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Stepbrother + friend = Sofia Smith’s ultimate threesome… Sofia Smith ⭐️🍭 gets both holes stuffed in a nasty DP, fucked hard then takes two loads on her face 💦 #SofiaSmith #DoublePenetration #Threesome #NSFW

Adult's World

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34,869 просмотров • 2 месяцев назад •via X (Twitter)

NSFW #SofiaSmith #DoublePenetration #Threesome #NSFW

Anya Rossi• Live Now

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Ryan Pownall breaks down his 5 strict rules for having a successful threesome without ruining your actual relationship. “The man never asks for the threesome, it has to be the woman’s idea. You can hint at it... inception her brain. Rule number one in the bedroom is it has to be lesbian first. You kind of have to insert yourself where you can. Girls have to want to be hooking up at first. Let them do 5 or 10 minutes of their sht and then you kind of just slip in. Rule number three: don't moan louder with the unicorn. Moan louder with your girl. Rule number four: make eye contact with your girl while you're fcking the other girl. Rule number five: finish on or in your girl... or maybe on your girl’s face and then they come swap and do that sexy thing at the end. If you’re sharing to both, now you’re valuing your girl.” Ft: Ryan Pownall x Pink Pill TV

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Ryan Pownall breaks down his 5 strict rules for having a successful threesome without ruining your actual relationship. “The man never asks for the threesome, it has to be the woman’s idea. You can hint at it... inception her brain. Rule number one in the bedroom is it has to be lesbian first. You kind of have to insert yourself where you can. Girls have to want to be hooking up at first. Let them do 5 or 10 minutes of their sht and then you kind of just slip in. Rule number three: don't moan louder with the unicorn. Moan louder with your girl. Rule number four: make eye contact with your girl while you're fcking the other girl. Rule number five: finish on or in your girl... or maybe on your girl’s face and then they come swap and do that sexy thing at the end. If you’re sharing to both, now you’re valuing your girl.” Ft: Ryan Pownall x Pink Pill TV

Molaxbaby

119,301 просмотров • 26 дней назад

HOW TO LOOK COOL & GET THE GIRL WHEN YOU APPROACH ❌ Home in on the girl you like and ignore her friend who’s also staring at you ✅ Open both girls at once, talk to both, win them both over ❌ Describe yourself as chasing after her (“courage to come up to you”) ✅ Use a chill opener instead (e.g., “Looks like you’re putting a lot of thought into that decision”) ❌ Ask her name unprompted (“What’s your name?”; you are seeking information from her) ✅ Offer your name first (“I’m Daniel”; you are offering value to her) ❌ Shake her hand like it’s a new business partnership ✅ Hold her hand a moment and give it a squeeze without shaking it ❌ Use her foreignness to compliment her looks in another language (“Muy bonita gracias”) ✅ Use her foreignness to ask what she’s doing here (creates an open loop) ❌ Compliment her looks a 3rd time while explaining yourself (“came up because you’re gorgeous”) ✅ Have her comply with you instead (“I love that bracelet. Let me have a look?” [beckon her]) ❌ Get her to show you the lingerie she bought then completely change the topic ✅ Get her to show you the lingerie she bought then flirt over it (“Oh… lingerie… what is THAT for??”) ❌ Ask her out 40 seconds in after on a non-high point not building any real attraction or connection ✅ Talk to her for at least 2 minutes, build attraction + connection, THEN ask her out on a HIGH point (i.e., she is really engaged, laughing hard, showing a lot of curiosity about you, etc.) Notes from the video: • During the initial moment, she smile genuinely and eyes him up and down (see her head to toe glance) while quickly finishing what she is doing. She shows initial openness to him. HOWEVER… • She gives the “Oh, gosh” eye shut and grimacing nod in response to his “chasing after you” opener. She acknowledges it’s ‘funny’ but still cringe. • She follows this by PICKING UP HER CUP (which she does not need to do) and holding it in front of herself defensively, creating a barrier between her and him. (If she was into the approach, she’d leave the cup there and face him without a barrier.) • After he blasts her with the fourth compliment, she backs away from him while laughing awkwardly and eye codes her friend (whom this guy’s still ignoring) in disbelief. • When he asks her out on “like a food date”, she takes two seconds to break eye contact to the side, still with her forced smile, briefly shakes her head “no”, then nods politely and says it “sounds good” and gives her number (while eye coding her friend again) just to get rid of him. • After he gets the number, he tells her “Next Friday?” and she doesn’t even need to think about what she has going on or check her schedule because she has no intention of actually meeting this guy, so she just says “Next Friday, perfect” to get this over with. Approach better & avoid these mistakes!

HOW TO LOOK COOL & GET THE GIRL WHEN YOU APPROACH ❌ Home in on the girl you like and ignore her friend who’s also staring at you ✅ Open both girls at once, talk to both, win them both over ❌ Describe yourself as chasing after her (“courage to come up to you”) ✅ Use a chill opener instead (e.g., “Looks like you’re putting a lot of thought into that decision”) ❌ Ask her name unprompted (“What’s your name?”; you are seeking information from her) ✅ Offer your name first (“I’m Daniel”; you are offering value to her) ❌ Shake her hand like it’s a new business partnership ✅ Hold her hand a moment and give it a squeeze without shaking it ❌ Use her foreignness to compliment her looks in another language (“Muy bonita gracias”) ✅ Use her foreignness to ask what she’s doing here (creates an open loop) ❌ Compliment her looks a 3rd time while explaining yourself (“came up because you’re gorgeous”) ✅ Have her comply with you instead (“I love that bracelet. Let me have a look?” [beckon her]) ❌ Get her to show you the lingerie she bought then completely change the topic ✅ Get her to show you the lingerie she bought then flirt over it (“Oh… lingerie… what is THAT for??”) ❌ Ask her out 40 seconds in after on a non-high point not building any real attraction or connection ✅ Talk to her for at least 2 minutes, build attraction + connection, THEN ask her out on a HIGH point (i.e., she is really engaged, laughing hard, showing a lot of curiosity about you, etc.) Notes from the video: • During the initial moment, she smile genuinely and eyes him up and down (see her head to toe glance) while quickly finishing what she is doing. She shows initial openness to him. HOWEVER… • She gives the “Oh, gosh” eye shut and grimacing nod in response to his “chasing after you” opener. She acknowledges it’s ‘funny’ but still cringe. • She follows this by PICKING UP HER CUP (which she does not need to do) and holding it in front of herself defensively, creating a barrier between her and him. (If she was into the approach, she’d leave the cup there and face him without a barrier.) • After he blasts her with the fourth compliment, she backs away from him while laughing awkwardly and eye codes her friend (whom this guy’s still ignoring) in disbelief. • When he asks her out on “like a food date”, she takes two seconds to break eye contact to the side, still with her forced smile, briefly shakes her head “no”, then nods politely and says it “sounds good” and gives her number (while eye coding her friend again) just to get rid of him. • After he gets the number, he tells her “Next Friday?” and she doesn’t even need to think about what she has going on or check her schedule because she has no intention of actually meeting this guy, so she just says “Next Friday, perfect” to get this over with. Approach better & avoid these mistakes!

Girls Chase 🏃‍♀️💨

65,755 просмотров • 3 месяцев назад

Made with seedance 2.5 Using OpenArt Prompt Create a 30-second, 1080p ultra-realistic personal home-video showing a young Korean woman visiting a traditional countryside farm and learning how to milk a cow. No reference image. MAIN SUBJECT: A naturally pretty Korean woman in her early 20s, realistic skin texture, minimal makeup, long black hair tied in a loose low ponytail. She wears a simple pale-yellow cotton T-shirt, relaxed blue jeans, white sneakers, and a small beige crossbody bag. Keep the same face, hairstyle, clothing, body proportions, and appearance throughout. SETTING: A small traditional Korean countryside farm on a warm summer afternoon. Old wooden barn, cows, hay, buckets, farming tools, green fields and simple farmhouse surroundings. Everything should feel authentic, ordinary and lived-in. CAMERA: The camera is ALWAYS IN FRONT OF THE GIRL, never behind her. A friend films her while standing or walking backward in front of her using a handheld smartphone/early-2000s consumer DV camcorder. Her face stays clearly visible. Strong natural handheld shake, imperfect framing, autofocus hunting, exposure changes, slight motion blur, soft digital detail and mild image noise. NO cinematic camera movements, NO gimbal, NO drone, NO rear shots, NO polished commercial look, NO beauty filter. TIMELINE 0:00–0:05 — Entering the Barn The girl walks toward the camera with her friend filming from directly in front. She looks excitedly at the cows and smiles. She says in Korean: “오늘 소 젖 짜는 걸 배워볼 거예요.” 0:05–0:10 — Getting Ready Hard cut. She sits beside a calm cow while an experienced farmer demonstrates how to position the bucket and gently milk. The camera stays in front, showing her face and hands naturally. 0:10–0:15 — Awkward First Attempt She tries milking herself. At first she squeezes incorrectly and barely gets any milk into the bucket. She looks confused, then laughs at herself. “어? 왜 안 나오지?” 0:15–0:21 — Trying Again Hard cut. The farmer calmly shows her the correct hand movement. She tries again while the friend films from the front. This time milk starts flowing into the bucket. Her face immediately lights up. 0:21–0:26 — She Gets It She continues successfully, looking proudly toward the camera. She laughs and says: “됐다! 진짜 된다!” 0:26–0:30 — Happy Ending She stands beside the cow holding the small bucket and smiles at the camera. She gently pats the cow and gives a little wave. “오늘 진짜 재밌었어요. 안녕!” Natural cut to black. AUDIO: Only real farm sounds: cow mooing, bucket sounds, footsteps, birds, insects, distant farm activity and natural conversation. No music and no narration. OVERALL STYLE: It must look like a genuine friend-recorded memory from an ordinary farm visit—not a movie or advertisement. Front-facing coverage throughout, with natural reactions and imperfect handheld footage.

Made with seedance 2.5 Using OpenArt Prompt Create a 30-second, 1080p ultra-realistic personal home-video showing a young Korean woman visiting a traditional countryside farm and learning how to milk a cow. No reference image. MAIN SUBJECT: A naturally pretty Korean woman in her early 20s, realistic skin texture, minimal makeup, long black hair tied in a loose low ponytail. She wears a simple pale-yellow cotton T-shirt, relaxed blue jeans, white sneakers, and a small beige crossbody bag. Keep the same face, hairstyle, clothing, body proportions, and appearance throughout. SETTING: A small traditional Korean countryside farm on a warm summer afternoon. Old wooden barn, cows, hay, buckets, farming tools, green fields and simple farmhouse surroundings. Everything should feel authentic, ordinary and lived-in. CAMERA: The camera is ALWAYS IN FRONT OF THE GIRL, never behind her. A friend films her while standing or walking backward in front of her using a handheld smartphone/early-2000s consumer DV camcorder. Her face stays clearly visible. Strong natural handheld shake, imperfect framing, autofocus hunting, exposure changes, slight motion blur, soft digital detail and mild image noise. NO cinematic camera movements, NO gimbal, NO drone, NO rear shots, NO polished commercial look, NO beauty filter. TIMELINE 0:00–0:05 — Entering the Barn The girl walks toward the camera with her friend filming from directly in front. She looks excitedly at the cows and smiles. She says in Korean: “오늘 소 젖 짜는 걸 배워볼 거예요.” 0:05–0:10 — Getting Ready Hard cut. She sits beside a calm cow while an experienced farmer demonstrates how to position the bucket and gently milk. The camera stays in front, showing her face and hands naturally. 0:10–0:15 — Awkward First Attempt She tries milking herself. At first she squeezes incorrectly and barely gets any milk into the bucket. She looks confused, then laughs at herself. “어? 왜 안 나오지?” 0:15–0:21 — Trying Again Hard cut. The farmer calmly shows her the correct hand movement. She tries again while the friend films from the front. This time milk starts flowing into the bucket. Her face immediately lights up. 0:21–0:26 — She Gets It She continues successfully, looking proudly toward the camera. She laughs and says: “됐다! 진짜 된다!” 0:26–0:30 — Happy Ending She stands beside the cow holding the small bucket and smiles at the camera. She gently pats the cow and gives a little wave. “오늘 진짜 재밌었어요. 안녕!” Natural cut to black. AUDIO: Only real farm sounds: cow mooing, bucket sounds, footsteps, birds, insects, distant farm activity and natural conversation. No music and no narration. OVERALL STYLE: It must look like a genuine friend-recorded memory from an ordinary farm visit—not a movie or advertisement. Front-facing coverage throughout, with natural reactions and imperfect handheld footage.

