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This was the final on-camera appearance mentioned in the article below—one that was completed only after a series of harrowing twists and turns. Who could have imagined that, because of the Chinese Communist Party’s sabotage, simply standing on the street to do a “normal” on-camera report would require me...

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Inconvenient Truths — Jennifer Zeng Reports

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18,685 次观看 • 5 个月前 •via X (Twitter)

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This is scripted for people look how many people are in the street this is about the amount that you would have to do a shoot like this. This is not organic. You have to understand the difference in Camera work and the amount of people moving around how they treat the camera, etc
0:43

This is scripted for people look how many people are in the street this is about the amount that you would have to do a shoot like this. This is not organic. You have to understand the difference in Camera work and the amount of people moving around how they treat the camera, etc

S I N E

158,660 次观看 • 6 个月前

Matt Reeves says that he tried to make THE BATMAN like it would happen in real life. “I wanted this to be very much like it would happen in the real world. I wanted it to feel like it was grounded.” “like Chinatown in a certain sense. A description of a corrupt place and to get at the seeds of how far that corruption went… I wanted to have a story that feels very much of our world.”
1:42

Matt Reeves says that he tried to make THE BATMAN like it would happen in real life. “I wanted this to be very much like it would happen in the real world. I wanted it to feel like it was grounded.” “like Chinatown in a certain sense. A description of a corrupt place and to get at the seeds of how far that corruption went… I wanted to have a story that feels very much of our world.”

Emir Han

16,327 次观看 • 21 天前

John Renoir on filming the train scenes in 'The Human Beast' (1938): "'The Human Beast' (1938) was a rather difficult film to shoot, since much of it takes place on locomotives. You can't shoot on a locomotive the way you can in a studio. There was so much to install. I must say that the state railway system was marvelous, they helped us, gave us some extraordinary assistants who took part in the film, who advised us, who prevented us from making mistakes. Because here again I insisted on exterior reality, I wanted very much for it to be respected. Believe me, there isn't a detail in this film that isn't exact. They gave us a track that wasn't being used during the time we were shooting the film. On this track we put a train, composed of a locomotive, our locomotive, our character, the Lison, the one we photographed. Behind it, we had a flatcar on which we had two generators to provide the electricity. We lit the locomotive exactly as if it were a character in a studio: instruments, lights, backlighting, everything you need. And of course all that was connected with wires, with straps, all that. It was all very complicated, because we were moving at sixty miles an hour! To reach sixty miles an hour in a hurry, we had another train push us from behind, so that we picked up speed quickly. We did it with two locomotives. We also had a few normal cars in which the actors could wash up, relax when they weren't shooting, reapply their makeup, have something to eat, and so on. It all was very organized. I must say that the photography was exciting and rather dangerous at times. My nephew, the cameraman, Claude Renoir, was almost knocked off once. He was in charge of a camera that was against the side of the locomotive. We had measured everything. The camera was fixed against the locomotive, but we had miscalculated, and the camera stuck out maybe one centimeter, and when we entered a tunnel - we were filming in a tunnel - the camera was knocked off and smashed. Luckily Claude saw what was coming just before it happened, he guessed it, and he flattened himself against the train and wasn't knocked off too. Luckily he's still alive." ('Renoir on Renoir', translated by Carol Volk, 1989)
4:20

John Renoir on filming the train scenes in 'The Human Beast' (1938): "'The Human Beast' (1938) was a rather difficult film to shoot, since much of it takes place on locomotives. You can't shoot on a locomotive the way you can in a studio. There was so much to install. I must say that the state railway system was marvelous, they helped us, gave us some extraordinary assistants who took part in the film, who advised us, who prevented us from making mistakes. Because here again I insisted on exterior reality, I wanted very much for it to be respected. Believe me, there isn't a detail in this film that isn't exact. They gave us a track that wasn't being used during the time we were shooting the film. On this track we put a train, composed of a locomotive, our locomotive, our character, the Lison, the one we photographed. Behind it, we had a flatcar on which we had two generators to provide the electricity. We lit the locomotive exactly as if it were a character in a studio: instruments, lights, backlighting, everything you need. And of course all that was connected with wires, with straps, all that. It was all very complicated, because we were moving at sixty miles an hour! To reach sixty miles an hour in a hurry, we had another train push us from behind, so that we picked up speed quickly. We did it with two locomotives. We also had a few normal cars in which the actors could wash up, relax when they weren't shooting, reapply their makeup, have something to eat, and so on. It all was very organized. I must say that the photography was exciting and rather dangerous at times. My nephew, the cameraman, Claude Renoir, was almost knocked off once. He was in charge of a camera that was against the side of the locomotive. We had measured everything. The camera was fixed against the locomotive, but we had miscalculated, and the camera stuck out maybe one centimeter, and when we entered a tunnel - we were filming in a tunnel - the camera was knocked off and smashed. Luckily Claude saw what was coming just before it happened, he guessed it, and he flattened himself against the train and wasn't knocked off too. Luckily he's still alive." ('Renoir on Renoir', translated by Carol Volk, 1989)

