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SNOW CODING JUMPSCARE!! Presenting a mini project... Thriller Gen (Encore) with lyrics, coded in-game!!! Creds: Rewrite VA: Eva Mariam Boyfriend VA: Johan Dodge 2022 RAM 1500 🍉 Backup Vocals, Lyric Writing/Mixing: Doge's FNF Storage Programming: me lmao Just a fun little thing I wanted to do!! :)

20,967 views • 1 year ago •via X (Twitter)

13 Comments

Snow's profile picture
Snow1 year ago

Youtube upload:

Snow's profile picture
Snow1 year ago

(finally twitter let me send this)

Eva Mariam's profile picture
Eva Mariam1 year ago

@TweetsJohan @DogeFNF MUAHAHAHAHA IM IN THIS!!! YAY!!!

Mobile Scanner's profile picture
Mobile Scanner1 year ago

Scan any documents, convert images into text, PDF files, etc. 👍

SSA's profile picture
SSA1 year ago

@evaamariam @TweetsJohan @DogeFNF As someone who likes Thriller Gen more than Trinity… YEEEEEESSS!!!

DMB.MIDI's profile picture
DMB.MIDI1 year ago

@evaamariam @TweetsJohan @DogeFNF the different windows appearing is actually so cool omg

ScapeMuffins's profile picture
ScapeMuffins1 year ago

@evaamariam @TweetsJohan @DogeFNF Snow doing lyrics real

tai's profile picture
tai1 year ago

@evaamariam @TweetsJohan @DogeFNF

Hexie's profile picture
Hexie1 year ago

snow im on my knees where did you learn how to code like this

Banbuds's profile picture
Banbuds1 year ago

I tried, good to know I couldve done it better if I gave him a different movement during his idle from time to time, or gave his fingers some movement. But this is good

ElBenjaG/MarioP!ja's profile picture
ElBenjaG/MarioP!ja1 year ago

PORIFERA ATOLL IT'S OUT!!!11!!11 #FNF #fnfmod

haylow's profile picture
haylow1 year ago

doodle

vibingleaf's profile picture
vibingleaf1 year ago

I did

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Goddess Athena Bastet 🕸 findom 🎉🎈JUNE 26

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DepressedBergman

117,211 views • 6 months ago

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𝔽𝕠𝕩𝕗𝕚𝕣𝕖

18,844 views • 1 year ago

This eerie 10-minute sequence in "Cape Fear" (1991), where Robert De Niro's 'Max Cady' tricks Juliette Lewis' 'Danielle' into meeting with him at the high school is what convinced Martin Scorsese to do the movie. He considers it "the crux" of the entire film and said, “It was the scene that made me make the movie. I realized if I can pull off that scene, with the actors and the writer, it'd be great." De Niro explained that he wanted Max Cady to have the ability perform Charles Manson-like “mind trips” on his victims. So, he felt the necessity to have this scene. Lewis said, "When [the scene] was over, it was like I had to come down. I just went straight to [De Niro] and said, 'God, that was fun.'” The sequence became one of the film's most talked-about moments and helped Lewis nab an Academy Award nomination for Best Supporting Actress. When Spielberg and De Niro were trying to convince Scorsese to direct the picture over dinner, he rejected it as he "didn't want to get involved in remakes. It's a really difficult thing to do, especially if [the original film] is a good picture.” To convince him somehow, Spielberg said to him, "Listen, if you don't like the script, you can rewrite it." Scorsese, who was suffering from fatigue after post-production work on "Goodfellas" (1990) jokingly said that he had forgotten about that part (Screenwriting) of the process. Martin Scorsese said high-energy chase sequences like this weren’t in his filmmaking wheelhouse, and he praised Spielberg for doing scenes like that “so beautifully,” while claiming his approach would have “become a cliche. I couldn't even bring myself to think about doing that sort of thing.” There wasn't any preparation for the scene. It was done in one take. About filming the scene, Scorsese said, "We froze and it was like magic." ("'Cape Fear' at 30: Why Martin Scorsese Needed Convincing to Direct Iconic Thriller (Flashback)", Joe Bergren, ET, 2021)

DepressedBergman

144,165 views • 6 days ago

John Carmack on the importance hard work: “For decades, I worked 60 hours a week” “I was never one of the programmers who would do all-nighters or work for 20 hours straight,” programming legend John Carmack begins when asked about his work routine. “My brain generally starts turning to mush after 12 hours or so. But hard work is really important, and for decades I would work 60 hours a week. I would work 10 hours a day, 6 days a week.” He continues: “I had a little thing in the back of my head where I was almost jealous of some of the programmers who would do these marathon sessions. Like Dave Taylor, one of the guys we had at id Software, would be one of those people who would fall asleep under his desk sometimes and all the classic hacker tropes about these things. Part of me was always a little bothered that wasn’t me. I wouldn’t program 20 hours straight because I’m falling apart and not being very effective after 12 hours . . . There are people who can work on 4 hours of sleep and continue to do good work, but there’s a lot of people who just fall apart. I always try to get 8 hours of sleep . . . you can work 100 hours a week and still get 8 hours of sleep if you prioritize things correctly. But I do believe in working hard.” John disagrees with the backlash against hard work and voices support for game developer’s comment that “40 hours a week is kind of a part-time job.” “If you’re doing what you think is important work that you’re passionate about, working more gets more done. It’s really not possible to argue with that if you’ve been around the people who work with that level of intensity.” He believes people who argue that you’re less productive if you work more than 40 hours a week are misinterpreting things: “Your marginal productivity for an hour after eight hours is less than one of your peak hours, but you’re not literally getting less done. There’s a point where you start breaking things and literally going backwards, but it’s not 8-12 hours.” John illustrates this point with a fictional example: “Imagine there’s an asteroid that’s going to crash into Earth and destroy all human life. Do you want Elon Musk and the people working at SpaceX building the interceptor that’s going to deflect the asteroid clocking out at 5pm because they’re going to do worse work if they work another couple hours? It seems absurd . . . It’s the truth: working longer gets more done.” Video source: Lex Fridman (Aug 2022)

