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Solid script with new dimension. Meru edhi imagine chesina daniki minchi ee untadi movie - Gopichandh Malineni 🔥🥵 Fan Boy sambavam loading. This time it's very huge #NBK111 #NandamuriBalakrishna

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NBK

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46,213 просмотров • 1 год назад •via X (Twitter)

ИскусствоЮморИгры#NBK111#NandamuriBalakrishna
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Фото профиля HARI1234
HARI12341 год назад

@megopichand Emotional scenes ekkuva rayamanu bro

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FANCO2 лет назад

NEW OFFICIAL COLLABORATION ALERT! Get your PERSONALIZED @Godzilla_Toho Japanese hanko stamps at for yourself, friends and family! #fanco #godzilla #GodzillaMinusOne 👉

Фото профиля Yellow Soldier
Yellow Soldier1 год назад

@megopichand daaku maharaj range lo undali

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Iam a huge fan of Balayya Garu. This film will be treat to the fans and movie lovers - Koratala Siva 🔥 Fan Boy Sambavam Loading #NBK112 #NBKxKoratalaSiva
0:41

Iam a huge fan of Balayya Garu. This film will be treat to the fans and movie lovers - Koratala Siva 🔥 Fan Boy Sambavam Loading #NBK112 #NBKxKoratalaSiva

NBK

37,232 просмотров • 2 месяцев назад

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast
2:54

Quentin Taratino said Lawrence Fishburne’s performance in King of New York was so incredible he thought - “he could be the greatest actor of his generation”. He explains: "As great as Christopher Walken is in this movie. To me, it's Larry Fishburne's movie - it was the rock that becomes a diamond aspect of the movie. It's why I could defend this movie against all comers, because to me, Fish's performance in this movie was comparable to a young Brando. It was the most exciting performance by an actor of his generation that I'd seen in a movie of that time. And I thought, well, that's it. There is a new Marlon Brando, and his name is Larry Fishburne - it was amazing, it was mesmerizing… He is the first hip hop gangster in movie history. That character had never been done before this. He invented that character. And he invented it as something to do. It wasn't in the original script. He came up with that himself… The three big Fishburne moments to me, is his opening sequence with…Tito. That's it, with Tito - black glove dude. And his reunion with Frank. And then it's the chicken scene (see below). Those are his three big arias. Not only that though - expressions that I would later hear for the rest of the decade, I actually heard for the first time in that scene. I'd never heard the expression; “I'll slap the black off you” before. That was the first time I heard it when Fish says it to Snipes. I've since heard it many times… And that was actually the first time I ever heard, “fuck you very much”. And I would proceed to hear that for the rest of the 90s. But those were the first times I'd ever heard those expressions… As terrific as he has been in other things - the level of excitement that I had over him when this movie was over, I have never had that excitement again. I thought, with this, he could be the greatest actor of his generation. That was an actual, real fucking thing. He could be the greatest actor of his generation after seeing this." Quote comes from The Rewatchables podcast

Gangster Cinema Central

657,929 просмотров • 3 месяцев назад

🚨 WARNING: SOMETHING VERY BAD IS HAPPENING RIGHT NOW!! The stock market keeps pushing to new all-time highs. Nvidia is leading the charge. But almost nobody is paying attention to the real problem. A huge AI bubble is inflating at incredible speed and about to pop. This has happened before. 2000: Cisco was the "god of the internet" with routers, switches, infrastructure. The stock crashed 90% and never fully recovered. Today: Nvidia is the "god of AI" with chips, data centers, infrastructure. Same role. Same script. But the risk is much bigger. Let me explain why. This time, concentration is extreme. The "Magnificent 7" make up 30% of the S&P 500. If AI falls, the whole index falls. Big Tech CapEx is exploding. $650 billion only in 2026. But where is the ROI? Nobody knows. If Google and Microsoft don't show real profits, they will cut orders. Then Nvidia collapses. Then the whole index follows. Japan, holding trillions in U.S. Treasuries, is about to hike rates. When they sell, global liquidity evaporates. Risk assets get crushed first. This is not 2000. This is 2000 with leverage, concentration, and a liquidity shock loading. For the record, I've called every major turn for the last 10 years, including the $111K top in October. Turn on notifications. When the AI bubble bursts, I'll call it here publicly, like I always do.
0:31

🚨 WARNING: SOMETHING VERY BAD IS HAPPENING RIGHT NOW!! The stock market keeps pushing to new all-time highs. Nvidia is leading the charge. But almost nobody is paying attention to the real problem. A huge AI bubble is inflating at incredible speed and about to pop. This has happened before. 2000: Cisco was the "god of the internet" with routers, switches, infrastructure. The stock crashed 90% and never fully recovered. Today: Nvidia is the "god of AI" with chips, data centers, infrastructure. Same role. Same script. But the risk is much bigger. Let me explain why. This time, concentration is extreme. The "Magnificent 7" make up 30% of the S&P 500. If AI falls, the whole index falls. Big Tech CapEx is exploding. $650 billion only in 2026. But where is the ROI? Nobody knows. If Google and Microsoft don't show real profits, they will cut orders. Then Nvidia collapses. Then the whole index follows. Japan, holding trillions in U.S. Treasuries, is about to hike rates. When they sell, global liquidity evaporates. Risk assets get crushed first. This is not 2000. This is 2000 with leverage, concentration, and a liquidity shock loading. For the record, I've called every major turn for the last 10 years, including the $111K top in October. Turn on notifications. When the AI bubble bursts, I'll call it here publicly, like I always do.

MARMOT

365,263 просмотров • 4 месяцев назад

Alejandro G. Iñárritu on why “Amores Perros" (2000) was an important movie in Mexican history: "Even when we were a very small independent film in a very small section that is not even official, it became the film that everybody wanted to see." When they made “Amores Perros" Iñárritu said, the Mexican film industry was producing only five to seven local films a year from the same few directors, with a nationalistic flavor, subsidized by the government. Maybe one would wind up in theaters. “Every director that I knew at that time, they [had] just made one film. And they were already 50 years old. A film was considered a one-time opportunity, and you better make sure that you put all you have to say there." '"Amores Perros' had an incredible, solid, complex script. Mexico City is a complex city with incredible ancient culture with visual traditions. It has the third most museums in the world. And we were middle-class, educated. So we can see and observe: low, high, wherever. We were having access to many things. We were all Chilango, so we knew exactly how that city smells and feels. There was a new government coming, that threw out the party dictatorship of 70 years. So there was hope and a feeling that we needed to shake who we were, how we talk about ourselves, how we see ourselves. This film came into the right moment." ("Alejandro G. Iñárritu on Revisiting ‘Amores Perros’ After 25 Years, and His New Tom Cruise Movie: ‘He Will Surprise the World’", Anne Thompson, Indiewire, 2025) P.S: On this day, 26 years ago, “Amores Perros" (2000) premiered at the Cannes Film Festival, France.
1:30

Alejandro G. Iñárritu on why “Amores Perros" (2000) was an important movie in Mexican history: "Even when we were a very small independent film in a very small section that is not even official, it became the film that everybody wanted to see." When they made “Amores Perros" Iñárritu said, the Mexican film industry was producing only five to seven local films a year from the same few directors, with a nationalistic flavor, subsidized by the government. Maybe one would wind up in theaters. “Every director that I knew at that time, they [had] just made one film. And they were already 50 years old. A film was considered a one-time opportunity, and you better make sure that you put all you have to say there." '"Amores Perros' had an incredible, solid, complex script. Mexico City is a complex city with incredible ancient culture with visual traditions. It has the third most museums in the world. And we were middle-class, educated. So we can see and observe: low, high, wherever. We were having access to many things. We were all Chilango, so we knew exactly how that city smells and feels. There was a new government coming, that threw out the party dictatorship of 70 years. So there was hope and a feeling that we needed to shake who we were, how we talk about ourselves, how we see ourselves. This film came into the right moment." ("Alejandro G. Iñárritu on Revisiting ‘Amores Perros’ After 25 Years, and His New Tom Cruise Movie: ‘He Will Surprise the World’", Anne Thompson, Indiewire, 2025) P.S: On this day, 26 years ago, “Amores Perros" (2000) premiered at the Cannes Film Festival, France.

