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TC's Alison Riske-Amritraj breaking down Iga's slight service adjustment. Biggest change is Iga's starting position which gives her an earlier elbow bend in that serving arm.

Christian's Court

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104,560 görüntüleme • 3 ay önce •via X (Twitter)

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The Biceps and Brachialis are strong decelerators of the elbow extension component of throwing which is why it is a common location for day 1 soreness ❤️Give yourself some soft tissue love with these Biceps Tack and Pump techniques + The Throwing Arm Myofascial Stretch 🔑Pin down the Biceps in a shortened position (bent elbow) and lengthen/glide it by maintaining pressure and extending the elbow. Work up and down the belly of the muscle 🔥 You can make this a little more specific to the biceps by adding in pronation with will elongate the biceps even further If the biceps shortens over time, there are two common outcomes: ⚾️ Loss of Elbow Extension Range of Motion ⚾️ Forward tipping of the throwing shoulder Neither are Ideal ** This needs to be done combined with a holistic approach of an S&C program and proper workload management as some common causes of this can be poor workload dosing or simply lack of strength

The Biceps and Brachialis are strong decelerators of the elbow extension component of throwing which is why it is a common location for day 1 soreness ❤️Give yourself some soft tissue love with these Biceps Tack and Pump techniques + The Throwing Arm Myofascial Stretch 🔑Pin down the Biceps in a shortened position (bent elbow) and lengthen/glide it by maintaining pressure and extending the elbow. Work up and down the belly of the muscle 🔥 You can make this a little more specific to the biceps by adding in pronation with will elongate the biceps even further If the biceps shortens over time, there are two common outcomes: ⚾️ Loss of Elbow Extension Range of Motion ⚾️ Forward tipping of the throwing shoulder Neither are Ideal ** This needs to be done combined with a holistic approach of an S&C program and proper workload management as some common causes of this can be poor workload dosing or simply lack of strength

Armored Heat

15,518 görüntüleme • 6 ay önce

Mzinga went wandering down memory lane last night! Our nanny extraordinaire was so absorbed by escorting tiny Kipekee home that she bypassed her current stockade and made a beeline for her former baby stable — which is now occupied by young Olomunyak! A milk bottle held by Keeper Simon set her back on course to her rightful bedroom. Every elephant here is an orphan. They are in the first stage of their journey with us, the Nairobi Nursery. In time, they will graduate to a Reintegration Unit, where they will learn how to live as wild elephants. Starting at $50/£35 a year, can become part of their ongoing story through an adoption:

Mzinga went wandering down memory lane last night! Our nanny extraordinaire was so absorbed by escorting tiny Kipekee home that she bypassed her current stockade and made a beeline for her former baby stable — which is now occupied by young Olomunyak! A milk bottle held by Keeper Simon set her back on course to her rightful bedroom. Every elephant here is an orphan. They are in the first stage of their journey with us, the Nairobi Nursery. In time, they will graduate to a Reintegration Unit, where they will learn how to live as wild elephants. Starting at $50/£35 a year, can become part of their ongoing story through an adoption:

Sheldrick Wildlife Trust

20,063 görüntüleme • 10 ay önce

Throughout the process, I carried an overwhelming amount of grief for Grace. To find her emotional truth, I couldn’t begin with the cold composed woman you all saw. I had to begin with the 6 years old child.She had to completely unravel crying screaming and breaking apart before I could slowly bring her back down into Dynamic 1 which is the functional mask she wears every day. Underneath that mask, the little girl never left. She is still trapped in that morning. Still hearing the gunshot. Still watching her mother die before her very eyes. Still reaching for someone she could never save. Every glance came from that little girl…frozen in time When Grace pushes Henri’s body away…is it really Henri she’s pushing away? Or is she pushing away the pain that has haunted her for her entire life? When she tells Lom that love is stupid…is she really speaking to Lom? Henri? Or is she speaking across time to her mother and to that little girl who never understood why love had to cost so much? In her final moments, as her mother’s face flashed before her eyes, she realized she wasn’t so different from her mother after all. In her own broken, twisted way…she too had done everything in the name of love. Thank you for everything, Grace. Thank you for allowing me to experience an entirely different spectrum of human emotion 🤍🕊️ THE AIR BLEEDING LOVE #เสน่หาวาโยตอนที่7

Throughout the process, I carried an overwhelming amount of grief for Grace. To find her emotional truth, I couldn’t begin with the cold composed woman you all saw. I had to begin with the 6 years old child.She had to completely unravel crying screaming and breaking apart before I could slowly bring her back down into Dynamic 1 which is the functional mask she wears every day. Underneath that mask, the little girl never left. She is still trapped in that morning. Still hearing the gunshot. Still watching her mother die before her very eyes. Still reaching for someone she could never save. Every glance came from that little girl…frozen in time When Grace pushes Henri’s body away…is it really Henri she’s pushing away? Or is she pushing away the pain that has haunted her for her entire life? When she tells Lom that love is stupid…is she really speaking to Lom? Henri? Or is she speaking across time to her mother and to that little girl who never understood why love had to cost so much? In her final moments, as her mother’s face flashed before her eyes, she realized she wasn’t so different from her mother after all. In her own broken, twisted way…she too had done everything in the name of love. Thank you for everything, Grace. Thank you for allowing me to experience an entirely different spectrum of human emotion 🤍🕊️ THE AIR BLEEDING LOVE #เสน่หาวาโยตอนที่7

Renée 🌞

139,701 görüntüleme • 1 ay önce

Watch the difference in the practice swings and the shot. See the head dip & knee buckle? Have seen this from Lexi before. Can’t remember which major it was, but it was last season in the closing stages of the final round and tight lies. It’s a classic move from those who have anxiety with their pitching and are trying to help the ball in the air. I know it well. I had the chipping / pitching yips for a few years and was a complete mess. Head moving down & leaning back to the right shifts the low point of the club to an earlier spot. Club hits the ground too early. When you look at great pitchers they are usually shifting a little left, and slightly extending up after impact. Not dipping down and back. Imagine standing side on to the target and tossing to the landing spot with your trail arm. The dip down and knee buckle is completely at odds with how you would move. I am confident an expert short game coach could really help her with this. I reckon she is in the horrors mentally standing over these shots. No disrespect to Lexi, she’s obviously a great player. Yes, I’m just an armchair fan sitting on my couch 😎.

Watch the difference in the practice swings and the shot. See the head dip & knee buckle? Have seen this from Lexi before. Can’t remember which major it was, but it was last season in the closing stages of the final round and tight lies. It’s a classic move from those who have anxiety with their pitching and are trying to help the ball in the air. I know it well. I had the chipping / pitching yips for a few years and was a complete mess. Head moving down & leaning back to the right shifts the low point of the club to an earlier spot. Club hits the ground too early. When you look at great pitchers they are usually shifting a little left, and slightly extending up after impact. Not dipping down and back. Imagine standing side on to the target and tossing to the landing spot with your trail arm. The dip down and knee buckle is completely at odds with how you would move. I am confident an expert short game coach could really help her with this. I reckon she is in the horrors mentally standing over these shots. No disrespect to Lexi, she’s obviously a great player. Yes, I’m just an armchair fan sitting on my couch 😎.