𝗦𝗮𝗻𝗶𝗮

31,867 просмотров • 5 дней назад

🚨#BREAKING: Horrifying footage has emerged from a Texas daycare where parents them of running a "TODDLER FIGHT CLUB"... ...a teacher is seen EGGING ON HER OWN 4-YEAR-OLD SON to FIGHT another 4-year-old... then she HELD THE CHILD DOWN, SLAMMED him onto the hardwood floor like a "human ragdoll" Yes, you read that right. A grown woman, paid to protect children, is accused of turning a Montessori classroom into a FIGHT CLUB between two 4-year-olds. This is Arka Montessori Academy of Risinger in Fort Worth, Texas. On April 27th, a little boy the court records only call "U.H." was moved into a combined classroom around 4:30 in the afternoon, as teachers were clocking out for the day. Another 4-year-old hit him in the back while the teacher had her back turned. She separated them and then a substitute stepped in to cover the room. That substitute, Chynia Johnson, was the OTHER BOY'S MOTHER. According to the lawsuit, her son shoved U.H. in the chest. And instead of separating two preschoolers... ...she grabbed the OTHER woman's child by the arm. Shook him. Shoved him. Then she turned, said something to her own son, and STEPPED ASIDE. Her boy charged again. The complaint says she then grabbed U.H. with both arms, shook him, and SCREAMED IN HIS FACE. Then she dragged him toward her own son while that baby was trying to get away and that she encouraged her son to hit and kick him. Then, still holding his arm, the lawsuit says she swept his leg out from under him and sent a 4-year-old crashing down onto a hardwood floor. Their attorney's words: thrown "like a human ragdoll." And the second teacher? The suit says she came back, saw part of it, and did NOTHING. When Heather Harris came to pick up her son, he was crying hysterically, uncontrollably. And what did staff tell her? That the kids just got into a little fight, and teachers broke it up. But that mama didn't buy it. She demanded to see the video. And the video, according to her lawyers, told a COMPLETELY different story. IT GETS WORSE. The state of Texas investigated and cited this daycare for multiple violations and the lawsuit says this place has piled up SIXTEEN citations since it opened in 2024. Sixteen!!!!! The daycare didn't even respond when reporters asked for comment. WE DO NOT HAVE TO LIVE LIKE THIS!!!!!!!

🚨#BREAKING: Horrifying footage has emerged from a Texas daycare where parents them of running a "TODDLER FIGHT CLUB"... ...a teacher is seen EGGING ON HER OWN 4-YEAR-OLD SON to FIGHT another 4-year-old... then she HELD THE CHILD DOWN, SLAMMED him onto the hardwood floor like a "human ragdoll" Yes, you read that right. A grown woman, paid to protect children, is accused of turning a Montessori classroom into a FIGHT CLUB between two 4-year-olds. This is Arka Montessori Academy of Risinger in Fort Worth, Texas. On April 27th, a little boy the court records only call "U.H." was moved into a combined classroom around 4:30 in the afternoon, as teachers were clocking out for the day. Another 4-year-old hit him in the back while the teacher had her back turned. She separated them and then a substitute stepped in to cover the room. That substitute, Chynia Johnson, was the OTHER BOY'S MOTHER. According to the lawsuit, her son shoved U.H. in the chest. And instead of separating two preschoolers... ...she grabbed the OTHER woman's child by the arm. Shook him. Shoved him. Then she turned, said something to her own son, and STEPPED ASIDE. Her boy charged again. The complaint says she then grabbed U.H. with both arms, shook him, and SCREAMED IN HIS FACE. Then she dragged him toward her own son while that baby was trying to get away and that she encouraged her son to hit and kick him. Then, still holding his arm, the lawsuit says she swept his leg out from under him and sent a 4-year-old crashing down onto a hardwood floor. Their attorney's words: thrown "like a human ragdoll." And the second teacher? The suit says she came back, saw part of it, and did NOTHING. When Heather Harris came to pick up her son, he was crying hysterically, uncontrollably. And what did staff tell her? That the kids just got into a little fight, and teachers broke it up. But that mama didn't buy it. She demanded to see the video. And the video, according to her lawyers, told a COMPLETELY different story. IT GETS WORSE. The state of Texas investigated and cited this daycare for multiple violations and the lawsuit says this place has piled up SIXTEEN citations since it opened in 2024. Sixteen!!!!! The daycare didn't even respond when reporters asked for comment. WE DO NOT HAVE TO LIVE LIKE THIS!!!!!!!

Matt Van Swol

102,082 просмотров • 8 дней назад

She was just the "damsel in distress" Night training turned into a full-blown awakening — one wrong move and this girl turned campus grounds into a battlefield. Fists, flames, and a final blow you won't see coming. Made with Seedance 2.5 on Fish Creative Prompt: Core Theme University field, one take fight scene. Two fighters, hand to hand combat with real stunts and kicks. Fight ends with the girl's fire power awakening. She finishes him with a decisive final blow. Continuous shot, no cuts, no edits. 16:9 aspect ratio. Character Appearance Lock FIGHTER A (Boy) Asian male, around 20 years old. Short black hair, slightly covering forehead. Almond-shaped brown eyes, defined jawline. Fitted white athletic tank top. Yellow lemon-colored shorts, black sneakers. Confident, relaxed posture, athletic build. FIGHTER B (Girl) Japanese female, early 20s, striking model-like features. Lean, tall, athletic figure. Silver-lavender hair, chin length bob with straight fringe. Sharp, focused amber eyes. Pink acrylic short skirt, high-shine finish. Cropped white top. Pink knee-high socks, white sneakers. Fast, agile, aggressive fighting style — real kicks, spins, and strikes. Environment Lock University open ground, trimmed grass field with dirt patches. White painted field lines. Overhead campus lamp posts casting pools of light. Everything outside the light pools is deep shadow. University buildings faintly visible in the background darkness. Dust and grass kick up on every impact, roll, and landing. Timeline 0.0–2.5s: Fighter A stands behind Fighter B. Right palm covers her mouth from behind. She grabs at his wrist, eyes sharp and furious. She drives her elbow into his ribs, breaks free, spins out. She lands in a fighting stance, dust rising. 2.5–5.0s: She rolls her shoulders, cracks her neck. Walks forward with slow, aggressive confidence. Speaks clearly in English to camera: "You really thought you could catch me off guard?" 5.0–7.0s: He sprints forward, throws a right hook. She ducks low, sweeps his front leg. He stumbles, catches balance, resets stance. 7.0–9.0s: He throws a straight right jab. She parries with her left forearm, steps in. Delivers a sharp right knee strike to his side. He staggers back two steps. 9.0–12.5s: He lands a glancing punch on her shoulder. She barely reacts, grabs his wrist, twists. Executes a real hip-throw, slams him to the ground. He rolls once, pushes up onto one knee, breathing hard. 12.5–16.0s: Camera pushes in on her face. Sweat, dirt, sharp determined eyes. First orange-red flame threads flicker along her fingertips. Threads crawl up her arms to her shoulders. Her eyes begin to glow amber-orange from within. The lamp posts start flickering irregularly. 16.0–18.0s: She exhales sharply, rolls her wrists. Small flames bloom across both palms. Fabric of her top singes faintly at the edges. Heat distortion ripples the air around her. 18.0–21.0s: Camera circles her fast. He rises, throws a desperate punch. She sidesteps, grabs his arm, flame licking her grip. Grass scorches in a ring beneath her feet. Flame trails follow every movement of her limbs. 21.0–23.0s: She unleashes a flurry — spinning back kick, followed by a jumping roundhouse. Each strike leaves a brief trail of fire in the air. He blocks two, takes the third across the jaw. He drops to one knee, dazed, smoke rising off his shoulder. 23.0–27.5s: She plants her feet, pulls both fists back, flames coiling tight around her forearms. Steps in with full aggression, drives a flaming knee strike upward into his chest. Impact releases a burst of fire and sparks outward. 27.5–30.0s: He's launched back, lands hard, skidding through dirt. She stands over him, flames dying down her arms to embers. Breathing hard, one fist still smoking. Lamp posts dim to near darkness. Only the fading orange glow lights her face. Then everything goes dark. Lighting Extremely dark night, deep shadows. Lamp posts as rim light on shoulders and hair. Warm orange-red glow after her power appears, casting light on both fighters. Sound Design Location sound only. Grass and dirt scraping, fabric rustling. Sharp impact sounds, heavy breathing, grunts. Flame ignition crackle building to a low roar. Lamp buzz as they flicker. Her line delivered clearly at 2.5–5.0s. Sharp exhale and crackle at the final blow. Total silence at the very end. No background music throughout.

She was just the "damsel in distress" Night training turned into a full-blown awakening — one wrong move and this girl turned campus grounds into a battlefield. Fists, flames, and a final blow you won't see coming. Made with Seedance 2.5 on Fish Creative Prompt: Core Theme University field, one take fight scene. Two fighters, hand to hand combat with real stunts and kicks. Fight ends with the girl's fire power awakening. She finishes him with a decisive final blow. Continuous shot, no cuts, no edits. 16:9 aspect ratio. Character Appearance Lock FIGHTER A (Boy) Asian male, around 20 years old. Short black hair, slightly covering forehead. Almond-shaped brown eyes, defined jawline. Fitted white athletic tank top. Yellow lemon-colored shorts, black sneakers. Confident, relaxed posture, athletic build. FIGHTER B (Girl) Japanese female, early 20s, striking model-like features. Lean, tall, athletic figure. Silver-lavender hair, chin length bob with straight fringe. Sharp, focused amber eyes. Pink acrylic short skirt, high-shine finish. Cropped white top. Pink knee-high socks, white sneakers. Fast, agile, aggressive fighting style — real kicks, spins, and strikes. Environment Lock University open ground, trimmed grass field with dirt patches. White painted field lines. Overhead campus lamp posts casting pools of light. Everything outside the light pools is deep shadow. University buildings faintly visible in the background darkness. Dust and grass kick up on every impact, roll, and landing. Timeline 0.0–2.5s: Fighter A stands behind Fighter B. Right palm covers her mouth from behind. She grabs at his wrist, eyes sharp and furious. She drives her elbow into his ribs, breaks free, spins out. She lands in a fighting stance, dust rising. 2.5–5.0s: She rolls her shoulders, cracks her neck. Walks forward with slow, aggressive confidence. Speaks clearly in English to camera: "You really thought you could catch me off guard?" 5.0–7.0s: He sprints forward, throws a right hook. She ducks low, sweeps his front leg. He stumbles, catches balance, resets stance. 7.0–9.0s: He throws a straight right jab. She parries with her left forearm, steps in. Delivers a sharp right knee strike to his side. He staggers back two steps. 9.0–12.5s: He lands a glancing punch on her shoulder. She barely reacts, grabs his wrist, twists. Executes a real hip-throw, slams him to the ground. He rolls once, pushes up onto one knee, breathing hard. 12.5–16.0s: Camera pushes in on her face. Sweat, dirt, sharp determined eyes. First orange-red flame threads flicker along her fingertips. Threads crawl up her arms to her shoulders. Her eyes begin to glow amber-orange from within. The lamp posts start flickering irregularly. 16.0–18.0s: She exhales sharply, rolls her wrists. Small flames bloom across both palms. Fabric of her top singes faintly at the edges. Heat distortion ripples the air around her. 18.0–21.0s: Camera circles her fast. He rises, throws a desperate punch. She sidesteps, grabs his arm, flame licking her grip. Grass scorches in a ring beneath her feet. Flame trails follow every movement of her limbs. 21.0–23.0s: She unleashes a flurry — spinning back kick, followed by a jumping roundhouse. Each strike leaves a brief trail of fire in the air. He blocks two, takes the third across the jaw. He drops to one knee, dazed, smoke rising off his shoulder. 23.0–27.5s: She plants her feet, pulls both fists back, flames coiling tight around her forearms. Steps in with full aggression, drives a flaming knee strike upward into his chest. Impact releases a burst of fire and sparks outward. 27.5–30.0s: He's launched back, lands hard, skidding through dirt. She stands over him, flames dying down her arms to embers. Breathing hard, one fist still smoking. Lamp posts dim to near darkness. Only the fading orange glow lights her face. Then everything goes dark. Lighting Extremely dark night, deep shadows. Lamp posts as rim light on shoulders and hair. Warm orange-red glow after her power appears, casting light on both fighters. Sound Design Location sound only. Grass and dirt scraping, fabric rustling. Sharp impact sounds, heavy breathing, grunts. Flame ignition crackle building to a low roar. Lamp buzz as they flicker. Her line delivered clearly at 2.5–5.0s. Sharp exhale and crackle at the final blow. Total silence at the very end. No background music throughout.