DepressedBergman

134,947 просмотров • 3 месяцев назад

Céline Sciamma on why she made "Portrait of a Lady on Fire" (2019) & on Leonardo Di Caprio being a Lesbian icon: "Sciamma: What I had in mind above all was to make a film about love, with a totally invented story. And when I thought about it, I found that there were few films totally devoted to love, even though they are often the greatest in the history of cinema. It's rare, even though it's the beating heart of our cinephiles. Interviewer: What movies were you thinking of? Sciamma: 'Titanic' (1997), for example. It's a real influence, which I recently revisited. Both films are about the memories of a love affair, almost behind closed doors. I spent a long time looking for a framework and then one day I looked at the script and I thought: "F**k, it's Titanic! It's simply Titanic." There's the prologue, of course, before the flashback, but also the drawing scene, which is very explicit in my film. With this dialogue: "Don't laugh, be serious…" Interviewer Is it an important film for you? Sciamma: Collectively, it's important. There are different film regimes that count in our cinephilia: those we love and those that are part of a collective phenomenon. It's rare to experience those moments, especially when it's about 'Titanic' and not 'Qu’est-ce qu’on a fait au bon Dieu?' (2014). Titanic was a cultural moment, and in my life as a cinephile, it's probably the most important one, even more so because of the shared love. And with a real queer dynamic! Leo DiCaprio is a lesbian icon. A very new masculinity at the time, in cinema - with time it deepens enormously, it's exciting to watch. At the time, in that youth and in that body, there was really something hyper queer. And then the love scene is a total inversion of the conventions: she's on top of him, she reassures him, he’s the one who’s breathless... All that in the back seat of a car, like in any good teen movie. There were great subversive effects in 'Titanic', and that's something James Cameron always did anyway. What it also has in common with my film is the idea that the greatest loves are emancipatory and that the loss of them is the price of our future fulfillment. At the end of 'Titanic', there are three photos of a girl in pants riding a horse! It’s one of the few films that asserts that love can bring positive things, even when it's over. In my opinion, this is one of the hidden reasons for the incredible success of the film." ("CÉLINE SCIAMMA : DiCaprio est une icône lesbienne.", Axel Cadieux, Sofilm, 2020) P.S: On this day, 7 years ago, "Portrait of a Lady on Fire" (2019) premiered at the Cannes Film Festival, France.
1:01

Céline Sciamma on why she made "Portrait of a Lady on Fire" (2019) & on Leonardo Di Caprio being a Lesbian icon: "Sciamma: What I had in mind above all was to make a film about love, with a totally invented story. And when I thought about it, I found that there were few films totally devoted to love, even though they are often the greatest in the history of cinema. It's rare, even though it's the beating heart of our cinephiles. Interviewer: What movies were you thinking of? Sciamma: 'Titanic' (1997), for example. It's a real influence, which I recently revisited. Both films are about the memories of a love affair, almost behind closed doors. I spent a long time looking for a framework and then one day I looked at the script and I thought: "F**k, it's Titanic! It's simply Titanic." There's the prologue, of course, before the flashback, but also the drawing scene, which is very explicit in my film. With this dialogue: "Don't laugh, be serious…" Interviewer Is it an important film for you? Sciamma: Collectively, it's important. There are different film regimes that count in our cinephilia: those we love and those that are part of a collective phenomenon. It's rare to experience those moments, especially when it's about 'Titanic' and not 'Qu’est-ce qu’on a fait au bon Dieu?' (2014). Titanic was a cultural moment, and in my life as a cinephile, it's probably the most important one, even more so because of the shared love. And with a real queer dynamic! Leo DiCaprio is a lesbian icon. A very new masculinity at the time, in cinema - with time it deepens enormously, it's exciting to watch. At the time, in that youth and in that body, there was really something hyper queer. And then the love scene is a total inversion of the conventions: she's on top of him, she reassures him, he’s the one who’s breathless... All that in the back seat of a car, like in any good teen movie. There were great subversive effects in 'Titanic', and that's something James Cameron always did anyway. What it also has in common with my film is the idea that the greatest loves are emancipatory and that the loss of them is the price of our future fulfillment. At the end of 'Titanic', there are three photos of a girl in pants riding a horse! It’s one of the few films that asserts that love can bring positive things, even when it's over. In my opinion, this is one of the hidden reasons for the incredible success of the film." ("CÉLINE SCIAMMA : DiCaprio est une icône lesbienne.", Axel Cadieux, Sofilm, 2020) P.S: On this day, 7 years ago, "Portrait of a Lady on Fire" (2019) premiered at the Cannes Film Festival, France.

DepressedBergman

26,533 просмотров • 3 месяцев назад

🚨 WARNING: SOMETHING VERY BAD IS HAPPENING RIGHT NOW Nvidia just pumped +7% in a single day, pushing the stock market to new all-time highs. Media are calling it a historic rally. But almost nobody is paying attention to the real problem: A massive AI bubble is inflating at an incredible speed and it's about to pop. This has happened before. 2000: Cisco was the "god of the internet" with routers, switches, infrastructure. Then the bubble burst. The stock crashed 90% and took 25 years just to recover. Today: Nvidia is the "god of AI" with chips, data centers, infrastructure. Same role. Same script. But the risk is much bigger. Let me explain why. Market concentration just hit an all-time high. The "Magnificent 7" now accounts for over 34% of the entire S&P 500. And that's not the worst part. Big Tech CapEx is exploding: Over $650 billion in 2026 alone. But where is the ROI? Nobody knows. If Microsoft and Google don't show real revenue, they will cut chip orders. Then Nvidia collapses, and the entire index follows. Meanwhile, Japan, holding trillions in U.S. Treasuries, is preparing to hike rates. When they unwind, global liquidity evaporates, and risk assets get crushed first. This isn't just 2000. This is 2000 with historical leverage, record concentration, and a liquidity shock loading. Remember, I've called every major turn for the last 10 years, including the Bitcoin crash from $111K and the SpaceX drop from $220. When the bubble bursts, I'll call it here publicly like I always do. Stay close.
0:28

🚨 WARNING: SOMETHING VERY BAD IS HAPPENING RIGHT NOW Nvidia just pumped +7% in a single day, pushing the stock market to new all-time highs. Media are calling it a historic rally. But almost nobody is paying attention to the real problem: A massive AI bubble is inflating at an incredible speed and it's about to pop. This has happened before. 2000: Cisco was the "god of the internet" with routers, switches, infrastructure. Then the bubble burst. The stock crashed 90% and took 25 years just to recover. Today: Nvidia is the "god of AI" with chips, data centers, infrastructure. Same role. Same script. But the risk is much bigger. Let me explain why. Market concentration just hit an all-time high. The "Magnificent 7" now accounts for over 34% of the entire S&P 500. And that's not the worst part. Big Tech CapEx is exploding: Over $650 billion in 2026 alone. But where is the ROI? Nobody knows. If Microsoft and Google don't show real revenue, they will cut chip orders. Then Nvidia collapses, and the entire index follows. Meanwhile, Japan, holding trillions in U.S. Treasuries, is preparing to hike rates. When they unwind, global liquidity evaporates, and risk assets get crushed first. This isn't just 2000. This is 2000 with historical leverage, record concentration, and a liquidity shock loading. Remember, I've called every major turn for the last 10 years, including the Bitcoin crash from $111K and the SpaceX drop from $220. When the bubble bursts, I'll call it here publicly like I always do. Stay close.