Fit For Golf - Mike Carroll

4,076,706 görüntüleme • 2 yıl önce

**Traditional Engine Order Telegraphs:** The bridge unit and the engine-room unit are connected by two chains (or wire cables) that run through conduits over sprockets, forming a continuous loop. When the bridge officer moves the handle, it turns a sprocket that pulls the chain, which in turn turns the corresponding sprocket and pointer in the engine room. This classic system does not require electricity; it relies on a direct physical linkage, ensuring that both dials always mirror each other. Here’s a typical sequence of operations: The bridge officer grabs the handle and swings it to the command position, for example, "Half Ahead." This movement not only moves the engine-room pointer but also rings a bell or gong to alert the engineers. The engineers then adjust their own handle to match the position indicated by the bridge officer; this movement serves as an acknowledgment and rings the bell back on the bridge, confirming that the order has been received and understood. Only after this acknowledgment do the engineers work the throttle and reversing gear to carry out the order. It is common practice to first execute a full sweep of the handle, moving it all the way to one extreme and back before settling on the actual command position. This exaggerated motion serves two purposes: it rings the gong loudly and unmistakably, ensuring everyone is aware that a new order is coming, and it checks that the mechanism and chains are not stuck or slack. On some ships, this full sweep also signifies an important or urgent change (such as switching from ahead to astern), emphasizing to the crew that they need to pay attention because the situation is critical. After completing this sweep, the handle is adjusted to the desired position. This telegraph is from the Steamship Shieldhall (video credit as well). Go check her out on

Traditional Engine Order Telegraphs: The bridge unit and the engine-room unit are connected by two chains (or wire cables) that run through conduits over sprockets, forming a continuous loop. When the bridge officer moves the handle, it turns a sprocket that pulls the chain, which in turn turns the corresponding sprocket and pointer in the engine room. This classic system does not require electricity; it relies on a direct physical linkage, ensuring that both dials always mirror each other. Here’s a typical sequence of operations: The bridge officer grabs the handle and swings it to the command position, for example, "Half Ahead." This movement not only moves the engine-room pointer but also rings a bell or gong to alert the engineers. The engineers then adjust their own handle to match the position indicated by the bridge officer; this movement serves as an acknowledgment and rings the bell back on the bridge, confirming that the order has been received and understood. Only after this acknowledgment do the engineers work the throttle and reversing gear to carry out the order. It is common practice to first execute a full sweep of the handle, moving it all the way to one extreme and back before settling on the actual command position. This exaggerated motion serves two purposes: it rings the gong loudly and unmistakably, ensuring everyone is aware that a new order is coming, and it checks that the mechanism and chains are not stuck or slack. On some ships, this full sweep also signifies an important or urgent change (such as switching from ahead to astern), emphasizing to the crew that they need to pay attention because the situation is critical. After completing this sweep, the handle is adjusted to the desired position. This telegraph is from the Steamship Shieldhall (video credit as well). Go check her out on

Bart 🌊⚓️

107,137 görüntüleme • 7 gün önce

Distinctive Yield Mechanics 1/2 I hold 1,000,000 $XPR at $7 each. That gives me $7,000,000 in collateral value. If I borrow against 25% of that position, my loan amount is: $7,000,000 × 25% = $1,750,000 My current LTV is 25%. At $1,750,000 borrowed against $7,000,000 in collateral, I am sitting at 25% LTV, which leaves a large buffer. Now the interest. A 12% annual borrow rate on $1,750,000 equals: $1,750,000 × 0.12 = $210,000 per year That breaks down to: $210,000 ÷ 12 = $17,500 per month So the debt cost is: $17,500 a month $210,000 a year Now look at the remaining capital. The other 75% of the position represents $5,250,000 in value. If that $5,250,000 is put to work at a conservative 4% annual return, the yield becomes: $5,250,000 × 0.04 = $210,000 per year Monthly, that becomes: $210,000 ÷ 12 = $17,500 per month So the mechanics line up cleanly: Borrow 25% at 12% APR Earn 4% on the remaining 75% Debt cost = $210,000/year Yield generated = $210,000/year Same result from another angle: 25% × 12% = 3% 75% × 4% = 3% So the 4% earned on the 75% can fully service the 12% interest owed on the 25% borrowed. That creates a break-even carry structure before fees, token price changes, liquidation mechanics, reward changes, or compounding differences enter the picture. The hard mechanics are simple: XPR is posted as collateral A smaller amount is borrowed against it Interest accrues on the borrowed amount Yield accrues on the larger remaining portion As long as the yield earned covers the interest owed, the debt can be serviced from the productive side of the position The clean takeaway: A 25% borrow at 12% costs the same annually as a 4% return on the remaining 75%. $1,750,000 borrowed at 12% = $210,000/year owed. $5,250,000 deployed at 4% = $210,000/year earned. That is the hard math.

Distinctive Yield Mechanics 1/2 I hold 1,000,000 $XPR at $7 each. That gives me $7,000,000 in collateral value. If I borrow against 25% of that position, my loan amount is: $7,000,000 × 25% = $1,750,000 My current LTV is 25%. At $1,750,000 borrowed against $7,000,000 in collateral, I am sitting at 25% LTV, which leaves a large buffer. Now the interest. A 12% annual borrow rate on $1,750,000 equals: $1,750,000 × 0.12 = $210,000 per year That breaks down to: $210,000 ÷ 12 = $17,500 per month So the debt cost is: $17,500 a month $210,000 a year Now look at the remaining capital. The other 75% of the position represents $5,250,000 in value. If that $5,250,000 is put to work at a conservative 4% annual return, the yield becomes: $5,250,000 × 0.04 = $210,000 per year Monthly, that becomes: $210,000 ÷ 12 = $17,500 per month So the mechanics line up cleanly: Borrow 25% at 12% APR Earn 4% on the remaining 75% Debt cost = $210,000/year Yield generated = $210,000/year Same result from another angle: 25% × 12% = 3% 75% × 4% = 3% So the 4% earned on the 75% can fully service the 12% interest owed on the 25% borrowed. That creates a break-even carry structure before fees, token price changes, liquidation mechanics, reward changes, or compounding differences enter the picture. The hard mechanics are simple: XPR is posted as collateral A smaller amount is borrowed against it Interest accrues on the borrowed amount Yield accrues on the larger remaining portion As long as the yield earned covers the interest owed, the debt can be serviced from the productive side of the position The clean takeaway: A 25% borrow at 12% costs the same annually as a 4% return on the remaining 75%. $1,750,000 borrowed at 12% = $210,000/year owed. $5,250,000 deployed at 4% = $210,000/year earned. That is the hard math.

X-juPiteR-X

60,277 görüntüleme • 4 ay önce

🚨 SCIENTISTS JUST BUILT AN ARTIFICIAL RETINA THAT RESTORES VISION AND ADDS INFRARED SIGHT. Researchers at Yonsei University in South Korea have developed a flexible, three-layer implant that bypasses dead photoreceptors and directly stimulates healthy retinal ganglion cells. The device not only helps restore vision in cases of retinal degeneration (like retinitis pigmentosa) but also gives the eye the ability to detect near-infrared light that humans normally cannot see. The key innovation is a soft 3D array of liquid metal micropillars (gallium-indium alloy) that gently conform to the curved retina without causing damage or inflammation a major improvement over rigid electrodes used in earlier implants. Why this matters: • Retinal diseases destroy light-sensing cells, but the neurons deeper in the eye often remain healthy and capable of sending signals to the brain • The implant uses an ultrathin filter + phototransistor array to convert near-infrared light into electrical signals the ganglion cells can understand • In mouse tests, blind animals regained visual responses, while healthy mice gained infrared sensitivity on top of their normal vision • The liquid metal electrodes are soft and biocompatible, dramatically reducing the risk of scarring or tissue damage The deeper implication: This isn’t just about restoring lost vision it’s about augmenting human sight. If it reaches human trials and proves safe long-term, people with partial vision loss could keep their remaining natural sight while gaining an entirely new sensory channel (infrared). The biggest open question is how the human brain would interpret this new stream of information whether it would feel like a new color, an overlay, or something else entirely. We’re moving from “fixing blindness” to “expanding what it means to see.” How do you think gaining the ability to see infrared light would change daily life or human perception? Follow for more frontier neurotechnology and bionic vision breakthroughs.