DepressedBergman

29,213 次观看 • 10 个月前

Emily Willis revealed that what initially drew her to the adult industry was a simple desire to be in front of the camera and be watched. She admitted she never expected things to unfold the way they eventually did, saying the experience turned out very differently from what she had imagined. " I think it was.... I got this rush from doing it of being in front of a camera, I didn't know I was going to get turned on having s3x in front of a camera"
0:46

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Emily Willis revealed that what initially drew her to the adult industry was a simple desire to be in front of the camera and be watched. She admitted she never expected things to unfold the way they eventually did, saying the experience turned out very differently from what she had imagined. " I think it was.... I got this rush from doing it of being in front of a camera, I didn't know I was going to get turned on having s3x in front of a camera"

Healwaysclips

124,223 次观看 • 1 个月前

carlos on the collision that ruined his race: “up until then, we’d had a good start and a good race pace. during the 10 laps the team let me push, i was lapping in the 18s while the rest of the midfield was doing 19s, so we were having a good race for the few laps i was able to push. we had two or four points in the bag, and suddenly on that restart i had two cars behind me that looked like they were risking their lives or their racing careers on a restart in monaco with 8 laps to go, and they made it to the loews corner. yeah, the one on the inside, i think it was nico, ran me off track. unusual, because he’s so experienced and knows that in monaco at turn 6 everyone has to brake too hard because of the concertina effect. it’s very rare for someone with that much experience to be able to run you off the track in a corner like that.”
0:52

carlos on the collision that ruined his race: “up until then, we’d had a good start and a good race pace. during the 10 laps the team let me push, i was lapping in the 18s while the rest of the midfield was doing 19s, so we were having a good race for the few laps i was able to push. we had two or four points in the bag, and suddenly on that restart i had two cars behind me that looked like they were risking their lives or their racing careers on a restart in monaco with 8 laps to go, and they made it to the loews corner. yeah, the one on the inside, i think it was nico, ran me off track. unusual, because he’s so experienced and knows that in monaco at turn 6 everyone has to brake too hard because of the concertina effect. it’s very rare for someone with that much experience to be able to run you off the track in a corner like that.”

yoyo 🦄

10,600 次观看 • 1 个月前

"He was like "do you want to be a guy or the guy?"... I had a few bad games and Jose was like pick it up because you're gonna be the guy... Everyone in this organization believes in me. I just gotta have that killer mindset" -- Derik Queen on being the face of the franchise
0:55

"He was like "do you want to be a guy or the guy?"... I had a few bad games and Jose was like pick it up because you're gonna be the guy... Everyone in this organization believes in me. I just gotta have that killer mindset" -- Derik Queen on being the face of the franchise

Pelicans Film Room

125,381 次观看 • 3 个月前

Millie Bobby Brown says she forced her Husband to travel with a urine-soaked cup lid in their car because she refuses to use normal public restrooms "we were on a road trip and we were in Alabama, and it was just me and Jake and our friends, and I needed a wee" "I just hung out of the car and peed like in a swamp in the middle of Alabama" "I peed in this cup and then I emptied it and then the lid was like a pee cup. And then we kept it in the car and we called it the pee lid" "Jake's like, Millie, like you couldn't have like done anything, like we could have stopped, you could have waited" "I grew up basically peeing in swamps... on the road trips, like it's like you need to pee, let's go just pee on the side of the road"
0:42

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Millie Bobby Brown says she forced her Husband to travel with a urine-soaked cup lid in their car because she refuses to use normal public restrooms "we were on a road trip and we were in Alabama, and it was just me and Jake and our friends, and I needed a wee" "I just hung out of the car and peed like in a swamp in the middle of Alabama" "I peed in this cup and then I emptied it and then the lid was like a pee cup. And then we kept it in the car and we called it the pee lid" "Jake's like, Millie, like you couldn't have like done anything, like we could have stopped, you could have waited" "I grew up basically peeing in swamps... on the road trips, like it's like you need to pee, let's go just pee on the side of the road"

