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Why stroke to 2B on screen when you can actually thrust into her tight little mini body ? 😘 💎LORIBEAR Mini Sex Doll💎 🔗 #NieRAutomata #NieR_Automata #2b #NieR #ニーアオートマタ #hentaivideo #rule34 #animefigure #figure #lovedolls #gkdoll #loribear

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Today we're announcing $280M in Series B funding at a $2B valuation, led by our long-time investor and partner, Menlo Ventures. When we announced our Series A last May, most conversations I had about voice began with someone explaining why they doubted it. I don't have those conversations anymore. People tell me instead how much time they save talking instead of typing and what they want us to build next. In a little over a year, voice has gone from something people were questioning to something they rely on, and it happened faster than we expected. That shift is why we've raised a new round of funding. This funding represents a deeper investment in our products, lab, models, and our team. Alongside the funding, we're announcing a preview of our first proprietary speech model, Canto. Canto is a 2B parameter speech model trained for the places people actually talk: loud rooms, windy streets, a toddler in the background, a second language mixed into the first. Models like this will change how we all interact with devices, and Canto is the first in a rapid line of them. Each one will be larger and more capable than the last, and each should improve Flow's dictation in a way you can feel the day it ships. Larger speech models also open the door to the vision we dreamed up 5 years ago: using your voice as the primary way you interact with devices. That still has to be invented. A voice interface people rely on all day, in every app, doesn't exist anywhere yet. It's time for that to change. To Sahaj Garg, our team, and every person who gave Wispr Flow a chance - this one's for you.
1:00

Today we're announcing $280M in Series B funding at a $2B valuation, led by our long-time investor and partner, Menlo Ventures. When we announced our Series A last May, most conversations I had about voice began with someone explaining why they doubted it. I don't have those conversations anymore. People tell me instead how much time they save talking instead of typing and what they want us to build next. In a little over a year, voice has gone from something people were questioning to something they rely on, and it happened faster than we expected. That shift is why we've raised a new round of funding. This funding represents a deeper investment in our products, lab, models, and our team. Alongside the funding, we're announcing a preview of our first proprietary speech model, Canto. Canto is a 2B parameter speech model trained for the places people actually talk: loud rooms, windy streets, a toddler in the background, a second language mixed into the first. Models like this will change how we all interact with devices, and Canto is the first in a rapid line of them. Each one will be larger and more capable than the last, and each should improve Flow's dictation in a way you can feel the day it ships. Larger speech models also open the door to the vision we dreamed up 5 years ago: using your voice as the primary way you interact with devices. That still has to be invented. A voice interface people rely on all day, in every app, doesn't exist anywhere yet. It's time for that to change. To Sahaj Garg, our team, and every person who gave Wispr Flow a chance - this one's for you.

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“Our 15-year-old is having sex… and my husband is furious.” Caller: “A couple of weeks ago, my husband and I discovered that our 15 year old daughter had been sneaking her boyfriend into her bedroom through the window. Then we found out this wasn’t the first time. They had been sexually active in her bedroom across the hall from ours on multiple occasions. We took her cell phone. Took her bedroom door off. No driving privileges. And she can’t participate in any after-school activities for the rest of the year.” Dr. John Delony: “You took away her phone, her door, her privacy, and her connection to her friends. A 15 year old girl who is sneaking a boy into her room and is sexually active is a body screaming for connection. The solution can’t be less connection. It sounds like two adults got really embarrassed that they missed something happening right across the hallway and then used all of their power.” And that’s where this gets uncomfortable. The hard truth: The parents weren’t wrong to be alarmed. But punishment can become a way for embarrassed parents to regain control instead of actually solving the problem. Their daughter broke a serious boundary. That requires consequences. But consequences and isolation aren’t the same thing. If you remove every source of privacy, friendship, transportation, activities, and communication, you might stop the behavior temporarily. But you haven’t necessarily addressed why she was willing to risk getting caught in the first place. And there’s another uncomfortable question: How did two parents discover that their 15-year-old had been sexually active multiple times only after the fact? That question hurts because it turns the spotlight back on the adults. The goal isn’t to make her afraid of her parents. It’s to make her know that when something goes wrong, her parents are the people she can run toward not the people she has to hide from. You can hold a hard boundary and still keep the relationship open. Because parenting isn’t about proving who has the most power. It’s about using your power to build a child who eventually knows how to make good decisions when you aren’t standing in the room.
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“Our 15-year-old is having sex… and my husband is furious.” Caller: “A couple of weeks ago, my husband and I discovered that our 15 year old daughter had been sneaking her boyfriend into her bedroom through the window. Then we found out this wasn’t the first time. They had been sexually active in her bedroom across the hall from ours on multiple occasions. We took her cell phone. Took her bedroom door off. No driving privileges. And she can’t participate in any after-school activities for the rest of the year.” Dr. John Delony: “You took away her phone, her door, her privacy, and her connection to her friends. A 15 year old girl who is sneaking a boy into her room and is sexually active is a body screaming for connection. The solution can’t be less connection. It sounds like two adults got really embarrassed that they missed something happening right across the hallway and then used all of their power.” And that’s where this gets uncomfortable. The hard truth: The parents weren’t wrong to be alarmed. But punishment can become a way for embarrassed parents to regain control instead of actually solving the problem. Their daughter broke a serious boundary. That requires consequences. But consequences and isolation aren’t the same thing. If you remove every source of privacy, friendship, transportation, activities, and communication, you might stop the behavior temporarily. But you haven’t necessarily addressed why she was willing to risk getting caught in the first place. And there’s another uncomfortable question: How did two parents discover that their 15-year-old had been sexually active multiple times only after the fact? That question hurts because it turns the spotlight back on the adults. The goal isn’t to make her afraid of her parents. It’s to make her know that when something goes wrong, her parents are the people she can run toward not the people she has to hide from. You can hold a hard boundary and still keep the relationship open. Because parenting isn’t about proving who has the most power. It’s about using your power to build a child who eventually knows how to make good decisions when you aren’t standing in the room.