🚨 SCIENTISTS JUST BUILT AN ARTIFICIAL RETINA THAT RESTORES VISION AND ADDS INFRARED SIGHT. Researchers at Yonsei University in South Korea have developed a flexible, three-layer implant that bypasses dead photoreceptors and directly stimulates healthy retinal ganglion cells. The device not only helps restore vision in cases of retinal degeneration (like retinitis pigmentosa) but also gives the eye the ability to detect near-infrared light that humans normally cannot see. The key innovation is a soft 3D array of liquid metal micropillars (gallium-indium alloy) that gently conform to the curved retina without causing damage or inflammation a major improvement over rigid electrodes used in earlier implants. Why this matters: • Retinal diseases destroy light-sensing cells, but the neurons deeper in the eye often remain healthy and capable of sending signals to the brain • The implant uses an ultrathin filter + phototransistor array to convert near-infrared light into electrical signals the ganglion cells can understand • In mouse tests, blind animals regained visual responses, while healthy mice gained infrared sensitivity on top of their normal vision • The liquid metal electrodes are soft and biocompatible, dramatically reducing the risk of scarring or tissue damage The deeper implication: This isn’t just about restoring lost vision it’s about augmenting human sight. If it reaches human trials and proves safe long-term, people with partial vision loss could keep their remaining natural sight while gaining an entirely new sensory channel (infrared). The biggest open question is how the human brain would interpret this new stream of information whether it would feel like a new color, an overlay, or something else entirely. We’re moving from “fixing blindness” to “expanding what it means to see.” How do you think gaining the ability to see infrared light would change daily life or human perception? Follow for more frontier neurotechnology and bionic vision breakthroughs.

TheNewPhysics

34,362 görüntüleme • 1 ay önce

Facial reconstruction of a 7,000-year-old woman from Skateholm Skateholm is a site in southern Sweden, 20 km from Trelleborg, where the remains of Mesolithic hunter-gatherer dwellings have been found. These people fished, hunted wild boar and deer, and were already familiar with pottery. About 7,000 years ago, the settlement area consisted of islands in a shallow lagoon. Several centuries later, the water level rose to such an extent that the inhabitants were forced to relocate elsewhere. During excavations carried out between 1980 and 1985, archaeologists investigated three settlements as well as two adjacent cemeteries - Skateholm I (65 graves) and Skateholm II (22 graves). In addition to human burials, dog graves were also discovered. Dogs, like humans, were buried with grave goods such as flint tools and ornaments. The burials were made at a shallow depth (20-40 cm), usually without coffins, although some interments were in boats or hollowed-out logs. Both human and canine graves were covered with ochre. Some human skeletons bear traces of violence. Many of the graves are highly unusual, and it is believed that the burial process involved complex rituals; some researchers suggest that the deaths were planned, as a form of sacrifice. Other scholars argue that Skateholm served as a burial place for shamans, people who died in accidents, infants who died at birth, and other “dangerous” individuals. In one double burial, an elderly man and a young woman aged about 17–19 were placed closely together. It is believed they were buried at the same time. The woman’s skull shows damage to the left temple, possibly from a blow. Their relationship is uncertain, perhaps father and daughter, or husband and wife. In another case, a woman around 35 years old was buried in a seated position with a newborn child on her lap. Beads made from wild boar and elk teeth were placed with the burial. Elsewhere, a man approximately 60 years old and 4 year old child were found embracing each other, facing one another. The child had ornaments on the chest made of bear teeth and pieces of amber. One individual was buried lying face down, with arms and legs extended. It is thought that he may have been bound or wrapped. Several arrows had been shot into his back and legs, suggesting that those who buried him wanted to ensure he would not rise again. Another burial contained a dismembered man. A healed injury was visible on his femur, possibly caused by a wild boar attack, which would have left him limping. An arrowhead was lodged in the pelvic bone and was likely the cause of death. The right arm and left leg were missing. Since some bones were still in anatomical position, the dismemberment likely occurred while soft tissues were still intact. In a different burial, a woman was interred in a seated position with her legs extended. A dog was buried beside her, with its front paws resting on the woman’s legs.

Facial reconstruction of a 7,000-year-old woman from Skateholm Skateholm is a site in southern Sweden, 20 km from Trelleborg, where the remains of Mesolithic hunter-gatherer dwellings have been found. These people fished, hunted wild boar and deer, and were already familiar with pottery. About 7,000 years ago, the settlement area consisted of islands in a shallow lagoon. Several centuries later, the water level rose to such an extent that the inhabitants were forced to relocate elsewhere. During excavations carried out between 1980 and 1985, archaeologists investigated three settlements as well as two adjacent cemeteries - Skateholm I (65 graves) and Skateholm II (22 graves). In addition to human burials, dog graves were also discovered. Dogs, like humans, were buried with grave goods such as flint tools and ornaments. The burials were made at a shallow depth (20-40 cm), usually without coffins, although some interments were in boats or hollowed-out logs. Both human and canine graves were covered with ochre. Some human skeletons bear traces of violence. Many of the graves are highly unusual, and it is believed that the burial process involved complex rituals; some researchers suggest that the deaths were planned, as a form of sacrifice. Other scholars argue that Skateholm served as a burial place for shamans, people who died in accidents, infants who died at birth, and other “dangerous” individuals. In one double burial, an elderly man and a young woman aged about 17–19 were placed closely together. It is believed they were buried at the same time. The woman’s skull shows damage to the left temple, possibly from a blow. Their relationship is uncertain, perhaps father and daughter, or husband and wife. In another case, a woman around 35 years old was buried in a seated position with a newborn child on her lap. Beads made from wild boar and elk teeth were placed with the burial. Elsewhere, a man approximately 60 years old and 4 year old child were found embracing each other, facing one another. The child had ornaments on the chest made of bear teeth and pieces of amber. One individual was buried lying face down, with arms and legs extended. It is thought that he may have been bound or wrapped. Several arrows had been shot into his back and legs, suggesting that those who buried him wanted to ensure he would not rise again. Another burial contained a dismembered man. A healed injury was visible on his femur, possibly caused by a wild boar attack, which would have left him limping. An arrowhead was lodged in the pelvic bone and was likely the cause of death. The right arm and left leg were missing. Since some bones were still in anatomical position, the dismemberment likely occurred while soft tissues were still intact. In a different burial, a woman was interred in a seated position with her legs extended. A dog was buried beside her, with its front paws resting on the woman’s legs.

Ancestral Whispers

105,289 görüntüleme • 6 ay önce

Before replying, please pay close attention to this scene. This drama received a lot of criticism, especially for the changes it made to the original webtoon. One of the biggest criticisms was changing the female lead’s profession from a teacher in the webtoon to an office worker who became the male lead’s employee in the drama. Some viewers claimed that this pushed a male-dominance narrative, reduced the female lead’s independence, and placed her in a position where she was more at the mercy of the ML. I was reading some discussions about the drama recently, then I came across this interesting debate about this particular scene. So, both the male and female leads were drunk when they had a onenight stand, which later resulted in a pregnancy. Some viewers insisted that the drama should have placed the responsibility solely on the male lead, ‘he should have exercised more self control’ ‘the female lead didn’t give her consent’. so it was a back and forth convo as others felt that based on what was shown in the scene, both characters gave consent and therefore shared responsibility. With all the conversations today about consent and responsibility when alcohol is involved, how would you interpret this scene? P.S. They didn’t know they were employer and employee until after that night.

