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๐Ÿ†• Skinny Cyber Shot Slut's Anal Return ๐Ÿ”— Link: ๐ŸŽฌ Studio: Nick Morris Studio ๐ŸŽฅ Production: Nick Morris ๐Ÿ’ซ Models: Cyber Shot Nick Morris More hot TEENS on my Sheer site, subscribe for just๐Ÿ’ฒ2๏ธโƒฃ0๏ธโƒฃ

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Claude Mythos found critical zero-days in every major OS and browser. Jason calls it a cyber weapon of mass destruction. Meanwhile: Small language models may be about to collapse the value of frontier models entirely. Itโ€™s a new TWiST with special guest AI expert Rob May of NeuroMetric, PLUS weโ€™re checking out Death by Clawd with its founder, Gyani, plus a special non-sponsored message from our roving Miami crypto correspondent Nick โ€œChoose Richโ€ Oโ€™Neil. 0:00 Anthropic's new, powerful 'Mythos' model 3:50 Plaud: If your work depends on conversations โ€” interviews, meetings, calls โ€” you need a Plaud NotePin. You can check it out at and use code TWIST for 10% off! 5:26 Neurometric's Rob May joins the show 10:04 Sam Altman's talent exodus 10:54 Render - Go to to apply for the Render Startup Program. You'll get anywhere from $500 to $100,000 in free credits. 11:50 Has Anthropic Passed OpenAI? 15:44 When will Claude release Mythos? Polymarket: 18:32 The AI race turns existential 19:16 Would Anthropic's model give the CIA the ability to hack a foreign government? 20:12 Grasshopper Bank - Time is money. Don't waste either. Go to and get an exclusive $500 cash bonus just for opening an account. 21:19 Should AI be nationalized? 29:43 Subsidizing secret AI development. 30:25 LinkedIn Jobs - Hire right, the first time. Post your first job and get $100 off towards your job post at 31:29 How much of the military's $1.5T will go to AI cybersecurity? 35:17 Nick O'Neill's "not sponsored" call-in. 38:24 What is an SLM? 42:01 Tactical/Practical: How can you tune SLMs 45:43 How Neurometric can afford 100M free tokens per month for its users? 49:04 What is "harness engineering"? 50:58 Tactical/ Practical: Every Reddit rant is a startup idea 1:00:25 Why Meta is the most un-innovative AI company in the world. 1:03:43 Gyani of Deathbclawd joins the show โ€” Is your company COOKED? cc: @jason, alex ๐Ÿดโ€โ˜ ๏ธ๐Ÿ‡บ๐Ÿ‡ธ๐Ÿ‡บ๐Ÿ‡ฆ, Rob May, NeuroMetric AI, Nick Oโ€™Neill, DeathByClawd ๐ŸŽฅ Watch the full episode here ๐Ÿ‘‡

This Week in Startups

33,452 views โ€ข 5 months ago

Alfonso Cuarรณn on how this continuous shot in "Children of Men" (2006) was clinched in the final attempt & the "Miracle" that occurred while filming: "Interviewer: When Theo runs into a hollowed-out bus in that shot, blood splatters on the camera lens. Can you tell me how that happened? Cuarรณn: Initially, there was going to be blood splatter on the lens when they ki!!ed Julianne Moore. We were going to add that digitally. But long story short โ€” or long story long โ€” is that for [the refugee camp] shot, we had like 14 days to shoot the whole set piece, except by day 12 we hadnโ€™t rolled cameras yet. As you can guess, by day three that you donโ€™t shoot camera, they send a production guy from the studio to visit you. By the sixth day that you havenโ€™t done it, the creative executive comes to visit you. Well, by the time that you reach the 11th day, the head of the studio is there. That kind of stuff. And the problem is that we had only two shots a day to do the thing. The morning, then you have to reset the explosions, the screams, the whole thing. Five hours to reset. So you only have another shot right before the light goes away. And the problem is that, we could not extend it to the 15th day, because there was already a commitment with the army or something, one of those things. So we are in the 13th day, and in the afternoon, we do our first shot. Then after a minute and a half, it just was wrong. So we had to reset for the next day. The next morning we do the first take, and everything is perfect, and weโ€™re about to reach the end. We were running towards getting inside the building, when [camera operator] George [Richardson] tripped, and so the camera fell. So we only had one more shot for one more before we have to move out. It was the end of my career. Interviewer: Were you panicking at that point? Cuarรณn: You know, at that point, youโ€™re just focusing. Interviewer: Okay, so you get to the final attempt at the shot. Cuarรณn: And when we arrived at the bus, the camera goes in, and blood splatters the lens. With my little monitor, I see that I cannot see anything. I yell, โ€œCut!โ€ But an explosion happens at the same time, so nobody hears me. And that gives me time to think, โ€œLook, I have to roll to the end.โ€ So we kept on going. When we said, โ€œCut,โ€ Chivo [Emmanuel Lubezki] starts dancing like crazy. And I was like, โ€œNo, it didnโ€™t work! Thereโ€™s blood!โ€ And Chivo turns to me and says, โ€œYou stupid! That was a miracle! The blood goes here, not with Julianne Moore!โ€ Yeah, that was supposed to go in the other scene, but it happened here." ("The Vulture Transcript: Alfonso Cuarรณn on Children of Men", Abraham Josephine Riesman, Vulture, 2017)

DepressedBergman

108,880 views โ€ข 5 months ago

The Bank Surveillance Secrecy Act: How America Lost Financial Privacy | Free The Money Ep. 31 As we approach the United States' 250th anniversary, it's worth asking whether we've stayed true to the principles the country was founded on. In this episode of Free The Money, I sit down with Nick Anthony, Research Fellow at the Cato Institute and Fellow at the Human Rights Foundation (HRF), to examine the Bank Secrecy Act and how it transformed banks into de facto law enforcement and has led to decades of expanded surveillance every American. Our Founding Fathers saw how general warrants were used to ransack people's homes, searching for anything authorities could use against them. They recognized this as a fundamental threat to liberty, which is why the Fourth Amendment was created to protect Americans from unreasonable searches and government overreach. Yet today, because of the Bank Secrecy Act, millions of financial records are collected yearly, monitored, and reported to the government without a warrant. What began as a tool to combat tax evasion has evolved into a vast financial surveillance system where banks have effectively become an extension of law enforcement. Nick reported that in a single year, U.S. financial institutions spent an estimated $59 billion complying with the Bank Secrecy Act. During that same period, they filed roughly 28 million reports on their customers, yet those reports generated just 275 investigative leads for the IRS. Of those 275 leads, we don't know how many resulted in arrests or convictions. Nick argues these numbers are evidence of a broken system that subjects millions of law-abiding Americans to financial surveillance with very very little to show for it. Building on that, we also discuss the Third-Party Doctrine, the legal theory that allows the government to obtain information shared with banks and other intermediaries without a warrant. What began as financial surveillance has expanded into something much broader. In an increasingly digital world, where nearly every transaction, communication, and interaction passes through a third party, this doctrine gives the government access to vast amounts of personal information that previous generations would have considered private. As Nick explains, the government is no longer ransacking physical homes, it is increasingly able to sift through our digital lives, collecting information that reveals who we are, where we go, who we associate with, and what we believe. The result is a level of surveillance that would have been unimaginable to the Founders, raising serious questions about privacy, government overreach, and the future of protections in the digital age. Subscribe to Nickโ€™s Substack: Want financial privacy? Check out my favorite privacy coin, Zano and follow Zano for updates. You can buy Zano seamlessly on MEXC using a VPN, or browse the full list of exchanges where Zano is available here: You can also find educational content, tutorials, and interviews on the official Zano YouTube Channel: Sign up for iTrustCapital using my link for a $100 funding bonus and see why more people are opening tax-advantaged Crypto, Gold & Silver IRAs to diversify and protect their future wealth: 0:00 Intro 1:17 The Real Origins of the Bank Secrecy Act: How Financial Surveillance Began 4:16 $60 Billion Spent, 30 Million Reports Filed, Only 275 IRS Leads Generated 6:34 CTRs vs SARs: The Reports Banks File on Ordinary Americans 9:26 Why the $10,000 Reporting Threshold Makes Less Sense Every Year 14:20 How America Exported Financial Surveillance Worldwide & Enabled Transnational Repression 19:27 Zano- Private By Default 21:27 9/11, The Patriot Act & the Explosion of Financial Surveillance 25:03FinCEN: The Agency Collecting Millions of Americans' Financial Records 26:46 ITrustCapital 28:22 The Third-Party Doctrine: How the Fourth Amendment Was Bypassed 32:54 The Lawmakers Fighting to Reform or Repeal the Bank Secrecy Act: Rep Warren Davidson ๐Ÿ‡บ๐Ÿ‡ธ, Congressman John Rose, & Senator Mike Lee and a handful of others 35:50 Active Lawsuit Against FinCEN Flagging $200 Remittances at Southern Border 39:08 FinCEN's 2013 Crypto Guidance & How It Changed the Industry 43:32 Privacy Isn't Suspicious: Why Privacy Technology Matters 49:19 CBDCs, Stablecoins & Nick Anthony's Hot Take on the CLARITY Act 53:21 Financial Freedom in Nigeria: Why People Are Turning to Privacy Coins 55:15 BIS Revealed that the Federal Reserve Bank of New York is Still an Active Participant in Project Agorรก 59:52 Book Recommendations: Conflict of Visions by Thomas Sowell, The Theory of Monetary Institutions by Lawrence White, The Triumph of Fear by Patrick Eddington & Rodigan by David Rodigan

