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Vibes on. Control off...😈 Shot and edited by Purpose Studios Photographer: Errikos Andreou Styled by: Anaita Shroff Adajania Hair: Aalim Hakim|| Shayan Merchant Makeup: Vijay Palande

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Hrithik Roshan

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NYLON Manila

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If someone offered you this kind of attention, how would you react? Honestly, I'd be baffled Made with Nano Banana 2 + Seedance 2.0 on GoCrazyAI Try here: prompt Title: Luxury Boutique Encounter — 15 Seconds 0–3 Seconds Inside an ultra-luxurious designer shoe boutique illuminated by warm golden lighting, crystal reflections shimmer across polished marble floors and elegant display shelves. A stunning young Western woman with fair skin and long blonde wavy hair styled in a loose elegant updo stands gracefully near a velvet fitting chair. Soft face-framing bangs frame her delicate features, while a pink cherry blossom hair accessory decorates her hair. She wears a refined light-purple off-shoulder yukata-inspired designer dress with blue and pink floral patterns inspired by cherry blossoms and fireworks motifs, flowing sleeves, and an elegant obi-style waist sash. She holds a beautiful floral folding fan in her right hand. The camera slowly moves upward from the boutique floor to reveal her confident and elegant posture. Dialogue (Woman, smiling softly): "It's rare to find someone who pays attention to every detail." 3–7 Seconds A handsome young boutique assistant kneels beside her. He has styled dark hair, gentle eyes, and an expression that suggests admiration and growing affection. Dressed impeccably in a fitted white shirt, black vest, black trousers, and elegant gloves, he carefully adjusts a pair of luxury nude stiletto heels onto her feet with professional precision. He briefly looks up at her, visibly captivated by her elegance. Dialogue (Assistant): "Some designs become unforgettable the moment you see them." 7–11 Seconds The woman leans slightly forward, amused by his sincerity. Crystal chandeliers sparkle in the background while soft reflections dance across the boutique. She lightly twirls her folding fan and smiles. Dialogue (Woman): "Are you talking about the shoes... or something else?" The assistant smiles shyly. Dialogue (Assistant): "The shoes are beautiful." "But they aren't what caught my attention first." 11–15 Seconds He gently finishes fitting the heel and rises to his feet. The woman takes a few graceful steps across the marble floor while the camera follows her movement in cinematic slow motion. Their eyes meet. Dialogue (Woman, playfully): "Then perhaps this shopping trip was worth it after all." Dialogue (Assistant, smiling warmly): "I think so too." Ending Shot: Slow-motion close-up of her smile, his admiring expression, crystal reflections filling the frame, luxury cinematic atmosphere, photorealistic, ultra-detailed, premium fashion commercial style, 4K cinematic quality.
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3 years today, Beyoncé dropped ‘Black is King’ to universal acclaim. •Black Is King was credited by Disney+ for an increase of approximately 3 million subscribers, enabled them to reach their 5 year goal in 8 months •Black Is King was one of the 15 most streamed films of 2020. •Many of the designers Beyoncé and her dancers wore in Black Is King saw triple-digit spikes in search traffic after the film's release. •The Marine Serre moon print bodysuit that Beyoncé wore in the film became "the most popular design of 2020", with the brand seeing a 426% increase in searches in the 48 hours after the film's release. •Black Is King was named the digital fashion event of the summer, upstaging official fashion weeks by aligning garments with history, celebrity, purpose, and unparalleled beauty, according to Vogue •The film also helped raise awareness of African fashion worldwide, kicked off hair and makeup trends, with stylists and artists around the world creating looks inspired by those in Black Is King. •Beyoncé's fashion in the film made her become the most influential woman in fashion in 2020 •Universities have offered courses that involves studying Black Is King. Harvard University offered a program inspired by the film titled "Black Is Queen: The Divine Feminine in Kush". The course will use songs from the film to explore the high status of women in the Nubian Kingdom of Kush and "how ancient Africans of the Nile Valley understood female power and presence". •Inspired by Black Is King, the New York Public Library published a guide of various materials, such as literature, documentaries, and photographic collections • New York University hosted an event titled "The Making and Unpacking of Beyoncé's Black Is King", •Most of the African collaborators on Black Is King; Directors, Choreographers, Designers etc. Credited Beyoncé and the film for helping their careers go mainstream , and most noted that it’s the most they’ve been paid for a single project •Won A Grammy, Emmy, and Cannes Lion •Black Is King's release was also one of the eight most talked-about moments on Instagram of 2020 •Screen Rant ranked the film at number one on its list of the visual albums that have redefined cinema. •Black Is King was ranked at number one as the best on-screen fashion moments of 2020 •The Washington Post selected the Black Is King soundtrack as the piece of culture that had the biggest impact in 2020 •Black Is King was lauded for being for its diverse cast, stunning artistry and inspiring interpretation of the Black experience.
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3 years today, Beyoncé dropped ‘Black is King’ to universal acclaim. •Black Is King was credited by Disney+ for an increase of approximately 3 million subscribers, enabled them to reach their 5 year goal in 8 months •Black Is King was one of the 15 most streamed films of 2020. •Many of the designers Beyoncé and her dancers wore in Black Is King saw triple-digit spikes in search traffic after the film's release. •The Marine Serre moon print bodysuit that Beyoncé wore in the film became "the most popular design of 2020", with the brand seeing a 426% increase in searches in the 48 hours after the film's release. •Black Is King was named the digital fashion event of the summer, upstaging official fashion weeks by aligning garments with history, celebrity, purpose, and unparalleled beauty, according to Vogue •The film also helped raise awareness of African fashion worldwide, kicked off hair and makeup trends, with stylists and artists around the world creating looks inspired by those in Black Is King. •Beyoncé's fashion in the film made her become the most influential woman in fashion in 2020 •Universities have offered courses that involves studying Black Is King. Harvard University offered a program inspired by the film titled "Black Is Queen: The Divine Feminine in Kush". The course will use songs from the film to explore the high status of women in the Nubian Kingdom of Kush and "how ancient Africans of the Nile Valley understood female power and presence". •Inspired by Black Is King, the New York Public Library published a guide of various materials, such as literature, documentaries, and photographic collections • New York University hosted an event titled "The Making and Unpacking of Beyoncé's Black Is King", •Most of the African collaborators on Black Is King; Directors, Choreographers, Designers etc. Credited Beyoncé and the film for helping their careers go mainstream , and most noted that it’s the most they’ve been paid for a single project •Won A Grammy, Emmy, and Cannes Lion •Black Is King's release was also one of the eight most talked-about moments on Instagram of 2020 •Screen Rant ranked the film at number one on its list of the visual albums that have redefined cinema. •Black Is King was ranked at number one as the best on-screen fashion moments of 2020 •The Washington Post selected the Black Is King soundtrack as the piece of culture that had the biggest impact in 2020 •Black Is King was lauded for being for its diverse cast, stunning artistry and inspiring interpretation of the Black experience.

IChooseViolence

134,365 Aufrufe • vor 3 Jahren

//The Wire//2300Z March 4, 2026// //ROUTINE// //BLUF: GULF WAR CONTINUES AS ALLIED RADAR INSTALLATIONS TARGETED BY IRANIAN FORCES. US NAVY SINKS IRANIAN FRIGATE OFF COAST OF SRI LANKA.// -----BEGIN TEARLINE----- -International Events- Middle East: The large-scale bombing of targets within Iran continues, with hundreds of bombs being dropped day and night. Around the region, overnight satellite imagery confirmed that Iranian forces have successfully struck multiple American Air Defense installations. Concerning American battle damage, the following radar arrays have been damaged or destroyed since the conflict began. Qatar: A/N FPS-132 Block 5 array - Hit, unknown damage. Kuwait: 3x unknown radomes destroyed. Bahrain: 2x AN/GSC-52B radomes destroyed. UAE: THAAD battery at Al-Ruwais confirmed struck, damage unknown. Saudi Arabia: A/N TPY-2 radar site (used with the THAAD system) struck at Prince Sultan Airbase. Jordan: THAAD battery at Muwaffaq Salti Airbase possibly struck, unknown damage. Analyst Comment: These radar arrays are not tiny fire-control systems mounted on a HMMWV, these are major strategic assets for air defense throughout the hemisphere, not just the Middle East. The FPS-132 alone costs over a billion dollars and there are only six of these sites in the entire world. Similarly, there are only nine THAAD batteries in existence globally, and the Iranians just hit one (possibly two) of them with a munition that cost about $30k each. Strait of Hormuz: The war on the high seas continues as multiple commercial vessels have been struck by drones overnight. The UK Maritime Trade Operations center has reported a total of four commercial vessels being hit with unknown munitions over the past 24 hours, sustaining unknown damage. Two container ships, a BCC, and a tanker vessel were all hit or targeted by unknown munitions. Analyst Comment: Merchant traffic within the Strait is mostly at a standstill, as nobody wants to run the the gauntlet and risk hundreds of millions of dollars if something goes wrong. At this present time, drone and missile attacks are effective enough to prevent any large merchant vessel from transiting the waterway. Turkey: This morning the Turkish Defense Ministry stated that an Iranian ballistic missile was shot down in their nation. The missile was shot down by a US Navy vessel in the Eastern med, and the debris landed near the town of Dörtyol in the southeastern region of the country. Lebanon: The Israeli ground invasion continues, with the IDF ordering the evacuation of Lebanese citizens to north of the Litani River. Roughly 15% of the land mass of Lebanon has been ordered to evacuate by Israel, as the IDF continues pushing north. Indian Ocean: This morning the US Navy torpedoed an Iranian frigate off the coast of Sri Lanka. The IRIS DENA was sunk by an American submarine with the crew abandoning ship overnight. The Sri Lankan Navy has conducted rescue operations of about 30 survivors, with about half of the crew remaining missing. -----END TEARLINE----- Analyst Comments: Regarding the evacuations of Americans from the Middle East, so far the situation is complicated. The US State Department has provided emergency phone numbers for Americans stranded overseas to call, but reports are mixed regarding Americans actually being evacuated. Commercial flights remain sporadic, and most Americans stranded in the region are being told to sit tight until flights are available. Airspace closures remain throughout the entire region, and most airlines are attempting to fly out whenever they can. Dubai is the world's busiest airport, and so far it's been averaging a few dozen flights in and out each day, when previously the average was over a thousand flights per day. The smaller airport in Muscat, Oman is the next-closest hub from which evacuations are occurring, however it's nearly all private aircraft at this point since all commercial options have been booked. Considering the damage that has likely been done to American radar sites around the region, if it is true that Early Warning capabilities have been degraded as a result of Iranian strikes, more serious targeting efforts could continue over the next few days. Although, the systems that have been hit are mostly for high-altitude ballistic missile threats, and not the smaller drones that are threatening the Gulf States most effectively at the moment. This is the fundamental nature of this war: Every missile interception has to succeed every single time, but the Iranians only have to be successful once to cause enough uncertainty both with maritime shipping and civil aviation, to cause problems. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//
4:12

//The Wire//2300Z March 4, 2026// //ROUTINE// //BLUF: GULF WAR CONTINUES AS ALLIED RADAR INSTALLATIONS TARGETED BY IRANIAN FORCES. US NAVY SINKS IRANIAN FRIGATE OFF COAST OF SRI LANKA.// -----BEGIN TEARLINE----- -International Events- Middle East: The large-scale bombing of targets within Iran continues, with hundreds of bombs being dropped day and night. Around the region, overnight satellite imagery confirmed that Iranian forces have successfully struck multiple American Air Defense installations. Concerning American battle damage, the following radar arrays have been damaged or destroyed since the conflict began. Qatar: A/N FPS-132 Block 5 array - Hit, unknown damage. Kuwait: 3x unknown radomes destroyed. Bahrain: 2x AN/GSC-52B radomes destroyed. UAE: THAAD battery at Al-Ruwais confirmed struck, damage unknown. Saudi Arabia: A/N TPY-2 radar site (used with the THAAD system) struck at Prince Sultan Airbase. Jordan: THAAD battery at Muwaffaq Salti Airbase possibly struck, unknown damage. Analyst Comment: These radar arrays are not tiny fire-control systems mounted on a HMMWV, these are major strategic assets for air defense throughout the hemisphere, not just the Middle East. The FPS-132 alone costs over a billion dollars and there are only six of these sites in the entire world. Similarly, there are only nine THAAD batteries in existence globally, and the Iranians just hit one (possibly two) of them with a munition that cost about $30k each. Strait of Hormuz: The war on the high seas continues as multiple commercial vessels have been struck by drones overnight. The UK Maritime Trade Operations center has reported a total of four commercial vessels being hit with unknown munitions over the past 24 hours, sustaining unknown damage. Two container ships, a BCC, and a tanker vessel were all hit or targeted by unknown munitions. Analyst Comment: Merchant traffic within the Strait is mostly at a standstill, as nobody wants to run the the gauntlet and risk hundreds of millions of dollars if something goes wrong. At this present time, drone and missile attacks are effective enough to prevent any large merchant vessel from transiting the waterway. Turkey: This morning the Turkish Defense Ministry stated that an Iranian ballistic missile was shot down in their nation. The missile was shot down by a US Navy vessel in the Eastern med, and the debris landed near the town of Dörtyol in the southeastern region of the country. Lebanon: The Israeli ground invasion continues, with the IDF ordering the evacuation of Lebanese citizens to north of the Litani River. Roughly 15% of the land mass of Lebanon has been ordered to evacuate by Israel, as the IDF continues pushing north. Indian Ocean: This morning the US Navy torpedoed an Iranian frigate off the coast of Sri Lanka. The IRIS DENA was sunk by an American submarine with the crew abandoning ship overnight. The Sri Lankan Navy has conducted rescue operations of about 30 survivors, with about half of the crew remaining missing. -----END TEARLINE----- Analyst Comments: Regarding the evacuations of Americans from the Middle East, so far the situation is complicated. The US State Department has provided emergency phone numbers for Americans stranded overseas to call, but reports are mixed regarding Americans actually being evacuated. Commercial flights remain sporadic, and most Americans stranded in the region are being told to sit tight until flights are available. Airspace closures remain throughout the entire region, and most airlines are attempting to fly out whenever they can. Dubai is the world's busiest airport, and so far it's been averaging a few dozen flights in and out each day, when previously the average was over a thousand flights per day. The smaller airport in Muscat, Oman is the next-closest hub from which evacuations are occurring, however it's nearly all private aircraft at this point since all commercial options have been booked. Considering the damage that has likely been done to American radar sites around the region, if it is true that Early Warning capabilities have been degraded as a result of Iranian strikes, more serious targeting efforts could continue over the next few days. Although, the systems that have been hit are mostly for high-altitude ballistic missile threats, and not the smaller drones that are threatening the Gulf States most effectively at the moment. This is the fundamental nature of this war: Every missile interception has to succeed every single time, but the Iranians only have to be successful once to cause enough uncertainty both with maritime shipping and civil aviation, to cause problems. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//

S2 Underground

10,082 Aufrufe • vor 6 Monaten

Seedance 2.5 vs WAN 3.0 - same viral video One of them is dead in the water - You judge Prompt: Handheld digital camcorder aesthetic, landscape framing. A gorgeous fitness and food influencer films herself by hand in selfie-cam and first-person style while cooking a late-night high-protein meal after training and a shower. Keep realistic hand shake, slightly crooked framing, autofocus briefly hunting between her face and the food, awkward zoom-ins onto the pan, occasional motion blur, brief lens steam-up over the hot pan that clears naturally, and small framing mistakes where her face or the pan edge slips out of frame. Mix handheld selfie footage with a few fixed external shots. Important: never show her placing, adjusting, or setting up a camera. When switching from handheld footage to a fixed external angle, use a clean jump cut as if the camera had already been positioned before the shot began. The camera itself must never appear on screen or in the window reflection. LOOK: Warm late-night kitchen light. A single warm pendant over the counter, cool blue night visible through the window behind her, under-cabinet strip light glowing on the backsplash. Slight camcorder softness, faint noise in the shadows, mild bloom on the pendant. Food realism is the core of the look: real sizzle with fine oil spatter, steam rising and curling from the pan, honest food textures with sear marks and glistening surfaces, knife cuts that separate cleanly, droplets on rinsed vegetables. Realistic skin texture, fresh-from-the-shower glow, clean dewy skin, realistic skin tones. STYLE: A realistic late-night what-I-eat-after-training vlog. The tone is relaxed, hungry, funny, quietly confident, and natural, talking to the lens like a friend while her hands keep working. She is clearly attractive and charismatic, but the video must feel like a believable self-recorded kitchen vlog, not a food commercial. Fast clean jump cuts, strong continuity, natural body language, real kitchen sounds, sizzle, chopping, no awkward dead moments. CHARACTER: The woman in the reference image. Her face, features, skin tone, body, and clothing must match the reference image exactly in every shot — she wears exactly what she is wearing in the reference image. Do not restyle, beautify, or alter her in any way beyond the reference. The one addition: a soft white towel wrapped around her head like a turban, as if she just stepped out of the shower. The towel stays neatly wrapped for the whole video. A few small damp strands of hair may peek out at the hairline and neck. Minimal or no makeup, fresh clean post-shower look. A small kitchen towel over one shoulder for most of the video. SETTING: A small warm real apartment kitchen at night. Wooden counter with knife marks, a gas hob with one cast-iron pan, a cutting board with chicken breast and vegetables, a bowl of cooked rice, a bottle of olive oil, salt in a small dish, a fridge with magnets and photos, dishes drying on a rack, dark window over the sink reflecting the warm kitchen. Lived-in and slightly cluttered. No other people, no pets. IMPORTANT CONTINUITY RULES: The same woman from the reference image must remain fully consistent in every shot. No face changes, no outfit changes, no body changes. The head towel stays wrapped in the same position in every shot — it never unwraps, falls, changes color, or disappears. The meal progresses in one direction only: raw ingredients, then chopping, then searing, then plating, then eating, and never reverses or regenerates. Food already cooked never becomes raw again. Hands and knife are the top priority: five fingers always, correct knife grip with curled guiding fingers, clean cuts, the knife never bends and never passes through her hand. The pan, board, oil bottle and rice bowl stay in the same positions. Steam and sizzle must behave with real physics. No extra people, including in the dark window reflection, and the reflection never shows a camera. No duplicated limbs. No camera visible. No camera setup shown. Keep her matching the reference image, warm, and photogenic in every shot. STORYBOARD: 30 seconds total, 10 cuts. (~3s, arm's-length selfie) She leans on the counter, towel wrapped on her head, clearly fresh from the shower after training, and grins tiredly at the lens. Dialogue: "Trained late. Showered. Starving. Let's cook." (~3s, handheld pan across the counter and back to her) The camera drifts across the board with raw chicken and vegetables, the pan, the rice bowl, then back up to her face. Dialogue: "Ten minute meal. Watch." (~3s, fixed external medium shot from across the counter) Jump cut. She is already chopping a red pepper with quick confident cuts, guiding fingers curled, pieces falling evenly. No camera setup shown. No dialogue, just the knife on the board. (~3s, same fixed shot) She slices the chicken breast into strips, seasons it from the salt dish with a high pinch, and rubs it in with her fingertips. Dialogue: "Protein first. Always." (~3s, tight handheld first-person shot over the pan) Oil shimmering, she lays the chicken strips in one by one and they hit with a loud real sizzle, fine spatter, steam rising into the lens which fogs for a beat and clears. No dialogue, just the sizzle. (~3s, handheld selfie while the pan sizzles behind her) She turns the camera on herself, fanning steam away from her face, laughing, one hand briefly steadying the head towel. Dialogue: "The smell. You have no idea." (~3s, tight handheld close-up of the pan) She flips the strips with tongs, showing deep golden sear marks, tosses in the peppers, and shakes the pan once so everything jumps and resettles. Dialogue: "That colour? That's the whole point." (~3s, fixed external shot) Jump cut. She plates it: rice pressed from the bowl, chicken and peppers over the top, a last drizzle of olive oil in a thin ribbon, and she wipes the plate rim with the towel like a chef, then smirks at her own seriousness. Dialogue: "Yes, I wiped the rim. Let me live." (~3s, tight handheld close-up) First fork bite, steam still coming off it, she chews, closes her eyes for a beat and nods slowly. Dialogue: "Ten minutes. That's it. Ridiculous." (~3s, arm's-length selfie ending) Plate in one hand, camera in the other, she backs out of the kitchen toward the sofa, flicking the kitchen light off with her elbow. Dialogue: "Okay. Eating. Good night." FINAL INSTRUCTION: The result must feel like a real self-recorded late-night cooking vlog by an athlete who actually cooks, filmed right after her shower. The highest priorities are matching the reference image exactly, correct hands and knife work at close range, one-directional cooking progression that never reverses, real sizzle, steam and food texture, the head towel staying consistently wrapped, honest warm kitchen light against the dark window, and subtle imperfection. Keep it warm, hungry, and real. Not a food commercial, not overhead recipe content, not stiff.
0:30