Startup Archive

240,163 views • 7 months ago

Eruption - Van Halen - Violin Cover by Nina D My journey to learn Eruption began a few years ago, when I only had access to a 5-string fretless violin. I learned a small bit of it, and quickly realized that I would need to compromise the octave range, and the finger tapping in order to perform it. There are a few covers out there of violinists doing just that, and they are very impressive. Anyone who knows me, knows that I did not want to do that. I wanted to sound like Eddie. Thus began my journey with the 7-string fretted violin. Pretty much the entire reason for having this instrument custom-made (thanks Wood Violins crew!) was to see if I could play Eruption. At the time of purchase, I wasn’t even sure if it would be physically possible to do the finger tapping, even with the new instrument. Upon its arrival, my first task was to learn how to play the darn thing- it’s like a completely different instrument, the neck is huge, I am tiny, and the low strings are super thick. (I also had to buy a special bow to properly play it). If your bow arm falters by a millimeter, you will hit the surrounding strings. Once I had this part somewhat down, I knew I had to dive into the hardest part right away- to answer the question, “but will it tap?” I began with transcribing this beast of a solo into notation. If you play guitar, and you want to learn how to play pretty much anything, you can go to YouTube and find slow note for note tutorials on EXACTLY how to do so. This doesn’t exist for trying to translate guitar things to a violin. You’re on your own. I tried it out with my normal rig. Pretty much dead sound. Nothing happening but noise. I had a few ideas for specialty pedals. Since you can’t really go to the store and try pedals any more, I bought one, it didn’t work, shipped it back, bought a different one, didn’t work, shipped it back, etc. ad nauseam. Months went by. It seemed for every step forward I took in achieving this technique, I took two steps back with new problems. For months, my poor family listened to what sounded like a train wreck falling on top of a car wreck falling off the Empire State Building. Brody even said to me, “it ain’t gonna happen.” So I locked myself away until it did. I struggled and fought the limitations of the instrument. I had some hard practice days, but the best motivation for me is “it can’t be done.” It took a combination of newly learned left and right hand technique, played precisely, practiced slowly for clarity, FOREVER to even make the right sound. The spaces that you need to hit, quickly, on a fretted violin are much smaller than that of a guitar. I tweaked the effect chain and technique right up until the 11th hour on the very final day of doing this. One day near the end of it, I was practicing in the studio and Brody was taking a shower. When he got out, he said to me he thought I was playing the recording of Van Halen. That was my breakthrough day. I knew I was close. I haven’t worked this hard since my masters recital on classical violin. I’ve ripped up my fingers to shreds, they bled, they blistered. Eddie Van Halen was in a class all of his own. His sound, technique, rhythm, and musicality changed the game for all guitarists (and this electric violinist) that followed. I am a far better performer, a far better violinist, with a much larger range of abilities, thanks to the months (or years) I put into dissecting his style and taking the time to do this on a violin as close to how he did it (so effortlessly) on a guitar as possible. Thank you, EVH, for making so many of us better musicians. ❤️🤍🖤 Audio Mixing/programming, Drone footage and video editing, Fog jets and laser programming: Brody Dolyniuk Filming: Patrick Rivera Photography Lighting: Robert Brassard Custom Made Eddie Van Halen Outfit: 3x Emmy-nominated costume designer Diana Eden HMU: the MOBB Group Graphics: Derryl Rice #eruption #vanhalen #eddievanhalen #evh #cover #coversong #guitarsolo #violin

Nina DiGregorio

403,836 views • 2 years ago

Min Hee-jin (NewJeans Producer) NHK Music Interview 🔗 “Meticulously planned debut ‘Attention’” 🧢: When I was preparing to launch NewJeans, I really struggled with deciding what our first piece of content should be. I thought about it for a long time and considered many possibilities. It was a project that came with high expectations, and for me personally, it was also my first opportunity to prove myself. So how I presented it mattered enormously. Even down to the smallest details… like the impression the very first released photo might give, or what kind of impact we could make at launch. I thought hard about what kind of content would be the most effective… should it be a video or a photo? What time of day would be most effective to release it? I consider things like that very carefully. For example, the way a person experiences content at night versus during the day can feel quite different emotionally. So I even thought about those subtle aspects. Eventually, the conclusion I reached was: “Let’s make the most of our situation.” At the time, the members hadn’t been revealed, and no one knew how many of them there were or what kind of group this would be. So I wanted to maximize that curiosity. You know how the more something is concealed, the more curious people become? I wanted to build that curiosity to a peak and then release everything all at once. That’s why we decided not to release a teaser and instead go straight into a full music video. (This was actually inspired by Hyein suggesting we skip teasers.) I didn’t think still images or photos would be enough to fully convey the feeling I wanted to express. I felt that video and music together would evoke the emotional response I was looking for because people experience things synesthetically. When sound, image, and feeling come together, the emotional impact is stronger. I believed the best way to present the members’ images was through music and a moving picture… that’s why we led with a music video. In the debut music video, “Attention,” there’s a scene where the members act out a little drama. I paid very close attention to that moment and created music that would fit it precisely. For me, I don’t just make content… I design the entire process of how it should be shown for the greatest effect. And I believe that’s incredibly important. That first feeling someone gets when they encounter something… that emotion, that spark… is so important to me. I’m very detail-oriented, but I also value fun deeply. So rather than just releasing content, I want to enjoy the process leading up to it. Even when we released our second album, since we shot the entire music video across the country, the sequence of how we released the videos was critical for me. It’s hard to explain all this simply in an interview, but maybe some people noticed: the first content we released that time was actually a teaser for the last track, “ASAP,” and then we followed that with the full music video for “New Jeans,” which was the first track. That order was a carefully calculated strategy. It was designed to guide the audience’s emotional journey. Seeing the audience react just as I had hoped—that whole process was honestly so fun and thrilling for me. I think I really enjoy that kind of thing. ——— “How 'Ditto' was born” 🧢: People often praise the music of NewJeans, and I hear a lot of talk about genres. But actually, I don’t feel bound by genre at all. I love a wide variety of music. I’m not the type to insist on only one particular genre. What I love are songs that blend genres cleverly… those are my personal favorites. So going forward, my focus is not on genre but on whether something feels fresh and whether it can create an emotional moment. I don’t want to define what kind of music we make. And I think you have to experience the flow of the times to really understand what’s meaningful in a given moment. For instance, the song “Ditto” was chosen because it delivered emotion. It matched perfectly with the winter album concept I had envisioned, both in terms of timing and mood. When I hear a song, I tend to trust my gut. I have a pretty strong intuition for which songs will resonate. It’s not about objectively predicting what will be a “hit,” but about whether a song moves your heart… you can just feel it. Of course, my own taste plays a big role. But I think that’s actually my strength as a producer, not as a composer. When I hear a song, I can immediately picture the visual… what kind of story, what kind of vibe it could carry. That allows me to work faster. For example, when expressing something like school uniforms, there are so many possible variations. But I always like to start from the basics… what’s the original idea of a school uniform? I try to return to that. So with “Ditto,” I wanted to tap into something primal… the pure, basic feeling of liking someone. That kind of emotion is universal. Everyone has it; it’s wired into us. When I saw