Before replying, please pay close attention to this scene. This drama received a lot of criticism, especially for the changes it made to the original webtoon. One of the biggest criticisms was changing the female lead’s profession from a teacher in the webtoon to an office worker who became the male lead’s employee in the drama. Some viewers claimed that this pushed a male-dominance narrative, reduced the female lead’s independence, and placed her in a position where she was more at the mercy of the ML. I was reading some discussions about the drama recently, then I came across this interesting debate about this particular scene. So, both the male and female leads were drunk when they had a onenight stand, which later resulted in a pregnancy. Some viewers insisted that the drama should have placed the responsibility solely on the male lead, ‘he should have exercised more self control’ ‘the female lead didn’t give her consent’. so it was a back and forth convo as others felt that based on what was shown in the scene, both characters gave consent and therefore shared responsibility. With all the conversations today about consent and responsibility when alcohol is involved, how would you interpret this scene? P.S. They didn’t know they were employer and employee until after that night.

Omo-adony💕✂️

144,879 görüntüleme • 16 gün önce

Taste is invisible until you try to write it down. This is probably my biggest lesson with AI building as of late. At Sundial, I get to work with really friggin' amazing analysts who know the art, and I see how much of our collective time now is now spent turning that art into playbooks or skills for an LLM. Encoding things like: "How would a great analyst actually look at this metric move?" or "What is ACTUALLY the interesting signal in this story versus noise?" or "How can we know if a product change actually moved the needle?" It's really humbling work! You write an instruction set. The LLM misses. You add more context. It still misses. You add even more. Now it's confused. You strip it back. Now it's too vague. You try a different framing. Better, but inconsistent. Works on Monday, fails on Tuesday. You go again. I've come to realize the gap between 70% quality and 95% quality is not 3 or 4 big things. It's more like 100s of small things. Which is exactly why you can't write an article about it, or copy it, or shortcut it! This gap *is* taste, quantified. The accumulated weight of a thousand small judgments you don't notice you're making, until you sit down to externalize them and realize you can't. Being good at something is not the same as being able to articulate why you're good at it. I now see two bottlenecks to making something better than today's generic AI: 1. Can you *see* what better looks like in the first place? 2. Even if you can see, can you *articulate* what that is in a way that the LLM can understand and systemize? #2 is now a new craft, the art of distilling the art. The people who can do it well are the ones building standout products.

Taste is invisible until you try to write it down. This is probably my biggest lesson with AI building as of late. At Sundial, I get to work with really friggin' amazing analysts who know the art, and I see how much of our collective time now is now spent turning that art into playbooks or skills for an LLM. Encoding things like: "How would a great analyst actually look at this metric move?" or "What is ACTUALLY the interesting signal in this story versus noise?" or "How can we know if a product change actually moved the needle?" It's really humbling work! You write an instruction set. The LLM misses. You add more context. It still misses. You add even more. Now it's confused. You strip it back. Now it's too vague. You try a different framing. Better, but inconsistent. Works on Monday, fails on Tuesday. You go again. I've come to realize the gap between 70% quality and 95% quality is not 3 or 4 big things. It's more like 100s of small things. Which is exactly why you can't write an article about it, or copy it, or shortcut it! This gap is taste, quantified. The accumulated weight of a thousand small judgments you don't notice you're making, until you sit down to externalize them and realize you can't. Being good at something is not the same as being able to articulate why you're good at it. I now see two bottlenecks to making something better than today's generic AI: 1. Can you see what better looks like in the first place? 2. Even if you can see, can you articulate what that is in a way that the LLM can understand and systemize? #2 is now a new craft, the art of distilling the art. The people who can do it well are the ones building standout products.

Julie Zhuo

17,521 görüntüleme • 3 ay önce

Brands pay this guy $3,200 a video for an influencer who doesn't exist and she clears $47,000 a month while he sleeps. He got tired of watching e-com brands burn $8K on a single shoot day, so he built a node-based system that turns one AI face into 5 monetizable clips a day. No model, no photographer, no studio. Here's the exact breakdown: → He picks the uncopyable feature first: vitiligo. A face the niche has zero supply of and rivals can't clone in a month → Midjourney renders the base, then a trained LoRA in Flux locks that one face so she never drifts post to post → Kling animates her, ElevenLabs gives her a voice, HeyGen syncs the lips, and now she "films herself" every day → TikTok feeds her the trend on its own through the niche tag → Shopify fulfills merch and fitness plans under her face with no agency taking a cut The key move 96% skip: you choose the uncopyable feature before you ever generate the face. Pick a generic pretty blonde and 400 clones bury you in a week. Pick vitiligo, a scar, a gap tooth, something with no supply, and you own the search tag for free. The economics are stupid: each clip costs $0.40 in compute, a brand pays $3,200 to drop a product into it, and it ships in 12 minutes. First night live, her brown mini-dress fitting in a Paris hotel pulled 62K views in 18 hours. By morning the store had 312 orders at $9,360, for a girl who was a prompt 72 hours earlier. The comments fill with "wait, is she real?", and that argument is the fuel the algorithm runs on. No photographer. No model agency. No shoot day. Just one locked face, a trend tag, and the discipline to pick a feature nobody else can render. Half of you are already typing that this is dystopian. The other half just opened Higgsfield. Which one are you?

Kaidu

46,228 görüntüleme • 2 ay önce

‼️BOMBSHELL: Same Law Firm Harpole Uses AGAINST Candace Employs Ben Shapiro’s Brother-in-Law & Is OWNED By Trump DOJ Insider! 👀 The rabbit hole just got a lot deeper. If you were wondering why Brian Harpole’s lawsuit against Candace Owens felt like a coordinated strike, the legal "family tree" behind it tells the whole story. 1. The DOJ Connection: Brian Harpole’s lead attorney, Zachary Stoner, works for the Dhillon Law Group. The firm’s founder, Harmeet Dhillon, is currently serving as President Trump’s Assistant Attorney General for Civil Rights at the DOJ. While she is officially on leave from the firm, her influence is everywhere—especially as she advocates for stricter "Anti-Semitism" speech laws that many fear will be used to silence journalists like Candace. 2. The Daily Wire Connection: As Candace revealed tonight, this is the EXACT same law firm that represented The Daily Wire during their brutal, two-year arbitration battle against her. They know her, they’ve fought her before, and they are back for more. 3. The "In-Law" Bombshell: This is where it gets personal. Dhillon Law Group didn't just stop at representing the Daily Wire—they also hired Jacob Roth (Jacob William Roth 🇺🇸). Who is he? An Orthodox Jewish attorney at Dhillon Law specializing in "civil rights." The Shapiro Tie: He is Ben Shapiro’s brother-in-law, married to Ben’s sister, Abby Shapiro (Abby Roth). It looks like a classic ATTACK BY PROXY. Ben Shapiro is her crazy ex-employer who feels more like a Jilted lover and has been relentlessly harassing and stalking her for years—seems to be weaponizing a law firm tied to the highest levels of the DOJ and his own family members to launch a legal offensive against her. This is nothing more than a desperate attempt to chill free speech and shut down her investigation into the Charlie Kirk case and the "Epstein class." They want to use the legal system to do what they couldn’t do in a debate. But they forgot one thing: Discovery works both ways. Do you think this is just a regular lawsuit or is it a coordinated effort by Shapiro and the DOJ to silence Candace Owens on behald of our greatest ally? The receipts are starting to pile up. 🍿