MARMOT

84,868 просмотров • 9 дней назад

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010
6:40

Samuel L. Jackson explains how he landed the role of Jules in Pulp Fiction, and what it was like seeing the film for the first time on the big screen: “Pulp Fiction and I came together in a very strange kind of way. I remember auditioning for Quentin for Reservoir Dogs in New York (for the role of of Detective Jim Holdaway, Mr. Orange’s police contact). And apparently I didn't get that role. But I was at Sundance the year that he screened it for the first time. I was sitting there and I watched that movie - I was awed by it. I mean, there were people running up the aisles when Michael Madsen was cutting the cop's ear off. People were going, "Oh my God, this is horrible!" All these “auteurs” were running out of the theatre. I was like, "This is good. This is happening. This is different." So after the film, I walked up to Quentin and said, "This film's amazing, man. It's great." And he looked at me and said, "Hey! How'd you like the guy who got your part?" And I was amazed that he even remembered who I was - but he remembered me. A year or so later, I got a phone call saying Quentin Tarantino wants to have dinner with you, because he'd seen Jungle Fever and he liked that Gator character. When we had dinner, we were sitting there talking. We started talking about Hong Kong films and cartoons and foreign movies and obscure things that we watched, horror movies. We found out we liked the same kind of stuff. And he told me he was writing this thing, and he was writing this part with me in mind. He was going to send it to me. I went off to do another film. I was in the backwoods of Virginia somewhere doing a film, and the script came. A little plain brown wrapper from Jersey Films. And Jersey's got these gangster images on the logo. And it said, "If you show this script to anybody, two guys named Ernie and Luigi will come and break both of your legs." Whatever. I went, "Yeah, right." So I sat down and read it. Boom. I read this thing. It's like, "Oh my God. This is awesome." And then I said to myself, "Nobody writes a script this good. There's no way that this script is as good as I thought it was." I closed it. I opened it again. I read it immediately. Okay. This is great - If whoever produces this film lets him shoot exactly what I just read, if they stay away from it, they don't try to edit any of this stuff out - this is going to be a great film. It's going to be kind of audience-specific, because I like that kind of stuff. I have friends that I knew would like it. It was a generational kind of film. I never thought it would cross over and do all this stuff. We shot it. We had a great time doing it. And the first time I actually saw the film was at the Cannes Film Festival. That night, it screened, and I was sitting there watching the film. The audience was loving this movie, loving it. About halfway through, I realized there were subtitles at the bottom of it. So I said, "Hey, these people are reading it, and they're getting it. This might be special. This really might be something special." And actually, by the time it was over, there were tears running down my face. I was just so pleased that I was part of that particular film… I never felt that satisfied, and that kind of full about a performance and about being part of something as I was in that particular moment.” Quote comes from an Interview with the American Film Institute 2010

Gangster Cinema Central

85,366 просмотров • 2 месяцев назад

I played Clair Obscur Expedition 33 for 60+ hours, defeated all the superbosses and here is my review: -2 graphic modes on PS5 -Many options (Motion Blur, Film Grain, Chromatic Aberration and more) -Played the game on the PS5 in performance mode -Solid 60fps with great picture quality -Very fast loading times -Minimal hud design -Played on the normal difficulty (was just right) -You can change the difficulty anytime (up and down) -The visuals and art direction in this game are insane, trust me -Every new location looks stunning and tells a story -The art direction is so unreal but also so authentic at the same time, stunnig work, the art director should get a raise for this -THE VOICE ACTING is also top tier, every character is brought to life with so much passion and love -The dialogue quality is also amazing and really reminded me of Naughty Dog games -How the characters behave and communicate with each other is simply lifelike -The characters also have complex personalities -Some very dark themes and overall a very mature story (death/loss, love, swearing, blood and gore) -The story is amazing and remains exciting until the very end -Some insane "holy shit" story moments -The game is more linear with some open zones and one massive overworld -I would compare it to Final Fantasy 10 in a very good way -There are also some beautiful fixed camera angles that took me right back to that time -The best overworld map out there, the size is MASSIVE and full of content (hidden areas, superbosses, shortcuts, lore and more) -You can camp everywhere on the map -Camp is your hub that will change overtime (extra dialogue, new NPCs, side content, listen to music and more) -You can level up your relationships with various characters -Romances are also a thing -Exploration is very rewarding, no minimap works great -Dedicated jump button and no fall damage is a huge win -There are so many cool things to collect -The game will respect your time, no long walks and good checkpoints -New outfits and weapons will look different (also in cutscenes) -You can skip cutscenes before boss attempts -The combat is super fun and a mix of Persona, Final Fantasy 10 and Legend of Dragoon -One button press combat is just stunning and will flow over time -You can see every enemy before the fight, quick in and out -Some of the boss fights are gigantic with insane attacks and some stunning "From Software boss arenas" (no joke) -The enemy variety is great with some terrifying creature design -The build variety is also crazy with so many combinations -Some of the late game bosses and especially the superbosses are no joke -Soundtrack is insane and every track is a banger -Different battle themes, boss themes, secret boss themes and many more -Some of the tracks especially in the emotional scenes hit me so hard -Game is super polished but I've encountered some small bugs (sound disappear, could no longer jump and some other small things) -Bugs got easy fixed with a reload (day 1 patch could fix that) -Not a fan of some jumping puzzles, but there are optional -Skill management becomes a little bit confusing as the game progresses (menu design could be better) -Would love a mechanic to kill lower level enemies fast and quick -New game plus on day 1 (with extra stuff) is amazing -The game is made by around 30 people, 30 hours of main story, 30 hours of bonus content, insane number of outfits, story focused, no microtransactions bullshit, new game plus mode on day 1 and a price tag of around 50 bucks, need I say more This game is brimming with attention to detail and is a true passion project by fans for fans. The developers may not have had the biggest budget, but they had a clear vision and the result is simply outstanding. My Verdict: 9.5/10 #ClairObscurExpedition33 Clair Obscur: Expedition 33 Shuhei Yoshida
0:20

I played Clair Obscur Expedition 33 for 60+ hours, defeated all the superbosses and here is my review: -2 graphic modes on PS5 -Many options (Motion Blur, Film Grain, Chromatic Aberration and more) -Played the game on the PS5 in performance mode -Solid 60fps with great picture quality -Very fast loading times -Minimal hud design -Played on the normal difficulty (was just right) -You can change the difficulty anytime (up and down) -The visuals and art direction in this game are insane, trust me -Every new location looks stunning and tells a story -The art direction is so unreal but also so authentic at the same time, stunnig work, the art director should get a raise for this -THE VOICE ACTING is also top tier, every character is brought to life with so much passion and love -The dialogue quality is also amazing and really reminded me of Naughty Dog games -How the characters behave and communicate with each other is simply lifelike -The characters also have complex personalities -Some very dark themes and overall a very mature story (death/loss, love, swearing, blood and gore) -The story is amazing and remains exciting until the very end -Some insane "holy shit" story moments -The game is more linear with some open zones and one massive overworld -I would compare it to Final Fantasy 10 in a very good way -There are also some beautiful fixed camera angles that took me right back to that time -The best overworld map out there, the size is MASSIVE and full of content (hidden areas, superbosses, shortcuts, lore and more) -You can camp everywhere on the map -Camp is your hub that will change overtime (extra dialogue, new NPCs, side content, listen to music and more) -You can level up your relationships with various characters -Romances are also a thing -Exploration is very rewarding, no minimap works great -Dedicated jump button and no fall damage is a huge win -There are so many cool things to collect -The game will respect your time, no long walks and good checkpoints -New outfits and weapons will look different (also in cutscenes) -You can skip cutscenes before boss attempts -The combat is super fun and a mix of Persona, Final Fantasy 10 and Legend of Dragoon -One button press combat is just stunning and will flow over time -You can see every enemy before the fight, quick in and out -Some of the boss fights are gigantic with insane attacks and some stunning "From Software boss arenas" (no joke) -The enemy variety is great with some terrifying creature design -The build variety is also crazy with so many combinations -Some of the late game bosses and especially the superbosses are no joke -Soundtrack is insane and every track is a banger -Different battle themes, boss themes, secret boss themes and many more -Some of the tracks especially in the emotional scenes hit me so hard -Game is super polished but I've encountered some small bugs (sound disappear, could no longer jump and some other small things) -Bugs got easy fixed with a reload (day 1 patch could fix that) -Not a fan of some jumping puzzles, but there are optional -Skill management becomes a little bit confusing as the game progresses (menu design could be better) -Would love a mechanic to kill lower level enemies fast and quick -New game plus on day 1 (with extra stuff) is amazing -The game is made by around 30 people, 30 hours of main story, 30 hours of bonus content, insane number of outfits, story focused, no microtransactions bullshit, new game plus mode on day 1 and a price tag of around 50 bucks, need I say more This game is brimming with attention to detail and is a true passion project by fans for fans. The developers may not have had the biggest budget, but they had a clear vision and the result is simply outstanding. My Verdict: 9.5/10 #ClairObscurExpedition33 Clair Obscur: Expedition 33 Shuhei Yoshida