Director Shin Woo-seok’s interpretation of it, I thought, “Yes, that’s it.” That’s the kind of complete interpretation I look for. I believe the completion of a project comes from every person involved thinking about their part down to the final detail… the maximum quality they can bring out. My role is to unify and refine all of that. I draw out the essence of each person’s creativity, trimming away anything unnecessary. So the final product is something that’s polished and high-quality, just the way I envisioned it. That’s my working style. So it’s not like I’m fixated on retro or stuck in a particular style. I don’t think human taste has changed all that much. Things people liked in the past are the same things we like now. It’s just the form of expression that changes with time. I don’t feel bound by “past” or “present.” I don’t even think in those boundaries. To me, it’s all just good taste. You know how kids sometimes have their own little treasure boxes when they’re young? I think my work is kind of like that. I want to make things that never feel dated—that are timelessly enjoyable. ——— “Dance Expression and 'Hype Boy'” 🧢: I had a vision of what kind of girl group I wanted to create. That’s why I chose a song like “Hype Boy.” And to bring out that feeling, we created four different versions of the music video. Every choice had a purpose, everything was designed to maximize the experience of the song. “Hype Boy” is such a unique song. It has this strange, piercing melody that gives people chills in a good way. To emphasize that tingling feeling, I had to break away from the standard K-pop choreography format… you know, the kind where everyone is in perfect formation, doing synchronized moves. But our songs don’t suit that kind of choreography. Our dances are much harder. They require the body to move very naturally with the groove of the melody and beat. So I think our members are incredible. It’s not easy to express naturalness with your body, and you have to really enjoy it to make it look effortless. But they pulled it off so well. They’re still young, but they’re so talented. And through it all, I wanted to avoid making them look like they were performing just for business. I wanted them to show the pure joy and bright spirit that’s natural for people their age… genuine, carefree, radiant. ——— “The difference between NewJeans and conventional K-POP” 🧢: Ah, for me, it’s all about naturalness. And honestly, naturalness isn’t something you can produce or direct into existence. It comes from how I interact with the NewJeans members on a daily basis… what kind of environment they practice in, how they live and work. There are so many things that don’t appear on camera, but those unseen aspects have to be in place in order for true naturalness to come through. That’s why I wanted to create that kind of environment for the girls. And also, I wanted to shape my own working environment in that way too. Only then can something truly natural, something unforced and not overly stimulating, really come out. To begin with, I don’t believe anyone can be completely natural in front of a camera or under the gaze of others. It’s human nature to become self-conscious. That’s why I think naturalness is our strength, but it can’t be our concept. If you try to turn “naturalness” into a concept, it actually becomes incredibly artificial. So why do I place so much importance on naturalness? It’s because the girls are still so young. While other kids their age are going through school and having a wide range of life experiences, these members are living very different lives. Before they officially debuted, I told them, “This is like studying together with me.” Our standard contract is seven years, which is about the same length as going through high school and college in Korea: three years of high school and four years of university. So I told them, “We’re going to school together. We’re learning together.” And in that sense, I want to be a good teacher to them. They’re also surrounded by an incredibly professional team, people they’d never meet even in a traditional school setting. I’ve never really liked the word idol. These days, that word is used more like a job title, something manufactured by the industry, and it’s far from its original meaning. To me, the term idol feels misplaced. It doesn’t really reflect who these artists are or what they represent. And I’m not the kind of person who clings to labels or terminology. In fact, what I really want is to break the stereotypes and preconceptions that come with the idol industry. I want us to show people something different… to challenge those assumptions and redefine what this can look like. That’s the kind of mindset I have. ——— “Isn't it difficult for the members to express "naturalness"?” 🧢: There were a lot of things I considered when forming the group. First and foremost, I think it was important that the members shared a similar vibe… like how I prefer working with staff who align with my taste. It’s important for the crew to be on the same wavelength. And by that, I mean more than just getting along… it also extends to shared values. Of course, people won’t all share identical values, but when we’re facing in a similar direction, everything becomes easier. It’s also just more efficient to work with people who have overlapping tastes. Now, when it comes to our members, they each have their own individual tastes, but those preferences are still in development. Just like we all went through as kids, they’re still growing, still discovering themselves. They’re not in a finished state. So we didn’t cast them based on some complete or polished version of themselves. It wasn’t like, “This person is fully formed, let’s pick her.” It was more like, “Ah, she has potential, there’s something there.” That sense of a spark… those were the kinds of subtleties I paid attention to. I didn’t cast anyone just because they were pretty or could sing well. I don’t work like that. I really value those finer, more delicate aspects. Even the design of the light stick wasn’t something that came from a long strategic planning session… it was actually a spontaneous idea. I didn’t sit down and think, “Let’s make a light stick like this.” NewJeans didn’t have a fixed logo, but I felt we still needed a unifying symbol. So one night, just before going to sleep, I kept thinking about it. Right before dozing off, I started sketching and it turned into a rabbit’s face. When I drew it out, the shape just continued and turned into a bunny. To me, the NewJeans members are like little bunnies… playful, innocent. Their visuals also resemble rabbits in a way. And rabbits symbolize abundance. That made me think: “Ah, maybe our fans will multiply like rabbits. That would be great.” So that bunny face became both a symbol for the members and the fans. The image came to me all at once, and I imagined a venue completely filled with bunny light sticks. That vision led to the creation of the light stick itself. Since I always prioritize fun in everything I do, the next idea that came to mind was making the light stick customizable. I thought, “Wouldn’t it be great if fans could personalize their bunny?” That way, each rabbit would represent a different person’s character. So we included accessories, allowing everyone to customize their own bunny. It’s symbolic of all these different bunnies coming together and enjoying a good time as one. Our light stick has a big head, so when it’s used in a concert hall, it lights up in heart shapes that are very visible. That was the image I really wanted. And that bunny face… it’s also a heart. It represents both the face of NewJeans and our hearts. It’s the love we’re showing to our fans, and the love we want to receive in return. Every time I see it, I feel deeply moved. It’s very emotional for me because it’s a perfect realization of what I envisioned. As someone with a background in creative direction, there’s nothing more satisfying than seeing an idea materialize exactly the way you imagined it. That kind of work holds deep meaning for me. ⸻ 🧢: Looking back, I think in 2023 we were able to achieve almost everything we had hoped for. I’m so incredibly grateful for that. Of course, this is an ongoing challenge… and the better things go, the more pressure there is. That’s why I always try to return to my original mindset. Just like I tell the members, I try to remind myself of the beginning and keep things fun. Back then, when we were first putting out content, planning the music, and working on visuals, I felt this thrill… this rush of excitement. I don’t want to forget that feeling. So I try hard to engrave that emotion into every album we release. I’m constantly working to rediscover the joy in all of it. So for 2024, I hope everyone can look forward to us with fresh anticipation. And even if we come out with something completely new, I hope people will receive it warmly and with excitement. That’s really my deepest wish. 🙏

