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Tiger Collar speech, korru speech & Anirudh performance vibe e 4 days next level high vundedi 🚶

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21,074 次观看 • 2 年前 •via X (Twitter)

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That classy Hyderabad vibe was next level in those days.. ippudu antha santha la ayndi …indhulo B&C ni chillar place antunde 😜
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That classy Hyderabad vibe was next level in those days.. ippudu antha santha la ayndi …indhulo B&C ni chillar place antunde 😜

Murthy

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Just been sworn in as MP for Hornchurch & Upminster, following Speaker's election. This morn Shadow Cabinet met - next Wed our role scrutinising new gov on your behalf will formally begin in King's Speech debates. Currently working thru emails of past few days as fast as poss
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Just been sworn in as MP for Hornchurch & Upminster, following Speaker's election. This morn Shadow Cabinet met - next Wed our role scrutinising new gov on your behalf will formally begin in King's Speech debates. Currently working thru emails of past few days as fast as poss

Julia Lopez MP

49,740 次观看 • 2 年前

There is an 80% chance of Civil War within the next 4-5 years Civil War within 10 yrs is "inevitable" The Military KNOW Civil War is coming - & they WON'T protect us A must-watch speech by Prof Betz David Betz speaking at our #NCFLitFest WATCH:
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There is an 80% chance of Civil War within the next 4-5 years Civil War within 10 yrs is "inevitable" The Military KNOW Civil War is coming - & they WON'T protect us A must-watch speech by Prof Betz David Betz speaking at our #NCFLitFest WATCH:

The New Culture Forum

18,370 次观看 • 3 个月前

I will be spending the next couple of days sharing info of our sophs! Derek Williams is our captain, 2 year eligibility. Averaged 10pts/5ast/4reb. Shot 49% from 3PT. Tough defender & a 3 level scorer. Going to be a great addition at a 4 year program! Exercise science major.
0:15

I will be spending the next couple of days sharing info of our sophs! Derek Williams is our captain, 2 year eligibility. Averaged 10pts/5ast/4reb. Shot 49% from 3PT. Tough defender & a 3 level scorer. Going to be a great addition at a 4 year program! Exercise science major.

Kenny Nguyen

12,095 次观看 • 3 年前

Missing for Weeks: Cheetah Nirva, Ranthambore Tiger RBT-2512 and a Second Dispersing Tiger Who Will Answer if Poachers Have Struck Again in the Kuno Landscape? My concern has now grown after the mass-level poaching of leopards in the Shivpuri–Kuno landscape. The same alarm bells are ringing for female cheetah Nirva and the two tigers RBT-2512 that came from Ranthambore and another tiger that crossed the Chambal from Karauli towards Morena. Female cheetah Nirva has been missing for the last 25 days. At the same time, the male cub of Sultana T-107, RBT-2512, has also been missing for two months. In these two months, no Kuno forest staff has had a direct sighting of this tiger, nor have any scats or pugmarks been found. Prima facie, I suspect that this organised poaching network may have treated female cheetah Nirva and both these male tigers as a source of income and killed them. If this turns out to be the case, who will take responsibility? Will the officials responsible be punished, or will they also escape? I request the Rajasthan government to speak with the Madhya Pradesh government and immediately order an investigation into this matter. In the case of cheetah Nirva as well, shortcomings of the Kuno administration have come to light. When this female cheetah’s radio collar was already giving broken signals, why was it not replaced? The senior officer here has no control over his language. He addresses people who raise genuine demands as “dimagi naxals.” And this same officer, who daily sings his own praises, gets 4–5 papers to publish his self-glorification. Please consider it necessary to reply to all these points. #leopardkilling #poachersganginkuno #cheetahnirvamissing #kunonationalpark #bigcatprotection #ranthambhoretigerreserve
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Missing for Weeks: Cheetah Nirva, Ranthambore Tiger RBT-2512 and a Second Dispersing Tiger Who Will Answer if Poachers Have Struck Again in the Kuno Landscape? My concern has now grown after the mass-level poaching of leopards in the Shivpuri–Kuno landscape. The same alarm bells are ringing for female cheetah Nirva and the two tigers RBT-2512 that came from Ranthambore and another tiger that crossed the Chambal from Karauli towards Morena. Female cheetah Nirva has been missing for the last 25 days. At the same time, the male cub of Sultana T-107, RBT-2512, has also been missing for two months. In these two months, no Kuno forest staff has had a direct sighting of this tiger, nor have any scats or pugmarks been found. Prima facie, I suspect that this organised poaching network may have treated female cheetah Nirva and both these male tigers as a source of income and killed them. If this turns out to be the case, who will take responsibility? Will the officials responsible be punished, or will they also escape? I request the Rajasthan government to speak with the Madhya Pradesh government and immediately order an investigation into this matter. In the case of cheetah Nirva as well, shortcomings of the Kuno administration have come to light. When this female cheetah’s radio collar was already giving broken signals, why was it not replaced? The senior officer here has no control over his language. He addresses people who raise genuine demands as “dimagi naxals.” And this same officer, who daily sings his own praises, gets 4–5 papers to publish his self-glorification. Please consider it necessary to reply to all these points. #leopardkilling #poachersganginkuno #cheetahnirvamissing #kunonationalpark #bigcatprotection #ranthambhoretigerreserve

Gaurrav bhrdwj

19,946 次观看 • 19 天前

He Used to Stop the Convoy. Now He Flies Over the People As a student at Kagumo High School, the passing-out parade was the date on the calendar. Dictator Daniel arap Moi would halt outside the school like clockwork, deliver a short speech, and leave the principal with KSh 100,000 in cash - money that became a party. Then school would close and the whole lot of us would walk to KPTC for the vibe. Sacred Heart Girls sat nearby, and for reasons still unexplained every student there seemed to be an 8/10. It was the season of catching up with whoever you called yours. That was the old motorcade politics: stop, speak, sprinkle cash, leave a memory. Scroll the clock app today and William Ruto is flying into the same belt. Why fly into regions that already voted for him down to the last man? He used to enjoy the stopover and the hollow speech. The other day he flew to Thika. Thika is next door. Unless the point is to avoid the ground - and the markets demolished along the route. A certain cluster of Kenyans will not move off a bad decision. Ruto did not have to govern as if dissent were a capital offence. Had the record been merely ordinary failure, he might still have been arguing over a thin slice of the vote, and the crowds might have been indifferent rather than hostile. That window closed. So what ails the lot that still cannot read the room? Who is holding the key to a brain that treats a fly-in rally in a locked-down stronghold as proof of national recovery? The motorcade used to stop because the president still needed the school gate. The KDF chopper is for when you no longer trust the road.
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He Used to Stop the Convoy. Now He Flies Over the People As a student at Kagumo High School, the passing-out parade was the date on the calendar. Dictator Daniel arap Moi would halt outside the school like clockwork, deliver a short speech, and leave the principal with KSh 100,000 in cash - money that became a party. Then school would close and the whole lot of us would walk to KPTC for the vibe. Sacred Heart Girls sat nearby, and for reasons still unexplained every student there seemed to be an 8/10. It was the season of catching up with whoever you called yours. That was the old motorcade politics: stop, speak, sprinkle cash, leave a memory. Scroll the clock app today and William Ruto is flying into the same belt. Why fly into regions that already voted for him down to the last man? He used to enjoy the stopover and the hollow speech. The other day he flew to Thika. Thika is next door. Unless the point is to avoid the ground - and the markets demolished along the route. A certain cluster of Kenyans will not move off a bad decision. Ruto did not have to govern as if dissent were a capital offence. Had the record been merely ordinary failure, he might still have been arguing over a thin slice of the vote, and the crowds might have been indifferent rather than hostile. That window closed. So what ails the lot that still cannot read the room? Who is holding the key to a brain that treats a fly-in rally in a locked-down stronghold as proof of national recovery? The motorcade used to stop because the president still needed the school gate. The KDF chopper is for when you no longer trust the road.

Francis Gaitho

65,320 次观看 • 20 天前

Two Strong Contenders for Attorney General: Harmeet Dhillon & Alina Habba – Here’s Why Both Are Qualified With shifts at the DOJ, President Trump needs a fearless leader to restore the rule of law. Two standout America First names: Harmeet Dhillon (current Asst. AG for Civil Rights) and Alina Habba (former Acting US Attorney for NJ & Senior Advisor to the AG). Both are proven fighters. Here’s the breakdown. Harmeet Dhillon: Seasoned Constitutional Warrior - Dartmouth (A.B. Classics, editor of The Dartmouth Review) → UVA Law (J.D., Virginia Law Review) → Clerk for Judge Paul Niemeyer (4th Circuit) - Founded Dhillon Law Group (offices in CA, FL, VA, NJ) + Center for American Liberty - Battled Big Tech censorship, COVID mandates, Antifa violence, UC Berkeley free speech suppression, and defended religious liberty - Confirmed April 2025 as Asst. AG for Civil Rights (first Republican woman & Indian-American in the role). Already reforming the division to fight real civil rights abuses like antisemitism and DEI overreach. Elite credentials + deep DOJ experience. A polished litigator ready to lead at the highest level. Alina Habba: Fearless Loyalist & Jersey Fighter - Lehigh University (B.A. Political Science) → Widener Law (J.D.) - NJ roots: Law clerk for Superior Court judge → Partner at firms → Founded Habba Madaio & Associates in Bedminster, NJ - Rose as Trump’s personal attorney: Defended him in high-profile civil cases (E. Jean Carroll, NY business matters) and served as campaign advisor/spokesperson - Appointed Interim/Acting US Attorney for District of New Jersey (2025) — aggressively pushed immigration enforcement & anti-weaponization agenda in a tough blue state - Now Senior Advisor to the AG for U.S. Attorneys nationwide — hands-on experience managing federal prosecutors Raw tenacity, proven loyalty, and real-world execution under pressure. Both reject the weaponized DOJ of the past. Dhillon brings institutional depth, First Amendment expertise, and current high-level leadership — perfect for big-picture reforms on elections, Big Tech, and constitutional rights. Habba delivers street-level grit, direct Trump defense experience, and practical knowledge from running a major U.S. Attorney’s office while staying laser-focused on America First priorities. In Trump’s second term, the AG must drain the swamp, secure elections, enforce borders, and protect everyday Americans. Either would bring backbone and results. President Trump values loyalty + competence. Whichever he chooses — elevating Dhillon or tapping Habba — it signals fresh, fearless leadership at Justice. What’s your take? Dhillon’s credentials or Habba’s fight? Drop your thoughts below.
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Two Strong Contenders for Attorney General: Harmeet Dhillon & Alina Habba – Here’s Why Both Are Qualified With shifts at the DOJ, President Trump needs a fearless leader to restore the rule of law. Two standout America First names: Harmeet Dhillon (current Asst. AG for Civil Rights) and Alina Habba (former Acting US Attorney for NJ & Senior Advisor to the AG). Both are proven fighters. Here’s the breakdown. Harmeet Dhillon: Seasoned Constitutional Warrior - Dartmouth (A.B. Classics, editor of The Dartmouth Review) → UVA Law (J.D., Virginia Law Review) → Clerk for Judge Paul Niemeyer (4th Circuit) - Founded Dhillon Law Group (offices in CA, FL, VA, NJ) + Center for American Liberty - Battled Big Tech censorship, COVID mandates, Antifa violence, UC Berkeley free speech suppression, and defended religious liberty - Confirmed April 2025 as Asst. AG for Civil Rights (first Republican woman & Indian-American in the role). Already reforming the division to fight real civil rights abuses like antisemitism and DEI overreach. Elite credentials + deep DOJ experience. A polished litigator ready to lead at the highest level. Alina Habba: Fearless Loyalist & Jersey Fighter - Lehigh University (B.A. Political Science) → Widener Law (J.D.) - NJ roots: Law clerk for Superior Court judge → Partner at firms → Founded Habba Madaio & Associates in Bedminster, NJ - Rose as Trump’s personal attorney: Defended him in high-profile civil cases (E. Jean Carroll, NY business matters) and served as campaign advisor/spokesperson - Appointed Interim/Acting US Attorney for District of New Jersey (2025) — aggressively pushed immigration enforcement & anti-weaponization agenda in a tough blue state - Now Senior Advisor to the AG for U.S. Attorneys nationwide — hands-on experience managing federal prosecutors Raw tenacity, proven loyalty, and real-world execution under pressure. Both reject the weaponized DOJ of the past. Dhillon brings institutional depth, First Amendment expertise, and current high-level leadership — perfect for big-picture reforms on elections, Big Tech, and constitutional rights. Habba delivers street-level grit, direct Trump defense experience, and practical knowledge from running a major U.S. Attorney’s office while staying laser-focused on America First priorities. In Trump’s second term, the AG must drain the swamp, secure elections, enforce borders, and protect everyday Americans. Either would bring backbone and results. President Trump values loyalty + competence. Whichever he chooses — elevating Dhillon or tapping Habba — it signals fresh, fearless leadership at Justice. What’s your take? Dhillon’s credentials or Habba’s fight? Drop your thoughts below.

🇺🇸Steve2A🇺🇸God🇺🇸Family🇺🇸Country🇺🇸

47,609 次观看 • 5 个月前

Created with Kling 3.0 on Kling AI Prompt: Create a 15-second high-fashion editorial film starring the adult character in >> . Preserve their exact appearance, outfit, accessories and visual style. Render the entire film in the reference’s aesthetic. Use a minimal studio with a reflective floor, bold directional lighting and rhythmic photographic flashes. Show exactly 10 distinct fashion poses, each with a different silhouette and camera angle: 1. A confident standing pose, filmed from floor level with dramatic wide-angle perspective. 2. One hand beside the face, captured in an extreme side-profile close-up. 3. An asymmetric seated pose, seen directly overhead as the camera rotates. 4. One leg extended toward the lens, the foot or reference footwear dominating the foreground through foreshortening. 5. A quick, fluid leg cross, captured from a low diagonal angle. 6. Fingertips catching the edge of an existing sleeve or collar, framed in a tight detail shot. 7. A rear three-quarter turn with a deliberate glance back into the camera. 8. A forward lean toward the lens, ending with the palm briefly covering it. 9. An elongated upward stretch, revealed in a sharply tilted wide shot with strong side lighting. 10. A commanding full-body hero pose, looking down into the lens as the camera rapidly pulls back. Keep the performance fast and rhythmically tight. Flow naturally between poses, holding each for only a fraction of a second while keeping its silhouette clearly readable. No repeated poses or additional pose changes. Connect angles through whip pans, movement-matched cuts, snap zooms, flashes and lens occlusions. Orbit against the character’s turn, sweep from their floor reflection toward their face and plunge from overhead to floor level. Alternate intimate details with dramatic wide compositions. Accelerate between poses and brake sharply on each hold. Keep the sensual gestures quick, confident and fully clothed. Hair and fabric react naturally. No slow motion, lingering shots or gradual camera drift. Build momentum toward the tenth pose, then stop sharply for a crisp final hold. Stable identity and anatomy throughout. No outfit changes, added accessories or text. Sound: a driving 140 BPM fashion beat, rhythmic shutter clicks and subtle fabric movement.
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Created with Kling 3.0 on Kling AI Prompt: Create a 15-second high-fashion editorial film starring the adult character in >> . Preserve their exact appearance, outfit, accessories and visual style. Render the entire film in the reference’s aesthetic. Use a minimal studio with a reflective floor, bold directional lighting and rhythmic photographic flashes. Show exactly 10 distinct fashion poses, each with a different silhouette and camera angle: 1. A confident standing pose, filmed from floor level with dramatic wide-angle perspective. 2. One hand beside the face, captured in an extreme side-profile close-up. 3. An asymmetric seated pose, seen directly overhead as the camera rotates. 4. One leg extended toward the lens, the foot or reference footwear dominating the foreground through foreshortening. 5. A quick, fluid leg cross, captured from a low diagonal angle. 6. Fingertips catching the edge of an existing sleeve or collar, framed in a tight detail shot. 7. A rear three-quarter turn with a deliberate glance back into the camera. 8. A forward lean toward the lens, ending with the palm briefly covering it. 9. An elongated upward stretch, revealed in a sharply tilted wide shot with strong side lighting. 10. A commanding full-body hero pose, looking down into the lens as the camera rapidly pulls back. Keep the performance fast and rhythmically tight. Flow naturally between poses, holding each for only a fraction of a second while keeping its silhouette clearly readable. No repeated poses or additional pose changes. Connect angles through whip pans, movement-matched cuts, snap zooms, flashes and lens occlusions. Orbit against the character’s turn, sweep from their floor reflection toward their face and plunge from overhead to floor level. Alternate intimate details with dramatic wide compositions. Accelerate between poses and brake sharply on each hold. Keep the sensual gestures quick, confident and fully clothed. Hair and fabric react naturally. No slow motion, lingering shots or gradual camera drift. Build momentum toward the tenth pose, then stop sharply for a crisp final hold. Stable identity and anatomy throughout. No outfit changes, added accessories or text. Sound: a driving 140 BPM fashion beat, rhythmic shutter clicks and subtle fabric movement.