Seedance 2.5 vs WAN 3.0 - same viral video One of them is dead in the water - You judge Prompt: Handheld digital camcorder aesthetic, landscape framing. A gorgeous fitness and food influencer films herself by hand in selfie-cam and first-person style while cooking a late-night high-protein meal after training and a shower. Keep realistic hand shake, slightly crooked framing, autofocus briefly hunting between her face and the food, awkward zoom-ins onto the pan, occasional motion blur, brief lens steam-up over the hot pan that clears naturally, and small framing mistakes where her face or the pan edge slips out of frame. Mix handheld selfie footage with a few fixed external shots. Important: never show her placing, adjusting, or setting up a camera. When switching from handheld footage to a fixed external angle, use a clean jump cut as if the camera had already been positioned before the shot began. The camera itself must never appear on screen or in the window reflection. LOOK: Warm late-night kitchen light. A single warm pendant over the counter, cool blue night visible through the window behind her, under-cabinet strip light glowing on the backsplash. Slight camcorder softness, faint noise in the shadows, mild bloom on the pendant. Food realism is the core of the look: real sizzle with fine oil spatter, steam rising and curling from the pan, honest food textures with sear marks and glistening surfaces, knife cuts that separate cleanly, droplets on rinsed vegetables. Realistic skin texture, fresh-from-the-shower glow, clean dewy skin, realistic skin tones. STYLE: A realistic late-night what-I-eat-after-training vlog. The tone is relaxed, hungry, funny, quietly confident, and natural, talking to the lens like a friend while her hands keep working. She is clearly attractive and charismatic, but the video must feel like a believable self-recorded kitchen vlog, not a food commercial. Fast clean jump cuts, strong continuity, natural body language, real kitchen sounds, sizzle, chopping, no awkward dead moments. CHARACTER: The woman in the reference image. Her face, features, skin tone, body, and clothing must match the reference image exactly in every shot — she wears exactly what she is wearing in the reference image. Do not restyle, beautify, or alter her in any way beyond the reference. The one addition: a soft white towel wrapped around her head like a turban, as if she just stepped out of the shower. The towel stays neatly wrapped for the whole video. A few small damp strands of hair may peek out at the hairline and neck. Minimal or no makeup, fresh clean post-shower look. A small kitchen towel over one shoulder for most of the video. SETTING: A small warm real apartment kitchen at night. Wooden counter with knife marks, a gas hob with one cast-iron pan, a cutting board with chicken breast and vegetables, a bowl of cooked rice, a bottle of olive oil, salt in a small dish, a fridge with magnets and photos, dishes drying on a rack, dark window over the sink reflecting the warm kitchen. Lived-in and slightly cluttered. No other people, no pets. IMPORTANT CONTINUITY RULES: The same woman from the reference image must remain fully consistent in every shot. No face changes, no outfit changes, no body changes. The head towel stays wrapped in the same position in every shot — it never unwraps, falls, changes color, or disappears. The meal progresses in one direction only: raw ingredients, then chopping, then searing, then plating, then eating, and never reverses or regenerates. Food already cooked never becomes raw again. Hands and knife are the top priority: five fingers always, correct knife grip with curled guiding fingers, clean cuts, the knife never bends and never passes through her hand. The pan, board, oil bottle and rice bowl stay in the same positions. Steam and sizzle must behave with real physics. No extra people, including in the dark window reflection, and the reflection never shows a camera. No duplicated limbs. No camera visible. No camera setup shown. Keep her matching the reference image, warm, and photogenic in every shot. STORYBOARD: 30 seconds total, 10 cuts. (~3s, arm's-length selfie) She leans on the counter, towel wrapped on her head, clearly fresh from the shower after training, and grins tiredly at the lens. Dialogue: "Trained late. Showered. Starving. Let's cook." (~3s, handheld pan across the counter and back to her) The camera drifts across the board with raw chicken and vegetables, the pan, the rice bowl, then back up to her face. Dialogue: "Ten minute meal. Watch." (~3s, fixed external medium shot from across the counter) Jump cut. She is already chopping a red pepper with quick confident cuts, guiding fingers curled, pieces falling evenly. No camera setup shown. No dialogue, just the knife on the board. (~3s, same fixed shot) She slices the chicken breast into strips, seasons it from the salt dish with a high pinch, and rubs it in with her fingertips. Dialogue: "Protein first. Always." (~3s, tight handheld first-person shot over the pan) Oil shimmering, she lays the chicken strips in one by one and they hit with a loud real sizzle, fine spatter, steam rising into the lens which fogs for a beat and clears. No dialogue, just the sizzle. (~3s, handheld selfie while the pan sizzles behind her) She turns the camera on herself, fanning steam away from her face, laughing, one hand briefly steadying the head towel. Dialogue: "The smell. You have no idea." (~3s, tight handheld close-up of the pan) She flips the strips with tongs, showing deep golden sear marks, tosses in the peppers, and shakes the pan once so everything jumps and resettles. Dialogue: "That colour? That's the whole point." (~3s, fixed external shot) Jump cut. She plates it: rice pressed from the bowl, chicken and peppers over the top, a last drizzle of olive oil in a thin ribbon, and she wipes the plate rim with the towel like a chef, then smirks at her own seriousness. Dialogue: "Yes, I wiped the rim. Let me live." (~3s, tight handheld close-up) First fork bite, steam still coming off it, she chews, closes her eyes for a beat and nods slowly. Dialogue: "Ten minutes. That's it. Ridiculous." (~3s, arm's-length selfie ending) Plate in one hand, camera in the other, she backs out of the kitchen toward the sofa, flicking the kitchen light off with her elbow. Dialogue: "Okay. Eating. Good night." FINAL INSTRUCTION: The result must feel like a real self-recorded late-night cooking vlog by an athlete who actually cooks, filmed right after her shower. The highest priorities are matching the reference image exactly, correct hands and knife work at close range, one-directional cooking progression that never reverses, real sizzle, steam and food texture, the head towel staying consistently wrapped, honest warm kitchen light against the dark window, and subtle imperfection. Keep it warm, hungry, and real. Not a food commercial, not overhead recipe content, not stiff.

Stav Zilbershtein

23,771 Aufrufe • vor 8 Tagen

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
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What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

28,464 Aufrufe • vor 18 Tagen

If you think AI is "not there yet" - You are not informed Here is what I did on maxfusion Full prompt: Handheld digital camcorder aesthetic, landscape framing. A gorgeous fitness and food influencer films herself by hand in selfie-cam and first-person style while cooking a late-night high-protein meal after training and a shower. Keep realistic hand shake, slightly crooked framing, autofocus briefly hunting between her face and the food, awkward zoom-ins onto the pan, occasional motion blur, brief lens steam-up over the hot pan that clears naturally, and small framing mistakes where her face or the pan edge slips out of frame. Mix handheld selfie footage with a few fixed external shots. Important: never show her placing, adjusting, or setting up a camera. When switching from handheld footage to a fixed external angle, use a clean jump cut as if the camera had already been positioned before the shot began. The camera itself must never appear on screen or in the window reflection. LOOK: Warm late-night kitchen light. A single warm pendant over the counter, cool blue night visible through the window behind her, under-cabinet strip light glowing on the backsplash. Slight camcorder softness, faint noise in the shadows, mild bloom on the pendant. Food realism is the core of the look: real sizzle with fine oil spatter, steam rising and curling from the pan, honest food textures with sear marks and glistening surfaces, knife cuts that separate cleanly, droplets on rinsed vegetables. Realistic skin texture, fresh-from-the-shower glow, clean dewy skin, realistic skin tones. STYLE: A realistic late-night what-I-eat-after-training vlog. The tone is relaxed, hungry, funny, quietly confident, and natural, talking to the lens like a friend while her hands keep working. She is clearly attractive and charismatic, but the video must feel like a believable self-recorded kitchen vlog, not a food commercial. Fast clean jump cuts, strong continuity, natural body language, real kitchen sounds, sizzle, chopping, no awkward dead moments. CHARACTER: The woman in the reference image. Her face, features, skin tone, body, and clothing must match the reference image exactly in every shot — she wears exactly what she is wearing in the reference image. Do not restyle, beautify, or alter her in any way beyond the reference. The one addition: a soft white towel wrapped around her head like a turban, as if she just stepped out of the shower. The towel stays neatly wrapped for the whole video. A few small damp strands of hair may peek out at the hairline and neck. Minimal or no makeup, fresh clean post-shower look. A small kitchen towel over one shoulder for most of the video. SETTING: A small warm real apartment kitchen at night. Wooden counter with knife marks, a gas hob with one cast-iron pan, a cutting board with chicken breast and vegetables, a bowl of cooked rice, a bottle of olive oil, salt in a small dish, a fridge with magnets and photos, dishes drying on a rack, dark window over the sink reflecting the warm kitchen. Lived-in and slightly cluttered. No other people, no pets. IMPORTANT CONTINUITY RULES: The same woman from the reference image must remain fully consistent in every shot. No face changes, no outfit changes, no body changes. The head towel stays wrapped in the same position in every shot — it never unwraps, falls, changes color, or disappears. The meal progresses in one direction only: raw ingredients, then chopping, then searing, then plating, then eating, and never reverses or regenerates. Food already cooked never becomes raw again. Hands and knife are the top priority: five fingers always, correct knife grip with curled guiding fingers, clean cuts, the knife never bends and never passes through her hand. The pan, board, oil bottle and rice bowl stay in the same positions. Steam and sizzle must behave with real physics. No extra people, including in the dark window reflection, and the reflection never shows a camera. No duplicated limbs. No camera visible. No camera setup shown. Keep her matching the reference image, warm, and photogenic in every shot. STORYBOARD: 30 seconds total, 10 cuts. (~3s, arm's-length selfie) She leans on the counter, towel wrapped on her head, clearly fresh from the shower after training, and grins tiredly at the lens. Dialogue: "Trained late. Showered. Starving. Let's cook." (~3s, handheld pan across the counter and back to her) The camera drifts across the board with raw chicken and vegetables, the pan, the rice bowl, then back up to her face. Dialogue: "Ten minute meal. Watch." (~3s, fixed external medium shot from across the counter) Jump cut. She is already chopping a red pepper with quick confident cuts, guiding fingers curled, pieces falling evenly. No camera setup shown. No dialogue, just the knife on the board. (~3s, same fixed shot) She slices the chicken breast into strips, seasons it from the salt dish with a high pinch, and rubs it in with her fingertips. Dialogue: "Protein first. Always." (~3s, tight handheld first-person shot over the pan) Oil shimmering, she lays the chicken strips in one by one and they hit with a loud real sizzle, fine spatter, steam rising into the lens which fogs for a beat and clears. No dialogue, just the sizzle. (~3s, handheld selfie while the pan sizzles behind her) She turns the camera on herself, fanning steam away from her face, laughing, one hand briefly steadying the head towel. Dialogue: "The smell. You have no idea." (~3s, tight handheld close-up of the pan) She flips the strips with tongs, showing deep golden sear marks, tosses in the peppers, and shakes the pan once so everything jumps and resettles. Dialogue: "That colour? That's the whole point." (~3s, fixed external shot) Jump cut. She plates it: rice pressed from the bowl, chicken and peppers over the top, a last drizzle of olive oil in a thin ribbon, and she wipes the plate rim with the towel like a chef, then smirks at her own seriousness. Dialogue: "Yes, I wiped the rim. Let me live." (~3s, tight handheld close-up) First fork bite, steam still coming off it, she chews, closes her eyes for a beat and nods slowly. Dialogue: "Ten minutes. That's it. Ridiculous." (~3s, arm's-length selfie ending) Plate in one hand, camera in the other, she backs out of the kitchen toward the sofa, flicking the kitchen light off with her elbow. Dialogue: "Okay. Eating. Good night." FINAL INSTRUCTION: The result must feel like a real self-recorded late-night cooking vlog by an athlete who actually cooks, filmed right after her shower. The highest priorities are matching the reference image exactly, correct hands and knife work at close range, one-directional cooking progression that never reverses, real sizzle, steam and food texture, the head towel staying consistently wrapped, honest warm kitchen light against the dark window, and subtle imperfection. Keep it warm, hungry, and real. Not a food commercial, not overhead recipe content, not stiff.
0:30

If you think AI is "not there yet" - You are not informed Here is what I did on maxfusion Full prompt: Handheld digital camcorder aesthetic, landscape framing. A gorgeous fitness and food influencer films herself by hand in selfie-cam and first-person style while cooking a late-night high-protein meal after training and a shower. Keep realistic hand shake, slightly crooked framing, autofocus briefly hunting between her face and the food, awkward zoom-ins onto the pan, occasional motion blur, brief lens steam-up over the hot pan that clears naturally, and small framing mistakes where her face or the pan edge slips out of frame. Mix handheld selfie footage with a few fixed external shots. Important: never show her placing, adjusting, or setting up a camera. When switching from handheld footage to a fixed external angle, use a clean jump cut as if the camera had already been positioned before the shot began. The camera itself must never appear on screen or in the window reflection. LOOK: Warm late-night kitchen light. A single warm pendant over the counter, cool blue night visible through the window behind her, under-cabinet strip light glowing on the backsplash. Slight camcorder softness, faint noise in the shadows, mild bloom on the pendant. Food realism is the core of the look: real sizzle with fine oil spatter, steam rising and curling from the pan, honest food textures with sear marks and glistening surfaces, knife cuts that separate cleanly, droplets on rinsed vegetables. Realistic skin texture, fresh-from-the-shower glow, clean dewy skin, realistic skin tones. STYLE: A realistic late-night what-I-eat-after-training vlog. The tone is relaxed, hungry, funny, quietly confident, and natural, talking to the lens like a friend while her hands keep working. She is clearly attractive and charismatic, but the video must feel like a believable self-recorded kitchen vlog, not a food commercial. Fast clean jump cuts, strong continuity, natural body language, real kitchen sounds, sizzle, chopping, no awkward dead moments. CHARACTER: The woman in the reference image. Her face, features, skin tone, body, and clothing must match the reference image exactly in every shot — she wears exactly what she is wearing in the reference image. Do not restyle, beautify, or alter her in any way beyond the reference. The one addition: a soft white towel wrapped around her head like a turban, as if she just stepped out of the shower. The towel stays neatly wrapped for the whole video. A few small damp strands of hair may peek out at the hairline and neck. Minimal or no makeup, fresh clean post-shower look. A small kitchen towel over one shoulder for most of the video. SETTING: A small warm real apartment kitchen at night. Wooden counter with knife marks, a gas hob with one cast-iron pan, a cutting board with chicken breast and vegetables, a bowl of cooked rice, a bottle of olive oil, salt in a small dish, a fridge with magnets and photos, dishes drying on a rack, dark window over the sink reflecting the warm kitchen. Lived-in and slightly cluttered. No other people, no pets. IMPORTANT CONTINUITY RULES: The same woman from the reference image must remain fully consistent in every shot. No face changes, no outfit changes, no body changes. The head towel stays wrapped in the same position in every shot — it never unwraps, falls, changes color, or disappears. The meal progresses in one direction only: raw ingredients, then chopping, then searing, then plating, then eating, and never reverses or regenerates. Food already cooked never becomes raw again. Hands and knife are the top priority: five fingers always, correct knife grip with curled guiding fingers, clean cuts, the knife never bends and never passes through her hand. The pan, board, oil bottle and rice bowl stay in the same positions. Steam and sizzle must behave with real physics. No extra people, including in the dark window reflection, and the reflection never shows a camera. No duplicated limbs. No camera visible. No camera setup shown. Keep her matching the reference image, warm, and photogenic in every shot. STORYBOARD: 30 seconds total, 10 cuts. (~3s, arm's-length selfie) She leans on the counter, towel wrapped on her head, clearly fresh from the shower after training, and grins tiredly at the lens. Dialogue: "Trained late. Showered. Starving. Let's cook." (~3s, handheld pan across the counter and back to her) The camera drifts across the board with raw chicken and vegetables, the pan, the rice bowl, then back up to her face. Dialogue: "Ten minute meal. Watch." (~3s, fixed external medium shot from across the counter) Jump cut. She is already chopping a red pepper with quick confident cuts, guiding fingers curled, pieces falling evenly. No camera setup shown. No dialogue, just the knife on the board. (~3s, same fixed shot) She slices the chicken breast into strips, seasons it from the salt dish with a high pinch, and rubs it in with her fingertips. Dialogue: "Protein first. Always." (~3s, tight handheld first-person shot over the pan) Oil shimmering, she lays the chicken strips in one by one and they hit with a loud real sizzle, fine spatter, steam rising into the lens which fogs for a beat and clears. No dialogue, just the sizzle. (~3s, handheld selfie while the pan sizzles behind her) She turns the camera on herself, fanning steam away from her face, laughing, one hand briefly steadying the head towel. Dialogue: "The smell. You have no idea." (~3s, tight handheld close-up of the pan) She flips the strips with tongs, showing deep golden sear marks, tosses in the peppers, and shakes the pan once so everything jumps and resettles. Dialogue: "That colour? That's the whole point." (~3s, fixed external shot) Jump cut. She plates it: rice pressed from the bowl, chicken and peppers over the top, a last drizzle of olive oil in a thin ribbon, and she wipes the plate rim with the towel like a chef, then smirks at her own seriousness. Dialogue: "Yes, I wiped the rim. Let me live." (~3s, tight handheld close-up) First fork bite, steam still coming off it, she chews, closes her eyes for a beat and nods slowly. Dialogue: "Ten minutes. That's it. Ridiculous." (~3s, arm's-length selfie ending) Plate in one hand, camera in the other, she backs out of the kitchen toward the sofa, flicking the kitchen light off with her elbow. Dialogue: "Okay. Eating. Good night." FINAL INSTRUCTION: The result must feel like a real self-recorded late-night cooking vlog by an athlete who actually cooks, filmed right after her shower. The highest priorities are matching the reference image exactly, correct hands and knife work at close range, one-directional cooking progression that never reverses, real sizzle, steam and food texture, the head towel staying consistently wrapped, honest warm kitchen light against the dark window, and subtle imperfection. Keep it warm, hungry, and real. Not a food commercial, not overhead recipe content, not stiff.