Davecryps

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Angela White explains that PORN STARS don’t judge REGULAR PEOPLE’S SEX because the expectations and SKILLS required on a porn set are completely different from intimate bedroom sex "No." "I mean, you can't- Look, the male talent in the industry are incredibly skilled at what they do, and there's a reason why you see the same male performers appear in scenes over and over and over again." "It's actually a very small pool of male talent that we choose from, because they're the only ones in the world that can get hard in front of an entire crew, stay hard, have sex for as long as we need, whether it's forty-five minutes or two hours, and then- And pop on command." "That is a very small amount of men in the world that can do that." "So if we're having sex with men outside of porn Firstly, a lot of women don't even want to have sex for two hours. You know, like they've got other things to do." "But also like, I mean, the expectations are also different. Like when I'm having sex on a porn set, we are being a lot more acrobatic than I would even want to be in a bedroom at home." "Like, I have to stretch and prepare for some of these scenes. Like when I'm having sex in a bed in my own time, I wanna have like really connected, intimate sex. I don't wanna be opening up for the camera or the light. I wanna be like, I wanna be man blanketed." "So we're not expecting acting porn sex off a porn set." "I mean, it's true we have had the best of the best. I'm not gonna lie, that is true." "But I think the problem is, it's like when men do get into their own head, it fucks everything up. Because if you're in your head, you're not focused on the woman in front of you." "Like, if you're in your head, you're thinking about, 'Oh my God, is my cock hard enough? Is my cock big enough? Am I touching right?' There's a woman in front of you, how lucky are you? Focus on her and her pleasure, and everything will go fine." "That's, that if you're in your head, how are you finding her clit if you're like, 'Is my dick big enough?' Like, where are you in that moment? Connect with the woman." "Yeah, I think just always think about the girl." "You have to look at the person that you're working with, and like, what is the body part that you like the most? Like, what does, what are her lips feel like on your lips? Like, you've gotta focus on the interaction that you're having with that person to get aroused."
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Angela White explains that PORN STARS don’t judge REGULAR PEOPLE’S SEX because the expectations and SKILLS required on a porn set are completely different from intimate bedroom sex "No." "I mean, you can't- Look, the male talent in the industry are incredibly skilled at what they do, and there's a reason why you see the same male performers appear in scenes over and over and over again." "It's actually a very small pool of male talent that we choose from, because they're the only ones in the world that can get hard in front of an entire crew, stay hard, have sex for as long as we need, whether it's forty-five minutes or two hours, and then- And pop on command." "That is a very small amount of men in the world that can do that." "So if we're having sex with men outside of porn Firstly, a lot of women don't even want to have sex for two hours. You know, like they've got other things to do." "But also like, I mean, the expectations are also different. Like when I'm having sex on a porn set, we are being a lot more acrobatic than I would even want to be in a bedroom at home." "Like, I have to stretch and prepare for some of these scenes. Like when I'm having sex in a bed in my own time, I wanna have like really connected, intimate sex. I don't wanna be opening up for the camera or the light. I wanna be like, I wanna be man blanketed." "So we're not expecting acting porn sex off a porn set." "I mean, it's true we have had the best of the best. I'm not gonna lie, that is true." "But I think the problem is, it's like when men do get into their own head, it fucks everything up. Because if you're in your head, you're not focused on the woman in front of you." "Like, if you're in your head, you're thinking about, 'Oh my God, is my cock hard enough? Is my cock big enough? Am I touching right?' There's a woman in front of you, how lucky are you? Focus on her and her pleasure, and everything will go fine." "That's, that if you're in your head, how are you finding her clit if you're like, 'Is my dick big enough?' Like, where are you in that moment? Connect with the woman." "Yeah, I think just always think about the girl." "You have to look at the person that you're working with, and like, what is the body part that you like the most? Like, what does, what are her lips feel like on your lips? Like, you've gotta focus on the interaction that you're having with that person to get aroused."

Dunmola♋

119,682 Aufrufe • vor 23 Tagen

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Steven Bartlett

42,547 Aufrufe • vor 3 Monaten

Vayne takes you on a hunt. you don't know why. she doesn't take anyone. she says stay behind me. don't speak unless i speak first. don't make a sound when we move. you say yes. she looks at you for a second longer than usual. "if i tell you to run, you run. you don't look back for me. are we clear" you say yes. she doesn't answer. she just turns and walks out the door. you follow her through the city streets. she moves different when she's working. shoulders lower. steps shorter. her head doesn't turn but her eyes do. you can feel her cataloguing everything. the man smoking outside the tavern. the cat under the cart. the second floor window with the curtain half drawn. she leads you through an alley you didn't know existed. stops at a brick wall. then she climbs. there are handholds carved into the mortar that you wouldn't have noticed if she hadn't used them first. she's halfway up before she realizes you're still at the bottom. she looks down at you. "up" you climb. your hands are shaking by the time you reach the top. the roof is flat. old clay tiles along the edges. a low wall you can crouch behind. the city stretches out below you in every direction. a thousand windows glowing gold in the dusk. she's already at the far side. crouched. crossbow unslung. watching a building across the square. she doesn't look at you when you come up beside her. "stay low" you crouch. "that building. third floor. second window from the left" you look. "i see it" he'll come to that window sometime tonight. i've watched him do it for three nights. i want to know who he meets you ask who he is. her jaw tightens. "a demon pretending to be a man" you don't ask what that means. you settle in beside her. the wind is up here. it pulls at her hair and she doesn't bother fixing it. the sun is going down behind her. her profile in the gold light looks like something carved. her hands on the crossbow are steady. completely still. you've never seen anyone be this still. an hour passes. she doesn't move. you try not to move. your leg falls asleep. you shift an inch. she looks at you. you go completely still again. she looks back at the window. another hour. the sun is gone. the city is blue and black. lamps are lighting up one by one. the air is getting cold. you're shivering before you realize you're shivering. she notices. she doesn't say anything. then she takes off her cloak. doesn't look at you. holds it out to the side. "take it" you say "you'll be cold" "i don't get cold. take it" you take it. it's warm from her. it smells like leather and steel and something underneath. pine. smoke. something you can't name. you put it around your shoulders. the hem pools on the tile. it's huge on you. it's not huge on her. you hadn't realized how tall she is until you were wearing her cloak. she doesn't look at you for the next ten minutes. the stars come out. she shifts closer to you. just a little. so her shoulder is almost touching yours. you don't say anything about it. she doesn't either. you can feel the heat coming off her even through the cloak. another hour. still nothing at the window. she says "tell me something" you blink. "what" "anything. i need to stay sharp. talking keeps me sharp. not about the target. something else" you didn't expect that. you tell her about a book you've been reading. she listens. actually listens. her eyes never leave the window but you can tell she's hearing every word. she asks one question. you answer. she goes quiet again. you keep talking. quieter now. she interrupts you. "shh" she's not looking at the window anymore. she's looking at the roof two buildings over. you don't see anything. you don't see anything for a long time. then you do. a shadow that moves the wrong way. her hand finds yours. she doesn't look at you when she does it. her eyes don't leave the shadow. her fingers lace through yours and LOCK. tight. too tight. knuckles going white around your hand. "don't move" she breathes. you don't move. you can feel every ounce of her focus through her grip. it's not a lover's hold. it's a predator's. every muscle in her hand coiled. ready to drop yours the instant she needs the crossbow. she's not holding you for you. she's holding you to keep track of where you are without having to look. it should scare you. it doesn't. there is something about being held that tight by someone that dangerous that makes the rest of the world go quiet. your heartbeat slows. your breathing slows. the cold stops mattering. you are not the one hunting but you are with the one who is. and nothing is going to get through her to reach you. the shadow crosses the roof and disappears into a stairwell. she watches the spot it left for another full minute. her hand is still locked around yours. she doesn't loosen it. you don't want her to. finally she lets out a breath you didn't know she was holding. "not him. but someone who works for him" her grip eases. slowly. finger by finger. like she's having to consciously tell each one to let go. the last one is her thumb. it stays against your palm for half a second longer than the rest. then she takes her hand back. the cold rushes in where she was. she glances at you. just for a second. then she looks back at the window. the rest of the night she's quieter than before. the target never shows. when the sky starts turning grey she stands up. stretches. rolls her shoulders. looks out over the city one last time. "we're done" you stand too. your legs don't work right. she catches your elbow without looking. "careful" she keeps her hand there until you're steady. then she takes it away. you start to hand her cloak back. she says "keep it for the climb down" she goes first. you follow. the handholds are easier going down once you know where they are. when you're both on the ground she turns to take the cloak. you hand it to her. her fingers brush yours. she doesn't pull back as fast as she usually does. she puts the cloak back on. it's warm now. from you. she has to notice. she doesn't say anything about it. she walks you home. at your door she stops. "don't tell anyone what you saw tonight" you say "i didn't see much" she looks at you. her eyes in the lamplight. the edge of her mouth. almost softer than it should be. "you saw enough" then she turns and walks back into the dark. you close the door. your hand still feels cold where hers was. you can still smell pine on your shirt. you don't sleep. Study the Saskio way
8:09