1tokki

17,635 views • 11 months ago

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Naru

55,609 views • 5 months ago

If you watch this ~50 minute screen recording closely (yeah, I know, it's long; there are also some times when my computer was very slow and laggy, just skip past that part. And at one point I had to run and get my 9-month-old a new bottle and left it on a boring screen, sorry!), I believe you can see real signs of the kind of runaway, recursive AI self-improvement that people have been warning of for a while (Mr. Kurzweil most notably and prophetically). Why do I say that? What's different now? Well, there's a reason my set of agent coding tooling is called the Flywheel. These tools all mutually self-reinforce each other. And they all flow directly into my ntm tool (short for "named_tmux_manager"), which acts as a sort of integration point and nerve center for the tools (this is becoming more true by the minute as I'm now seriously working on ntm). Now, ntm was something I started making to automate some aspects of my workflow, but it was the kind of thing where, until it was perfect, it sort of just slowed me down. So I didn't actually use it even though I kept working on it and trying to improve it, and suggested to users that they try it in my tutorials. Well anyway, I finally got around to "dogfooding" ntm last night, and now it's going to get very dramatically better at an alarming rate. Some of that is from applying my "idea wizard" prompt to generate more useful features and building that stuff out and addressing obvious pain points I encountered during my newfound usage of the tool. But a lot comes from my realization that, once again, ntm's true utility is not as a tool for ME, but for an agent. That is, ntm lets one instance of Claude Code or Codex act as, well, me, do the things that I had been doing manually. Do I wish I had started using ntm earlier? No, for two big reasons: 1) Doing it manually helped me build up my intuition massively, which directly led me down the path of creating useful prompt strategies and workflows; these often began as ad-hoc prompts that I realized could be generalized and made more versatile/universal. Lesson: don't prematurely automate until you have an intimate, intuitive feel for your "core value-add loop." Otherwise you'll have a fully automated system quickly that efficiently and automatically does a stupid or otherwise sub-optimal thing. 2) My eyes have been opened to the beauty and power of Skills. I'm not talking about your garden-variety skills that are just a simple markdown file. I'm talking about true tour-de-force directories of perfectly structured and organized files that are filled with good information, insights, workflows, etc., but presented in a way that is highly optimized for consumption by AI agents, with extreme attention paid to things like perfect progressive disclosure, token density, agent-ergonomics, agent-intuitiveness, etc. And also Skills that go way beyond markdown files, with full integration into Claude Code where it makes sense via hooks, sub-agents, and even Python scripts. These kinds of skills are a qualitative difference in expressive power and usefulness and a total game changer. They are also effectively composable, creating almost an algebra of skills that let you use them together in powerful ways. I'm working on a subscription service website and CLI tool now to share what I've learned here most effectively, stay tuned for that in the coming days. Anyway, I now know what to make and how to make it. So, getting back to that screen recording, what does it show that makes me claim recursive self-improvement is here? If you keep your eye on the upper left tmux pane, that's the "controller" agent. It is using ntm to control all the other panes which are also running Claude Code (but ntm fully supports other agent types like Codex and Gemini-CLI, and it's trivially easy to mix and match them if you wanted to have, say, 8 CCs and 6 Codexes for writing the code and 3 Gemini-CLIs for reviewing code.) Now, there's nothing that crazy about this much so far. But where it starts to get very cool is that as the session continues and we encounter real-world problems, things like my ridiculously overloaded computer that keeps hanging for long periods, Claude Code instances that crash and get into a frozen, unresponsive state, it can learn from that. And you can see it using my skill writing skill to refine its ntm vibe coding skill in real time. And then take that skill and refine it to be more intuitive for itself. Or use my cass tool skill to search all the session histories to look for problems that came up and strategize how to solve them. The most useful part was when, towards the end of the session, I told it to reflect on all the things we had done and problems we encountered. One way it can usefully leverage those reflections is by improving its ntm vibe coding skill to make it cover more edge cases and exigencies. But the other, more fundamental, way is for it to conceive of and design the optimal new features and functionality for ntm itself so that the tool embodies those lessons in a first-class way. This offloads cognition from its brain onto its tooling, just like how a person can lean on spellcheck or a calculator. It codifies correct, effective reasoning at the tool level, where it's more reliable and robust and repeatable. And btw, did you notice what code base it was working on the whole time? It was none other than ntm itself! So as it worked on its own tool, it had reflections and ideas about how to further improve the tool. Now, it could have just as easily gotten those insights and ideas while using ntm to work on a different project, but the fact that it was working on itself is almost gloriously meta and recursive. So by the end, after learning from tending to a big group of agent workers (btw, I have previously emphasized doing everything in a really distributed/decentralized way, where each fungible agent gets identical marching orders that tell it to use my bv tool to find the optimal bead to work on. This does work very well, but occasionally results in some contention and overlap from thundering herd, or at least wastes time/tokens/communication in avoiding that before the agents waste time duplicating work. But in this new ntm-oriented workflow, I was able to have the controller agent in the upper left use bv itself and then optimally parcel out the instructions to each agent so that we could know for sure that there's no overlap), I ended up with a ton of new beads for new features, which I had it optimize and polish a few times. Now I can swap to a new Claude Max account and have the swarm implement all those new features! It should only take a couple passes like the one shown in the screen recording to get everything implemented. Then we can rinse and repeat, having the agent read through the full session histories of each agent and its experience from its own session in sending ntm commands and seeing how they worked out in practice, to come up with the next batch of changes to both its ntm vibe coding skill AND to the ntm tool itself. Do you see how rapidly this turns into Skynet? My mistake earlier was in focusing on making myself a "faster horse" as Henry Ford used to joke about customers wanting before he showed them what they should really want (a Model T). That is, something that would make my experience nicer while doing this agent swarm based development workflow. But the obvious lesson is that you should make all your tooling agent-first because the agents are just better at this stuff. You can still watch, and of course I did add a ridiculous number of very nice human-centric features to ntm that you'll be seeing in the next day or two, but those are really kind of "for fun" to make us humans feel better about the process. All the real value-add is happening "by agents, for agents." PS: Towards the end, you can see me switch to my Mac and tell Claude to improve the skill that I made earlier today for taking the mkv screen recording files from OBS Studio and muxing them into MP4 files for sharing, while downloading songs from YouTube to serve as the background music. I made it so it can also grab the thumbnails and generate little song credit cards that show up in the lower right corner. This worked perfectly the first time! I'll include some screenshots in a response post showing how that worked, but it was awesome to witness. Skills are POWERFUL. I'll also post a link to this video on YouTube if you prefer to watch it there.