Bri Teresi

103,296 views โ€ข 2 months ago

dave meltzer: youtube enthusiast ๐Ÿ’€ perfect. now we can stop pretending this was ever complicated. the real story is not that wwe is afraid of aew. the real story is not that โ€œhigh level wwe officialsโ€ are whispering scary things to dave meltzer. the real story is not even that tony khan got asked a planted question on a media call with very little distribution about the possibility of aew soon having very little distribution, although that sentence is so stupidly perfect it should be bronzed and placed outside the wrestling observer newsletter office like a war memorial for people who died pretending this was journalism. the real story is that aew is going to lose its wbd distribution deal. either it ends at the expiration of the three-year term in 2027, or it ends earlier if paramount closes wbd and decides aew has no strategic place inside the new company. and based on the board as it exists right now, the most likely landing spot for aew in 2027 is google / youtube. that is the story. everything else is laundering. tony khan wants the story to be: โ€œwhy would wwe say this about us?โ€ that is the whole operation. take my public analysis. run it through dave meltzer. assign it to wwe / tko. then let tony khan answer a canned question on a media call with very little distribution about potentially having very little distribution. a media call for a lightly viewed roh show. a planted story. a planted messenger. a rehearsed answer. a pr flack probably wrote it. tony khan performs hurt. tony khan says โ€œi donโ€™t know why wwe wouldโ€ฆโ€ tony khan denies the obvious. tony khan keeps me minimized. tony khan removes me from the public conversation about the exact thing i have repeatedly said is going to happen to aew. everyone is supposed to pretend this is organic. it is not. it is the most bubble wrapped, manufactured, artificial environment possible. aew is heading toward youtube because the domestic media rights board is closing around them. not as a troll. not as a bit. not as โ€œpr spin.โ€ as a business conclusion. aew is not leverage. wwe is not afraid of aew. the $185 million number was bullshit. the buyer universe was shrinking. paramount / skydance was coming for wbd. wbd was not going to be some permanent aew safe house. youtube was only ever a real โ€œoptionโ€ if someone at google was actually cutting a media rights check and underwriting production. not because every divorced mom with a ring light and a gmail account can upload video to the same platform. that was always the distinction. that is still the distinction. Nick LoPiccolo โ€” February 28, 2025 โ€œYouTube is an option the same way you or I could start a YT channel tomorrow. Is Jon Cruz cutting AEW a media rights check or underwriting a production budget? Hell no. Just the reality. It isnโ€™t the model. Jon is global head of sports over there.โ€ that was february, not last week. not after dave meltzer suddenly discovered youtube prelim numbers like columbus finding the new world. it is becoming inevitable now. Nick LoPiccolo โ€” April 30, 2026 โ€” 11:26 AM โ€” 251.2K Views โ€œto every journalist and every podcast who interviews tony khan from this day forward: please ask tony if wbd told him back in august they would not be renewing aew. wbd told him in august. i confirmed it directly and triple sourced it. please ask why tony has been acting like nothing is wrong for the last 8 months, and then please ask tony what his actual distribution plan is. because the only distributor left that will take aew is google/youtube. the myaew app is not realistic. the my aewapp is a death sentence in 2026 if youtube doesnโ€™t make an mg deal for aew. they started building it too late and there is no realistic way to scale it. also, who is going to sell ads for the platform? kiswe is not the best. they built the myaew app. they are new to the game. hold tonyโ€™s feet to the fire. Paramount is not real for aew. WBD passed back in August. CW/Roku is now off the table. Amazon and Fox do not want AEW. ask Tony why he's been lying to you and to the locker room and to the fans, acting like things are all great with the network? i am sure a lot of people would love to hear his answer.โ€ april 30. 251.2k views. not whispered. not hidden. not vague. not โ€œhigh level wwe officials.โ€ i said it publicly and directly: wbd passed back in august. paramount is not real for aew. cw / roku is off the table. amazon and fox do not want aew. the myaew app is not realistic. google / youtube is the only distributor left on the board that makes sense. that is the actual story tony khan does not want to answer. not โ€œwhy would wwe say this?โ€ ask tony khan if wbd told him in august that wbd would not be renewing aew. ask what his actual distribution plan is. ask who is selling ads for the myaew app. ask how a platform built this late scales in 2026. ask whether youtube is an actual rights partner with an mg, or just the place you go when the real buyers are gone. that is the question. not the fake question dave meltzer laundered into โ€œhigh level wwe officials.โ€ the real question. Nick LoPiccolo โ€” July 9, 2025 โ€” 10:51 AM โ€” 9,565 Views โ€œNo one in Hollywood believes the $185 million number.โ€ Nick LoPiccolo โ€” July 9, 2025 โ€” 11:35 AM โ€” 7,470 Views โ€œThe $185 million figure is inflated. Varietyโ€™s October 2, 2024 article was likely updated after a publicist called on AEWโ€™s behalf, as early reports placed the deal between $140 and $150 million per year. Tony Khan was also included in Varietyโ€™s Dealmakers 2024 list, which, while not officially pay to play, strongly favors those spending significant advertising dollars with the outlet. No one in Hollywood seriously believes WBD, which is in junk bond status, is paying AEW $185 million per year. Clear enough?โ€ clear enough? the number was never clean. the number was never real in the way aew fans and wrestling media pretended it was real. and when the $185 million number started getting laughed out of adult rooms, the number magically became $178 million. that is where the shell game gets funny. because $178 million was not some sacred sourced number either. it was brandon thurston taking the median between $170 million, reported by sports business journal, and $185 million, reported by variety and others. that is literally what wrestlenomics said. Wrestlenomics โ€” October 4, 2024 โ€œWhy use $178 million here for AEWโ€™s new deal when some outlets are reporting the average annual value is $185 million?โ€ Wrestlenomics โ€” October 4, 2024 โ€œI used $178 million here because it is simply the median of $170 million, as reported by Sports Business Journal, and $185 million, reported by Variety and others.โ€ there it is. arithmetic. not an all-cash rights fee. not a clean license number. not proof wbd valued aew like raw. not a finance-department document from warner bros. discovery. a midpoint between conflicting public reports. then wrestling media treated that midpoint like scripture because they needed the story to be โ€œaew is valued like raw,โ€ not โ€œaew pr inflated a number no serious person in hollywood believed.โ€ and by the way, $170 million was not the clean all-cash number either. that is the scam. float the number. repeat the number. launder the number. defend the number with people who do not understand the difference between cash rights fees, in-kind services, equity, marketing commitments, platform value, make-goods, ad inventory, and press release math. then when the number collapses, pretend the next number was always the number. that is not reporting. that is aew state news. Nick LoPiccolo โ€” July 10, 2025 โ€” 5:53 AM โ€” 12.6K Views โ€œAEW isnโ€™t leverage. Itโ€™s not competition. Itโ€™s a niche product with loud fans and limited reach.โ€ Nick LoPiccolo โ€” July 10, 2025 โ€” 8:56 AM โ€” 1,018 Views โ€œWe handle wrestling deals too, but thinking we need AEW for leverage is myopic. The landscape is changing and the game Iโ€™m playing is different.โ€ Nick LoPiccolo โ€” July 15, 2025 โ€” 25.7K Views โ€œAEW isnโ€™t leverage.โ€ that was never emotional. that was never tribal. that was never โ€œi hate aew.โ€ it was market structure. wwe did not need aew as leverage because real leverage was never โ€œanother wrestling show exists.โ€ real leverage is architecture, scale, subscriber churn, platform strategy, sports adjacency, global rights, advertising, sponsorship, live inventory, library value, data, brand safety, executive relationships, and the actual buyer universe of maybe 18-20 companies in the united states that matter for live sports rights. aew fans thought this was a wrestling argument. it was never a wrestling argument. it was a board. and the board was already moving. Nick LoPiccolo โ€” August 11, 2025 โ€” 482 Views โ€œI wasnโ€™t viewing the above in that context (TKO vs AEW counter programming), it was more of this is what Iโ€™m hearing after 2 weeks of big media deals rolling out (Skydance closing, South Park library moving) etc. Which have all been in the works for awhile.โ€ Nick LoPiccolo โ€” August 11, 2025 โ€” 388 Views โ€œBut if you were to look at it from a counter programming perspective (and I donโ€™t think this was a factor in UFC deal) - there are only so many players for these big media rights deals. PARA is likely off the board (via TKO deal) & then what if they acquire WB in 2026/27?โ€ Nick LoPiccolo โ€” August 11, 2025 โ€” 535 Views โ€œYes, of course, that wouldnโ€™t mean the end for AEW. It would make navigating their media rights deal more challenging, I would guess. But this is a hypothetical scenario & I do not believe anyone is paying $7.7b for UFC or a $40b valuation for WB w/ how do we fuck AEW, either.โ€ Nick LoPiccolo โ€” August 11, 2025 โ€œAnd hearing all weekend Paramount is still interested in WBD.โ€ Nick LoPiccolo โ€” August 11, 2025 โ€” 1.3K Views โ€œI think more interesting for what it could mean as the dominoes keep falling in terms of the still evolving landscape. The deals are massive & the number of major players at the top are shrinking as still big push for consolidation & scale.โ€ Nick LoPiccolo โ€” August 11, 2025 โ€” 12:11 PM โ€” 2,588 Views โ€œAnd Iโ€™d view AAA on Google/YouTube as directly competitive. It targets both the CMLL collab & the audience that used to watch AEW Dark on YouTube, & WWE is able to send well known stars to AAA events with an eye towards converting more of the younger, YouTube demo of viewers who donโ€™t watch streamers.โ€ again: august 11. not yesterday. not after dave meltzer tweeted a netflix prelim number. not after anyone had to retrofit the argument. the point was already there: the major players at the top were shrinking, paramount was still interested in wbd, paramount was likely off the board for aew because of the tko deal, google / youtube was becoming directly competitive for the exact audience aew used to reach through dark, and the buyer universe was consolidating around deals much bigger than tony khanโ€™s feelings. this was not mysticism. this was not inside baseball for the sake of sounding smart. this was the board. Nick LoPiccolo โ€” August 24, 2025 โ€œThis isnโ€™t fair. I misread your question. AEW will exist but likely on the Discovery Global app (if it ever launches, I would bet that it doesnโ€™t) and it will continue to do consistent ratings. If Paramount/Skydance buys WBD in a yearโ€ฆโ€ Nick LoPiccolo โ€” September 4, 2025 โ€” 76 Views โ€œNo, thatโ€™s the WBD network division (cable, news, sports) that was already announced as being spun off under Discovery Global. The article youโ€™re citing is about them selling a minority equity stake in that unit to cut debt and boost valuation ahead of the 2026 split.โ€ Nick LoPiccolo โ€” September 16, 2025 โ€” 3.6K Views โ€œThis is not just about Hollywood scale. It is the foundation of a conservative aligned media infrastructure. A Paramount/WBD merger would fold CBS, CNN, HBO, and Warner Bros IP into Ellisonโ€™s orbit under Trumpโ€™s regulatory umbrella.