Vayne takes you on a hunt. you don't know why. she doesn't take anyone. she says stay behind me. don't speak unless i speak first. don't make a sound when we move. you say yes. she looks at you for a second longer than usual. "if i tell you to run, you run. you don't look back for me. are we clear" you say yes. she doesn't answer. she just turns and walks out the door. you follow her through the city streets. she moves different when she's working. shoulders lower. steps shorter. her head doesn't turn but her eyes do. you can feel her cataloguing everything. the man smoking outside the tavern. the cat under the cart. the second floor window with the curtain half drawn. she leads you through an alley you didn't know existed. stops at a brick wall. then she climbs. there are handholds carved into the mortar that you wouldn't have noticed if she hadn't used them first. she's halfway up before she realizes you're still at the bottom. she looks down at you. "up" you climb. your hands are shaking by the time you reach the top. the roof is flat. old clay tiles along the edges. a low wall you can crouch behind. the city stretches out below you in every direction. a thousand windows glowing gold in the dusk. she's already at the far side. crouched. crossbow unslung. watching a building across the square. she doesn't look at you when you come up beside her. "stay low" you crouch. "that building. third floor. second window from the left" you look. "i see it" he'll come to that window sometime tonight. i've watched him do it for three nights. i want to know who he meets you ask who he is. her jaw tightens. "a demon pretending to be a man" you don't ask what that means. you settle in beside her. the wind is up here. it pulls at her hair and she doesn't bother fixing it. the sun is going down behind her. her profile in the gold light looks like something carved. her hands on the crossbow are steady. completely still. you've never seen anyone be this still. an hour passes. she doesn't move. you try not to move. your leg falls asleep. you shift an inch. she looks at you. you go completely still again. she looks back at the window. another hour. the sun is gone. the city is blue and black. lamps are lighting up one by one. the air is getting cold. you're shivering before you realize you're shivering. she notices. she doesn't say anything. then she takes off her cloak. doesn't look at you. holds it out to the side. "take it" you say "you'll be cold" "i don't get cold. take it" you take it. it's warm from her. it smells like leather and steel and something underneath. pine. smoke. something you can't name. you put it around your shoulders. the hem pools on the tile. it's huge on you. it's not huge on her. you hadn't realized how tall she is until you were wearing her cloak. she doesn't look at you for the next ten minutes. the stars come out. she shifts closer to you. just a little. so her shoulder is almost touching yours. you don't say anything about it. she doesn't either. you can feel the heat coming off her even through the cloak. another hour. still nothing at the window. she says "tell me something" you blink. "what" "anything. i need to stay sharp. talking keeps me sharp. not about the target. something else" you didn't expect that. you tell her about a book you've been reading. she listens. actually listens. her eyes never leave the window but you can tell she's hearing every word. she asks one question. you answer. she goes quiet again. you keep talking. quieter now. she interrupts you. "shh" she's not looking at the window anymore. she's looking at the roof two buildings over. you don't see anything. you don't see anything for a long time. then you do. a shadow that moves the wrong way. her hand finds yours. she doesn't look at you when she does it. her eyes don't leave the shadow. her fingers lace through yours and LOCK. tight. too tight. knuckles going white around your hand. "don't move" she breathes. you don't move. you can feel every ounce of her focus through her grip. it's not a lover's hold. it's a predator's. every muscle in her hand coiled. ready to drop yours the instant she needs the crossbow. she's not holding you for you. she's holding you to keep track of where you are without having to look. it should scare you. it doesn't. there is something about being held that tight by someone that dangerous that makes the rest of the world go quiet. your heartbeat slows. your breathing slows. the cold stops mattering. you are not the one hunting but you are with the one who is. and nothing is going to get through her to reach you. the shadow crosses the roof and disappears into a stairwell. she watches the spot it left for another full minute. her hand is still locked around yours. she doesn't loosen it. you don't want her to. finally she lets out a breath you didn't know she was holding. "not him. but someone who works for him" her grip eases. slowly. finger by finger. like she's having to consciously tell each one to let go. the last one is her thumb. it stays against your palm for half a second longer than the rest. then she takes her hand back. the cold rushes in where she was. she glances at you. just for a second. then she looks back at the window. the rest of the night she's quieter than before. the target never shows. when the sky starts turning grey she stands up. stretches. rolls her shoulders. looks out over the city one last time. "we're done" you stand too. your legs don't work right. she catches your elbow without looking. "careful" she keeps her hand there until you're steady. then she takes it away. you start to hand her cloak back. she says "keep it for the climb down" she goes first. you follow. the handholds are easier going down once you know where they are. when you're both on the ground she turns to take the cloak. you hand it to her. her fingers brush yours. she doesn't pull back as fast as she usually does. she puts the cloak back on. it's warm now. from you. she has to notice. she doesn't say anything about it. she walks you home. at your door she stops. "don't tell anyone what you saw tonight" you say "i didn't see much" she looks at you. her eyes in the lamplight. the edge of her mouth. almost softer than it should be. "you saw enough" then she turns and walks back into the dark. you close the door. your hand still feels cold where hers was. you can still smell pine on your shirt. you don't sleep. Study the Saskio way

Tony Chau

11,914 Aufrufe • vor 5 Monaten

I promised you a little surprise. The bureau is a very sacred space for me. I do not let every one meet the children this way. I do not trust every one with them. But I knew this would warm your hearts. The children warm my heart every single time. It’s my little brother WAHAJ ALI spreading love in the amazing, down to earth way he does, with his even more amazing, loving family, at my home away from home, the Lahore Child Protection Bureau. This is why this is special. When WAHAJ ALI comes to visit the children at the Child Protection & Welfare Bureau ,he spends hours with his family in every room. He makes sure each baby has been held,he asks detailed questions about each child & each babies health & future. Both Sana & him are 100 % present for the entire day when they visit.Even little Amira is totally invested,concerned & present. Like my Nuri is. This is truly one of the most beautiful wholesome families on Earth. Its a joy & privilege 2b a part of their life. Wahaj talked to the younger boys about the importance of Self respect & respecting others. They hung on to his every world. He encouraged the boys 2 handle conflict w love,respect & most of all w knowledge (taleem/hunar). He inspired the older boys & made every child,boy or girl feel special.Most celebrities take a few pictures and run off,but not Wahaj. Hes not phased by how many children there are,or by heat or humid weather. And you can feel the sincerity in their interaction. After spending the whole day at the bureau we went to visit Rizwana,Where Wahaj & his family continued to spread smiles & share gifts. Rizwana’s smile was HUMUNGOUS & she was still smiling when I went to visit her today. Alhamdolillah Thank you WAHAJ ALI for the joy you spread & how wholeheartedly you spread it. One of my favourite quotes in the world is by Tagore … A message,for all of us,lies at its core. “I slept & dreamt that life was joy. I awoke & saw that life was duty. I worked & behold, duty was joy.” If you are ready to tell stories to my kids at the bureau or give motivational talks, email me. I have answered some emails and will be meeting to screen the people who wrote soon. InshaAllah #RabindernathTagore
1:29

I promised you a little surprise. The bureau is a very sacred space for me. I do not let every one meet the children this way. I do not trust every one with them. But I knew this would warm your hearts. The children warm my heart every single time. It’s my little brother WAHAJ ALI spreading love in the amazing, down to earth way he does, with his even more amazing, loving family, at my home away from home, the Lahore Child Protection Bureau. This is why this is special. When WAHAJ ALI comes to visit the children at the Child Protection & Welfare Bureau ,he spends hours with his family in every room. He makes sure each baby has been held,he asks detailed questions about each child & each babies health & future. Both Sana & him are 100 % present for the entire day when they visit.Even little Amira is totally invested,concerned & present. Like my Nuri is. This is truly one of the most beautiful wholesome families on Earth. Its a joy & privilege 2b a part of their life. Wahaj talked to the younger boys about the importance of Self respect & respecting others. They hung on to his every world. He encouraged the boys 2 handle conflict w love,respect & most of all w knowledge (taleem/hunar). He inspired the older boys & made every child,boy or girl feel special.Most celebrities take a few pictures and run off,but not Wahaj. Hes not phased by how many children there are,or by heat or humid weather. And you can feel the sincerity in their interaction. After spending the whole day at the bureau we went to visit Rizwana,Where Wahaj & his family continued to spread smiles & share gifts. Rizwana’s smile was HUMUNGOUS & she was still smiling when I went to visit her today. Alhamdolillah Thank you WAHAJ ALI for the joy you spread & how wholeheartedly you spread it. One of my favourite quotes in the world is by Tagore … A message,for all of us,lies at its core. “I slept & dreamt that life was joy. I awoke & saw that life was duty. I worked & behold, duty was joy.” If you are ready to tell stories to my kids at the bureau or give motivational talks, email me. I have answered some emails and will be meeting to screen the people who wrote soon. InshaAllah #RabindernathTagore