Shami

30,636 просмотров • 29 дней назад

Claude 5.0 built a Chinese girl a trading bot. skip to 0:08 look at her journal, bot easily earns your monthly salary in a couple of days. how it works: the bot runs mean reversion on s&p 500 and nasdaq on 15-min candles, catching the small overextensions indices make every few hours. on bitcoin it switches to momentum breakouts on the 1-hour crypto trends harder than indices, so you ride the move instead of fading it. gold and oil get a slower trend-following layer on the 4-hour, because commodities move in cleaner waves and you don't want noise from intraday whipsaws. position sizing is ATR-based per instrument, so a quiet day on gold gets a bigger size than a volatile day on bitcoin - risk stays constant even when volatility doesn't. every trade has a hard 1% stop, no exceptions, no "let me give it room." and there's a correlation filter on top: if s&p and nasdaq are already long, it won't pile into another risk-on asset and double the real exposure. claude code writes and updates the logic. the bot just executes. then claude cowork sends her two messages a day: - 7am: what's happening in the market - 9pm: how did the bot do that's the whole job. two messages. five instruments. zero screen time. manually she could only watch one chart at a time. this thing watches five. doesn't sleep. doesn't tilt. doesn't revenge trade at 2am. what used to need a team of quants and a $200k bloomberg terminal now runs on a laptop and claude. And your friend is still trading manually and is constantly in the red. save this and read the article in the comments below to write your own bot using Claude

Claude 5.0 built a Chinese girl a trading bot. skip to 0:08 look at her journal, bot easily earns your monthly salary in a couple of days. how it works: the bot runs mean reversion on s&p 500 and nasdaq on 15-min candles, catching the small overextensions indices make every few hours. on bitcoin it switches to momentum breakouts on the 1-hour crypto trends harder than indices, so you ride the move instead of fading it. gold and oil get a slower trend-following layer on the 4-hour, because commodities move in cleaner waves and you don't want noise from intraday whipsaws. position sizing is ATR-based per instrument, so a quiet day on gold gets a bigger size than a volatile day on bitcoin - risk stays constant even when volatility doesn't. every trade has a hard 1% stop, no exceptions, no "let me give it room." and there's a correlation filter on top: if s&p and nasdaq are already long, it won't pile into another risk-on asset and double the real exposure. claude code writes and updates the logic. the bot just executes. then claude cowork sends her two messages a day: - 7am: what's happening in the market - 9pm: how did the bot do that's the whole job. two messages. five instruments. zero screen time. manually she could only watch one chart at a time. this thing watches five. doesn't sleep. doesn't tilt. doesn't revenge trade at 2am. what used to need a team of quants and a $200k bloomberg terminal now runs on a laptop and claude. And your friend is still trading manually and is constantly in the red. save this and read the article in the comments below to write your own bot using Claude

AdiiX

7,993,210 просмотров • 3 месяцев назад

You invite vayne to a date on the beach. she says no. you don't ask why. three days later she shows up at your door with a duffel bag and says "lets go" you don't question it. you drive in silence. the aroma of salty air starts leaking through the cracked window an hour before you arrive. she watches the side mirror the entire drive like someone's going to follow you to a public beach on a saturday. you pull into the lot. she doesn't get out of the car. the ocean is loud even through the windshield. waves breaking in slow rolling booms. gulls somewhere. kids laughing down the shoreline. she's staring at the water like it's something she was sent to kill. "change of plans" she says. you wait. she grips the strap of the duffel bag tighter. her knuckles go pale. "i can't swim" you blink. the demon hunter. the woman who has slain demons with her crossbow in total darkness. cannot swim. you try not to smile. she sees you try not to smile. "say one word and i'm walking home" you don't say a word. she gets out of the car. slams the door harder than she needs to. her swimsuit is black. of course it's black. she'd wear tactical gear to the beach if they made it in swim fabric. her crossbow is in the duffel bag. you know it's in the duffel bag. she knows you know. the sand is hot under your feet. the wind pulls at her hair and she keeps pushing it back with irritation. you walk her down to the shore. she stops where the water touches her toes and doesn't move. a wave comes in and wraps around her ankles and pulls back and she watches the sand shift under her feet like the earth just betrayed her. "this is stupid" you say "we don't have to" "i said we're doing it" the sun is directly overhead. your shadow is small. you can smell the salt on her skin already. sunscreen she definitely applied angrily in the car. you hold out your hand. she looks at it for a long second. then she reluctantly takes it. her grip is tighter than it needs to be. her palm is warm. you can feel her pulse in her thumb. you walk in together. knee deep. the water is cold enough to make her inhale sharply. she doesn't complain. she doesn't complain about anything ever. waist deep. a small wave hits her hip and she tightens her grip on you. you pretend not to notice. chest deep. her breathing changes. she grabs your shoulder with her free hand. hard enough that you'll have a mark tomorrow. "i don't like this" you tell her to lean back. you'll hold her. you've got her. she doesn't lean back. "i don't lean back. ever" you say "i know. that's the problem" she looks deep into your eyes as if staring into your soul. the water is moving around both of you in slow pulses. her hair is wet at the ends from where it dipped in. there's salt drying on her cheekbones. her eyes are the color they always are but they look different in this light. less like something hunting you. more like something that hasn't slept in years. long pause. then she leans back. slowly. an inch at a time. like she's disarming a trap that could go off under her. your hand slides under her back. the other cups the back of her neck. her hair spreads out around her in the water. her whole body tightening. she's staring straight up at the sky. "if i drown i'm coming back to kill you" you tell her she's floating. "i know i'm floating. i can feel it" her voice is different. quieter. softer than the voice she uses in the world. you've never heard it. the sun is on her face. her eyelashes are wet and clumped. a single drop of seawater slides from her temple down into her hair. she doesn't flinch. you keep your hand under her even though she doesn't need it anymore. she doesn't tell you to move it. minutes pass. you're not sure how many. then a bigger wave rolls in from behind you. she feels it before she sees it. she panics. snaps upright. both arms around your neck. her face buried in the crook of your shoulder. her whole body pressed against yours in the water. you can feel her heart beating against your chest. you hold her. the wave passes under both of you and keeps going. neither of you moves. you can hear her breathing. slow and shaky. her fingers are tangled at the back of your neck. the ocean sounds further away than it did a minute ago. she smells like salt and sun and something underneath that you don't have a word for. she doesn't let go for a long time. when she finally does she pushes away like she just realized what she was doing. her face is flushed from something that isn't the sun. she won't look at you. she starts walking back to shore without a word. the water breaks around her waist then her knees then her ankles. you follow. on the sand she towels off aggressively. attacks her hair like it insulted her personally. the sun is lower now. gold on the water behind her. kids are still laughing somewhere down the beach. she won't make eye contact. then she says "we're doing this again" she doesn't ask. she tells. "and don't tell ANYONE what you just saw" Study the Saskio way

You invite vayne to a date on the beach. she says no. you don't ask why. three days later she shows up at your door with a duffel bag and says "lets go" you don't question it. you drive in silence. the aroma of salty air starts leaking through the cracked window an hour before you arrive. she watches the side mirror the entire drive like someone's going to follow you to a public beach on a saturday. you pull into the lot. she doesn't get out of the car. the ocean is loud even through the windshield. waves breaking in slow rolling booms. gulls somewhere. kids laughing down the shoreline. she's staring at the water like it's something she was sent to kill. "change of plans" she says. you wait. she grips the strap of the duffel bag tighter. her knuckles go pale. "i can't swim" you blink. the demon hunter. the woman who has slain demons with her crossbow in total darkness. cannot swim. you try not to smile. she sees you try not to smile. "say one word and i'm walking home" you don't say a word. she gets out of the car. slams the door harder than she needs to. her swimsuit is black. of course it's black. she'd wear tactical gear to the beach if they made it in swim fabric. her crossbow is in the duffel bag. you know it's in the duffel bag. she knows you know. the sand is hot under your feet. the wind pulls at her hair and she keeps pushing it back with irritation. you walk her down to the shore. she stops where the water touches her toes and doesn't move. a wave comes in and wraps around her ankles and pulls back and she watches the sand shift under her feet like the earth just betrayed her. "this is stupid" you say "we don't have to" "i said we're doing it" the sun is directly overhead. your shadow is small. you can smell the salt on her skin already. sunscreen she definitely applied angrily in the car. you hold out your hand. she looks at it for a long second. then she reluctantly takes it. her grip is tighter than it needs to be. her palm is warm. you can feel her pulse in her thumb. you walk in together. knee deep. the water is cold enough to make her inhale sharply. she doesn't complain. she doesn't complain about anything ever. waist deep. a small wave hits her hip and she tightens her grip on you. you pretend not to notice. chest deep. her breathing changes. she grabs your shoulder with her free hand. hard enough that you'll have a mark tomorrow. "i don't like this" you tell her to lean back. you'll hold her. you've got her. she doesn't lean back. "i don't lean back. ever" you say "i know. that's the problem" she looks deep into your eyes as if staring into your soul. the water is moving around both of you in slow pulses. her hair is wet at the ends from where it dipped in. there's salt drying on her cheekbones. her eyes are the color they always are but they look different in this light. less like something hunting you. more like something that hasn't slept in years. long pause. then she leans back. slowly. an inch at a time. like she's disarming a trap that could go off under her. your hand slides under her back. the other cups the back of her neck. her hair spreads out around her in the water. her whole body tightening. she's staring straight up at the sky. "if i drown i'm coming back to kill you" you tell her she's floating. "i know i'm floating. i can feel it" her voice is different. quieter. softer than the voice she uses in the world. you've never heard it. the sun is on her face. her eyelashes are wet and clumped. a single drop of seawater slides from her temple down into her hair. she doesn't flinch. you keep your hand under her even though she doesn't need it anymore. she doesn't tell you to move it. minutes pass. you're not sure how many. then a bigger wave rolls in from behind you. she feels it before she sees it. she panics. snaps upright. both arms around your neck. her face buried in the crook of your shoulder. her whole body pressed against yours in the water. you can feel her heart beating against your chest. you hold her. the wave passes under both of you and keeps going. neither of you moves. you can hear her breathing. slow and shaky. her fingers are tangled at the back of your neck. the ocean sounds further away than it did a minute ago. she smells like salt and sun and something underneath that you don't have a word for. she doesn't let go for a long time. when she finally does she pushes away like she just realized what she was doing. her face is flushed from something that isn't the sun. she won't look at you. she starts walking back to shore without a word. the water breaks around her waist then her knees then her ankles. you follow. on the sand she towels off aggressively. attacks her hair like it insulted her personally. the sun is lower now. gold on the water behind her. kids are still laughing somewhere down the beach. she won't make eye contact. then she says "we're doing this again" she doesn't ask. she tells. "and don't tell ANYONE what you just saw" Study the Saskio way

Tony Chau

49,627 просмотров • 5 месяцев назад

John James Commits to Help Fix Detroit's Poisoned Holes I asked all the leading candidates to come visit Detroit's most toxic demo hole, and only he and Jay DeBoyer showed up By Charlie LeDuff Charlie LeDuff Detroit — It’s the second-most famous hole in the city, and Detroit Mayor Mary Sheffield can’t get it filled. The hole is on 25th Street on the city’s west side, where a house once stood. The house had a piano. And on that piano, in that house, Little Stevie Wonder learned to play music. There should be a historical plaque there. Instead, there is a massive open pit of super-contaminated dirt that’s been pooling with rainwater for nearly two months. The house was demolished a few years ago, and the contractor filled it with dirt poisoned with lead at levels so high it puts Flint’s water to shame. Another contractor won a bid of nearly $93,000 to dig up the dirt, dump it at a landfill, and then re-fill the hole with clean dirt. The hole is so contaminated that the contractor wrapped the neighboring home entirely in plastic sheeting. The contractor dug a little bit out, saw a swamp of subterranean water running from some unknown origin, and promptly abandoned the project, leaving his excavator parked on the sidewalk. That’s illegal. The swamp water poured into the cellar of the neighboring home owned by Izellia Smith. Now, Smith’s house is contaminated with lead and the city is going to have to pay her. Smith’s councilwoman Gabriela Santiago-Romero decided to continue with her summer vacation rather than help her beleaguered constituent. Mayor Sheffield has not returned Smith’s phone calls, either. Her Honor continues to hide, caught up in a swirling scandal of graft and sex. A seedy scandal entirely of her own making. One of Sheffield’s former lovers faces federal indictment for poisoning hundreds—if not thousands—of other demolition holes. Sheffield, as a member of city council, voted to award millions in contracts to her lover, Brian McKinney, “while they were getting to know each other”—as her handlers put it. When the relationship was exposed by The Enjoyer, Sheffield’s first instinct was to claim she never voted on her loverboy’s contract. That was a lie. Nothing spells municipal C-O-R-R-U-P-T-I-O-N like a dirt hole that can’t be filled by a mayor who can’t be found. So I called Abdul El-Sayed, the Democrat candidate for U.S. Senate. He used to work at the Detroit Health Department. He claims to be an “expert.” I called three times. Crickets. Too busy with Meet the Press to come out and meet the people of Detroit. I called his Republican opponent Mike Rogers. His people said he’s more than willing to come check out 25th Street. I called Jocelyn Benson, the Democrat candidate for governor, who alleges that she lives in Detroit. Nada. Nothing. No dice. No dirt. Nice handbags. I was going to call her Republican opponent, John James, but he called me first. He’d seen our stories about the Stevie Wonder hole and he wanted to know more. I told him I’d be happy to show his staff around, just as I would with Sheffield’s or El-Sayed’s or Benson’s. Or Rogers’. But his campaign is being run from Washington. It ain’t politics to me. It’s people. To my surprise, James himself showed up on 25th Street last week—without security. I introduced him to Izellia Smith. She talked and he listened. Then he did a TikTok video, naturally. The congressman promised in the short term he’d do what he could to get her situation straightened away. Then James promised that if elected governor, he’d find the money to clean up the entire city, where undoubtedly thousands of holes have been filled with toxic soil under the leadership of Mike Duggan and Mary Sheffield. James called the fiasco another Flint. He’s right. I’m not endorsing anybody. But Detroit will need $200 million—minimum—to clean up this crime scene. Only the federal government has that kind of money. It’d be good to have a governor in Lansing who has decent relationships in Washington. And it’d be good to have a governor who isn’t afraid of Detroit.