‼️BOMBSHELL: Same Law Firm Harpole Uses AGAINST Candace Employs Ben Shapiro’s Brother-in-Law & Is OWNED By Trump DOJ Insider! 👀 The rabbit hole just got a lot deeper. If you were wondering why Brian Harpole’s lawsuit against Candace Owens felt like a coordinated strike, the legal "family tree" behind it tells the whole story. 1. The DOJ Connection: Brian Harpole’s lead attorney, Zachary Stoner, works for the Dhillon Law Group. The firm’s founder, Harmeet Dhillon, is currently serving as President Trump’s Assistant Attorney General for Civil Rights at the DOJ. While she is officially on leave from the firm, her influence is everywhere—especially as she advocates for stricter "Anti-Semitism" speech laws that many fear will be used to silence journalists like Candace. 2. The Daily Wire Connection: As Candace revealed tonight, this is the EXACT same law firm that represented The Daily Wire during their brutal, two-year arbitration battle against her. They know her, they’ve fought her before, and they are back for more. 3. The "In-Law" Bombshell: This is where it gets personal. Dhillon Law Group didn't just stop at representing the Daily Wire—they also hired Jacob Roth (Jacob William Roth 🇺🇸). Who is he? An Orthodox Jewish attorney at Dhillon Law specializing in "civil rights." The Shapiro Tie: He is Ben Shapiro’s brother-in-law, married to Ben’s sister, Abby Shapiro (Abby Roth). It looks like a classic ATTACK BY PROXY. Ben Shapiro is her crazy ex-employer who feels more like a Jilted lover and has been relentlessly harassing and stalking her for years—seems to be weaponizing a law firm tied to the highest levels of the DOJ and his own family members to launch a legal offensive against her. This is nothing more than a desperate attempt to chill free speech and shut down her investigation into the Charlie Kirk case and the "Epstein class." They want to use the legal system to do what they couldn’t do in a debate. But they forgot one thing: Discovery works both ways. Do you think this is just a regular lawsuit or is it a coordinated effort by Shapiro and the DOJ to silence Candace Owens on behald of our greatest ally? The receipts are starting to pile up. 🍿

Project Constitution

431,044 görüntüleme • 3 ay önce

BREAKING: White House Confirms Third-Term Manufacturing Process Suffered “Several Significant Setbacks” PITTSBURGH, PA – Internal documents obtained by this publication reveal that the production of the third-term version of President Donald J. Trump, currently serving in the Oval Office, was considerably more complicated than previously reported, involving at least four failed prototypes, one misread ingredient list, and a hair crisis that sources describe as “genuinely upsetting to witness.” “We had a vision,” said production supervisor Steve Bannon, 71, staring at a clipboard he had been holding upside down for the duration of the interview. “The vision was a harder, more aggressive product. Something that rocked.” The vision did not survive contact with Steve. According to the documents, Bannon had sourced a proprietary powder blend intended to instill, in the finished product, a preference for classic rock, aggressive handshakes, and what internal memos describe as “general menace.” The blend was added to the vat in Stage 3. Bannon had, however, transposed two ingredient codes during transcription, resulting in a product that, when exposed to any musical stimulus whatsoever, immediately begins performing the arm choreography from YMCA. “We noticed it almost immediately,” said Dr. Patricia Hollings, lead researcher. “We played something to test the audio response. We chose badly.” The hair situation was worse. The third-term formulation called for an enhanced hair compound, described in the original specification as “voluminous, commanding, and mammal-derived.” Technicians sourced extracts from no fewer than seven mammal species, the identities of which remain redacted in the released documents. The first trial produced a result described by three separate witnesses as “the top of a tortoise.” Smooth. Slightly domed. Catching the light in a way that made everyone in the room uncomfortable. A second attempt swung aggressively in the opposite direction. The hair came in red. Not auburn. Not strawberry blonde. Red in the manner of something that has made a decision. After six weeks of additional formulation, the team arrived at the current result: a color that does not exist elsewhere in nature, designated internally as Pantone 337472B, a shade falling somewhere between “aggressively highlighted wheat” and “a receipt left on a car dashboard for four months.” Technicians are understood to be satisfied. No one else is. Among the other traits now attributed to specific third-term ingredients: The tariffs. A full canister, added without reading the label. Effects described as “broad.” The executive orders. A fast-acting compound. Dissolves in approximately 72 hours upon contact. The dancing. See above. Steve’s fault. The product is currently governing the United States, signing documents, and, when music plays at public events, raising both arms above its head in a manner that sources inside the Secret Service describe as “non-stoppable.” Dr. Hollings was asked whether a fourth-term formulation was already in development. She closed her notebook. She picked up her coat. She did not answer the question. Gandalv / Gandalv

BREAKING: White House Confirms Third-Term Manufacturing Process Suffered “Several Significant Setbacks” PITTSBURGH, PA – Internal documents obtained by this publication reveal that the production of the third-term version of President Donald J. Trump, currently serving in the Oval Office, was considerably more complicated than previously reported, involving at least four failed prototypes, one misread ingredient list, and a hair crisis that sources describe as “genuinely upsetting to witness.” “We had a vision,” said production supervisor Steve Bannon, 71, staring at a clipboard he had been holding upside down for the duration of the interview. “The vision was a harder, more aggressive product. Something that rocked.” The vision did not survive contact with Steve. According to the documents, Bannon had sourced a proprietary powder blend intended to instill, in the finished product, a preference for classic rock, aggressive handshakes, and what internal memos describe as “general menace.” The blend was added to the vat in Stage 3. Bannon had, however, transposed two ingredient codes during transcription, resulting in a product that, when exposed to any musical stimulus whatsoever, immediately begins performing the arm choreography from YMCA. “We noticed it almost immediately,” said Dr. Patricia Hollings, lead researcher. “We played something to test the audio response. We chose badly.” The hair situation was worse. The third-term formulation called for an enhanced hair compound, described in the original specification as “voluminous, commanding, and mammal-derived.” Technicians sourced extracts from no fewer than seven mammal species, the identities of which remain redacted in the released documents. The first trial produced a result described by three separate witnesses as “the top of a tortoise.” Smooth. Slightly domed. Catching the light in a way that made everyone in the room uncomfortable. A second attempt swung aggressively in the opposite direction. The hair came in red. Not auburn. Not strawberry blonde. Red in the manner of something that has made a decision. After six weeks of additional formulation, the team arrived at the current result: a color that does not exist elsewhere in nature, designated internally as Pantone 337472B, a shade falling somewhere between “aggressively highlighted wheat” and “a receipt left on a car dashboard for four months.” Technicians are understood to be satisfied. No one else is. Among the other traits now attributed to specific third-term ingredients: The tariffs. A full canister, added without reading the label. Effects described as “broad.” The executive orders. A fast-acting compound. Dissolves in approximately 72 hours upon contact. The dancing. See above. Steve’s fault. The product is currently governing the United States, signing documents, and, when music plays at public events, raising both arms above its head in a manner that sources inside the Secret Service describe as “non-stoppable.” Dr. Hollings was asked whether a fourth-term formulation was already in development. She closed her notebook. She picked up her coat. She did not answer the question. Gandalv / Gandalv