GermanStrands

800,379 просмотров • 1 год назад

🔥 I saw, "a white egg," and, "it's been confirmed to me by ranking members of the UAP Task Force that what we were working with that night was in fact NHI, and it was not a unique experience." ~New Whistleblower Jake Barber 🔥 (Here's the full clip, tease, and transcript of the new alleged whistleblower, Jake Barber, who will be featured this Saturday on NewsNation.) Ross Coulthart: "You may have seen the promotional publicity by now for a very major story which we intend to broadcast on NewsNation this coming Saturday at 8pm Eastern Time on NewsNation. It's a huge story. It's one I've been working on for over two years. You'll recall back in 2023, we broke the David Grusch interview, where the former NGIA, National Geospatial Intelligence Agency insider, revealed what he knew from his exhaustive investigations into the legacy retrieval program. "The big criticism, always, of David Grusch was that he didn't have any direct personal knowledge of the legacy program. I actually understand he does, but he can't talk about it. But today I'm going to tell you about a story that will, I suspect, rock Washington and possibly have a huge influence on a lot of people around the world who've wanted answers to that big question for many, many years: Are we alone? And the short answer: We're not. "This week, we are presenting definitive evidence from firsthand whistleblowers, people who have operated within the legacy crash retrieval program. That is retrievals of non-human craft. Principal informant is a former, very-well-respected, Tier 1 operator. Highly-trained, Tier 1 military operator, trained at the elite levels of the U.S. military. His service, verified and testified to by three other witnesses. "The account that he gives of what he saw on what he euphemistically refers to as the range, the retrieval of non-human craft, is backed by two of his colleagues who were there with him. "This is going to be a ground breaking story, and yes, we're running it right before the inauguration, because we want to send a message. The message is: It's time for the public to be told the truth. The government, or sections of the government, have been knowingly, intentionally lying to the public for years, and if they want to fight, they can have one, because people are now prepared to come forward. "This week, you're going to hear from a firsthand whistleblower. Let's have a listen." ~~~ Coulthart: So tell me about the moment when you realized that you were involved in a retrieval of non-human technology, alien tech." Jake Barber: "So it became very clear the first time our communication process and procedure was modified. And then just visually looking at the object on the ground, you could tell that it was extraordinary and anomalous. It was, it was not human." Coulthart: "How close did you get?" Barber: "Well, I was a helicopter pilot and I operate with 150 foot to 200 foot long line. So, I got within 150 feet of this object." Coulthart: "What did you see?" Barber: "I saw an egg, a white egg." Coulthart: "Was there any visible propulsion system on it?" Barber: "No, not what we would know.. There's no engine, there was no thermal signature. I was operating at night when I finally came in to pick it up. So I'm working under night-vision goggles at the time. And it was quite clear. I flipped them up, flipped them down, and looked at it a couple of different ways." Coulthart: "How did you know that that egg-shaped object was non-human in origin?" Barber: "Well, visually, after seeing all kinds of things in my past, it was clearly something that was ridiculously looking. It's inconsistent with anything I'd ever seen before. I can also tell you that the reaction by my team, we all knew we were dealing with something extraordinary." Coulthart: "And at no stage were you ever subsequently told that the craft was of non-human origin?" Barber: "I will tell you that during this process, over the last couple of years, it's been confirmed to me by ranking members of the UAP Task Force that what we were working with that night was in fact NHI, and it was not a unique experience." ~~~ Coulthart: "Now, as you'll see in this week's story, the bonafides of our witnesses are verified to our satisfaction. We've been able to check their credentials and their service with people at the very top of the national security establishment, and inside the Congress. We know that the evidence has already been presented to the Pentagon's UFO Investigation Office, AARO - the All-domain Anomaly Resolution Office. We know that evidence has been given by our primary whistleblower to the Senate Select Committee for intelligence. "Congress already has this information. We've made sure that our whistleblower follows the proper form to ensure that the proper authorities are notified and alerted to what the significances of this witness has to say. It's going to be very interesting to see what happens, but it's also going to be very interesting to see what the new government's response, the new president's response is to the ongoing drone incursions. Because it's quite clear there is a connection between the drone incursions and the phenomenon of UAPs." Watch the full interview during NewsNation’s TV special: “Hunting UFOs: The Crash Retrieval Whistleblower” on Saturday, Jan. 18 at 8 p.m. ET.
5:55

🔥 I saw, "a white egg," and, "it's been confirmed to me by ranking members of the UAP Task Force that what we were working with that night was in fact NHI, and it was not a unique experience." ~New Whistleblower Jake Barber 🔥 (Here's the full clip, tease, and transcript of the new alleged whistleblower, Jake Barber, who will be featured this Saturday on NewsNation.) Ross Coulthart: "You may have seen the promotional publicity by now for a very major story which we intend to broadcast on NewsNation this coming Saturday at 8pm Eastern Time on NewsNation. It's a huge story. It's one I've been working on for over two years. You'll recall back in 2023, we broke the David Grusch interview, where the former NGIA, National Geospatial Intelligence Agency insider, revealed what he knew from his exhaustive investigations into the legacy retrieval program. "The big criticism, always, of David Grusch was that he didn't have any direct personal knowledge of the legacy program. I actually understand he does, but he can't talk about it. But today I'm going to tell you about a story that will, I suspect, rock Washington and possibly have a huge influence on a lot of people around the world who've wanted answers to that big question for many, many years: Are we alone? And the short answer: We're not. "This week, we are presenting definitive evidence from firsthand whistleblowers, people who have operated within the legacy crash retrieval program. That is retrievals of non-human craft. Principal informant is a former, very-well-respected, Tier 1 operator. Highly-trained, Tier 1 military operator, trained at the elite levels of the U.S. military. His service, verified and testified to by three other witnesses. "The account that he gives of what he saw on what he euphemistically refers to as the range, the retrieval of non-human craft, is backed by two of his colleagues who were there with him. "This is going to be a ground breaking story, and yes, we're running it right before the inauguration, because we want to send a message. The message is: It's time for the public to be told the truth. The government, or sections of the government, have been knowingly, intentionally lying to the public for years, and if they want to fight, they can have one, because people are now prepared to come forward. "This week, you're going to hear from a firsthand whistleblower. Let's have a listen." ~~~ Coulthart: So tell me about the moment when you realized that you were involved in a retrieval of non-human technology, alien tech." Jake Barber: "So it became very clear the first time our communication process and procedure was modified. And then just visually looking at the object on the ground, you could tell that it was extraordinary and anomalous. It was, it was not human." Coulthart: "How close did you get?" Barber: "Well, I was a helicopter pilot and I operate with 150 foot to 200 foot long line. So, I got within 150 feet of this object." Coulthart: "What did you see?" Barber: "I saw an egg, a white egg." Coulthart: "Was there any visible propulsion system on it?" Barber: "No, not what we would know.. There's no engine, there was no thermal signature. I was operating at night when I finally came in to pick it up. So I'm working under night-vision goggles at the time. And it was quite clear. I flipped them up, flipped them down, and looked at it a couple of different ways." Coulthart: "How did you know that that egg-shaped object was non-human in origin?" Barber: "Well, visually, after seeing all kinds of things in my past, it was clearly something that was ridiculously looking. It's inconsistent with anything I'd ever seen before. I can also tell you that the reaction by my team, we all knew we were dealing with something extraordinary." Coulthart: "And at no stage were you ever subsequently told that the craft was of non-human origin?" Barber: "I will tell you that during this process, over the last couple of years, it's been confirmed to me by ranking members of the UAP Task Force that what we were working with that night was in fact NHI, and it was not a unique experience." ~~~ Coulthart: "Now, as you'll see in this week's story, the bonafides of our witnesses are verified to our satisfaction. We've been able to check their credentials and their service with people at the very top of the national security establishment, and inside the Congress. We know that the evidence has already been presented to the Pentagon's UFO Investigation Office, AARO - the All-domain Anomaly Resolution Office. We know that evidence has been given by our primary whistleblower to the Senate Select Committee for intelligence. "Congress already has this information. We've made sure that our whistleblower follows the proper form to ensure that the proper authorities are notified and alerted to what the significances of this witness has to say. It's going to be very interesting to see what happens, but it's also going to be very interesting to see what the new government's response, the new president's response is to the ongoing drone incursions. Because it's quite clear there is a connection between the drone incursions and the phenomenon of UAPs." Watch the full interview during NewsNation’s TV special: “Hunting UFOs: The Crash Retrieval Whistleblower” on Saturday, Jan. 18 at 8 p.m. ET.