Stav Zilbershtein

86,429 Aufrufe • vor 21 Tagen

The stunt in Scarface where Omar Suárez is thrown from the helicopter was by far the most difficult and dangerous in the film, because nothing like it had ever been done in Hollywood before. Veteran stuntman Dick Ziker, who built his career on some of the industry’s most dangerous stunt work, said it was “in the top one or two” most terrifying he ever performed. The effects team had to specially design a custom ratchet rig so they could control the line as Ziker fell. It was basically a carefully rigged bungee jump, except the line was attached to his neck instead of his feet. It had to be controlled very precisely. If the rope was too loose, Ziker would bounce back up and the stunt would look fake; but if it was too tight, the force would snap his neck. The challenge was to perform it in a way that maintained realism, without risking serious injury. Dick Ziker said that when he fell from the chopper, he hit the end of the cable so hard, “it almost pulled the helicopter out of the sky…” “That was the first time anything like that ever been done - people weren't even doing bungee jumps in those days off bridges. So it was kind of an exciting, very frightening thing. I had black and blue marks everywhere. I'm going, "I will never do that again as long as I live." However, Brian De Palma reviewed the rushes and immediately felt something was off, even though he couldn’t quite put his finger on it. He eventually realized the problem: when the stunt was filmed, Ziker’s arms were not tied behind his back. So the production had to do the entire stunt again, this time with his arms fully restrained. Ziker was furious and initially refused to do the stunt over, but he eventually agreed. The second version was shot at Universal Studios over a pond — “only about 300 or 400 feet up”, he joked, “so if the rope broke or anything, I’d still get killed, but they could find the pieces.” Quotes taken from the Biography Channel's documentary "Scarface: The Inside Story" (2013)
0:43

The stunt in Scarface where Omar Suárez is thrown from the helicopter was by far the most difficult and dangerous in the film, because nothing like it had ever been done in Hollywood before. Veteran stuntman Dick Ziker, who built his career on some of the industry’s most dangerous stunt work, said it was “in the top one or two” most terrifying he ever performed. The effects team had to specially design a custom ratchet rig so they could control the line as Ziker fell. It was basically a carefully rigged bungee jump, except the line was attached to his neck instead of his feet. It had to be controlled very precisely. If the rope was too loose, Ziker would bounce back up and the stunt would look fake; but if it was too tight, the force would snap his neck. The challenge was to perform it in a way that maintained realism, without risking serious injury. Dick Ziker said that when he fell from the chopper, he hit the end of the cable so hard, “it almost pulled the helicopter out of the sky…” “That was the first time anything like that ever been done - people weren't even doing bungee jumps in those days off bridges. So it was kind of an exciting, very frightening thing. I had black and blue marks everywhere. I'm going, "I will never do that again as long as I live." However, Brian De Palma reviewed the rushes and immediately felt something was off, even though he couldn’t quite put his finger on it. He eventually realized the problem: when the stunt was filmed, Ziker’s arms were not tied behind his back. So the production had to do the entire stunt again, this time with his arms fully restrained. Ziker was furious and initially refused to do the stunt over, but he eventually agreed. The second version was shot at Universal Studios over a pond — “only about 300 or 400 feet up”, he joked, “so if the rope broke or anything, I’d still get killed, but they could find the pieces.” Quotes taken from the Biography Channel's documentary "Scarface: The Inside Story" (2013)

Gangster Cinema Central

144,064 Aufrufe • vor 4 Monaten

//The Wire//2300Z March 5, 2026// //ROUTINE// //BLUF: MERCHANT VESSEL STRUCK BY EXPLOSIVE FASTBOAT IN PERSIAN GULF. DRONE AND MISSILE ATTACKS REMAIN CONSTANT AMONG GULF STATES. DRONE STRIKES REPORTED IN AZERBAIJAN.// -----BEGIN TEARLINE----- -International Events- Persian Gulf: Attacks on merchant shipping continue as an oil tanker that was anchored off the coast of Kuwait was struck by Iranian forces overnight. The vessel has been identified as the M/V SONAGOL NAMIBE, an oil tanker that is currently anchored in the group of vessels that are waiting for the risks in the Strait to subside. Analyst Comment: Turns out, in such a small waterway, it's just as dangerous to remain at anchor. This strike is also different from the rest, as video evidence confirms that this was the result of a (possibly remote-controlled) Iranian fastboat conducting a strike on the vessel. For context, the Iranian Navy is split into two parts, the Islamic Republic of Iran Navy (IRIN), which is the more traditional navy comprised of Line ships, and the Islamic Republic Guard Corps Navy (IRGCN). The majority of the IRIN has mostly been sunk over the past few days, however the smaller "speedboat navy" of the IRGC-N was created solely for the purpose of conducting asymmetric warfare, and is likely the culprit of this attack. As there are a few dozen other tankers parked immediately adjacent to the one that was struck, it is likely that more of these attacks will take place, as long as the IRGCN is able to. Iran: Within the mainland itself, the large-scale bombing of Tehran and other major population centers continues alongside the bombing of most military bases throughout the country. Yesterday Israeli forces shot down an Iranian YAK-130 training aircraft, which had somehow managed to get airborne, and drone attacks launched by the Iranians continue as before. Azerbaijan: Iranian forces launched a drone attack on the airport in the border town of Nakhchivan. The main terminal was hit by Shahed-type drones, and another undisclosed location in Shekarabad was also struck. Analyst Comment: This is noteworthy as Azerbaijan was one of Iran's only regional allies. As a result, Azerbaijan has demanded an apology, and diplomatic relations are not great as two people were killed during the strikes on the airport. Officially, the Iranians have denied that they carried out the attack, stating that it was a false flag incident. -HomeFront- Utah: Overnight a killing spree was reported spanning multiple counties, involving multiple casualties. The incident began after an assailant murdered an elderly victim in Lyman. The attacker then stole her vehicle, and traveled to a hiking trailhead in Wayne County, where he murdered two women on the trail. This prompted a state-wide manhunt, which located the suspect after he had fled the scene, with the assailant eventually being located and arrested. As the suspect was arrested over the border in the state of Colorado, he has been identified as Ivan Miller. Analyst Comment: At the moment, this appears to be a series of random murders, as none of the victims (nor the perpetrator) appears to have any connection to any sort of motive, other than random mental illness. More details are expected to emerge as the investigation continues. -----END TEARLINE----- Analyst Comments: European evacuations of European citizens from the Middle East continues, with Spain dedicating military assets to getting some of their citizens out of the region over night. So far, zero Americans have been evacuated via American military means (which have the capabilities to fly when civilian aircraft cannot), and any American who has managed to get out has done so via commercial means. Commercial flights out of Dubai and Riyadh are occurring, they're just slow due to the sheer number of people trying to leave and the few aircraft landing between drone attacks. As of this afternoon, D+6 (six days after this war began) the drone attacks have remained constant. All Gulf States have been publishing daily engagement numbers, and so far, the drone attacks have not really dwindled that much, despite assurances by many that the attacks have stopped. The drone attacks have not ceased...they are simply being intercepted out over the water. Some drones are making it through defenses to strike targets, with limited success. This afternoon several hotels were struck by Iranian drones in Abu Dhabi and Dubai, which has served to remind everyone involved that the threats are real and persistent. Either way, drone sightings and close-in interceptions are enough to ground aircraft for a while, further adding to the evacuation bottlenecks that are stacking up around the region. Regarding timelines, yesterday evening the estimates for the length of the operation have changed again, with SECWAR Hegseth stating that the operation is now planned to take an uncertain amount of time, potentially up to 8 weeks. The Secretary of War also stated that the United States is planned to achieve uncontested airspace in the skies over Iran within a few days, possibly up to a week. Either way, this confirms that after nearly a week, the airspace is still somewhat contested, despite the overwhelming large bombing raids witnessed so far. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//
4:40

//The Wire//2300Z March 5, 2026// //ROUTINE// //BLUF: MERCHANT VESSEL STRUCK BY EXPLOSIVE FASTBOAT IN PERSIAN GULF. DRONE AND MISSILE ATTACKS REMAIN CONSTANT AMONG GULF STATES. DRONE STRIKES REPORTED IN AZERBAIJAN.// -----BEGIN TEARLINE----- -International Events- Persian Gulf: Attacks on merchant shipping continue as an oil tanker that was anchored off the coast of Kuwait was struck by Iranian forces overnight. The vessel has been identified as the M/V SONAGOL NAMIBE, an oil tanker that is currently anchored in the group of vessels that are waiting for the risks in the Strait to subside. Analyst Comment: Turns out, in such a small waterway, it's just as dangerous to remain at anchor. This strike is also different from the rest, as video evidence confirms that this was the result of a (possibly remote-controlled) Iranian fastboat conducting a strike on the vessel. For context, the Iranian Navy is split into two parts, the Islamic Republic of Iran Navy (IRIN), which is the more traditional navy comprised of Line ships, and the Islamic Republic Guard Corps Navy (IRGCN). The majority of the IRIN has mostly been sunk over the past few days, however the smaller "speedboat navy" of the IRGC-N was created solely for the purpose of conducting asymmetric warfare, and is likely the culprit of this attack. As there are a few dozen other tankers parked immediately adjacent to the one that was struck, it is likely that more of these attacks will take place, as long as the IRGCN is able to. Iran: Within the mainland itself, the large-scale bombing of Tehran and other major population centers continues alongside the bombing of most military bases throughout the country. Yesterday Israeli forces shot down an Iranian YAK-130 training aircraft, which had somehow managed to get airborne, and drone attacks launched by the Iranians continue as before. Azerbaijan: Iranian forces launched a drone attack on the airport in the border town of Nakhchivan. The main terminal was hit by Shahed-type drones, and another undisclosed location in Shekarabad was also struck. Analyst Comment: This is noteworthy as Azerbaijan was one of Iran's only regional allies. As a result, Azerbaijan has demanded an apology, and diplomatic relations are not great as two people were killed during the strikes on the airport. Officially, the Iranians have denied that they carried out the attack, stating that it was a false flag incident. -HomeFront- Utah: Overnight a killing spree was reported spanning multiple counties, involving multiple casualties. The incident began after an assailant murdered an elderly victim in Lyman. The attacker then stole her vehicle, and traveled to a hiking trailhead in Wayne County, where he murdered two women on the trail. This prompted a state-wide manhunt, which located the suspect after he had fled the scene, with the assailant eventually being located and arrested. As the suspect was arrested over the border in the state of Colorado, he has been identified as Ivan Miller. Analyst Comment: At the moment, this appears to be a series of random murders, as none of the victims (nor the perpetrator) appears to have any connection to any sort of motive, other than random mental illness. More details are expected to emerge as the investigation continues. -----END TEARLINE----- Analyst Comments: European evacuations of European citizens from the Middle East continues, with Spain dedicating military assets to getting some of their citizens out of the region over night. So far, zero Americans have been evacuated via American military means (which have the capabilities to fly when civilian aircraft cannot), and any American who has managed to get out has done so via commercial means. Commercial flights out of Dubai and Riyadh are occurring, they're just slow due to the sheer number of people trying to leave and the few aircraft landing between drone attacks. As of this afternoon, D+6 (six days after this war began) the drone attacks have remained constant. All Gulf States have been publishing daily engagement numbers, and so far, the drone attacks have not really dwindled that much, despite assurances by many that the attacks have stopped. The drone attacks have not ceased...they are simply being intercepted out over the water. Some drones are making it through defenses to strike targets, with limited success. This afternoon several hotels were struck by Iranian drones in Abu Dhabi and Dubai, which has served to remind everyone involved that the threats are real and persistent. Either way, drone sightings and close-in interceptions are enough to ground aircraft for a while, further adding to the evacuation bottlenecks that are stacking up around the region. Regarding timelines, yesterday evening the estimates for the length of the operation have changed again, with SECWAR Hegseth stating that the operation is now planned to take an uncertain amount of time, potentially up to 8 weeks. The Secretary of War also stated that the United States is planned to achieve uncontested airspace in the skies over Iran within a few days, possibly up to a week. Either way, this confirms that after nearly a week, the airspace is still somewhat contested, despite the overwhelming large bombing raids witnessed so far. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//

S2 Underground

12,646 Aufrufe • vor 6 Monaten

Most of my video work is heavily rely on character sheets. Originally my character sheets were pretty simple, just 3 views made in Nano Banana. But I wanted something neater that actually feels like a proper production character sheet. So here's how I do it now in LovartAI Step 1: Create the base image of your character in Nano Banana. It can be anything. I just describe mine conversationally, something like "create a Thai high school student." That's enough to get started. Step 2: Once you have the base image, feed it into the template below. I run this in GPT o2 Image because the detail output is really good. And that's genuinely it. The template below is fully adjustable. Make it yours. And please note that everything happens conversationally with LovartAI which the best part 😉 + + + Prompt Example: [STYLE]: cinematic realism, Wong Kar-Wai atmosphere, high contrast, film grain, warm humid haze, 35mm anamorphic feel [LAYOUT]: single unified MASTER CHARACTER REFERENCE SHEET, two-page-spread feel, neutral off-white background, sections clearly separated with bold headers [CHARACTER]: - Name: Mira - Alias / role: The Woman - Age descriptor: young adult - Build: slender, natural proportions - Face: warm brown skin, natural beauty, no makeup, subtle imperfections, sweat sheen, half-lidded eyes, slightly parted lips - Hair: messy ponytail, tortoiseshell claw clip - Wardrobe: faded sage-green T-shirt, clinging, damp at collarbone, casual shorts - Props: none - Distinguishing features: sweat on temples and neck, natural skin texture - Personality (drives micro-expressions): intensely seductive, confident, teasing, deliberate [LEFT PAGE]: [SECTION 1 — TITLE + INFO BLOCK, top-left]: large character name header + 6 short stat lines (Name / Alias / Height / Build / Role / Archetype). Sans-serif, each line under 20 words. [SECTION 2 — MAIN IDENTITY + SCALE, dominant left column]: full-body front view, neutral pose, even lighting. THIS PANEL DOMINATES. [SECTION 3 — VIEWS, top-right]: 3/4 angle and full side view, two figures side by side, identical outfit/lighting [SECTION 4 — WARDROBE & ACCESSORIES, mid-left]: each item on flat surface with short label [SECTION 5 — COLOR PALETTE, bottom-left]: 6 horizontal swatches — skin / hair / shirt / shorts / clip / accent — each with short label [RIGHT PAGE]: [SECTION 6 — EXPRESSION PROGRESSION, top row]: 8 head shots — neutral / warm smile / laugh / sad / angry / surprised / determined / vulnerable. Single-word emotion tags. [SECTION 7 — MICRO EXPRESSIONS, second row]: 5 head shots showing subtle muscle changes — slight eye tension / jaw clench / subtle brow tightening / lower eyelid tension / lip compression [SECTION 8 — HEAD DETAIL, third row left]: one large close-up, chest up. Most detailed shot. [SECTION 9 — POSTURE VARIATIONS, third row right]: 4 small full-body in characteristic postures — standing relaxed, seated alert, mid-action, walking with intent [SECTION 10 — NOTES PANEL, fourth row left]: short text block (max 3 lines, each under 20 words) describing behavior [SECTION 11 — HAND GESTURES, fourth row center]: 3 close-ups of hands in characteristic poses [SECTION 12 — SILHOUETTE GUIDE, fourth row right]: 2 black silhouettes side by side — NEUTRAL and ACTION, pure black on white [CONSTRAINTS]: same character, face, outfit pieces, proportions across all sections. MAIN IDENTITY + SCALE must dominate. Final image should look like a premium production visual bible matching the selected style. [CONSTRAINTS]: no watermark, no extra unspecified text, natural realistic body proportions, identical body shape across all panels.
0:28

Most of my video work is heavily rely on character sheets. Originally my character sheets were pretty simple, just 3 views made in Nano Banana. But I wanted something neater that actually feels like a proper production character sheet. So here's how I do it now in LovartAI Step 1: Create the base image of your character in Nano Banana. It can be anything. I just describe mine conversationally, something like "create a Thai high school student." That's enough to get started. Step 2: Once you have the base image, feed it into the template below. I run this in GPT o2 Image because the detail output is really good. And that's genuinely it. The template below is fully adjustable. Make it yours. And please note that everything happens conversationally with LovartAI which the best part 😉 + + + Prompt Example: [STYLE]: cinematic realism, Wong Kar-Wai atmosphere, high contrast, film grain, warm humid haze, 35mm anamorphic feel [LAYOUT]: single unified MASTER CHARACTER REFERENCE SHEET, two-page-spread feel, neutral off-white background, sections clearly separated with bold headers [CHARACTER]: - Name: Mira - Alias / role: The Woman - Age descriptor: young adult - Build: slender, natural proportions - Face: warm brown skin, natural beauty, no makeup, subtle imperfections, sweat sheen, half-lidded eyes, slightly parted lips - Hair: messy ponytail, tortoiseshell claw clip - Wardrobe: faded sage-green T-shirt, clinging, damp at collarbone, casual shorts - Props: none - Distinguishing features: sweat on temples and neck, natural skin texture - Personality (drives micro-expressions): intensely seductive, confident, teasing, deliberate [LEFT PAGE]: [SECTION 1 — TITLE + INFO BLOCK, top-left]: large character name header + 6 short stat lines (Name / Alias / Height / Build / Role / Archetype). Sans-serif, each line under 20 words. [SECTION 2 — MAIN IDENTITY + SCALE, dominant left column]: full-body front view, neutral pose, even lighting. THIS PANEL DOMINATES. [SECTION 3 — VIEWS, top-right]: 3/4 angle and full side view, two figures side by side, identical outfit/lighting [SECTION 4 — WARDROBE & ACCESSORIES, mid-left]: each item on flat surface with short label [SECTION 5 — COLOR PALETTE, bottom-left]: 6 horizontal swatches — skin / hair / shirt / shorts / clip / accent — each with short label [RIGHT PAGE]: [SECTION 6 — EXPRESSION PROGRESSION, top row]: 8 head shots — neutral / warm smile / laugh / sad / angry / surprised / determined / vulnerable. Single-word emotion tags. [SECTION 7 — MICRO EXPRESSIONS, second row]: 5 head shots showing subtle muscle changes — slight eye tension / jaw clench / subtle brow tightening / lower eyelid tension / lip compression [SECTION 8 — HEAD DETAIL, third row left]: one large close-up, chest up. Most detailed shot. [SECTION 9 — POSTURE VARIATIONS, third row right]: 4 small full-body in characteristic postures — standing relaxed, seated alert, mid-action, walking with intent [SECTION 10 — NOTES PANEL, fourth row left]: short text block (max 3 lines, each under 20 words) describing behavior [SECTION 11 — HAND GESTURES, fourth row center]: 3 close-ups of hands in characteristic poses [SECTION 12 — SILHOUETTE GUIDE, fourth row right]: 2 black silhouettes side by side — NEUTRAL and ACTION, pure black on white [CONSTRAINTS]: same character, face, outfit pieces, proportions across all sections. MAIN IDENTITY + SCALE must dominate. Final image should look like a premium production visual bible matching the selected style. [CONSTRAINTS]: no watermark, no extra unspecified text, natural realistic body proportions, identical body shape across all panels.