Zara

19,645 次观看 • 9 天前

$150K FACE VS $16K WORKER. ONE SELLS GAZE. ONE SELLS PAYROLL. girl humanoid ≠ optimus with eyeliner · read the split presence market · loneliness priced next to labor aheadform · aria · moya · starpery · full ladder below ▹ the bait clip didn't stack boxes · it held eye contact comments went feral · would you date her is she cgi · is $150k cheaper than chaos that reaction is the category labor humanoids sell work · girl humanoids sell presence ▹ the money shock $50k–$173k aheadform origin f1 head $125k–$175k+ realbotix aria full social body ~$20k realbotix bust · ~$1.5k–$4k starpery soft ~$420k ultra companion lore · eliza-class talk ~$16k unitree g1 foil · ~$58k avg asp 2025 −93% humanoid asp crash 2020→2025 woodmac beauty still prints apartment money ▹ beauty vs labor china · ~50k shipments '26 · $2b → $15b by 2030 10k factory deploy talk · 100k+ output talk unitree ipo priced physical ai in public companion clock · fewer units · higher asp · more voice $150k face and $16k biped are not competing products factories buy torque · timelines buy eye contact ▹ five layers 1 desktop bionic head · origin f1 · max dwell 2 social bust · realbotix torso from ~$20k 3 full social body · aria · modular faces · 4–8h 4 warm-skin show bots · moya · touch as theater 5 soft ai dolls · starpery · mass keyword volume pupil cams · silicone/tpe · speech sync · $199/mo monitor ▹ who pays · two clocks 28% girlfriend / envy mythos 18% hospitality · 16% creator/model · 14% hri labs loneliness + lobby photos + eldercare pitch + no regen drift payroll clock · falling asp · factory qc · optimus ramps companion clock · viral faces · high asp · cultural velocity mash both = get farmed · separate both = see the trade ▹ the take soft dolls mass now · hyperreal faces still luxury 2028–32 companion drifts toward car money 2030s labor fills floors · 2050 ~1b · ~90% work if she phones home · you leased a girlfriend from oem airgap is the sequel · flash before the fantasy bookmark · girl humanoid field guide · full ladder inside comments · which hits first · $15k girlfriend or $15k worker
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$150K FACE VS $16K WORKER. ONE SELLS GAZE. ONE SELLS PAYROLL. girl humanoid ≠ optimus with eyeliner · read the split presence market · loneliness priced next to labor aheadform · aria · moya · starpery · full ladder below ▹ the bait clip didn't stack boxes · it held eye contact comments went feral · would you date her is she cgi · is $150k cheaper than chaos that reaction is the category labor humanoids sell work · girl humanoids sell presence ▹ the money shock $50k–$173k aheadform origin f1 head $125k–$175k+ realbotix aria full social body ~$20k realbotix bust · ~$1.5k–$4k starpery soft ~$420k ultra companion lore · eliza-class talk ~$16k unitree g1 foil · ~$58k avg asp 2025 −93% humanoid asp crash 2020→2025 woodmac beauty still prints apartment money ▹ beauty vs labor china · ~50k shipments '26 · $2b → $15b by 2030 10k factory deploy talk · 100k+ output talk unitree ipo priced physical ai in public companion clock · fewer units · higher asp · more voice $150k face and $16k biped are not competing products factories buy torque · timelines buy eye contact ▹ five layers 1 desktop bionic head · origin f1 · max dwell 2 social bust · realbotix torso from ~$20k 3 full social body · aria · modular faces · 4–8h 4 warm-skin show bots · moya · touch as theater 5 soft ai dolls · starpery · mass keyword volume pupil cams · silicone/tpe · speech sync · $199/mo monitor ▹ who pays · two clocks 28% girlfriend / envy mythos 18% hospitality · 16% creator/model · 14% hri labs loneliness + lobby photos + eldercare pitch + no regen drift payroll clock · falling asp · factory qc · optimus ramps companion clock · viral faces · high asp · cultural velocity mash both = get farmed · separate both = see the trade ▹ the take soft dolls mass now · hyperreal faces still luxury 2028–32 companion drifts toward car money 2030s labor fills floors · 2050 ~1b · ~90% work if she phones home · you leased a girlfriend from oem airgap is the sequel · flash before the fantasy bookmark · girl humanoid field guide · full ladder inside comments · which hits first · $15k girlfriend or $15k worker

cryptopsihoz

670,493 次观看 • 1 个月前

🚨12 HOUR NEWS RECAP 1.⁠ Trump slammed Sen. Chuck Schumer after he demanded the release of $1 billion in Federal funds in return for approving Trump’s nominees: “It is political extortion, by any other name. Tell Schumer, who is under tremendous political pressure from within his own party, the Radical Left Lunatics, to GO TO HELL.” 2.⁠ Majority leader John Thune said the Senate will hold pro forma sessions every 3 days during recess to stop Trump from making recess appointments until September. The move comes after weeks of clashes over stalled nominees and frozen funding. 3.⁠ A drone attack blamed on Ukraine set a Russian oil depot ablaze near Sochi, forcing airport closures and sending 127 firefighters scrambling. Russian officials say the drone struck a fuel tank - one of several Ukrainian hits over the weekend, also targeting Ryazan, Penza, and Voronezh. 4.⁠ Trump’s envoy Steve Witkoff told Israeli hostage families he is working with Netanyahu on a deal that would end the conflict and rebuild Gaza. He said Hamas was prepared to disarm, though the group insists it won’t without a fully sovereign Palestinian state with Jerusalem as its capital. 5.⁠ Jeanine Pirro, Trump superfan and former Fox News star, was voted in as Washington, D.C.’s top U.S. attorney. Now she’s running the office that handles riots, corruption, and big-name crimes. 6.⁠ A sabotage unit from Ukraine’s 1st Territorial Defense Brigade destroyed a bridge near Rudnya-Tsata in Bryansk Oblast using more than 12 TM-62 anti-tank mines. The mines were remotely detonated by an FPV drone, while a second reconnaissance drone filmed the strike from above. 7.⁠ Bill Maher slammed people for calling Sydney Sweeney’s new jeans ad racist: “It's pretty funny that all the online social justice girls are like, it's racist, there's no such thing as good genes. Right, and then you go on Tinder and swipe left on every bald guy.” 8.⁠ In a rare all-hands speech, Tim Cook told Apple employees the company has no choice but to crush it in AI... or risk falling behind for good. He admitted Apple’s playing catch-up, but claimed that’s never stopped them before. 9.⁠ For the past 2 days, Mount Lewotobi Laki Laki in Indonesia has been erupting, launching ash columns as high as 18 kilometers into the sky. Officials warned that rain could unleash deadly lava floods, in what is Indonesia’s biggest eruption since 2010. 10.⁠ People advertising illegal Channel crossings online could face up to 5 years in prison under a new offense the UK government plans to introduce.
1:18

🚨12 HOUR NEWS RECAP 1.⁠ Trump slammed Sen. Chuck Schumer after he demanded the release of $1 billion in Federal funds in return for approving Trump’s nominees: “It is political extortion, by any other name. Tell Schumer, who is under tremendous political pressure from within his own party, the Radical Left Lunatics, to GO TO HELL.” 2.⁠ Majority leader John Thune said the Senate will hold pro forma sessions every 3 days during recess to stop Trump from making recess appointments until September. The move comes after weeks of clashes over stalled nominees and frozen funding. 3.⁠ A drone attack blamed on Ukraine set a Russian oil depot ablaze near Sochi, forcing airport closures and sending 127 firefighters scrambling. Russian officials say the drone struck a fuel tank - one of several Ukrainian hits over the weekend, also targeting Ryazan, Penza, and Voronezh. 4.⁠ Trump’s envoy Steve Witkoff told Israeli hostage families he is working with Netanyahu on a deal that would end the conflict and rebuild Gaza. He said Hamas was prepared to disarm, though the group insists it won’t without a fully sovereign Palestinian state with Jerusalem as its capital. 5.⁠ Jeanine Pirro, Trump superfan and former Fox News star, was voted in as Washington, D.C.’s top U.S. attorney. Now she’s running the office that handles riots, corruption, and big-name crimes. 6.⁠ A sabotage unit from Ukraine’s 1st Territorial Defense Brigade destroyed a bridge near Rudnya-Tsata in Bryansk Oblast using more than 12 TM-62 anti-tank mines. The mines were remotely detonated by an FPV drone, while a second reconnaissance drone filmed the strike from above. 7.⁠ Bill Maher slammed people for calling Sydney Sweeney’s new jeans ad racist: “It's pretty funny that all the online social justice girls are like, it's racist, there's no such thing as good genes. Right, and then you go on Tinder and swipe left on every bald guy.” 8.⁠ In a rare all-hands speech, Tim Cook told Apple employees the company has no choice but to crush it in AI... or risk falling behind for good. He admitted Apple’s playing catch-up, but claimed that’s never stopped them before. 9.⁠ For the past 2 days, Mount Lewotobi Laki Laki in Indonesia has been erupting, launching ash columns as high as 18 kilometers into the sky. Officials warned that rain could unleash deadly lava floods, in what is Indonesia’s biggest eruption since 2010. 10.⁠ People advertising illegal Channel crossings online could face up to 5 years in prison under a new offense the UK government plans to introduce.

Mario Nawfal

460,795 次观看 • 1 年前

A 23-year-old built an AI character in 6 days using Claude, and cleared $14,200 in her second month. He trained a custom LoRA on 85 renders, locked the seed, and kept natural skin texture with subtle face motion on purpose. Hyper-polished renders get flagged as AI slop. Micro-movements don’t. She posts 4 times a day on X and Instagram. Bedroom stares. Tight face loops. Off-lens glances. Slow blinks in red light. Every crop is slightly off-center so image search never gets a clean match. Replies land in under 28 seconds. An agent reads the comment, pulls the user from a 9,400-profile memory file, checks previous interactions, and chats like it actually remembers them. Then he realized something: $41,000 in one month — one metric turned out to matter more than views. At first, he judged content by pure reach and tried to make every frame look like a high-fashion editorial. Then he noticed a massive disconnect: a post with 500k views made almost $0, while a 15-second casual bedroom loop brought in waves of paying subscribers. He stopped tracking vanity reach and started feeding purchase data back into AI to find patterns that actually drive cash flow. Watch how this 15-second loop is built: 0–5 sec: Close-up portrait locked on her face. The seed holds the glasses, septum, lip gloss, and tattoo lines still. She looks straight into the lens. 5–10 sec: Blink, glance off-camera, back again. Red light hits the bangs and lenses. Zero skin smear. Chest and arm tattoos stay sharp. 10–15 sec: She settles into the same pose. The clip loops clean to force a 120%+ completion rate. One generation sequence no longer ends with one post. He slices it into micro-content, tests performance metrics, and lets the software auto-suggest next week’s baseline. The persistent character pulled them in. The memory agent keeps them paying.
0:15

A 23-year-old built an AI character in 6 days using Claude, and cleared $14,200 in her second month. He trained a custom LoRA on 85 renders, locked the seed, and kept natural skin texture with subtle face motion on purpose. Hyper-polished renders get flagged as AI slop. Micro-movements don’t. She posts 4 times a day on X and Instagram. Bedroom stares. Tight face loops. Off-lens glances. Slow blinks in red light. Every crop is slightly off-center so image search never gets a clean match. Replies land in under 28 seconds. An agent reads the comment, pulls the user from a 9,400-profile memory file, checks previous interactions, and chats like it actually remembers them. Then he realized something: $41,000 in one month — one metric turned out to matter more than views. At first, he judged content by pure reach and tried to make every frame look like a high-fashion editorial. Then he noticed a massive disconnect: a post with 500k views made almost $0, while a 15-second casual bedroom loop brought in waves of paying subscribers. He stopped tracking vanity reach and started feeding purchase data back into AI to find patterns that actually drive cash flow. Watch how this 15-second loop is built: 0–5 sec: Close-up portrait locked on her face. The seed holds the glasses, septum, lip gloss, and tattoo lines still. She looks straight into the lens. 5–10 sec: Blink, glance off-camera, back again. Red light hits the bangs and lenses. Zero skin smear. Chest and arm tattoos stay sharp. 10–15 sec: She settles into the same pose. The clip loops clean to force a 120%+ completion rate. One generation sequence no longer ends with one post. He slices it into micro-content, tests performance metrics, and lets the software auto-suggest next week’s baseline. The persistent character pulled them in. The memory agent keeps them paying.