Joe Murgia

159,306 просмотров • 1 год назад

First impressions on The Blood of Dawnwalker without spoilers: I finished the prologue in about 3 hours. So far I've been having a genuinely great time with this game. 🩸 As someone who absolutely loves dark fantasy, Dawnwalker scratches a very specific itch for me. The atmosphere and music are phenomenal and the lore and world-building immediately pulled me in. And as a huge Witcher fan I'm getting so much of that same haunting, melancholic feeling I loved in Velen. 🩸 I'm already really invested in the characters. They've grown on me surprisingly quickly and I genuinely feel like I'm on a journey to save my own family at this point 😂 🩸 Voice acting is excellent. Imo, it's one of the things that can make or break a story focused game and Dawnwalker absolutely nails it. 🩸 Combat surprised me! I immediately thought of KCD when I first saw it which worried me a little tbh since I always found KCD's combat a bit lanky but Dawnwalker's combat doesn't feel lanky or awkward at all. I'm actually having a lot of fun with it. And I can't wait to experience more of Coen's vampiric abilities. 🩸 I'm absolutely digging the time system! I was worried it would make the game feel rushed but I actually love how it works. Choices feel much more meaningful and it makes me even more excited to replay and make completely different decisions. 🩸 And yes, as expected there are bugs 😭 But so far nothing I have encountered has broken the game, ruined my immersion or actually frustrated me which is pretty impressive for a new IP from a new studio imo. 🩸 Oh and I'm playing in Performance Mode on a base PS5 and it feels smooth. It's safe to say I'm obsessed already and looking forward to playing more ♥️
0:34

First impressions on The Blood of Dawnwalker without spoilers: I finished the prologue in about 3 hours. So far I've been having a genuinely great time with this game. 🩸 As someone who absolutely loves dark fantasy, Dawnwalker scratches a very specific itch for me. The atmosphere and music are phenomenal and the lore and world-building immediately pulled me in. And as a huge Witcher fan I'm getting so much of that same haunting, melancholic feeling I loved in Velen. 🩸 I'm already really invested in the characters. They've grown on me surprisingly quickly and I genuinely feel like I'm on a journey to save my own family at this point 😂 🩸 Voice acting is excellent. Imo, it's one of the things that can make or break a story focused game and Dawnwalker absolutely nails it. 🩸 Combat surprised me! I immediately thought of KCD when I first saw it which worried me a little tbh since I always found KCD's combat a bit lanky but Dawnwalker's combat doesn't feel lanky or awkward at all. I'm actually having a lot of fun with it. And I can't wait to experience more of Coen's vampiric abilities. 🩸 I'm absolutely digging the time system! I was worried it would make the game feel rushed but I actually love how it works. Choices feel much more meaningful and it makes me even more excited to replay and make completely different decisions. 🩸 And yes, as expected there are bugs 😭 But so far nothing I have encountered has broken the game, ruined my immersion or actually frustrated me which is pretty impressive for a new IP from a new studio imo. 🩸 Oh and I'm playing in Performance Mode on a base PS5 and it feels smooth. It's safe to say I'm obsessed already and looking forward to playing more ♥️

Elia

28,932 просмотров • 2 дней назад

Now that I'm 80 hours in and have completed Rinacita, I want to give my thoughts on Wuthering Waves as a whole, both from the perspective of a new player and as someone who hates the gacha monetization model. When I first started I was told that 1.0 (The first arc/region of the game) was mid. I disagree with that sentiment. While the first 7 or so hours were bogged down a bit by lore terms and exposition that often left me confused, around Yinlin's companion quest is when I started getting invested and upon reaching Mt. Firmament (10-15 hours?) I was locked in. What I WILL say, is that the first arc of the game is mid in COMPARISON to what the game offers and becomes later on in every single regard, writing, dialogue, gameplay, music, map/world design, everything. Rinacita is truly a game changer and you can see the game's budget increase in real time with higher quality animations and cutscenes, as well as the map basically being an entire game on top. Every single companion quest without fail has ranged from solid to great, even making me tear up on a few occasions (Encore lol) and making me care about characters I never thought I would. They're truly a highlight and the writing is what makes this game go from just playing with attractive characters to playing with characters you actually care about. The sheer amount of content this game offers is absurd with both varying forms of short/long form content. It's hard for the game to feel repetitive when it gives you a new character to play as or constantly introduces new mechanics. (puzzles, traversal, combat challenges, bosses, etc) Even 80 hours in there's constantly new mechanics being introduced to me. The combat and team building is great, simple but with a level of depth that allows for some player expression (especially newer characters) and the various Forte's and movesets of the characters are both satisfying and incredibly flashy. The audio design specifically on some attacks is very punchy like Chisa's ult. The game is also just, gorgeous. The art design for everything in Wuwa is stunning, the map sizes are huge with varying biomes and the heights you can fly can be jaw dropping at times. Almost every location is screenshot worthy and the music does a lot of heavy lifting to, especially once you get to Rinacita. Wuwa just might also be the most F2P friendly Gacha that exists and while I stand by the idea that every game (including this one) would be better without gacha systems I have to give credit where it's due. It is INCREDIBLY generous with summoning currency (asterite) and I'd even wager to say, due to the store prices being absurd (If I remember correctly it's about $25 for 1 multi-summon) unless you're very well off it's a horrible decision to spend money for summons in this game when you could easily grind that in 2-3 hours of gameplay. Not to mention the pity system being very favorable and lenient. Even if you find yourself playing with mostly base characters for 40 hours (like I did because I didn't know you got more asterite from exploring than doing quests) the game is constantly giving you new characters to temporarily play as in quests to stop combat from getting too repetitive. Once again the characters are a massive highlight, in design, gameplay and writing, this is quickly becoming one of my favorite worlds where every arc introduces new favorites for me. I find myself enjoying where Rover is being taken as a character and that she's starting to speak more and more, slowly seeming to become less of a self-insert even if she'll always be that to an extent. I'm not going to lie to you and say the story is some unique masterpiece that avoids all tropes. It's not, you've likely seen similar stories told, but it executes everything at a high level and accomplishes what it's trying to do. The biggest flaws are the file size and the prices of the in-game store, as well as it's nature as a gacha game. Even if it may be the most generous one. The actual optimization of the game I find is solid, on PC with a 4060 I run on almost max settings and get 70+fps even with how massive the world is. The starting few hours can also be slow and exposition heavy with lore-terms you don't understand. Leaving you confused and disconnected for awhile, even later on in Rinacita the dialogue can stretch on for too long sometimes which can be a pace killer, but it doesn't ruin the quality of the stories it's trying to tell. From what people say I haven't even gotten to the best part of the game and I'm very excited! If I were to give a current rating, it would be a 8/10 and as long as you don't spend money on summons, I would recommend at least giving it a try.
11:03