Rixlerr

6,322,212 次观看 • 4 天前

Jayson Tatum on his message of gratitude to the team yesterday: “It was one, just being vulnerable, showing my appreciation to the team, of how they have played this season, how they motivated me every single day. The joy and competitive nature that they displayed, I wanted to be a part of that. And I say it all the time, going through rehab and being injured is lonely. It's not intentional. I couldn't practice for a while, I couldn't be in the game. When they were on the court, I was in the weight room, having to do my own thing. So you feel isolated, in a sense. “But I just expressed that being around as much as possible, going to games, being on the plane, really made me feel like I was still very much a part of the team, and how thankful to the group for just being themselves. I was thankful to the coaches that extended their days a lot by helping me during rehab and on the court and pick-up games [for] my conditioning. So I really just kind of telling everybody in the room that they all played a part in essentially helping me get to this moment.”
1:30

Jayson Tatum on his message of gratitude to the team yesterday: “It was one, just being vulnerable, showing my appreciation to the team, of how they have played this season, how they motivated me every single day. The joy and competitive nature that they displayed, I wanted to be a part of that. And I say it all the time, going through rehab and being injured is lonely. It's not intentional. I couldn't practice for a while, I couldn't be in the game. When they were on the court, I was in the weight room, having to do my own thing. So you feel isolated, in a sense. “But I just expressed that being around as much as possible, going to games, being on the plane, really made me feel like I was still very much a part of the team, and how thankful to the group for just being themselves. I was thankful to the coaches that extended their days a lot by helping me during rehab and on the court and pick-up games [for] my conditioning. So I really just kind of telling everybody in the room that they all played a part in essentially helping me get to this moment.”

Noa Dalzell 🏀

2,779,258 次观看 • 4 个月前

Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]
7:50

Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]

DepressedBergman

39,125 次观看 • 1 年前

PRX alecks reflects on the team's playstyle and how it has evolved over the years: "I think we've just got a lot more careful. I think that was a bit disappointing on our side because I think we know how to shut this down because we used to do these kinds of things and we couldn't do it today because, again, like I said, we forgot. I can go through the years, but between 2022 to 2024, we pretty much just made sure that everything was strat-based and we just charged people and hoped that we had better mechanics. Then around 2025, I think we took a look at the year and with how good Yoru was, we just tried to leverage the fact that Yoru could be everywhere on the map and we tried to make sure that we understood the game on a micro level a lot better. Maybe for all you know, it came back to bite us in the ass today. What we needed to do was win the fight and then [inaudible], and we used to be very good at that. So if the meta stays the same, I can promise you that we will be back to our best charging people." (via Manguitouu Sons of KS)
2:23

PRX alecks reflects on the team's playstyle and how it has evolved over the years: "I think we've just got a lot more careful. I think that was a bit disappointing on our side because I think we know how to shut this down because we used to do these kinds of things and we couldn't do it today because, again, like I said, we forgot. I can go through the years, but between 2022 to 2024, we pretty much just made sure that everything was strat-based and we just charged people and hoped that we had better mechanics. Then around 2025, I think we took a look at the year and with how good Yoru was, we just tried to leverage the fact that Yoru could be everywhere on the map and we tried to make sure that we understood the game on a micro level a lot better. Maybe for all you know, it came back to bite us in the ass today. What we needed to do was win the fight and then [inaudible], and we used to be very good at that. So if the meta stays the same, I can promise you that we will be back to our best charging people." (via Manguitouu Sons of KS)