Jeffrey Emanuel

25,483 views • 6 months ago

CANCEL Your Weekend Plans and Learn Vibe Coding Today, Start Making $10,000/Month Building Apps for People. $0 in Coding Experience. I made 5 AI Trading Bots & Apps Built in 6 Hours. Each One Worth $3,000-$15,000 to Clients. You Spent $500 on a Bootcamp and Still Can't Deploy a Landing Page. That's not the bootcamp's fault. That's you. People with zero coding skills are building full apps with payments, databases, and authentication using AI. Charging clients $5,000-$10,000 per project. Finishing in one afternoon. You're still Googling "should I learn Python or JavaScript first." This attached video is a goldmine. 6 hours. 5 real apps. From complete beginner to deploying revenue-generating products. One video. Free. Save it. Watch it this weekend. Not next weekend. Today. Now let me break down exactly what's inside and why you can't afford to ignore this. Save this post. You'll hate yourself if you lose it. ↓ Let's talk about why you still can't code... You bought the Udemy course. $12.99. Watched 3 lectures. Got confused. Told yourself you'd continue tomorrow. That was 8 months ago. You bought another course. $49.99. This one had better reviews. Watched the intro. Bookmarked the rest. Never opened it again. You signed up for a bootcamp. $5,000. Dropped out at week 4 because "life got busy." Life didn't get busy. You got scared. Three years. Hundreds of dollars. Multiple courses. Zero apps built. Zero projects deployed. Zero revenue generated. And now someone with zero coding experience is building full apps in hours using AI tools you haven't even tried. You're not falling behind slowly. You're falling behind at full speed. Save this post right now. This is the course that makes every other coding course you bought irrelevant. Follow Himanshu Kumar so you don't miss the breakdown. ↓ What is vibe coding and why should you care? Traditional coding: Learn syntax for 6 months. Build a to-do app. Feel proud. Realize nobody will pay for a to-do app. Give up. Vibe coding: Describe what you want to build. AI builds it. You guide, adjust, deploy. People pay for it. You're not writing code line by line. You're directing an AI agent that writes code for you. Think of it like this: Traditional coding = you're the construction worker. Vibe coding = you're the architect. The architect makes more money. The architect doesn't carry bricks. The architect doesn't need to know how to pour concrete. The architect needs to know what to build and why. That's vibe coding. And while you've been debating whether to learn Python or JavaScript first, people are skipping both and building apps that generate revenue. With zero coding knowledge. This isn't the future. This is right now. Save this post and follow Himanshu Kumar for more vibe coding breakdowns that actually make you money. ↓ What this 6-hour course covers. This isn't some 20-minute tutorial that shows you how to make a button change color. This is 6 hours. 5 complete apps. Real software engineering. Real deployment. Real money-making potential. Here's what you'll build: > Portfolio website - deployed live on Netlify > Full-stack client dashboard - with database and auth > Lead generation app - with API integrations > Thumbnail generator - with payment integration via Stripe > Splinter - a full SaaS product with pricing and marketing Not toy projects. Not "follow along and never use again." Actual apps that people pay for. Built with Gemini 3.1 Pro, Antigravity, Supabase, Next.js, Vite, and more. You know how many people charge $5,000+ to build a single one of these apps for a client? You'll be able to build all 5 by the end of this weekend. You can't afford to scroll past this. Bookmark this post. Follow Himanshu Kumar because I'm breaking down every tool in this stack separately. ↓ The tools you'll master. Gemini 3.1 Pro: Google's most powerful AI model. You'll use it to generate entire codebases. Not snippets. Entire apps. Antigravity: The AI coding environment that makes vibe coding actually work. Agent chat. MCP servers. Voice dictation. It's not VS Code with a chatbot bolted on. It's built from the ground up for AI-first development. Supabase: Your backend. Database. Authentication. All set up in minutes. Not weeks of configuration. Next.js + Vite: Modern frameworks that make your apps fast, scalable, and professional. Stripe: Payment integration. So your apps can actually charge people money. You know, the whole point. Claude Code: Yes, Claude Code is covered too. Because the best developers in 2026 don't use one AI tool. They use all of them. While you're still trying to decide which AI tool is "the best one," smart people are using all of them together and making money from every angle. Stop debating tools. Start using them. Save this post and follow Himanshu Kumar for deep dives into each of these tools. ↓ What you'll actually learn beyond just "building apps." This course doesn't just teach you to copy and paste prompts. You'll learn real software engineering: > Hosting and deployment > Modern software design patterns > Languages and frameworks > Version control and GitHub > Programming with AI agents and agent teams > Database design (SQL vs NoSQL) > Security audits > API integration > Payment processing This is everything a $15,000 bootcamp teaches. In 6 hours. For free. On YouTube. Your friend who spent $15K on a bootcamp is going to be really upset when you build better apps than them after watching one YouTube video this weekend. Don't tell them about this course. Or do. Their reaction will be priceless. This is a $15,000 education for $0. Save this post before it gets buried. Follow Himanshu Kumar for more free resources that make paid courses look like scams. ↓ The guy teaching this actually makes money. Not "makes money selling courses about making money." Actually makes money. Nick built automated businesses with Make . Most notably 1SecondCopy, a content company that hit 7 figures. Seven figures. From automation. He's not teaching theory. He's showing you what real systems that generate real revenue look like. 90% of coding teachers on YouTube have never shipped a product that made $1. They teach coding. They don't use coding to make money. This guy does both. That's why this course is different. You've been learning from people who teach for a living. Start learning from people who build for a living. Save this post. Follow Himanshu Kumar for more content from builders, not lecturers. ↓ Let me tell you what's really happening while you "think about learning to code." Every week that passes, AI coding tools get better. Every week that passes, more people learn vibe coding. Every week that passes, the market gets more competitive. Right now, vibe coding is still early. Not many people know how to do it well. Clients are desperate for someone who can build apps fast. $3,000 for a landing page with payments. $5,000 for a SaaS MVP. $10,000 for a full client dashboard. These are real prices people are charging for apps they built in a single day using the exact tools in this course. But this window won't last forever. In 6 months, everyone will know how to vibe code. In 12 months, it'll be a basic requirement. In 24 months, not knowing this will be like not knowing how to use email in 2010. You're either early or you're irrelevant. Right now you can still be early. But not if you spend this weekend on Netflix. The window is closing. Every weekend you waste is a weekend someone else uses to get ahead of you. Save this post. Follow Himanshu Kumar before this opportunity becomes obvious to everyone. ↓ The 5 apps you'll build and what they're actually worth. App 1: Portfolio Website. What clients pay for this: $500-$2,000. Time to build with vibe coding: 30 minutes. App 2: Client Dashboard. What clients pay for this: $5,000-$15,000. Time to build with vibe coding: 2-3 hours. App 3: Lead Generation Tool. What clients pay for this: $3,000-$8,000. Time to build with vibe coding: 1-2 hours. App 4: Thumbnail Generator with Payments. What clients pay for this: $2,000-$5,000. Or sell it as a SaaS for recurring revenue. Time to build: 1-2 hours. App 5: Splinter (Full SaaS Product). What clients pay for this: $10,000-$25,000. Or launch it yourself for monthly recurring revenue. Time to build: 2-3 hours. Total value of apps you can build after this course: $20,000-$55,000. Total cost of this course: $0. Total time investment: one weekend. You spend more than one weekend deciding which Netflix show to start next. At least this weekend would pay you back. Read those numbers again. Save this post. Follow Himanshu Kumar because I'll be breaking down how to sell each of these apps as a service. ↓ Here's the business model nobody's talking about. Learn vibe coding this weekend. Build 5 apps. Pick the one you're best at. Offer it as a service. "I build professional SaaS dashboards for businesses using AI. Faster than agencies. Fraction of the cost. $5,000 per project." 2 projects per month = $10,000/month. Working maybe 20 hours total. While you're applying for jobs that pay $4,000/month and require 5 years of experience you don't have, someone who watched this course last weekend just landed their second $5,000 client. No degree. No portfolio. No 5 years of experience. Just the ability to build what people need faster than anyone else. That's the entire business model. Learn fast. Build fast. Charge accordingly. Stop applying for jobs. Start creating them. Save this post. Follow Himanshu Kumar for the exact outreach scripts to land your first vibe coding client. ↓ Why you won't watch this course. Because it's 6 hours. "6 hours?? That's too long." You binged an entire season of a show last weekend in 8 hours. You scrolled Twitter for 4 hours yesterday. You spent 3 hours watching YouTube shorts that you don't even remember. But 6 hours to learn a skill that could make you $10,000/month? "I don't have time for that." You have time. You just don't have discipline. And that's the actual reason you're broke. Not the economy. Not the market. Not your circumstances. Your inability to sit down for 6 hours and learn something that changes your life. Everything else is a story you tell yourself to feel better about doing nothing. That's the uncomfortable truth. Save this post so it stares at you every time you open your bookmarks. Follow Himanshu Kumar because I'll keep reminding you until you actually do something. ↓ What happens this weekend determines your next year. Path A: Watch the course Saturday. Build your first app Sunday. Start offering services Monday. Land first client within 2 weeks. $5,000-$10,000/month within 60 days. Path B: Sleep in Saturday. Brunch Sunday. Netflix Sunday night. Monday morning alarm goes off. Back to the same job. Same salary. Same frustration. Same "I'll start next weekend." 52 weekends in a year. How many have you already wasted? Path A costs you one weekend. Path B costs you your entire future. Same video. Same information. Same 6 hours. Two completely different lives. ↓ Full 6-hour course attached. 5 real apps. Real deployment. Real revenue potential. From the guy who built a 7-figure automated business. Not theory. Not motivation. Actual hands-on building. The course is free. The tools are free. The knowledge is right here. The only thing that costs money is your decision to do nothing. And that cost compounds every single day. Follow Himanshu Kumar for more breakdowns that turn free YouTube videos into $10,000/month skill sets. Save this post. Watch the video. Build something this weekend that your Monday self will thank you for. Or don't. And wonder next year why nothing changed.