Now that I'm 80 hours in and have completed Rinacita, I want to give my thoughts on Wuthering Waves as a whole, both from the perspective of a new player and as someone who hates the gacha monetization model. When I first started I was told that 1.0 (The first arc/region of the game) was mid. I disagree with that sentiment. While the first 7 or so hours were bogged down a bit by lore terms and exposition that often left me confused, around Yinlin's companion quest is when I started getting invested and upon reaching Mt. Firmament (10-15 hours?) I was locked in. What I WILL say, is that the first arc of the game is mid in COMPARISON to what the game offers and becomes later on in every single regard, writing, dialogue, gameplay, music, map/world design, everything. Rinacita is truly a game changer and you can see the game's budget increase in real time with higher quality animations and cutscenes, as well as the map basically being an entire game on top. Every single companion quest without fail has ranged from solid to great, even making me tear up on a few occasions (Encore lol) and making me care about characters I never thought I would. They're truly a highlight and the writing is what makes this game go from just playing with attractive characters to playing with characters you actually care about. The sheer amount of content this game offers is absurd with both varying forms of short/long form content. It's hard for the game to feel repetitive when it gives you a new character to play as or constantly introduces new mechanics. (puzzles, traversal, combat challenges, bosses, etc) Even 80 hours in there's constantly new mechanics being introduced to me. The combat and team building is great, simple but with a level of depth that allows for some player expression (especially newer characters) and the various Forte's and movesets of the characters are both satisfying and incredibly flashy. The audio design specifically on some attacks is very punchy like Chisa's ult. The game is also just, gorgeous. The art design for everything in Wuwa is stunning, the map sizes are huge with varying biomes and the heights you can fly can be jaw dropping at times. Almost every location is screenshot worthy and the music does a lot of heavy lifting to, especially once you get to Rinacita. Wuwa just might also be the most F2P friendly Gacha that exists and while I stand by the idea that every game (including this one) would be better without gacha systems I have to give credit where it's due. It is INCREDIBLY generous with summoning currency (asterite) and I'd even wager to say, due to the store prices being absurd (If I remember correctly it's about $25 for 1 multi-summon) unless you're very well off it's a horrible decision to spend money for summons in this game when you could easily grind that in 2-3 hours of gameplay. Not to mention the pity system being very favorable and lenient. Even if you find yourself playing with mostly base characters for 40 hours (like I did because I didn't know you got more asterite from exploring than doing quests) the game is constantly giving you new characters to temporarily play as in quests to stop combat from getting too repetitive. Once again the characters are a massive highlight, in design, gameplay and writing, this is quickly becoming one of my favorite worlds where every arc introduces new favorites for me. I find myself enjoying where Rover is being taken as a character and that she's starting to speak more and more, slowly seeming to become less of a self-insert even if she'll always be that to an extent. I'm not going to lie to you and say the story is some unique masterpiece that avoids all tropes. It's not, you've likely seen similar stories told, but it executes everything at a high level and accomplishes what it's trying to do. The biggest flaws are the file size and the prices of the in-game store, as well as it's nature as a gacha game. Even if it may be the most generous one. The actual optimization of the game I find is solid, on PC with a 4060 I run on almost max settings and get 70+fps even with how massive the world is. The starting few hours can also be slow and exposition heavy with lore-terms you don't understand. Leaving you confused and disconnected for awhile, even later on in Rinacita the dialogue can stretch on for too long sometimes which can be a pace killer, but it doesn't ruin the quality of the stories it's trying to tell. From what people say I haven't even gotten to the best part of the game and I'm very excited! If I were to give a current rating, it would be a 8/10 and as long as you don't spend money on summons, I would recommend at least giving it a try.

🎮𝙆𝙖𝙞𝙮𝙖🎮

100,729 просмотров • 3 месяцев назад

Something strange happened in the mid-noughties... I made three different music videos for Suddenly I See ⚡️ 20 years ago today I first released this song, so I thought it'd be a good opportunity to tell a story... The story starts in the summer of 2005, when our protagonist (moi!) has just agreed that ‘Suddenly I See’ would be the 3rd single from Eye To The Telescope. We set to work on the music video: a performance battle between light KT and dark KT! This version was perhaps the closest to how people were discovering me - through my live television performances and gigs. We shot this version where I am battling another version of myself, with a cool result. This was the video fans in the UK got, and the song wove some magic out on the radio waves. NEXT…my US label decided we needed to make a new video, especially for the US fans. This was a super-cool opportunity which I jumped at, as it meant creatively a whole new take on the song, and I got to work with a Director whose work I loved, Patrick Daughters. I particularly loved his ‘Gold Lion’ video for Yeah, Yeah, Yeahs ✨ We flew to Bucharest, Hungary, to shoot this video, which is circus-themed. This video is definitely one of the most-out there ones I ever shot…parachuting dogs, me as a show girl, me on a trapeze?! I absolutely loved making this video, and also really loved the result, so imagine my surprise when the label told me they didn't want to release it! They felt the old crumbling apartment building shots were just too bleak. It was around the time when the song was used in the movie ‘The Devil Wears Prada’ and had taken on a shiny new meaning. So…we made a THIRD video, which replaced the circus video in the USA. This new, animated version sees me as a 50 foot woman journeying through an animated pop-up world. It's really colourful and reflects that new life the song was taking on. It was a very fun video to make. If you had to ask me to pick my favourite...I’d have to go with parachuting Jack Russells, Top Hat and moustache!!
0:20

Something strange happened in the mid-noughties... I made three different music videos for Suddenly I See ⚡️ 20 years ago today I first released this song, so I thought it'd be a good opportunity to tell a story... The story starts in the summer of 2005, when our protagonist (moi!) has just agreed that ‘Suddenly I See’ would be the 3rd single from Eye To The Telescope. We set to work on the music video: a performance battle between light KT and dark KT! This version was perhaps the closest to how people were discovering me - through my live television performances and gigs. We shot this version where I am battling another version of myself, with a cool result. This was the video fans in the UK got, and the song wove some magic out on the radio waves. NEXT…my US label decided we needed to make a new video, especially for the US fans. This was a super-cool opportunity which I jumped at, as it meant creatively a whole new take on the song, and I got to work with a Director whose work I loved, Patrick Daughters. I particularly loved his ‘Gold Lion’ video for Yeah, Yeah, Yeahs ✨ We flew to Bucharest, Hungary, to shoot this video, which is circus-themed. This video is definitely one of the most-out there ones I ever shot…parachuting dogs, me as a show girl, me on a trapeze?! I absolutely loved making this video, and also really loved the result, so imagine my surprise when the label told me they didn't want to release it! They felt the old crumbling apartment building shots were just too bleak. It was around the time when the song was used in the movie ‘The Devil Wears Prada’ and had taken on a shiny new meaning. So…we made a THIRD video, which replaced the circus video in the USA. This new, animated version sees me as a 50 foot woman journeying through an animated pop-up world. It's really colourful and reflects that new life the song was taking on. It was a very fun video to make. If you had to ask me to pick my favourite...I’d have to go with parachuting Jack Russells, Top Hat and moustache!!