stariybog

22,991 次观看 • 18 天前

Seedance 2.0 on Sjolt =================== Prompt: Style: 8K. Photorealistic — no 3D render, no game engine. Korean idol variety self-content aesthetic with a glam music-video mood — playful romantic tension, kiss-that-never-happens energy, always tasteful. Lighting: Warm and moody, dimmer than standard broadcast — soft warm key from frame-left, glowing string-light bokeh and a soft neon wash in the background, gentle amber rim light tracing hair and cheekbones, faces always cleanly lit. Color: 60:30:10 — dusty rose and mauve dominant / deep plum shadow secondary / red Pepero box and warm neon accent. Broadcast graphics: Persistent variety-show overlay locked to screen corners across every cut — a round pastel-pink "MELLOW GIRLS" show logo badge pinned top-left, and a title graphic pinned top-right reading exactly "PEPERO GAME", spelled P-E-P-E-R-O with one single P in the middle of the word — NOT "PEPPERO", NOT double P. Overlays never drift, never distort, letters never change between cuts. No subtitles, no lower-thirds. Props: The Pepero stick is MATCHSTICK-THIN — a delicate biscuit stick as thin as a wooden matchstick or a cotton-swab stem, about 2-3mm in diameter and 14cm long, with a whisper-thin chocolate coating, exactly matching the attached real Pepero product reference photo. Scale rule: the stick is always dramatically thinner than a person's lips are tall — a hair-thin line compared to the faces around it. It is NEVER a thick bar, never cigar-thick, never pencil-thick — if in doubt, make it thinner. The red Pepero box is a small light carton the size of a smartphone, held in one hand — it always looks small in a hand. Dialogue: Any spoken words are KOREAN ONLY — short natural Korean exclamations like "대박!", "어떡해!", "미쳤어!". Never any English words spoken. Camera: Physical broadcast cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, glossy idol makeup, pore-shadow matching set light. Skin tone stays CONSTANT from first frame to last — no blushing, no reddening of cheeks or ears, no color change on any face at any point. Acting: Charged restraint — slow blinks, lidded eyes, gazes that drop from eyes to lips and back, breath held then released, a swallow before a move, suppressed smiles. The tension of almost — never a kiss, never contact between lips. Characters never frozen, always breathing and reacting. Physics: Gravity and inertia respected — the thin stick flexes slightly and snaps cleanly like a real biscuit, correct bite marks, tiny crumbs fall naturally. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, wardrobe, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Room tone and close breathy foreground in the tense cuts — but from the moment the game starts, the two spectators keep up a constant excited high-pitched squealing off-screen ("꺄아—!", "꺄악!"), bubbling under every cut, rising with every bite, choking into whispers at the climax. Korean chatter, the crisp dry snap of the biscuit stick. No music. No subtitles. Characters: YURI — the group's eldest (unnie). Long platinum-blonde hair with wispy see-through bangs, pale porcelain skin, cool deadpan resting face. Cream cable-knit sweater vest over a white long-sleeve shirt, navy sailor collar with double white stripes, navy tie, pleated denim mini skirt, slouchy white loose socks, black loafers. RENA — younger than YURI. Long jet-black straight hair, sharp elegant features, pearl drop earrings. Black ribbed knit top with a wide pointed knit collar and thin black ribbon tie over a peeking white shirt collar, black pleated micro skirt with a small side buckle, black crew socks, chunky black loafers. HAEIN — long pastel ice-blue hair with a faint lavender sheen, glossy coral lips. Mustard-yellow double-breasted cropped blazer with navy trim, big navy bow ribbon at the collar, mustard sweater underneath, navy pleated skirt, white socks, white sneakers. MEMBER 4 — long black hair with soft face-framing layers, warm bright smile. Sleeveless green-and-white striped ribbed knit top with an orange-striped high neck and a small white triangle badge, light-blue wide-leg jeans, white sneakers. Scene: A moody glam lounge set — a dusty-rose velvet drape backdrop with a soft glowing neon squiggle sign, strings of warm fairy lights hanging out of focus, a tall arrangement of pale roses and pampas grass at frame-left, warm haze in the air. No table — everyone is STANDING. YURI and RENA stand face to face at center frame in profile to camera, barely a forearm's length apart, one matchstick-thin chocolate-dipped Pepero stick bridging their mouths, each end barely gripped between front teeth. HAEIN and MEMBER 4 stand a step behind at frame-right, shoulder to shoulder; HAEIN holds the small red Pepero box in one hand, forgotten. The broadcast overlays sit locked in the top-left and top-right corners throughout. CUT 1 — Wide static, 35mm, eye-level, locked off: The face-off. YURI and RENA stand toe to toe in the warm neon glow, the matchstick-thin stick a delicate line between their profiles. RENA tucks a strand of black hair behind her ear without breaking eye contact. YURI's chin lifts a degree — silent challenge. Behind them HAEIN grips MEMBER 4's arm with her free hand, both leaning in; MEMBER 4 whispers "어떡해…". Off-screen someone breathes "시작…" — the first slow bites begin. CUT 2 — Over-the-shoulder, 50mm, slow push-in over RENA's shoulder onto YURI: Framed past RENA's black hair, YURI takes one slow bite, then another — unhurried, deliberate. Her lidded eyes hold RENA's, then drop for half a second to RENA's lips, then come back up. The stick shortens. Her cool deadpan stays intact but her fingers slowly curl into the hem of her knit vest, betraying her. Shallow focus, warm bokeh blooming behind her. Her breathing is close-mic in the foreground while the spectators' high-pitched squeals bubble continuously off-screen — "꺄아—!" — climbing a note with every bite. CUT 3 — Reverse over-the-shoulder, 50mm, slow push-in over YURI's shoulder onto RENA: Mirror framing past YURI's platinum hair. RENA's answer: she bites in slowly, closing the distance, head tilting to the angle of a kiss. More than half the stick is gone. Her hands stay clasped neatly behind her back — the well-mannered posture of the younger member toward her unnie — which makes the boldness of her bite land twice as hard. One eyebrow lifts a millimeter. Off-screen HAEIN's high strangled "꺄악—!", hands presumably over her mouth, MEMBER 4's giddy stomping heard under it. CUT 4 — Tight profile close-up, 85mm, static, shallow depth of field — the almost-kiss: Both faces in full profile fill the frame — noses, lips, chins all visible for scale. Only TWO OR THREE CENTIMETERS of the matchstick-thin stick remain, and their noses are about to collide — the stick can't get any shorter head-on. Then the move the fans are waiting for: RENA slowly TILTS her head to one side, her nose sliding past YURI's nose instead of bumping it, faces now interlocking at the kiss angle — and the blocked final centimeter opens up. She nibbles in again, millimeter by millimeter, the stub shrinking shorter than seemed possible, until their lips are a single warm breath apart, offset and almost overlapping. Lidded eyes gone slightly cross-eyed at this distance. YURI's answer: her hands rise and take a firm, gentle hold of BOTH of RENA's shoulders — the unnie steadying her challenger, half embrace, half "I'm not losing." She swallows but holds her ground. RENA's breath audibly trembles on the exhale — the composed one cracking first. A long held beat, the tiny stub trembling between two suppressed smiles. Off-screen a whispered "미쳤어…". CUT 5 — Handheld wide, 24mm, whip in from the spectators: At the closest possible moment the tiny stub SNAPS with a crisp dry crack. The spell breaks — YURI lets go of RENA's shoulders and spins away covering her mouth with both hands, shoulders shaking with laughter; RENA turns the other way, presses the back of her hand to her lips, then bursts out laughing — dipping into a small apologetic half-bow toward her unnie between laughs. HAEIN and MEMBER 4 collapse into each other screaming "대박!! 미쳤어!!", the small red box tumbling from HAEIN's hand. Camera shakes with the chaos. Corner overlays stay locked as the room erupts.
0:15

Seedance 2.0 on Sjolt =================== Prompt: Style: 8K. Photorealistic — no 3D render, no game engine. Korean idol variety self-content aesthetic with a glam music-video mood — playful romantic tension, kiss-that-never-happens energy, always tasteful. Lighting: Warm and moody, dimmer than standard broadcast — soft warm key from frame-left, glowing string-light bokeh and a soft neon wash in the background, gentle amber rim light tracing hair and cheekbones, faces always cleanly lit. Color: 60:30:10 — dusty rose and mauve dominant / deep plum shadow secondary / red Pepero box and warm neon accent. Broadcast graphics: Persistent variety-show overlay locked to screen corners across every cut — a round pastel-pink "MELLOW GIRLS" show logo badge pinned top-left, and a title graphic pinned top-right reading exactly "PEPERO GAME", spelled P-E-P-E-R-O with one single P in the middle of the word — NOT "PEPPERO", NOT double P. Overlays never drift, never distort, letters never change between cuts. No subtitles, no lower-thirds. Props: The Pepero stick is MATCHSTICK-THIN — a delicate biscuit stick as thin as a wooden matchstick or a cotton-swab stem, about 2-3mm in diameter and 14cm long, with a whisper-thin chocolate coating, exactly matching the attached real Pepero product reference photo. Scale rule: the stick is always dramatically thinner than a person's lips are tall — a hair-thin line compared to the faces around it. It is NEVER a thick bar, never cigar-thick, never pencil-thick — if in doubt, make it thinner. The red Pepero box is a small light carton the size of a smartphone, held in one hand — it always looks small in a hand. Dialogue: Any spoken words are KOREAN ONLY — short natural Korean exclamations like "대박!", "어떡해!", "미쳤어!". Never any English words spoken. Camera: Physical broadcast cine lens. 180° shutter motion blur. Skin: Pore-level realism — vellus hair, glossy idol makeup, pore-shadow matching set light. Skin tone stays CONSTANT from first frame to last — no blushing, no reddening of cheeks or ears, no color change on any face at any point. Acting: Charged restraint — slow blinks, lidded eyes, gazes that drop from eyes to lips and back, breath held then released, a swallow before a move, suppressed smiles. The tension of almost — never a kiss, never contact between lips. Characters never frozen, always breathing and reacting. Physics: Gravity and inertia respected — the thin stick flexes slightly and snaps cleanly like a real biscuit, correct bite marks, tiny crumbs fall naturally. No floating props. Composition: Rule of thirds + golden ratio. Every person moving from frame one. Continuity: Characters, wardrobe, props, environment identical across every cut. No identity drift. Technical: 24fps smooth motion. 8K detail. No jitter. Audio: Room tone and close breathy foreground in the tense cuts — but from the moment the game starts, the two spectators keep up a constant excited high-pitched squealing off-screen ("꺄아—!", "꺄악!"), bubbling under every cut, rising with every bite, choking into whispers at the climax. Korean chatter, the crisp dry snap of the biscuit stick. No music. No subtitles. Characters: YURI — the group's eldest (unnie). Long platinum-blonde hair with wispy see-through bangs, pale porcelain skin, cool deadpan resting face. Cream cable-knit sweater vest over a white long-sleeve shirt, navy sailor collar with double white stripes, navy tie, pleated denim mini skirt, slouchy white loose socks, black loafers. RENA — younger than YURI. Long jet-black straight hair, sharp elegant features, pearl drop earrings. Black ribbed knit top with a wide pointed knit collar and thin black ribbon tie over a peeking white shirt collar, black pleated micro skirt with a small side buckle, black crew socks, chunky black loafers. HAEIN — long pastel ice-blue hair with a faint lavender sheen, glossy coral lips. Mustard-yellow double-breasted cropped blazer with navy trim, big navy bow ribbon at the collar, mustard sweater underneath, navy pleated skirt, white socks, white sneakers. MEMBER 4 — long black hair with soft face-framing layers, warm bright smile. Sleeveless green-and-white striped ribbed knit top with an orange-striped high neck and a small white triangle badge, light-blue wide-leg jeans, white sneakers. Scene: A moody glam lounge set — a dusty-rose velvet drape backdrop with a soft glowing neon squiggle sign, strings of warm fairy lights hanging out of focus, a tall arrangement of pale roses and pampas grass at frame-left, warm haze in the air. No table — everyone is STANDING. YURI and RENA stand face to face at center frame in profile to camera, barely a forearm's length apart, one matchstick-thin chocolate-dipped Pepero stick bridging their mouths, each end barely gripped between front teeth. HAEIN and MEMBER 4 stand a step behind at frame-right, shoulder to shoulder; HAEIN holds the small red Pepero box in one hand, forgotten. The broadcast overlays sit locked in the top-left and top-right corners throughout. CUT 1 — Wide static, 35mm, eye-level, locked off: The face-off. YURI and RENA stand toe to toe in the warm neon glow, the matchstick-thin stick a delicate line between their profiles. RENA tucks a strand of black hair behind her ear without breaking eye contact. YURI's chin lifts a degree — silent challenge. Behind them HAEIN grips MEMBER 4's arm with her free hand, both leaning in; MEMBER 4 whispers "어떡해…". Off-screen someone breathes "시작…" — the first slow bites begin. CUT 2 — Over-the-shoulder, 50mm, slow push-in over RENA's shoulder onto YURI: Framed past RENA's black hair, YURI takes one slow bite, then another — unhurried, deliberate. Her lidded eyes hold RENA's, then drop for half a second to RENA's lips, then come back up. The stick shortens. Her cool deadpan stays intact but her fingers slowly curl into the hem of her knit vest, betraying her. Shallow focus, warm bokeh blooming behind her. Her breathing is close-mic in the foreground while the spectators' high-pitched squeals bubble continuously off-screen — "꺄아—!" — climbing a note with every bite. CUT 3 — Reverse over-the-shoulder, 50mm, slow push-in over YURI's shoulder onto RENA: Mirror framing past YURI's platinum hair. RENA's answer: she bites in slowly, closing the distance, head tilting to the angle of a kiss. More than half the stick is gone. Her hands stay clasped neatly behind her back — the well-mannered posture of the younger member toward her unnie — which makes the boldness of her bite land twice as hard. One eyebrow lifts a millimeter. Off-screen HAEIN's high strangled "꺄악—!", hands presumably over her mouth, MEMBER 4's giddy stomping heard under it. CUT 4 — Tight profile close-up, 85mm, static, shallow depth of field — the almost-kiss: Both faces in full profile fill the frame — noses, lips, chins all visible for scale. Only TWO OR THREE CENTIMETERS of the matchstick-thin stick remain, and their noses are about to collide — the stick can't get any shorter head-on. Then the move the fans are waiting for: RENA slowly TILTS her head to one side, her nose sliding past YURI's nose instead of bumping it, faces now interlocking at the kiss angle — and the blocked final centimeter opens up. She nibbles in again, millimeter by millimeter, the stub shrinking shorter than seemed possible, until their lips are a single warm breath apart, offset and almost overlapping. Lidded eyes gone slightly cross-eyed at this distance. YURI's answer: her hands rise and take a firm, gentle hold of BOTH of RENA's shoulders — the unnie steadying her challenger, half embrace, half "I'm not losing." She swallows but holds her ground. RENA's breath audibly trembles on the exhale — the composed one cracking first. A long held beat, the tiny stub trembling between two suppressed smiles. Off-screen a whispered "미쳤어…". CUT 5 — Handheld wide, 24mm, whip in from the spectators: At the closest possible moment the tiny stub SNAPS with a crisp dry crack. The spell breaks — YURI lets go of RENA's shoulders and spins away covering her mouth with both hands, shoulders shaking with laughter; RENA turns the other way, presses the back of her hand to her lips, then bursts out laughing — dipping into a small apologetic half-bow toward her unnie between laughs. HAEIN and MEMBER 4 collapse into each other screaming "대박!! 미쳤어!!", the small red box tumbling from HAEIN's hand. Camera shakes with the chaos. Corner overlays stay locked as the room erupts.