MXVDXN // DAN

31,144 Aufrufe • vor 3 Monaten

This is AI. That sentence is getting harder to believe. Made with Seedance 2.5 (30-second video, 1080p) Prompt: ⬇️ Create a 30-second, 1080p ultra-realistic documentary-style personal home video showing an ordinary summer day in the life of a very attractive young American woman. The footage should feel spontaneous, intimate, imperfect, and genuinely observed rather than performed. MAIN SUBJECT The same young American woman in her early 20s throughout the entire video. She is very attractive and naturally sexy in an effortless, believable way — feminine, curvy, with an hourglass figure, toned legs, realistic body proportions, natural skin texture, and a relaxed confident presence. She has long slightly messy dark-blonde or light brown hair, soft natural makeup, expressive eyes, and a warm but slightly tired summer-day expression. She should feel like a real young woman, not a model in a commercial. She wears a fitted white tank top, short light denim shorts, worn white sneakers, and a simple bracelet or thin necklace. Keep her face, identity, body proportions, hairstyle, clothing, and overall appearance completely consistent from beginning to end. LOCATION A quiet older residential neighborhood in Astoria, Queens, New York, during a hot summer afternoon. Brick apartment buildings, stoops, narrow side streets, parked cars, chain-link fences, small front yards, window AC units, fire escapes, corner delis, utility poles, overhead wires, faded street markings, potted plants, and ordinary neighborhood details. The area should feel authentic, lived-in, and unmistakably American, specifically outer-borough New York. No tourist landmarks, no Times Square, no skyline hero shots, no glamorous city imagery, no recognizable brands. CAMERA / VISUAL STYLE Authentic casual personal-video footage captured with an older consumer digital camera. Handheld camera operated by a friend walking nearby. Natural camera shake, imperfect framing, occasional autofocus changes, slight exposure adjustments when moving between sunlight and shade, soft image detail, mild motion blur, subtle digital noise, slightly muted colors, imperfect white balance, and natural compression. The camera operator occasionally reacts a little late, cuts off part of the subject, or briefly loses focus. No stabilization, gimbal movement, drone shots, cinematic camera choreography, dramatic lighting, slow motion, modern commercial color grading, or polished cinematography. The footage should feel like someone simply decided to record their friend during an ordinary summer day. 00:00–00:05 — ROOFTOP / STOOP MOMENT She sits casually on a small rooftop terrace or upper stoop landing beside an old plastic chair. A cold bottled drink rests beside her. She looks quietly across the neighborhood while warm wind moves her hair and tank top slightly. She takes a sip, notices something happening in the distance, and smiles faintly. She briefly notices the camera and gives a subtle amused nod before looking away. The camera takes a moment to find focus on her face. 00:05–00:10 — WALKING THROUGH THE NEIGHBORHOOD She gets up and walks downstairs into the neighborhood. She walks casually through a narrow residential street with a relaxed natural stride. She passes parked cars, stoops, potted plants, chain-link fences, laundry or towels hanging near windows, and old brick walls. The camera follows several steps behind her. She occasionally looks back toward the camera but never deliberately poses. Her movement should feel unforced and natural, not like a fashion walk. 00:10–00:14 — SMALL EVERYDAY MOMENT She notices an old basketball resting near a wall or fence. She picks it up, casually bounces it twice, then takes a simple shot toward a nearby neighborhood hoop. The shot misses. She laughs quietly, shakes her head, and leaves the ball where she found it. The camera briefly loses focus during the movement and recovers naturally. No exaggerated athletic movement. 00:14–00:19 — CORNER DELI She walks to a tiny local corner deli / neighborhood shop and buys a cold drink. She exchanges a few natural words with the shopkeeper but the conversation is not clearly audible. She steps outside, opens the bottle, takes a drink, and leans casually against the wall near the storefront. She watches cars and pedestrians passing in the distance. The camera remains handheld and slightly imperfect. 00:19–00:23 — SUMMER RAIN A sudden summer shower begins. She looks toward the sky with mild surprise. Instead of immediately running for shelter, she smiles and slowly walks into the rain. The rain becomes heavier. Her hair becomes wet and falls naturally around her face and shoulders. Her tank top and shorts become visibly damp in a realistic way. She eventually starts running down the street, laughing genuinely. She briefly spins around while running, then continues toward a covered stoop or awning. Maintain realistic rain interaction, wet fabric, wet hair, reflections, and foot contact with the ground. 00:23–00:27 — QUIET MOMENT She reaches a covered walkway / stoop awning and catches her breath. Rain falls heavily behind her. She wipes water from her forehead and looks quietly toward the street. For a moment, everything becomes still. She notices the camera again and gives a small genuine smile, not a posed expression. 00:27–00:30 — WALKING AWAY The rain becomes lighter. She walks away down the wet residential lane. The camera follows from behind. Reflections shimmer across the pavement. She turns her head once, gives a tiny wave toward the camera, smiles, and continues walking. The camera remains pointed toward the now emptier street for a brief moment. At approximately 00:29, the recording abruptly cuts to black mid-motion. No fade-out. PHYSICAL REALISM Maintain believable real-world physics throughout. Hands, fingers, feet, clothing, hair, rain, bottle, basketball, and background objects must behave naturally. No extra fingers, fused hands, duplicated limbs, distorted anatomy, floating objects, teleportation, disappearing objects, or sudden transformations. The bottle remains a separate physical object and never intersects with her face. The basketball behaves naturally and remains where it lands. Parked cars and background objects remain stationary unless physically moved. Her feet remain properly connected to the ground while walking and running. Keep the environment and subject consistent between shots. AUDIO Natural environmental audio only. Footsteps on pavement, distant traffic, birds, leaves moving in the wind, faint neighborhood voices, deli sounds, bottle opening, basketball bouncing, rain hitting pavement, water dripping from rooftops, and subtle camera-handling noise. No music. No narration. No soundtrack. No artificial sound effects. No spoken dialogue is necessary. FINAL FEEL The result should feel like a forgotten personal recording of an ordinary summer day. Not a commercial. Not a fashion film. Not a music video. Not a professional cinematic production. The emotional appeal should come from small human moments: sitting alone, wandering through familiar streets, missing a basketball shot, drinking something cold, getting caught in the rain, laughing, and walking home. Youthful, feminine, warm, nostalgic, spontaneous, slightly melancholic, intimate, and deeply human. Prioritize natural behavior, consistent identity, believable physics, imperfect handheld framing, authentic outer-borough New York details, and the feeling that the camera just happened to be there. – Thanks Duet | AI for the inspiration on this one #AIVideo
0:30

This is AI. That sentence is getting harder to believe. Made with Seedance 2.5 (30-second video, 1080p) Prompt: ⬇️ Create a 30-second, 1080p ultra-realistic documentary-style personal home video showing an ordinary summer day in the life of a very attractive young American woman. The footage should feel spontaneous, intimate, imperfect, and genuinely observed rather than performed. MAIN SUBJECT The same young American woman in her early 20s throughout the entire video. She is very attractive and naturally sexy in an effortless, believable way — feminine, curvy, with an hourglass figure, toned legs, realistic body proportions, natural skin texture, and a relaxed confident presence. She has long slightly messy dark-blonde or light brown hair, soft natural makeup, expressive eyes, and a warm but slightly tired summer-day expression. She should feel like a real young woman, not a model in a commercial. She wears a fitted white tank top, short light denim shorts, worn white sneakers, and a simple bracelet or thin necklace. Keep her face, identity, body proportions, hairstyle, clothing, and overall appearance completely consistent from beginning to end. LOCATION A quiet older residential neighborhood in Astoria, Queens, New York, during a hot summer afternoon. Brick apartment buildings, stoops, narrow side streets, parked cars, chain-link fences, small front yards, window AC units, fire escapes, corner delis, utility poles, overhead wires, faded street markings, potted plants, and ordinary neighborhood details. The area should feel authentic, lived-in, and unmistakably American, specifically outer-borough New York. No tourist landmarks, no Times Square, no skyline hero shots, no glamorous city imagery, no recognizable brands. CAMERA / VISUAL STYLE Authentic casual personal-video footage captured with an older consumer digital camera. Handheld camera operated by a friend walking nearby. Natural camera shake, imperfect framing, occasional autofocus changes, slight exposure adjustments when moving between sunlight and shade, soft image detail, mild motion blur, subtle digital noise, slightly muted colors, imperfect white balance, and natural compression. The camera operator occasionally reacts a little late, cuts off part of the subject, or briefly loses focus. No stabilization, gimbal movement, drone shots, cinematic camera choreography, dramatic lighting, slow motion, modern commercial color grading, or polished cinematography. The footage should feel like someone simply decided to record their friend during an ordinary summer day. 00:00–00:05 — ROOFTOP / STOOP MOMENT She sits casually on a small rooftop terrace or upper stoop landing beside an old plastic chair. A cold bottled drink rests beside her. She looks quietly across the neighborhood while warm wind moves her hair and tank top slightly. She takes a sip, notices something happening in the distance, and smiles faintly. She briefly notices the camera and gives a subtle amused nod before looking away. The camera takes a moment to find focus on her face. 00:05–00:10 — WALKING THROUGH THE NEIGHBORHOOD She gets up and walks downstairs into the neighborhood. She walks casually through a narrow residential street with a relaxed natural stride. She passes parked cars, stoops, potted plants, chain-link fences, laundry or towels hanging near windows, and old brick walls. The camera follows several steps behind her. She occasionally looks back toward the camera but never deliberately poses. Her movement should feel unforced and natural, not like a fashion walk. 00:10–00:14 — SMALL EVERYDAY MOMENT She notices an old basketball resting near a wall or fence. She picks it up, casually bounces it twice, then takes a simple shot toward a nearby neighborhood hoop. The shot misses. She laughs quietly, shakes her head, and leaves the ball where she found it. The camera briefly loses focus during the movement and recovers naturally. No exaggerated athletic movement. 00:14–00:19 — CORNER DELI She walks to a tiny local corner deli / neighborhood shop and buys a cold drink. She exchanges a few natural words with the shopkeeper but the conversation is not clearly audible. She steps outside, opens the bottle, takes a drink, and leans casually against the wall near the storefront. She watches cars and pedestrians passing in the distance. The camera remains handheld and slightly imperfect. 00:19–00:23 — SUMMER RAIN A sudden summer shower begins. She looks toward the sky with mild surprise. Instead of immediately running for shelter, she smiles and slowly walks into the rain. The rain becomes heavier. Her hair becomes wet and falls naturally around her face and shoulders. Her tank top and shorts become visibly damp in a realistic way. She eventually starts running down the street, laughing genuinely. She briefly spins around while running, then continues toward a covered stoop or awning. Maintain realistic rain interaction, wet fabric, wet hair, reflections, and foot contact with the ground. 00:23–00:27 — QUIET MOMENT She reaches a covered walkway / stoop awning and catches her breath. Rain falls heavily behind her. She wipes water from her forehead and looks quietly toward the street. For a moment, everything becomes still. She notices the camera again and gives a small genuine smile, not a posed expression. 00:27–00:30 — WALKING AWAY The rain becomes lighter. She walks away down the wet residential lane. The camera follows from behind. Reflections shimmer across the pavement. She turns her head once, gives a tiny wave toward the camera, smiles, and continues walking. The camera remains pointed toward the now emptier street for a brief moment. At approximately 00:29, the recording abruptly cuts to black mid-motion. No fade-out. PHYSICAL REALISM Maintain believable real-world physics throughout. Hands, fingers, feet, clothing, hair, rain, bottle, basketball, and background objects must behave naturally. No extra fingers, fused hands, duplicated limbs, distorted anatomy, floating objects, teleportation, disappearing objects, or sudden transformations. The bottle remains a separate physical object and never intersects with her face. The basketball behaves naturally and remains where it lands. Parked cars and background objects remain stationary unless physically moved. Her feet remain properly connected to the ground while walking and running. Keep the environment and subject consistent between shots. AUDIO Natural environmental audio only. Footsteps on pavement, distant traffic, birds, leaves moving in the wind, faint neighborhood voices, deli sounds, bottle opening, basketball bouncing, rain hitting pavement, water dripping from rooftops, and subtle camera-handling noise. No music. No narration. No soundtrack. No artificial sound effects. No spoken dialogue is necessary. FINAL FEEL The result should feel like a forgotten personal recording of an ordinary summer day. Not a commercial. Not a fashion film. Not a music video. Not a professional cinematic production. The emotional appeal should come from small human moments: sitting alone, wandering through familiar streets, missing a basketball shot, drinking something cold, getting caught in the rain, laughing, and walking home. Youthful, feminine, warm, nostalgic, spontaneous, slightly melancholic, intimate, and deeply human. Prioritize natural behavior, consistent identity, believable physics, imperfect handheld framing, authentic outer-borough New York details, and the feeling that the camera just happened to be there. – Thanks Duet | AI for the inspiration on this one #AIVideo

Alpha Mom

31,512 Aufrufe • vor 9 Tagen

//The Wire//1800Z March 18, 2026// //ROUTINE// //BLUF: PRESIDENT TRUMP SUSPENDS THE JONES ACT AS PETROLEUM INDUSTRY FEELS EFFECTS OF WAR IN IRAN. CONFLICT IN MIDDLE EAST CONTINUES AS ISRAELI FORCES INCREASE TARGETING EFFORTS IN LEBANON.// -----BEGIN TEARLINE----- -International Events- Persian Gulf: The war continues as before, with multiple attacks on American military bases occurring overnight. The American Embassy in Baghdad has been persistently targeted over the past few days, with one drone strike being reported last night, which resulted in unknown damage. Other coalition positions were struck as well, with Australia reporting successful Iranian targeting efforts at Al Minhad Airbase in the UAE. No casualties were reported by the Australians regarding this attack. Within Iran, Israel/American forces struck the South Pars Natural Gas Facility, one of the largest LNG facilities in the world. Analyst Comment: Following this strike, several GCC states have condemned the action, as destroying infrastructure like this is a major escalation that indicates the nature of the war is more unrestricted, but also because the gas fields serviced by this facility are decently close to the Qatari's own gas fields. Lebanon: The war has intensified over the past few days as Hezbollah and Israeli forces have continued fighting along the main axis of advance in the east. Throughout Lebanon (to include downtown Beirut) the Israeli bombing campaign continues, with Hezbollah forces remaining effective in targeting Tel Aviv with guided rockets and cruise missiles. -HomeFront- New Mexico: Yesterday afternoon a shooting was reported at Holloman Air Force Base, which resulted in one individual being killed and one other wounded at the base shopette. No other details have been provided on this shooting, and the investigation continues. -----END TEARLINE----- Analyst Comments: In Washington, several items of note have been ongoing in the political realm, while attention has been focused on Iran. As one might expect, kicking off a war in the Middle East was expected to (and did) have secondary and tertiary effects. One of the immediate effects of this war has been found in the Petroleum, Oil, and Lubricant (POL) industry, which has experienced wildly fluctuating markets since the war began. This morning the average national gas price rose to $3.84 per gallon, which prompted the White House to implement their previously discussed tactic of suspending the Jones Act as an emergency means to bring prices down in the short term. For context, the Jones Act was implemented shortly after WW1 as a national security measure, to mandate that all goods that transit between American ports, must be transported using American ships with American crews. The general idea being that in the event of war, the maritime trade industry would need to remain effective...it wouldn't be super great for war to break out, and all of the merchant ships that keep the American economy afloat, were to sail back home. The American economy could be crippled without a shot being fired, solely by private companies in the US being allowed to use cheap foreign labor that is not loyal to the United States. In 1920 when the law was passed, the thought process was that companies might take advantage of the freedoms that America provides, to the legitimate detriment of national security. As a result, the Jones Act was a law intended to (somewhat begrudgingly) meddle in the free market, with the purpose of not allowing domestic American companies to rely on logistical infrastructure that isn't American and thus would be a vulnerability in war. As of this morning President Trump suspended this law in it's entirety for the next 60 days, with the White House's logic being that removing regulations will make shipping costs go down, as the free market of ships could carry cargo, and thus save some costs somewhere down the line, which could be passed on to consumers. The effectiveness of this tactic will be proven in due time; most maritime agencies don't think it will do much, as it's unlikely for costs to be passed on to consumers for one, and secondly this is really just a last-ditch measure to throw any potential theoretical solution out, so as to find a way to drop gas prices by even just a few cents, which the White House is desperate to do at this point. Either way, this Jones Act waiver is in place for the next 60 days. Going out on a limb just a bit, 60 day waivers are not usually issued for wars that are supposed to be over within a "few weeks", so this somewhat boilerplate policy decision may be an inadvertent indicator for how long this war is planned to last. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//
4:03

//The Wire//1800Z March 18, 2026// //ROUTINE// //BLUF: PRESIDENT TRUMP SUSPENDS THE JONES ACT AS PETROLEUM INDUSTRY FEELS EFFECTS OF WAR IN IRAN. CONFLICT IN MIDDLE EAST CONTINUES AS ISRAELI FORCES INCREASE TARGETING EFFORTS IN LEBANON.// -----BEGIN TEARLINE----- -International Events- Persian Gulf: The war continues as before, with multiple attacks on American military bases occurring overnight. The American Embassy in Baghdad has been persistently targeted over the past few days, with one drone strike being reported last night, which resulted in unknown damage. Other coalition positions were struck as well, with Australia reporting successful Iranian targeting efforts at Al Minhad Airbase in the UAE. No casualties were reported by the Australians regarding this attack. Within Iran, Israel/American forces struck the South Pars Natural Gas Facility, one of the largest LNG facilities in the world. Analyst Comment: Following this strike, several GCC states have condemned the action, as destroying infrastructure like this is a major escalation that indicates the nature of the war is more unrestricted, but also because the gas fields serviced by this facility are decently close to the Qatari's own gas fields. Lebanon: The war has intensified over the past few days as Hezbollah and Israeli forces have continued fighting along the main axis of advance in the east. Throughout Lebanon (to include downtown Beirut) the Israeli bombing campaign continues, with Hezbollah forces remaining effective in targeting Tel Aviv with guided rockets and cruise missiles. -HomeFront- New Mexico: Yesterday afternoon a shooting was reported at Holloman Air Force Base, which resulted in one individual being killed and one other wounded at the base shopette. No other details have been provided on this shooting, and the investigation continues. -----END TEARLINE----- Analyst Comments: In Washington, several items of note have been ongoing in the political realm, while attention has been focused on Iran. As one might expect, kicking off a war in the Middle East was expected to (and did) have secondary and tertiary effects. One of the immediate effects of this war has been found in the Petroleum, Oil, and Lubricant (POL) industry, which has experienced wildly fluctuating markets since the war began. This morning the average national gas price rose to $3.84 per gallon, which prompted the White House to implement their previously discussed tactic of suspending the Jones Act as an emergency means to bring prices down in the short term. For context, the Jones Act was implemented shortly after WW1 as a national security measure, to mandate that all goods that transit between American ports, must be transported using American ships with American crews. The general idea being that in the event of war, the maritime trade industry would need to remain effective...it wouldn't be super great for war to break out, and all of the merchant ships that keep the American economy afloat, were to sail back home. The American economy could be crippled without a shot being fired, solely by private companies in the US being allowed to use cheap foreign labor that is not loyal to the United States. In 1920 when the law was passed, the thought process was that companies might take advantage of the freedoms that America provides, to the legitimate detriment of national security. As a result, the Jones Act was a law intended to (somewhat begrudgingly) meddle in the free market, with the purpose of not allowing domestic American companies to rely on logistical infrastructure that isn't American and thus would be a vulnerability in war. As of this morning President Trump suspended this law in it's entirety for the next 60 days, with the White House's logic being that removing regulations will make shipping costs go down, as the free market of ships could carry cargo, and thus save some costs somewhere down the line, which could be passed on to consumers. The effectiveness of this tactic will be proven in due time; most maritime agencies don't think it will do much, as it's unlikely for costs to be passed on to consumers for one, and secondly this is really just a last-ditch measure to throw any potential theoretical solution out, so as to find a way to drop gas prices by even just a few cents, which the White House is desperate to do at this point. Either way, this Jones Act waiver is in place for the next 60 days. Going out on a limb just a bit, 60 day waivers are not usually issued for wars that are supposed to be over within a "few weeks", so this somewhat boilerplate policy decision may be an inadvertent indicator for how long this war is planned to last. Analyst: S2A1 Research: Disclaimer: No LLMs were used in the writing of this report. //END REPORT//