Gandalv

19,950 görüntüleme • 3 ay önce

Nobody is telling you how FUCKED New York City's infrastructure actually is right now. Everyone is watching the flood footage. The cars underwater. The subway stations turned into swimming pools. Nobody is talking about the fact that six inches of rain just paralyzed a global city. Not a hurricane. Not a once-in-a-century storm. Six inches. In a few hours. And the Long Island Expressway shut down in both directions. The F train suspended. Flash flood warnings across every borough. By rain. → Cost of fixing this: deferred for decades → Cost of not fixing it: the entire city grinds to a halt → That is not a weather problem. That is a maintenance problem. NYC's catch-basin cleaning fleet was 63% out of service during prior storms. By end of 2023 it was 77% out of service. The city had 19 functional trucks for five boroughs. Nineteen trucks. For eight million people. 💀 Here's what nobody is explaining to you: This doesn't just change THIS storm. This changes ALL storms. Forever. → NYC has 7,400 miles of combined storm and sewer pipes that back up the moment rainfall exceeds capacity → Many of those pipes are over 100 years old — built before cars existed, let alone SUVs and modern runoff volumes → Fewer than half of the city's 964 priority catch basins were inspected before recent storms hit → This exact same thing happened in 2023. And 2025. Same expressway. Same subway lines. Same excuses. → The city knows which drains are clogged. They have a data-driven priority list. → They just don't have the trucks to clean them. → So every time it rains hard, the same streets flood, the same trains stop, the same headlines run. → And then nothing changes until the next storm proves it again. The source tweet said it directly: "Six inches of rain shouldn't do this to a major city, but clogged drains and years of deferred maintenance will." That's not a weather forecast. That's a confession. New York spent decades deferring the maintenance bill. May 21, 2026 is what the invoice looks like. Bookmark this. You're watching the biggest infrastructure failure since the last time it rained. I'll keep you updated. Turn on notifications. 🚨

Nobody is telling you how FUCKED New York City's infrastructure actually is right now. Everyone is watching the flood footage. The cars underwater. The subway stations turned into swimming pools. Nobody is talking about the fact that six inches of rain just paralyzed a global city. Not a hurricane. Not a once-in-a-century storm. Six inches. In a few hours. And the Long Island Expressway shut down in both directions. The F train suspended. Flash flood warnings across every borough. By rain. → Cost of fixing this: deferred for decades → Cost of not fixing it: the entire city grinds to a halt → That is not a weather problem. That is a maintenance problem. NYC's catch-basin cleaning fleet was 63% out of service during prior storms. By end of 2023 it was 77% out of service. The city had 19 functional trucks for five boroughs. Nineteen trucks. For eight million people. 💀 Here's what nobody is explaining to you: This doesn't just change THIS storm. This changes ALL storms. Forever. → NYC has 7,400 miles of combined storm and sewer pipes that back up the moment rainfall exceeds capacity → Many of those pipes are over 100 years old — built before cars existed, let alone SUVs and modern runoff volumes → Fewer than half of the city's 964 priority catch basins were inspected before recent storms hit → This exact same thing happened in 2023. And 2025. Same expressway. Same subway lines. Same excuses. → The city knows which drains are clogged. They have a data-driven priority list. → They just don't have the trucks to clean them. → So every time it rains hard, the same streets flood, the same trains stop, the same headlines run. → And then nothing changes until the next storm proves it again. The source tweet said it directly: "Six inches of rain shouldn't do this to a major city, but clogged drains and years of deferred maintenance will." That's not a weather forecast. That's a confession. New York spent decades deferring the maintenance bill. May 21, 2026 is what the invoice looks like. Bookmark this. You're watching the biggest infrastructure failure since the last time it rained. I'll keep you updated. Turn on notifications. 🚨

🇺🇸 Ronald Carter

1,386,362 görüntüleme • 2 ay önce

Despite the UFC’s financial success, ZERO MMA fighters made Sportico’s 2024 Top 100 Highest-Paid Athletes list, while six boxers did: 3: Tyson Fury - $147M 7: Oleksandr Usyk - $122M 20: Canelo Alvarez - $73M 30: Anthony Joshua - $60M 52: Jake Paul - $48M 81: Naoya Inoue $42M (All fought twice in 2024, except Jake Paul, who fought three times.) Every UFC post-fight press conference begins with Dana White boasting about broken gate record, arena records, and others. Dana often compares the UFC to the NFL, NBA, and soccer, and they certainly have grown exponentially, but this is where the UFC truly differs. So, how is Alex Pereira not on the list after his massively impressive 2024? As one of the UFC’s biggest stars, Light Heavyweight Champion Pereira fought three times in 2024, including short-notice fights, saving and headlining some of the year’s biggest events, like UFC 300—yet he didn’t make the list. Meanwhile, NFL quarterback Daniel Jones landed the 100th spot, earning $37.5 million in salary and endorsements. It’s not breaking news that UFC/MMA fighters don’t earn as well as athletes in other sports, but it’s always interesting to see these annual lists considering the UFC had yet another record-breaking year financially in 2024. UFC 306 at The Sphere alone set multiple records, including the highest gate in UFC history at $21,829,245, surpassing UFC 205. Next week, TKO Group will release its full 2024 financial results, but in August 2024 they had raised their revenue forecast to $2.745 billion up from the previous estimate of $2.685 billion, with an expected EBITDA of $1.22 billion - $1.24 billion. The UFC is exceeding revenue expectations, reinforcing their financial and market dominance which definitely benefits TKO’s investors and stakeholders, but does it truly trickle down to the fighters? It’s a pivotal time for the UFC and the fighters as the UFC is in line for a new broadcast deal that will likely be worth over $1 billion per year. Ariel Helwani and his team were asked about the 2024 Top 100 Highest-Paid Athletes list and it is definitely worth a listen. Full top 100:

Despite the UFC’s financial success, ZERO MMA fighters made Sportico’s 2024 Top 100 Highest-Paid Athletes list, while six boxers did: 3: Tyson Fury - $147M 7: Oleksandr Usyk - $122M 20: Canelo Alvarez - $73M 30: Anthony Joshua - $60M 52: Jake Paul - $48M 81: Naoya Inoue $42M (All fought twice in 2024, except Jake Paul, who fought three times.) Every UFC post-fight press conference begins with Dana White boasting about broken gate record, arena records, and others. Dana often compares the UFC to the NFL, NBA, and soccer, and they certainly have grown exponentially, but this is where the UFC truly differs. So, how is Alex Pereira not on the list after his massively impressive 2024? As one of the UFC’s biggest stars, Light Heavyweight Champion Pereira fought three times in 2024, including short-notice fights, saving and headlining some of the year’s biggest events, like UFC 300—yet he didn’t make the list. Meanwhile, NFL quarterback Daniel Jones landed the 100th spot, earning $37.5 million in salary and endorsements. It’s not breaking news that UFC/MMA fighters don’t earn as well as athletes in other sports, but it’s always interesting to see these annual lists considering the UFC had yet another record-breaking year financially in 2024. UFC 306 at The Sphere alone set multiple records, including the highest gate in UFC history at $21,829,245, surpassing UFC 205. Next week, TKO Group will release its full 2024 financial results, but in August 2024 they had raised their revenue forecast to $2.745 billion up from the previous estimate of $2.685 billion, with an expected EBITDA of $1.22 billion - $1.24 billion. The UFC is exceeding revenue expectations, reinforcing their financial and market dominance which definitely benefits TKO’s investors and stakeholders, but does it truly trickle down to the fighters? It’s a pivotal time for the UFC and the fighters as the UFC is in line for a new broadcast deal that will likely be worth over $1 billion per year. Ariel Helwani and his team were asked about the 2024 Top 100 Highest-Paid Athletes list and it is definitely worth a listen. Full top 100:

AFeldmanMMA

56,827 görüntüleme • 1 yıl önce

In Remembrance of Hedy Lamarr. Born | November 9, 1914 in Vienna, Austria. Died | January 19, 2000 aged 85 in Casselberry, Florida, USA. Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theatre director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka “Money on the Street”) in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: “Ecstasy”) and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time. Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of “Ecstasy” he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films. Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. At the beginning of World War II, along with composer George Antheil, Lamarr co-invented a radio guidance system for Allied torpedoes that used spread spectrum and frequency hopping technology to defeat the threat of radio jamming by the Axis powers. This approach, conceptualised as a “Secret Communication System”, was intended to provide secure, jam-resistant communication for weapon guidance by spreading the signal across multiple frequencies. Similar technology was used in operational systems only beginning in 1962, which was well after World War II and three years after the expiry of the Lamarr-Antheil patent. Frequency hopping, which existed and was utilised before the Lamarr-Antheil patent, is a foundational technology for spread spectrum communications. Its principles are utilised for secure wireless networking, including Bluetooth and early versions of Wi-Fi, which use variants of spread spectrum to protect data from interception and interference. In 1949, Hedy Lamarr starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theatres. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1957). The 1970s was a decade of increasing seclusion for Lamarr. She was offered several scripts, television commercials, and stage projects, but none piqued her interest. In 1974, she filed a $10 million lawsuit against Warner Bros., claiming that the running parody of her name (“Hedley Lamarr”) in the Mel Brooks comedy Blazing Saddles infringed her right to privacy. Brooks said he was flattered. The studio settled out of court for an undisclosed nominal sum and an apology to Lamarr for “almost using her name”. Brooks said that Lamarr “never got the joke”. In 1981, with her eyesight failing, Lamarr retreated from public life and settled in Miami Beach, Florida. A large Corel-drawn image of Lamarr won CorelDRAW's yearly software suite cover design contest in 1996. For several years, beginning in 1997, it was featured on boxes of the software suite. Lamarr sued the company for using her image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998. For her contribution to the motion picture industry, Lamarr has a star on the Hollywood Walk of Fame at 6247 Hollywood Boulevard adjacent to Vine Street where the walk is centered. Lamarr became estranged from her older son, James Lamarr Loder, when he was 12 years old. Their relationship ended abruptly, and he moved in with another family. They did not speak again for almost 50 years. Lamarr left James Loder out of her will, and he sued for control of the US$3.3 million estate left by Lamarr in 2000. He eventually settled for US$50,000. In her later years, Lamarr lived in Altamonte Springs, Florida, before moving to Casselberry, Florida, in the final months of her life. She communicated with family and friends almost exclusively by telephone. However, after moving to Casselberry, two friends who lived nearby would visit her at home to check on her a few times a week. On January 19, 2000, Lamarr was found dead at her home in Casselberry at the age of 85; the cause of death was heart disease. Her son Anthony Loder spread part of her ashes in Austria's Vienna Woods in accordance with her last wishes. In 2014, a memorial to Lamarr was unveiled in Vienna's Central Cemetery. The remainder of her ashes were buried there.

In Remembrance of Hedy Lamarr. Born | November 9, 1914 in Vienna, Austria. Died | January 19, 2000 aged 85 in Casselberry, Florida, USA. Hedy Lamarr, the woman many critics and fans alike regard as the most beautiful ever to appear in films, was born Hedwig Eva Maria Kiesler in Vienna, Austria. She was the daughter of Gertrud (Lichtwitz), from Budapest, and Emil Kiesler, a banker from Lemberg (now known as Lviv). Her parents were both from Jewish families. Hedwig had a calm childhood, but it was cinema that fascinated her. By the time she was a teenager, she decided to drop out of school and seek fame as an actress, and was a student of theatre director Max Reinhardt in Berlin. Her first role was a bit part in the German film Geld auf der Straße (1930) (aka “Money on the Street”) in 1930. She was attractive and talented enough to be in three more German productions in 1931, but it would be her fifth film that catapulted her to worldwide fame. In 1932 she appeared in a Czech film called Ekstase (US title: “Ecstasy”) and had made the gutsy move to appear nude. It's the story of a young girl who is married to a gentleman much older than she, but she winds up falling in love with a young soldier. The film's nude scenes created a sensation all over the world. The scenes, very tame by today's standards, caused the film to be banned by the U.S. government at the time. Hedy soon married Fritz Mandl, a munitions manufacturer and a prominent Austrofascist. He attempted to buy up all the prints of “Ecstasy” he could lay his hands on (Italy's dictator, Benito Mussolini, had a copy but refused to sell it to Mandl), but to no avail (there are prints floating around the world today). The notoriety of the film brought Hollywood to her door. She was brought to the attention of MGM mogul Louis B. Mayer, who signed her to a contract (a notorious prude when it came to his studio's films, Mayer signed her against his better judgment, but the money he knew her notoriety would bring in to the studio overrode any moral concerns he may have had). However, he insisted she change her name and make good, wholesome films. Hedy starred in a series of exotic adventure epics. She made her American film debut as Gaby in Algiers (1938). This was followed a year later by Lady of the Tropics (1939). In 1942, she played the plum role of Tondelayo in the classic White Cargo (1942). After World War II, her career began to decline, and MGM decided it would be in the interest of all concerned if her contract were not renewed. Unfortunately for Hedy, she turned down the leads in both Gaslight (1940) and Casablanca (1942), both of which would have cemented her standing in the minds of the American public. At the beginning of World War II, along with composer George Antheil, Lamarr co-invented a radio guidance system for Allied torpedoes that used spread spectrum and frequency hopping technology to defeat the threat of radio jamming by the Axis powers. This approach, conceptualised as a “Secret Communication System”, was intended to provide secure, jam-resistant communication for weapon guidance by spreading the signal across multiple frequencies. Similar technology was used in operational systems only beginning in 1962, which was well after World War II and three years after the expiry of the Lamarr-Antheil patent. Frequency hopping, which existed and was utilised before the Lamarr-Antheil patent, is a foundational technology for spread spectrum communications. Its principles are utilised for secure wireless networking, including Bluetooth and early versions of Wi-Fi, which use variants of spread spectrum to protect data from interception and interference. In 1949, Hedy Lamarr starred as Delilah opposite Victor Mature's Samson in Cecil B. DeMille's epic Samson and Delilah (1949). This proved to be Paramount Pictures' then most profitable movie to date, bringing in $12 million in rental from theatres. The film's success led to more parts, but it was not enough to ease her financial crunch. She made only six more films between 1949 and 1957, the last being The Female Animal (1957). The 1970s was a decade of increasing seclusion for Lamarr. She was offered several scripts, television commercials, and stage projects, but none piqued her interest. In 1974, she filed a $10 million lawsuit against Warner Bros., claiming that the running parody of her name (“Hedley Lamarr”) in the Mel Brooks comedy Blazing Saddles infringed her right to privacy. Brooks said he was flattered. The studio settled out of court for an undisclosed nominal sum and an apology to Lamarr for “almost using her name”. Brooks said that Lamarr “never got the joke”. In 1981, with her eyesight failing, Lamarr retreated from public life and settled in Miami Beach, Florida. A large Corel-drawn image of Lamarr won CorelDRAW's yearly software suite cover design contest in 1996. For several years, beginning in 1997, it was featured on boxes of the software suite. Lamarr sued the company for using her image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998. For her contribution to the motion picture industry, Lamarr has a star on the Hollywood Walk of Fame at 6247 Hollywood Boulevard adjacent to Vine Street where the walk is centered. Lamarr became estranged from her older son, James Lamarr Loder, when he was 12 years old. Their relationship ended abruptly, and he moved in with another family. They did not speak again for almost 50 years. Lamarr left James Loder out of her will, and he sued for control of the US$3.3 million estate left by Lamarr in 2000. He eventually settled for US$50,000. In her later years, Lamarr lived in Altamonte Springs, Florida, before moving to Casselberry, Florida, in the final months of her life. She communicated with family and friends almost exclusively by telephone. However, after moving to Casselberry, two friends who lived nearby would visit her at home to check on her a few times a week. On January 19, 2000, Lamarr was found dead at her home in Casselberry at the age of 85; the cause of death was heart disease. Her son Anthony Loder spread part of her ashes in Austria's Vienna Woods in accordance with her last wishes. In 2014, a memorial to Lamarr was unveiled in Vienna's Central Cemetery. The remainder of her ashes were buried there.