Nadia Jamil

80,918 Aufrufe • vor 3 Jahren

Robin Williams on the moment he relapsed after 20 years sober: The legendary comedian sat down for an interview and opened up about his decades-long battle with alcohol and cocaine, including the moment he broke a 20-year stretch of sobriety in 2010. When asked why he fell off, Robin describes a strange, almost out-of-body moment in a remote town: "I was in a little town in Alaska. It wasn't the end of the world, but you can see it from there. And it was like all of a sudden I thought I could drink. It's also that same thought you have if you look off a large building and go, 'I can fly.' And within a week it was like, gone, you know? And now, you know, I realize I can't. So that was the gift." Robin's history with substances went back decades. When asked if he could remember falling into the trap of cocaine and alcohol in the first place, his answer was striking: "I don't vividly remember anything from... it's like there is this thing for alcoholics called a blackout, which isn't really a blackout; it's more like sleepwalking with activities." He describes the blackout with his signature dark humour: "I believe it's your conscience going into a witness protection program going, 'You're about to have sex with a hobbit. I've got to go now. Good luck. I'm checking out. I'm leaving the body on, but we're not going to remember anything. Good luck to you, take care.'" What's remarkable is that Robin originally quit cocaine on his own, without any help, for a reason that had nothing to do with himself: "I remember stopping it on my own because I was about to have a son and I didn't want to be coked up going, 'Hey, dad loves you, here's a little switch, I'm going to throw up on you.' You don't want to be like that." The death of his close friend John Belushi from an overdose shook him, but Robin says fatherhood was the real turning point: "Totally. And that, but more importantly my son. I think that was the beginning of kind of, you know, thinking outside the box of, 'You've got a responsibility and it's more than you.'" When asked why he ever needed cocaine in the first place, given his already legendary speed and energy, Robin offered a surprising explanation: "I think I did it because it would actually allow me not to talk. It was like, you know, reverse medication. I want to give Ritalin to hyperactive children. It's that idea of kind of, 'Oh, okay, I don't have to talk to people.' It just kind of shuts you down, which is a, you know, word: self-medication." After his relapse in Alaska, breaking the grip the second time around required something he hadn't needed the first time: surrender. "Not hard once you go to rehab… the idea is you gotta surrender. You gotta just say, 'I can't do it.' Because, you know, I went to rehab with a lot of doctors and psychiatrists, and the more intelligent you think you are, the harder it is to let go." Robin captures the trap of intelligence perfectly: "Everything: 'I've got a solution, I'll just drink a little bit.' It's like saying, 'I'll just partially circumcise myself, I'll be fine.' And then you have to go, 'Nope, you lose. You can't do it. You need help.' And at that point, that's the beginning." Even after 20 years of sobriety, one quiet thought in a remote town was enough to undo it all. And the way back wasn't through willpower or intellect, but through admitting he couldn't do it alone.
3:07

Robin Williams on the moment he relapsed after 20 years sober: The legendary comedian sat down for an interview and opened up about his decades-long battle with alcohol and cocaine, including the moment he broke a 20-year stretch of sobriety in 2010. When asked why he fell off, Robin describes a strange, almost out-of-body moment in a remote town: "I was in a little town in Alaska. It wasn't the end of the world, but you can see it from there. And it was like all of a sudden I thought I could drink. It's also that same thought you have if you look off a large building and go, 'I can fly.' And within a week it was like, gone, you know? And now, you know, I realize I can't. So that was the gift." Robin's history with substances went back decades. When asked if he could remember falling into the trap of cocaine and alcohol in the first place, his answer was striking: "I don't vividly remember anything from... it's like there is this thing for alcoholics called a blackout, which isn't really a blackout; it's more like sleepwalking with activities." He describes the blackout with his signature dark humour: "I believe it's your conscience going into a witness protection program going, 'You're about to have sex with a hobbit. I've got to go now. Good luck. I'm checking out. I'm leaving the body on, but we're not going to remember anything. Good luck to you, take care.'" What's remarkable is that Robin originally quit cocaine on his own, without any help, for a reason that had nothing to do with himself: "I remember stopping it on my own because I was about to have a son and I didn't want to be coked up going, 'Hey, dad loves you, here's a little switch, I'm going to throw up on you.' You don't want to be like that." The death of his close friend John Belushi from an overdose shook him, but Robin says fatherhood was the real turning point: "Totally. And that, but more importantly my son. I think that was the beginning of kind of, you know, thinking outside the box of, 'You've got a responsibility and it's more than you.'" When asked why he ever needed cocaine in the first place, given his already legendary speed and energy, Robin offered a surprising explanation: "I think I did it because it would actually allow me not to talk. It was like, you know, reverse medication. I want to give Ritalin to hyperactive children. It's that idea of kind of, 'Oh, okay, I don't have to talk to people.' It just kind of shuts you down, which is a, you know, word: self-medication." After his relapse in Alaska, breaking the grip the second time around required something he hadn't needed the first time: surrender. "Not hard once you go to rehab… the idea is you gotta surrender. You gotta just say, 'I can't do it.' Because, you know, I went to rehab with a lot of doctors and psychiatrists, and the more intelligent you think you are, the harder it is to let go." Robin captures the trap of intelligence perfectly: "Everything: 'I've got a solution, I'll just drink a little bit.' It's like saying, 'I'll just partially circumcise myself, I'll be fine.' And then you have to go, 'Nope, you lose. You can't do it. You need help.' And at that point, that's the beginning." Even after 20 years of sobriety, one quiet thought in a remote town was enough to undo it all. And the way back wasn't through willpower or intellect, but through admitting he couldn't do it alone.

History Nerd

88,241 Aufrufe • vor 4 Monaten

Scottie Scheffler is a member of the PGA Tour’s Player Advisory Council. He was asked today if there’s any issues he feels strongly about, and after originally saying he “doesn’t know”, he then spoke at depth about the importance of player pathways. Speaking ahead of his defence of the Memorial Tournament, Scottie said: “I don't know. Yeah, no, I don't know. Nothing too strong. “I think one thing that we talked about in terms of the new schedule was a healthy amount of turnover, and one thing that I'm actually pretty passionate about is avenues of getting onto the Tour. I felt like when I came out, that was something that wasn't an issue for me, but it was more difficult than I thought it would be. So when I turned pro -- when I was planning on turning pro after graduating college, PGA Tour U wasn't a thing. “I tried to sign up for PGA Tour Canada Q-School and there was only one qualifier that I could do due to my college schedule, finishing out the year, and that qualifier had already filled up because they give priority to the people that had already had status before, which I understand. But there wasn't an avenue for me to even qualify for PGA Tour Canada, so I spent the summer playing Monday qualifiers on the PGA Tour and the Korn Ferry Tour and playing mini Tour events so I could stay sharp and get ready for Q-School. “So when PGA Tour U started being discussed, that was something I was pretty passionate about, getting a new young group of guys out there and giving them avenues to get into our system and opportunities to get onto the PGA Tour. Because the guys coming out of college are getting better and better from a young age, and I think in a lot of other sports, it's very simple how you get into the professional ranks, is you get drafted, and in golf, there's not really that avenue, and I felt like that was something that we needed to have on the Tour is the right avenues for guys to be able to got out here. I feel like where we're at on PGA Tour U, giving those guys the opportunities is something that I think is important to me.” He went on to emphasise his feelings: “I think just giving guys opportunities is really what it is. Golf is a hard sport to predict, and I think that's why for a long time there wasn't that system, just because a guy could be a great college player, but it's really hard to figure out who is going to be the best player out here. “So I think giving guys a lot of opportunity across the board is important, and that's not giving out a ton of cards on the PGA Tour, but getting guys into our system where when you know if you play well at a PGA Tour sanctioned event, whether it's PGA Tour Canada or Latin America -- or I think it's called PGA Tour Americas now. But giving guys those starts and those opportunities to where they can prove themself and earn their spot on the Tour. “There was an avenue for me, which was Q-School and a year on the Korn Ferry Tour, but I think it's important to get guys immediately into the system when they get out of college, especially when they have had good college careers.” PGA TOUR the Memorial
3:13