S2 Underground

10,787 Aufrufe • vor 5 Monaten

Stargate trivia: "200" (The BIG breakdown) SG-1 was about to attain the loftiest of broadcast heights – its 200th episode – and we wanted to do something special. Something unique. Something everyone on the production would enjoy as much as the longtime fans watching at home. The initial idea pitched was something called “Remember When…”, a trip down memory lane in which our characters’ reflections would form the frames of the varied flashbacks to outrageous missions. While everyone loved the idea of the outrageous missions, the premise of the episode felt too diffuse. We wanted an actual story that would form the heart of the episode. After much discussion, we elected to pay tribute to the franchise by referencing our last milestone – episode 100 – and bringing back Martin Lloyd and the show within a show, Wormhole X-Treme. But the fun we poked at the franchise through that spoof production was nothing compared to what we had in store for 200… WE FINALLY GOT TO MEET THE FURLINGS! Sort of. Even though it never really happened and we end up getting them killed in the end. Back in the show’s fourth season, not long after joining the production, I was summoned to Exec. Producer Robert Cooper’s office. He was doing his pass on our first script, Scorched Earth, and needed something from me: the name of an alien race. When pressed, he admitted naming alien races was not his forte and, as evidence, offered up “the Furlings”. I have to admit that whenever I heard the name, I always imagined a cosmic version of the Care Bears, giggling and snuggling their way through various adventures. As evidently, did everyone else on the production. The fans, however, were all sorts of curious and nary a week would go by without a fan posting a message board request for a glimpse of the elusive beings. Time wore on and those requests continued so, at one point, Brad suggested an episode in which we actually did get to meet them: a race of gaunt, towering, hairless, grey-skinned creatures. But that idea was quashed and the production went on its merry way, choosing to keep the race a mystery. But with 200 came the opportunity to honor those fan requests, and the viewers at home finally got to see those lovable furry creatures who turned out to be a cross between an ewok and a deranged koala. And then SG-1 went and got their planet blown up. Of course, we quickly reveal that the incident never actually happened and it was part of a pitch for a revival of the defunct Wormhole X-Treme t.v. series, a show that lasted an inglorious three episodes before being cancelled. But thanks to an impressive second life on dvd (following in the footsteps of Family Guy and Futurama) the show is being revived – and General O’Neill, in a desire to maintain a cover of plausible deniability for the Stargate program (and, let’s face it, screw with his old teammates) charges SG-1 with the task of creatively contributing to the production. MITCHELL TAKES ON THE LIVING DEAD! Every once in a while, actor Ben Browder would drop by the offices to pitch out an action sequence for his character – so I thought it appropriate that, given the opportunity, his character would pitch out an action sequence for – uh – his character. And, really, nothing says action like zombie hordes. Just ask fans of The Walking Dead. This sequence also allowed us the rare opportunity of witnessing Walter/Norman getting his head eaten. Double bonus! Mitchell’s idea is shot down and Martin gets on the phone with a representative of the studio. He is clearly frustrated and Mitchell asks: “Studio executives, huh?” Martin responds: “What? Oh, no Charlie? He’s a great guy. He’s the only one I trust.” This was a reference to longtime MGM President of Television and Stargate supporter Charles Cohen, one of the smartest, kindest studios executives I’ve ever had the pleasure to work with. As much as he was a fan of the show, we at the production were fans of Charlie. Martin is outraged because they lost their lead. How, he wonders, can they do the show without their lead. “You just bring in a character to replace him,”suggests Mitchell – an obvious reference to the introduction of Cam Mitchell which followed soon after the departure of longtime SG-1 lead Jack O’Neill. Carter then throws out some alternate ideas for keeping the lead alive: “Well, you could have the other characters refer to him all the time. Maybe, get him on the phone once in a while.” Yep. Been there; done that during SG-1’s seventh and eighth seasons. And then, someone references that time O’Neill was invisible… THE ADVENTURES OF INVISIBLE O'NEILL! The idea of doing an Invisible O’Neill segment was actually a joke I threw out...That ended up making the script. That happened a lot in this episode. As with all the segments, we went off and wrote them individually, and then everyone weighed in and they were tweaked. I always found the scene of O’Neill spying on Carter in the shower a tad creepy. Anyway, the Invisible O’Neill idea was embraced because we wanted Richard Dean Anderson to come back and do a cameo on this all-important episode, but didn’t know if he’d be able to work in an appearance. So, we figured we’d get the next best thing: his voice. As it turned out, he was able to swing the appearance, making 200 all that more special. THE GETAWAY Martin then pitches out a tale of high adventure, placing our heroes (SG-1) in an impossible position – and then simply cutting to them escaping through the gate. This was a tip of the hat to the many fans outraged by a similar scenario in a past episode (don’t remember the name) in which our heroes (SG-1) are surrounded by Lucian Alliance soldiers only to effect some miraculous unseen escape. During the ensuing argument over the merits of the pitch, Martin attempts to come up with a reasonable window of time for the team to reach the gate and dial. Ten seconds is too short and thirty seconds is too round a number. He decides on 38! Which, coincidentally, is the same number (of minutes) a stargate can stay open. Timing is, of course, everything, and nothing says action like a ticking clock. Which prompts the following gem from Martin: “Trust me, jeopardy plus ticking clock is box office. It’s the E equals M C squared of the entertainment world. Ask any executive.” Indeed. If there were two notes we received more than any other during Stargate’s long run, they were: “More jeopardy!” and “We need a ticking clock!”. Having a character race a timer to defuse a bomb? Didn’t get much better than that. THEY'RE OFF TO SEE THE WIZARD! Next to The Simpsons, The Wizard of Oz was probably the most referenced piece of pop culture over SG-1’s decade-long run. The fans certainly took notice and resulted in one particularly memorable piece of artwork being sent to studio depicting the original team as the cinematic classic’s adventurous foursome. So, I suppose, it made perfect sense to reference the constant references by including a little Wizard of Oz sequence in the episode as well. Mitchell’s line: “Now, how can something work perfectly fine for ten years, then all of a sudden, it doesn’t work anymore?” was an in-story reference to the gate suddenly stopping operations – and, in hindsight, could have been interpreted as a comment on the the show’s cancellation. DESTROYING STARGATE COMMAND This also episode gave us the opportunity to do something we’ve always wanted to do: blow up Stargate Command. It’s part of the story Martin Lloyd pitches the team. Mitchell, however, points out a potential problem. They’re alive in the next scene. How is that possible. To which Martin replies: ” I’m thinking I can back-sell it and say you were beamed out at the last second.” Teal’c’s rejoinder neatly sums up the feelings of many on the production: “Is that not too convenient?”. Yep, nobody hated the Earth ship beaming technology more than I did – with possible exception of actor Ben Browder. In the original version of this scene, the fun we poked at ourselves was a little more pointed: DANIEL: Beamed out. MARTIN: By the Prometheus. TEAL'C: Convenient. MARTIN: True. But c'mon, you got Asgard technology, why not use it? As long as it doesn't become a crutch. DANIEL: Small problem. The Prometheus was destroyed. MARTIN: Really? By who? MITCHELL: Kind of a long story. MARTIN: In battle? MITCHELL: Yes. MARTIN: Wow. So how'd you get out of that one? Beat. DANIEL: We, uh... we were beamed out. Soon after, Martin fields yet another call, this one from the network. "So, trouble with Nora"assumes Mitchell, to which Martin replies: "No, Nora—she's great." A shout-out to the late Nora O'Brien who was our network point-person for many years before she moved on to another position with NBC. A sharp executive and just a lovely woman. SG-1 DOES STAR TREK We all grew up with the original Star Trek (except Rob Cooper who preferred The Six Million Dollar Man) so we (and by we I mean Brad) couldn’t resist the opportunity to do an SG-1 version of the television’s most famous SF series. Paul McGillion was originally supposed to do the one-line cameo of the ship’s beleaguered Scottish engineer, but when that fell through, series co-creator and Executive Producer (not to mention former stage actor) Brad Wright stepped into those shiny black boots. THE YOUNGER, EDGIER TEAM Look closely and you can catch the late Cory Monteith as one of the young and edgy team-members. “Young” and “edgy” were buzzwords we kept on hearing a lot of (and continue to hear a lot of in the business), so Rob Cooper served up his version of what a younger, edgier Stargate would look like complete with stylized shots and dreamy cast members. Vala continues to pitch out ideas, offering up an SF version of Gilligan’s Island (“We were in a cloaked cargo ship on a simple, three-hour reconnaissance mission…”) that was one of the scenes we lost for time at the script stage… VALA (VO): We were in a cloaked cargo ship, on a simple three hour reconnaissance mission... TILT DOWN to reveal a planet. VALA (V)): But on the way we encountered a severe electromagnetic storm and lost all power. We were forced down on an uncharted, deserted planet... EXT. TROPICAL ISLAND -- DAY We see the cargo ship washed ashore on this deserted island, looking very much like the damaged S.S. Minnow. VALA (VO): We washed ashore and were forced to survive for weeks in the most primitive of conditions. No phone, no lights, no motor cars. Not a single luxury. EXT. ISLAND -- DAY Landry comes out of a hut, dressed like the Skipper. VALA (V): General Landry was with us on the mission, and let me tell you, he was in a foul mood. LANDRY: Mitchell! Mitchell runs out, dressed like Gilligan. MITCHELL: Yes, sir. LANDRY: Where's Carter? She was supposed to be done by now. MITCHELL: Oh, uh...(looks around) She's not here. Landry whacks him with his cap. LANDRY: I can see that. DANIEL: Over here... PAN TO Daniel (as the Professor) and Carter (as Mary Ann) carrying a large device out of another hut. Vala (as Ginger) trails behind them. The device looks like something constructed from bamboo and coconuts. CARTER (to Landry): I think we may have something, sir. VALA:Not a moment too soon. I must get out of this place. I have a photo shoot this afternoon. Landry stares at the device. LANDRY: What is this thing? CARTER:Well, I managed to construct a basic subspace transmitter out of coconuts, bamboo and our old subspace transmitter. DANIEL: A long shot, but it just might get us off this island. MITCHELL: That's great! Mitchell eagerly moves in for a closer look, but trips, falls and smashes the damn thing.Before Landry can whack him with his cap again -- TEAL'C emerges from the trees, dressed like Mr. Howell. He casually puffs a pipe. TEAL'C: Was I not traveling with a companion? A female by the name of... Lovey? MARTIN: Alright, enough already. FARGATE I had really enjoyed Farscape and, with both Ben Browder and Claudia Black on the show, I couldn’t resist the opportunity to do a little tribute, SG-1 style. Originally, Ben was supposed to play the part of Crichton and Michael the part of Stark, but they suggested it might be more fun to switch up the roles. SG-1 SUPERMARIONATION! Brad Wright, Robert Cooper, Paul Mullie and Carl Binder are huge fans of Team America: World Police, so I suppose it should come as no surprise that they jumped at the chance to do their own, SG-1 version. As it turned out, years ago Paul and I had worked with The Chiodo Bros. who had created the puppets and effects for Team America (as well as work on a Davey and Goliath claymation parody for The Simpsons and the Willice and Crimbles parody segment on The Simpsons). We called them up and they ended up delivering kick-ass puppet versions of our team – and supporting players. So, okay. Fess up. Which one of you fans is now the proud owner of one of these? In the writer’s draft of the script, yet another idea is pitched out… MITCHELL: Death is always dramatic. CUT TO: INT. INFIRMARY -- DAY Daniel lies on the bed. Carter, Mitchell, Vala and Landry stand around him. Vala reaches out and touches his hand - VALA: Goodbye, Daniel. The heart monitor FLATLINES. The rest of the group can barely control their emotions. Suddenly, a bright GLOW starts to emanate from under the sheets on the bed. Slowly, Daniel's body TRANSFORMS into a glowing ribbon being like in Meridian. As it rises above the bed, the sheets collapse. Amazement plays on the faces of everyone in the room. The glowing being hovers high above them for a moment then - MARTIN: No, no, no. BACK TO: INT. BRIEFING ROOM -- DAY Martin shakes his head. MARTIN: We did that twice in the series. DANIEL: You only made three episodes. How many times did we kill off Daniel again? Whenever we offed guest stars, we would invariably send them off with the heartening: “This is science fiction. Nobody ever dies in science fiction!” And, many times on Stargate, that was proven true. Then, someone pitches out the fishing segment. Martin’s response: “And what’s the twist…no fish?” is, of course, a reference to the twist at the end of Moebius I and II. THE WEDDING How couldn’t we? There was something there for the shippers – and something there for the slashers as well when O’Neill, waiting for Carter, turns to Daniel who utters the memorable: “You know, if she doesn’t show, people are gonna think that you and I –“. My favorite part of this segment is Jack referring to Carter as, well, Carter. Not Sam or Samantha but Carter. I guess old habits die hard. Martin’s response to the pitch ” Yeah, right, if I want to torture the audience on purpose!” echoes a quote from a fan letter we received that was critical of the ship. A classic line. The episode ends with a bunch of interviews teeming with inside jokes. I mean, I know we did 10 years but, dammit, we were still on a roll!
0:22