โ€ Nick LoPiccolo โ€” September 16, 2025 โ€” 11K Views โ€œWithin 48 hours of the rumor, WBD stock surged ~55% and Paramount Skydance rose ~24%. That market response itself boxed David Zaslav in; his board, Wall Street, and his own contract now expect movement.โ€ Nick LoPiccolo โ€” September 27, 2025 โ€” 12:16 PM โ€” 3,516 Views โ€œNah homie. Enjoy watching the show on YouTube after Ellison buys WBD and Ari who is advising Ellison and used to represent Trump and runs TKO makes the call.โ€ Nick LoPiccolo โ€” September 28, 2025 โ€” 174 Views โ€œI believe if and when Paramount acquires WBD, TKO will push to lock down a monopoly on combat sports. The long knives are already out for competitors, and the rights deals have likely been spread around town precisely to keep rivals from signing with those streamers.โ€ none of that was random. paramount / skydance, ellison, ari, tko, wbd linear assets, youtube, aaa, the tko deal, the wbd split, the shrinking rights buyer universe โ€” all of it was one connected domestic rights architecture. that is why this conversation was always over the heads of the people screaming โ€œcopeโ€ in my replies. they were arguing like fans. i was reading the cap table. Nick LoPiccolo โ€” December 6, 2025 โ€” 3:07 PM โ€” 41.4K Views โ€œYes, I always believed Paramount would walk away with WBD. I was one of the first to talk about it on here, even if I wasnโ€™t the first to hear it. The Paramount Skydance acquisition closed on August 7. I posted this on August 11, about 1 month before the The Wall Street Journal first broke the news on September 12 that Paramount Skydance was preparing a bid for WBD.โ€ Nick LoPiccolo โ€” December 6, 2025 โ€” 3:07 PM โ€” 41.4K Views โ€œThe bid was always going to be hostile. We are only in this process because it was a hostile bid. Most people in Hollywood believed Ellison long coveted WB and Jack Warnerโ€™s chair. WB was not for sale when Skydance acquired Paramount, which is much smaller in scale.โ€ Nick LoPiccolo โ€” December 6, 2025 โ€” 3:07 PM โ€” 41.4K Views โ€œNearly everyone in town assumed an Ellison acquisition of WBD was inevitable until the Netflix bid shocked everyone. Signs were there for the last two weeks, which is also when I stopped posting about what might happen. Of course, its not over yet. Paramount still has paths to winning this acquisition. The one thing thatโ€™s for certain though is an Ellison-led acquisition of WBD is no longer inevitable.โ€ Nick LoPiccolo โ€” December 8, 2025 โ€œEND CREDITSโ€ space jam is a warner bros. movie. that was the joke. and the joke was the same thing i had been saying the whole time: paramount was winning the bid, for those who did not understand. Nick LoPiccolo โ€” December 19, 2025 โ€” 4:30 PM โ€” 828 Views โ€œHere is another reference to it. So tell me how exactly is Paramount the better outcome for Daveโ€™s argument? Netflix doesnโ€™t touch the WBD linear assets. Gunnar keeps his SpinCo.โ€ Puck excerpt โ€” December 19, 2025 โ€œMany industry insiders are also skeptical about Paramountโ€™s seven-year, $7.7 billion deal for exclusive UFC rights in the U.S. Yes, it can be read as a signal that Ellison came to play. But some people see it more as Ari Emanuel having his way with the person to whom he is ostensibly an (unpaid) advisorโ€ฆโ€ that is the board. that is the relationship map. that is the thing wrestling media either does not understand or pretends not to understand, because understanding it means admitting the story is not โ€œaew has leverage.โ€ the story is that aew is sitting in the middle of a consolidating rights marketplace where the people with leverage are doing much bigger things than worrying about tony khanโ€™s feelings. Nick LoPiccolo โ€” January 21, 2026 โ€” 4:22 PM โ€” 870 Views โ€œi mean get ready to learn youtube buddyโ€ Nick LoPiccolo โ€” February 19, 2026 โ€” 2.8K Views โ€œParamount was always my bet to acquire Warner Bros. Never wavered.โ€ Nick LoPiccolo โ€” February 28, 2026 โ€” 1:27 PM โ€” 118 Views โ€œyou donโ€™t need to look under a hood I AM SAYING THE QUIET PART OUT LOUD ๐Ÿšจ๐Ÿšจ๐Ÿšจ๐Ÿšจ๐Ÿšจ I BEEN SAYING IT SINCE JULY / AUGUST ๐Ÿšจ๐Ÿšจ๐Ÿšจ๐Ÿšจ๐Ÿšจ PARAMOUNT IS COMING FOR WBD AEW WILL LOSE A TV DEAL ๐Ÿšจ๐Ÿšจ๐Ÿšจ๐Ÿšจ๐Ÿšจ GUESS WHO WAS RIGHT ๐Ÿ’€โ€ so no, this is not hindsight. this is not showing up after the fact with a flashlight and pretending i discovered the body. this is a paper trail. february: youtube is not a real rights model unless google is cutting the check. april: wbd passed back in august, the myaew app is not realistic, paramount is not real for aew, cw / roku is off the table, amazon and fox do not want aew, and google / youtube is the only distributor left that makes sense. july: the $185 million number is inflated and aew is not leverage. august: the buyer board is shrinking, paramount is still interested in wbd, and google / youtube becomes directly competitive. september: paramount / wbd folds the board into ellisonโ€™s orbit, and if ellison buys wbd, enjoy youtube. december: paramount was always the bet, the bid was always going to be hostile, and netflix does not solve dave meltzerโ€™s argument because netflix does not touch the linear assets. january: get ready to learn youtube. february: paramount is coming for wbd and aew will lose a tv deal. same board. same thesis. same answer. now here is the part tony khan and dave meltzer do not want to say out loud. tony khan and dave meltzer do not mention me publicly for a reason. because the second they say my name out loud, they admit where this conversation has actually been coming from. not wwe. not some anonymous โ€œhigh level official.โ€ not some shadowy tko whisper campaign. me. that is the problem for them. behind the scenes, ask any real insider what happens when my name comes up around this subject. there is a reaction. not because iโ€™m magic. not because iโ€™m some internet boogeyman. because they know exactly who is saying it, why iโ€™m saying it, what rooms i have been in, what companies i have dealt with, what executives i have spoken to, and why the analysis keeps landing. that is why they keep trying to non-person me publicly while reacting to me privately. they want the argument. they want the benefit of responding to the argument. they just do not want to admit whose argument it is. when i said wbd told aew back in august 2025 they were not exercising the option for the fourth year, tony khan blew up behind the scenes and forced john mcmullen to revise / update his article 2-3 weeks ago after i tweeted it. which is hilarious because that should not even be crazy or damaging โ€œnews.โ€ that is how this business works. when a distributor is not continuing, they tell you early enough so you have time to find a new home. that is not sabotage. that is not wwe. that is not nick lopiccolo hiding inside david zaslavโ€™s air vents with a clipboard. that is corporate courtesy. wbd execs privately whisper and shake their heads at tony khanโ€™s behavior because their view is very simple: why does tony khan act like everything is great and rainbows and sunshine with the studio? we told tony khan as a courtesy so tony khan would have time to find a new home. and no, this has zero to do with paramount looming as an excuse. paramount did not even make its first hostile bid for wbd until september 11 or 12. that was after tony khan was already told there would not be a wbd renewal. so what did tony khan do? tony khan turned the truth into a wrestling angle. tony khan, or one of tony khanโ€™s minions, gets dave meltzer to drop a story assigning my claims and what i have been publicly posting about tony khan to โ€œhigh level wwe officials.โ€ why? because it gives tony khan a safer enemy. tony khan does not want the story to be the actual timeline. because the actual timeline is brutal. on february 28, i said youtube was not a real media rights model unless google was actually cutting the check and underwriting production. on april 30, i said wbd passed in august, the myaew app was not realistic, paramount was not real for aew, cw / roku was off the table, amazon and fox did not want aew, and the only distributor left that made sense was google / youtube. on july 9, i said no one in hollywood believed the $185 million number. on july 10, i said aew was not leverage. on august 11, i said the major players at the top were shrinking, paramount was still interested in wbd, and google / youtube was becoming a directly competitive lane. on september 16, i said a paramount / wbd merger would fold cbs, cnn, hbo, and warner bros. ip into ellisonโ€™s orbit. on september 27, i said enjoy the show on youtube after ellison buys wbd. on september 28, i said if paramount acquires wbd, tko would push to lock down a monopoly on combat sports. on december 6, i said paramount skydance was preparing a bid for wbd long before most people admitted the obvious. on february 19, i said paramount was always my bet to acquire warner bros. and on february 28, i said it in all caps: paramount is coming for wbd. aew will lose a tv deal. that is the part tony khan cannot answer directly, because the direct answer means admitting this was never โ€œwwe is scared of us.โ€ it was always the board closing. tony khan wants the story to be: why would wwe say this about us? that is the laundering operation. take my public analysis. run it through dave meltzer. assign it to wwe / tko. then let tony khan answer a canned question on a media call with very little distribution about potentially having very little distribution. a media call for a show with very little distribution answering a canned question about aew potentially having very little distribution. based on a planted story, from a planted messenger, with a rehearsed answer, after an roh show maybe 8-15k people watched. a pr flack probably wrote it. tony khan performs hurt. tony khan says โ€œi donโ€™t know why wwe wouldโ€ฆโ€ tony khan denies the obvious. tony khan keeps me minimized. tony khan removes me from the public conversation about the very thing i have repeatedly said is going to happen to aew. everyone is supposed to pretend this is organic. it is the most bubble wrapped, manufactured, artificial environment possible. a canned and rehearsed answer at an roh media scrum about a planted dave meltzer story based on my very real and very public analysis of the media rights board. but make no mistake. tony khan was responding to my words. tony khan just laundered them through dave meltzer and assigned them to wwe / tko so tony khan could keep lying about it publicly without ever saying my name. and now, voila. dave meltzer is posting about youtube viewers and prelims. Dave Meltzer โ€” May 16, 2026 โ€œAt this moment there are 340,000 people watching prelims for Netflix on YouTube. Itโ€™s a good number.โ€ yes, dave meltzer. youtube can have good numbers. nobody said youtube cannot have good numbers. that was never the issue. the issue is whether youtube is being used as a funnel into a premium rights ecosystem or as a substitute because the premium rights ecosystem rejected you. that is the difference. that has always been the difference. netflix using youtube prelims as audience acquisition is not the same thing as aew trying to spin youtube as a media rights home because the real buyers are gone. ufc using youtube as a funnel is not the same thing as aew using youtube as a life raft. wwe sending stars to aaa on youtube to convert a younger demo is not the same thing as aew retreating to youtube after the traditional buyer board closes. and the fact that dave meltzer is now suddenly tweeting like the mayor of youtube is the punchline. because the same people who mocked the youtube outcome are now going to spend the next several months explaining why youtube is actually good. of course it can be good. for the right use case. for the right property. inside the right architecture. with the right check attached. but when you spend two years telling everyone you were valued like raw and your next stop is โ€œplease subscribe and smash that bell,โ€ maybe stop pretending this is victory formation? i told yโ€™all where this was going. the record is right there. iโ€™m still right. and tony and dave: you guys are see through translucent. thatโ€™s it for ye ๐ŸŽค๐ŸŽค๐ŸŽค