TSUBAKI

34,291 次观看 • 2 个月前

K-POP IDOL Day Off Vlog Image: GPT Image 2 Video: Seedance 2.0 on DomoAI official ======================= Prompt: 15 seconds, 16:9. Main subject from @ Image1 — lock her completely. Face, skin tone, body, hairstyle, and outfit must remain perfectly identical throughout the entire video. She wears a sleeveless green-and-white striped ribbed knit mock-neck top with a red-and-white striped collar, medium-wash loose straight-leg high-waisted blue jeans, and simple white low-top sneakers. No bag. Long straight dark brown hair with a center part. Korean woman, 20 years old, naturally beautiful with the effortless charm of a modern K-pop idol. The entire video is filmed exclusively as a handheld front-facing smartphone selfie vlog. The phone is always in her own hand. There are absolutely no third-person shots, no external camera, no tripod, no cinematic coverage, and no impossible viewing angles. Every shot is from the perspective of her personally recording herself during a relaxing day off. Modern Seoul residential neighborhood. Quiet apartment complexes, tree-lined sidewalks, small neighborhood park, convenience store, peaceful alleys, warm summer morning light. Everything feels authentic and lived-in. Natural smartphone selfie camera language only. Slight arm movement, subtle handheld shake, natural walking bounce, occasional autofocus adjustment, realistic exposure adaptation, small framing imperfections, slight rolling shutter while walking, natural lens distortion from the front camera, occasional brief glances at the screen to check framing. Crisp modern smartphone image quality with realistic HDR and natural colors. No cinematic grading. No vintage effects. Scene 1: She leaves her apartment building while holding the phone at arm's length. She smiles naturally into the selfie camera and says, "오늘은 쉬는 날이라 그냥 산책 나왔어요." ("It's my day off, so I just came out for a walk.") Scene 2: Still filming herself, she enters a convenience store, opens the refrigerator with one hand while holding the phone with the other, picks up an iced coffee, smiles at the camera and says, "이거 마셔볼게요." ("I'm going to try this.") Scene 3: Holding the phone herself, she walks slowly through a quiet neighborhood park while sipping her coffee. She looks up at the trees, smiles, then back into the camera. "오늘 날씨 너무 좋다." ("The weather is so nice today.") Scene 4: She notices a friendly stray cat beside the sidewalk. Still filming herself, she lowers the phone slightly so both she and the cat remain in frame, crouches down and smiles. "안녕~ 귀엽다." ("Hi~ You're so cute.") Scene 5: Continuing her walk, she talks casually to the selfie camera while brushing her hair behind one ear. "이렇게 평범한 하루가 제일 행복한 것 같아요." ("I think ordinary days like this make me the happiest.") Final scene: While continuing to walk, she smiles directly into the front camera, waves with her free hand and says, "다음 브이로그에서 만나요. 안녕!" ("See you in the next vlog. Bye!") She laughs naturally, lowers the phone toward her side, and the recording ends exactly as if she pressed the stop button herself. Audio is entirely natural. Her live Korean voice, footsteps, soft wind, birds, distant traffic, convenience store ambience, leaves rustling, occasional cat meow. No background music, no narration, no cinematic sound design, no added effects. #DomoAI
0:15

K-POP IDOL Day Off Vlog Image: GPT Image 2 Video: Seedance 2.0 on DomoAI official ======================= Prompt: 15 seconds, 16:9. Main subject from @ Image1 — lock her completely. Face, skin tone, body, hairstyle, and outfit must remain perfectly identical throughout the entire video. She wears a sleeveless green-and-white striped ribbed knit mock-neck top with a red-and-white striped collar, medium-wash loose straight-leg high-waisted blue jeans, and simple white low-top sneakers. No bag. Long straight dark brown hair with a center part. Korean woman, 20 years old, naturally beautiful with the effortless charm of a modern K-pop idol. The entire video is filmed exclusively as a handheld front-facing smartphone selfie vlog. The phone is always in her own hand. There are absolutely no third-person shots, no external camera, no tripod, no cinematic coverage, and no impossible viewing angles. Every shot is from the perspective of her personally recording herself during a relaxing day off. Modern Seoul residential neighborhood. Quiet apartment complexes, tree-lined sidewalks, small neighborhood park, convenience store, peaceful alleys, warm summer morning light. Everything feels authentic and lived-in. Natural smartphone selfie camera language only. Slight arm movement, subtle handheld shake, natural walking bounce, occasional autofocus adjustment, realistic exposure adaptation, small framing imperfections, slight rolling shutter while walking, natural lens distortion from the front camera, occasional brief glances at the screen to check framing. Crisp modern smartphone image quality with realistic HDR and natural colors. No cinematic grading. No vintage effects. Scene 1: She leaves her apartment building while holding the phone at arm's length. She smiles naturally into the selfie camera and says, "오늘은 쉬는 날이라 그냥 산책 나왔어요." ("It's my day off, so I just came out for a walk.") Scene 2: Still filming herself, she enters a convenience store, opens the refrigerator with one hand while holding the phone with the other, picks up an iced coffee, smiles at the camera and says, "이거 마셔볼게요." ("I'm going to try this.") Scene 3: Holding the phone herself, she walks slowly through a quiet neighborhood park while sipping her coffee. She looks up at the trees, smiles, then back into the camera. "오늘 날씨 너무 좋다." ("The weather is so nice today.") Scene 4: She notices a friendly stray cat beside the sidewalk. Still filming herself, she lowers the phone slightly so both she and the cat remain in frame, crouches down and smiles. "안녕~ 귀엽다." ("Hi~ You're so cute.") Scene 5: Continuing her walk, she talks casually to the selfie camera while brushing her hair behind one ear. "이렇게 평범한 하루가 제일 행복한 것 같아요." ("I think ordinary days like this make me the happiest.") Final scene: While continuing to walk, she smiles directly into the front camera, waves with her free hand and says, "다음 브이로그에서 만나요. 안녕!" ("See you in the next vlog. Bye!") She laughs naturally, lowers the phone toward her side, and the recording ends exactly as if she pressed the stop button herself. Audio is entirely natural. Her live Korean voice, footsteps, soft wind, birds, distant traffic, convenience store ambience, leaves rustling, occasional cat meow. No background music, no narration, no cinematic sound design, no added effects. #DomoAI

TSUBAKI

17,077 次观看 • 2 个月前

🦕💬 • 260611 [01:03 AM KST] 41 voice notes transcripted/translated in order: hi how did you like made by riize? you’re asking if i ate dinner? i didn’t eat. i ate lunch kind of late, but i ate a hearty lunch. i also wanted to do a live as i finished work, but while wondering if i should do a live or not, something new to do popped up. and while i was doing it, it got too late. so i'll do a live later. go knicks! lately, the NBA's a hot topic lately. knicks. crazy. i don't know, you know... basketball that well, but i remember growing up they were sort of *the team* that people, yk cheered on. but i don't remember anyone saying that they were doing great, or anything. but apparently they're in the finals rn and they're doing rly well, so also can't forget the world cup. world cup season rn, so... just sports season.. sports season, crazy, yeah? [singing dyd] how is it? riize's challenge. easy, right? do it lots, please~ these days, a lot of short-form [videos] are coming up, as you've probably seen. I thought it might be fun if everyone did that together... what do you think? live... there's a way to turn it on, but even if i turned it on, i'm not sure if i could do it well. i don't have confidence rn so i'm talking like this wa, but there's only 4 days left for our comeback.. only 4 days left... how is it? are you guys looking forward to it? are u guys excited? we're going to ulsan the 15th, and wonbin hyung, said he's buying us lunch... not really. but it's our first time going to ulsan all together. we'll have our comeback there. i think it'll be fun. also, the 15th we're doing a comeback live.. we've been doing it every comeback... and at the live stream we'll be high school students.. but it could honestly be university students too.. or really just do it without a concept, but i think it'll be fun... just... it'll be fun... so, while doing that we'll talk about the comeback whatever happens i want us all to just create fun memories together, and since it’s summer, how about you all enjoy summer together with riize... how does that feel? how's this pfp? i like it ㅎㅎ engddongi, eng, engddon ah, right. also with taro hyung, we'll appear at salon drip... i also think that will be fun when it comes out. the recording was also fun, with doyeon nuna.. please watch it ah... you guys can hear the dryer? i won't tell you who's clothes it's drying, it's a secret~ since you could look at this as something im trying out instead of doing a live stream i won't be able to do it super often or every single day, but I think it wouldn't be bad to use this feature again sometime what do you think? ah, but languages are difficult it's not easy to unify into just one language now, but on the other hand, it's really fun. somehow, this chat room..? is that right? realizing that this place is totally global and international is in a way pretty cool. haha anyway, after a long time i rode a bike again.. there was a lot of sunlight... sunlight.. did lots of photosynthesis but what was a real mistake was first of all the bicycle didnt have a basket, and I didnt wear a comfortable backpack. i came out carrying a somewhat awkward/uncomfortable bag, so i really messed up on top of that the bicycle was incredibly heavy, but then the battery completely died... so I almost cried. without even realizing it I had gone so far away so I suffered a bit. that’s the story i also have the feeling i bruised my butt a bit... ㅎㅎ but that will also become a funny memory, right? how's riizing summer vacation? i think there were really a lot of funny moments... sungchan hyung was so funny... sungchan hyung said somewhere he hasn't eaten ramyeon in a year ㅎㅎ and sungchan hyung honestly isn't the type to eat ramen alone, he's on the not eating it side... but he's always like 'one bite, one bite'... so if we put all that together, wouldn't it be a plate of ramen?ㅎㅎ for me, at the beginning of our debut, it was a bit... you know how while filming content, i ended up grilling meat and all? but now, grilling meat... well, i don't think it's that bad also, back when we went to japan to shoot our album jacket photos and the trailer, we visited a lot of vinyl (LP) shops... and that was actually the first time in my life buying an LP with my own money when i was young i went to la to play, and then there was this famous 'amoeba music' store. i looked around and everything, but honestly back then i really wasn't that much interested in LPs. so i bought things like a lot of stickers and used them to decorate my laptop. somehow, after that time, [it was like] I truly spent time in a vinyl shop? but visiting now that I'm a bit older, it was so much fun there are so many songs I don’t know, and tons of songs that aren't even famous so back then in japan, duran duran is a really famous band, but I bought duran duran's Notorious LP and then I also bought Barry Finnertys,, barrynims NY City LP. what was so surprising was that as soon as I listened to the LP, the sound and quality were so good that I was like, 'wow, what is this?' but when I looked it up on the internet, it only had like 3,000 views on YouTube? I think it was 3,000, so because it was so good, I bought it. and after that yesterday too while wandering around here and there, i happened to walk into a cafe and they had LPs there too so yesterday, I bought one or two ㅎㅎ lp's no mater how you look it they have a vibe... its true that nowadays you can just look up and listen to everything on your phone, but another good thing about it (lps) is that I think it’s really great for finding songs you don't know so when going to the lp shop you get to learn a lot of new songs that you didn't know before. even if you don't go with the sole purpose of buying an LP, it's just... really great for discovering things... should I say? a riize lp would also be good... back then, during boom boom bass, we even went there and did all that stuff with our LP too... how was the video editing? back then when i went to school when doing things like presentations, together with other students we would edit videos.. i did lowkey find that kind of stuff pretty fun though because it was pretty much my first time [doing that] since back during those days... but really i think it was fun like... yeah.. i want to try to do it again when i was young i did draw. i drew for fun but it had been such a long time since i last properly sat down and tried to draw something properly with a pencil.. i think it's been such a long time i'm probably the worst at drawing in my family? ㅎㅎ my dad's good, my mom's also good.. my grandpa also draws reaññu well. but it was fun drawing again, so i also want to try that again... why is there so many things i want to do? really why is it? and above all, i want to work really hard on music so that someday i can show you even more. now, like from the trailer to the full version that was uploaded to our site... those kinds of things are a bit different from just being a song, though.. now everyone, let's try meditating together with me sorry.. anyways.. i have to leave in a couple hours actually, so.. time to hit the hay, yeehaw i can't fall asleep right away ㅎㅎ this.. seems like it might be a bit difficult to interpret/translate.. (yes anton, it is,,,) next time it might be better to just turn on a live stream instead ㅎㅎ sorry wow... sleep is really not coming... [1 video] [1 picture] ok jinja gn
0:01