VALO2ASIA

71,155 次观看 • 4 个月前

FNC Boaster: “These events are, as you can probably imagine, quite tiring. We go from the upper bracket into three games in a row for the final days. That, on top of lots of media, lots of features, lots of just random stuff that we do. Not to mention the fact that when we go into our games, there’s a lot of adrenaline. After every game, my body aches and my head hurts, and then we have to somehow get to sleep, and then we’ve got to wake up early and stuff. So there’s loads of factors into this. It’s not just simply, you go in and you play. And I think we started slow today, especially on Corrode and Lotus. A big map was Lotus for us, and we weren’t able to, just everything wasn’t going our way. The Odin was completely annihilating us. Then when we got to Abyss, we were like, ‘This is the last chance.’ And I felt very confident that we could win this one, because I felt like I knew everything they did on the attack side. And then, what were we like 1–11 down or something? I was like, ‘Oh bloody hell, this one’s going to be a tough one, isn’t it?’ We managed to do it, and then I was like, ‘Holy guacamole, the dream is alive!’ And it felt amazing, hearing the crowd and being able to just do that, because it would’ve been so disappointing of a final to just bomb out there. But in the FNATIC way, we fight back. Ascent, we’re starting to feel the kind of momentum. And then it gets to Sunset, a map that was the one kind of perma-ban we had, but we had some stuff on it. Unfortunately, it was just the crucial map for us to get the win, and some of the rounds just didn’t go our way, and that’s how VALORANT goes, you know. It felt like the rounds that we needed to win, we lost, and then they had an ultimate the next round, and that’s how brutal it is on defense. If we had just been able to win one of those rounds, like the bonus round, holy guacamole, we would’ve been loving life. And it was the difference of like a 1v1 in the end. So yeah, I mean, we tried our best. That’s why I’m not that [sad]. I am sad, obviously, but I’m not like how I was in Toronto, because I felt like we pushed, we tried our best, and I’m very happy with the boys. It would’ve been nice to win, but there’s only one winner, so it’s just a blessing to compete instead.” #VALORANTChampions via Pedro Romero
3:06

FNC Boaster: “These events are, as you can probably imagine, quite tiring. We go from the upper bracket into three games in a row for the final days. That, on top of lots of media, lots of features, lots of just random stuff that we do. Not to mention the fact that when we go into our games, there’s a lot of adrenaline. After every game, my body aches and my head hurts, and then we have to somehow get to sleep, and then we’ve got to wake up early and stuff. So there’s loads of factors into this. It’s not just simply, you go in and you play. And I think we started slow today, especially on Corrode and Lotus. A big map was Lotus for us, and we weren’t able to, just everything wasn’t going our way. The Odin was completely annihilating us. Then when we got to Abyss, we were like, ‘This is the last chance.’ And I felt very confident that we could win this one, because I felt like I knew everything they did on the attack side. And then, what were we like 1–11 down or something? I was like, ‘Oh bloody hell, this one’s going to be a tough one, isn’t it?’ We managed to do it, and then I was like, ‘Holy guacamole, the dream is alive!’ And it felt amazing, hearing the crowd and being able to just do that, because it would’ve been so disappointing of a final to just bomb out there. But in the FNATIC way, we fight back. Ascent, we’re starting to feel the kind of momentum. And then it gets to Sunset, a map that was the one kind of perma-ban we had, but we had some stuff on it. Unfortunately, it was just the crucial map for us to get the win, and some of the rounds just didn’t go our way, and that’s how VALORANT goes, you know. It felt like the rounds that we needed to win, we lost, and then they had an ultimate the next round, and that’s how brutal it is on defense. If we had just been able to win one of those rounds, like the bonus round, holy guacamole, we would’ve been loving life. And it was the difference of like a 1v1 in the end. So yeah, I mean, we tried our best. That’s why I’m not that [sad]. I am sad, obviously, but I’m not like how I was in Toronto, because I felt like we pushed, we tried our best, and I’m very happy with the boys. It would’ve been nice to win, but there’s only one winner, so it’s just a blessing to compete instead.” #VALORANTChampions via Pedro Romero

VALO2ASIA

159,942 次观看 • 9 个月前

"With 'The Color of Money' (1986), working with two big stars [Paul Newman & Tom Cruise], we tried to make a Hollywood movie. Or rather, I tried to make one of my pictures, but with a Hollywood star: Paul Newman." --- Martin Scorsese Full Excerpt: "After 'The Last Temptation' was cancelled in 1983, I had to get myself back in shape. Work out. And this was working out. First 'After Hours' (1985), on a small scale. The idea was that I should be able, if 'Last Temptation' ever came along again, to make it like 'After Hours', because that’s all the money I’m gonna get for it. Then the question was: Are you going to survive as a Hollywood filmmaker? Because even though I live in New York, I’m a “Hollywood director.” Then again, even when I try to make a Hollywood film, there’s something in me that says, “Go the other way.” With 'The Color of Money' (1986), working with two big stars, we tried to make a Hollywood movie. Or rather, I tried to make one of my pictures, but with a Hollywood star: Paul Newman. That was mainly making a film about an American icon. That’s what I zeroed in on. I’m mean, Paul’s face! You know, I’m always trying to get the camera to move fast enough into an actor’s face—a combination of zoom and fast track—without killing him! Well, in 'The Color of Money' there’s the first time Paul sees Tom Cruise and says, ’’That kid’s got a dynamite break,” and turns around and the camera comes flying into his face. Anyway, that night, we looked at the rushes and saw four takes of this and said, “That man’s gonna go places! He’s got a face!” (Martin Scorsese's interview with Harlan Jacobson, FIlm Comment, 1988)
2:19