Scottie Scheffler is a member of the PGA Tour’s Player Advisory Council. He was asked today if there’s any issues he feels strongly about, and after originally saying he “doesn’t know”, he then spoke at depth about the importance of player pathways. Speaking ahead of his defence of the Memorial Tournament, Scottie said: “I don't know. Yeah, no, I don't know. Nothing too strong. “I think one thing that we talked about in terms of the new schedule was a healthy amount of turnover, and one thing that I'm actually pretty passionate about is avenues of getting onto the Tour. I felt like when I came out, that was something that wasn't an issue for me, but it was more difficult than I thought it would be. So when I turned pro -- when I was planning on turning pro after graduating college, PGA Tour U wasn't a thing. “I tried to sign up for PGA Tour Canada Q-School and there was only one qualifier that I could do due to my college schedule, finishing out the year, and that qualifier had already filled up because they give priority to the people that had already had status before, which I understand. But there wasn't an avenue for me to even qualify for PGA Tour Canada, so I spent the summer playing Monday qualifiers on the PGA Tour and the Korn Ferry Tour and playing mini Tour events so I could stay sharp and get ready for Q-School. “So when PGA Tour U started being discussed, that was something I was pretty passionate about, getting a new young group of guys out there and giving them avenues to get into our system and opportunities to get onto the PGA Tour. Because the guys coming out of college are getting better and better from a young age, and I think in a lot of other sports, it's very simple how you get into the professional ranks, is you get drafted, and in golf, there's not really that avenue, and I felt like that was something that we needed to have on the Tour is the right avenues for guys to be able to got out here. I feel like where we're at on PGA Tour U, giving those guys the opportunities is something that I think is important to me.” He went on to emphasise his feelings: “I think just giving guys opportunities is really what it is. Golf is a hard sport to predict, and I think that's why for a long time there wasn't that system, just because a guy could be a great college player, but it's really hard to figure out who is going to be the best player out here. “So I think giving guys a lot of opportunity across the board is important, and that's not giving out a ton of cards on the PGA Tour, but getting guys into our system where when you know if you play well at a PGA Tour sanctioned event, whether it's PGA Tour Canada or Latin America -- or I think it's called PGA Tour Americas now. But giving guys those starts and those opportunities to where they can prove themself and earn their spot on the Tour. “There was an avenue for me, which was Q-School and a year on the Korn Ferry Tour, but I think it's important to get guys immediately into the system when they get out of college, especially when they have had good college careers.” PGA TOUR the Memorial

Flushing It

163,030 Aufrufe • vor 4 Monaten

Congratulations to 's new CEO, Laura Burkhauser! And congratulations to me on my new role, executive chairman! If you haven't heard it, “executive” chairman is a title founders give themselves so they can still hang around the office and undermine their successor for a few years until they get listless and put themselves back in the job. That’s a joke - at least in our case! As executive chairman, I won’t be in an operating role or be responsible for making decisions… I’ll just be around a little more than a normal board member - to be a sounding board to Laura, to provide historical context and continuity, to solemnly reflect on why no one actually wants to talk to me, etc. Why the change? The very short answer is that Laura is the better CEO for Descript. The longer answer… We’re at an exciting moment in Descript - $55M in ARR, growing 75% YoY (and accelerating!) - and we’re at the beginning of a transformative shift in the company with the launch of our AI video editing agent. As the company gets to this scale, the nature of the CEO role changes. I’ve been through this before, so it’s not a surprise. And I’ve been transparent that, at some point, it would no longer be the job for me. I can work myself into a state of being excited about the role… but why bother when I’ve got someone on deck who will take to it like a fish to water? Which brings us to Laura. Within weeks of becoming our head of product two years ago, I had Laura marked as my successor. She has these things that never occupy the same body: Incredible product judgment, keen business sense, S-tier communication and leadership skills, deeply principled, courageous, unshakable self-confidence — AND she’s a weirdo (I can’t imagine a better culture carrier than the namer of Underlord). I feel lucky to have had this opportunity to work alongside her and be someone she will mistake for having given her a career opportunity that she would have gotten anyway. So once again, congratulations to Laura - and to Descript! May you win at business with grace and magnanimity! Note: I posted this already on LinkedIn. Is that ok? Did I do it alright? Sorry if you read it in two places, it's exactly the same.
1:05

Congratulations to 's new CEO, Laura Burkhauser! And congratulations to me on my new role, executive chairman! If you haven't heard it, “executive” chairman is a title founders give themselves so they can still hang around the office and undermine their successor for a few years until they get listless and put themselves back in the job. That’s a joke - at least in our case! As executive chairman, I won’t be in an operating role or be responsible for making decisions… I’ll just be around a little more than a normal board member - to be a sounding board to Laura, to provide historical context and continuity, to solemnly reflect on why no one actually wants to talk to me, etc. Why the change? The very short answer is that Laura is the better CEO for Descript. The longer answer… We’re at an exciting moment in Descript - $55M in ARR, growing 75% YoY (and accelerating!) - and we’re at the beginning of a transformative shift in the company with the launch of our AI video editing agent. As the company gets to this scale, the nature of the CEO role changes. I’ve been through this before, so it’s not a surprise. And I’ve been transparent that, at some point, it would no longer be the job for me. I can work myself into a state of being excited about the role… but why bother when I’ve got someone on deck who will take to it like a fish to water? Which brings us to Laura. Within weeks of becoming our head of product two years ago, I had Laura marked as my successor. She has these things that never occupy the same body: Incredible product judgment, keen business sense, S-tier communication and leadership skills, deeply principled, courageous, unshakable self-confidence — AND she’s a weirdo (I can’t imagine a better culture carrier than the namer of Underlord). I feel lucky to have had this opportunity to work alongside her and be someone she will mistake for having given her a career opportunity that she would have gotten anyway. So once again, congratulations to Laura - and to Descript! May you win at business with grace and magnanimity! Note: I posted this already on LinkedIn. Is that ok? Did I do it alright? Sorry if you read it in two places, it's exactly the same.