🦕💬 • 260611 [01:03 AM KST] 41 voice notes transcripted/translated in order: hi how did you like made by riize? you’re asking if i ate dinner? i didn’t eat. i ate lunch kind of late, but i ate a hearty lunch. i also wanted to do a live as i finished work, but while wondering if i should do a live or not, something new to do popped up. and while i was doing it, it got too late. so i'll do a live later. go knicks! lately, the NBA's a hot topic lately. knicks. crazy. i don't know, you know... basketball that well, but i remember growing up they were sort of *the team* that people, yk cheered on. but i don't remember anyone saying that they were doing great, or anything. but apparently they're in the finals rn and they're doing rly well, so also can't forget the world cup. world cup season rn, so... just sports season.. sports season, crazy, yeah? [singing dyd] how is it? riize's challenge. easy, right? do it lots, please~ these days, a lot of short-form [videos] are coming up, as you've probably seen. I thought it might be fun if everyone did that together... what do you think? live... there's a way to turn it on, but even if i turned it on, i'm not sure if i could do it well. i don't have confidence rn so i'm talking like this wa, but there's only 4 days left for our comeback.. only 4 days left... how is it? are you guys looking forward to it? are u guys excited? we're going to ulsan the 15th, and wonbin hyung, said he's buying us lunch... not really. but it's our first time going to ulsan all together. we'll have our comeback there. i think it'll be fun. also, the 15th we're doing a comeback live.. we've been doing it every comeback... and at the live stream we'll be high school students.. but it could honestly be university students too.. or really just do it without a concept, but i think it'll be fun... just... it'll be fun... so, while doing that we'll talk about the comeback whatever happens i want us all to just create fun memories together, and since it’s summer, how about you all enjoy summer together with riize... how does that feel? how's this pfp? i like it ㅎㅎ engddongi, eng, engddon ah, right. also with taro hyung, we'll appear at salon drip... i also think that will be fun when it comes out. the recording was also fun, with doyeon nuna.. please watch it ah... you guys can hear the dryer? i won't tell you who's clothes it's drying, it's a secret~ since you could look at this as something im trying out instead of doing a live stream i won't be able to do it super often or every single day, but I think it wouldn't be bad to use this feature again sometime what do you think? ah, but languages are difficult it's not easy to unify into just one language now, but on the other hand, it's really fun. somehow, this chat room..? is that right? realizing that this place is totally global and international is in a way pretty cool. haha anyway, after a long time i rode a bike again.. there was a lot of sunlight... sunlight.. did lots of photosynthesis but what was a real mistake was first of all the bicycle didnt have a basket, and I didnt wear a comfortable backpack. i came out carrying a somewhat awkward/uncomfortable bag, so i really messed up on top of that the bicycle was incredibly heavy, but then the battery completely died... so I almost cried. without even realizing it I had gone so far away so I suffered a bit. that’s the story i also have the feeling i bruised my butt a bit... ㅎㅎ but that will also become a funny memory, right? how's riizing summer vacation? i think there were really a lot of funny moments... sungchan hyung was so funny... sungchan hyung said somewhere he hasn't eaten ramyeon in a year ㅎㅎ and sungchan hyung honestly isn't the type to eat ramen alone, he's on the not eating it side... but he's always like 'one bite, one bite'... so if we put all that together, wouldn't it be a plate of ramen?ㅎㅎ for me, at the beginning of our debut, it was a bit... you know how while filming content, i ended up grilling meat and all? but now, grilling meat... well, i don't think it's that bad also, back when we went to japan to shoot our album jacket photos and the trailer, we visited a lot of vinyl (LP) shops... and that was actually the first time in my life buying an LP with my own money when i was young i went to la to play, and then there was this famous 'amoeba music' store. i looked around and everything, but honestly back then i really wasn't that much interested in LPs. so i bought things like a lot of stickers and used them to decorate my laptop. somehow, after that time, [it was like] I truly spent time in a vinyl shop? but visiting now that I'm a bit older, it was so much fun there are so many songs I don’t know, and tons of songs that aren't even famous so back then in japan, duran duran is a really famous band, but I bought duran duran's Notorious LP and then I also bought Barry Finnertys,, barrynims NY City LP. what was so surprising was that as soon as I listened to the LP, the sound and quality were so good that I was like, 'wow, what is this?' but when I looked it up on the internet, it only had like 3,000 views on YouTube? I think it was 3,000, so because it was so good, I bought it. and after that yesterday too while wandering around here and there, i happened to walk into a cafe and they had LPs there too so yesterday, I bought one or two ㅎㅎ lp's no mater how you look it they have a vibe... its true that nowadays you can just look up and listen to everything on your phone, but another good thing about it (lps) is that I think it’s really great for finding songs you don't know so when going to the lp shop you get to learn a lot of new songs that you didn't know before. even if you don't go with the sole purpose of buying an LP, it's just... really great for discovering things... should I say? a riize lp would also be good... back then, during boom boom bass, we even went there and did all that stuff with our LP too... how was the video editing? back then when i went to school when doing things like presentations, together with other students we would edit videos.. i did lowkey find that kind of stuff pretty fun though because it was pretty much my first time [doing that] since back during those days... but really i think it was fun like... yeah.. i want to try to do it again when i was young i did draw. i drew for fun but it had been such a long time since i last properly sat down and tried to draw something properly with a pencil.. i think it's been such a long time i'm probably the worst at drawing in my family? ㅎㅎ my dad's good, my mom's also good.. my grandpa also draws reaññu well. but it was fun drawing again, so i also want to try that again... why is there so many things i want to do? really why is it? and above all, i want to work really hard on music so that someday i can show you even more. now, like from the trailer to the full version that was uploaded to our site... those kinds of things are a bit different from just being a song, though.. now everyone, let's try meditating together with me sorry.. anyways.. i have to leave in a couple hours actually, so.. time to hit the hay, yeehaw i can't fall asleep right away ㅎㅎ this.. seems like it might be a bit difficult to interpret/translate.. (yes anton, it is,,,) next time it might be better to just turn on a live stream instead ㅎㅎ sorry wow... sleep is really not coming... [1 video] [1 picture] ok jinja gn

🧼

37,315 次观看 • 3 个月前

Cole Tomas Allen, the man accused of opening fire at the White House Correspondents’ dinner at the Washington Hilton in Washington, D.C. Saturday, reported released a manifesto to his close family members only minutes before the shooting took place. The dinner, an annual event with President Donald Trump, First Lady Melania Trump, and other Trump administration officials in attendance, was cancelled and its attendees evacuated after gun shots rang out late Saturday night. On Sunday, the New York Post obtained and published what they report to be Allen’s full, 1,052-word manifesto in which he refers to himself as “Cole ‘coldForce’ ‘Friendly Federal Assassin’ Allen.” Among the many chilling details laid out in the manifesto, included in full below, are the following: Allen maintained he was “no longer willing to permit a pedophile, rapist, and traitor”(referencing left-wing conspiracies related to President Trump) to commit crimes. He planned to target numerous Trump administration officials “prioritized from highest-ranking to lowest.” Allen was willing to “go through most everyone” in attendance at the event “if it were absolutely necessary,” rationalizing the violence because all those present “[chose] to attend a speech by a pedophile, rapist, and traitor and are thus complicit.” Various talking points and accusations levied against President Trump in the note appear to come directly from various misleading left-wing conspiracies and talking points spread by Democratic Party members and other U.S. leftists. What follows is Allen’s manifesto, as released by the New York Post, in full, with one minor edit to remove profanity: Hello everybody! So I may have given a lot of people a surprise today. Let me start off by apologizing to everyone whose trust I abused. I apologize to my parents for saying I had an interview without specifying it was for “Most Wanted.” apologize to my colleagues and students for saying I had a personal emergency (by the time anyone reads this, I probably most certainly DO need to go to the ER, but can hardly call that not a self-inflicted status.) I apologize to all of the people I traveled next to, all the workers who handled my luggage, and all the other non-targeted people at the hotel who I put in danger simply by being near. I apologize to everyone who was abused and/or murdered before this, to all those who suffered before I was able to attempt this, to all who may still suffer after, regardless of my success or failure. I don’t expect forgiveness, but if I could have seen any other way to get this close, I would have taken it. Again, my sincere apologies. On to why I did any of this:I am a citizen of the United States of America. What my representatives do reflects on me. And I am no longer willing to permit a pedophile, rapist, and traitor to coat my hands with his crimes. (Well, to be completely honest, I was no longer willing a long time ago, but this is the first real opportunity I’ve had to do something about it.) While I’m discussing this, I’ll also go over my expected rules of engagement (probably in a terrible format, but I’m not military so too bad.) Administration officials (not including Mr. Patel): they are targets, prioritized from highest-ranking to lowest Secret Service: they are targets only if necessary, and to be incapacitated non-lethally if possible (aka, I hope they’re wearing body armor because center mass with shotguns messes up people who *aren’t* Hotel Security: not targets if at all possible (aka unless they shoot at me) Capitol Police: same as Hotel Security National Guard: same as Hotel Security Hotel Employees: not targets at all Guests: not targets at all In order to minimize casualties I will also be using buckshot rather than slugs (less penetration through walls) I would still go through most everyone here to get to the targets if it were absolutely necessary (on the basis that most people *chose* to attend a speech by a pedophile, rapist, and traitor, and are thus complicit) but I really hope it doesn’t come to that. Rebuttals to objections: Objection 1: As a Christian, you should turn the other cheek. Rebuttal: Turning the other cheek is for when you yourself are oppressed. I’m not the person raped in a detention camp. I’m not the fisherman executed without trial. I’m not a school kid blown up or a child starved or a teenage girl abused by the many criminals in this administration. Turning the other cheek when *someone else* is oppressed is not Christian behavior; it is complicity in the oppressor’s crimes. Objection 2: This is not a convenient time for you to do this. Rebuttal: I need whoever thinks this way to take a couple minutes and realize that the world isn’t about them. Do you think that when I see someone raped or murdered or abused, I should walk on by because it would be “inconvenient” for people who aren’t the victim? This was the best timing and chance of success I could come up with. Objection 3: You didn’t get them all. Rebuttal: Gotta start somewhere. Objection 4: As a half-black, half-white person, you shouldn’t be the one doing this. Rebuttal: I don’t see anyone else picking up the slack Objection 5: Yield unto Caesar what is Caesar’s. Rebuttal: The United States of America are ruled by the law, not by any one or several people. In so far as representatives and judges do not follow the law, no one is required to yield them anything so unlawfully ordered. I would also like to extend my appreciation to a great many people since I will not be likely to be able to talk with them again (unless the Secret Service is *astoundingly* incompetent.) Thank you to my family, both personal and church, for your love over these 31 years. Thank you to my friends, for your companionship over many years. Thank you to my colleagues over many jobs, for your positivity and professionalism. Thank you to my students for your enthusiasm and love of learning. Thank you to the many acquaintances I’ve met, in person and online, for short interactions and long-term relationships, for your perspectives and inspiration. Thank you all for everything. Sincerely, Cole “coldForce” “Friendly Federal Assassin” Allen PS: Ok now that all the sappy stuff is done, what the hell is the Secret Service doing? Sorry, gonna rant a bit here and drop the formal tone. Like, I expected security cameras at every bend, bugged hotel rooms, armed agents every 10 feet, metal detectors out the wazoo. What I got (who knows, maybe they’re pranking me!) is nothing. No damn security. Not in transport. Not in the hotel. Not in the event. Like, the one thing that I immediately noticed walking into the hotel is the sense of arrogance. I walk in with multiple weapons and not a single person there considers the possibility that I could be a threat. The security at the event is all outside, focused on protestors and current arrivals, because apparently no one thought about what happens if someone checks in the day before. Like, this level of incompetence is insane, and I very sincerely hope it’s corrected by the time this country gets actually competent leadership again. Like, if I was an Iranian agent, instead of an American citizen, I could have brought a damn Ma Deuce in here and no one would have noticed s**t. Actually insane. Oh and if anyone is curious is how doing something like feels: it’s awful. I want to throw up; I want to cry for all the things I wanted to do and never will, for all the people whose trust this betrays; I experience rage thinking about everything this administration has done. Can’t really recommend it! Stay in school, kids.
0:19

Cole Tomas Allen, the man accused of opening fire at the White House Correspondents’ dinner at the Washington Hilton in Washington, D.C. Saturday, reported released a manifesto to his close family members only minutes before the shooting took place. The dinner, an annual event with President Donald Trump, First Lady Melania Trump, and other Trump administration officials in attendance, was cancelled and its attendees evacuated after gun shots rang out late Saturday night. On Sunday, the New York Post obtained and published what they report to be Allen’s full, 1,052-word manifesto in which he refers to himself as “Cole ‘coldForce’ ‘Friendly Federal Assassin’ Allen.” Among the many chilling details laid out in the manifesto, included in full below, are the following: Allen maintained he was “no longer willing to permit a pedophile, rapist, and traitor”(referencing left-wing conspiracies related to President Trump) to commit crimes. He planned to target numerous Trump administration officials “prioritized from highest-ranking to lowest.” Allen was willing to “go through most everyone” in attendance at the event “if it were absolutely necessary,” rationalizing the violence because all those present “[chose] to attend a speech by a pedophile, rapist, and traitor and are thus complicit.” Various talking points and accusations levied against President Trump in the note appear to come directly from various misleading left-wing conspiracies and talking points spread by Democratic Party members and other U.S. leftists. What follows is Allen’s manifesto, as released by the New York Post, in full, with one minor edit to remove profanity: Hello everybody! So I may have given a lot of people a surprise today. Let me start off by apologizing to everyone whose trust I abused. I apologize to my parents for saying I had an interview without specifying it was for “Most Wanted.” apologize to my colleagues and students for saying I had a personal emergency (by the time anyone reads this, I probably most certainly DO need to go to the ER, but can hardly call that not a self-inflicted status.) I apologize to all of the people I traveled next to, all the workers who handled my luggage, and all the other non-targeted people at the hotel who I put in danger simply by being near. I apologize to everyone who was abused and/or murdered before this, to all those who suffered before I was able to attempt this, to all who may still suffer after, regardless of my success or failure. I don’t expect forgiveness, but if I could have seen any other way to get this close, I would have taken it. Again, my sincere apologies. On to why I did any of this:I am a citizen of the United States of America. What my representatives do reflects on me. And I am no longer willing to permit a pedophile, rapist, and traitor to coat my hands with his crimes. (Well, to be completely honest, I was no longer willing a long time ago, but this is the first real opportunity I’ve had to do something about it.) While I’m discussing this, I’ll also go over my expected rules of engagement (probably in a terrible format, but I’m not military so too bad.) Administration officials (not including Mr. Patel): they are targets, prioritized from highest-ranking to lowest Secret Service: they are targets only if necessary, and to be incapacitated non-lethally if possible (aka, I hope they’re wearing body armor because center mass with shotguns messes up people who *aren’t* Hotel Security: not targets if at all possible (aka unless they shoot at me) Capitol Police: same as Hotel Security National Guard: same as Hotel Security Hotel Employees: not targets at all Guests: not targets at all In order to minimize casualties I will also be using buckshot rather than slugs (less penetration through walls) I would still go through most everyone here to get to the targets if it were absolutely necessary (on the basis that most people *chose* to attend a speech by a pedophile, rapist, and traitor, and are thus complicit) but I really hope it doesn’t come to that. Rebuttals to objections: Objection 1: As a Christian, you should turn the other cheek. Rebuttal: Turning the other cheek is for when you yourself are oppressed. I’m not the person raped in a detention camp. I’m not the fisherman executed without trial. I’m not a school kid blown up or a child starved or a teenage girl abused by the many criminals in this administration. Turning the other cheek when *someone else* is oppressed is not Christian behavior; it is complicity in the oppressor’s crimes. Objection 2: This is not a convenient time for you to do this. Rebuttal: I need whoever thinks this way to take a couple minutes and realize that the world isn’t about them. Do you think that when I see someone raped or murdered or abused, I should walk on by because it would be “inconvenient” for people who aren’t the victim? This was the best timing and chance of success I could come up with. Objection 3: You didn’t get them all. Rebuttal: Gotta start somewhere. Objection 4: As a half-black, half-white person, you shouldn’t be the one doing this. Rebuttal: I don’t see anyone else picking up the slack Objection 5: Yield unto Caesar what is Caesar’s. Rebuttal: The United States of America are ruled by the law, not by any one or several people. In so far as representatives and judges do not follow the law, no one is required to yield them anything so unlawfully ordered. I would also like to extend my appreciation to a great many people since I will not be likely to be able to talk with them again (unless the Secret Service is *astoundingly* incompetent.) Thank you to my family, both personal and church, for your love over these 31 years. Thank you to my friends, for your companionship over many years. Thank you to my colleagues over many jobs, for your positivity and professionalism. Thank you to my students for your enthusiasm and love of learning. Thank you to the many acquaintances I’ve met, in person and online, for short interactions and long-term relationships, for your perspectives and inspiration. Thank you all for everything. Sincerely, Cole “coldForce” “Friendly Federal Assassin” Allen PS: Ok now that all the sappy stuff is done, what the hell is the Secret Service doing? Sorry, gonna rant a bit here and drop the formal tone. Like, I expected security cameras at every bend, bugged hotel rooms, armed agents every 10 feet, metal detectors out the wazoo. What I got (who knows, maybe they’re pranking me!) is nothing. No damn security. Not in transport. Not in the hotel. Not in the event. Like, the one thing that I immediately noticed walking into the hotel is the sense of arrogance. I walk in with multiple weapons and not a single person there considers the possibility that I could be a threat. The security at the event is all outside, focused on protestors and current arrivals, because apparently no one thought about what happens if someone checks in the day before. Like, this level of incompetence is insane, and I very sincerely hope it’s corrected by the time this country gets actually competent leadership again. Like, if I was an Iranian agent, instead of an American citizen, I could have brought a damn Ma Deuce in here and no one would have noticed s**t. Actually insane. Oh and if anyone is curious is how doing something like feels: it’s awful. I want to throw up; I want to cry for all the things I wanted to do and never will, for all the people whose trust this betrays; I experience rage thinking about everything this administration has done. Can’t really recommend it! Stay in school, kids.