Nick LoPiccolo

99,106 views โ€ข 4 months ago

Former Child Actress Alexa Nikolas Out Blowing The Whistle On Nickelodeon Says Children Are Abused, The Tried To Silence People With NDAs, She Says Inside The Studios โ€œ***ing a child at Nickelodeonโ€ Took Place Says Nickelodeon Is Full Of Predators. They Would Bring Child Actors To Studios Where Convicted Predators Would Wait โ€œโ€” So we got here Dan Schneider and to me he is the creator of childhood trauma. He is a huge, he played a huge role in my personal childhood trauma. I did not feel safe around Dan Schneider while I was working at Nickelodeon actually every time he came on set. My body got extremely tense. And later on in season two, he yelled at me, made me cry in a room actually at Nickelodeon. I'm not sure if it was at Burbank or Nick on Sunset. I think it was Nick on Sunset. But him and a bunch of the executives made me cry in a room alone. And I don't think any child should have to experience anything like that, especially if it's coming from people that are supposed to be looking out for the kids on set. uh... that's deeply concerning to me is next investigate schneider's bakery uh... a lot of the footage on uh... schneider's bakery tv shows are concerning to me as a parent so i would like nickelodeon or someone actually external to nickelodeon not nickelodeon to investigate schneider's bakery uh... there is footage on Zoey 101 and Zoey 101 alone that when i look back at it now i'm deeply uncomfortable by it uh... even if you say you didn't know or you were just being like, you know, childlike or whatever. I don't believe that because an adult should know how that could be seen, uh, to others. And it puts kids in a vulnerable position. And it's very, very alarming and concerning. So I would like someone to investigate Schneider's bakery and see what actually was going on in there and how many NDAs from Schneider's bakery. Schneider's bakery lawyer actually called me in 2019, asking me to come into a room with Dan Schneider to come up with some type of agreement. And so I'm guessing that was probably an NDA. I'm not fully sure but it sounded like it So Schneider's Bakery tried to silence me. So I would like them to investigate them All right. All right slime time trigger warning So we have one two three four five Four predators who worked at Nickelodeon around children One of them here was a production assistant for Adam Sandler's 8 Crazy Nights. He worked at Nickelodeon. He was convicted, trigger warning, of ***ing a child at Nickelodeon. He was in the animation section, but he actually brought over a child to a studio where he, sadly, ***ed a child there at Nickelodeon, which is Red Flag Nickelodeon. Brian Peck, dialogue coach for all that. He did the comedy boot camp with Dan Schneider. So this was or is a friend of Dan Schneider. Predator convicted child on set, slime, slime. Marty Weiss, child talent manager who would bring kids to Nickelodeon. Predator convicted of clients. Jason Handy, production assistant for the Amanda show, convicted Predator. We have John here from the Ren and Stimpy show. He was accused of teenagers who looked up to him as a mentor, so slime him as well. How many predators, Nickelodeon? Because this is enough for me personally right now. Alexa Nicholas gave it to us all in this interview that she did outside of Nickelodeon. If you didn't know, she actually has a YouTube channel called Eat Predators, where she stands up for all victims of essay. But in this interview, she gave all the deeds and literally named all the names, not just Dan Snyder. She named every single person that was an abuser that worked at Nickelodeon. And it just has me wondering, how was Nickelodeon able to get away with so many predators working for them? Like, this is actually terrifying. That is a whole lot of people. And honestly, I'm so glad that we are going to see her on the keep quiet on set documentary about Nickelodeon and all the alleged horrible things that happened.โ€œ

Wall Street Apes

317,878 views โ€ข 2 years ago

CHINA JUST SOLVED THE PROBLEM THAT'S BEEN BREAKING ROBOT AI FOR A DECADE. and the fix wasn't a smarter model. for years, every robot AI failure got the same diagnosis. the model isn't smart enough. so everyone scaled intelligence. bigger models. more parameters. better reasoning. AGIBOT asked a different question: what if the reasoning was never the problem? there's a gap that runs through every traditional robot AI system. reasoning on one side & motor commands on the other. the brain decides but the body executes something different, because thinking and moving were never actually connected. GO-2 fixes this by reasoning INSIDE the action space, not above it. before moving, it runs a complete mental simulation of every step - like a basketball player mentally tracing the arc of a shot before releasing the ball. watch the demo and you'll see exactly what this means. the robot works through a task queue autonomously. classify toiletries. upright the drink bottle. place headphones in the leather box. mid-execution, a new instruction drops: "my phone's missing. help me find it." it doesn't pause. doesn't reset. it processes the new task and keeps moving. that's not a scripted sequence. that's real-time instruction following on top of an active task queue. that one architectural change is where the numbers come from. > #1 on LIBERO across Spatial, Object, Goal, and Long tasks โ†’ 98.5% average success > 86.6% zero-shot accuracy in active disturbance environments > 47.4 on VLABench โ†’ best-in-class on objects and textures it's never seen before > 82.9% success trained on simulation only, tested on real hardware sim-to-real is the graveyard of robotics research. models trained in simulation collapse the moment they touch the real world. 82.9% means that graveyard just got a lot smaller. it holds because of how GO-2 trains. deliberately fed imperfect reasoning conditions, then trained to execute robustly anyway. not a researcher assumption. a design decision from a team that ships hardware and knows exactly what breaks. then there's the infrastructure layer. Genie Studio. fleet-wide data collection. cloud training. online post-training in live environments. 10x improvement in training efficiency. task startup reduced to minutes. 2-4x better success rates with 50%+ less data. the model gets smarter every time a robot fails in the field. this isn't a benchmark story. it's a compounding moat. dual CVPR 2026 + ACL 2026 acceptance. computer vision AND natural language processing. top conferences. simultaneously. that doesn't happen with incremental research. the US-China robotics race has been framed as a compute race. a model quality race. it was always an execution race. the robot that wins won't be the smartest one in the lab. it'll be the most reliable one on the floor. full breakdown: is execution reliability the real bottleneck, or are we still underestimating how far reasoning needs to go?

Shruti

18,622 views โ€ข 5 months ago

KITSUNE ๐ŸฆŠ ๐Ÿ’ซ When I embarked on this project a month ago, I didnโ€™t expect it to consume holidays, evenings, and far too many nightsโ€”but here we are. From the first scenes, I knew I had something special, and I donโ€™t want audiences to watch an โ€œAI filmโ€โ€”I just want them to watch a film, and hopefully, a good one at that. ( Sound On ๐Ÿ”ˆ) ๐Ÿ‘‡ KITSUNE is a tale of love between two souls separated by everything except their shared feelings of loneliness. I grew up in front of beautiful cartoons, from timeless treasures like those of Don Bluth, which I watched again and again to the point of damaging my VHS tapes, to early 90s anime, and later, of course, plenty of Studio Ghibli. And yes, before you askโ€”I know Hayao Miyazaki would disapprove of this film 100%, but then againโ€ฆ Iโ€™m not (only?) seeking approval. Iโ€™ve had goosebumps many times while reviewing the evolving states of this film, and I hope at least some of you will feel the same. Another famous director (Guillermo del Toro , I see you) recently said AI could create โ€œsemi-compelling screensavers,โ€ and I see this as a step toward proving him wrong. Because youโ€™ll ask: under the hood, thereโ€™s been tons of writing, re-writing, and switching directions mid-way. All shots were generated with Googleโ€™s text-to-video hashtag#VEO2. I faced countless challenges and hoops to bring my vision to life, finding ways to prompt and structure within the limitations of text-to-video despite VEOโ€™s excellent prompt adherence. So, is VEO magic? No, not reallyโ€”and the 1,700+ curated sequences on my hard drive (out of an estimated 5,000โ€“7,000 total generations) are proof of that. What impressed me most was the global consistency, adherence, and how I could achieve tweaks by simply adjusting a few words. But what mattered most to me was creating something warm, nostalgic, and full of heart, avoiding the cold, clinical feel of so many films leveraging AI. Also, Iโ€™m a 40-year-old kid who grew up in front of the TV, has been creative his entire life, and has been designing professionally for nearly two decades. The more time passes, the more I know I can relate to what Nick Rubin said in that now-famous interview, where he mentions having no technical knowledge but trusting and building his own taste. If you like this film, this isn't just "Oh, AI is magic." You need to steer the damn ship. Then thereโ€™s MMAudio for sound effects, regular good old stock sound libraries, music on Udio for this version (yes, thereโ€™s a second versionโ€”more on that later), and tons and tons (and tons!) of editing, sound design, and small post-processing touches. Is this exposing risks for animators? Perhaps. Or it could also be their greatest companion, because once again, this is the worst it will ever be, yada yada yada.... No, it isnโ€™t perfect, and if you look close enough, youโ€™ll find defects and variations, but this is a film Iโ€™m proud of, not just an AI one... Enjoy. Wanna see a clean uncompressed version?