KT Tunstall

11,433 просмотров • 1 год назад

#zhanglinghe's new interview with CCTV Dramas for #Overdo 🔥💬 I had never acted in a Republican drama before, so of course, one of the things that attracted me most to the script at the time was that I could experience the charm of Republican era dramas through this role. This script was different from the scripts I had encountered before. Its pace was very fast, and behind every story, or rather, every plot point, there was a hook. It would hook me and make me want to keep watching. As for my character, all of his relationships with the other characters were very complete, and every relationship would become one of the reasons that shaped his personality. I wanted to dig deeper into this character, so I chose him. Actually, love and hate are not a pair of antonyms. If there is a direction, both my love and my hate are directed vertically toward her (Susu). So can we say they are antonyms? No. They are just two ways of expressing one kind of emotion. In fact, in my view, the opposite of love should be indifference. Yes, only the direction of indifference is facing backward. My understanding is that hate is actually an emotional expression of love after it has fallen short. So when you say Murong Qingyi both loves and hates Susu, it is all because he cares about her. Ultimately, it is because she occupies a very, very large place in my heart. Everyone has seen love and hate intertwined in many dramas, but there are also different circumstances. Some people's love is very selfless and great. Although it is rare in real life nowadays, they don't ask for anything in return. But for some people's love, when your expectations fall short, they feel, "I'm in so much pain." But there is another kind of love: when my expectations fall short, I feel, "You owe me." These three are actually different feelings. In many of my previous roles, although everyone had deeply devoted characters who loved the other person very much, if you examine closely the moments when their hatred arose, you will find that their emotions were different. This drama also taught me two things. One is that, when it comes to emotions, sometimes you don't need to be too logical, because many emotional things don't have very rigorous logic. They simply arise naturally, are expressed naturally, and continue to happen naturally. This is the uncertainty of emotions. Another lesson is that drama originates from life but is greater than life. You can't demand that a fictional Republican drama, or what is essentially an idol drama, have emotions that are exactly the same as those in real life. That's impossible. In an idol drama, there can be the kind of love I just mentioned: "I love selflessly. I don't need you to give me anything in return." But how many people in real life can actually do that? It's impossible. A sudden flash of inspiration, I get that kind of sudden moment when it feels really exhilarating. Suddenly, in that instant, you have completely, 100% entered the character. It's that feeling of the emotion surging all the way to the top of your head. It's not Zhang Linghe in my mind anymore, but the feeling of that character being in my mind. After that feeling passes, when you look back and recall it, the shock and happiness it brought you feel different.
3:16

#zhanglinghe's new interview with CCTV Dramas for #Overdo 🔥💬 I had never acted in a Republican drama before, so of course, one of the things that attracted me most to the script at the time was that I could experience the charm of Republican era dramas through this role. This script was different from the scripts I had encountered before. Its pace was very fast, and behind every story, or rather, every plot point, there was a hook. It would hook me and make me want to keep watching. As for my character, all of his relationships with the other characters were very complete, and every relationship would become one of the reasons that shaped his personality. I wanted to dig deeper into this character, so I chose him. Actually, love and hate are not a pair of antonyms. If there is a direction, both my love and my hate are directed vertically toward her (Susu). So can we say they are antonyms? No. They are just two ways of expressing one kind of emotion. In fact, in my view, the opposite of love should be indifference. Yes, only the direction of indifference is facing backward. My understanding is that hate is actually an emotional expression of love after it has fallen short. So when you say Murong Qingyi both loves and hates Susu, it is all because he cares about her. Ultimately, it is because she occupies a very, very large place in my heart. Everyone has seen love and hate intertwined in many dramas, but there are also different circumstances. Some people's love is very selfless and great. Although it is rare in real life nowadays, they don't ask for anything in return. But for some people's love, when your expectations fall short, they feel, "I'm in so much pain." But there is another kind of love: when my expectations fall short, I feel, "You owe me." These three are actually different feelings. In many of my previous roles, although everyone had deeply devoted characters who loved the other person very much, if you examine closely the moments when their hatred arose, you will find that their emotions were different. This drama also taught me two things. One is that, when it comes to emotions, sometimes you don't need to be too logical, because many emotional things don't have very rigorous logic. They simply arise naturally, are expressed naturally, and continue to happen naturally. This is the uncertainty of emotions. Another lesson is that drama originates from life but is greater than life. You can't demand that a fictional Republican drama, or what is essentially an idol drama, have emotions that are exactly the same as those in real life. That's impossible. In an idol drama, there can be the kind of love I just mentioned: "I love selflessly. I don't need you to give me anything in return." But how many people in real life can actually do that? It's impossible. A sudden flash of inspiration, I get that kind of sudden moment when it feels really exhilarating. Suddenly, in that instant, you have completely, 100% entered the character. It's that feeling of the emotion surging all the way to the top of your head. It's not Zhang Linghe in my mind anymore, but the feeling of that character being in my mind. After that feeling passes, when you look back and recall it, the shock and happiness it brought you feel different.

张凌赫的小核桃𖹭

21,795 просмотров • 1 месяц назад

SEE YOU AGAIN ON BOARD! Huihuis/Carats, we are pleased to announce that we have finally completed the "Meet Me at the Boarding Gate" project aka Flight JN610. Thank you for sharing this journey with Crescent Jun PH. Before we fully disembark with this project and start a new journey, I would like to express my sincerest gratitude to everyone who took part in this amazing journey. To deanna | 문잡아 the very first person who trusted this project and the one who helped me securing the slot for the aerial banner. While we know that it is me who initiated this, it wouldn't be that really possible without her help in securing it the earliest time we can. To every Huihuis/Carats who extended their support through their donations. I really do appreciate you extending your generosity and your trust towards this fan project. You made this project possible and even more memorable. Beyond funding, you gave this initiative meaning and so much love. To everyone who shared the project's initiative, thank you so much for your efforts. To my friends who supported the idea and extended their help in various ways such as doing art works & pre-flight supervision and a lot more. I appreciate you a lot. To the Pegasus Airlines staffs (aerial banner towing company) who has been nice all through out the entire process. From the initial preparation to the successful completion of the project. I am very much thankful how they handled this. This project comes after I wasn’t able to get a reply from what was supposed to be the original plan. The goal is to have something to welcome Jun back to PH stage after two years. Although the first option didn’t work out, looking back now, the aerial banner turned out to be a wonderful choice. There were uncertainties at the beginning, but this project already started fueled with love and admiration for Jun who always exerted so much love and effort at things he do. So when I was asked what would be the other option or what would be the "plan B" despite putting other option on the donation form, I already know to myself that I will push through with this project regardless of the outcome of the donation drive. It's just that I took some time weighing things and checking what are the things I need to consider. Despite some lapses and understandable disappointments, I can say that this project has been pulled off successfully. To Jun, know that you are always loved in more ways that you could imagine. Your efforts are always seen & cherished by the people who loves you so dearly. May you always be proud of yourself and continue doing things that you love and makes you happy. The sky always belongs to you, our Moon who always shines the brightest. It has been a wonderful journey with you all. Thank you for celebrating and welcoming Junhui in such a beautiful way. Until our next journey!
0:34