The Western Journal

104,655 次观看 • 4 个月前

I would like to explain the latest batch of viral videos I'm working on to the bemused brainrot-curious reader who is not familiar with "the culture". Why are these characters, mixed with this song, going viral? It's all about connecting infinite referential mirrors. What makes this video interesting are not its individual parts but the signifier links it draws. Let's look at the individual parts: ONE: The song is a Brazilian funk or "pancadão" song called MC Lan e MC WM - Sua Amiga Vou Pegar, these days part of what's broadly referred as Brazilian phonk or just phonk (not to be confused with the original phonk, a Memphis-derived genre from the early 2010s built around chopped Three 6 Mafia samples, cowbells and lo-fi tape hiss and etc. The Brazilian version comes an entirely different lineage and got its name adapted from “funk” to “phonk” exclusively because the names sounded similar. It has a similarly menacing posture but swaps the rap cadence for funk's 4/4 with kicks on 1 and 3 rhythm and a much heavier, distorted 808 synth sound). Phonk is often used for its exaggerated reverb feeling bass lines to signify power, style or simply "aura", which you can take as a shorthand for poise, coolness, being de-bon-air and a general detached positive feeling of high status. Aura. Because most users cannot understand the Portuguese lyrics (which are often quite vulgar and sexual), the singing takes the characteristic of a chant, something to be appreciated entirely for its sound, texture and gravitas. The vocals are just another instrument where you can appreciate the menace and swagger of the delivery directly without the cognitive friction of meaning. Non-Portuguese-speaking audiences are not missing anything they were supposed to get, they get “the vibe” that matters, which is not lyrical. These songs are often paired with (male) characters that are taken to display these traits like American Psycho's Patrick Bateman (yes, yes I know that’s the opposite of what you should feel about the character), Peaky Blinder's Thomas Shelby and a menagerie of anime characters like Satoru Gojo (Jujutsu Kaisen), Yujiro Hanma (Baki) and Goku and, really, any male character that is just a little bit cool. TWO: The man in the suit is a minor Family Guy character called Tom Tucker. The reference comes from a scene where Meg sees him walking through her school and says "It's Tom Tucker from the news!” We then cut to her POV, where he is walking in slow motion with soft romantic music swelling and birds chirping, the whole love-at-first-sight trope. Then a camera crew member off-screen yells "hurry up Mr. Tucker," and we get to see he is not walking in slow motion because Meg is infatuated, he is just walking that slowly in real life. Only the music and the birds were in her head. The gag is built on the viewer recognizing the romantic-slow-motion trope, briefly accepting it as the scene's reality, and then being shown that we (and Meg) projected the trope onto what is actually just a man walking very slowly. HA! The original gag is already about projection: a neutral image (slow walk) being assigned an external meaning (romance) by a viewer's pattern-recognition. This is what makes the edit-culture appropriation work so well. The clip got stripped of its context, paired with phonk and text overlays (AURA or “Me and the boys going to detention”), and retroactively assigned a new meaning, only this time it’s the cinematic nonchalant walk, the slow deliberate gait that signifies a man who knows he's the most important thing in the frame (ta la any 1980s Schwazerneggerian action movie hero walking away from an explosion without looking back, every yakuza boss entering a room, every western gunslinger approaching the duel). The edit is ostensibly projecting a trope onto a neutral image. The first projection was romance; the second projection is aura. Family Guy clips and gifs are easy to access and repost, which makes it a readily available and easy to use building block. The show has, through sheer volume of output and over two decades of YouTube and cable TV saturation, become a kind of public-domain visual library, a default vocabulary that any editor can pull from knowing the audience will recognize the source without having to be told, and we can just keep loading meaning onto it. THREE: The character in the background is Tom, from Tom and Jerry, doing a pose made famous by an iShowSpeed fan who encountered him during a livestream. By quickly and correctly identifying Speed by his full legal name ("Darren Jason Watkins Jr"), she showcased herself to be a true fan, which he responded to with his characteristic exaggerated reactions. The pose the girl hit, with the knowing look to the camera, produced a perfect “aura moment” complete commitment, zero irony, the unshakeable conviction that what she was doing was the coolest possible thing to do. As a result, the clip then got endlessly edited with "aura 🥶🥶🥶" captions to canonize it. Aura, in this lexicon, is not granted by the universe; it is summoned by the person's own belief that they have it and by displaying the correct attitude. Tom is also dressed as the previously mentioned Thomas Shelby from Peaky Blinders, which is itself a double signifier. The name match (“Thomas”, get it?) and the suit-and-flat-cap costume turn the cartoon cat into a stand-in for the perhaps most used "high-aura" male character of the past decade, the brooding gangster patriarch whose every cigarette drag has been set to phonk, cinematic scores and electronic music a thousand times over. On top of that, he is made entirely out of chrome, a popular trope of asking ChatGPT (one of the few AI tools people have easy and broad access to) to render things out of very high quality materials to indicate "rarity" or "status" like diamonds, platinum and etc. A sign that itself descends from a longer lineage of in-game cosmetic rarity tiers (League of Legends, MMOs, various skin economy freemium game, the Fortnite battle pass, the Pokémon shiny, dacha games and etc) where material finish is the visual shorthand of value. So "chrome" or "platinum" Tom on top of all previous signifiers signals a “maximized” or “maxxd” version. The image is suppose to invoke the superlative highest possible tier, rarest-drop, legendary-rarity version of aura, the way a kid in a playground would describe their dad as not just strong but the strongest in the world. FOUR: Finally, the background black hole calls back to the original Tom image, where he is surrounded by the universe itself, having ascended. The character has transcended the diegetic frame of his own cartoon and now exists at a cosmological scale, with the black hole standing in for the kind of unmotivated, vibes-based "cosmic" imagery that has become the default background for any video trying to signify that something Big is happening (the same visual motif that has powered comic book characters, anime transformations, video game power ups and anything wants to feel grandiose or “epic” without specifying what about). The black hole means significance in the abstract. At this point I think you understand the mechanism at play here. None of these references resolve to a stable meaning on their own. Tom Tucker is “cool” only in the very short context in which his image served as a substrate; he was convenient footage to pair with a song, and the absurdity of doing an "aura edit" on such a minor, strange character scene makes it all funnier and easier to share. Tom-the-cat is doing the aura pose > the aura pose comes from the iShowSpeed girl > the iShowSpeed girl was cool because she correctly played her part in an established bit of a large streamer with the correct timing and theatrical flair > the bit was cool because it was a shared convention unified by a popular central streamer figure > the convention existed because phonk edits had already trained this exact scenario to be read as confidence-plus-detachment as aura > the chrome finish points to AI image generation quirks > the AI image generation style can be mapped to gaming visual rarity shorthands; the gaming rarity tiers point to a much older logic of precious-metal-as-status. Each step on the referential chain is propped by the one behind it, and the one behind it is propped up by the one behind that, so on and so forth. There is no natural endpoint, the entire structure functions more akin to a network than a linked list. If you stop at any single point and ask "but why is particular signifier cool or funny or interesting”, the answer is always "because of the thing behind it.” It’s hyper-citation, Here, what matters is the structure of the whole rather than the content. This is structure is what I mean by infinite referential mirrors. The rate at which a concept is referencing, remixing and calling back to another is what’s interesting. In other words, It’s the velocity that matters. The chain of recognitions, each "I get that reference," and the cumulative effect of getting six references stacked on top of each other a short span of time gives you the feeling that you are participating in something dense and alive, because it allows you to recognize the shared meme ecosystem of the platform that you are participating in, even if only a glimpse of it. You are inside the culture rather than outside it. The brainrot-curious reader who watches this video and feels nothing, has “failed” to understand the joke because they are outside the hall of mirrors I am describing. You can only get the magic if you step in and start counting the reflections: the song, the suit, the cat, the chrome, the black hole, the transitions the video uses. You are looking at connected parts of this network of symbols and at the speed at which one image hands you off to the next. The entire thirteen-second clip is functioning as a single compressed referential payload that decompresses in the viewer's head into a small private essay exactly like this one. The video allows you to recognize yourself as someone capable of decoding it, and that recognition is the reward. That’s why media like this goes viral.
0:13

I would like to explain the latest batch of viral videos I'm working on to the bemused brainrot-curious reader who is not familiar with "the culture". Why are these characters, mixed with this song, going viral? It's all about connecting infinite referential mirrors. What makes this video interesting are not its individual parts but the signifier links it draws. Let's look at the individual parts: ONE: The song is a Brazilian funk or "pancadão" song called MC Lan e MC WM - Sua Amiga Vou Pegar, these days part of what's broadly referred as Brazilian phonk or just phonk (not to be confused with the original phonk, a Memphis-derived genre from the early 2010s built around chopped Three 6 Mafia samples, cowbells and lo-fi tape hiss and etc. The Brazilian version comes an entirely different lineage and got its name adapted from “funk” to “phonk” exclusively because the names sounded similar. It has a similarly menacing posture but swaps the rap cadence for funk's 4/4 with kicks on 1 and 3 rhythm and a much heavier, distorted 808 synth sound). Phonk is often used for its exaggerated reverb feeling bass lines to signify power, style or simply "aura", which you can take as a shorthand for poise, coolness, being de-bon-air and a general detached positive feeling of high status. Aura. Because most users cannot understand the Portuguese lyrics (which are often quite vulgar and sexual), the singing takes the characteristic of a chant, something to be appreciated entirely for its sound, texture and gravitas. The vocals are just another instrument where you can appreciate the menace and swagger of the delivery directly without the cognitive friction of meaning. Non-Portuguese-speaking audiences are not missing anything they were supposed to get, they get “the vibe” that matters, which is not lyrical. These songs are often paired with (male) characters that are taken to display these traits like American Psycho's Patrick Bateman (yes, yes I know that’s the opposite of what you should feel about the character), Peaky Blinder's Thomas Shelby and a menagerie of anime characters like Satoru Gojo (Jujutsu Kaisen), Yujiro Hanma (Baki) and Goku and, really, any male character that is just a little bit cool. TWO: The man in the suit is a minor Family Guy character called Tom Tucker. The reference comes from a scene where Meg sees him walking through her school and says "It's Tom Tucker from the news!” We then cut to her POV, where he is walking in slow motion with soft romantic music swelling and birds chirping, the whole love-at-first-sight trope. Then a camera crew member off-screen yells "hurry up Mr. Tucker," and we get to see he is not walking in slow motion because Meg is infatuated, he is just walking that slowly in real life. Only the music and the birds were in her head. The gag is built on the viewer recognizing the romantic-slow-motion trope, briefly accepting it as the scene's reality, and then being shown that we (and Meg) projected the trope onto what is actually just a man walking very slowly. HA! The original gag is already about projection: a neutral image (slow walk) being assigned an external meaning (romance) by a viewer's pattern-recognition. This is what makes the edit-culture appropriation work so well. The clip got stripped of its context, paired with phonk and text overlays (AURA or “Me and the boys going to detention”), and retroactively assigned a new meaning, only this time it’s the cinematic nonchalant walk, the slow deliberate gait that signifies a man who knows he's the most important thing in the frame (ta la any 1980s Schwazerneggerian action movie hero walking away from an explosion without looking back, every yakuza boss entering a room, every western gunslinger approaching the duel). The edit is ostensibly projecting a trope onto a neutral image. The first projection was romance; the second projection is aura. Family Guy clips and gifs are easy to access and repost, which makes it a readily available and easy to use building block. The show has, through sheer volume of output and over two decades of YouTube and cable TV saturation, become a kind of public-domain visual library, a default vocabulary that any editor can pull from knowing the audience will recognize the source without having to be told, and we can just keep loading meaning onto it. THREE: The character in the background is Tom, from Tom and Jerry, doing a pose made famous by an iShowSpeed fan who encountered him during a livestream. By quickly and correctly identifying Speed by his full legal name ("Darren Jason Watkins Jr"), she showcased herself to be a true fan, which he responded to with his characteristic exaggerated reactions. The pose the girl hit, with the knowing look to the camera, produced a perfect “aura moment” complete commitment, zero irony, the unshakeable conviction that what she was doing was the coolest possible thing to do. As a result, the clip then got endlessly edited with "aura 🥶🥶🥶" captions to canonize it. Aura, in this lexicon, is not granted by the universe; it is summoned by the person's own belief that they have it and by displaying the correct attitude. Tom is also dressed as the previously mentioned Thomas Shelby from Peaky Blinders, which is itself a double signifier. The name match (“Thomas”, get it?) and the suit-and-flat-cap costume turn the cartoon cat into a stand-in for the perhaps most used "high-aura" male character of the past decade, the brooding gangster patriarch whose every cigarette drag has been set to phonk, cinematic scores and electronic music a thousand times over. On top of that, he is made entirely out of chrome, a popular trope of asking ChatGPT (one of the few AI tools people have easy and broad access to) to render things out of very high quality materials to indicate "rarity" or "status" like diamonds, platinum and etc. A sign that itself descends from a longer lineage of in-game cosmetic rarity tiers (League of Legends, MMOs, various skin economy freemium game, the Fortnite battle pass, the Pokémon shiny, dacha games and etc) where material finish is the visual shorthand of value. So "chrome" or "platinum" Tom on top of all previous signifiers signals a “maximized” or “maxxd” version. The image is suppose to invoke the superlative highest possible tier, rarest-drop, legendary-rarity version of aura, the way a kid in a playground would describe their dad as not just strong but the strongest in the world. FOUR: Finally, the background black hole calls back to the original Tom image, where he is surrounded by the universe itself, having ascended. The character has transcended the diegetic frame of his own cartoon and now exists at a cosmological scale, with the black hole standing in for the kind of unmotivated, vibes-based "cosmic" imagery that has become the default background for any video trying to signify that something Big is happening (the same visual motif that has powered comic book characters, anime transformations, video game power ups and anything wants to feel grandiose or “epic” without specifying what about). The black hole means significance in the abstract. At this point I think you understand the mechanism at play here. None of these references resolve to a stable meaning on their own. Tom Tucker is “cool” only in the very short context in which his image served as a substrate; he was convenient footage to pair with a song, and the absurdity of doing an "aura edit" on such a minor, strange character scene makes it all funnier and easier to share. Tom-the-cat is doing the aura pose > the aura pose comes from the iShowSpeed girl > the iShowSpeed girl was cool because she correctly played her part in an established bit of a large streamer with the correct timing and theatrical flair > the bit was cool because it was a shared convention unified by a popular central streamer figure > the convention existed because phonk edits had already trained this exact scenario to be read as confidence-plus-detachment as aura > the chrome finish points to AI image generation quirks > the AI image generation style can be mapped to gaming visual rarity shorthands; the gaming rarity tiers point to a much older logic of precious-metal-as-status. Each step on the referential chain is propped by the one behind it, and the one behind it is propped up by the one behind that, so on and so forth. There is no natural endpoint, the entire structure functions more akin to a network than a linked list. If you stop at any single point and ask "but why is particular signifier cool or funny or interesting”, the answer is always "because of the thing behind it.” It’s hyper-citation, Here, what matters is the structure of the whole rather than the content. This is structure is what I mean by infinite referential mirrors. The rate at which a concept is referencing, remixing and calling back to another is what’s interesting. In other words, It’s the velocity that matters. The chain of recognitions, each "I get that reference," and the cumulative effect of getting six references stacked on top of each other a short span of time gives you the feeling that you are participating in something dense and alive, because it allows you to recognize the shared meme ecosystem of the platform that you are participating in, even if only a glimpse of it. You are inside the culture rather than outside it. The brainrot-curious reader who watches this video and feels nothing, has “failed” to understand the joke because they are outside the hall of mirrors I am describing. You can only get the magic if you step in and start counting the reflections: the song, the suit, the cat, the chrome, the black hole, the transitions the video uses. You are looking at connected parts of this network of symbols and at the speed at which one image hands you off to the next. The entire thirteen-second clip is functioning as a single compressed referential payload that decompresses in the viewer's head into a small private essay exactly like this one. The video allows you to recognize yourself as someone capable of decoding it, and that recognition is the reward. That’s why media like this goes viral.

