people with the say, you never voted for. Why they pack them in. They're paid by the head. Twelve hundred pounds a year per person, a hundred a month per extra bed. Six in a house beats a family of four. That's how you get 83 people into 21 homes. Not compassion. Arithmetic. Who even chooses who comes. Under the new scheme, charities, universities and employers pick. Not you. Not your MP. Private groups hold the keys. Who gets rich. The man who owns one of these firms went from a caravan park to a billionaire. Porsches. Mayfair. Monaco. All from housing migrants on our money. His firm paid out twenty eight million in dividends in one year, almost all to him. One man, drawing more from our foreign aid budget than the whole of Ghana. He made so much his firm agreed to hand thirty two million back for breaching the profit cap. Money the Home Office still hasn't confirmed it's even collected. Here’s why they'll NEVER really stop it. The money we spend housing migrants here is counted as foreign aid. On paper, Britain feeding the world's poor. Really, filling a landlord's pockets in Monaco. Because it counts as aid, the more come, the better their books look. Count the ways they win. The contractor gets rich. The Treasury books four point three billion as aid that never leaves the country. Real aid to Africa is cut, the money stays here in Clearsprings and the consultancies, and you pay twice, in tax and in a home your kids will never get. The boats aren't a crisis to them. They're the business model. Forty thousand to leave, called a saving. Ten thousand to stay, called fairness, though their own figures say most will never earn enough to pay a penny. Now, ban the new-builds, and call it fixed. A different headline every month. The same engine underneath. Here’s the smoke, right on cue. They've said Stoke Heath won't go ahead. Sounds like a win. It isn't. They didn't stop it because it was wrong. They stopped it because it was SEEN. It went viral. It got too hot. So they killed the one estate the camera found, and kept every one it didn't. Its not just Shropshire. Over in Suffolk, migrants have already moved into four brand new townhouses worth £300,000, with en-suites, underfloor heating and electric car points, handed over rent free Flat blocks taken in Huddersfield, Chelmsford, Bournemouth. Same Home Office. Same contractor. Town after town, the ones no camera found. They won't even confirm the family already in Stoke Heath will be moved out. The ban only touches new-builds. The flat blocks stay. The HMOs stay. The contracts stay. Who really runs it. The Home Office behind all this was headed by Antonia Romeo, now Cabinet Secretary, the most powerful official in the country. She began her own career at a global consultancy, Oliver Wyman, a firm with a documented history of work in the refugee sector. Nobody voted for her. She was there before this government, and she'll be there after it. Ministers are the face. She's the engine. Three firms. Fifteen billion pounds of contracts. Break clauses that could end it tomorrow. Not one pulled. Yvette Cooper ran this and dodged it on air. Shabana Mahmood bans the one part that got caught and keeps the rest. Same engine. Two faces. The next face is already here. Whoever walks into Number 10 next can't break it either. Romeo stays. The contracts stay. They inherit it intact. Our own keep waiting. 1.3 million on the longest social housing queue in over a decade. The family that saved ten years. The homeless man born here. Passed over, in their own country, so the engine keeps running. You can respray a car. New paint, new bodywork, new badge. It still drives, because you never touched the engine. Same here. Change the government, the face, the party. The engine never moves. The Home Office. The contractor. The billionaire. The consultancy. The money. The one they never let you vote out. That's the engine and every few months they hand you a new face to be angry at, so you keep swinging at the paint. They didn't ban the machine. They banned the photo of it. Then stood at a podium and told us they'd fixed it. That's not a mistake. That's a decision. Stop aiming at the paint. Go for the engine.

BanksyCat

27,938 Aufrufe • vor 16 Tagen