John James Commits to Help Fix Detroit's Poisoned Holes I asked all the leading candidates to come visit Detroit's most toxic demo hole, and only he and Jay DeBoyer showed up By Charlie LeDuff Charlie LeDuff Detroit — It’s the second-most famous hole in the city, and Detroit Mayor Mary Sheffield can’t get it filled. The hole is on 25th Street on the city’s west side, where a house once stood. The house had a piano. And on that piano, in that house, Little Stevie Wonder learned to play music. There should be a historical plaque there. Instead, there is a massive open pit of super-contaminated dirt that’s been pooling with rainwater for nearly two months. The house was demolished a few years ago, and the contractor filled it with dirt poisoned with lead at levels so high it puts Flint’s water to shame. Another contractor won a bid of nearly $93,000 to dig up the dirt, dump it at a landfill, and then re-fill the hole with clean dirt. The hole is so contaminated that the contractor wrapped the neighboring home entirely in plastic sheeting. The contractor dug a little bit out, saw a swamp of subterranean water running from some unknown origin, and promptly abandoned the project, leaving his excavator parked on the sidewalk. That’s illegal. The swamp water poured into the cellar of the neighboring home owned by Izellia Smith. Now, Smith’s house is contaminated with lead and the city is going to have to pay her. Smith’s councilwoman Gabriela Santiago-Romero decided to continue with her summer vacation rather than help her beleaguered constituent. Mayor Sheffield has not returned Smith’s phone calls, either. Her Honor continues to hide, caught up in a swirling scandal of graft and sex. A seedy scandal entirely of her own making. One of Sheffield’s former lovers faces federal indictment for poisoning hundreds—if not thousands—of other demolition holes. Sheffield, as a member of city council, voted to award millions in contracts to her lover, Brian McKinney, “while they were getting to know each other”—as her handlers put it. When the relationship was exposed by The Enjoyer, Sheffield’s first instinct was to claim she never voted on her loverboy’s contract. That was a lie. Nothing spells municipal C-O-R-R-U-P-T-I-O-N like a dirt hole that can’t be filled by a mayor who can’t be found. So I called Abdul El-Sayed, the Democrat candidate for U.S. Senate. He used to work at the Detroit Health Department. He claims to be an “expert.” I called three times. Crickets. Too busy with Meet the Press to come out and meet the people of Detroit. I called his Republican opponent Mike Rogers. His people said he’s more than willing to come check out 25th Street. I called Jocelyn Benson, the Democrat candidate for governor, who alleges that she lives in Detroit. Nada. Nothing. No dice. No dirt. Nice handbags. I was going to call her Republican opponent, John James, but he called me first. He’d seen our stories about the Stevie Wonder hole and he wanted to know more. I told him I’d be happy to show his staff around, just as I would with Sheffield’s or El-Sayed’s or Benson’s. Or Rogers’. But his campaign is being run from Washington. It ain’t politics to me. It’s people. To my surprise, James himself showed up on 25th Street last week—without security. I introduced him to Izellia Smith. She talked and he listened. Then he did a TikTok video, naturally. The congressman promised in the short term he’d do what he could to get her situation straightened away. Then James promised that if elected governor, he’d find the money to clean up the entire city, where undoubtedly thousands of holes have been filled with toxic soil under the leadership of Mike Duggan and Mary Sheffield. James called the fiasco another Flint. He’s right. I’m not endorsing anybody. But Detroit will need $200 million—minimum—to clean up this crime scene. Only the federal government has that kind of money. It’d be good to have a governor in Lansing who has decent relationships in Washington. And it’d be good to have a governor who isn’t afraid of Detroit.

Michigan Enjoyer

32,479 просмотров • 11 дней назад

The goal wasn’t to make something cinematic. Just make an ordinary day feel real. Made with Seedance 2.5. Prompt: Create a 30-second, 1080p ultra-realistic personal home-video of a young Korean woman confidently claiming she can sing, only to completely fall apart mid-song in a noraebang (karaoke room). No reference image. MAIN SUBJECT Young Korean woman in her early 20s, casual and confident energy, natural makeup that's slightly smudged from a night out, expressive face that goes from cocky to distressed in seconds. Long black hair in loose waves, a claw clip half-holding it up, small hoop earrings catching the disco light. Wearing an oversized denim jacket over a graphic tee, black mini skirt, ankle boots, holding a wireless karaoke mic like it's a real microphone. Maintain the same face, hairstyle, clothing, body proportions, and appearance throughout the entire video. SETTING A small, slightly worn private noraebang room late at night. Neon-colored wall lighting cycling through pink, blue, and purple, a low vinyl couch, a coffee table with empty snack bags and soju/beer cans, a big screen playing a lyrics video with over-the-top visuals, a disco ball casting light spots, a tambourine on the table, a song-selection remote, and mirrored wall panels reflecting the room. Slightly tacky, glowing, chaotic in the best way. CAMERA / VISUAL AESTHETIC Raw personal footage filmed by her friend on a phone, strong handheld vlog shake throughout. Lighting shifts constantly with the neon cycle, causing exposure and color shifts across her face. Autofocus hunts between her face and the flashing screen behind her. Camera swings and dips with the friend's own laughter, mild motion blur during her more dramatic mic-swinging moments, visible digital noise in the dim room, colors slightly oversaturated from the neon wash. No stabilization, no cinematic polish — it should feel like real footage that'll end up in a group chat. 00:00–00:05 — THE CONFIDENT INTRO She grabs the mic with both hands, striking a mock-serious pop-star pose as the intro music starts. She looks dead into the camera, completely deadpan and confident. "Okay watch this. I'm actually good." 00:05–00:10 — STRONG START The first line of the song hits and she nails it — eyes closed, hand on chest, fully committed to the performance. The camera pushes in slightly, genuinely impressed, catching her hitting the note clean. Her friend's voice off-camera: "Okay wait—?!" 00:10–00:15 — THE CRACK The song hits a higher note and her voice visibly strains, cracking halfway through. Her eyes snap open in panic mid-note. She tries to recover by belting harder, which makes it worse. The camera shakes as the friend starts laughing, frame briefly clipping the ceiling. 00:15–00:20 — FULL COLLAPSE She completely loses the melody, mumbling half the lyrics she doesn't know, gesturing wildly with the mic to compensate. She turns away from the camera in embarrassment mid-line, then spins back in for a dramatic (bad) finish, hair flying. The frame overshoots trying to follow her spin, briefly blurring. 00:20–00:25 — GIVING UP She drops onto the couch mid-song, still holding the mic up weakly, mumbling the last few lines into the cushion instead of singing them. The score screen pops up on the TV behind her with a visibly low number. She peeks at the score, winces hard, and covers her face with a couch pillow. 00:25–00:30 — FINAL MOMENT She lowers the pillow slowly, mic still limp in her other hand, and stares into the camera in mock devastation. "...We're never speaking about this again." Her friend, still laughing off-camera, zooms in too close on her defeated face — she weakly swats the lens away — and the footage cuts abruptly to black. AUDIO Natural location sound only: Karaoke backing track playing from the room's speaker (muffled, roomy), her actual singing — strong at first, then cracking and falling apart — her friend's genuine off-camera laughter throughout, mic feedback crackle, couch cushion thud, tambourine jingling faintly when knocked, and handheld camera noise. No added music. No narration. No artificial sound effects. Spoken lines: "Okay watch this. I'm actually good." / "Okay wait—?!" (friend, off-camera) / "...We're never speaking about this again." FINAL FEEL Chaotic, glowing, late-night noraebang energy — the universal experience of confidently starting a karaoke song and immediately regretting every choice that led to that moment. Funny, cringe-in-a-good-way, genuinely unscripted. No polished performance. No actual singing talent required — the comedy comes from the real vocal crack, real panic, and the gap between her confidence and her execution.

The goal wasn’t to make something cinematic. Just make an ordinary day feel real. Made with Seedance 2.5. Prompt: Create a 30-second, 1080p ultra-realistic personal home-video of a young Korean woman confidently claiming she can sing, only to completely fall apart mid-song in a noraebang (karaoke room). No reference image. MAIN SUBJECT Young Korean woman in her early 20s, casual and confident energy, natural makeup that's slightly smudged from a night out, expressive face that goes from cocky to distressed in seconds. Long black hair in loose waves, a claw clip half-holding it up, small hoop earrings catching the disco light. Wearing an oversized denim jacket over a graphic tee, black mini skirt, ankle boots, holding a wireless karaoke mic like it's a real microphone. Maintain the same face, hairstyle, clothing, body proportions, and appearance throughout the entire video. SETTING A small, slightly worn private noraebang room late at night. Neon-colored wall lighting cycling through pink, blue, and purple, a low vinyl couch, a coffee table with empty snack bags and soju/beer cans, a big screen playing a lyrics video with over-the-top visuals, a disco ball casting light spots, a tambourine on the table, a song-selection remote, and mirrored wall panels reflecting the room. Slightly tacky, glowing, chaotic in the best way. CAMERA / VISUAL AESTHETIC Raw personal footage filmed by her friend on a phone, strong handheld vlog shake throughout. Lighting shifts constantly with the neon cycle, causing exposure and color shifts across her face. Autofocus hunts between her face and the flashing screen behind her. Camera swings and dips with the friend's own laughter, mild motion blur during her more dramatic mic-swinging moments, visible digital noise in the dim room, colors slightly oversaturated from the neon wash. No stabilization, no cinematic polish — it should feel like real footage that'll end up in a group chat. 00:00–00:05 — THE CONFIDENT INTRO She grabs the mic with both hands, striking a mock-serious pop-star pose as the intro music starts. She looks dead into the camera, completely deadpan and confident. "Okay watch this. I'm actually good." 00:05–00:10 — STRONG START The first line of the song hits and she nails it — eyes closed, hand on chest, fully committed to the performance. The camera pushes in slightly, genuinely impressed, catching her hitting the note clean. Her friend's voice off-camera: "Okay wait—?!" 00:10–00:15 — THE CRACK The song hits a higher note and her voice visibly strains, cracking halfway through. Her eyes snap open in panic mid-note. She tries to recover by belting harder, which makes it worse. The camera shakes as the friend starts laughing, frame briefly clipping the ceiling. 00:15–00:20 — FULL COLLAPSE She completely loses the melody, mumbling half the lyrics she doesn't know, gesturing wildly with the mic to compensate. She turns away from the camera in embarrassment mid-line, then spins back in for a dramatic (bad) finish, hair flying. The frame overshoots trying to follow her spin, briefly blurring. 00:20–00:25 — GIVING UP She drops onto the couch mid-song, still holding the mic up weakly, mumbling the last few lines into the cushion instead of singing them. The score screen pops up on the TV behind her with a visibly low number. She peeks at the score, winces hard, and covers her face with a couch pillow. 00:25–00:30 — FINAL MOMENT She lowers the pillow slowly, mic still limp in her other hand, and stares into the camera in mock devastation. "...We're never speaking about this again." Her friend, still laughing off-camera, zooms in too close on her defeated face — she weakly swats the lens away — and the footage cuts abruptly to black. AUDIO Natural location sound only: Karaoke backing track playing from the room's speaker (muffled, roomy), her actual singing — strong at first, then cracking and falling apart — her friend's genuine off-camera laughter throughout, mic feedback crackle, couch cushion thud, tambourine jingling faintly when knocked, and handheld camera noise. No added music. No narration. No artificial sound effects. Spoken lines: "Okay watch this. I'm actually good." / "Okay wait—?!" (friend, off-camera) / "...We're never speaking about this again." FINAL FEEL Chaotic, glowing, late-night noraebang energy — the universal experience of confidently starting a karaoke song and immediately regretting every choice that led to that moment. Funny, cringe-in-a-good-way, genuinely unscripted. No polished performance. No actual singing talent required — the comedy comes from the real vocal crack, real panic, and the gap between her confidence and her execution.

Oogie

28,073 просмотров • 28 дней назад

This Detroit Mother Lives Among Duggan's Poisoned Dirt Holes The former mayor claimed he cleaned everything up, but she calls it a "lie" as gaping holes collect rainwater and trash on both sides of her house By Charlie LeDuff Charlie LeDuff There is a working mother on Detroit’s east side with four young babies. Andrea Smith should be worried about the price of gas and formula and diapers. But that’s the least of it. She’s more concerned about the gaping demolition holes on each side of her house, filled with muck and rainwater and debris. “Mayor, clean this up,” she fumed. “I got four kids, what if my kids fall in here?” As far as Ms. Smith is concerned, Mike Duggan belongs nowhere near the governor’s mansion. He belongs in a defendant’s chair. The city of Detroit, under his 12-year stewardship, finds itself the victim of a mass poisoning of unknown proportions. Toxic dirt was used to fill the city’s demolition holes. And Duggan, by all accounts, pushed his demolition executives to the breaking point so he might have something good to campaign on as he makes a run to become Michigan’s next governor. But the mud pie has exploded in his face. With no real plan to fix things, Duggan and the new administration of Mayor Mary Sheffield engage in stupidity and budgetary sleight-of-hand to keep a lid on an environmental scandal that could rival Flint. Some quick but necessary background here. The U.S. Treasury Department in 2014 sent $260 million to the city of Detroit to help eradicate its enormous blight. Demolition contractors were allowed by Duggan to charge whatever they wanted for “clean” soil to fill the holes. Incredulously, no receipts or proof of purchase were required. That is until federal agents caught the contractors and fined the city $5 million. The city agreed, going forward, to require invoice receipts for the dirt. But the city never did collect those receipts. Once again, in 2021, the Treasury Department spanked the city over $13 million in bogus dirt. Duggan, who’s dodged more grand juries in his career than John Gotti, settled with the U.S. government for $1.5 million. Duggan then pushed for another $250 million from Detroit taxpayers to continue his blight crusade. And again, neither he nor his minions required proof that the dirt was clean. More than 27,000 houses were demolished under the stewardship of the Teflon Leprechaun, and people like Ms. Smith have no idea just how bad things are in their neighborhoods. So far, the city has admitted to 600 suspect holes and is now in the process of testing them. But how do we know that’s the extent of it? Remember, Duggan never required the demolition contractors to provide proof of the origin of the dirt going back a dozen years. Is it hundreds of lots? Thousands? Tens of thousands? We could be talking about hundreds of millions of dollars in clean-up costs. And now we come to find out that Duggan’s hand-picked minority contractor, Brian McKinney of the Gayanga Company, was allowed to illegally work without construction insurance. Current Mayor Mary Sheffield certainly knew of this. She was dating the guy, after all, while simultaneously voting to award millions in contracts. So now, the taxpayer is on the hook, having to pay twice for the same dirty jobs. Just a few weeks ago, Duggan was cornered by the press, who are suddenly interested in dirt. “As of December 31st when I left office, every single site that had been tested at elevated contaminants had been removed and clean dirt replaced,” said an exasperated Duggan, who looked like he’d been beaten with a feather pillow. Naturally, this was a lie. Just take a trip to Tacoma Street and ask Andrea Smith who is living with her four children in a hellscape of incompetence and danger. No less than eight gaping holes blight her street. The toxic dirt was removed last November as Duggan claimed. But no clean dirt has been poured to fill them. Instead, there are craters the size of municipal swimming pools. With the spring ground thawing, the holes have transmogrified into a quagmire of clay and rock. If a dog fell in, it wouldn’t be able to crawl out, much less a toddler. “It’s been like this for a minute,” said Smith. “How long?” I asked. “Since before Christmas.” “What?” “Before Christmas,” she emphasized. “Well, the mayor said he cleaned it all up.” “No.” “It’s a lie?” I asked. “Yes, it’s a lie,” she answered. “You gonna vote for him for governor?” “No.” With the dirt scandal spreading across the region, Ms. Smith’s solitary vote is the least of Duggan’s worries.