Henry Daubrez ๐ŸŒธ๐Ÿ’€

1,001,207 views โ€ข 1 year ago

A Watch and Investment Story I have been a watch enthusiast since my dad got me interested in watches decades ago. About three years ago, I was in London and walked by a watch boutique called Bremont. I stepped into the store, fell in love with the watches, thought they were fairly priced if not somewhat inexpensive for the quality, and bought a number of them as gifts for friends and one for myself. As I was completing the purchases, I asked the store manager: โ€˜Who owns the company?โ€™ He said, โ€œThe English brothersโ€ โ€“ Nick and Giles English โ€“ and then he proceeded to tell me Bremontโ€™s origin story that begins with a tragic plane crash of a 1942 Harvard trainer aircraft (an American plane purchased by the British beginning in 1938) which killed their father and almost Nick. In their โ€˜What does not kill me makes me strongerโ€™ new world, Nick and Giles were inspired to pursue their dream of creating and building a British watch company, and Bremont thereafter was born. The manager gave me their contact information and I sent an email congratulating the brothers on the company, the brand, and the watches. I also offered to invest and help the business grow. Sometime later, I did a Zoom with Nick. He explained that my timing was good, as a long-time investor in the company was looking to sell some of their shares. Within a couple of months, an affiliate of mine invested coinciding with the purchase by a legacy Bremont shareholder of primary shares to provide the company with additional growth capital. I thereafter bought more shares of stock from other selling shareholders and I invested a substantial amount of additional growth capital in the company just this past week. Affiliates of mine and The Bremont Long Term Trust, a trust I recently established, now own 63% of the company. Bremont is a luxury British watch company that produces adventure and exploration watches. About one-fourth of Bremontโ€™s sales are to the military, where the company has made custom-designed watches for more than 500 British, U.S., and other American ally squadrons around the world. While today there are very few British watch companies, the British actually created the watch industry โ€“ Rolex, notably, was a British company before it moved to Switzerland โ€“ with many of the most important technical innovations and complications of the industry having been invented in England in the 17th, 18th and 19th centuries. For the watch industry, the Swiss can be thought of like the Japanese of the U.S. auto industry, where in the early days, the Swiss made cheap imitations of British watches, but eventually by the 20th century, came to dominate the industry. For compliance reasons, I have been limited in my personal investments to private situations, principally startups, real estate, and private equity, directly and through funds. Because of my personal time limitations, I spend very little time on these investments, but through a combination of good luck, investment experience, and a good eye for talent, my collective private investment outcomes have been excellent, with a few huge successes outweighing some disappointments. I have always viewed my non-Pershing Square investments as an opportunity for learning and insights that I can apply to my day job. For example, I have found that closely following the venture investment world has provided important insights into disruptive technologies and companies that can soon become serious threats to even the largest and best capitalized public companies. Experiences at small companies also very often apply to big ones, so in my hobby of making personal investments, my returns have been both financial and educational, from my successes and from my failures. Other than tennis, I donโ€™t have any real hobbies, but perhaps my personal investing qualifies as my second passion. To date, I have been a passive investor in Bremont, but perhaps the activist in me caused me to step forward, to recently seize the opportunity to materially increase my investment in the company, and become the non-executive chairman of a newly refreshed board. I donโ€™t expect my chairman role at Bremont to take much of my time as it is a private company of limited scale, but I do expect my experience here will provide some helpful learnings and insights. I also thought it would be fun, interesting, and rewarding to take the X community along for the ride โ€“ at least those that are interested in watches, operations, and investing. I intend to provide periodic updates of the companyโ€™s progress on X, about our successes, our struggles, and our failures โ€“ so that we can learn and have some fun together. Think of my periodic updates as โ€œDrive to Survive,โ€ but for watches on X. โ€œTime to Succeedโ€? You can probably come up with a better name for the series, and perhaps then I should reach out to Netflix to see if they are interested (while holding back my tears as I have watched the stock massively appreciate since our exit!). Bremont can greatly benefit by your feedback so I strongly encourage you to share your insights, critiques, and other ideas about the company and its watches on X so we can learn and improve. We will periodically award the best ideas with Bremont watches so you can have an opportunity to earn an appropriate in-kind return on your time invested in helping us succeed. In the modern era, building an independent watch company into a major company, let alone one in the U.K., has rarely if ever occurred. The watch world is littered with many such failed attempts so it is far from guaranteed that we will succeed in building a profitable and sustainable company, let alone a major independent player. My Investment History to Date with Bremont Prior to my investment in the company, Nick and Giles had taken Bremont to a reasonable scale for an independently owned watch company at about ยฃ21 million in revenues with a modest operating loss, which is an incredible accomplishment for two young men with no watch industry experience. Nick and Giles accomplishment is particularly significant in an extremely competitive industry characterized by well capitalized incumbents that control many of the top brands, e.g., Richemont, Swatch, LVMH, as well dominant, independently owned companies like Rolex, Patek Philippe, Audemars and Piguet, and a few others. Despite their progress, both Nick and Giles and the other shareholders agreed that bringing in an executive with watch industry experience would help to take the company to the next level. Shortly after I invested, we hired a search firm to identify and ultimately recruit our new CEO, Davide Cerrato, who joined in May of 2023. Davideโ€™s entire career has been spent in the industry at Panerai, Tudor โ€“ where he famously created the Black Bay, Montblanc, and with a brief stent at HYT. Davide in turn hired other industry notables to round out the executive suite, and then the team went to work with the ambitious goal of transforming Bremont into a global industry leader. Bremont has some important competitive advantages. First and most importantly, the watches are handsome, extremely well designed, and overengineered. Davideโ€™s team has materially upgraded materials (for example, the company now uses 904L steel for all of its steel watches โ€“ the same as Rolex โ€“ unprecedented for watches at Bremontโ€™s price point), parts, and movements from what was already a good standard to a level comparable to watches at multiples of the price. The watches are developed, designed, manufactured, and serviced in Henley-on-Thames using principally Swiss movements. While making its own movement is an aspirational goal for Bremont, the Swiss still make the highest quality movements so that is what Bremont uses. Bremont has a unique brand story and heritage, particularly for a 23-year-old company, with two decades of credibility in war zones and air combat missions with the best war fighters and military pilots in the world. Bremont also makes a limited number of watches, around 10,000 per year, compared with more than 1.2 million for Rolex and 70,000 for Patek Philippe, and scarcity drives value in luxury goods. The combination of battlefield credibility, rarity, quality and a fair price make Bremont an extremely attractive alternative to the typical Rolex or Patek, which everyone seems to be wearing in my industry, a ubiquity in my view that loses its luster over time. Over the past 23 months, Davide and team have redesigned and focused Bremontโ€™s range around three core offerings in Land, Sea, and Air โ€“ the Terra Nova, the Supermarine, and the Altitude โ€“ while upgrading materials, movements, and quality, updating the logo to reflect the new Land and Sea offerings (Bremont was previously perceived to only be an aviation brand), and dramatically improving manufacturing and service. The company has extended its warranty from three to five years on its new watches reflecting these improvements. Bremont benefits from having overinvested in its spectacular 35,000 square foot combined headquarters, manufacturing facility, and showroom in Henley-on-Thames, aka โ€œThe Wingโ€ (email [email protected] to arrange a superb tour), with the capacity for substantial growth without the requirement for incremental capital investment. Lastly, Bremont now has a well-capitalized long-term major owner who would like to see Bremont become a big success and achieve its vision of returning watchmaking to the UK, and who is not looking for dividends or a liquidity event in this lifetime. I have learned over time that permanent capital and a truly long-term orientation are enormous competitive advantages for any business, and they should be very helpful here. With respect to the product, later this morning in Geneva at Watches and Wonders, the industryโ€™s most important trade show, the company is launching its new Altitude aviation line, which builds from the companyโ€™s highly successful Martin Baker offerings. The company will also be introducing some complicated new watches including two unique, jumping hour models, a 12-piece new tourbillion model (the company's first 30-piece tourbillion watch sold out shortly after its launch last year), and the companyโ€™s first perpetual calendar (limited to 50 pieces). I will be back with further updates as we continue to make progress. In the meantime, please check out and visit the Wing ([email protected] ) and our boutiques in Mayfair and throughout the U.K., on Madison Avenue and 53rd Street, in Hong Kong, and in Melbourne. Pictures donโ€™t do Bremonts justice so you should go in person and tell the store manager that I sent you. Also, please take a look at our new launch video, and don't forget to let me know what you think.

Bill Ackman

1,626,616 views โ€ข 1 year ago

๐Ÿšจ EXCLUSIVE โ€” Tucker Carlson won't say that Hitler murdered 6 million Jews. Based on my own long ago conversation with him, this isn't some weird fluke. Tucker simply doesn't believe the Nazis slaughtered six million Jews. So, is Tucker a Holocaust denier? Yesterday, Tucker said that "the Nazi government murdered... a whole bunch of Jews," but stressed that this was "in addition to a whole bunch of other people." He expressed outrage that Jewish victims of Hitler receive so much attention because they were "only... one specific ethnicity" murdered by the Nazis. Last month, Tucker told Clayton Morris, "Hitler killed a ton of people, including a ton of Jews." Despite extensive research, I could not find a single example of Tucker acknowledging the extraordinarily well-documented fact that six million Jews were exterminated in the Holocaust. Which brings me to a private conversation Tucker and I had maybe 15 years ago, one which I had written off at the time โ€” but in hindsight, probably shouldn't have. (We've never been close, but would chat if we ran into each other.) For some reason, I think because I had just toured Yad Vashem, I mentioned to him how mind-boggling it is that the Nazis murdered six million Jews. Tucker shot me a strange look, almost incredulous. Sarcastically, I quipped, "Youโ€™re not one of those nutjobs who don't believe that six million Jews died, are you?" Instead of a jabbing back or acting indignant, Tucker responded, "I mean, whatever, Hitler killed a bunch of different people." It was awkward, enough so that I dropped it and quickly exited the conversation. I've thought about that a few times over the years, but couldn't bring myself to the idea that Tucker was any sort of a Holocaust denier. Now, though? The most charitable interpretation is that he's not bothered by people who downplay or minimize what the Nazis did specifically to the Jews. But by continually refusing to acknowledge that Hitler killed six million Jews, that at least borders on Holocaust denial. Even Megyn Kelly recognized that denying the full scope of what Hitler did to the Jews IS a form of Holocaust denial, at least before she became Tucker's self-appointed guardian. In her now-infamous show in front of a live audience last November, Megyn pressed him about why he "didn't raise" with Nick Fuentes his ongoing contention "that weโ€™ve way overstated the number of Jews killed in the Holocaust." Tucker responded, "Buzz off!" The likelihood that Tucker, at least to some significant degree, is a Holocaust denier is reinforced by something else he said last month to Clayton Morris. He bizarrely claimed that Hitler hadn't "ever" called to "exterminate" the Jews, despite ample historical evidence that he (and Nazi leadership) had done exactly that. Even more shocking is that he said this as part of his argument that Hitler's rhetoric wasn't as extreme as โ€” wait for it โ€” Bibi Netanyahu's. Then, of course, there's the viral story that I broke last November regarding Tucker's warning that "calling people Nazis" could make people become like Dietrich Bonhoeffer โ€” specifically that it was tragic that the Lutheran pastor had been involved in plotting to assassinate Hitler. During the middle of World War II and the Holocaust, to be clear. Like most people who have known Tucker โ€” who is incredibly charming and often warm in person โ€” it took me a very long time to realize that how dark some of his views truly are. But look again at just this partial track record: (1) refusing to state that Hitler murdered six million Jews, (2) denying that Hitler had ever called to exterminate the Jews, (3) insisting that Bibi's rhetoric is worse than Hitlerโ€™s, and (4) that attempting to assassinate Hitler during WWII was un-Christian and just wrong. Maybe any one of those could be explained away. But all of them together? Because, make no mistake, Tucker knows exactly what he's doing. That is probably what's scariest of all.