Himanshu Kumar

39,379 views • 4 months ago

Well, friends, the interview the John O'Keefe and Karen Read trial world didn't know they wanted has finally occurred. I appreciate The Glarer for having me on his program. We discussed Kate Peter, I defended Lindsey Gaetani's honor, both sides agreed as to the importance of civil debate and leaving people's families out of the fray and then Will helped Olivia and I move towards amicable discussion. Overall, a 10/10 way to celebrate the day towel become a YouTube partner. Here are my two favorite quotes from Will and myself; [Grant] "If any of you took 10 minutes --not on camera-- to talk to Lindsey Gaetani, you would find someone who believes in God, who cares about her children, who's a good mother, and who's not any of the things you made her out to be. And by God I will defend that 'till my last day." [Grant] "I realized that there was just this toxic atmosphere surrounding this case, and I couldn't just say I thought it needed to change — I had to reflect that change in my actions." [The Glarer] "If you believe so much in Karen Read’s guilt, then the facts should speak for themselves. You shouldn’t have to bring people’s family members into it. [The Glarer] "But you know what I think, Grant? I think that you're a really smart guy. And I think you know you're a really smart guy. And I think what you do is, you convince yourself — because of how smart you are — that if you came up with it, it must be gospel. And that's where I think you get cloudy between the truth and your opinion." Here's the full transcript: [Grant] Well, good afternoon towel friends. My name is Grant Smith Ellis and in addition to becoming a YouTube partner today I also decided to call into The Glarer's show. It was the collaboration that the world didn't know they needed but now they have. And if you'd like to listen to this fascinating conversation, related to new allegations as to Kate MafiaMasshole Peter being a PI in the orbit of the Aidan Turtleboy Kearney prosecution, as well as somehow both Will and I eventually coming to a discussion where I defended Lindsey Gaetani's honor, along with a closing segment about the importance on both sides of the Karen Read and John O’Keefe case of being mutually respectful, even if we have differences of opinion on those facts, you can do so right now. Will and I shared a belief that positive changes in the Karen Read and John O'Keefe trial world, at least in terms of that improving dynamic as to disagreeing without being disagreeable, are evident. So enjoy the conversation, folks. It was certainly an interesting one. [The Glarer] You're on — who am I speaking with? [Grant] Hey, Will, it's me. I'm Grant... [The Glarer] — hold on, I gotta give you applause, buddy. You made it. [Grant] Well, we certainly may have different views on the case, but I think we share respect for Jesus and we can talk bad about Kate Peter for sure. [The Glarer] Yeah, that we can do. Sure. Sure. So what's up, bud? What do you got to say? [Grant] Well, I think if people have been following me on X, they will know I've been yelling about Kate Peter taking an envelope of cash in the Chick-fil-A parking lot in front of me for months. And I feel vindicated as of the news of this weekend. [The Glarer] Okay. Okay, so wait a minute. That tracks. So the person who is in this sworn affidavit who claims to have seen Kate Peter with the manila envelope — you're claiming to have seen her with the same envelope. Is that what you're saying? [Grant] It wasn't a manila envelope. Well, there's two pertinent facts. So Kate Peter and I met up for the first time — I would say it was in the winter of 2024 — in a Chick-fil-A parking lot somewhere on the South Coast, maybe near Raynham or something. Anyway, she came and got in my car and she was like, "Well, I'm waiting for someone in a white Toyota Corolla to drop me off money. We try to do it with cash so it doesn't leave a record." And I was like, "Well, this seems a little weird." And then the car pulled up. I didn't actually see the car. She got out, went over to it, came back into my car. It was a white envelope with a green thank-you card. She opened it. There were probably four or five hundred — four or five fifties and a bunch of twenties. [The Glarer] Wow.... Okay, now Grant, I gotta ask you a tough question, buddy. I would be remiss if I didn't do that, all right? Now, a lot of people are thinking the same thing I'm thinking right now, which is: how can we believe you? Where's your credibility? Because you've lied about so many other things so easily. [Grant] Well, I would challenge that and say maybe you have different perspectives on me, but that should reinforce what I'm saying here. The Melanie Little and Alan Jackson Aruba thing — I apologized for that on stream and in a post (because Melanie Little told people not to go after Lindsey's kids, and I found that honorable). [The Glarer] Fair enough. [The Glarer] You did apologize. Okay, so you apologized for that. Okay. [Grant] But I'm critiquing someone [Kate Peter] who would ostensibly be aligned with what I believe about the case, and I still believe what I believe about Karen being responsible for John's death— we don't have to get into it — but I'm critiquing someone who supports that view. That should reinforce my credibility here. [The Glarer] Yeah, and MicroDots backs you up at least on this thing, you know, he says he believes you on this thing. I'm just saying — dude, I've read what you've written. You're a talented writer, clearly. But I can honestly say I've got a whole community of people here — a shit ton of people in this chat right now — that I know would agree with me that if you made a habit of reporting the truth, you'd have support, you'd have readers, you'd have a whole audience. I'd be a fan! But your credibility is fucked with me right now, dude. You know, and I hate that, because I actually enjoy reading what you write. [Grant] I appreciate what you're saying. I think I would just say maybe it's smaller than your community, but I just got made a YouTube partner today. I'm actually celebrating that. I have a small community, people do support me — maybe not as many as support your channel, but it's just people with different views consuming different content. [The Glarer] Yeah, but the thing is — like, I'm content with my audience. My audience could be bigger, but I cuss a lot and I use words that offend people and I just don't kind of play by the normal YouTube game that most creators play when they grow, you know? And I'm okay with the rate at which my channel grows because I get to be myself. But I don't hold back and I don't play by these rules. So I get all that. But I mean, I'm not ethically doing anything wrong. If I were spreading misinformation or contributing to any spread of misinformation, I would have a problem with myself and what I'm doing. You see what I'm saying? Like, it's a little bit different. You're telling me that you're content with your audience being small because you like to make shit up? You know what I mean? [Grant] No, no. Because it's a new channel. That's why the audience is growing. Anyway, the reason I shake your hand is I do think you're authentic in your beliefs, even if we disagree. And well — before I forget, one more thing about that Chick-fil-A parking lot cash that's actually important: when Kate got that money handed over, she told me it was for a donation drive to help other people offset babysitting costs or whatever nonsense. Someone sent a text message — a family member of the person who paid her that cash — and they put in writing that they sent the money for Kate's own expenses. So she lied to me in the car about what the money was for. Something’s up with that. [The Glarer] So she told you in the car that the money was for... [Grant] She said it was to pay for babysitters for people who need help and to donate to other people, which I don't believe. Like, of course not. Nobody believes that. [The Glarer] And then you found out — through what — that this money was actually for her personal expenses? [Grant] Eventually a text message got released from someone in the orbit of whoever paid Kate. It was a family member — I don't know who it was. I've only seen the text message. I'm happy to reshare it on my X later. In that text message, it says — quoting the person — "I sent that envelope with my sister over to Kate. It was for her expenses" or something like that. So even that is evidence. [The Glarer] Wow. Okay, so you are strictly of the opinion, based on things you've seen yourself, that Kate Peter is absolutely being paid by the Commonwealth to spin narratives? [Grant] I'll give you one more piece of information, Will, and maybe you or your audience can track this down: I don't think Kate was involved in the Karen Read investigation directly, but I think starting in the fall of 2023 she worked for a private investigator named Marty Kraft. And I believe by proxy she was then retained to work on Aidan's case through that PI firm. [The Glarer] Okay, and then she just became the mouthpiece between the PI firm and the Commonwealth is what you're saying. [Grant] I will say a few things: I reasonably believe she does have direct contact with the DA and agents of the Commonwealth — I've said that before — and I also believe that she has favoritism towards specific witnesses in the orbit of this case. Not all of them — specific witnesses. [The Glarer] Okay, well, I mean, we know who they are, but okay. [Grant] I will also say — I think — that your caller was prescient earlier, and they mentioned there might be some mutual blackmail. Well, we know that Lindsey Gaetani’s phone extraction was manipulated to remove messages from Brian Tully to Lindsey and from Kate Peter to Lindsey. [The Glarer] ...what's your deal with Lindsey? [Grant] Hold, on let's pull it back first. First of all, I think there was a bifurcation: there's charges from October 2023 against Aidan and December 2023 against Aidan. One set of charges, from October of 2023, involved the Karen Read witnesses; the other set, from December of 2023, involved Lindsey. I don't think anyone set Aidan up in December 2023. I think he was just in love with Lindsey and it kind of got out of control. [The Glarer] Bro... [Grant] Well, but hold on, Will... [The Glarer] I'm listening... [Grant] I think that cell phone extraction goes right to the mutual blackmail point your friend talked about earlier. Someone, during the course of the Aidan Kearney investigation involving Lindsey, manipulated that cell phone extraction, and it could have only happened while it was in State Police custody. That is the whole — that's everything right there because of Kate Peter is the only person who could have gotten Brian Tully to get Nick Guarino to manipulate that extraction while it was in State Police custody before Tully leaked it, by hand, to Aidan's lawyer. [The Glarer] Okay, so listen, Grant. Like, we know that Kate Peter and Lindsey were colluding. Now, I think Lindsey was used. But come on, we know that Kate Peter and Lindsey were colluding to try to set Aidan up. Like, you know this. [Grant] No, I disagree, because I've looked at the timeline closely. Aidan begged to go over there when his indictments got handed down in December. [The Glarer] Well, listen — why? [Grant] Because he got charged in