"With 'The Color of Money' (1986), working with two big stars [Paul Newman & Tom Cruise], we tried to make a Hollywood movie. Or rather, I tried to make one of my pictures, but with a Hollywood star: Paul Newman." --- Martin Scorsese Full Excerpt: "After 'The Last Temptation' was cancelled in 1983, I had to get myself back in shape. Work out. And this was working out. First 'After Hours' (1985), on a small scale. The idea was that I should be able, if 'Last Temptation' ever came along again, to make it like 'After Hours', because that’s all the money I’m gonna get for it. Then the question was: Are you going to survive as a Hollywood filmmaker? Because even though I live in New York, I’m a “Hollywood director.” Then again, even when I try to make a Hollywood film, there’s something in me that says, “Go the other way.” With 'The Color of Money' (1986), working with two big stars, we tried to make a Hollywood movie. Or rather, I tried to make one of my pictures, but with a Hollywood star: Paul Newman. That was mainly making a film about an American icon. That’s what I zeroed in on. I’m mean, Paul’s face! You know, I’m always trying to get the camera to move fast enough into an actor’s face—a combination of zoom and fast track—without killing him! Well, in 'The Color of Money' there’s the first time Paul sees Tom Cruise and says, ’’That kid’s got a dynamite break,” and turns around and the camera comes flying into his face. Anyway, that night, we looked at the rushes and saw four takes of this and said, “That man’s gonna go places! He’s got a face!” (Martin Scorsese's interview with Harlan Jacobson, FIlm Comment, 1988)

DepressedBergman

31,716 次观看 • 6 个月前

John Krasinski says he and Steve Carell needed 17 takes just to speak while filming Steve’s final scene on The Office "When Steve left, that was actually the last scene of Steve’s last day, and I didn’t realize that until later" "So I go in to do this scene, and it just hit me. You were in the room with Steve, and he had been really quiet all day, very sweet but very quiet. I think we knew that this was it" "We rolled, and I remember the director telling me it was 17 takes before we got one word out. There were a lot of retouches. I think that scene took like four and a half hours"
0:59

John Krasinski says he and Steve Carell needed 17 takes just to speak while filming Steve’s final scene on The Office "When Steve left, that was actually the last scene of Steve’s last day, and I didn’t realize that until later" "So I go in to do this scene, and it just hit me. You were in the room with Steve, and he had been really quiet all day, very sweet but very quiet. I think we knew that this was it" "We rolled, and I remember the director telling me it was 17 takes before we got one word out. There were a lot of retouches. I think that scene took like four and a half hours"

Yonan

1,545,122 次观看 • 18 天前

New record. I was on the street for only 20 seconds today before I was assaulted. This person hiding their face, who I assume is a man, ran at me as I was crossing the crosswalk, punched me in the face, and then tried to escape on a bus. Unfortunately, my camera got turned off when he attacked me the second time. I’d like Vancouver Police to get footage of the first attack please. It was at Granville and Georgia, at 12:45pm. 1 of 2
0:30

New record. I was on the street for only 20 seconds today before I was assaulted. This person hiding their face, who I assume is a man, ran at me as I was crossing the crosswalk, punched me in the face, and then tried to escape on a bus. Unfortunately, my camera got turned off when he attacked me the second time. I’d like Vancouver Police to get footage of the first attack please. It was at Granville and Georgia, at 12:45pm. 1 of 2

Billboard Chris 🌎

3,578,900 次观看 • 2 年前

This is quite funny. We're visiting Kamakura in Japan and we came across a large group of Chinese tourists in a place that, at first glance, looked nothing special. Turns out that this very spot is one of THE most iconic locations in Japan for Chinese people who grew up in the 1990s. Why? Because in the 1990s there was this Japanese basketball manga called "slam dunk" that every kid was watching in China, and the opening credits featured an image of this very spot: a railroad crossing on a small street leading to the beach in Kamakura. Apparently this place is so popular with Chinese tourists that they had to cordon it off at some point. Now it's obviously reopened with 3 guards assigned to handle the traffic. And now that they've heard about it, it's my daughters' turn to be hooked on the series so maybe in 20 years' time they'll be perpetuating the passion and come back to this "Slam Dunk" shrine ☺️
0:06