Joel Mowbray

649,980 views โ€ข 5 months ago

Dr David Morris exposes Cortisone shots are used a revenue generator by Big Pharma He reveals they are a scam and โ€œdesigned to failโ€ โ€œHere's something orthopedists know, but they're not gonna tell you. And yes, I'm being a little bit cynical here, but cortisone shots are designed to fail. Not by accident, they're designed that way. When you get a cortisone injection, it works for a few weeks or a few months. The pain goes away. You think it's healing, but cortisone doesn't heal anything. It's a powerful anti-inflammatory. That temporarily suppresses the pain signals. Meanwhile, it's actively degrading, it's actively breaking down the tissue. Look this up, don't take my word for it. Cartilage, tendons, ligaments actively being degraded. So when the cortisone wears off, your joint is actually worse than before. The pain can come back stronger. What happens then? Well, then your doctor gives you another shot. After 3 or 4 shots, the cartilage is so degraded that conservative treatment isn't working anymore. Now you're a surgical candidate. This is exactly what the business model requires. Your orthopedist isn't trying to heal your joint with cortisone. He's buying time until you're bad enough to operate on, because that's when he gets paid the most. Again, I'm being cynical, I know that, but it's so frustrating to meโ€ Hereโ€™s what you should do โ€œCompare that to regenerative medicine. When we inject Wharton's jelly or PRP, platelet-rich plasma, we're triggering a healing response. Growth factors, cytokines, signaling molecules that tell your body to repair tissue and build new collagen. It takes longer, it costs more upfront, but you're actually healing. We're not just masking symptoms while the problem accelerates towards surgeryโ€ โ€œSo if your orthopedist recommends another cortisone shot, ask him, what's the plan after this stops working? Because if the answer is surgery, he's not treating you, he's preparing youโ€ Heโ€™s 100% right Cortisone shots repeated use is linked to: - Tissue degradation - Cartilage thinning and accelerated osteoarthritis progression - Tendon weakening or rupture - Bone death, joint infection, skin atrophy, and faster joint deterioration So what are the real treatment options? I found those too PRP (Platelet-Rich Plasma): Uses your own bloodโ€™s concentrated growth factors to stimulate repair, collagen production, and reduce inflammation. Studies often show better long-term pain relief and function (6โ€“12+ months) compared to cortisone, fewer risks of tissue breakdown Whartonโ€™s Jelly (Umbilical Cord MSCs): Contains mesenchymal stem cells, growth factors, and anti-inflammatory components from donated umbilical cords. Early evidence suggests it can help with pain, mobility, and tissue repair in joints Our healthcare system isnโ€™t about fixing you, itโ€™s about long term customers and repeated treatments

Wall Street Apes

228,976 views โ€ข 3 months ago

The so-called "MAHA" movement (for lack of a better term) is a pretty diverse group of people from a variety of places and backgrounds. It includes people from the Regen Ag community, metabolic health community, functional medicine doctors, chefs, some Libertarians incl Thomas Massie , some progressives, some greens, Dems and Repubs, etc. The Regen Ag community just noted above includes farmers, ranchers, scientists, soil health advocates, film makers, chefs, etc from both rural and urban environments from all across the political spectrum since soil, planetary health, human health, etc are all our common ground. Or, as my good friend Gabe Brown says, common ground for common good. So, "MAHA" is a very diverse coalition that's growing larger and stronger every day. It also really has nothing to do with which candidate you support or color tribe you belong to despite RFK Jr's association with Trump. Though there are a lot of efforts to work with both sides of the political aisle to better connect food production & food with better health and environmental health outcomes. To that end, my friend Mark Hyman, M.D. wrote this book, , and has been doing a lobbying campaign for what he advocates in his 13th NYT best seller. He has met with politicians on both sides of the aisle. I helped him a lot with this book particularly the last three chapters that deal more directly with Regen Ag. Anyway, if anyone reading this prolix post has a half hour, please watch and share the attached video, Destination Regeneration. Here's a direct link to share: This video deals with regenerative food production, restoring planetary health and food as medicine. So, there's a growing group of people who aren't looking for more IP controlled silver bullet solutions. These people aren't in anyway "anti-science." Instead through a better understanding of basic biochemistry, soil biology, botany, atmospheric chemistry, microbial ecology, etc., we can all find solutions that better allow us to live in harmony with nature rather than always in opposition to nature. Thus biomimicry rather than dominion and control. cc. Rep. Harriet Hageman Tim Ryan Dr Shawn Baker ๐Ÿฅฉ Robert F. Kennedy Jr Ken D Berry MD Nina Teicholz, PhD Nicole Shanahan Dr David Unwin Common Ground (Movie) Kiss the Ground Joe Rogan Max Lugavere Senator Ron Johnson Congresswoman Chellie Pingree Dan Barber Jan Ellison Baszucki Marty Makary MD, MPH Glenn Greenwald Tom Philpott Chris Palmer, MD Nick Norwitz MD PhD Marion Nestle Danielle Nierenberg, Food Tank Civil Eats Austin Frerick Food Tank Perennial Pastures | Regenerative Beef

REGENETARIANISM ืžื™ื“ืช ื”ืืžืช

85,999 views โ€ข 1 year ago

Iโ€™m recording this about 17 minutes before I hop on a zoom call so whatโ€™s your watching here? Itโ€™s a lot of what youโ€™re watching. I think most importantly what youโ€™re seeing is me having a good time and enjoying myself Iโ€™ve been really paying attention to that you know I can be so formulated formulaic strategic just because of you know the muscle memory of being an artist and a professional that sometimes I forget to you know, laughing and have a good time so the top of the year has been very consistent. You know we talked about the optimism you have come January 1 here we are in March. Iโ€™m not sure the date but weโ€™re in March now almost in the first quarter and Iโ€™ve been working every single day. Iโ€™ve been living every single day but two weeks ago I got sick and I donโ€™t know if it was allergies or whatever or something that was just going around because a few of my collaborators also was out and are still out to this to this day but everyoneโ€™s good everyoneโ€™s getting rest but that break really jolted me and scared me just how when I take the weekends off to go and live I always have this thought of when I go back on Monday do I still have it? Am I still in that mode that Iโ€™ve been feeling? the answer to that question is yes and I say that to say thereโ€™s this Producer, who I found on TikTok just because I love keeping my ear to the streets. Itโ€™s not good on the back and you shouldnโ€™t keep your ear to the street for too long because itโ€™ll make your back hurt, but itโ€™s worth the pain. I promise you, but I found this Producer and the captain was. Iโ€™m making a beat every day and if I miss a day I quit and I sell all of my equipment. Iโ€™ve been in the search of just new production. Iโ€™m looking for a new bounces of drums and I feel like the youth is where itโ€™s always gonna be at. I take pride in pointing at people who may not have the experience or anything yet but that doesnโ€™t mean that you you donโ€™t have what it takes to change the world or the Sonicโ€™s so I reached out to trippy and I told him yo Iโ€™ve been looking for help on drums and swings Iโ€™m gonna nerd out for you but like Iโ€™m kind of getting tired of hearing the snare on the two and four or a repetitive high hat patterns and what I seen when I seen trvpyyy post well what I heard rather with someone who was taking liberties and swings and bounces, so I shot my shot in DM them got his number and we hopped on a FaceTime call and he told me his name was trippy and immediately I started smiling from the inside and out because I have a friend by the name of trippy who very early on took the chance to say yo I like what you doing I want you to get a front seat of what itโ€™s like to be a superstar and also what itโ€™s like to show love and be a friend and pour into someone so recording this now healthy me and Jason are back in the gym. We had a very strong week I had a very exciting week of being outside and just being with friends and loved ones Lotta late nights but we make sure we still get up in the morning and hit our 3 mile run or our leg days, upper body or full body . The weekends are usually my time to rest and live, but Iโ€™m recording live now from the studio excited and ready to play and Jam just because I genuinely love what I do thereโ€™s a lot Thatโ€™s about to happen in a great way actually coming up this week and Iโ€™m excited for that but Iโ€™m even more excited to have a great time and just have a blast Iโ€™m so thankful Iโ€™m so present. Iโ€™m so appreciative of the life that I lived. I love that I get to speak these things and it gets transcribed in a text but I mean every single word. I love you and Iโ€™ll see you later, Playboy itโ€™s about to be a fun week.

Mr.Mrs

38,088 views โ€ข 6 months ago

I wasnโ€™t calling you out Obok or calling you a liar. I was calling out the bullshit narrative about me in Koalaโ€™s texts. Listen, youโ€™ve badmouthed me behind the scenes to a lot of people and also in public commentsโ€”in fact, thatโ€™s what had me so upset that day in those private texts. I know because your close friends on here have sent me a lot of what youโ€™ve said. I wonโ€™t post it all here. But that deep dive voice note you did into how you think I supposedly used Japanese and Korean filters to alter a photo of myself was particularly special. Say what?? So sorry I touched up a photo and made my eyebrows darker. See for yourself below. And in response, I unfortunately badmouthed you in return in those text messages. Iโ€™m sorry for that. I tried to reach out to you several times via text and phone to apologize to you for those private texts that were released. Iโ€™m still embarrassed by them. If the reason you keep posting them is to amplify that embarrassment, it has worked. So thanks. I had never had a problem with you and have a lot of other things occupying my time these daysโ€”you arenโ€™t one of them. If this was some bait and switch by bad actors to get me to respond to those bullshit rumors and cause a bigger rift between us, I guess we both fell for it. I honestly wish you the best. I know you are dealing with your own unfair attacks these days. Itโ€™s all so gross and Iโ€™m sorry you and everyone else that has to deal with that nastiness. Btw, I never sent you pics from my teens or early 20s. I guess youโ€™re running with that narrative now too, huh? You kept asking for more pictures and even implied Iโ€™m some woman that Iโ€™m not by sending a random pic back to me that looked nothing like me, ironically the same pic that Nick/Flipperhead later sent to people claiming I was her. That was weird. Unbeknownst to me at the time, you only asked for one pic from other people. Iโ€™m sorry to see youโ€™ve resorted to attacking other womenโ€™s looks now after all the gross attacks youโ€™ve suffered yourself. Thatโ€™s sad. I feel sorry for you. I love the way I look, no matter what some mean girls and others say how I feel about myself. Iโ€™m comfortable in my own skin. No doll or AI pic you make of me will ever change that. You can keep this going on social media if you want. I have never been about that. If you actually want resolution, this is not how or where it happens. This is just a means to keep it going. We can talk about it on the phone, but Iโ€™ve tried that already too.