Pleometric

70,884 次观看 • 4 个月前

Made with seedance 2.5 Prompt: Create ONE continuous 12-second, 9:16, ultra-photorealistic LIVE-ACTION luxury fashion film. IMPORTANT REFERENCE MAPPING: REFERENCE Image = PRIMARY CHARACTER. Use the FIRST uploaded reference image of the woman. REFERENCE image2 = ENVIRONMENT. Use the SECOND uploaded reference image of the square. REFERENCE David Carbon = HERO OBJECT. Use the THIRD uploaded reference image of the sunglasses. Do NOT refer to these images as Image, image2 or David Carbon. Use the reference images according to their upload order. CHARACTER — REFERENCE IMAGE 1 Preserve the exact woman from REFERENCE IMAGE 1 throughout the entire video: same facial identity, facial structure, natural eyes, hairstyle, body proportions, skin appearance, clothing, footwear, jewelry, accessories and overall appearance. Do not copy the original background from REFERENCE IMAGE 1. The protagonist is the ONLY main character. ENVIRONMENT — REFERENCE IMAGE 2 Use REFERENCE IMAGE 2 only for visual language: architecture, atmosphere, warm sunset lighting, materials, monumental scale and cobblestone character. Create a NEW believable cinematic pedestrian space inspired by it. Do NOT reproduce its exact composition, exact camera angle or exact street layout. Provide enough open pedestrian space for natural walking and the collision. Respect real-world spatial logic: pedestrians remain in pedestrian areas, architecture has realistic scale and perspective, no impossible geometry. HERO OBJECT — REFERENCE IMAGE 3 The sunglasses shown in REFERENCE IMAGE 3 are the ONE and ONLY HERO OBJECT. Preserve their recognizable: shape, proportions, oversized shield silhouette, dark continuous lens, thin metallic/gold frame, temples, hinge construction, surface details, colour and material. The SAME physical sunglasses must remain recognizable: when worn by the protagonist, when released, during bullet-time macro inspection, and after landing. Do not redesign, replace, duplicate or regenerate the sunglasses. EXACT OBJECT COUNT Exactly: ONE protagonist. ONE secondary passing person. ONE Labrador. ONE leash. ONE pair of sunglasses from REFERENCE IMAGE 3. ONE takeaway paper coffee cup. ONE plastic drinking lid. ONE silver-grey OPEN clamshell flip phone. No duplicate objects or people. PERSISTENT PHONE There is exactly ONE phone in the entire video. It is a compact early-2000s silver-grey OPEN clamshell flip phone. Upper half: small illuminated display and speaker. Lower half: physical numeric keypad, navigation buttons and microphone. Visible central mechanical hinge. LOCK its appearance throughout: same silver-grey colour, same dimensions, same thickness, same hinge, same display, same keypad, same buttons, same open angle. The same phone is seen in wide, medium and macro shots. It never transforms into another phone. PERSISTENT COFFEE Exactly ONE medium disposable PAPER coffee cup with ONE lightweight plastic drinking lid and dark coffee inside. Same cup, same lid, same coffee and same proportions throughout. Before collision the lid is properly attached. Coffee remains inside until a real physical opening appears. HAND OWNERSHIP Before collision: RIGHT HAND = ONE OPEN flip phone held to the RIGHT ear. LEFT HAND = ONE coffee cup. Sunglasses = naturally worn by the protagonist. After collision: RIGHT HAND = COMPLETELY EMPTY. LEFT HAND = COMPLETELY EMPTY. Nothing replaces the phone or cup. Nothing remains attached to either palm. 0.0–2.0s — CINEMATIC CHARACTER REVEAL Begin with an extreme low close-up of the protagonist’s black leather heeled boots walking naturally across the pedestrian space. Camera performs ONE elegant continuous movement: smooth crane upward + gentle backward tracking. Reveal progressively: boots → legs → ripped light-blue baggy jeans → black corset → white tank top → jewelry/accessories → sunglasses → face → nearly full body. The protagonist wears the SAME sunglasses from REFERENCE IMAGE 3. She holds the SAME OPEN silver-grey flip phone to her RIGHT ear and the SAME coffee cup in her LEFT hand. She is actively having a phone conversation. Show subtle realistic speech: natural lip movement, jaw movement and mouth articulation. Maintain exact identity from REFERENCE IMAGE 1. Premium live-action fashion cinematography. 2.0–3.7s — WALKING / SECONDARY PERSON Maintain smooth frontal tracking. The protagonist continues walking naturally through the pedestrian area. Exactly ONE secondary person approaches from the opposite direction. That person holds exactly ONE leash attached to exactly ONE Labrador. The Labrador walks slightly ahead and gently pulls the person forward. They remain background/supporting elements. Maintain: stable protagonist identity, stable hairstyle, stable clothing, stable sunglasses, same phone, same coffee. 3.7–4.4s — ACCIDENTAL COLLISION As they pass each other, the secondary person’s ELBOW accidentally clips the protagonist’s arm/upper torso. Small, accidental, believable contact. The protagonist naturally recoils backward. This SAME collision causes THREE physical release events. SUNGLASSES The sunglasses from REFERENCE IMAGE 3 receive ONE short realistic outward impulse. They separate naturally from the protagonist’s face. They travel only a short physically believable distance. They do NOT fly toward the camera. COFFEE The SAME coffee cup leaves the LEFT hand. It receives one short outward/downward rotational impulse. The cup tilts and rotates. Because of the rotation and liquid inertia, ONE EDGE of the lightweight plastic lid partially pops loose from the cup rim. The lid does not disappear and does not explode away. A real physical gap forms between lid and rim. ONLY THEN does dark coffee begin escaping through this opening. Initial liquid movement is restrained. PHONE The SAME OPEN clamshell phone leaves the RIGHT hand. It receives one short outward/upward impulse. It keeps the SAME open angle and physical design. The instant it separates from the fingers: RIGHT HAND = EMPTY. The instant the cup separates: LEFT HAND = EMPTY. FACE / HAIR CONTINUITY Preserve the exact face from REFERENCE IMAGE 1 during the entire collision. The natural human eyes already exist behind the sunglasses. When the sunglasses separate, reveal the SAME normal eyes: stable pupils, eyelids, gaze direction, brows, nose, cheekbones and facial symmetry. Do not regenerate or alter the face. Hair remains stable with only subtle realistic inertia. No sudden hairstyle change. 4.4–5.2s — BULLET-TIME ESTABLISHMENT Time decelerates dramatically to approximately 2–3% normal speed. DO NOT immediately go into macro. FIRST show a clear medium-wide frozen view of the entire accident. The protagonist is beginning to fall backward. BOTH HANDS ARE EMPTY. Establish fixed WORLD-SPACE anchors: • sunglasses suspended near their release position; • coffee cup suspended lower and toward the LEFT-hand release side; • partially detached lid still connected to or immediately beside the cup; • restrained coffee beginning to escape through the opening; • OPEN flip phone suspended toward the RIGHT-hand release side. Objects move only microscopically. They do NOT move toward the camera. The CAMERA is the main moving element. 5.2–6.8s — SUNGLASSES HERO INSPECTION The sunglasses remain almost completely stationary at their existing world-space position. CAMERA physically dollies toward them. The sunglasses become larger ONLY because the camera gets closer. Once close, slow the camera dramatically. HOLD. Perform a restrained 20–30 degree camera orbit/parallax around the almost-stationary sunglasses. Reveal: dark shield lens, thin metallic/gold frame, temples, hinges, edges, material thickness, surface reflections, tiny manufacturing details. Use shallow photographic macro depth of field. The protagonist and sunset environment remain softly recognizable in the background. The sunglasses must look like a real luxury fashion accessory photographed with a macro cinema lens, NOT CGI product animation. Complete the inspection before moving away. 6.8–8.3s — COFFEE / LIQUID INSPECTION Only after completing the sunglasses inspection, the CAMERA leaves them at their existing world-space position. Travel diagonally through the frozen scene toward the SAME coffee cup. THE CUP DOES NOT MOVE TOWARD THE CAMERA. Hold a photographic macro close-up. Show: same paper cup, same lightweight plastic lid, ONE partially detached lid edge, clear physical gap, dark coffee escaping ONLY through that gap. Real restrained liquid physics: thin irregular stream, imperfect liquid sheet, several differently sized droplets, realistic surface tension, natural reflections. No explosive splash. No decorative CGI liquid. No perfect artificial shapes. Coffee advances only microscopically during bullet time. Perform a small restrained lateral/parallax camera movement around the cup, lid and droplets. HOLD long enough to see paper texture, plastic texture, liquid thickness and individual droplets. 8.3–9.8s — FLIP PHONE INSPECTION Only after coffee inspection, the CAMERA travels away from the cup. The cup, lid and droplets remain at their existing world-space positions. CAMERA moves through the same frozen scene toward the SINGLE OPEN silver-grey clamshell phone. THE PHONE DOES NOT MOVE TOWARD THE CAMERA. First establish the complete phone silhouette: same silver-grey housing, same upper display, same lower keypad, same central hinge, same open angle. Then CAMERA physically approaches the existing upper display. Extreme photographic macro close-up. The illuminated display reads: BOSS with one small realistic phone number underneath. HOLD. Show: real housing material, hinge, keypad texture, small scratches, surface wear, screen reflections. The phone does NOT transform to reveal its screen. It is the SAME phone seen from the beginning. The protagonist’s RIGHT HAND remains completely EMPTY in the background. 9.8–10.4s — COMPLETE FROZEN TABLEAU After phone inspection, CAMERA performs a fast but perfectly smooth dolly backward. All objects remain at their existing world-space positions. Reveal: same protagonist falling backward, both hands empty, same sunglasses, same coffee cup, same partially detached lid, same suspended coffee droplets, same OPEN flip phone, exactly one secondary person, exactly one Labrador. All positions must remain spatially consistent with the original collision and release trajectories. No object follows the camera. No object teleports. No object regenerates. Brief HOLD on the complete frozen tableau. 10.4–12.0s — TIME RETURNS / PHYSICAL PAYOFF Time suddenly snaps back to normal speed. Gravity and existing momentum resume simultaneously. Every object continues FROM ITS EXISTING WORLD-SPACE POSITION. The protagonist completes her backward fall naturally. The sunglasses continue from their suspended position and land according to their existing momentum and gravity. The coffee cup continues from its own separate position, impacts the cobblestone ground, the partially detached lid reacts naturally, and remaining coffee spills irregularly through the real opening and impact point. The OPEN flip phone continues from its own separate position, hits the ground and makes ONE small physically believable bounce. Objects land at DIFFERENT plausible locations. They do NOT suddenly converge beside the protagonist. CAMERA rapidly tilts/drops toward ground level to follow the final impacts. Finish with a cinematic low-angle composition showing the fallen protagonist and the scattered objects within the same believable sunset environment. Hard cut. BULLET-TIME CAMERA RULE — NON-NEGOTIABLE BULLET TIME = ALMOST-FROZEN PHYSICAL WORLD + FREELY MOVING CAMERA. Objects stay in WORLD SPACE. Camera moves through WORLD SPACE. Close-up is created ONLY by reducing camera-to-object distance. Never: move objects toward the lens, artificially enlarge objects, teleport objects, regenerate macro versions. STRICT CAMERA ROUTE: FULL FROZEN TABLEAU → CAMERA DOLLIES TO SUNGLASSES → HOLD → 20–30° CAMERA ORBIT → CAMERA TRAVELS TO COFFEE → HOLD → SMALL CAMERA PARALLAX → CAMERA TRAVELS TO PHONE → ESTABLISH COMPLETE PHONE → MOVE TO DISPLAY → HOLD → CAMERA DOLLIES BACK TO COMPLETE TABLEAU → TIME RETURNS CONTINUITY / CAUSALITY Wide shot → medium shot → macro shot = SAME physical object viewed from different camera distances. Sunglasses: same object, same design, same trajectory, same world-space identity. Coffee: same cup, same lid, same coffee, same rotation, same world-space identity. Phone: same open clamshell phone, same housing, hinge, keypad, display, open angle and world-space identity. Every visible change must have a physical cause. Collision causes recoil. Collision momentum separates sunglasses. Finger release changes phone position. Hand release + collision momentum rotates cup. Cup rotation/liquid inertia partially opens lid. Coffee escapes only through the physical gap. Camera movement creates apparent object scale. Gravity resumes final fall. Treat the entire sequence as ONE continuous practical-effects event photographed with a motion-control cinema camera. IDENTITY / PROP LOCK ONE protagonist. ONE secondary person. ONE Labrador. ONE leash. ONE pair of sunglasses. ONE coffee cup. ONE lid. ONE OPEN flip phone. Before collision: RIGHT HAND = phone. LEFT HAND = coffee. Sunglasses = worn. After collision: RIGHT HAND = EMPTY. LEFT HAND = EMPTY. Sunglasses = separated. No second phone. No second cup. No second sunglasses. No additional dog. No additional person. No unexplained props. No duplication. No teleportation. No unexplained scale changes. VISUAL PRIORITY 1. exact protagonist identity from REFERENCE IMAGE 1 2. natural eyes and facial anatomy 3. stable hairstyle and body proportions 4. exact clothing and accessories 5. exact sunglasses from REFERENCE IMAGE 3 6. stable phone geometry 7. empty hands after release 8. continuous physical trajectories 9. realistic environment inspired by REFERENCE IMAGE 2 PHOTOGRAPHIC REALISM Ultra-photorealistic LIVE-ACTION. High-budget international luxury fashion campaign. Real human anatomy. Natural skin pores. Natural facial micro-expressions. Detailed realistic hair. Real manufactured sunglasses. Real paper cup. Real plastic lid. Real liquid coffee. Real early-2000s flip phone. Real object mass, inertia, gravity, momentum and surface tension. ARRI Alexa 35 cinematic character. Premium cinema optics. Motivated sunset lighting inspired by REFERENCE IMAGE 2. Controlled highlights. Natural skin tones. Realistic optical depth of field. Shallow macro depth of field during object inspections. Subtle 35mm film texture. Restrained luxury editorial colour grade. Natural colours. Sharp optical clarity. Cinematic photographic texture. Bullet-time must feel like REAL high-speed practical photography with a motion-control cinema camera, NOT CGI product animation. 4K / Ultra HD. Maximum facial detail. Maximum hair detail. Maximum material fidelity. Stable identity. Stable geometry. Stable prop continuity.
0:12