This Detroit Mother Lives Among Duggan's Poisoned Dirt Holes The former mayor claimed he cleaned everything up, but she calls it a "lie" as gaping holes collect rainwater and trash on both sides of her house By Charlie LeDuff Charlie LeDuff There is a working mother on Detroit’s east side with four young babies. Andrea Smith should be worried about the price of gas and formula and diapers. But that’s the least of it. She’s more concerned about the gaping demolition holes on each side of her house, filled with muck and rainwater and debris. “Mayor, clean this up,” she fumed. “I got four kids, what if my kids fall in here?” As far as Ms. Smith is concerned, Mike Duggan belongs nowhere near the governor’s mansion. He belongs in a defendant’s chair. The city of Detroit, under his 12-year stewardship, finds itself the victim of a mass poisoning of unknown proportions. Toxic dirt was used to fill the city’s demolition holes. And Duggan, by all accounts, pushed his demolition executives to the breaking point so he might have something good to campaign on as he makes a run to become Michigan’s next governor. But the mud pie has exploded in his face. With no real plan to fix things, Duggan and the new administration of Mayor Mary Sheffield engage in stupidity and budgetary sleight-of-hand to keep a lid on an environmental scandal that could rival Flint. Some quick but necessary background here. The U.S. Treasury Department in 2014 sent $260 million to the city of Detroit to help eradicate its enormous blight. Demolition contractors were allowed by Duggan to charge whatever they wanted for “clean” soil to fill the holes. Incredulously, no receipts or proof of purchase were required. That is until federal agents caught the contractors and fined the city $5 million. The city agreed, going forward, to require invoice receipts for the dirt. But the city never did collect those receipts. Once again, in 2021, the Treasury Department spanked the city over $13 million in bogus dirt. Duggan, who’s dodged more grand juries in his career than John Gotti, settled with the U.S. government for $1.5 million. Duggan then pushed for another $250 million from Detroit taxpayers to continue his blight crusade. And again, neither he nor his minions required proof that the dirt was clean. More than 27,000 houses were demolished under the stewardship of the Teflon Leprechaun, and people like Ms. Smith have no idea just how bad things are in their neighborhoods. So far, the city has admitted to 600 suspect holes and is now in the process of testing them. But how do we know that’s the extent of it? Remember, Duggan never required the demolition contractors to provide proof of the origin of the dirt going back a dozen years. Is it hundreds of lots? Thousands? Tens of thousands? We could be talking about hundreds of millions of dollars in clean-up costs. And now we come to find out that Duggan’s hand-picked minority contractor, Brian McKinney of the Gayanga Company, was allowed to illegally work without construction insurance. Current Mayor Mary Sheffield certainly knew of this. She was dating the guy, after all, while simultaneously voting to award millions in contracts. So now, the taxpayer is on the hook, having to pay twice for the same dirty jobs. Just a few weeks ago, Duggan was cornered by the press, who are suddenly interested in dirt. “As of December 31st when I left office, every single site that had been tested at elevated contaminants had been removed and clean dirt replaced,” said an exasperated Duggan, who looked like he’d been beaten with a feather pillow. Naturally, this was a lie. Just take a trip to Tacoma Street and ask Andrea Smith who is living with her four children in a hellscape of incompetence and danger. No less than eight gaping holes blight her street. The toxic dirt was removed last November as Duggan claimed. But no clean dirt has been poured to fill them. Instead, there are craters the size of municipal swimming pools. With the spring ground thawing, the holes have transmogrified into a quagmire of clay and rock. If a dog fell in, it wouldn’t be able to crawl out, much less a toddler. “It’s been like this for a minute,” said Smith. “How long?” I asked. “Since before Christmas.” “What?” “Before Christmas,” she emphasized. “Well, the mayor said he cleaned it all up.” “No.” “It’s a lie?” I asked. “Yes, it’s a lie,” she answered. “You gonna vote for him for governor?” “No.” With the dirt scandal spreading across the region, Ms. Smith’s solitary vote is the least of Duggan’s worries.

Michigan Enjoyer

26,501 просмотров • 6 месяцев назад

AI slop is easy. Making AI feel like a real memory is the hard part. Created with seedance 2.5 A 30-second, 1080p, 16:9 ultra-realistic live-action home video of a young Korean woman during an unplanned summer afternoon in Seoul. VISUAL STYLE Early-2000s consumer DV camcorder footage: imperfect handheld movement, autofocus hunting, slight exposure shifts, soft digital detail, faded colors, mild tape noise, accidental zooms, natural motion blur. No stabilization, cinematic lighting, slow motion, or polished commercial look. It should feel like a genuine memory filmed by a close friend. CHARACTER Young Korean woman in her early 20s, short messy layered bob, minimal makeup, expressive eyes. Loose faded olive graphic T-shirt, long white pleated skirt, worn gray sneakers, black crossbody pouch, thin red bracelet. Keep her face, hair, outfit, accessories, proportions, and identity perfectly consistent. STORY 0–5s — STRANGE SOUND She leaves an older Seoul apartment carrying a small paper bag. A strange rhythmic sound makes her stop. She looks around as the camera quickly zooms in. “What is that?” 5–10s — UNEXPECTED DANCE She discovers two elderly men seriously practicing a synchronized dance beside a neighborhood basketball court. One notices her and invites her over. She awkwardly copies their steps, then unexpectedly nails an exaggerated move. Everyone laughs. 10–15s — PAPER BAG ESCAPES A sudden breeze sends her paper bag sliding across the court. She chases it, retrieves it from beneath a bench, then gives the camera an exaggerated disappointed look. 15–22s — TINY DISCOVERY She enters a tiny neighborhood stationery shop and notices a wind-up toy. She winds it up and watches it wobble across the counter, laughing. She buys it. 22–27s — SMALL MEMORY Outside, she places the toy on a low wall and winds it up. It walks crookedly toward the edge. She catches it just in time. Her friend zooms in too close as she playfully leans into the lens. 27–30s — FINAL MOMENT She places the toy on the pavement and walks backward behind it, smiling. The camera follows the toy, then tilts toward her face. “Okay… this was actually worth leaving the house.” Abrupt cut to black. AUDIO Only natural sound: insects, distant traffic, footsteps, wind, court ambience, laughter, shop bell, toy mechanism, and the two spoken lines. No music, narration, subtitles, logos, brands, or text. REALISM Natural reactions, imperfect timing, believable physics, consistent character and toy. No distorted faces, extra fingers, duplicated people, teleportation, outfit changes, or exaggerated cartoon behavior.

AI slop is easy. Making AI feel like a real memory is the hard part. Created with seedance 2.5 A 30-second, 1080p, 16:9 ultra-realistic live-action home video of a young Korean woman during an unplanned summer afternoon in Seoul. VISUAL STYLE Early-2000s consumer DV camcorder footage: imperfect handheld movement, autofocus hunting, slight exposure shifts, soft digital detail, faded colors, mild tape noise, accidental zooms, natural motion blur. No stabilization, cinematic lighting, slow motion, or polished commercial look. It should feel like a genuine memory filmed by a close friend. CHARACTER Young Korean woman in her early 20s, short messy layered bob, minimal makeup, expressive eyes. Loose faded olive graphic T-shirt, long white pleated skirt, worn gray sneakers, black crossbody pouch, thin red bracelet. Keep her face, hair, outfit, accessories, proportions, and identity perfectly consistent. STORY 0–5s — STRANGE SOUND She leaves an older Seoul apartment carrying a small paper bag. A strange rhythmic sound makes her stop. She looks around as the camera quickly zooms in. “What is that?” 5–10s — UNEXPECTED DANCE She discovers two elderly men seriously practicing a synchronized dance beside a neighborhood basketball court. One notices her and invites her over. She awkwardly copies their steps, then unexpectedly nails an exaggerated move. Everyone laughs. 10–15s — PAPER BAG ESCAPES A sudden breeze sends her paper bag sliding across the court. She chases it, retrieves it from beneath a bench, then gives the camera an exaggerated disappointed look. 15–22s — TINY DISCOVERY She enters a tiny neighborhood stationery shop and notices a wind-up toy. She winds it up and watches it wobble across the counter, laughing. She buys it. 22–27s — SMALL MEMORY Outside, she places the toy on a low wall and winds it up. It walks crookedly toward the edge. She catches it just in time. Her friend zooms in too close as she playfully leans into the lens. 27–30s — FINAL MOMENT She places the toy on the pavement and walks backward behind it, smiling. The camera follows the toy, then tilts toward her face. “Okay… this was actually worth leaving the house.” Abrupt cut to black. AUDIO Only natural sound: insects, distant traffic, footsteps, wind, court ambience, laughter, shop bell, toy mechanism, and the two spoken lines. No music, narration, subtitles, logos, brands, or text. REALISM Natural reactions, imperfect timing, believable physics, consistent character and toy. No distorted faces, extra fingers, duplicated people, teleportation, outfit changes, or exaggerated cartoon behavior.

Anissa

42,781 просмотров • 17 дней назад

Filmed using Camera .. No Made with Seedance 2.5 Prompt : Create a 30-second, 1080p ultra-realistic personal home-video showing an ordinary summer afternoon in the life of a young Korean woman. MAIN SUBJECT Young Korean woman, early 20s, naturally beautiful, realistic skin, minimal makeup, black wavy hair in a messy side ponytail, fitted pastel-blue short top, loose cream pajama-style pants, black sneakers and simple silver necklace. Keep her identity, outfit, hairstyle and proportions perfectly consistent throughout. SETTING A quiet older Seoul residential neighborhood on a warm summer afternoon. Narrow concrete lanes, small houses, old walls, potted plants, parked bicycles, utility poles, overhead wires and a few neighbors outside. Natural, ordinary and lived-in. CAMERA / VISUAL AESTHETIC Raw early-2000s consumer DV camcorder footage filmed by a friend. Strong handheld movement, imperfect framing, autofocus hunting, exposure shifts, faded colors, soft digital detail, mild noise, motion blur and occasional accidental zooms. No stabilization, drone shots or polished cinematic look. — LEAVING HOME She steps outside her house and walks slowly through the neighborhood. She passes a few neighbors outside their homes, smiling and exchanging friendly gestures. She continues down the street with the camera following casually behind her. No dialogue. — WATER TAP She reaches a small public water tap beside the street. She turns it on, cups water in both hands and splashes it onto her face. She closes her eyes and smiles as the water runs naturally down her cheeks. She wipes her face, fixes her hair and turns the tap off. No dialogue. — BADMINTON On her way back, she notices a few children playing badminton in the street. She stops and watches them for a moment, then smiles and asks: “Can I try?” One child happily gives her the racket. She takes her position and waits for the shuttlecock. — THE MISS + WALK HOME A child hits the shuttlecock toward her. She swings and completely misses. The shuttlecock falls onto the ground. She laughs naturally, shakes her head and hands the racket back to the child. The children laugh with her. She then walks toward home as the camera follows her from behind. Near the end, she turns toward the camera with a small smile and says: “See you!” She continues walking home as the footage naturally ends. AUDIO Natural location sound only: footsteps, birds, summer insects, distant scooters, neighborhood sounds, running water, badminton hits and children laughing. Only two spoken lines in the entire video: “Can I try?” and “See you!” No other dialogue, no narration, no music, no subtitles. Maintain realistic physics, natural human movement, consistent identity and authentic early-2000s home-video imperfections. No morphing, duplicated people, distorted hands, outfit changes, background swaps or CGI-looking motion.