October, but the indictments for the October thing came down December 20th. [Grant] Then when did he beg to go over to Lindsey's? [Grant] I'm about to explain. December 21st, Lindsey tells him, "Hey Aidan, I just got a subpoena for a grand jury." Aidan's mind has gotta' start racing. "Why would there be another grand jury? Is it about me and Karen Read? What is this about?" So he begged her to go over there so he could find out. And that's — like — he looked at her phone that night to see the messages between her and Kate to try to find out about what this new grand jury was about. So no one set him up. He begged to go over there. [The Glarer] So you're just assuming that he begged to go over there based on...? [Grant] I know he begged to go over there. He was pleading because he wanted to find out what the new grand jury was. [The Glarer] The difference between you and Aidan is Aidan posts receipts, dude. But you don't. You get the difference? That's why Aidan has as much of a following as he has. [Grant] If you're asking for receipts of him begging to go over there on that day, I'm happy to provide those. I'll post them. [The Glarer] Then why didn't you do that already? [Grant] Well, I think because what I understand to be the evidentiary record from going to all the hearings is different than what people consume, because not everyone goes to every hearing. But I'm happy to do that. I have it all archived. [The Glarer] Okay, but the point is — like MicroDots is saying — that he was baited to go over there. So even if he begged to go over there under whatever circumstance, we have proof — we've seen proof — that he was baited to go over there based on false information that she was pregnant. [Grant] No. No. She was pregnant. [The Glarer] Oh my, Grant, bro... [Grant] Okay. I will swear on my God about that. [The Glarer] Hold on... [Grant] Well, to move on, I was going to give you some credit. I was going to say you might have been right that the subpoena issued to Lindsey, without her knowledge, could have been to bait Aidan. [The Glarer] But she wouldn't — how do you explain the metadata on the pictures that she sent him of the sonogram, dude? [Grant] First of all, if you're talking about someone's pregnancy — that's a medical issue, and to bring it up on air disgraces Jesus. [The Glarer] Oh, come on, Grant. [Grant] Let's not. [The Glarer] Alright, fine. We won't talk about that anymore. But let's face it, dude — you're making excuses for this girl. And why? Like, do you have a crush on her? Is that what's going on here? And it's okay. [Grant] Oh, oh, please. When I first came into this case, I saw a woman walk into a courtroom, and I started listening to her story. And even in this conversation, there are multiple things I corrected where you were willing to say, "Okay, Grant, maybe that is what happened." And Lindsey doesn't have anyone out there who is voicing that for her, so I'm taking the opportunity to do it. [The Glarer] And do you wonder why she doesn't have anyone voicing things out for her, dude? [The Glarer] Because Aidan isolates people! [The Glarer] Get out of here with that. Stop. Again with the whole "it's Aidan's fault" shit, man. That's between you and Lindsey, dude. I'm asking — like, I asked you why you think that. Nobody is going to bat for Lindsey. And I saw receipts. I heard a recording of her — you're talking about somebody who I heard a recording of [that night with Aidan in December of 2023]. This is... Come on, Grant. [Grant] I was in the courtroom. I saw the people crying when that tape was played. And you know what I also heard, Will? I heard the original version of that tape that didn't have her consent to record, which is why Aidan got charged with felony wiretapping. [The Glarer] Okay, but you're not denying that she said that, right? [Grant] Listen, I have never been awake at 12:30 in the morning. I'm not a woman. I've never been confronted with that situation. I would never pass judgment on someone in that situation. [The Glarer] Every woman that I've ever heard express their opinion on it — pretty negative, dude. Just saying. Pretty negative. Especially the moms. Especially the moms. [Grant] So I don't think any people talking in that way — I don't think you've even met this woman. [The Glarer] You're right. I have not. I have not met her. [Grant] And if — I don't know if she will ever do this — but if any of you took 10 minutes, not on camera, to talk to this woman, you would find someone who believes in God, who cares about her children, who's a good mother, and who's not any of the things you made her out to be. And by God, I will defend that 'till my last day. [The Glarer] Alright. Declared. Got it. I gotta' ask you one more question though. Why are you saying stuff about Olivia Nile — Olivia Nile and her mom — being paid agents for the defense? Come on. [Grant] Okay. Hold on. Hold on. Let me just explain that. I know that's Olivia Lamb. Okay? [The Glarer] Right, yeah, same person. Yeah, yeah. [Grant] Okay, so we all know Christina Lamb does boutique PR consulting for lawyers. She's good at it. Olivia’s good at it. They should own it. I want to interview her. [The Glarer] What — how is that proof, though? That Olivia Lamb is being paid by the defense in some way? You see the problem? [Grant] Hold on. That is an extrapolation some people may make. My argument is only that what she does looks like PR for the defense. I think Olivia hasn't been paid since last year. [The Glarer] But she's saying that's not even what she does, dude. [Grant] Okay, maybe it's not. But I think Olivia's contract ran up at the end of the first trial, if you want me to be very blunt with you. [The Glarer] Contract? [Grant] Mm-hmm. [The Glarer] But her mom doesn't even do that either — what the fuck’s her mom got to do with it? [Grant] Well, why would her mom run some random boutique PR consulting firm for lawyers, and then Olivia just shows up with this extremely high-level acumen, rivaling lawyers? [The Glarer] But that’s not what she does. She's saying that's not even what her mom does or what she does. [Grant] Okay, well, I looked at her mom's website. I archived it going back a few years, so I can post the screenshots again. And I know what she advertised herself as doing. [The Glarer] But you know what I think, Grant? I think that you're a really smart guy. And I think you know you're a really smart guy. And I think what you do is, you convince yourself — because of how smart you are — that if you came up with it, it must be gospel. That's what I think. And that's where I think you get cloudy between the truth and your opinion. Because you state your opinions as though they're fact. And I think that's an ego thing. I don't even think it's malice. It’s just ego. That's what it comes off as, anyway, dude. Because everything you say — every time I ask you, "Where's your proof?" — you explain how you came to your opinion. You give me a laid-out story. Go back and listen to this later on — you'll see what I mean. [Grant] Well, I don't even doubt you, actually, that I'm firm in my convictions. If I'm not there to experience something, I do not know the truth. But I've seen the screenshots. I only found out Olivia Lamb was Olivia Lamb because I found an archived X post where she shared something very sentimental about her grandfather. I didn't like that. I didn't appreciate having to talk about that. But it became relevant because I wanted to know why she was involved in the case. I will listen to her tell me I'm wrong. I want to interview her. [The Glarer] Yeah, but you can't just, like, trap people into interviews by threatening to spread lies about them if they don't, bro. What kind of shit is that? [Grant] Nothing that I said about her grandfather, her acumen or her mother's work was incorrect... [The Glarer] But why are you even talking about her family, dude? Like, that's really low, man. Like — that's... It's low, man. It's low. Her family didn't have nothing to do with this, man. She's doing this because she cares about it. And then people start talking about people's family members and shit. And it's like — it comes off as a not-so-subtle form of intimidation, frankly, Grant. You know, trying to get somebody to shut up. [Grant] No, I don't want to do that. I want to learn about why she's interested in the case. [The Glarer] But you could see how somebody could see it that way, right? Because what if her family starts telling her, "Hey, stop talking about this. Why are we being brought into your shit because you're passionate about something?" What if her family does that and puts her in an awkward position? And then people are cheated out of some really good insight because of that. [Grant] My brother — my brother who at four years old had a colectomy, three-stage, and is developmentally disabled as a result — has a profile someone made mocking him on X. That's a profile that people I respect engage with. Usually I overlook that stuff because I don't believe the people engaging in it are trying to do that. And I hope people realize I'm not doing that to her. I authentically want to know why Olivia's covering this case. [The Glarer] That's all right. So — but that's my point, Grant. I'm just saying, like, if you believe Karen Read is guilty, why not just stick to the facts? Because you don't see me going after anybody's family. You don't see Olivia going after anybody's family, talking about people's family and exposing their family and what they do. You know what I mean? That's not cool. I don't do that. And Olivia’s saying that she will happily talk to you anytime about why she's interested in the case. You see what? That's my point. That's my point — if you believe so much in Karen Read's guilt, then the facts should speak. Everything that you put out there — the facts, the details of the case, and the way you interpret those facts — that should be enough. You shouldn't have to bring people's family members into it. Come on. I feel like you're better than that. That's all. I still have faith that you're better than that. [Grant] Yeah. And I think that's the perfect place to end, because you've given me a lot of time and I share your sentiments. I think that is crucially important. You don't see me out there in the past six months or twelve months talking about Melanie Little, or Olivia or her parents anymore. [The Glarer] I have seen improvement, yes. I have seen it. [Grant] And let me just say why: because I came to believe that there was this toxic atmosphere surrounding this case, and that I couldn't just say I thought it needed to change — I had to reflect that change in my actions. And that's why that happened. So that's it. That's how I feel. [The Glarer] Okay. Yeah, I mean, everybody’s entitled to their feelings and opinions, man. We all are. But yeah, I’m glad that we got this talk. I got to express some things I wanted to express to you. You were very receptive, and I appreciate you coming on and being respectful and being cool. And you’re welcome here anytime, Grant. I can see that we could talk about pretty much anything, and it's fine. That will always be welcome here — no matter what we disagree on. So I appreciate you, Grant. [Grant] God bless, Will, enjoy the rest of your Saturday. [The Glarer] Have a good one. Alright, Grant, y'all. Alright, I'm gonna take another call. Let's do that.