Made with seedance 2.5 Prompt: Create ONE continuous 12-second, 9:16, ultra-photorealistic LIVE-ACTION luxury fashion film. IMPORTANT REFERENCE MAPPING: REFERENCE Image = PRIMARY CHARACTER. Use the FIRST uploaded reference image of the woman. REFERENCE image2 = ENVIRONMENT. Use the SECOND uploaded reference image of the square. REFERENCE David Carbon = HERO OBJECT. Use the THIRD uploaded reference image of the sunglasses. Do NOT refer to these images as Image, image2 or David Carbon. Use the reference images according to their upload order. CHARACTER — REFERENCE IMAGE 1 Preserve the exact woman from REFERENCE IMAGE 1 throughout the entire video: same facial identity, facial structure, natural eyes, hairstyle, body proportions, skin appearance, clothing, footwear, jewelry, accessories and overall appearance. Do not copy the original background from REFERENCE IMAGE 1. The protagonist is the ONLY main character. ENVIRONMENT — REFERENCE IMAGE 2 Use REFERENCE IMAGE 2 only for visual language: architecture, atmosphere, warm sunset lighting, materials, monumental scale and cobblestone character. Create a NEW believable cinematic pedestrian space inspired by it. Do NOT reproduce its exact composition, exact camera angle or exact street layout. Provide enough open pedestrian space for natural walking and the collision. Respect real-world spatial logic: pedestrians remain in pedestrian areas, architecture has realistic scale and perspective, no impossible geometry. HERO OBJECT — REFERENCE IMAGE 3 The sunglasses shown in REFERENCE IMAGE 3 are the ONE and ONLY HERO OBJECT. Preserve their recognizable: shape, proportions, oversized shield silhouette, dark continuous lens, thin metallic/gold frame, temples, hinge construction, surface details, colour and material. The SAME physical sunglasses must remain recognizable: when worn by the protagonist, when released, during bullet-time macro inspection, and after landing. Do not redesign, replace, duplicate or regenerate the sunglasses. EXACT OBJECT COUNT Exactly: ONE protagonist. ONE secondary passing person. ONE Labrador. ONE leash. ONE pair of sunglasses from REFERENCE IMAGE 3. ONE takeaway paper coffee cup. ONE plastic drinking lid. ONE silver-grey OPEN clamshell flip phone. No duplicate objects or people. PERSISTENT PHONE There is exactly ONE phone in the entire video. It is a compact early-2000s silver-grey OPEN clamshell flip phone. Upper half: small illuminated display and speaker. Lower half: physical numeric keypad, navigation buttons and microphone. Visible central mechanical hinge. LOCK its appearance throughout: same silver-grey colour, same dimensions, same thickness, same hinge, same display, same keypad, same buttons, same open angle. The same phone is seen in wide, medium and macro shots. It never transforms into another phone. PERSISTENT COFFEE Exactly ONE medium disposable PAPER coffee cup with ONE lightweight plastic drinking lid and dark coffee inside. Same cup, same lid, same coffee and same proportions throughout. Before collision the lid is properly attached. Coffee remains inside until a real physical opening appears. HAND OWNERSHIP Before collision: RIGHT HAND = ONE OPEN flip phone held to the RIGHT ear. LEFT HAND = ONE coffee cup. Sunglasses = naturally worn by the protagonist. After collision: RIGHT HAND = COMPLETELY EMPTY. LEFT HAND = COMPLETELY EMPTY. Nothing replaces the phone or cup. Nothing remains attached to either palm. 0.0–2.0s — CINEMATIC CHARACTER REVEAL Begin with an extreme low close-up of the protagonist’s black leather heeled boots walking naturally across the pedestrian space. Camera performs ONE elegant continuous movement: smooth crane upward + gentle backward tracking. Reveal progressively: boots → legs → ripped light-blue baggy jeans → black corset → white tank top → jewelry/accessories → sunglasses → face → nearly full body. The protagonist wears the SAME sunglasses from REFERENCE IMAGE 3. She holds the SAME OPEN silver-grey flip phone to her RIGHT ear and the SAME coffee cup in her LEFT hand. She is actively having a phone conversation. Show subtle realistic speech: natural lip movement, jaw movement and mouth articulation. Maintain exact identity from REFERENCE IMAGE 1. Premium live-action fashion cinematography. 2.0–3.7s — WALKING / SECONDARY PERSON Maintain smooth frontal tracking. The protagonist continues walking naturally through the pedestrian area. Exactly ONE secondary person approaches from the opposite direction. That person holds exactly ONE leash attached to exactly ONE Labrador. The Labrador walks slightly ahead and gently pulls the person forward. They remain background/supporting elements. Maintain: stable protagonist identity, stable hairstyle, stable clothing, stable sunglasses, same phone, same coffee. 3.7–4.4s — ACCIDENTAL COLLISION As they pass each other, the secondary person’s ELBOW accidentally clips the protagonist’s arm/upper torso. Small, accidental, believable contact. The protagonist naturally recoils backward. This SAME collision causes THREE physical release events. SUNGLASSES The sunglasses from REFERENCE IMAGE 3 receive ONE short realistic outward impulse. They separate naturally from the protagonist’s face. They travel only a short physically believable distance. They do NOT fly toward the camera. COFFEE The SAME coffee cup leaves the LEFT hand. It receives one short outward/downward rotational impulse. The cup tilts and rotates. Because of the rotation and liquid inertia, ONE EDGE of the lightweight plastic lid partially pops loose from the cup rim. The lid does not disappear and does not explode away. A real physical gap forms between lid and rim. ONLY THEN does dark coffee begin escaping through this opening. Initial liquid movement is restrained. PHONE The SAME OPEN clamshell phone leaves the RIGHT hand. It receives one short outward/upward impulse. It keeps the SAME open angle and physical design. The instant it separates from the fingers: RIGHT HAND = EMPTY. The instant the cup separates: LEFT HAND = EMPTY. FACE / HAIR CONTINUITY Preserve the exact face from REFERENCE IMAGE 1 during the entire collision. The natural human eyes already exist behind the sunglasses. When the sunglasses separate, reveal the SAME normal eyes: stable pupils, eyelids, gaze direction, brows, nose, cheekbones and facial symmetry. Do not regenerate or alter the face. Hair remains stable with only subtle realistic inertia. No sudden hairstyle change. 4.4–5.2s — BULLET-TIME ESTABLISHMENT Time decelerates dramatically to approximately 2–3% normal speed. DO NOT immediately go into macro. FIRST show a clear medium-wide frozen view of the entire accident. The protagonist is beginning to fall backward. BOTH HANDS ARE EMPTY. Establish fixed WORLD-SPACE anchors: • sunglasses suspended near their release position; • coffee cup suspended lower and toward the LEFT-hand release side; • partially detached lid still connected to or immediately beside the cup; • restrained coffee beginning to escape through the opening; • OPEN flip phone suspended toward the RIGHT-hand release side. Objects move only microscopically. They do NOT move toward the camera. The CAMERA is the main moving element. 5.2–6.8s — SUNGLASSES HERO INSPECTION The sunglasses remain almost completely stationary at their existing world-space position. CAMERA physically dollies toward them. The sunglasses become larger ONLY because the camera gets closer. Once close, slow the camera dramatically. HOLD. Perform a restrained 20–30 degree camera orbit/parallax around the almost-stationary sunglasses. Reveal: dark shield lens, thin metallic/gold frame, temples, hinges, edges, material thickness, surface reflections, tiny manufacturing details. Use shallow photographic macro depth of field. The protagonist and sunset environment remain softly recognizable in the background. The sunglasses must look like a real luxury fashion accessory photographed with a macro cinema lens, NOT CGI product animation. Complete the inspection before moving away. 6.8–8.3s — COFFEE / LIQUID INSPECTION Only after completing the sunglasses inspection, the CAMERA leaves them at their existing world-space position. Travel diagonally through the frozen scene toward the SAME coffee cup. THE CUP DOES NOT MOVE TOWARD THE CAMERA. Hold a photographic macro close-up. Show: same paper cup, same lightweight plastic lid, ONE partially detached lid edge, clear physical gap, dark coffee escaping ONLY through that gap. Real restrained liquid physics: thin irregular stream, imperfect liquid sheet, several differently sized droplets, realistic surface tension, natural reflections. No explosive splash. No decorative CGI liquid. No perfect artificial shapes. Coffee advances only microscopically during bullet time. Perform a small restrained lateral/parallax camera movement around the cup, lid and droplets. HOLD long enough to see paper texture, plastic texture, liquid thickness and individual droplets. 8.3–9.8s — FLIP PHONE INSPECTION Only after coffee inspection, the CAMERA travels away from the cup. The cup, lid and droplets remain at their existing world-space positions. CAMERA moves through the same frozen scene toward the SINGLE OPEN silver-grey clamshell phone. THE PHONE DOES NOT MOVE TOWARD THE CAMERA. First establish the complete phone silhouette: same silver-grey housing, same upper display, same lower keypad, same central hinge, same open angle. Then CAMERA physically approaches the existing upper display. Extreme photographic macro close-up. The illuminated display reads: BOSS with one small realistic phone number underneath. HOLD. Show: real housing material, hinge, keypad texture, small scratches, surface wear, screen reflections. The phone does NOT transform to reveal its screen. It is the SAME phone seen from the beginning. The protagonist’s RIGHT HAND remains completely EMPTY in the background. 9.8–10.4s — COMPLETE FROZEN TABLEAU After phone inspection, CAMERA performs a fast but perfectly smooth dolly backward. All objects remain at their existing world-space positions. Reveal: same protagonist falling backward, both hands empty, same sunglasses, same coffee cup, same partially detached lid, same suspended coffee droplets, same OPEN flip phone, exactly one secondary person, exactly one Labrador. All positions must remain spatially consistent with the original collision and release trajectories. No object follows the camera. No object teleports. No object regenerates. Brief HOLD on the complete frozen tableau. 10.4–12.0s — TIME RETURNS / PHYSICAL PAYOFF Time suddenly snaps back to normal speed. Gravity and existing momentum resume simultaneously. Every object continues FROM ITS EXISTING WORLD-SPACE POSITION. The protagonist completes her backward fall naturally. The sunglasses continue from their suspended position and land according to their existing momentum and gravity. The coffee cup continues from its own separate position, impacts the cobblestone ground, the partially detached lid reacts naturally, and remaining coffee spills irregularly through the real opening and impact point. The OPEN flip phone continues from its own separate position, hits the ground and makes ONE small physically believable bounce. Objects land at DIFFERENT plausible locations. They do NOT suddenly converge beside the protagonist. CAMERA rapidly tilts/drops toward ground level to follow the final impacts. Finish with a cinematic low-angle composition showing the fallen protagonist and the scattered objects within the same believable sunset environment. Hard cut. BULLET-TIME CAMERA RULE — NON-NEGOTIABLE BULLET TIME = ALMOST-FROZEN PHYSICAL WORLD + FREELY MOVING CAMERA. Objects stay in WORLD SPACE. Camera moves through WORLD SPACE. Close-up is created ONLY by reducing camera-to-object distance. Never: move objects toward the lens, artificially enlarge objects, teleport objects, regenerate macro versions. STRICT CAMERA ROUTE: FULL FROZEN TABLEAU → CAMERA DOLLIES TO SUNGLASSES → HOLD → 20–30° CAMERA ORBIT → CAMERA TRAVELS TO COFFEE → HOLD → SMALL CAMERA PARALLAX → CAMERA TRAVELS TO PHONE → ESTABLISH COMPLETE PHONE → MOVE TO DISPLAY → HOLD → CAMERA DOLLIES BACK TO COMPLETE TABLEAU → TIME RETURNS CONTINUITY / CAUSALITY Wide shot → medium shot → macro shot = SAME physical object viewed from different camera distances. Sunglasses: same object, same design, same trajectory, same world-space identity. Coffee: same cup, same lid, same coffee, same rotation, same world-space identity. Phone: same open clamshell phone, same housing, hinge, keypad, display, open angle and world-space identity. Every visible change must have a physical cause. Collision causes recoil. Collision momentum separates sunglasses. Finger release changes phone position. Hand release + collision momentum rotates cup. Cup rotation/liquid inertia partially opens lid. Coffee escapes only through the physical gap. Camera movement creates apparent object scale. Gravity resumes final fall. Treat the entire sequence as ONE continuous practical-effects event photographed with a motion-control cinema camera. IDENTITY / PROP LOCK ONE protagonist. ONE secondary person. ONE Labrador. ONE leash. ONE pair of sunglasses. ONE coffee cup. ONE lid. ONE OPEN flip phone. Before collision: RIGHT HAND = phone. LEFT HAND = coffee. Sunglasses = worn. After collision: RIGHT HAND = EMPTY. LEFT HAND = EMPTY. Sunglasses = separated. No second phone. No second cup. No second sunglasses. No additional dog. No additional person. No unexplained props. No duplication. No teleportation. No unexplained scale changes. VISUAL PRIORITY 1. exact protagonist identity from REFERENCE IMAGE 1 2. natural eyes and facial anatomy 3. stable hairstyle and body proportions 4. exact clothing and accessories 5. exact sunglasses from REFERENCE IMAGE 3 6. stable phone geometry 7. empty hands after release 8. continuous physical trajectories 9. realistic environment inspired by REFERENCE IMAGE 2 PHOTOGRAPHIC REALISM Ultra-photorealistic LIVE-ACTION. High-budget international luxury fashion campaign. Real human anatomy. Natural skin pores. Natural facial micro-expressions. Detailed realistic hair. Real manufactured sunglasses. Real paper cup. Real plastic lid. Real liquid coffee. Real early-2000s flip phone. Real object mass, inertia, gravity, momentum and surface tension. ARRI Alexa 35 cinematic character. Premium cinema optics. Motivated sunset lighting inspired by REFERENCE IMAGE 2. Controlled highlights. Natural skin tones. Realistic optical depth of field. Shallow macro depth of field during object inspections. Subtle 35mm film texture. Restrained luxury editorial colour grade. Natural colours. Sharp optical clarity. Cinematic photographic texture. Bullet-time must feel like REAL high-speed practical photography with a motion-control cinema camera, NOT CGI product animation. 4K / Ultra HD. Maximum facial detail. Maximum hair detail. Maximum material fidelity. Stable identity. Stable geometry. Stable prop continuity.

Oogie

18,923 次观看 • 15 天前