Filmed using Camera .. No Made with Seedance 2.5 Prompt : Create a 30-second, 1080p ultra-realistic personal home-video showing an ordinary summer afternoon in the life of a young Korean woman. MAIN SUBJECT Young Korean woman, early 20s, naturally beautiful, realistic skin, minimal makeup, black wavy hair in a messy side ponytail, fitted pastel-blue short top, loose cream pajama-style pants, black sneakers and simple silver necklace. Keep her identity, outfit, hairstyle and proportions perfectly consistent throughout. SETTING A quiet older Seoul residential neighborhood on a warm summer afternoon. Narrow concrete lanes, small houses, old walls, potted plants, parked bicycles, utility poles, overhead wires and a few neighbors outside. Natural, ordinary and lived-in. CAMERA / VISUAL AESTHETIC Raw early-2000s consumer DV camcorder footage filmed by a friend. Strong handheld movement, imperfect framing, autofocus hunting, exposure shifts, faded colors, soft digital detail, mild noise, motion blur and occasional accidental zooms. No stabilization, drone shots or polished cinematic look. — LEAVING HOME She steps outside her house and walks slowly through the neighborhood. She passes a few neighbors outside their homes, smiling and exchanging friendly gestures. She continues down the street with the camera following casually behind her. No dialogue. — WATER TAP She reaches a small public water tap beside the street. She turns it on, cups water in both hands and splashes it onto her face. She closes her eyes and smiles as the water runs naturally down her cheeks. She wipes her face, fixes her hair and turns the tap off. No dialogue. — BADMINTON On her way back, she notices a few children playing badminton in the street. She stops and watches them for a moment, then smiles and asks: “Can I try?” One child happily gives her the racket. She takes her position and waits for the shuttlecock. — THE MISS + WALK HOME A child hits the shuttlecock toward her. She swings and completely misses. The shuttlecock falls onto the ground. She laughs naturally, shakes her head and hands the racket back to the child. The children laugh with her. She then walks toward home as the camera follows her from behind. Near the end, she turns toward the camera with a small smile and says: “See you!” She continues walking home as the footage naturally ends. AUDIO Natural location sound only: footsteps, birds, summer insects, distant scooters, neighborhood sounds, running water, badminton hits and children laughing. Only two spoken lines in the entire video: “Can I try?” and “See you!” No other dialogue, no narration, no music, no subtitles. Maintain realistic physics, natural human movement, consistent identity and authentic early-2000s home-video imperfections. No morphing, duplicated people, distorted hands, outfit changes, background swaps or CGI-looking motion.

Smiling Khan

12,531 просмотров • 13 дней назад

Who doesn't love a group of college girls who're full-on nicotine addicts? The star of this video is the cute nerdy girl with her big glasses and lovely turtleneck sweater. And you'd naturally ask; how did such an innocent-looking model student become a smoker? Well, it all happened during her first exams. Her nerves were killing her, but her roommate thought her a little secret; that ciggies would calm her down. She quickly started chainsmoking and became a huge addict in no time at all. And now she's the first one outside during the break to light up and get her much-needed relief. She's quickly joined by two of her friends in Doc Martens boots who're passing the lighter around. Just look how they all relax as soon as they start pumping the delicious smoke into their lungs. They squat down as the nicotine rush hammers through their young bodies. The black-haired beauty meanwhile stays upright and takes drags in quick succession. But I simply can't take my eyes of this nerdy cutie. She's the kind of girl I'd get a massive crush on back in college. Her good girl gone bad vibe was just irresistible. Her sweater would smell of cigarette smoke, and I'd smoke my lungs to pulp together with her. And the sex would be so amazing; looking onto that sweet face while we'd both cum so hard. Oh man, I simply couldn't get enough of this type of girl. #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokingcollegegirl #smokingincollege #lightingup #deepinhale #exhale #turtleneck #turtleneckjacket #turtleneckfetish #nerdyglasses #docmartens #teensmoking #teensmoker #smokingteen #collegegirl #nerdygirl #cutegirl #coolgirl #hotgirl #sexygirl

Sensitive content

Who doesn't love a group of college girls who're full-on nicotine addicts? The star of this video is the cute nerdy girl with her big glasses and lovely turtleneck sweater. And you'd naturally ask; how did such an innocent-looking model student become a smoker? Well, it all happened during her first exams. Her nerves were killing her, but her roommate thought her a little secret; that ciggies would calm her down. She quickly started chainsmoking and became a huge addict in no time at all. And now she's the first one outside during the break to light up and get her much-needed relief. She's quickly joined by two of her friends in Doc Martens boots who're passing the lighter around. Just look how they all relax as soon as they start pumping the delicious smoke into their lungs. They squat down as the nicotine rush hammers through their young bodies. The black-haired beauty meanwhile stays upright and takes drags in quick succession. But I simply can't take my eyes of this nerdy cutie. She's the kind of girl I'd get a massive crush on back in college. Her good girl gone bad vibe was just irresistible. Her sweater would smell of cigarette smoke, and I'd smoke my lungs to pulp together with her. And the sex would be so amazing; looking onto that sweet face while we'd both cum so hard. Oh man, I simply couldn't get enough of this type of girl. #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokingcollegegirl #smokingincollege #lightingup #deepinhale #exhale #turtleneck #turtleneckjacket #turtleneckfetish #nerdyglasses #docmartens #teensmoking #teensmoker #smokingteen #collegegirl #nerdygirl #cutegirl #coolgirl #hotgirl #sexygirl

Smoking girl lover

633,141 просмотров • 4 месяцев назад

A Nobel laureate went on stage and explained in sixty minutes why smart people make stupid decisions with money. For free. For the next decade business schools charged $200,000 for the same material. He didn't sell a course. He didn't launch a fund. His name was Daniel Kahneman, a psychologist who never studied economics and won the Nobel Prize in it. Zurich, 2013. Seven hundred people could not fit in the hall and listened from a screen next door. His whole argument fits on a napkin. Widen the frame, and treat the decision in front of you as one of a hundred like it. Ask a friend, because they do not feel your loss and can see odds you cannot. Slow down when the stake is big. Write the procedure if you run anything, because an organization holds what a person cannot. A loss lands twice as hard as the same size gain feels good. Two thirds of American small businesses close within five years, and their founders put their own odds at four in five. He invented the term planning fallacy, then promised a colleague his book in eighteen months. It took four and a half years. You built your last deadline the same way. He does not think you can fix yourself. He says it near the end, flatly, that individuals cannot do much about any of this. A company that simply knows about these two things, he says, gets an advantage and a clearer picture of what the world is actually like. Almost nobody takes it. A portfolio manager at a London fund told me this is the first thing he sends anyone joining his desk. Not a book. Not a model. This recording. The book sold in the millions and runs five hundred pages. The lecture carries the same argument end to end in sixty minutes. He died in 2024. The napkin is free. Writing the four rules down takes a minute. It is in the video.

A Nobel laureate went on stage and explained in sixty minutes why smart people make stupid decisions with money. For free. For the next decade business schools charged $200,000 for the same material. He didn't sell a course. He didn't launch a fund. His name was Daniel Kahneman, a psychologist who never studied economics and won the Nobel Prize in it. Zurich, 2013. Seven hundred people could not fit in the hall and listened from a screen next door. His whole argument fits on a napkin. Widen the frame, and treat the decision in front of you as one of a hundred like it. Ask a friend, because they do not feel your loss and can see odds you cannot. Slow down when the stake is big. Write the procedure if you run anything, because an organization holds what a person cannot. A loss lands twice as hard as the same size gain feels good. Two thirds of American small businesses close within five years, and their founders put their own odds at four in five. He invented the term planning fallacy, then promised a colleague his book in eighteen months. It took four and a half years. You built your last deadline the same way. He does not think you can fix yourself. He says it near the end, flatly, that individuals cannot do much about any of this. A company that simply knows about these two things, he says, gets an advantage and a clearer picture of what the world is actually like. Almost nobody takes it. A portfolio manager at a London fund told me this is the first thing he sends anyone joining his desk. Not a book. Not a model. This recording. The book sold in the millions and runs five hundred pages. The lecture carries the same argument end to end in sixty minutes. He died in 2024. The napkin is free. Writing the four rules down takes a minute. It is in the video.

Lima

64,019 просмотров • 1 месяц назад

Baddie for a reason Seedance 2.5 Prompt : Create a 30-second, 1080p ultra-realistic personal home-video showing an ordinary summer afternoon in the life of a young Korean woman. No reference image. MAIN SUBJECT Young Korean woman in her early 20s, naturally pretty, realistic skin texture, minimal makeup, relaxed and confident personality. Long black hair loosely tied into a messy side ponytail with a few loose strands around her face. Wearing a fitted pastel-blue short top, loose cream pajama-style pants, black sneakers and a simple silver necklace. Maintain the same face, hairstyle, clothing, body proportions and overall appearance throughout the entire video. SETTING A quiet older Seoul residential neighborhood during a warm summer afternoon. Narrow concrete lanes, small houses, old walls, potted plants, parked bicycles, utility poles, overhead wires, laundry hanging outside homes, a tiny convenience store and children playing football in the street. Everything should feel lived-in, ordinary and peaceful. No tourist attractions, advertisements, recognizable brands or commercial activity. CAMERA / VISUAL AESTHETIC Raw personal footage casually recorded by a friend on an early-2000s consumer DV camcorder. Strong handheld shake, imperfect framing, autofocus hunting, exposure shifts, occasional motion blur, faded colors, soft digital detail, mild noise, accidental zooms and natural camera imperfections. No stabilization, drone footage, gimbal movement, dramatic lighting or polished commercial cinematography. — OUTSIDE THE HOUSE She steps outside carrying a small reusable shopping bag. She locks the door, adjusts her messy ponytail and gives the camera a relaxed smile. She starts walking down the narrow neighborhood lane. A light summer breeze moves her hair naturally. — MEETING THE CHILDREN A few neighborhood children wearing backpacks walk toward her from the opposite direction. She recognizes them and smiles, stepping slightly aside to let them pass. One child gives her a quick wave and she waves back. She continues walking down the lane without any dialogue. — CHILDREN PLAYING FOOTBALL A little farther down the lane, several neighborhood children are playing football in the street. The ball rolls toward her and stops directly in front of her feet. She looks down at the ball, then toward the children. One child calls out: “Noona! Kick it!” She smiles, gently stops the ball with her foot, then gives it one playful kick back toward the children. The ball rolls naturally across the concrete and the children excitedly chase after it. She laughs and continues walking. The football remains with the children after she kicks it. It does not disappear, duplicate or suddenly return to her. — WATER TAP She continues walking and passes a small public water tap. She stops, turns it on and cups some water in both hands. She splashes the water gently onto her face and closes her eyes for a moment. Water drips naturally from her cheeks. She wipes her face, fixes a loose strand of hair and turns the tap off before continuing home. — FINAL MOMENT She reaches the corner of the neighborhood. The children are still playing football farther behind her. One child notices her and waves. She turns toward them, smiles and waves back. She then looks toward the camera with a small playful smile and says: “Have fun!” She continues walking home as the camera follows behind her. She disappears around the corner and the recording abruptly cuts to black. AUDIO Natural location sound only: children shouting and laughing, football bouncing against concrete, footsteps, birds, summer insects, bicycle bells, distant scooters, neighborhood conversations, running water, leaves moving in the breeze and subtle camera-handling noise. No music. No narration. Only the two spoken lines specified above.

Baddie for a reason Seedance 2.5 Prompt : Create a 30-second, 1080p ultra-realistic personal home-video showing an ordinary summer afternoon in the life of a young Korean woman. No reference image. MAIN SUBJECT Young Korean woman in her early 20s, naturally pretty, realistic skin texture, minimal makeup, relaxed and confident personality. Long black hair loosely tied into a messy side ponytail with a few loose strands around her face. Wearing a fitted pastel-blue short top, loose cream pajama-style pants, black sneakers and a simple silver necklace. Maintain the same face, hairstyle, clothing, body proportions and overall appearance throughout the entire video. SETTING A quiet older Seoul residential neighborhood during a warm summer afternoon. Narrow concrete lanes, small houses, old walls, potted plants, parked bicycles, utility poles, overhead wires, laundry hanging outside homes, a tiny convenience store and children playing football in the street. Everything should feel lived-in, ordinary and peaceful. No tourist attractions, advertisements, recognizable brands or commercial activity. CAMERA / VISUAL AESTHETIC Raw personal footage casually recorded by a friend on an early-2000s consumer DV camcorder. Strong handheld shake, imperfect framing, autofocus hunting, exposure shifts, occasional motion blur, faded colors, soft digital detail, mild noise, accidental zooms and natural camera imperfections. No stabilization, drone footage, gimbal movement, dramatic lighting or polished commercial cinematography. — OUTSIDE THE HOUSE She steps outside carrying a small reusable shopping bag. She locks the door, adjusts her messy ponytail and gives the camera a relaxed smile. She starts walking down the narrow neighborhood lane. A light summer breeze moves her hair naturally. — MEETING THE CHILDREN A few neighborhood children wearing backpacks walk toward her from the opposite direction. She recognizes them and smiles, stepping slightly aside to let them pass. One child gives her a quick wave and she waves back. She continues walking down the lane without any dialogue. — CHILDREN PLAYING FOOTBALL A little farther down the lane, several neighborhood children are playing football in the street. The ball rolls toward her and stops directly in front of her feet. She looks down at the ball, then toward the children. One child calls out: “Noona! Kick it!” She smiles, gently stops the ball with her foot, then gives it one playful kick back toward the children. The ball rolls naturally across the concrete and the children excitedly chase after it. She laughs and continues walking. The football remains with the children after she kicks it. It does not disappear, duplicate or suddenly return to her. — WATER TAP She continues walking and passes a small public water tap. She stops, turns it on and cups some water in both hands. She splashes the water gently onto her face and closes her eyes for a moment. Water drips naturally from her cheeks. She wipes her face, fixes a loose strand of hair and turns the tap off before continuing home. — FINAL MOMENT She reaches the corner of the neighborhood. The children are still playing football farther behind her. One child notices her and waves. She turns toward them, smiles and waves back. She then looks toward the camera with a small playful smile and says: “Have fun!” She continues walking home as the camera follows behind her. She disappears around the corner and the recording abruptly cuts to black. AUDIO Natural location sound only: children shouting and laughing, football bouncing against concrete, footsteps, birds, summer insects, bicycle bells, distant scooters, neighborhood conversations, running water, leaves moving in the breeze and subtle camera-handling noise. No music. No narration. Only the two spoken lines specified above.