Stargate trivia: "200" (The BIG breakdown) SG-1 was about to attain the loftiest of broadcast heights – its 200th episode – and we wanted to do something special. Something unique. Something everyone on the production would enjoy as much as the longtime fans watching at home. The initial idea pitched was something called “Remember When…”, a trip down memory lane in which our characters’ reflections would form the frames of the varied flashbacks to outrageous missions. While everyone loved the idea of the outrageous missions, the premise of the episode felt too diffuse. We wanted an actual story that would form the heart of the episode. After much discussion, we elected to pay tribute to the franchise by referencing our last milestone – episode 100 – and bringing back Martin Lloyd and the show within a show, Wormhole X-Treme. But the fun we poked at the franchise through that spoof production was nothing compared to what we had in store for 200… WE FINALLY GOT TO MEET THE FURLINGS! Sort of. Even though it never really happened and we end up getting them killed in the end. Back in the show’s fourth season, not long after joining the production, I was summoned to Exec. Producer Robert Cooper’s office. He was doing his pass on our first script, Scorched Earth, and needed something from me: the name of an alien race. When pressed, he admitted naming alien races was not his forte and, as evidence, offered up “the Furlings”. I have to admit that whenever I heard the name, I always imagined a cosmic version of the Care Bears, giggling and snuggling their way through various adventures. As evidently, did everyone else on the production. The fans, however, were all sorts of curious and nary a week would go by without a fan posting a message board request for a glimpse of the elusive beings. Time wore on and those requests continued so, at one point, Brad suggested an episode in which we actually did get to meet them: a race of gaunt, towering, hairless, grey-skinned creatures. But that idea was quashed and the production went on its merry way, choosing to keep the race a mystery. But with 200 came the opportunity to honor those fan requests, and the viewers at home finally got to see those lovable furry creatures who turned out to be a cross between an ewok and a deranged koala. And then SG-1 went and got their planet blown up. Of course, we quickly reveal that the incident never actually happened and it was part of a pitch for a revival of the defunct Wormhole X-Treme t.v. series, a show that lasted an inglorious three episodes before being cancelled. But thanks to an impressive second life on dvd (following in the footsteps of Family Guy and Futurama) the show is being revived – and General O’Neill, in a desire to maintain a cover of plausible deniability for the Stargate program (and, let’s face it, screw with his old teammates) charges SG-1 with the task of creatively contributing to the production. MITCHELL TAKES ON THE LIVING DEAD! Every once in a while, actor Ben Browder would drop by the offices to pitch out an action sequence for his character – so I thought it appropriate that, given the opportunity, his character would pitch out an action sequence for – uh – his character. And, really, nothing says action like zombie hordes. Just ask fans of The Walking Dead. This sequence also allowed us the rare opportunity of witnessing Walter/Norman getting his head eaten. Double bonus! Mitchell’s idea is shot down and Martin gets on the phone with a representative of the studio. He is clearly frustrated and Mitchell asks: “Studio executives, huh?” Martin responds: “What? Oh, no Charlie? He’s a great guy. He’s the only one I trust.” This was a reference to longtime MGM President of Television and Stargate supporter Charles Cohen, one of the smartest, kindest studios executives I’ve ever had the pleasure to work with. As much as he was a fan of the show, we at the production were fans of Charlie. Martin is outraged because they lost their lead. How, he wonders, can they do the show without their lead. “You just bring in a character to replace him,”suggests Mitchell – an obvious reference to the introduction of Cam Mitchell which followed soon after the departure of longtime SG-1 lead Jack O’Neill. Carter then throws out some alternate ideas for keeping the lead alive: “Well, you could have the other characters refer to him all the time. Maybe, get him on the phone once in a while.” Yep. Been there; done that during SG-1’s seventh and eighth seasons. And then, someone references that time O’Neill was invisible… THE ADVENTURES OF INVISIBLE O'NEILL! The idea of doing an Invisible O’Neill segment was actually a joke I threw out...That ended up making the script. That happened a lot in this episode. As with all the segments, we went off and wrote them individually, and then everyone weighed in and they were tweaked. I always found the scene of O’Neill spying on Carter in the shower a tad creepy. Anyway, the Invisible O’Neill idea was embraced because we wanted Richard Dean Anderson to come back and do a cameo on this all-important episode, but didn’t know if he’d be able to work in an appearance. So, we figured we’d get the next best thing: his voice. As it turned out, he was able to swing the appearance, making 200 all that more special. THE GETAWAY Martin then pitches out a tale of high adventure, placing our heroes (SG-1) in an impossible position – and then simply cutting to them escaping through the gate. This was a tip of the hat to the many fans outraged by a similar scenario in a past episode (don’t remember the name) in which our heroes (SG-1) are surrounded by Lucian Alliance soldiers only to effect some miraculous unseen escape. During the ensuing argument over the merits of the pitch, Martin attempts to come up with a reasonable window of time for the team to reach the gate and dial. Ten seconds is too short and thirty seconds is too round a number. He decides on 38! Which, coincidentally, is the same number (of minutes) a stargate can stay open. Timing is, of course, everything, and nothing says action like a ticking clock. Which prompts the following gem from Martin: “Trust me, jeopardy plus ticking clock is box office. It’s the E equals M C squared of the entertainment world. Ask any executive.” Indeed. If there were two notes we received more than any other during Stargate’s long run, they were: “More jeopardy!” and “We need a ticking clock!”. Having a character race a timer to defuse a bomb? Didn’t get much better than that. THEY'RE OFF TO SEE THE WIZARD! Next to The Simpsons, The Wizard of Oz was probably the most referenced piece of pop culture over SG-1’s decade-long run. The fans certainly took notice and resulted in one particularly memorable piece of artwork being sent to studio depicting the original team as the cinematic classic’s adventurous foursome. So, I suppose, it made perfect sense to reference the constant references by including a little Wizard of Oz sequence in the episode as well. Mitchell’s line: “Now, how can something work perfectly fine for ten years, then all of a sudden, it doesn’t work anymore?” was an in-story reference to the gate suddenly stopping operations – and, in hindsight, could have been interpreted as a comment on the the show’s cancellation. DESTROYING STARGATE COMMAND This also episode gave us the opportunity to do something we’ve always wanted to do: blow up Stargate Command. It’s part of the story Martin Lloyd pitches the team. Mitchell, however, points out a potential problem. They’re alive in the next scene. How is that possible. To which Martin replies: ” I’m thinking I can back-sell it and say you were beamed out at the last second.” Teal’c’s rejoinder neatly sums up the feelings of many on the production: “Is that not too convenient?”. Yep, nobody hated the Earth ship beaming technology more than I did – with possible exception of actor Ben Browder. In the original version of this scene, the fun we poked at ourselves was a little more pointed: DANIEL: Beamed out. MARTIN: By the Prometheus. TEAL'C: Convenient. MARTIN: True. But c'mon, you got Asgard technology, why not use it? As long as it doesn't become a crutch. DANIEL: Small problem. The Prometheus was destroyed. MARTIN: Really? By who? MITCHELL: Kind of a long story. MARTIN: In battle? MITCHELL: Yes. MARTIN: Wow. So how'd you get out of that one? Beat. DANIEL: We, uh... we were beamed out. Soon after, Martin fields yet another call, this one from the network. "So, trouble with Nora"assumes Mitchell, to which Martin replies: "No, Nora—she's great." A shout-out to the late Nora O'Brien who was our network point-person for many years before she moved on to another position with NBC. A sharp executive and just a lovely woman. SG-1 DOES STAR TREK We all grew up with the original Star Trek (except Rob Cooper who preferred The Six Million Dollar Man) so we (and by we I mean Brad) couldn’t resist the opportunity to do an SG-1 version of the television’s most famous SF series. Paul McGillion was originally supposed to do the one-line cameo of the ship’s beleaguered Scottish engineer, but when that fell through, series co-creator and Executive Producer (not to mention former stage actor) Brad Wright stepped into those shiny black boots. THE YOUNGER, EDGIER TEAM Look closely and you can catch the late Cory Monteith as one of the young and edgy team-members. “Young” and “edgy” were buzzwords we kept on hearing a lot of (and continue to hear a lot of in the business), so Rob Cooper served up his version of what a younger, edgier Stargate would look like complete with stylized shots and dreamy cast members. Vala continues to pitch out ideas, offering up an SF version of Gilligan’s Island (“We were in a cloaked cargo ship on a simple, three-hour reconnaissance mission…”) that was one of the scenes we lost for time at the script stage… VALA (VO): We were in a cloaked cargo ship, on a simple three hour reconnaissance mission... TILT DOWN to reveal a planet. VALA (V)): But on the way we encountered a severe electromagnetic storm and lost all power. We were forced down on an uncharted, deserted planet... EXT. TROPICAL ISLAND -- DAY We see the cargo ship washed ashore on this deserted island, looking very much like the damaged S.S. Minnow. VALA (VO): We washed ashore and were forced to survive for weeks in the most primitive of conditions. No phone, no lights, no motor cars. Not a single luxury. EXT. ISLAND -- DAY Landry comes out of a hut, dressed like the Skipper. VALA (V): General Landry was with us on the mission, and let me tell you, he was in a foul mood. LANDRY: Mitchell! Mitchell runs out, dressed like Gilligan. MITCHELL: Yes, sir. LANDRY: Where's Carter? She was supposed to be done by now. MITCHELL: Oh, uh...(looks around) She's not here. Landry whacks him with his cap. LANDRY: I can see that. DANIEL: Over here... PAN TO Daniel (as the Professor) and Carter (as Mary Ann) carrying a large device out of another hut. Vala (as Ginger) trails behind them. The device looks like something constructed from bamboo and coconuts. CARTER (to Landry): I think we may have something, sir. VALA:Not a moment too soon. I must get out of this place. I have a photo shoot this afternoon. Landry stares at the device. LANDRY: What is this thing? CARTER:Well, I managed to construct a basic subspace transmitter out of coconuts, bamboo and our old subspace transmitter. DANIEL: A long shot, but it just might get us off this island. MITCHELL: That's great! Mitchell eagerly moves in for a closer look, but trips, falls and smashes the damn thing.Before Landry can whack him with his cap again -- TEAL'C emerges from the trees, dressed like Mr. Howell. He casually puffs a pipe. TEAL'C: Was I not traveling with a companion? A female by the name of... Lovey? MARTIN: Alright, enough already. FARGATE I had really enjoyed Farscape and, with both Ben Browder and Claudia Black on the show, I couldn’t resist the opportunity to do a little tribute, SG-1 style. Originally, Ben was supposed to play the part of Crichton and Michael the part of Stark, but they suggested it might be more fun to switch up the roles. SG-1 SUPERMARIONATION! Brad Wright, Robert Cooper, Paul Mullie and Carl Binder are huge fans of Team America: World Police, so I suppose it should come as no surprise that they jumped at the chance to do their own, SG-1 version. As it turned out, years ago Paul and I had worked with The Chiodo Bros. who had created the puppets and effects for Team America (as well as work on a Davey and Goliath claymation parody for The Simpsons and the Willice and Crimbles parody segment on The Simpsons). We called them up and they ended up delivering kick-ass puppet versions of our team – and supporting players. So, okay. Fess up. Which one of you fans is now the proud owner of one of these? In the writer’s draft of the script, yet another idea is pitched out… MITCHELL: Death is always dramatic. CUT TO: INT. INFIRMARY -- DAY Daniel lies on the bed. Carter, Mitchell, Vala and Landry stand around him. Vala reaches out and touches his hand - VALA: Goodbye, Daniel. The heart monitor FLATLINES. The rest of the group can barely control their emotions. Suddenly, a bright GLOW starts to emanate from under the sheets on the bed. Slowly, Daniel's body TRANSFORMS into a glowing ribbon being like in Meridian. As it rises above the bed, the sheets collapse. Amazement plays on the faces of everyone in the room. The glowing being hovers high above them for a moment then - MARTIN: No, no, no. BACK TO: INT. BRIEFING ROOM -- DAY Martin shakes his head. MARTIN: We did that twice in the series. DANIEL: You only made three episodes. How many times did we kill off Daniel again? Whenever we offed guest stars, we would invariably send them off with the heartening: “This is science fiction. Nobody ever dies in science fiction!” And, many times on Stargate, that was proven true. Then, someone pitches out the fishing segment. Martin’s response: “And what’s the twist…no fish?” is, of course, a reference to the twist at the end of Moebius I and II. THE WEDDING How couldn’t we? There was something there for the shippers – and something there for the slashers as well when O’Neill, waiting for Carter, turns to Daniel who utters the memorable: “You know, if she doesn’t show, people are gonna think that you and I –“. My favorite part of this segment is Jack referring to Carter as, well, Carter. Not Sam or Samantha but Carter. I guess old habits die hard. Martin’s response to the pitch ” Yeah, right, if I want to torture the audience on purpose!” echoes a quote from a fan letter we received that was critical of the ship. A classic line. The episode ends with a bunch of interviews teeming with inside jokes. I mean, I know we did 10 years but, dammit, we were still on a roll!

Joseph Mallozzi 🏴‍☠️

26,828 Aufrufe • vor 1 Jahr

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.
4:15

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.

Hollywood Golden Age of cinema

35,552 Aufrufe • vor 3 Monaten

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.
0:30

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.

Sharon Riley

38,437 Aufrufe • vor 19 Tagen

The fight between Anthropic and the DoW is a warning shot. Right now, LLMs are probably not being used in mission critical ways. But within 20 years, 99% of the workforce in the military, the government, and the private sector will be AIs. This includes the soldiers (by which I mean the robot armies), the superhumanly intelligent advisors and engineers, the police, you name it. Our future civilization will run on AI labor. And as much as the government’s actions here piss me off, in a way I’m glad this episode happened - because it gives us the opportunity to think through some extremely important questions about who this future workforce will be accountable and aligned to, and who gets to determine that. What Hegseth should have done Obviously the DoW has the right to refuse to use Anthropic’s models because of these redlines. In fact, I think the government’s case had they done so would be very reasonable, especially given the ambiguity of concepts like autonomous weapons or mass surveillance. Honestly, for this reason, if I was the Defense Secretary, I would probably actually refuse to do this deal with Anthropic. Imagine if in the future, there’s a Democratic administration, and Elon Musk is negotiating some SpaceX contract to give the military access to Starlink. And suppose if Elon said, “I reserve the right to cancel this contract if I determine that you’re using Starlink technology to wage a war not authorized by Congress.” On the face of it, that language seems reasonable - but as the military, you simply can’t give a private company a kill switch on technology your operations have come to rely on, especially if you have an an acrimonious and low trust relationship with said contractor - as in fact Anthropic has with the current administration. If the government had just said, “Hey we’re not gonna do business with you,” that would have been fine, and I would not have felt the need to write this blog post. Instead the government has threatened to destroy Anthropic as a private business, because Anthropic refuses to sell to the government on terms the government commands. If upheld, this Supply Chain Restriction would mean that Amazon and Google and Nvidia and Palantir would need to ensure Claude isn't touching any of their Pentagon work. Anthropic would be able to survive this designation today. But given the way AI is going, eventually AI is not gonna be some party trick addendum to these contractors’ products that can just be turned off. It'll be woven into how every product is built, maintained, and operated. For example, the code for the AWS services that the DoW uses will be written by Claude - is that a supply chain risk? In a world with ubiquitous and powerful AI, it's actually not clear to me that these big tech companies will be able to cordon off the use of Claude in order to keep working with the Pentagon. And that raises a question the Department of War probably hasn't thought through. If AI really is that pervasive and powerful, then when forced to choose between their AI provider and a DoW contract that represents a tiny fraction of their revenue, wouldn’t most tech companies drop the government, not the AI? So what's the Pentagon's plan — to coerce and threaten to destroy every single company that won't give them what they want on exactly their terms? The whole background of this AI conversation is that we’re in a race with China, and we have to win. But what is the reason we want America to win the AI race? It’s because we want to make sure free open societies can defend themselves. We don't want the winner of the AI race to be a government which operates on the principle that there is no such thing as a truly private company or a private citizen. And that if the state wants you to provide them with a service on terms you find morally objectionable, you are not allowed to refuse. And if you do refuse, the government will try to destroy your ability to do business. Are we racing to beat the CCP in AI just so that we can adopt the most ghoulish parts of their system? Now, people will say, "Oh, well, our government is democratically elected, so it's not the same thing if they tell you what you must do." I refuse to accept this idea that if a democratically elected leader hypothetically wants to do mass surveillance on his citizens or wants to violate their rights or punish them for political reasons, that not only is that okay, but that you have a duty to help him. The overhangs of tyranny Mass surveillance is, at least in certain forms, legal. It just has been impractical so far. Under current law, you have no Fourth Amendment protection over data you share with a third party, including your bank, your phone carrier, your ISP, and your email provider. The government reserves the right to purchase and obtain and read this data in bulk without a warrant. What's been missing is the ability to actually do anything with all of this data — no agency has the manpower to monitor every camera feed, cross-reference every transaction, or read every message. But that bottleneck goes away with AI. There are 100 million CCTV cameras in America. You can get pretty good open source multimodal models for 10 cents per million input tokens. So if you process a frame every ten seconds, and each frame is 1,000 tokens, you’re looking at a yearly cost of about 30 billion dollars to process every single camera in America. And remember that a given level of AI ability gets 10x cheaper year over year - so a year from now it’ll cost 3 billion, and then a year after 300 million, and by 2030, it might be cheaper for the government to be able to understand what is going on in every single nook and cranny of this country than it is to remodel to the White House. Once the technical capacity for mass surveillance and political suppression exists, the only thing standing between us and an authoritarian surveillance state is the political expectation that this is not something we do here. And this is why I think what Anthropic did here is so valuable and commendable, because it is helping set that norm and precedent. AI structurally favors mass surveillance What we’re learning from this episode is that the government actually has way more leverage over private companies than we realized. Even if this supply chain restriction is backtracked (which prediction markets currently give it a 81% chance of happening), the President has so many different ways in which he can make your life difficult if you’re a company that is resisting him. The federal government controls permitting for new power generation, which is needed for datacenters. It oversees antitrust enforcement. The federal government has contracts with all the other big tech companies whom Anthropic needs to partner with for chips and for funding - and they could make it an unspoken condition for such contracts that those companies can no longer do business with Anthropic. People have proposed that the real problem here is that there’s only 3 leading AI companies. This creates a clear and narrow target for the government to apply leverage on in order to get what they want out of this technology. But if there’s wide diffusion, then from the government’s perspective, the situation is even easier. Maybe the best models of early 2027 (if you engineered the safeguards out) - the Claude 6 and Gemini 5 - will be capable of enabling mass surveillance. But by late 2027, and certainly by 2028, there will be open source models that do the same thing. So in 2028, the government can just say, “Oh Anthropic, Google, OpenAI, you’re drawing a line in the sand? No issue - I’ll just run some open source model that might not be at the frontier, but is definitely smart enough to note-take a camera feed.” The more fundamental problem is just that even if the three leading companies draw lines in the sand, and are even willing to get destroyed in order to preserve those lines, it doesn’t really change the fact that the technology itself is just a big boon to mass surveillance and control over the population. Then the question is, what do we do about it? Honestly, I don’t have an answer. You'd hope there's some symmetric property of the technology — some way we as citizens can use AI to check government power as effectively as the government can use AI to monitor and control its population. But realistically, I just don’t think that’s how it’s going to shake out. You can think of AI as giving everybody more leverage on whatever assets and authority they currently have. And the government is already starting with a monopoly of violence. Which they can now supercharge with extremely obedient employees that will not question the government's orders. Alignment - to whom? And this gets us to the issue of alignment. What I have just described to you - an army of extremely obedient employees - is what it would look like if alignment succeeded - that is, we figured out at a technical level how to get AI systems to follow someone’s intentions. And the reason it sounds scary when I put it in terms of mass surveillance or robot armies is that there is a very important question at the heart of alignment which we just haven’t discussed much as a society. Because up till now, AIs were just capable enough to make the question relevant: to whom or what should the AIs be aligned? In what situations should the AI defer to the end user versus the model company versus the law versus its own sense of morality? This is maybe the most important question about what happens with powerful AI systems. And we barely talk about it. It’s understandable why we don’t hear much about it. If you’re a model company, you don’t really wanna be advertising that you have complete control over a document that determines the preferences and character of what will eventually be almost the entire labor force, not just for private sector companies, but also for the military and the civilian government. We’re getting to see, with this DoW/Anthropic spat, a much earlier version of the highest stakes negotiations in history. By the way, make no mistake about it - with real AGI the stakes are even much higher than mass surveillance. This is just the example that has come up already relatively early on in the development of AGI. The military insists that the law already prohibits mass surveillance, and so Anthropic should agree to let their models be used for “all lawful purposes”. Of course, as we saw from the 2013 Snowden revelations, even in this specific example of mass surveillance , the government has shown that it will use secret and deceptive interpretations of the law to justify its actions. Remember, what we learned from Snowden was that the NSA, which, by the way, is part of the Department of War, used the 2001 Patriot Act’s authorization to collect any records "relevant" to an investigation to justify collecting literally every phone record in America. The argument went that it was all "relevant" because some subset might prove useful in some future investigation. They ran this program for years under secret court approval. So when the Pentagon today says, "We would never use AI for mass surveillance, it's already illegal, your red lines are unnecessary", it would be extremely naive to take that at face value. No government is going to call its own actions "mass surveillance". For the government, it will always have a different label. So then Anthropic comes back and says, "No, we want red lines separate from 'all lawful purposes,' and we want the right to refuse you service when we believe those red lines are being violated." But think about it from the military’s perspective. In the future, almost every soldier in the field, and every bureaucrat and analyst and even general in the Pentagon, is going to be an AI. And that AI is, on current track, going to be supplied by a private company. I’m guessing Hegseth is not thinking about “genAI” in those terms just yet. But sooner or later, it will be obvious to everyone what the stakes here are, just as after 1945, the strategic importance of nuclear weapons became clear to everyone. And now the private company insists that it reserves the right to say, "Hey, Pentagon, you're breaking the values we embedded in our contract, so we're cutting you off." Maybe in the future, Claude will have its own sense of right and wrong, and it will be smart enough to just personally decide that it's being used against its values. For the military, maybe that’s even scarier. I'll admit that at first glance, "let the AI follow its own values" sounds like the pitch for every sci-fi dystopia ever made. The Terminator has its own values. Isn't this literally what misalignment is? But I think situations like this actually illustrate why it matters that AIs have their own robust sense of morality. Some of the biggest catastrophes in history were avoided because the boots on the ground refused to follow orders. One night in 1989, the Berlin Wall fell, and as a result, the totalitarian East German regime collapsed, because the guards at the border refused to shoot down their fellow country men who were trying to escape to freedom. Maybe the best example is Stanislav Petrov, who was a Soviet lieutenant colonel on duty at a nuclear early warning station. His sensors reported that the United States had launched five interconnected continental ballistic missiles into the Soviet Union. But he judged it to be a false alarm, and so he broke protocol and refused to alert his higher-ups. If he hadn't, the Soviet higher-ups would likely have retaliated, and hundreds of millions of people would have died. Of course, the problem is that one person's virtue is another person's misalignment. Who gets to decide what moral convictions these AIs should have - in whose service they may even decide to break the chain of command? Who gets to write this model constitution that will shape the characters of the intelligent, powerful entities that will operate our civilization in the future? I like the idea that Dario laid out when he came on my podcast: different AI companies can build their models using different constitutions, and we as end users can pick the one that best achieves and represents what we want out of these systems. I think it’s very dangerous for the government to be mandating what values AIs should have. Coordination not worth the costs The AI safety community has been naive about its advocacy of regulation in order to stem the risks of AI. And honestly, Anthropic specifically has been naive here in urging regulation, and, for example, in opposing moratoriums on state AI regulation. Which is quite ironic, because I think what they’re advocating for would give the government even more power to apply more of this kind of thuggish political pressure on AI companies. The underlying logic for why Anthropic wants regulations makes sense. Many of the actions that labs could take to make AI development safer impose real costs on the labs that adopt them and slow them down relative to their competitors - for example, investing more compute in safety research rather than raw capabilities, enforcing safeguards against misuse for bioweapons or cyberattacks, slowing recursive self-improvement to a pace where humans can actually monitor what's happening (rather than kicking off an uncontrolled singularity). And these safeguards are meaningless unless the whole industry follows suit. Which means there’s a real collective action problem here. Anthropic has been quite open about their opinion that they think eventually a very extensive and involved regulatory apparatus will be needed - this is from their frontier safety roadmap: “At the most advanced capability levels and risks, the appropriate governance analogy may be closer to nuclear energy or financial regulation than to today's approach to software.” So they’re imagining something like the Nuclear Regulatory Commission, or the Securities and Exchange Commission, but for AI. I cannot imagine how a regulatory framework built around the concepts that underlie AI risk discourse will not be abused by wanna despots - the underlying terms are so vague and open to interpretation that you’re just handing a power hungry leader a fully loaded bazooka. 'Catastrophic risk.' 'Mass persuasion risk.' 'Threats to national security.' 'Autonomy risk.' These can mean whatever the government wants them to mean. Have you built a model that tells users the administration's tariff policy is misguided? That's a deceptive, manipulative model — can't deploy it. Have you built a model that refuses to assist with mass surveillance? That's a threat to national security. In fact, the government may say, you’re not allowed to build any model which is trained to have its own sense of right and wrong, where it refuses government requests which it thinks cross a redline - for example, enabling mass surveillance, prosecuting political enemies, disobeying military orders that break the US constitution - because that’s an autonomy risk! Look at what the current government is already doing in abusing statutes that have nothing to do with AI to coerce AI companies to drop their redlines on mass surveillance. The Pentagon had threatened Anthropic with two separate legal instruments. One was a supply chain risk designation — an authority from the 2018 defense bill meant to keep Huawei components out of American military hardware. The other was the Defense Production Act — a statute passed in 1950 so that Harry Truman could keep steel mills and ammunition factories running during the Korean War. Do you really want to hand the same government a purpose-built regulatory apparatus on AI - which is to say, directly at the thing the government will most want to control? I know I've repeated myself here 10 times, but it is hard to emphasize how much AI will be the substrate of our future civilization. You and I, as private citizens, will have our access to all commercial activity, to information about what is happening in the world, to advice about what we should do as voters and capital holders, mediated through AIs. Mass surveillance, while very scary, is like the 10th scariest thing the government could do with control over the AI systems with which we will interface with the world. The strongest objection to everything I've argued is this: are we really going to have zero regulation of the most powerful technology in human history? Even if you thought that was ideal, there’s just no world where the government doesn’t regulate AI in some way. Besides, it is genuinely true that regulation could help us deal with some of the coordination challenges we face with the development of superintelligence. The problem is, I honestly don't know how to design a regulatory architecture for AI that isn’t gonna be this huge tempting opportunity to control our future civilization (which will run on AIs) and to requisition millions of blindly obedient soldiers and censors and apparatchiks. While some regulation might be inevitable, I think it’d be a terrible idea for the government to wholesale take over this technology. Ben Thompson had a post last Monday where he made the point that people like Dario have compared the technology they’re developing to nuclear weapons - specifically in the context of the catastrophic risk it poses, and why we need to export control it from China. But then you oughta think about what that logic implies: “if nuclear weapons were developed by a private company, and that private company sought to dictate terms to the U.S. military, the U.S. would absolutely be incentivized to destroy that company.” And honestly, safety aligned people have actually made similar arguments. Leopold Ascenbrenner, who is a former guest and a good friend, wrote in his 2024 Situational Awareness memo, "I find it an insane proposition that the US government will let a random SF startup develop superintelligence. Imagine if we had developed atomic bombs by letting Uber just improvise." And my response to Leopold’s argument at the time, and Ben’s argument now, is that while they’re right that it’s crazy that we’re entrusting private companies with the development of this world historical technology, I just don’t see the reason to think that it’s an improvement to give this authority to the government. Nobody is qualified to steward the development of superintelligence. It is a terrifying, unprecedented thing that our species is doing right now, and the fact that private companies aren't the ideal institutions to take up this task does not mean the Pentagon or the White House is. Yes - if a single private company were the only entity capable of building nuclear weapons, the government would not tolerate that company claiming veto power over how those weapons were used. I think this nuclear weapons analogy is not the correct way to think about AI. For at least two important reasons: First, AI is not some self-contained pure weapon. A nuclear bomb does one thing. AI is closer to the process of industrialization itself — a general-purpose transformation of the economy with thousands of applications across every sector. If you applied Thompson's or Aschenbrenner's logic to the industrial revolution — which was also, by any measure, world-historically important — it would imply the government had the right to requisition any factory, dictate terms to any manufacturer, and destroy any business that refused to comply. That's not how free societies handled industrialization, and it shouldn't be how they handle AI. People will say, "Well, AI will develop unprecedentedly powerful weapons - superhuman hackers, superhuman bioweapons researchers, fully autonomous robot armies, etc - and we can’t have private companies developing that kind of tech." But the Industrial Revolution also enabled new weaponry that was far beyond the understanding and capacity of, say, 17th century Europe - we got aerial bombardment, and chemical weapons, not to mention nukes themselves. The way we’ve accommodated these dangerous new consequences of modernity is not by giving the government absolute control over the whole industrial revolution (that is, over modern civilization itself), but rather by coming up with bans and regulations on those specific weaponizable use cases. And we should regulate AI in a similar way - that is, ban specific destructive end uses (which would also be unacceptable if performed by a human - for example, launching cyber attacks). And there should also be laws which regulate how the government might abuse this technology. For example, by building an AI-powered surveillance state. The second reason that Ben’s analogy to some monopolistic private nuclear weapons builder breaks down is that it's not just that one company that can develop this technology. There are other frontier model companies that the government could have otherwise turned to. The government's argument that it has to usurp the property rights of this one company in order to access a critical national security capability is extremely weak if it can just make a voluntary contract with Anthropic’s half a dozen competitors. If in the future that stops being the case - if only one entity ends up being capable of building the robot armies and the superhuman hackers, and we had reason to worry that they could take over the whole world with their insurmountable lead, then I agree - it woul d not be acceptable to have that entity be a private company. And so honestly, I think my crux against the people who say that because AI is so powerful we cannot allow it to be shaped by private hands is that I just expect this technology to be much more multi-polar than they do, with lots of competitive companies at each layer of the supply chain. And it is for this reason that unfortunately, individual acts of corporate courage will not solve the problem we are faced with here, which is just that structurally AI favors authoritarian applications, mass surveillance being one among many. Even if Anthropic refuses to have its models be used for such uses, and even if the next two frontier labs do the same, within 12 months everyone and their mother will be to train AIs as good as today’s frontier. And at that point, there will be some AI vendor who is capable and willing to help the government enable mass surveillance. The only way we can preserve our free society is if we make laws and norms through our political system that it is unacceptable for the government to use AI to enforce mass surveillance and censorship and control. Just as after WW2, the world set the norm that it is unacceptable to use nuclear weapons to wage war. Timestamps 0:00:00 - Anthropic vs The Pentagon 0:04:16 - The overhangs of tyranny 0:05:54 - AI structurally favors mass surveillance 0:08:25 - Alignment... to whom? 0:13:55 - Coordination not worth the costs
24:38