Hollywood Golden Age of Cinema

21,096 görüntüleme • 6 ay önce

home page hero ✨ Design notes: - "Forever" hero text dot pixel FX done in Unicorn Studio. (I will do a whole tutorial on this later. Unicorn's WebGL engine is absolutely wild and very powerful / robust) - built in Framer - I wanted to recreate the iOS unlock effect where your home screen icons cascade into place in a beautifully timed choreography. This took a lot of careful timing using Framer's "Appear" effect on the hero text and surrounding avatars because it was super important that we didn't lose the legibility of our main message ("Build Your Forever Audience") with all the animations. - If you look closely, the choreography is setup to lead your eye through the hero text first starting with "Build Your" then "Forever" and finally "Audience." - With those text layers in place + the surrounding avatars, there is a slight 1 sec pause before the remaining elements slide in below and above (How it works, CTA buttons, announcement badge, and lastly the main nav). - All told the entire loading sequence is 6 seconds - Custom particle system powers the interactive star field (the stars slowly gravitate to your pointer position, and the star field perspective changes ever so subtly as you move your mouse around on the page) - I have 3 shooting stars made of small white line layers that start out off canvas rotated at different angles that shoot across to another point off canvas at random times on a loop effect. - Given this hero scene is in space, I wanted the surrounding avatar elements to "float" in low gravity mode. For this I used Framer's loop effect that slowly oscillates the layer's y position. I then offset the delay of each element randomly to stagger the floating loop so each avatar floats independently/randomly - The final major treatment for this hero scene was the scroll animations on the avatars. I wanted to create a bit of a warp speed effect when you scroll down, as if the avatars were being pulled or sucked into a worm hole as you scroll down below this hero fold. - To accomplish this, I applied Framer's scroll transform affect set to "section in view" on each of the floating avatars, and set the "scroll to" position of the upper avatars to be much, much further away on the y-axis than the "scroll to" position of the lower avatars. (eg. -1700px on upper most avatars vs. -600px on lowest positioned avatars). This effectively causes the upper avatars to slide up off the hero canvas with much greater velocity than the lower positioned avatars. - And when you scroll back up to the hero section, the inverse happens where the lower positioned avatars "arrive back in place" from up above the hero canvas before the upper avatars come back into the scene and settle in place. - Overall I wanted this hero section to feel alive. The floating avatars, particle system with very subtle star movements, and the Caustics effect on the "Forever" text all sort of move at the pace of slow breathing - which is a great pace to create a sense of life and comfort in your scene. Conversion Results (so far) - When this new Framer site launched along with Calaxy v1.9 release on Base a couple weeks ago, we saw a surge in traffic, around 20k page views in the first few days. - Of those 20k hits, 11k visited the app install page ( - which is our main CTA - We saw around 10K new users in the first week after v1.9 launch Overall I'm very happy with the new site and early performance metrics. Lots of tweaking to do but its a good start. If you are a designer building in Framer - hit me with any questions on the above hero notes. Happy to share more specifics! 👾

Chadd Weston

16,281 görüntüleme • 9 ay önce

Megan Fox really knows how to draw everyone's attention, don't you think?🤩😏 VIdeo by Kling 3.0 via Higgsfield AI (More videos for my subscribers!) Video & Image prompts below👇🏻 🔴 Video Prompt: Subject slowly rises from kneeling position on fluffy white rug — movement begins with a natural, fluid push upward from knees to standing. As she rises, hips sway gently and playfully, body moves naturally with soft feminine energy, not exaggerated. Hair still mid-ponytail, hands finish tying it as she stands. Camera rises simultaneously with her, tracking from chest level up to face level as she reaches full standing height. Full body visible throughout the rise. At 8 seconds: she leans slightly forward toward camera, eyes locked, and softly tongue out to the camera lens. At 9-10 seconds: she pulls back, gives one final direct look into camera, then flashes a peace sign with a slight smirk. Style: Cinematic, smooth camera movement, natural bedroom lighting with soft daylight from window, warm neon glow from "Keor" sign in background. Realistic, no sudden cuts, fluid motion throughout. 10 seconds total. 🔴 Image Prompt: A Megan Fox with fair skin, freckles across her face and shoulders, and striking blue eyes is kneeling on a thick, fluffy white rug in a messy bedroom. She has long, black hair that she is actively gathering with both hands to tie into a high ponytail; her right hand holds the base of the ponytail near the crown of her head while her left hand pulls the length of her hair through. She is wearing a fitted light green lime ribbed tank top with V neckline and fuchsia gym shorts bottoms. Her expression is direct and slightly serious as she looks straight at the camera from a high angle. The bedroom background features an unmade pink bed with rumpled light-colored sheets and pillows, scattered clothes on the floor and bed, a white nightstand with a modern lamp, a stack of books, a big poster of Inuyasha manga characters, a little neon written 'Keor' on wall, and a window with sheer curtains letting in natural daylight. The overall scene has a casual, lived-in atmosphere with soft natural lighting."

Megan Fox really knows how to draw everyone's attention, don't you think?🤩😏 VIdeo by Kling 3.0 via Higgsfield AI (More videos for my subscribers!) Video & Image prompts below👇🏻 🔴 Video Prompt: Subject slowly rises from kneeling position on fluffy white rug — movement begins with a natural, fluid push upward from knees to standing. As she rises, hips sway gently and playfully, body moves naturally with soft feminine energy, not exaggerated. Hair still mid-ponytail, hands finish tying it as she stands. Camera rises simultaneously with her, tracking from chest level up to face level as she reaches full standing height. Full body visible throughout the rise. At 8 seconds: she leans slightly forward toward camera, eyes locked, and softly tongue out to the camera lens. At 9-10 seconds: she pulls back, gives one final direct look into camera, then flashes a peace sign with a slight smirk. Style: Cinematic, smooth camera movement, natural bedroom lighting with soft daylight from window, warm neon glow from "Keor" sign in background. Realistic, no sudden cuts, fluid motion throughout. 10 seconds total. 🔴 Image Prompt: A Megan Fox with fair skin, freckles across her face and shoulders, and striking blue eyes is kneeling on a thick, fluffy white rug in a messy bedroom. She has long, black hair that she is actively gathering with both hands to tie into a high ponytail; her right hand holds the base of the ponytail near the crown of her head while her left hand pulls the length of her hair through. She is wearing a fitted light green lime ribbed tank top with V neckline and fuchsia gym shorts bottoms. Her expression is direct and slightly serious as she looks straight at the camera from a high angle. The bedroom background features an unmade pink bed with rumpled light-colored sheets and pillows, scattered clothes on the floor and bed, a white nightstand with a modern lamp, a stack of books, a big poster of Inuyasha manga characters, a little neon written 'Keor' on wall, and a window with sheer curtains letting in natural daylight. The overall scene has a casual, lived-in atmosphere with soft natural lighting."

KeorUnreal

103,787 görüntüleme • 3 ay önce