Smiling Khan

32,434 просмотров • 18 дней назад

DRUGGED. STRIPPED and she says RAPED in a police cell. By the very officers meant to protect her. The doctors found her symptoms matched a date-rape drug. She was locked in that cell. So who gave it to her. The CCTV that could prove it? Four and a half hours, VANISHED. In the hands of the force she's accusing. Three and a half years on. Not one officer charged. No justice and it all happened in Andy Burnham's Manchester. His police. His watch. The man who says he should be your next PRIME MINISTER. Can't fix one cell in his own city. Wants to run the whole country. This is Zayna Iman and this is hard to watch. First, what she took, and what she didn't, because someone always tries that first. That evening she'd taken cocaine. A friend rang 999, worried. The police came to her home. That's all she did. At the door she knocked the glasses off a female officer's face, was arrested for it, and taken to a cell. Here's what matters. Cocaine doesn't do what happened to her next. The doctors were clear. Her symptoms matched a date-rape drug. GHB, or something like it. A completely different substance. She didn't walk in with that in her. She was behind a locked cell door. She couldn't have taken it herself. Someone inside that station gave it to her. Then the police said she'd had a psychotic episode. Except her medical records show no history of mental illness. The doctors said her belief she'd been drugged and raped was NOT delusional. It fit exactly what she described. A former Greater Manchester Police chief superintendent has said, out loud, that he believes her. She isn't the only one. Since she spoke, more than a dozen other women have come forward about this same force. Then there's the footage. On camera, you see her carried in and strip-searched. Then, for the hours that matter most, the screen goes black. The story kept changing. It existed. It was corrupted. It can't be recovered. She says four and a half hours are gone. They admit two. Either way, the proof vanished in the hands of the accused. And Burnham? She contacted him in 2021, two months after she got out. Silence, she says, until 2023, when she waived her anonymity and public outcry forced his hand. Only then did he move. An inquiry into how police treat women in custody. Except the woman at the centre of it says nobody from that inquiry properly spoke to her. Stonewalled. Gaslit. Her words. Nobody's been charged. The investigation still crawls on. Say that plainly. But strip it back. A woman took cocaine and needed help. She ended up drugged with something else entirely, in a cell, in the care of the state and the cameras went dark exactly when it mattered. If it can happen to her, and the proof can just disappear, it can happen to anyone the police put in a cell. Your daughter. Your sister. You. Three and a half years. Still no answers. And the man who moved only when the country was watching wants the keys to the whole country. Ask yourself what he does when nobody's filming.

DRUGGED. STRIPPED and she says RAPED in a police cell. By the very officers meant to protect her. The doctors found her symptoms matched a date-rape drug. She was locked in that cell. So who gave it to her. The CCTV that could prove it? Four and a half hours, VANISHED. In the hands of the force she's accusing. Three and a half years on. Not one officer charged. No justice and it all happened in Andy Burnham's Manchester. His police. His watch. The man who says he should be your next PRIME MINISTER. Can't fix one cell in his own city. Wants to run the whole country. This is Zayna Iman and this is hard to watch. First, what she took, and what she didn't, because someone always tries that first. That evening she'd taken cocaine. A friend rang 999, worried. The police came to her home. That's all she did. At the door she knocked the glasses off a female officer's face, was arrested for it, and taken to a cell. Here's what matters. Cocaine doesn't do what happened to her next. The doctors were clear. Her symptoms matched a date-rape drug. GHB, or something like it. A completely different substance. She didn't walk in with that in her. She was behind a locked cell door. She couldn't have taken it herself. Someone inside that station gave it to her. Then the police said she'd had a psychotic episode. Except her medical records show no history of mental illness. The doctors said her belief she'd been drugged and raped was NOT delusional. It fit exactly what she described. A former Greater Manchester Police chief superintendent has said, out loud, that he believes her. She isn't the only one. Since she spoke, more than a dozen other women have come forward about this same force. Then there's the footage. On camera, you see her carried in and strip-searched. Then, for the hours that matter most, the screen goes black. The story kept changing. It existed. It was corrupted. It can't be recovered. She says four and a half hours are gone. They admit two. Either way, the proof vanished in the hands of the accused. And Burnham? She contacted him in 2021, two months after she got out. Silence, she says, until 2023, when she waived her anonymity and public outcry forced his hand. Only then did he move. An inquiry into how police treat women in custody. Except the woman at the centre of it says nobody from that inquiry properly spoke to her. Stonewalled. Gaslit. Her words. Nobody's been charged. The investigation still crawls on. Say that plainly. But strip it back. A woman took cocaine and needed help. She ended up drugged with something else entirely, in a cell, in the care of the state and the cameras went dark exactly when it mattered. If it can happen to her, and the proof can just disappear, it can happen to anyone the police put in a cell. Your daughter. Your sister. You. Three and a half years. Still no answers. And the man who moved only when the country was watching wants the keys to the whole country. Ask yourself what he does when nobody's filming.

BanksyCat

2,272,999 просмотров • 2 месяцев назад

Watch Venice become a sphere Seedance 2.5 on Fish Creative Prompt [Image 1](image_1) is the face and identity reference. A young Korean woman in her early twenties with EXACTLY the face of @[Image 1](image_1) — same facial structure, same features, natural Korean skin, no glasses. Long pastel pink hair, wearing a 1940s teal-orange wool coat-dress with white collar, a brown leather satchel worn cross-body, grey knee socks, black leather shoes, holding a folded yellow envelope. Every shot of her matches @[Image 1](image_1). 1940s Venice at golden hour. Amber and teal cinematic grade, anamorphic 35mm film look, shallow depth of field, volumetric god rays, fine film grain. Inception-style folding architecture — the Venetian city curls upward and hangs inverted overhead like a mirrored ceiling. The woman always stays under normal gravity while the world folds around her. Continuous camera motion, no hard cuts. [TIMELINE PROMPT] 0–3s: Lateral tracking shot along a stone quay by the Grand Canal at sunset. The young woman @[Image 1](image_1) in a teal coat sprints past camera, clutching a yellow envelope. Above her the entire city hangs upside down, mirrored — a man in a bowler hat walks a dachshund across the inverted street. A red umbrella drifts weightlessly between the two worlds. Pigeons scatter through the amber light. 3–6s: Camera follows behind her into a narrow Venetian alley, dry leaves swirling in her wake. At the far end the street peels upward into the sky, buildings stacking vertically like a wall of windows. Her footsteps echo between the stone walls. 6–9s: The camera slowly rolls 90 degrees. The alley wall becomes the ground beneath her feet; she keeps running, unfazed. The roll continues into a wide orbit as she races up a floating spiral stone staircase suspended in mid-air, fragments of terracotta Venetian rooftops rotating around her like a kaleidoscope. 9–12s: Extreme wide silhouette. She runs across the top of an arched stone bridge over a wide canal against the blazing setting sun. The mirrored city hangs both above and below the arch. On the inverted plane, a lone pedestrian walks the opposite direction. Birds burst across the frame in slow motion. 12–15s: Low angle looking straight up between two towering building walls, the sky a thin bright strip. She leaps across the vertical chasm, arms spread wide, coat and hair flying, satchel swinging. Camera holds on her against the sky. Wind roars. 15–18s: Handheld push-in through a crowded 1940s Rialto market street — vendors stacking crates of apples, laundry strung overhead between the buildings. She weaves between blurred foreground shoppers, running away from camera. An apple rolls loose across the cobblestones. 18–21s: Camera tilts up a grand brick bell tower — a Venetian campanile — as the surrounding city folds and curls around it. The woman appears tiny on the tower ledge, pauses against the sun, then steps off toward the rooftops. Bells begin to ring. 21–24s: Rooftop terrace garden framed by a rose-covered arbor. An elderly woman in a grey cardigan waters a bed of vivid flowers with a tin can. Behind her, Venice and the domes of St Mark's Basilica glow at sunset over the lagoon while the inverted city hangs overhead. The young woman balances along the stone balustrade, arms out, then jumps down onto the terrace. 24–27s: She holds out the yellow envelope. The old woman turns, sets down the watering can, and takes it. Both smile warmly at each other. Rose petals drift upward past them, falling toward the inverted sky. 27–30s: Camera pulls back and rises fast. The whole city folds and rotates until it becomes a top-down aerial of Venice's canals and streets curling into a sphere. The two tiny figures remain on the terrace. Slow fade to warm light.

Watch Venice become a sphere Seedance 2.5 on Fish Creative Prompt [Image 1](image_1) is the face and identity reference. A young Korean woman in her early twenties with EXACTLY the face of @[Image 1](image_1) — same facial structure, same features, natural Korean skin, no glasses. Long pastel pink hair, wearing a 1940s teal-orange wool coat-dress with white collar, a brown leather satchel worn cross-body, grey knee socks, black leather shoes, holding a folded yellow envelope. Every shot of her matches @[Image 1](image_1). 1940s Venice at golden hour. Amber and teal cinematic grade, anamorphic 35mm film look, shallow depth of field, volumetric god rays, fine film grain. Inception-style folding architecture — the Venetian city curls upward and hangs inverted overhead like a mirrored ceiling. The woman always stays under normal gravity while the world folds around her. Continuous camera motion, no hard cuts. [TIMELINE PROMPT] 0–3s: Lateral tracking shot along a stone quay by the Grand Canal at sunset. The young woman @[Image 1](image_1) in a teal coat sprints past camera, clutching a yellow envelope. Above her the entire city hangs upside down, mirrored — a man in a bowler hat walks a dachshund across the inverted street. A red umbrella drifts weightlessly between the two worlds. Pigeons scatter through the amber light. 3–6s: Camera follows behind her into a narrow Venetian alley, dry leaves swirling in her wake. At the far end the street peels upward into the sky, buildings stacking vertically like a wall of windows. Her footsteps echo between the stone walls. 6–9s: The camera slowly rolls 90 degrees. The alley wall becomes the ground beneath her feet; she keeps running, unfazed. The roll continues into a wide orbit as she races up a floating spiral stone staircase suspended in mid-air, fragments of terracotta Venetian rooftops rotating around her like a kaleidoscope. 9–12s: Extreme wide silhouette. She runs across the top of an arched stone bridge over a wide canal against the blazing setting sun. The mirrored city hangs both above and below the arch. On the inverted plane, a lone pedestrian walks the opposite direction. Birds burst across the frame in slow motion. 12–15s: Low angle looking straight up between two towering building walls, the sky a thin bright strip. She leaps across the vertical chasm, arms spread wide, coat and hair flying, satchel swinging. Camera holds on her against the sky. Wind roars. 15–18s: Handheld push-in through a crowded 1940s Rialto market street — vendors stacking crates of apples, laundry strung overhead between the buildings. She weaves between blurred foreground shoppers, running away from camera. An apple rolls loose across the cobblestones. 18–21s: Camera tilts up a grand brick bell tower — a Venetian campanile — as the surrounding city folds and curls around it. The woman appears tiny on the tower ledge, pauses against the sun, then steps off toward the rooftops. Bells begin to ring. 21–24s: Rooftop terrace garden framed by a rose-covered arbor. An elderly woman in a grey cardigan waters a bed of vivid flowers with a tin can. Behind her, Venice and the domes of St Mark's Basilica glow at sunset over the lagoon while the inverted city hangs overhead. The young woman balances along the stone balustrade, arms out, then jumps down onto the terrace. 24–27s: She holds out the yellow envelope. The old woman turns, sets down the watering can, and takes it. Both smile warmly at each other. Rose petals drift upward past them, falling toward the inverted sky. 27–30s: Camera pulls back and rises fast. The whole city folds and rotates until it becomes a top-down aerial of Venice's canals and streets curling into a sphere. The two tiny figures remain on the terrace. Slow fade to warm light.

Sharon Riley

53,009 просмотров • 10 дней назад

Katie Telford’s Katie Telford career is a cesspool of scandals and allegations that scream corruption, privilege, and a sickening disregard for anything resembling integrity, her every move dripping with the stench of power abused and accountability dodged. Start with the 2016 moving expense scandal, where she and Gerald Butts gorged on $207,000 of taxpayer money to relocate to Ottawa after the Liberals took power, Telford herself pocketing a grotesque chunk before public outrage forced her to repay $23,373, while Butts had to cough up $20,299 plus another $25,141 for land transfer taxes, the two of them whining they followed the rules while Canadians barely scrape by, the whole affair a disgusting display of elitism that spits in the face of hardworking people. Then there’s the SNC-Lavalin debacle in 2019, a rancid pit of interference where the PMO, with Telford as Trudeau’s puppet master, allegedly pressured Jody Wilson-Raybould to let the corrupt Quebec firm off on bribery charges, Butts taking the fall and resigning while Telford sat pretty, her hands maybe not on the smoking gun but surely close enough to smell the powder, the Ethics Commissioner later slamming Trudeau for improper influence while Telford somehow skated free, her silence as damning as any confession. The 2019 lawsuit from Vivian Bercovici piles on more filth, the former ambassador accusing Telford of inflicting mental suffering by stonewalling her pension requests, a cruel little power trip that shows Telford’s alleged knack for crushing anyone who doesn’t kiss the Liberal ring, the claims unproven but fitting a pattern of petty vindictiveness that clings to her name like a bad odor. Her 2023 testimony on Chinese election interference is another masterclass in evasion, as she squirmed before a parliamentary committee, dodging questions about Beijing’s meddling in the 2019 and 2021 elections, refusing to address allegations of $250,000 in covert funding tied to 11 candidates, her vague deflections so infuriating that MPs called her out for stonewalling, leaving everyone convinced she’s hiding a mountain of dirt about the Liberals’ ties to foreign cash. Her cozy history with Butts, now a fat cat at the Eurasia Group, only deepens the rot, with his firm reportedly raking in over $1.5 million in government contracts since 2017, the kind of insider cronyism that makes your skin crawl, and Telford’s past with him in the PMO screaming of backroom deals and influence peddling, even if hard proof stays slippery. The Liberal-NDP pact in 2022, which she helped broker, gets slammed as a shameless power grab, a deal to prop up Trudeau’s sinking ship by selling out any shred of principle for votes, critics calling it a betrayal of democracy while Telford likely smirked, tightening her grip on power no matter who got screwed in the process. Then there’s the 2021 sexual misconduct cover-up allegations tied to her name, where posts on X claim she failed to inform Trudeau about serious accusations against General Jonathan Vance, Canada’s top soldier, and then orchestrated a cover-up to bury the truth, allegedly leaving victims to rot while she protected her own ass, a betrayal so vile it’s hard to stomach. Every scandal, every whisper of corruption sticks to her like tar, from SNC-Lavalin to foreign interference to cronyism with Butts, painting a picture of a woman who thrives on manipulation, control, and dodging the consequences, leaving a trail of broken trust and public disgust in her wake as Canadians are left to wonder how much more she’s buried in her climb to the top, her career a monument to everything wrong with politics, built on the backs of those she’s stepped over without a second thought.