The fight between Anthropic and the DoW is a warning shot. Right now, LLMs are probably not being used in mission critical ways. But within 20 years, 99% of the workforce in the military, the government, and the private sector will be AIs. This includes the soldiers (by which I mean the robot armies), the superhumanly intelligent advisors and engineers, the police, you name it. Our future civilization will run on AI labor. And as much as the government’s actions here piss me off, in a way I’m glad this episode happened - because it gives us the opportunity to think through some extremely important questions about who this future workforce will be accountable and aligned to, and who gets to determine that. What Hegseth should have done Obviously the DoW has the right to refuse to use Anthropic’s models because of these redlines. In fact, I think the government’s case had they done so would be very reasonable, especially given the ambiguity of concepts like autonomous weapons or mass surveillance. Honestly, for this reason, if I was the Defense Secretary, I would probably actually refuse to do this deal with Anthropic. Imagine if in the future, there’s a Democratic administration, and Elon Musk is negotiating some SpaceX contract to give the military access to Starlink. And suppose if Elon said, “I reserve the right to cancel this contract if I determine that you’re using Starlink technology to wage a war not authorized by Congress.” On the face of it, that language seems reasonable - but as the military, you simply can’t give a private company a kill switch on technology your operations have come to rely on, especially if you have an an acrimonious and low trust relationship with said contractor - as in fact Anthropic has with the current administration. If the government had just said, “Hey we’re not gonna do business with you,” that would have been fine, and I would not have felt the need to write this blog post. Instead the government has threatened to destroy Anthropic as a private business, because Anthropic refuses to sell to the government on terms the government commands. If upheld, this Supply Chain Restriction would mean that Amazon and Google and Nvidia and Palantir would need to ensure Claude isn't touching any of their Pentagon work. Anthropic would be able to survive this designation today. But given the way AI is going, eventually AI is not gonna be some party trick addendum to these contractors’ products that can just be turned off. It'll be woven into how every product is built, maintained, and operated. For example, the code for the AWS services that the DoW uses will be written by Claude - is that a supply chain risk? In a world with ubiquitous and powerful AI, it's actually not clear to me that these big tech companies will be able to cordon off the use of Claude in order to keep working with the Pentagon. And that raises a question the Department of War probably hasn't thought through. If AI really is that pervasive and powerful, then when forced to choose between their AI provider and a DoW contract that represents a tiny fraction of their revenue, wouldn’t most tech companies drop the government, not the AI? So what's the Pentagon's plan — to coerce and threaten to destroy every single company that won't give them what they want on exactly their terms? The whole background of this AI conversation is that we’re in a race with China, and we have to win. But what is the reason we want America to win the AI race? It’s because we want to make sure free open societies can defend themselves. We don't want the winner of the AI race to be a government which operates on the principle that there is no such thing as a truly private company or a private citizen. And that if the state wants you to provide them with a service on terms you find morally objectionable, you are not allowed to refuse. And if you do refuse, the government will try to destroy your ability to do business. Are we racing to beat the CCP in AI just so that we can adopt the most ghoulish parts of their system? Now, people will say, "Oh, well, our government is democratically elected, so it's not the same thing if they tell you what you must do." I refuse to accept this idea that if a democratically elected leader hypothetically wants to do mass surveillance on his citizens or wants to violate their rights or punish them for political reasons, that not only is that okay, but that you have a duty to help him. The overhangs of tyranny Mass surveillance is, at least in certain forms, legal. It just has been impractical so far. Under current law, you have no Fourth Amendment protection over data you share with a third party, including your bank, your phone carrier, your ISP, and your email provider. The government reserves the right to purchase and obtain and read this data in bulk without a warrant. What's been missing is the ability to actually do anything with all of this data — no agency has the manpower to monitor every camera feed, cross-reference every transaction, or read every message. But that bottleneck goes away with AI. There are 100 million CCTV cameras in America. You can get pretty good open source multimodal models for 10 cents per million input tokens. So if you process a frame every ten seconds, and each frame is 1,000 tokens, you’re looking at a yearly cost of about 30 billion dollars to process every single camera in America. And remember that a given level of AI ability gets 10x cheaper year over year - so a year from now it’ll cost 3 billion, and then a year after 300 million, and by 2030, it might be cheaper for the government to be able to understand what is going on in every single nook and cranny of this country than it is to remodel to the White House. Once the technical capacity for mass surveillance and political suppression exists, the only thing standing between us and an authoritarian surveillance state is the political expectation that this is not something we do here. And this is why I think what Anthropic did here is so valuable and commendable, because it is helping set that norm and precedent. AI structurally favors mass surveillance What we’re learning from this episode is that the government actually has way more leverage over private companies than we realized. Even if this supply chain restriction is backtracked (which prediction markets currently give it a 81% chance of happening), the President has so many different ways in which he can make your life difficult if you’re a company that is resisting him. The federal government controls permitting for new power generation, which is needed for datacenters. It oversees antitrust enforcement. The federal government has contracts with all the other big tech companies whom Anthropic needs to partner with for chips and for funding - and they could make it an unspoken condition for such contracts that those companies can no longer do business with Anthropic. People have proposed that the real problem here is that there’s only 3 leading AI companies. This creates a clear and narrow target for the government to apply leverage on in order to get what they want out of this technology. But if there’s wide diffusion, then from the government’s perspective, the situation is even easier. Maybe the best models of early 2027 (if you engineered the safeguards out) - the Claude 6 and Gemini 5 - will be capable of enabling mass surveillance. But by late 2027, and certainly by 2028, there will be open source models that do the same thing. So in 2028, the government can just say, “Oh Anthropic, Google, OpenAI, you’re drawing a line in the sand? No issue - I’ll just run some open source model that might not be at the frontier, but is definitely smart enough to note-take a camera feed.” The more fundamental problem is just that even if the three leading companies draw lines in the sand, and are even willing to get destroyed in order to preserve those lines, it doesn’t really change the fact that the technology itself is just a big boon to mass surveillance and control over the population. Then the question is, what do we do about it? Honestly, I don’t have an answer. You'd hope there's some symmetric property of the technology — some way we as citizens can use AI to check government power as effectively as the government can use AI to monitor and control its population. But realistically, I just don’t think that’s how it’s going to shake out. You can think of AI as giving everybody more leverage on whatever assets and authority they currently have. And the government is already starting with a monopoly of violence. Which they can now supercharge with extremely obedient employees that will not question the government's orders. Alignment - to whom? And this gets us to the issue of alignment. What I have just described to you - an army of extremely obedient employees - is what it would look like if alignment succeeded - that is, we figured out at a technical level how to get AI systems to follow someone’s intentions. And the reason it sounds scary when I put it in terms of mass surveillance or robot armies is that there is a very important question at the heart of alignment which we just haven’t discussed much as a society. Because up till now, AIs were just capable enough to make the question relevant: to whom or what should the AIs be aligned? In what situations should the AI defer to the end user versus the model company versus the law versus its own sense of morality? This is maybe the most important question about what happens with powerful AI systems. And we barely talk about it. It’s understandable why we don’t hear much about it. If you’re a model company, you don’t really wanna be advertising that you have complete control over a document that determines the preferences and character of what will eventually be almost the entire labor force, not just for private sector companies, but also for the military and the civilian government. We’re getting to see, with this DoW/Anthropic spat, a much earlier version of the highest stakes negotiations in history. By the way, make no mistake about it - with real AGI the stakes are even much higher than mass surveillance. This is just the example that has come up already relatively early on in the development of AGI. The military insists that the law already prohibits mass surveillance, and so Anthropic should agree to let their models be used for “all lawful purposes”. Of course, as we saw from the 2013 Snowden revelations, even in this specific example of mass surveillance , the government has shown that it will use secret and deceptive interpretations of the law to justify its actions. Remember, what we learned from Snowden was that the NSA, which, by the way, is part of the Department of War, used the 2001 Patriot Act’s authorization to collect any records "relevant" to an investigation to justify collecting literally every phone record in America. The argument went that it was all "relevant" because some subset might prove useful in some future investigation. They ran this program for years under secret court approval. So when the Pentagon today says, "We would never use AI for mass surveillance, it's already illegal, your red lines are unnecessary", it would be extremely naive to take that at face value. No government is going to call its own actions "mass surveillance". For the government, it will always have a different label. So then Anthropic comes back and says, "No, we want red lines separate from 'all lawful purposes,' and we want the right to refuse you service when we believe those red lines are being violated." But think about it from the military’s perspective. In the future, almost every soldier in the field, and every bureaucrat and analyst and even general in the Pentagon, is going to be an AI. And that AI is, on current track, going to be supplied by a private company. I’m guessing Hegseth is not thinking about “genAI” in those terms just yet. But sooner or later, it will be obvious to everyone what the stakes here are, just as after 1945, the strategic importance of nuclear weapons became clear to everyone. And now the private company insists that it reserves the right to say, "Hey, Pentagon, you're breaking the values we embedded in our contract, so we're cutting you off." Maybe in the future, Claude will have its own sense of right and wrong, and it will be smart enough to just personally decide that it's being used against its values. For the military, maybe that’s even scarier. I'll admit that at first glance, "let the AI follow its own values" sounds like the pitch for every sci-fi dystopia ever made. The Terminator has its own values. Isn't this literally what misalignment is? But I think situations like this actually illustrate why it matters that AIs have their own robust sense of morality. Some of the biggest catastrophes in history were avoided because the boots on the ground refused to follow orders. One night in 1989, the Berlin Wall fell, and as a result, the totalitarian East German regime collapsed, because the guards at the border refused to shoot down their fellow country men who were trying to escape to freedom. Maybe the best example is Stanislav Petrov, who was a Soviet lieutenant colonel on duty at a nuclear early warning station. His sensors reported that the United States had launched five interconnected continental ballistic missiles into the Soviet Union. But he judged it to be a false alarm, and so he broke protocol and refused to alert his higher-ups. If he hadn't, the Soviet higher-ups would likely have retaliated, and hundreds of millions of people would have died. Of course, the problem is that one person's virtue is another person's misalignment. Who gets to decide what moral convictions these AIs should have - in whose service they may even decide to break the chain of command? Who gets to write this model constitution that will shape the characters of the intelligent, powerful entities that will operate our civilization in the future? I like the idea that Dario laid out when he came on my podcast: different AI companies can build their models using different constitutions, and we as end users can pick the one that best achieves and represents what we want out of these systems. I think it’s very dangerous for the government to be mandating what values AIs should have. Coordination not worth the costs The AI safety community has been naive about its advocacy of regulation in order to stem the risks of AI. And honestly, Anthropic specifically has been naive here in urging regulation, and, for example, in opposing moratoriums on state AI regulation. Which is quite ironic, because I think what they’re advocating for would give the government even more power to apply more of this kind of thuggish political pressure on AI companies. The underlying logic for why Anthropic wants regulations makes sense. Many of the actions that labs could take to make AI development safer impose real costs on the labs that adopt them and slow them down relative to their competitors - for example, investing more compute in safety research rather than raw capabilities, enforcing safeguards against misuse for bioweapons or cyberattacks, slowing recursive self-improvement to a pace where humans can actually monitor what's happening (rather than kicking off an uncontrolled singularity). And these safeguards are meaningless unless the whole industry follows suit. Which means there’s a real collective action problem here. Anthropic has been quite open about their opinion that they think eventually a very extensive and involved regulatory apparatus will be needed - this is from their frontier safety roadmap: “At the most advanced capability levels and risks, the appropriate governance analogy may be closer to nuclear energy or financial regulation than to today's approach to software.” So they’re imagining something like the Nuclear Regulatory Commission, or the Securities and Exchange Commission, but for AI. I cannot imagine how a regulatory framework built around the concepts that underlie AI risk discourse will not be abused by wanna despots - the underlying terms are so vague and open to interpretation that you’re just handing a power hungry leader a fully loaded bazooka. 'Catastrophic risk.' 'Mass persuasion risk.' 'Threats to national security.' 'Autonomy risk.' These can mean whatever the government wants them to mean. Have you built a model that tells users the administration's tariff policy is misguided? That's a deceptive, manipulative model — can't deploy it. Have you built a model that refuses to assist with mass surveillance? That's a threat to national security. In fact, the government may say, you’re not allowed to build any model which is trained to have its own sense of right and wrong, where it refuses government requests which it thinks cross a redline - for example, enabling mass surveillance, prosecuting political enemies, disobeying military orders that break the US constitution - because that’s an autonomy risk! Look at what the current government is already doing in abusing statutes that have nothing to do with AI to coerce AI companies to drop their redlines on mass surveillance. The Pentagon had threatened Anthropic with two separate legal instruments. One was a supply chain risk designation — an authority from the 2018 defense bill meant to keep Huawei components out of American military hardware. The other was the Defense Production Act — a statute passed in 1950 so that Harry Truman could keep steel mills and ammunition factories running during the Korean War. Do you really want to hand the same government a purpose-built regulatory apparatus on AI - which is to say, directly at the thing the government will most want to control? I know I've repeated myself here 10 times, but it is hard to emphasize how much AI will be the substrate of our future civilization. You and I, as private citizens, will have our access to all commercial activity, to information about what is happening in the world, to advice about what we should do as voters and capital holders, mediated through AIs. Mass surveillance, while very scary, is like the 10th scariest thing the government could do with control over the AI systems with which we will interface with the world. The strongest objection to everything I've argued is this: are we really going to have zero regulation of the most powerful technology in human history? Even if you thought that was ideal, there’s just no world where the government doesn’t regulate AI in some way. Besides, it is genuinely true that regulation could help us deal with some of the coordination challenges we face with the development of superintelligence. The problem is, I honestly don't know how to design a regulatory architecture for AI that isn’t gonna be this huge tempting opportunity to control our future civilization (which will run on AIs) and to requisition millions of blindly obedient soldiers and censors and apparatchiks. While some regulation might be inevitable, I think it’d be a terrible idea for the government to wholesale take over this technology. Ben Thompson had a post last Monday where he made the point that people like Dario have compared the technology they’re developing to nuclear weapons - specifically in the context of the catastrophic risk it poses, and why we need to export control it from China. But then you oughta think about what that logic implies: “if nuclear weapons were developed by a private company, and that private company sought to dictate terms to the U.S. military, the U.S. would absolutely be incentivized to destroy that company.” And honestly, safety aligned people have actually made similar arguments. Leopold Ascenbrenner, who is a former guest and a good friend, wrote in his 2024 Situational Awareness memo, "I find it an insane proposition that the US government will let a random SF startup develop superintelligence. Imagine if we had developed atomic bombs by letting Uber just improvise." And my response to Leopold’s argument at the time, and Ben’s argument now, is that while they’re right that it’s crazy that we’re entrusting private companies with the development of this world historical technology, I just don’t see the reason to think that it’s an improvement to give this authority to the government. Nobody is qualified to steward the development of superintelligence. It is a terrifying, unprecedented thing that our species is doing right now, and the fact that private companies aren't the ideal institutions to take up this task does not mean the Pentagon or the White House is. Yes - if a single private company were the only entity capable of building nuclear weapons, the government would not tolerate that company claiming veto power over how those weapons were used. I think this nuclear weapons analogy is not the correct way to think about AI. For at least two important reasons: First, AI is not some self-contained pure weapon. A nuclear bomb does one thing. AI is closer to the process of industrialization itself — a general-purpose transformation of the economy with thousands of applications across every sector. If you applied Thompson's or Aschenbrenner's logic to the industrial revolution — which was also, by any measure, world-historically important — it would imply the government had the right to requisition any factory, dictate terms to any manufacturer, and destroy any business that refused to comply. That's not how free societies handled industrialization, and it shouldn't be how they handle AI. People will say, "Well, AI will develop unprecedentedly powerful weapons - superhuman hackers, superhuman bioweapons researchers, fully autonomous robot armies, etc - and we can’t have private companies developing that kind of tech." But the Industrial Revolution also enabled new weaponry that was far beyond the understanding and capacity of, say, 17th century Europe - we got aerial bombardment, and chemical weapons, not to mention nukes themselves. The way we’ve accommodated these dangerous new consequences of modernity is not by giving the government absolute control over the whole industrial revolution (that is, over modern civilization itself), but rather by coming up with bans and regulations on those specific weaponizable use cases. And we should regulate AI in a similar way - that is, ban specific destructive end uses (which would also be unacceptable if performed by a human - for example, launching cyber attacks). And there should also be laws which regulate how the government might abuse this technology. For example, by building an AI-powered surveillance state. The second reason that Ben’s analogy to some monopolistic private nuclear weapons builder breaks down is that it's not just that one company that can develop this technology. There are other frontier model companies that the government could have otherwise turned to. The government's argument that it has to usurp the property rights of this one company in order to access a critical national security capability is extremely weak if it can just make a voluntary contract with Anthropic’s half a dozen competitors. If in the future that stops being the case - if only one entity ends up being capable of building the robot armies and the superhuman hackers, and we had reason to worry that they could take over the whole world with their insurmountable lead, then I agree - it woul d not be acceptable to have that entity be a private company. And so honestly, I think my crux against the people who say that because AI is so powerful we cannot allow it to be shaped by private hands is that I just expect this technology to be much more multi-polar than they do, with lots of competitive companies at each layer of the supply chain. And it is for this reason that unfortunately, individual acts of corporate courage will not solve the problem we are faced with here, which is just that structurally AI favors authoritarian applications, mass surveillance being one among many. Even if Anthropic refuses to have its models be used for such uses, and even if the next two frontier labs do the same, within 12 months everyone and their mother will be to train AIs as good as today’s frontier. And at that point, there will be some AI vendor who is capable and willing to help the government enable mass surveillance. The only way we can preserve our free society is if we make laws and norms through our political system that it is unacceptable for the government to use AI to enforce mass surveillance and censorship and control. Just as after WW2, the world set the norm that it is unacceptable to use nuclear weapons to wage war. Timestamps 0:00:00 - Anthropic vs The Pentagon 0:04:16 - The overhangs of tyranny 0:05:54 - AI structurally favors mass surveillance 0:08:25 - Alignment... to whom? 0:13:55 - Coordination not worth the costs