Olivia

16,495 views โ€ข 6 months ago

how Iโ€™m building fractl for a $10M exit in 6 months, so I can produce my dream musical ๐ŸŽค๐ŸŽฌ I don't know how ๐Ÿคท๐Ÿผโ€โ™€๏ธ That's what the show is about ha. Figuring it out, in real time. Wish me luck lol fractl's new docu-series โ€˜โ€˜The Crypto Hustleโ€™ launches feb 26. Final-fucking-ly. thank you Superteam Canada & Solana for the funding and for making Episode 1 possible ๐Ÿฅฐ For those of you who are new here, hiiii ๐Ÿ™‹๐Ÿผโ€โ™€๏ธ my name is Rime Salmi, I'm an artist who accidentally built the biggest investor network in web3. And now we're producing a 12 episode documentary about how I'm working my way back to being an artist, with funding. the origin story. when I crashed with the last crypto cycle, back to zero (plus tax) at my grown age, I had to ask myself what the hell I was gonna do with my life. I always just wanted be an artist. With agency. So i worked and paid for everything, studio, music videos, started a record label, all that to keep my artistic freedom, for my entire career. Had some success, lots of failed experiments, lots of tears, and lots of fun. After I lost everything to the terra luna crash (mistakes were made ๐Ÿฅฒ), I had to figure out how I would fund the dream next. I needed a break from the emotional roller coaster of trading crypto, so I went back to school for the grant money (thank you government of Canada). I relocated to madrid for a change, and started making tiktoks. Skits that I thought were funny. Skits that i thought were risky but honest and necessary. Iโ€™ve always loved saying out loud what others are ashamed to even think ๐Ÿค“ if you follow me on ig or tt you know ha I was having a blast. Creating all day. Some tiktoks took off. Ones that felt very personal. I felt seen. I was at my happiest, filming, editing, singing and pretending to listen in class, for the grant money. Then it hit me. That's what i want. I wanna be telling stories. I dont wanna be just a singer, just a songwriter, just an actress waiting for auditions to come my way. I wanna do it all, tell more stories, write and produce them. soโ€ฆA musical? But I hate musicals ๐Ÿ˜ญ why do they start singing in the middle of a conversation?!? whyyyyy A musical for people who don't like musicals??!!! ๐Ÿฅน Thatโ€™s it!! A MUSICAL FOR PEOPLE WHO DONT LIKE MUSICALS ๐Ÿคฉ DONE. So from the lowest of my finances, in the middle of career confusion, with a bruised ego from failing so miserably at my first crypto cycle, I found something great to get excited about for the rest of my life. I needed to validate the feasibilityโ€ฆ because I know Iโ€™m a dreamer who gets shit done, but Iโ€™m very much a idealist. so I asked my good friend of mine and the producer of my first 2 albums Benny Adam (now a rising star, this is me clout chasing) for advice. I asked him: โ€˜is this too much? For me to wanna produce a whole as* Netflix series, music and all?? Heโ€™s the most talented, ambitious yet realistic guy I know. And I knew he would tell it to me like it is, but kindly. Because heโ€™s also a nice human ๐Ÿซถ๐Ÿฝ โ€˜So?? Is it too big of a project??โ€™ He pausedโ€ฆ I looked at him, hopeful ๐Ÿฅน โ€˜Ya. Itโ€™s a reeeally big project ๐Ÿ˜•โ€™, he said. Fuck. and then he paused, again. Just tell me, I thought. Tell me aaaall the reasons this is a bad ideaโ€ฆ ๐Ÿ˜ž beat. โ€˜But if anyone can do it, itโ€™s youโ€™ cue inspiring battle field music Reeeallyyyyy? ๐Ÿฅน I teared up. Iโ€™m tearing up now writing this. Because at that low point in my life, thatโ€™s what I needed. Just one person who really knew me, to remind me, despite my circumstances, of who I am and what Iโ€™m capable of. That Iโ€™m crazy, yes, but in a good way ๐Ÿ‘‰๐Ÿฝ๐Ÿ‘ˆ๐Ÿฝ Shokran Benny. I donโ€™t think you know how much that meant to me (Iโ€™m gonna tell him again because heโ€™s on episode 4 of the Crypto Hustle ha) Ok. So. Musical it is. When I ran out of back-to-school government money, and needed to be an adult again, I reintegrated the crypto space, with a purpose. I called my friend and mentor Armando Pantoja and asked him what he thought I should go for in terms of job (I needed a break from entrepreneurship). He said โ€˜Iโ€™ve seen you at conferences, youโ€™re really good with people, you know marketing, and you actually understand crypto. He said go to conferences, youโ€™ll figure it out. Just show upโ€™ I did. I showed up to eth denver 2022 and I started the first iteration of what became fractl as an influencer marketing agency, because I saw a good skill-market fit and because I couldn't find a job lol but I hated it. I dont wanna manage influencers, I don't wanna manage artists. Iโ€™m an artist, I would never manage me, that's crazy ๐Ÿ˜‚ One thing led to the other I became a fractional CMO. An opinionated one ๐Ÿค“ I found myself always trying to lead founders towards personal storytellingโ€ฆ suggesting they put themselves out there more. I really believed that it would help them build trust in a space that so desperately needs it. Then, I started hosting our investor events (to get leads for the agency), and saw the struggle of founders building and fundraising at the same time and the original idea for this show started to form. We need bolder marketing in this space. What if we followed these founders around the world at all these conferences and followed their journey, building a company, raising, launching a token, failing. In these ruthless markets, with the drama of personal sacrificesโ€ฆ I could see it so clearly ๐Ÿ˜ƒ So I started pitching it. THE BEST MARKETING CAMPAIGN EVER GUYS!! WHO'S IN?? No one. I couldn't convince a single founder of the vision.๐Ÿฅฒ Maybe I wasnโ€™t qualified enough in their eyes to carry out such a big vision, following multiple founders on a 6 month production around the world. They were probably right lol But Iโ€™m also a little crazy. And really really stubborn. That's something right?? A few months later, inspiration still strong, I told pablo erminy who's worked on multiple Netflix shows about it and he said: โ€˜why dont you just tell YOUR story? You have a great story, people will wanna watch you build in public to fund your artist dream. As a first reality tv production, one story is more than enough to handle.โ€™ Wise man. Maybe i did underestimate how complex a multi-lead, international, real-time, film production would be ๐Ÿ˜ฌ Done. because I know great advice when I hear it. PIVOT! ๐Ÿ›‹๏ธ So thatโ€™s how โ€™The Crypto Hustleโ€™ was born. This journey I was trying to sell to other founders, I would do it for myself. show not tell. Now the funding. I tried selling the project to sponsors on and off for over a year, between the normal fractl operations, hiring, training, firing, messing up, learning. And only ended up spreading myself so thin, that I neglected the core business. Company became a mess (for others reasons too, that I will come up on the show, hint: boys) Bottom line is, we lost more money than we made, trying to sell a show. I should've known. Film fundraising is a producerโ€™s full time job lol Fast forward 1 year, 2 pilots and a near bankruptcy later, Iโ€™m now launching Episode 1 from Korea and just wrapping episode 2 from Hong Kong. No funding. (except for Episode 1, thank you again Superteam Canada ๐Ÿฅฐ) Fuck it. Might not be the big production I had envisioned, but all the core principles and the emotions, and team talent is there.. An MVP. Now. because waiting for things to align would just delay this indefinitely. And because I have more conviction than ever. not only in authentic storytelling as the best marketing, but also because my soul needs this. I need creativity to keep going. If i stay too long in business mode without publishing art, stories, songs, dances, funny skits, I find no reason to wake up in the morning. Not to be dramatic, but I really only wanna be an artist ๐Ÿ˜‚ Also, the timing IS ideal. because in my mess, I got lucky ๐Ÿฅฐ I found a production team that felt right instantly. Love at first meeting. not only are they aligned with the docu-series concept, but with the end vision too. The cultural impact I wanna have with the musical. vegetable Badr, Momo, @JuicySocialAgency, you're my favorite part of 2026 ๐Ÿซถ๐Ÿฝ So here we are. About to launch episode 1. Documenting the process of building fractl for a $10M exit in 6 MONTHS, so i can produce my dream musical ๐Ÿฅฐ Itโ€™s about to be epic. Or a massive failure, in public. can girl with the pink hair make this happen? ๐Ÿ‘€ let the adventure begin ๐Ÿ’šโ˜บ๏ธ full episodes will be on my youtube channel. go subscribe ok?