SEE YOU AGAIN ON BOARD! Huihuis/Carats, we are pleased to announce that we have finally completed the "Meet Me at the Boarding Gate" project aka Flight JN610. Thank you for sharing this journey with Crescent Jun PH. Before we fully disembark with this project and start a new journey, I would like to express my sincerest gratitude to everyone who took part in this amazing journey. To deanna | 문잡아 the very first person who trusted this project and the one who helped me securing the slot for the aerial banner. While we know that it is me who initiated this, it wouldn't be that really possible without her help in securing it the earliest time we can. To every Huihuis/Carats who extended their support through their donations. I really do appreciate you extending your generosity and your trust towards this fan project. You made this project possible and even more memorable. Beyond funding, you gave this initiative meaning and so much love. To everyone who shared the project's initiative, thank you so much for your efforts. To my friends who supported the idea and extended their help in various ways such as doing art works & pre-flight supervision and a lot more. I appreciate you a lot. To the Pegasus Airlines staffs (aerial banner towing company) who has been nice all through out the entire process. From the initial preparation to the successful completion of the project. I am very much thankful how they handled this. This project comes after I wasn’t able to get a reply from what was supposed to be the original plan. The goal is to have something to welcome Jun back to PH stage after two years. Although the first option didn’t work out, looking back now, the aerial banner turned out to be a wonderful choice. There were uncertainties at the beginning, but this project already started fueled with love and admiration for Jun who always exerted so much love and effort at things he do. So when I was asked what would be the other option or what would be the "plan B" despite putting other option on the donation form, I already know to myself that I will push through with this project regardless of the outcome of the donation drive. It's just that I took some time weighing things and checking what are the things I need to consider. Despite some lapses and understandable disappointments, I can say that this project has been pulled off successfully. To Jun, know that you are always loved in more ways that you could imagine. Your efforts are always seen & cherished by the people who loves you so dearly. May you always be proud of yourself and continue doing things that you love and makes you happy. The sky always belongs to you, our Moon who always shines the brightest. It has been a wonderful journey with you all. Thank you for celebrating and welcoming Junhui in such a beautiful way. Until our next journey!

Crescent Jun PH | FOR JUNHUI

44,721 просмотров • 5 месяцев назад

251219 Investor and Producer Lee Jungmin shared his thoughts and insights on 'Fame' and RIIZE on his YouTube channel High Pop [PART 1] RIIZE 'Fame' #ANTON #앤톤 #アントン #RIIZE #라이즈 👤 RIIZE 'Fame' was a very unique attempt 👤 From RIIZE's perspective, they have taken a fairly popular approach for a while now, so much so that there are discussion about needing to categorize, from RIIZE, as the 5th generation... 👤 In fact, for a while, male idols and boy groups have been losing accessibility to public, becoming too fandom-oriented and too focused on global appeal. Now, boy idols have gone through a period where it was somewhat difficult to find them on playlist in Korea, especially the 4th generation idols' music has not been consumed much. That's a fact... 👤 Then, with the emergence of RIIZE, 'Get A Guitar' created a huge buzz right at its debut, and it can be said that they opened a new path for boy groups in easy listening (songs) 👤 This time, RIIZE 'Fame' can be seen as a step away from that pursuit of easy listening (songs) while still following some level of popularity. So when you look at some communities or comments, you can definitely see that opinions are divided. But personally, I think it was a good attempt 👤 From RIIZE's perspective, I believe it was a situation where they had to make an attempt. The current state of Kpop is actually, the influence in the global market has become much more important than in the domestic market, and this is clearly reflected in the sales figures. Overseas tour and albums sales have become key indicators representing today's idols, but alongside RIIZE, could this be considered SM's biggest weakness? The North American market is one that they have not yet been able to approach. I feel like they haven't quite penetrated the North American market, including the US, and because of that, it's clear that among the four major agencies, they are the only one currently unable to make an impact on Billboard. Therefore, in my opinion, this time, RIIZE 'Fame' is a track aimed at the North American market, tried to create some level of globalization
2:41

251219 Investor and Producer Lee Jungmin shared his thoughts and insights on 'Fame' and RIIZE on his YouTube channel High Pop [PART 1] RIIZE 'Fame' #ANTON #앤톤 #アントン #RIIZE #라이즈 👤 RIIZE 'Fame' was a very unique attempt 👤 From RIIZE's perspective, they have taken a fairly popular approach for a while now, so much so that there are discussion about needing to categorize, from RIIZE, as the 5th generation... 👤 In fact, for a while, male idols and boy groups have been losing accessibility to public, becoming too fandom-oriented and too focused on global appeal. Now, boy idols have gone through a period where it was somewhat difficult to find them on playlist in Korea, especially the 4th generation idols' music has not been consumed much. That's a fact... 👤 Then, with the emergence of RIIZE, 'Get A Guitar' created a huge buzz right at its debut, and it can be said that they opened a new path for boy groups in easy listening (songs) 👤 This time, RIIZE 'Fame' can be seen as a step away from that pursuit of easy listening (songs) while still following some level of popularity. So when you look at some communities or comments, you can definitely see that opinions are divided. But personally, I think it was a good attempt 👤 From RIIZE's perspective, I believe it was a situation where they had to make an attempt. The current state of Kpop is actually, the influence in the global market has become much more important than in the domestic market, and this is clearly reflected in the sales figures. Overseas tour and albums sales have become key indicators representing today's idols, but alongside RIIZE, could this be considered SM's biggest weakness? The North American market is one that they have not yet been able to approach. I feel like they haven't quite penetrated the North American market, including the US, and because of that, it's clear that among the four major agencies, they are the only one currently unable to make an impact on Billboard. Therefore, in my opinion, this time, RIIZE 'Fame' is a track aimed at the North American market, tried to create some level of globalization

ANTON LEE UPDATES

12,862 просмотров • 8 месяцев назад

Imagine if someone told you have to catch the biggest flying object in the world as it's falls back to Earth faster than a speeding bullet, all so it can get reused and can be launched again back into space. I bet most people would throw in the towel right there, shaking their heads like, "No way, that's impossible." But not Elon. I’m talking about SpaceX's Starship, THE vehicle that will be used to make life multiplanetary. Back in October 2024, during their fifth test flight, Elon's team pulled off something straight out of a sci-fi movie. The Super Heavy booster, the bottom part of the rocket, towering over 200 feet tall, blasted off from their Starbase in Texas, sent the upper stage soaring, and then came roaring back. Instead of letting it splash down in the ocean or crash, they caught it mid-air with these giant mechanical arms on the launch tower, nicknamed "Mechazilla,” bringing it to a gentle stop. It was the first time ever, and it worked flawlessly on the very first try. What people don’t realize is each catch saves $ millions in costs, makes space travel cheaper, and gets us one step closer to putting people on Mars or the Moon for good. Reusable rockets is like re-charging your Tesla, instead of buying a new one after every trip. It's game changer for humanity's future. What inspires me about Elon is that drive… it’s unlike anything I’ve ever seen. I would say I’m very driven, but this man is at a different level. Most people see “impossible” and step back, but Elon sees “impossible” and goes head in first. And history always changes bc of the ones that do the impossible. And I believe history will recognize Elon as the greatest entrepreneur in history.
0:56

Imagine if someone told you have to catch the biggest flying object in the world as it's falls back to Earth faster than a speeding bullet, all so it can get reused and can be launched again back into space. I bet most people would throw in the towel right there, shaking their heads like, "No way, that's impossible." But not Elon. I’m talking about SpaceX's Starship, THE vehicle that will be used to make life multiplanetary. Back in October 2024, during their fifth test flight, Elon's team pulled off something straight out of a sci-fi movie. The Super Heavy booster, the bottom part of the rocket, towering over 200 feet tall, blasted off from their Starbase in Texas, sent the upper stage soaring, and then came roaring back. Instead of letting it splash down in the ocean or crash, they caught it mid-air with these giant mechanical arms on the launch tower, nicknamed "Mechazilla,” bringing it to a gentle stop. It was the first time ever, and it worked flawlessly on the very first try. What people don’t realize is each catch saves $ millions in costs, makes space travel cheaper, and gets us one step closer to putting people on Mars or the Moon for good. Reusable rockets is like re-charging your Tesla, instead of buying a new one after every trip. It's game changer for humanity's future. What inspires me about Elon is that drive… it’s unlike anything I’ve ever seen. I would say I’m very driven, but this man is at a different level. Most people see “impossible” and step back, but Elon sees “impossible” and goes head in first. And history always changes bc of the ones that do the impossible. And I believe history will recognize Elon as the greatest entrepreneur in history.

Teslaconomics

13,803 просмотров • 6 месяцев назад