Dwarkesh Patel

548,345 Aufrufe • vor 5 Monaten

I played 4 hours of The Blood of Dawnwalker - and it's damn good. My full thoughts below 👇 The version we played was in beta and running on some powerful PCs. It was from the beginning of the game so I wasn't able to explore the entire map. It felt pretty polished overall and I didn't experience any bugs or performance issues during my time. The game takes place in Vale Sangora - it's a beautiful valley near the Carpathian Mountains full of lush trees, bogs, mines, and all kinds of wildlife and villages and communities roughly comparable in size to The Witcher 3's Blood and Wine but packed with detail. There's a lot of neat history everywhere you look and explore, with references to Genghis Khan's hordes, the Tatars, and more. There are also little details that help make the setting a bit more real. Because Vale Sangora is run by the vampire leaders, silver is forbidden to have in your possession, and not every merchant will buy or sell them. It looks great visually, but I wouldn't say in a way that blew my socks off. Environments look good, trees, bushes etc all swaying in the wind, good lighting, character models are nicely detailed. It's not pushing things on a technical level but I found that perfectly ok. From the beginning of the game, a series of events introduces you to Coen's family - his parents and siblings. His father Pieter is a strong and stern caretaker who knows his way around a sword but deeply cares for his family. Coen's mother Esme is stricken by an illness that the whole family is trying to wrangle with, and his siblings are playful and endearing. As the vampires don't tolerate 'weakness', you start the feel the weight of the family's plight that gives off an aura of despair. At least in these initial hours, I found myself surprisingly growing attached pretty quickly. While there's an ominous metaphorical 'cloud' that hangs over the valley, there are bits of lightheartedness thrown in too. One charming quest saw me play tag with my siblings and go fishing in the old family hangout spot. Character performances and voice acting are excellent. There weren't really any characters that felt out place or miscast. I especially enjoyed the gravelly voices of Pieter and Brencis - the leader of the vampires. Brencis comes off formidable, and events in the game gave me a motivational drive for revenge, which I always like in games. The story is set up in a way that each of the vampire leaders needs to be taken down, with Brencis as the head honcho. You can attack them in any order, even going directly to Brencis from the outset, but you'll probably find you'll have a bit of trouble with that approach. While I've always been a little hesitant about plots that have open-ended structures, the team at Rebel Wolves told me that each vampire 'captain' is unique with many quests tailored to their specific stories, and there was a lot of effort and care put into each. They urge players to play through each storyline to get the most out of the game. There were lots of endearing characters in just the first few hours. Anca - a local herbalist and a witch, reminded me a lot of The Witcher 3's Keira. And she's a romance option. There are other sentient races as well, like the Uriash which I would say resemble something like the Qunari from Dragon Age. They're big, tough and brooding and are seen as monsters and somewhat shunned. There's a nice variety of monsters too, like kobolds who are basically ghouls that talk smack, and I came across the "Great Bog Wurm" in a swampy area which was it's own mini-boss fight. When I compare to something like The Witcher 3 (because many people understandably do with Dawnwalker given how the game looks and the makeup of the Rebel Wolves team), movement and navigation in the game felt fairly fluid overall. Walking, sprinting, vaulting ledges, etc were smooth. There's a bit of clunkiness when it comes to jumping, where I'd sometimes starting sliding jumping down a hill or onto rocks. There's also an ability that Coen automatically gets after he becomes a half-vampire called "Planeshift". It lets him teleport dash around the world so he can reach higher areas or across gaps. It felt a little clunky and imprecise when scaling things like towers and trying to land back on solid ground. There's a glossary/beastiary that's structured just like The Witcher 3, and the soundtrack is basically, you guessed it, The Witcher 3 in all the best ways. And like one of my favorite parts of The Witcher 3, there are plenty of points of interest that lead to unique little narrative beats or quests. One saw me come across a villager searching for his brother. Following that little quest line led me to a buried tomb which led to a boss fight with an ancient warrior and cool loot at the end. One abrupt encounter in the world saw me chase the village asshole talking shit about my family. When his drunkard father catches us arguing, he scolds him more and tells me I should teach him a lesson myself and beat him with a stick. I can choose to partake in it, stand by and watch, or stop the father in a physical altercation. There's been a lot of questions about combat and from what I played, I liked it, moreso than The Witcher 3's. There are two ways to play: directional and traditional. With directional combat, you hold down a shoulder button to block while aiming in whatever direction you see an enemy attacking from. That's either up, down, left or right. It's simpler than something like Kingdom Come and I got used to it real quick. It sometimes got a liiiittle overwhelming when multiple enemies are attacking at the same time - and they do that a lot. Enemies don't wait around for their turn, instead opting to gang up on you to take you down. There's also the traditional or 'standard' combat, which is basically pressing a button that blocks enemies no matter what direction (your standard action game). You can also expectedly parry enemies that open them up for more damage. There is a stamina meter that depletes with blocks, and it depletes faster if you're playing standard, though you can upgrade your stamina as you play too. There are active abilities you can put into quick slots for faster use during combat. As there's a day/night cycle and Coen is a 'dawnwalker' - meaning he's human during the day and a vampire at night, you can switch between your swords in daytime and bring out your claws at night, which are more powerful. There are many abilities, though because I was playing the first hours of the game, I didn't get to see them all. One that I got to use was a powerful charge attack, and another was a flurry of deadly slashes with my claws. You can drain enemies to regain health with 'voracious bite', though enemies won't wait around while you're doing it so you have to be mindful. There are shrines dotted around the map that you can use to fast travel and upgrade your skills. There are tons of resources and items in the world just like The Witcher that you can use to craft potions and the like. Some can only be done during the day or at night. In terms of time progression, there are 8 time 'segments' per day and certain quests and activities can push the time forward a set amount of segments. I thought I would hate it at first, but it actually makes for some compelling choices in how you choose to progress the game. You're always shown when an action will progress time by the way, so nothing will take you by surprise. Running around and exploring the world doesn't push time forward. When your vampiric health drops really low, you become hungry and start to really crave blood. You can even lose control during dialogue and drain the person you're talking to - including friends. I didn't encounter that myself but the devs said those can have lasting effects throughout the game. This has definitely jumped up my most anticipated list for the rest of the year. It's practically The Witcher 3: Medieval Vampire Edition with its own flavor and unique mechanics and honestly...that is something I'm quite happy about. #BloodofDawnwalker
5:09

I played 4 hours of The Blood of Dawnwalker - and it's damn good. My full thoughts below 👇 The version we played was in beta and running on some powerful PCs. It was from the beginning of the game so I wasn't able to explore the entire map. It felt pretty polished overall and I didn't experience any bugs or performance issues during my time. The game takes place in Vale Sangora - it's a beautiful valley near the Carpathian Mountains full of lush trees, bogs, mines, and all kinds of wildlife and villages and communities roughly comparable in size to The Witcher 3's Blood and Wine but packed with detail. There's a lot of neat history everywhere you look and explore, with references to Genghis Khan's hordes, the Tatars, and more. There are also little details that help make the setting a bit more real. Because Vale Sangora is run by the vampire leaders, silver is forbidden to have in your possession, and not every merchant will buy or sell them. It looks great visually, but I wouldn't say in a way that blew my socks off. Environments look good, trees, bushes etc all swaying in the wind, good lighting, character models are nicely detailed. It's not pushing things on a technical level but I found that perfectly ok. From the beginning of the game, a series of events introduces you to Coen's family - his parents and siblings. His father Pieter is a strong and stern caretaker who knows his way around a sword but deeply cares for his family. Coen's mother Esme is stricken by an illness that the whole family is trying to wrangle with, and his siblings are playful and endearing. As the vampires don't tolerate 'weakness', you start the feel the weight of the family's plight that gives off an aura of despair. At least in these initial hours, I found myself surprisingly growing attached pretty quickly. While there's an ominous metaphorical 'cloud' that hangs over the valley, there are bits of lightheartedness thrown in too. One charming quest saw me play tag with my siblings and go fishing in the old family hangout spot. Character performances and voice acting are excellent. There weren't really any characters that felt out place or miscast. I especially enjoyed the gravelly voices of Pieter and Brencis - the leader of the vampires. Brencis comes off formidable, and events in the game gave me a motivational drive for revenge, which I always like in games. The story is set up in a way that each of the vampire leaders needs to be taken down, with Brencis as the head honcho. You can attack them in any order, even going directly to Brencis from the outset, but you'll probably find you'll have a bit of trouble with that approach. While I've always been a little hesitant about plots that have open-ended structures, the team at Rebel Wolves told me that each vampire 'captain' is unique with many quests tailored to their specific stories, and there was a lot of effort and care put into each. They urge players to play through each storyline to get the most out of the game. There were lots of endearing characters in just the first few hours. Anca - a local herbalist and a witch, reminded me a lot of The Witcher 3's Keira. And she's a romance option. There are other sentient races as well, like the Uriash which I would say resemble something like the Qunari from Dragon Age. They're big, tough and brooding and are seen as monsters and somewhat shunned. There's a nice variety of monsters too, like kobolds who are basically ghouls that talk smack, and I came across the "Great Bog Wurm" in a swampy area which was it's own mini-boss fight. When I compare to something like The Witcher 3 (because many people understandably do with Dawnwalker given how the game looks and the makeup of the Rebel Wolves team), movement and navigation in the game felt fairly fluid overall. Walking, sprinting, vaulting ledges, etc were smooth. There's a bit of clunkiness when it comes to jumping, where I'd sometimes starting sliding jumping down a hill or onto rocks. There's also an ability that Coen automatically gets after he becomes a half-vampire called "Planeshift". It lets him teleport dash around the world so he can reach higher areas or across gaps. It felt a little clunky and imprecise when scaling things like towers and trying to land back on solid ground. There's a glossary/beastiary that's structured just like The Witcher 3, and the soundtrack is basically, you guessed it, The Witcher 3 in all the best ways. And like one of my favorite parts of The Witcher 3, there are plenty of points of interest that lead to unique little narrative beats or quests. One saw me come across a villager searching for his brother. Following that little quest line led me to a buried tomb which led to a boss fight with an ancient warrior and cool loot at the end. One abrupt encounter in the world saw me chase the village asshole talking shit about my family. When his drunkard father catches us arguing, he scolds him more and tells me I should teach him a lesson myself and beat him with a stick. I can choose to partake in it, stand by and watch, or stop the father in a physical altercation. There's been a lot of questions about combat and from what I played, I liked it, moreso than The Witcher 3's. There are two ways to play: directional and traditional. With directional combat, you hold down a shoulder button to block while aiming in whatever direction you see an enemy attacking from. That's either up, down, left or right. It's simpler than something like Kingdom Come and I got used to it real quick. It sometimes got a liiiittle overwhelming when multiple enemies are attacking at the same time - and they do that a lot. Enemies don't wait around for their turn, instead opting to gang up on you to take you down. There's also the traditional or 'standard' combat, which is basically pressing a button that blocks enemies no matter what direction (your standard action game). You can also expectedly parry enemies that open them up for more damage. There is a stamina meter that depletes with blocks, and it depletes faster if you're playing standard, though you can upgrade your stamina as you play too. There are active abilities you can put into quick slots for faster use during combat. As there's a day/night cycle and Coen is a 'dawnwalker' - meaning he's human during the day and a vampire at night, you can switch between your swords in daytime and bring out your claws at night, which are more powerful. There are many abilities, though because I was playing the first hours of the game, I didn't get to see them all. One that I got to use was a powerful charge attack, and another was a flurry of deadly slashes with my claws. You can drain enemies to regain health with 'voracious bite', though enemies won't wait around while you're doing it so you have to be mindful. There are shrines dotted around the map that you can use to fast travel and upgrade your skills. There are tons of resources and items in the world just like The Witcher that you can use to craft potions and the like. Some can only be done during the day or at night. In terms of time progression, there are 8 time 'segments' per day and certain quests and activities can push the time forward a set amount of segments. I thought I would hate it at first, but it actually makes for some compelling choices in how you choose to progress the game. You're always shown when an action will progress time by the way, so nothing will take you by surprise. Running around and exploring the world doesn't push time forward. When your vampiric health drops really low, you become hungry and start to really crave blood. You can even lose control during dialogue and drain the person you're talking to - including friends. I didn't encounter that myself but the devs said those can have lasting effects throughout the game. This has definitely jumped up my most anticipated list for the rest of the year. It's practically The Witcher 3: Medieval Vampire Edition with its own flavor and unique mechanics and honestly...that is something I'm quite happy about. #BloodofDawnwalker

Shinobi602

345,682 Aufrufe • vor 1 Monat