Katie Telford’s Katie Telford career is a cesspool of scandals and allegations that scream corruption, privilege, and a sickening disregard for anything resembling integrity, her every move dripping with the stench of power abused and accountability dodged. Start with the 2016 moving expense scandal, where she and Gerald Butts gorged on $207,000 of taxpayer money to relocate to Ottawa after the Liberals took power, Telford herself pocketing a grotesque chunk before public outrage forced her to repay $23,373, while Butts had to cough up $20,299 plus another $25,141 for land transfer taxes, the two of them whining they followed the rules while Canadians barely scrape by, the whole affair a disgusting display of elitism that spits in the face of hardworking people. Then there’s the SNC-Lavalin debacle in 2019, a rancid pit of interference where the PMO, with Telford as Trudeau’s puppet master, allegedly pressured Jody Wilson-Raybould to let the corrupt Quebec firm off on bribery charges, Butts taking the fall and resigning while Telford sat pretty, her hands maybe not on the smoking gun but surely close enough to smell the powder, the Ethics Commissioner later slamming Trudeau for improper influence while Telford somehow skated free, her silence as damning as any confession. The 2019 lawsuit from Vivian Bercovici piles on more filth, the former ambassador accusing Telford of inflicting mental suffering by stonewalling her pension requests, a cruel little power trip that shows Telford’s alleged knack for crushing anyone who doesn’t kiss the Liberal ring, the claims unproven but fitting a pattern of petty vindictiveness that clings to her name like a bad odor. Her 2023 testimony on Chinese election interference is another masterclass in evasion, as she squirmed before a parliamentary committee, dodging questions about Beijing’s meddling in the 2019 and 2021 elections, refusing to address allegations of $250,000 in covert funding tied to 11 candidates, her vague deflections so infuriating that MPs called her out for stonewalling, leaving everyone convinced she’s hiding a mountain of dirt about the Liberals’ ties to foreign cash. Her cozy history with Butts, now a fat cat at the Eurasia Group, only deepens the rot, with his firm reportedly raking in over $1.5 million in government contracts since 2017, the kind of insider cronyism that makes your skin crawl, and Telford’s past with him in the PMO screaming of backroom deals and influence peddling, even if hard proof stays slippery. The Liberal-NDP pact in 2022, which she helped broker, gets slammed as a shameless power grab, a deal to prop up Trudeau’s sinking ship by selling out any shred of principle for votes, critics calling it a betrayal of democracy while Telford likely smirked, tightening her grip on power no matter who got screwed in the process. Then there’s the 2021 sexual misconduct cover-up allegations tied to her name, where posts on X claim she failed to inform Trudeau about serious accusations against General Jonathan Vance, Canada’s top soldier, and then orchestrated a cover-up to bury the truth, allegedly leaving victims to rot while she protected her own ass, a betrayal so vile it’s hard to stomach. Every scandal, every whisper of corruption sticks to her like tar, from SNC-Lavalin to foreign interference to cronyism with Butts, painting a picture of a woman who thrives on manipulation, control, and dodging the consequences, leaving a trail of broken trust and public disgust in her wake as Canadians are left to wonder how much more she’s buried in her climb to the top, her career a monument to everything wrong with politics, built on the backs of those she’s stepped over without a second thought.

Vote Canada

46,507 просмотров • 1 год назад

The closer AI gets to real life, the harder it is to call it AI. Made with Seedance 2.5 Create a 30-second, 1080p, 16:9 ultra-realistic early-2000s consumer DV home video in an ordinary older Seoul neighborhood on a warm late-summer afternoon. Characters: A naturally beautiful adult Korean woman in her early 20s, realistic skin, minimal makeup, long loose slightly wavy dark-brown hair with a small cream hair clip, muted-red sleeveless polo top, loose cream linen shorts, white ankle socks, brown-and-white retro sneakers, pale-blue shoulder bag, thin gold hoops, simple watch. Use the uploaded reference only for facial identity. Her adult Korean male friend wears a light-gray oversized T-shirt, dark-green relaxed jeans, white sneakers, and a faded canvas backpack. Keep both appearances consistent. Story: 00:00–05 Leaving home — She exits an old apartment, adjusts her bag, checks her watch, looks at camera: “Come on, before it gets too hot.” 05–10 Shop — They visit a tiny local drink shop. She picks a cold bottled yogurt drink, proudly shows it, rejects her friend’s suggestion: “No, this one.” 10–15 First sip — Outside, she drinks it, finds it sour, tries to act normal: “It’s fine.” She laughs at herself. 15–21 Stairway — They sit on a quiet apartment stairway. Wind moves her hair; her friend gives her a tissue. She smiles: “Thank you.” 21–26 Walking back — She steps briefly into a patch of sunlight, immediately returns to the shade because it’s hot. Her friend says something indistinct; she replies: “I heard you.” They laugh. 26–30 Final memory — Near the entrance, she raises the half-finished drink and smiles: “Worth it.” She walks inside. Camera records one extra moment, loses focus, sunlight washes the frame, then hard-cuts to black. Visual style: Raw early-2000s DV footage: handheld shake, imperfect framing, accidental zooms, autofocus hunting, exposure shifts, faded summer colors, soft digital detail, subtle motion blur, no stabilization or cinematic camera movement. It should feel casually filmed by a friend, not staged. Environment & audio: Older Seoul residential lanes, low apartments, faded concrete, AC units, utility wires, bicycles, stairways and small shops. No brands, logos, landmarks or recognizable signage. Natural ambience only: footsteps, refrigerator hum, bottle opening, distant scooters, birds, wind, neighborhood voices and laughter. No music, subtitles, captions, narration, watermarks or random text. Consistency & realism: Keep outfits, hairstyle, accessories, bag, friend and bottled drink identical throughout. Realistic hands, fingers, hair, walking, sitting and clothing physics. No distorted faces, extra fingers, duplicated people, CGI look, artificial acting, impossible movement or cinematic polish. The final result should feel like a genuine, imperfect, nostalgic summer home-video memory.

The closer AI gets to real life, the harder it is to call it AI. Made with Seedance 2.5 Create a 30-second, 1080p, 16:9 ultra-realistic early-2000s consumer DV home video in an ordinary older Seoul neighborhood on a warm late-summer afternoon. Characters: A naturally beautiful adult Korean woman in her early 20s, realistic skin, minimal makeup, long loose slightly wavy dark-brown hair with a small cream hair clip, muted-red sleeveless polo top, loose cream linen shorts, white ankle socks, brown-and-white retro sneakers, pale-blue shoulder bag, thin gold hoops, simple watch. Use the uploaded reference only for facial identity. Her adult Korean male friend wears a light-gray oversized T-shirt, dark-green relaxed jeans, white sneakers, and a faded canvas backpack. Keep both appearances consistent. Story: 00:00–05 Leaving home — She exits an old apartment, adjusts her bag, checks her watch, looks at camera: “Come on, before it gets too hot.” 05–10 Shop — They visit a tiny local drink shop. She picks a cold bottled yogurt drink, proudly shows it, rejects her friend’s suggestion: “No, this one.” 10–15 First sip — Outside, she drinks it, finds it sour, tries to act normal: “It’s fine.” She laughs at herself. 15–21 Stairway — They sit on a quiet apartment stairway. Wind moves her hair; her friend gives her a tissue. She smiles: “Thank you.” 21–26 Walking back — She steps briefly into a patch of sunlight, immediately returns to the shade because it’s hot. Her friend says something indistinct; she replies: “I heard you.” They laugh. 26–30 Final memory — Near the entrance, she raises the half-finished drink and smiles: “Worth it.” She walks inside. Camera records one extra moment, loses focus, sunlight washes the frame, then hard-cuts to black. Visual style: Raw early-2000s DV footage: handheld shake, imperfect framing, accidental zooms, autofocus hunting, exposure shifts, faded summer colors, soft digital detail, subtle motion blur, no stabilization or cinematic camera movement. It should feel casually filmed by a friend, not staged. Environment & audio: Older Seoul residential lanes, low apartments, faded concrete, AC units, utility wires, bicycles, stairways and small shops. No brands, logos, landmarks or recognizable signage. Natural ambience only: footsteps, refrigerator hum, bottle opening, distant scooters, birds, wind, neighborhood voices and laughter. No music, subtitles, captions, narration, watermarks or random text. Consistency & realism: Keep outfits, hairstyle, accessories, bag, friend and bottled drink identical throughout. Realistic hands, fingers, hair, walking, sitting and clothing physics. No distorted faces, extra fingers, duplicated people, CGI look, artificial acting, impossible movement or cinematic polish. The final result should feel like a genuine, imperfect, nostalgic summer home-video memory.

Anissa

25,167 просмотров • 19 дней назад

Megyn Kelly's 'woke' friend who lost home in CA fires says 'Everyone I know is ready to vote Republican' | Nick Arama, RedState The complete disaster of the wildfires in California has caused a lot of pushback against the Democratic leadership of Los Angeles Mayor Karen Bass and California Gov. Gavin Newsom. It may be causing people to finally see what a failure that leadership is, given what podcaster Megyn Kelly has to say. She related what she had been told by her "woke" friend whose house had burned down. "My friend who lives in California, whose house burned - this is my one woke friend. I love this woman dearly, but she's woke. Amazingly, we've maintained our friendship, we kinda just don't talk about these subjects much. But she's woke. And she's like, 'MK, everyone I know is ready to vote Republican. Everyone I know.' All of her woke friends, all of her Dem friends. We're all talking about how soon we can get Republican leadership into these offices. I mean, that is saying something." That is in fact saying something. It's pretty significant when someone who's woke gets that red-pilled by unfortunate reality. Our Bob Hoge's wife Roxanne Hoge messaged Kelly to have her friend contact her about becoming involved with the GOP in California. And while it's hard to judge how broad that sentiment might be, the fact that there are petitions now calling for the recall of both Gavin Newsom and Karen Bass does indicate that the anger is palpable. The organizers of the recall against Newsom expect to file paperwork in about two weeks. “Under the reign of Governor Newsom, living in California has become impossible for average people through years of poor policies which have increased the costs of living, increased crime, increased drug use and homelessness, increased the cost of burden [sic] on small businesses and communities, while decreasing our professional standards, education standards, the disappearance of billions of taxpayers’ dollars to failed pet programs, and our public services,” one recall organizer, Randy Economy, said in a statement. Read more:

Megyn Kelly's 'woke' friend who lost home in CA fires says 'Everyone I know is ready to vote Republican' | Nick Arama, RedState The complete disaster of the wildfires in California has caused a lot of pushback against the Democratic leadership of Los Angeles Mayor Karen Bass and California Gov. Gavin Newsom. It may be causing people to finally see what a failure that leadership is, given what podcaster Megyn Kelly has to say. She related what she had been told by her "woke" friend whose house had burned down. "My friend who lives in California, whose house burned - this is my one woke friend. I love this woman dearly, but she's woke. Amazingly, we've maintained our friendship, we kinda just don't talk about these subjects much. But she's woke. And she's like, 'MK, everyone I know is ready to vote Republican. Everyone I know.' All of her woke friends, all of her Dem friends. We're all talking about how soon we can get Republican leadership into these offices. I mean, that is saying something." That is in fact saying something. It's pretty significant when someone who's woke gets that red-pilled by unfortunate reality. Our Bob Hoge's wife Roxanne Hoge messaged Kelly to have her friend contact her about becoming involved with the GOP in California. And while it's hard to judge how broad that sentiment might be, the fact that there are petitions now calling for the recall of both Gavin Newsom and Karen Bass does indicate that the anger is palpable. The organizers of the recall against Newsom expect to file paperwork in about two weeks. “Under the reign of Governor Newsom, living in California has become impossible for average people through years of poor policies which have increased the costs of living, increased crime, increased drug use and homelessness, increased the cost of burden [sic] on small businesses and communities, while decreasing our professional standards, education standards, the disappearance of billions of taxpayers’ dollars to failed pet programs, and our public services,” one recall organizer, Randy Economy, said in a statement. Read more:

Owen Gregorian

93,931 просмотров • 1 год назад