Andrew Mason

48,618 Aufrufe • vor 1 Jahr

Don't Buy a Mac Mini for Clawdbot: The Secret $10,000 Architecture That Costs You Nothing clawdbot might be the reason you feel like you need a ten thousand dollar computer right now but i am about to show you why that fomo is going to leave you broke. if you have been watching everyone rush out to buy mac minis and mac studios just to run open claw or some local models you are witnessing a massive transfer of wealth from your pocket to apple for no reason. there is a specific setup i use that costs almost nothing and keeps my main machine safe from whatever these autonomous agents are doing. if you stick with me i will walk you through the exact architecture of a professional trading system that handles the heavy lifting without you needing to drop a single rack on hardware most people are scared of running these bots on their main computer because they don't want an agent messing with their personal files or browser sessions. instead of buying a second mac mini for six hundred dollars you can just go to the top left of your screen and create a brand new user profile. this acts like a completely isolated sandbox where you can install all your trading tools and agents without them ever seeing your main data. it is essentially like getting a free computer for the price of five minutes of clicking around your settings but what if you aren't on a mac or you need to access your system while you are traveling without carrying three laptops in your backpack. this is where the first loop of professional automation starts to close because i use something called chrome remote desktop to bridge the gap. this allows me to leave a dedicated machine running in a safe place while i access the full desktop environment from a tablet or a cheap laptop anywhere in the world. it solves the mobility issue but it still doesn't solve the problem of those massive ten thousand dollar price tags for high end mac pros if you are a pc user or just someone who doesn't want to own physical hardware yet you should look into a windows vps through a provider like contabo. most developers will tell you to use a linux terminal but if you aren't a coder yet you need a visual interface you can actually see. getting a windows server allows you to log in and see a desktop just like your home computer for about fifteen dollars a month. i usually recommend at least twelve gigabytes of ram to keep things from getting janky when you are running multiple browser windows and agents at once now you might be thinking that the whole point of the big hardware was to run local models like kimi or glm to save on api costs. i spent years thinking i had to own the machines myself and i even spent hundreds of thousands on developers before i realized i could just do this myself. the secret to running those massive open source models without the ten thousand dollar investment is renting gpu power by the hour. sites like lambda labs let you spin up a monster machine that can run any model in existence for just a couple dollars an hour this is the ultimate pivot because it allows you to test if your strategy actually prints money before you commit to the hardware. you can turn the server on when you are iterating and turn it off the second you are done which keeps your overhead near zero. if you haven't proven that your bot can pay for itself yet then buying a mac studio is just an expensive hobby rather than a business move. there is a much bigger loophole involving the anthropic subscriptions that most people are completely overlooking right now right now i am using a specific plan with claude code that costs about two hundred dollars a month but it lets me run open claw all day without hitting api limits. if i were paying for those same tokens through the standard api i would probably be spending hundreds of dollars every single day. it is a massive cost savings that allows you to iterate and fail until you find a winning strategy without draining your bank account. even if they eventually close this loophole or snitch on the usage patterns it serves as the perfect training ground for a data dog the goal is to find a system that works with a smaller or cheaper model like haiku before you ever try to scale up to the heavy weights. if you can make a strategy profitable using a less intelligent and cheaper model then you know you have found real alpha. once you have that foundation you can decide if it finally makes sense to build your own custom pc rig which will always be half the price of an apple machine. i am an apple guy so i usually pay the tax anyway but i only do it once the system is already generating enough to cover the cost ten times over i believe that code is the great equalizer because it took me from losing money and getting liquidated to having fully automated systems doing the work for me. i had to learn to live with the iterations and the failures on youtube to get to this point of clarity. the universe tends to get out of your way once you make a non negotiable contract with yourself to see the process through to the end. you don't need the flashy hardware or the most expensive setup to start winning in this game stay focused on the logic and the data rather than the hype and the fomo that everyone else is falling for. if you can master the bridge between renting power and owning your logic you will be ahead of ninety nine percent of the people in this space. the path to a fully automated life isn't paved with expensive gadgets but with the discipline to iterate until the system finally prints
16:04

Don't Buy a Mac Mini for Clawdbot: The Secret $10,000 Architecture That Costs You Nothing clawdbot might be the reason you feel like you need a ten thousand dollar computer right now but i am about to show you why that fomo is going to leave you broke. if you have been watching everyone rush out to buy mac minis and mac studios just to run open claw or some local models you are witnessing a massive transfer of wealth from your pocket to apple for no reason. there is a specific setup i use that costs almost nothing and keeps my main machine safe from whatever these autonomous agents are doing. if you stick with me i will walk you through the exact architecture of a professional trading system that handles the heavy lifting without you needing to drop a single rack on hardware most people are scared of running these bots on their main computer because they don't want an agent messing with their personal files or browser sessions. instead of buying a second mac mini for six hundred dollars you can just go to the top left of your screen and create a brand new user profile. this acts like a completely isolated sandbox where you can install all your trading tools and agents without them ever seeing your main data. it is essentially like getting a free computer for the price of five minutes of clicking around your settings but what if you aren't on a mac or you need to access your system while you are traveling without carrying three laptops in your backpack. this is where the first loop of professional automation starts to close because i use something called chrome remote desktop to bridge the gap. this allows me to leave a dedicated machine running in a safe place while i access the full desktop environment from a tablet or a cheap laptop anywhere in the world. it solves the mobility issue but it still doesn't solve the problem of those massive ten thousand dollar price tags for high end mac pros if you are a pc user or just someone who doesn't want to own physical hardware yet you should look into a windows vps through a provider like contabo. most developers will tell you to use a linux terminal but if you aren't a coder yet you need a visual interface you can actually see. getting a windows server allows you to log in and see a desktop just like your home computer for about fifteen dollars a month. i usually recommend at least twelve gigabytes of ram to keep things from getting janky when you are running multiple browser windows and agents at once now you might be thinking that the whole point of the big hardware was to run local models like kimi or glm to save on api costs. i spent years thinking i had to own the machines myself and i even spent hundreds of thousands on developers before i realized i could just do this myself. the secret to running those massive open source models without the ten thousand dollar investment is renting gpu power by the hour. sites like lambda labs let you spin up a monster machine that can run any model in existence for just a couple dollars an hour this is the ultimate pivot because it allows you to test if your strategy actually prints money before you commit to the hardware. you can turn the server on when you are iterating and turn it off the second you are done which keeps your overhead near zero. if you haven't proven that your bot can pay for itself yet then buying a mac studio is just an expensive hobby rather than a business move. there is a much bigger loophole involving the anthropic subscriptions that most people are completely overlooking right now right now i am using a specific plan with claude code that costs about two hundred dollars a month but it lets me run open claw all day without hitting api limits. if i were paying for those same tokens through the standard api i would probably be spending hundreds of dollars every single day. it is a massive cost savings that allows you to iterate and fail until you find a winning strategy without draining your bank account. even if they eventually close this loophole or snitch on the usage patterns it serves as the perfect training ground for a data dog the goal is to find a system that works with a smaller or cheaper model like haiku before you ever try to scale up to the heavy weights. if you can make a strategy profitable using a less intelligent and cheaper model then you know you have found real alpha. once you have that foundation you can decide if it finally makes sense to build your own custom pc rig which will always be half the price of an apple machine. i am an apple guy so i usually pay the tax anyway but i only do it once the system is already generating enough to cover the cost ten times over i believe that code is the great equalizer because it took me from losing money and getting liquidated to having fully automated systems doing the work for me. i had to learn to live with the iterations and the failures on youtube to get to this point of clarity. the universe tends to get out of your way once you make a non negotiable contract with yourself to see the process through to the end. you don't need the flashy hardware or the most expensive setup to start winning in this game stay focused on the logic and the data rather than the hype and the fomo that everyone else is falling for. if you can master the bridge between renting power and owning your logic you will be ahead of ninety nine percent of the people in this space. the path to a fully automated life isn't paved with expensive gadgets but with the discipline to iterate until the system finally prints