๐ŸŒธ Rime Salmi ๐ŸŒธ

10,898 views โ€ข 6 months ago

Dear LA, The industry is not coming back. In the entertainment capital of the world - โ€œHollywoodโ€ - there are fewer television shows and movies being produced today than when Governor Newsom was arresting people for going to the beach. The downstream carnage is piling up across our city, and we arenโ€™t going to shame or strike or tax our way out of it. Drive down Sunset Blvd and youโ€™ll see countless โ€œJay Luchs - For Leaseโ€ signs draped like flowers at a funeral. Ask your friends working in retail, restaurants, or real estate just how bad things are, and youโ€™ll be reminded that every business in our city flows downstream of the entertainment industry, the sword that LA lives by, and dies by. Rick Caruso, native Angeleno, creator of the Grove, & former mayoral candidate, has recently begun pleading to โ€œbring Hollywood back,โ€ ironically via TikTok, in order to protect all of the adjacent โ€œbelow the lineโ€ businesses. It is the right end goal but the wrong strategy. But what can Mr Caruso do to bring Hollywood back? Ask the unions to ease up? They run this town, even when they cut off their nose to spite their face. Ask Sacramento to give up their fruitless addiction to over-taxation & regulation? It would be easier to convince Count Dracula to give up blood. Ask consumers to change their tastes and abandon TikTok? Heโ€™d certainly have my blessing, but that ship has sailed. We can build our way out of LAโ€™s cost-of-housing problem, as Caruso has rightfully pointed out, but more housing alone wonโ€™t be enough to save Los Angeles, any more than it would have been able to save Detroit after their own respective monopoly [automobiles] crumbled. Beyond rebrands & gimmicks & political rhetoric, the time has come for a complete product refresh, starting with a reimagining of how LA entertains the world. My idea is simple: pivot Los Angeles from the capital of production to the global capital of LIVE entertainment, events, & hospitality. Almost everyone needed in production, and every business downstream of production, has a year-round parallel role to offer in the AI-proof world of LIVE events. Actors can continue to delight audiences, but with a greater emphasis on in-person performances. Production services can become event logistics providers. And for everyone else it will be an all-hands-on-deck effort to ideate & create the new California dream. Outside of the highly protected walls of Disneyland, a few gated communities in Brentwood, and the smoothie bar at Erewhon weโ€™ve earned a bad reputation. The tourist consensus is that LA is dirty, dangerous, & disappointing. New travelers come to LA as a bucket list item, most vowing to never return, which never seemed to bother anyone, perhaps because previously we just didnโ€™t need their business. We need to become the city that people want to date, not take out for a one-night-stand. And that starts by no longer acting like the prom-queen who peaked in high school. We need to collectively clean up & reorganize our entire city from LAX-itโ€™s uber-lot-from-hell all the way to the open air drug markets surrounding our hotels. And Iโ€™m sorry if this hurts Mayor Bassโ€™ feelings, but our inability to manage our addiction & mental health crisis should not be the burden of our guests. The easiest place to start is Hollywood, my home of 18 years. 10,000,000 people travel annually to the Hollywood Walk of Fame despite its dubious honor as โ€œthe worst tourist trap in the world.โ€ Imagine a walk-of-fame permanently closed to car traffic, protected by security, with an open-carry-beverage farmerโ€™s market, minus the pushy hustlers, that takes over the asphalt, leaving the stars for guided experiences. Why-oh-why do we expect travelers to care about stars from 50 years ago when we refuse to make any effort to give them minimal context? I see an LA that can take the same movie magic that made it the best marketed city on earth, and use it to deliver a travel experience that warrants a 2nd, 3rd & 4th helping. The Olympics & World Cup both present once-in-a-generation opportunities for Los Angeles to reintroduce itself on a global stage. But these tentpole events should be considered the grand re-opening of LA, not the grand finale. Every celebrity on earth should already be living here, assuming they havenโ€™t fled for their familyโ€™s own well being after we seemingly abandoned law & order sometime around 2020, so it is easy to imagine around the clock creator driven events led by Gen-Z stars from Mr Beast to Alix Earle, galvanizing their fan bases alongside our own versions of Graceland for names like Cruise, Hepburn, & Kobe. This plan offers a little bit of something for everyone, even our wealth-gap obsessed activist class, as hospitality outcomes are flatter and more egalitarian, something our Hollywood elite at least claim they want. The biggest challenge to making Los Angeles the LIVE entertainment capital of the world will be getting our political leaders to stop sabotaging us with endless red tape, excuses, and kleptocracy. Rampant political corruption has been enabled by LAโ€™s toothless media who, aside from Elex Michaelson & Bill Melugin - both formerly of FoxLA, have been unable to hold our politicians accountable. Reality TV star turned Influencer turned mayoral candidate (as of yesterday) Spencer Pratt has been effective in keeping the media from completely ignoring the victims of the Palisades fire, but LA still considers my former employers - KTLA & the LA TIMES- to be the watchdogs of record. Without mainstream media support I fear our new media warriors wonโ€™t be enough to prevent leaders like Gavin Newsom & Karen Bass from continuing to pillage California with a trail of failed programs, despite bottomless budgets, that make Minnesotaโ€™s recently unearthed $18 billion fraud scheme seem like, forgive my pun, kiddie stakes. Can someone please light the Bat-Signal for Nick Shirley? Gotham *cough cough* I mean LA needs him. Some might remember in the last mayor's race when Karen Bass said that if we elected Rick Caruso โ€œheโ€™d just turn LA into The Grove!โ€ I believe the Groveโ€™ification of LA is exactly what we need to successfully pivot as a city, and it would ultimately mean cheaper housing, better jobs for everyone, and happier repeat travelers. So to echo Elex Michaelson, who aptly quipped back at Bass, โ€œwhatโ€™s wrong with that?โ€ But why hasnโ€™t Caruso declared himself in the next mayorโ€™s race? Maybe itโ€™s because he has his sights set on a California gubernatorial run or maybe he just doesnโ€™t want to risk another disheartening defeat. Not even his inner circle knows what heโ€™ll do next. But I do know one thingโ€ฆ Many of the most successful people in the world call California home and we are going to need them if Los Angeles is ever going to make its comeback.

Darwyn Metzger

516,664 views โ€ข 8 months ago

Akira Kurosawa on his experience watching 'Solaris' (1972) & drinking vodka with Andrei Tarkovsky in Moscow: "I met Tarkovsky for the first time when I attended my welcome luncheon at the Mosfilm during my first visit to Soviet Russia. He was small, thin, looked a little frail, and at the same time exceptionally intelligent, and unusually shrewd and sensitive. I thought he somehow resembled Toru Takemitsu, but I donโ€™t know why. Then he excused himself saying, โ€œI still have work to do,โ€ and disappeared, and after a while I heard such a big explosion as to make all the glass windows of the dining hall tremble hard. Seeing me taken aback, the boss of the Mosfilm said with a meaningful smile: โ€œYou know another world war does not break out. Tarkovsky just launched a rocket. This work with Tarkovsky, however, has proved a Great War for me.โ€ That was the way I knew Tarkovsky was shooting 'Solaris' (1972). After the luncheon party, I visited his set for Solaris. There it was. I saw a burnt down rocket was there at the corner of the space station set. I am sorry I forgot to ask him as to how he had shot the launching of the rocket on the set. The set of the satellite base was beautifully made at a huge cost, for it was all made up of thick duralumin. It glittered in its cold metallic silver light, and I found light rays of red, or blue or green delicately winking or waving from electric light bulbs buried in the gagues on the equipment lined up in there. And above on the ceiling of the corridor ran two duralumin rails from which hanged a small wheel of a camera which could move around freely inside the satellite base. Tarkovsky guided me around the set, explaining to me as cheerfully as a young boy who is given a golden opportunity to show someone his favorite toybox. Bondarchuk, who came with me, asked him about the cost of the set, and left his eyes wide open when Tarkovsky answered it. The cost was so huge: about six hundred million yen as to make Bondarchuk, who directed that grand spectacle of a movie โ€œWar and Peace,โ€ agape in wonder. Now I came to fully realize why the boss of the Mosfilm said it was โ€œa Great War for me.โ€ But it takes a huge talent and effort to spend such a huge cost. Thinking โ€œThis is a tremendous taskโ€ I closely gazed at his back when he was leading me around the set in enthusiasm. Concerning Solaris, I find many people complaining that it is too long, but I do not think so. They especially find too lengthy the description of nature in the introductory scenes, but these layers of memory of farewell to this earthly nature submerge themselves deep below the bottom of the story after the main character has been sent in a rocket into the satellite station base in the universe, and they almost torture the soul of the viewer like a kind of irresistible nostalghia toward mother earth nature, which resembles homesickness. Without the presence of beautiful nature sequences on earth as a long introduction, you could not make the audience directly conceive the sense of having-no-way-out harboured by the people โ€œjailedโ€ inside the satellite base. I saw this film late at night in a preview room in Moscow for the first time, and soon I felt my heart aching in agony with a longing to returning to the earth as quickly as possible. Marvellous progress in science we have been enjoying, but where will it lead humanity after all? Sheer fearful emotion this film succeeds in conjuring up in our soul. Without it, a science fiction movie would be nothing more than a petty fancy. These thoughts came and went while I was gazing at the screen. Tarkovsky was together with me then. He was at the corner of the studio. When the film was over, he stood up, looking at me as if he felt timid. I said to him, โ€œVery good. It makes me feel real fear.โ€ Tarkovsky smiled shyly, but happily. And we toasted vodka at the restaurant in the Film Institute. Tarkovsky, who didnโ€™t drink usually, drank a lot of vodka, and went so far as to turn off the speaker from which music had floated into the restaurant, and began to sing the theme of samurai from Seven Samurai at the top of his voice. As if to rival him, I joined in. For I was at that moment very happy to find myself living on Earth. Solaris makes a viewer feel this, and even this single fact shows us that Solaris is no ordinary SF film. It truly somehow provokes pure horror in our soul. And it is under the total grip of the deep insights of Tarkovsky. There must be many, many things still unknown to humanity in this world: the abyss of the cosmos which a man had to look into, strange visitors in the satellite base, time running in reverse, from death to life, strangely moving sense of levitation, his home which is in the mind of the main character in the satellite station is wet and soaked with water. It seems to me to be sweat and tears that in his heartbreaking agony he squeezed out of his whole being. And what makes us shudder is the shot of the location of Akasakamitsuke, Tokyo, Japan. By a skillful use of mirrors, he turned flows of head lights and tail lamps of cars, multiplied and amplified, into a vintage image of the future city. Every shot of Solaris bears witness to the almost dazzling talents inherent in Tarkovsky. Many people grumble that Tarkovskyโ€™s films are difficult, but I donโ€™t think so. His films just show how extraordinarily sensitive Tarkovsky is. He made a film titled 'Mirror' (1975) after Solaris. Mirror deals with his cherished memories in his childhood, and many people say again it is disturbingly difficult. Yes, at a glance, it seems to have no rational development in its storytelling. But we have to remember: it is impossible that in our soul our childhood memories should arrange themselves in a static, logical sequence. A strange train of fragments of early memory images shattered and broken can bring about the poetry in our infancy. Once you are convinced of its truthfulness, you may find Mirror the easiest film to understand. But Tarkovsky remains silent, without saying things like that at all. His very attitude makes me believe that he has wonderful potentials in his future. There can be no bright future for those who are ready to explain everything about their own film." ("Akira Kurosawa on watching โ€˜Solarisโ€™ with Andrei Tarkovsky", Cinephilia & Beyond)

DepressedBergman

198,415 views โ€ข 9 months ago