Grant Smith Ellis

27,665 views • 1 year ago

🚨 DECODING KEVIN GILL / BARKING PUPPY'S "SNOWDEN" REVIEW 🚨 THIS IS MY MOST MIND-BLOWING DECODE YET!!!! 🤯🤯🤯 GAMESTOP TIN $BP TIN 🧵 [1/5] Alright folks, it seems that Kevin is spelling it out for the people in the Special Ed Classes now. This is the most blatant and obvious endorsement of Pump Fun and the Barking Puppy token on Solana yet. For all you haters: GOTCHA B!TCH!! "Just Keepin' It Real" 😉 Let's begin with a Transcription: "SNOWDEN... no not last week, talkin' about Edward Snowden revealing classified surveillance programs and sparking a global conversation about Privacy and Security. [V for Vendetta: "People should not be afraid of their governments... governments should be afraid of their people."] I love my country, but you invade my privacy and steal my identity? My dogs will come after you. Snowden is like a RUBIX cube. Complex, a little TWISTED, but might hold a piece of the puzzle. Even in the face of BACKLASH, STAND YOUR GROUND, and be the CHANGE you wanna see in the world." This is potentially the MOST clear and symbolic review Kevin has done thus far. "Snowden" stars Joseph Gordon-Levitt as Edward Snowden. Gorden-Levitt also stars as Tom Hansen in "500 Days of Summer", which was signaled by Zooey Deschanal from "Yes Man" on Friday! What a coincidence! RK memed "500 Days of Summer", as we spoke of in "Yes Man". Since it has been signaled twice in one weekend, let's do a transcription of RK's meme, his version: Extra: "So Keith [Tom] what is it that you do?" Tom/Keith: "I make GAMESTOP memes." Summer [Deschanal]: "Keith could be a really great investor if he wanted to be." Extra: "That's unusual, I mean... what made you go from ONE to the OTHER?" Tom/Keith: "I guess I just figured, why make something disposable like an investment thesis when you can make something that lasts forever—like a Gamestop MEME." This is blatant signaling. Why go from stocks to crypto? Why make a MEME coin? Shailene Woodley also stars in "Snowden" as Lindsey Mills... She ALSO plays Caroline Gill, Keith Gill's WIFE in "Dumb Money"!!! Time for the REQUEL!!! Kevin begins the review with heavy TINFOIL symbolism, featuring the quote: "Cellphones go in the microwave." "It blocks UHF frequencies." The tin foil hatters believe it does the same thing... Kevin introduces the review by describing the NSA and its tracking and surveillance programs, then cuts to a scene from."V for Vendetta": "People should not be AFRAID of their governments, governments should be AFRAID of Their People." This connects us to RK's "V for Vendetta" meme: "First, The Overture." The meme then cuts to the scene of the protagonist from "Ready Player One" throwing it into reverse, into a GREEN tunnel to win the race. I recently discussed "Ready Player One" in my "COIN Symbolism" decode! The movie revolves around TOKENS that give various power-ups in the game-world. The protagonist wins in the end because he has an EXTRA LIFE TOKEN/COIN!!! It seemed as if $BP was finished yesterday.... it dove like Randy The Ram's "Ram Jam" final move from "The Wrestler"! Yet, it appears that RANDY [$BP] has acquired an EXTRA LIFE TOKEN, because $BP is making a miraculous recovery considering the hit it took after Kevin's "Account Hack" yesterday... RK's meme then cuts to the scene of Daenerys Targaryen's DRAGON awakening from "Game of Thrones". It just so happens that I ALSO covered "GoT" in my "COIN Symbolism" decode because Targaryens, when they are born, are compared to a "Coin Toss", and Daenerys's COIN "landed on MADNESS." A lot of people seem to think the idea that Kevin and Keith would be behind a meme coin is MADNESS don't they? CONTINUE TO PART 2 #GME $GME #GAMESTOP $BP

The Prophetic Outlaw

49,712 views • 5 months ago