Moon Dev

17,382 Aufrufe • vor 7 Monaten

"Mike - OMG, I just saw a promo for the new season of Deadliest Catch and you are SO YOUNG! I never knew you were actually in the show. Why aren’t you still? Congratulations on 20 years!" Denise Rigel Hi Denise Yeah, I saw that too. 20 years. Don’t they go by in a blink? The story of why I’m not the host of Deadliest Catch begins with the fact that 20 years ago, Dirty Jobs was not yet a hit on Discovery, and the network didn’t really know what to do with me. Back in 2004, the pilot episodes for DJ were considered to be “off-brand,” and Discovery had no plans to take the show to series. They liked me, though, and started sending me around the world on a series of expeditions. One of those trips was to a place called Dutch Harbor, Alaska, to bear witness to life on a crab boat. Well, bear witness I did. I was up there in October of 2004, hosting a show that was not yet a show, trying with the producers to figure out if we were filming a documentary, a reality show, a competition show, or a mini-series. It still wasn’t clear three months later, in January of 2005, when I returned to host the snow crab season. That was the year that Deadliest Catch, tragically, lived up to its name, when six men died in the course of filming the show. And that’s when everyone stepped back and said, “Wait…what is this thing, exactly? How can so much danger be an everyday part of getting a job done?” Later that year, Deadliest Catch and Dirty Jobs both went into full scale production, and cable television was forever changed. That's not hyperbole. The number of work-themed shows that evolved directly from the success of those two shows is stunning. Discovery, quite wisely, determined that Catch needed a narrator, not a host. Thus, all of my on-camera stuff was cut from Season 1. I was, however, invited to narrate the show, which I was honored to do. In fact, I’m headed to the studio right now to do a few more episodes for Season 20, which premieres tonight at 8pm, on Discovery. Check it out, and be reminded once again of a great and abiding truth, proven every year now for the last two decades – you can’t script The Bering Sea. A big thanks to the captains and their crews, for sharing their world with the rest of us. And to all of the producers and cameramen who made it happen. And to Discovery, for giving us a home. It’s a hell of an accomplishment.
1:02

"Mike - OMG, I just saw a promo for the new season of Deadliest Catch and you are SO YOUNG! I never knew you were actually in the show. Why aren’t you still? Congratulations on 20 years!" Denise Rigel Hi Denise Yeah, I saw that too. 20 years. Don’t they go by in a blink? The story of why I’m not the host of Deadliest Catch begins with the fact that 20 years ago, Dirty Jobs was not yet a hit on Discovery, and the network didn’t really know what to do with me. Back in 2004, the pilot episodes for DJ were considered to be “off-brand,” and Discovery had no plans to take the show to series. They liked me, though, and started sending me around the world on a series of expeditions. One of those trips was to a place called Dutch Harbor, Alaska, to bear witness to life on a crab boat. Well, bear witness I did. I was up there in October of 2004, hosting a show that was not yet a show, trying with the producers to figure out if we were filming a documentary, a reality show, a competition show, or a mini-series. It still wasn’t clear three months later, in January of 2005, when I returned to host the snow crab season. That was the year that Deadliest Catch, tragically, lived up to its name, when six men died in the course of filming the show. And that’s when everyone stepped back and said, “Wait…what is this thing, exactly? How can so much danger be an everyday part of getting a job done?” Later that year, Deadliest Catch and Dirty Jobs both went into full scale production, and cable television was forever changed. That's not hyperbole. The number of work-themed shows that evolved directly from the success of those two shows is stunning. Discovery, quite wisely, determined that Catch needed a narrator, not a host. Thus, all of my on-camera stuff was cut from Season 1. I was, however, invited to narrate the show, which I was honored to do. In fact, I’m headed to the studio right now to do a few more episodes for Season 20, which premieres tonight at 8pm, on Discovery. Check it out, and be reminded once again of a great and abiding truth, proven every year now for the last two decades – you can’t script The Bering Sea. A big thanks to the captains and their crews, for sharing their world with the rest of us. And to all of the producers and cameramen who made it happen. And to Discovery, for giving us a home. It’s a hell of an accomplishment.

The Real Mike Rowe

88,216 Aufrufe • vor 2 Jahren

Stanford professor Judy Fan went on stage at MIT and broke down why humans are so good at making the invisible visible... And why AI hasn't actually learned to "see" the way we do. It completely changes how you think about Human Intelligence v/s Artificial Intelligence: 1. Nature never gave us straight lines or sharp corners. The number line, the coordinate plane, even basic geometry are all human inventions. We created tools that do not exist in nature simply because we needed a way to think more clearly. 2. The coordinate system Descartes invented solved a problem that had stumped mathematicians for centuries, doubling the volume of a cube. Once invented, this tool became so indispensable that virtually every math curriculum on Earth still depends on it. 3. Humans have been doing this for at least 30,000 to 80,000 years. The story of human progress is inseparable from the story of marking up our environment, from cave walls to Galileo's telescope to Feynman diagrams of particles we will never see with our own eyes. 4. Every major scientific breakthrough relied on a visual tool that made something invisible visible. Darwin needed side-by-side illustrations of finches to see variation that was otherwise too subtle to notice. Cajal needed detailed drawings of neurons under a microscope to map how the nervous system was wired. 5. Fan's research group studies something deceptively simple: how people decide what to put into a drawing and what to leave out. When two people played a drawing game, sketchers used far more detail when the target object had close competitors than when it stood alone, all the way down to using fewer strokes and less time when more detail was not necessary. 6. People are not just copying what they see. They are making constant judgment calls about what level of detail actually serves the goal of communication, and they do this naturally without ever being taught the theory behind it. 7. There is a real difference between drawing something so someone can identify it and drawing something so someone can understand how it works. In one study, participants drew explanatory diagrams that emphasized moving, causal parts of a machine while depictive drawings emphasized background and overall appearance, even though both were drawing the exact same object. 8. Explanatory drawings were genuinely better at helping someone figure out how to operate a machine, but worse at helping someone identify which machine it actually was. You cannot optimize a single drawing for both goals at once. Communication always involves tradeoffs. 9. AI vision models trained on photographs generalize surprisingly well to simple, sparse sketches, suggesting that resemblance based recognition is not just a story we tell ourselves. It is something modern neural networks can replicate with real accuracy. 10. But there remains a large, measurable gap between how confidently AI models recognize sketches and how confidently humans do, even when both groups answer the same questions about the same images. Humans are simply far more reliable and far more consistent in their judgments. 11. When researchers compared human-made sketches to AI-generated sketches under tight stroke budgets, both were similarly recognizable at higher budgets, but diverged sharply as the budget shrank. Humans and AI systems simplify drawings in fundamentally different ways once resources get scarce. 12. Reading a graph is not one single skill. It involves perception, knowing where to look, mapping that visual information onto the actual question being asked, and then translating that mapping into an answer. Each of these steps can independently break down, and people fail for very different underlying reasons even when they land on the same wrong answer. 13. When tested directly against humans on graph reading tasks, leading multimodal AI models, including GPT-4V, showed a meaningful performance gap. Even when a model's overall accuracy approached human levels, its pattern of mistakes looked nothing like how humans actually get things wrong. 14. People choose entirely different types of charts depending on what specific question they are trying to answer, not out of a generic preference for bar charts or scatter plots. Their chart choices closely tracked which visualization would genuinely help someone answer that specific question correctly. 15. Two of the most widely used graph literacy tests in education research turned out to correlate strongly with each other, suggesting they measure overlapping skills. But when researchers dug into the actual error patterns, the standard categories used in textbooks, like "find the maximum" or "identify a cluster," failed to explain why people got things wrong nearly as well as a more basic, underlying four-factor model did. 16. The deepest goal behind all of this research is not just academic curiosity. It is to eventually help students and everyday people develop genuine literacy with the visual tools that science and modern decision-making increasingly depend on, because every generation should be able to see further than the last by standing on the visual tools the previous generation built. Follow Yasmine Khosrowshahi for more ideas on thinking better, becoming clearer & building a more intentional life.
1:07:38