This is quite funny. We're visiting Kamakura in Japan and we came across a large group of Chinese tourists in a place that, at first glance, looked nothing special. Turns out that this very spot is one of THE most iconic locations in Japan for Chinese people who grew up in the 1990s. Why? Because in the 1990s there was this Japanese basketball manga called "slam dunk" that every kid was watching in China, and the opening credits featured an image of this very spot: a railroad crossing on a small street leading to the beach in Kamakura. Apparently this place is so popular with Chinese tourists that they had to cordon it off at some point. Now it's obviously reopened with 3 guards assigned to handle the traffic. And now that they've heard about it, it's my daughters' turn to be hooked on the series so maybe in 20 years' time they'll be perpetuating the passion and come back to this "Slam Dunk" shrine ☺️

Arnaud Bertrand

62,647 次观看 • 9 个月前

David Grusch says there are a lot of attention seeking charlatans in the UFO space selling books and right now he’s focused on the disclosure fight and would like to return to normal life “This subject brings out a lot of charlatans, a lot of people who want attention, a lot of people who want to generate certain narratives. I'm just here to do a job and to get this information out to the American public. I would love to go back to my normal life. I live in Colorado and I rather just ATV and hike with my dogs and not have to deal with this on the public stage. I never wanted to be a public personality. I have no book deal unlike other people in this space. I'll write a book. I promise I'll write a book after this is all over. We're in the middle of a battle right now, I'm in the fight.”
0:48

David Grusch says there are a lot of attention seeking charlatans in the UFO space selling books and right now he’s focused on the disclosure fight and would like to return to normal life “This subject brings out a lot of charlatans, a lot of people who want attention, a lot of people who want to generate certain narratives. I'm just here to do a job and to get this information out to the American public. I would love to go back to my normal life. I live in Colorado and I rather just ATV and hike with my dogs and not have to deal with this on the public stage. I never wanted to be a public personality. I have no book deal unlike other people in this space. I'll write a book. I promise I'll write a book after this is all over. We're in the middle of a battle right now, I'm in the fight.”

Red Panda Koala

27,917 次观看 • 2 个月前

Adriana Chechik revealed that her public s3x fetish wasn’t just about making great art or creating memorable scenes. She explains that the truest part of it was seeing what her body could handle, pushing herself to the limit, and finding out how long she could last. Adriana says she found it powerful to be in a room full of men and still be the one ready to keep going, insisting that she was always the one in control of the experience and the vision behind it. “I like to push myself I like to see like how much d1ck can I take how long can I last and stuff like that and I think it's very powerful to take down a room of men or a group of people and then be the one that's still like I'm ready to go”
1:11

Adriana Chechik revealed that her public s3x fetish wasn’t just about making great art or creating memorable scenes. She explains that the truest part of it was seeing what her body could handle, pushing herself to the limit, and finding out how long she could last. Adriana says she found it powerful to be in a room full of men and still be the one ready to keep going, insisting that she was always the one in control of the experience and the vision behind it. “I like to push myself I like to see like how much d1ck can I take how long can I last and stuff like that and I think it's very powerful to take down a room of men or a group of people and then be the one that's still like I'm ready to go”

Fazzy

70,149 次观看 • 1 个月前

An interesting snippet of a wolf chasing a deer earlier this winter—the wolf was 6.5 seconds behind the deer. In particular, we found the bounding/leaping of the wolf as it ran intriguing. We have captured many hunting sequences like this on camera but have not observed one where the wolf was leaping like this. And that one leap was a pretty big one. We don’t know how the hunt played out after this brief observation.
0:29

An interesting snippet of a wolf chasing a deer earlier this winter—the wolf was 6.5 seconds behind the deer. In particular, we found the bounding/leaping of the wolf as it ran intriguing. We have captured many hunting sequences like this on camera but have not observed one where the wolf was leaping like this. And that one leap was a pretty big one. We don’t know how the hunt played out after this brief observation.

Voyageurs Wolf Project

78,894 次观看 • 5 个月前

Wemby on going bald: "I have been having this in the back of my head for a little bit and the fact that (Keldon) wanted to do it as well was just convinc me. I felt like we had to lock in real quick because we had been losing a little bit"
0:39

Wemby on going bald: "I have been having this in the back of my head for a little bit and the fact that (Keldon) wanted to do it as well was just convinc me. I felt like we had to lock in real quick because we had been losing a little bit"

Oh No He Didn't

1,159,696 次观看 • 6 个月前