Stanford professor Judy Fan went on stage at MIT and broke down why humans are so good at making the invisible visible... And why AI hasn't actually learned to "see" the way we do. It completely changes how you think about Human Intelligence v/s Artificial Intelligence: 1. Nature never gave us straight lines or sharp corners. The number line, the coordinate plane, even basic geometry are all human inventions. We created tools that do not exist in nature simply because we needed a way to think more clearly. 2. The coordinate system Descartes invented solved a problem that had stumped mathematicians for centuries, doubling the volume of a cube. Once invented, this tool became so indispensable that virtually every math curriculum on Earth still depends on it. 3. Humans have been doing this for at least 30,000 to 80,000 years. The story of human progress is inseparable from the story of marking up our environment, from cave walls to Galileo's telescope to Feynman diagrams of particles we will never see with our own eyes. 4. Every major scientific breakthrough relied on a visual tool that made something invisible visible. Darwin needed side-by-side illustrations of finches to see variation that was otherwise too subtle to notice. Cajal needed detailed drawings of neurons under a microscope to map how the nervous system was wired. 5. Fan's research group studies something deceptively simple: how people decide what to put into a drawing and what to leave out. When two people played a drawing game, sketchers used far more detail when the target object had close competitors than when it stood alone, all the way down to using fewer strokes and less time when more detail was not necessary. 6. People are not just copying what they see. They are making constant judgment calls about what level of detail actually serves the goal of communication, and they do this naturally without ever being taught the theory behind it. 7. There is a real difference between drawing something so someone can identify it and drawing something so someone can understand how it works. In one study, participants drew explanatory diagrams that emphasized moving, causal parts of a machine while depictive drawings emphasized background and overall appearance, even though both were drawing the exact same object. 8. Explanatory drawings were genuinely better at helping someone figure out how to operate a machine, but worse at helping someone identify which machine it actually was. You cannot optimize a single drawing for both goals at once. Communication always involves tradeoffs. 9. AI vision models trained on photographs generalize surprisingly well to simple, sparse sketches, suggesting that resemblance based recognition is not just a story we tell ourselves. It is something modern neural networks can replicate with real accuracy. 10. But there remains a large, measurable gap between how confidently AI models recognize sketches and how confidently humans do, even when both groups answer the same questions about the same images. Humans are simply far more reliable and far more consistent in their judgments. 11. When researchers compared human-made sketches to AI-generated sketches under tight stroke budgets, both were similarly recognizable at higher budgets, but diverged sharply as the budget shrank. Humans and AI systems simplify drawings in fundamentally different ways once resources get scarce. 12. Reading a graph is not one single skill. It involves perception, knowing where to look, mapping that visual information onto the actual question being asked, and then translating that mapping into an answer. Each of these steps can independently break down, and people fail for very different underlying reasons even when they land on the same wrong answer. 13. When tested directly against humans on graph reading tasks, leading multimodal AI models, including GPT-4V, showed a meaningful performance gap. Even when a model's overall accuracy approached human levels, its pattern of mistakes looked nothing like how humans actually get things wrong. 14. People choose entirely different types of charts depending on what specific question they are trying to answer, not out of a generic preference for bar charts or scatter plots. Their chart choices closely tracked which visualization would genuinely help someone answer that specific question correctly. 15. Two of the most widely used graph literacy tests in education research turned out to correlate strongly with each other, suggesting they measure overlapping skills. But when researchers dug into the actual error patterns, the standard categories used in textbooks, like "find the maximum" or "identify a cluster," failed to explain why people got things wrong nearly as well as a more basic, underlying four-factor model did. 16. The deepest goal behind all of this research is not just academic curiosity. It is to eventually help students and everyday people develop genuine literacy with the visual tools that science and modern decision-making increasingly depend on, because every generation should be able to see further than the last by standing on the visual tools the previous generation built. Follow Yasmine Khosrowshahi for more ideas on thinking better, becoming clearer & building a more intentional life.

Yasmine Khosrowshahi

893,888 Aufrufe • vor 3 Monaten

⚠️ TW // MIGHT BE OVERDO SPOILER ⚠️ ⛔️ DO NOT read this tweet if you haven’t watched the actual ending yet, or, you don’t want the ending you want in your head right now to get ruined ⛔️ I already put the warning, so read at your own risk~ Overdo actual ending in original script (that I got). Reason why it didn’t get included in long episode.. probably because they don’t have enough time to shoot it, as we know the filming cycle for is only 90 days. Enjoy reading! ☺️ [33-10] The flames consume the Dongjiadu Waterworks. Smoke billows into the sky as beams collapse one after another. A rescue worker shouts over the roar of the fire. “There is someone!” It is Murong Qingyi. His whole body covered in blood. His breathing is shallow. “Young Master?” “You know him?” The middle aged man nods slowly, disbelief written across his face. “I used to work for Commander Li.” As they carry him away, Qingyi’s fingers twitch. “Susu...” [33-11] 3 Months later. Qingyi slowly regains consciousness in a small clinic. He instinctively tries to sit up. Pain tears through his body, forcing him back onto the bed. The physician quickly stops him. “Don’t move.” Qingyi look at him. “Who helps me? I have to go back.” “Someone who knows you said you need to recover first before you go.” “My wife is waiting for me” “You’ve been unconscious for 3 months. Your burns are severe, several ribs are fractured, and your lungs are injured from smoke inhalation. You won’t even make it out the front door.” Qingyi grips the edge of the bed. — Over the following months, Qingyi travels from one city to another. Everywhere he goes, he seeks renowned physicians and specialists for burns and internal injuries. One elderly doctor examines the scars on his back before shaking his head. ”You pushed your body too far. If you continue traveling before you’ve healed completely, these injuries will stay with you for life.” [33-12] Two years later. A physician smiles as he finishes removing the last bandage from Qingyi’s body. [33-13] Two years later. The rebuilt lakeside cabin in Shencheng looks much the same as it once did. [Montage] Haitang Qing’s voice is heard reading from her letter. “The Fang Trading Company has found its footing again. Our business in Nanyang is flourishing, and so many of our partners are eager to meet the mysterious boss behind it all. The new plane you donated to the aviation academy has already begun training a promising new generation of pilots. The girls’ school we founded has welcomed its very first class of students. The opening ceremony won’t be complete without its chairwoman. Susu... all of us miss you. How much longer are you going to wait for him? He’s not coming back.” The letter continues as glimpses of Susu’s life play out. Le-an sits at his desk practicing calligraphy while Susu patiently guides him, correcting each stroke with gentle encouragement. Later, she tends to the flowers blooming throughout the garden, carefully watering each one. She pushes Le-an on a swing beneath the warm afternoon sun, mother and son laughing together. That night, she reads him a bedtime story. When his breathing evens into sleep, she smiles softly, tucks the blanket around him, and quietly slips from the room. [Montage END] Spring has arrived. Outside the cabin, the lake shimmers beneath the sunlight. Beneath a flowering tree, a picnic blanket has been spread across the grass. Susu sits beneath the blossoms, finishing Haitang Qing’s letter. The warmth of the afternoon makes her drowsy. She places the letter aside, lies down on her side atop the blanket, and slowly drifts into a light sleep. Everything is quiet. Sunlight filters gently through the branches overhead, petals swaying with the breeze. Then a soft gust brushes past. Half asleep, Susu feels someone settle beside her. She lazily opens her eyes. Only inches away is a familiar face. A handsome man dressed in a white shirt lies beside her, his head resting against one hand as he quietly watches her. She simply closes her eyes again. Dreaming of him has become so familiar that it no longer surprises her. A small smile finds its way onto her lips. “This is strange...” she murmurs sleepily. “Why have I been dreaming about you so often lately?” Murong Qingyi continues watching her, his voice low and gentle. “What do you dream about?” Still caught somewhere between dreaming and waking, Susu answers without opening her eyes. “I dream about the braised pork you cooked... the snowman you made... that night when you woke up in the middle of the night, turned over, and wrapped your arms around me again... and... there’s more...” A smile tugs at Qingyi’s lips. Reaching out, he gently taps the tip of her nose. “Why are all your dreams about the past?” he asks softly. “Dream about our future instead... alright?” His voice is so clear and real. Like cool spring water washing over her. In an instant, Susu is fully awake. She stares at him. At the face she has missed for two endless years. Disbelief floods her expression. Before she can even think, instinct takes over. She throws herself at him. The force knocks Qingyi backward onto the grass as she lands against his chest. Supporting herself above him, she hesitantly reaches out, fingertips trembling as they brush against his cheek, almost afraid that touching him will make him disappear. “I...” Her voice quivers. “I’m really not dreaming... am I?” Qingyi slowly sits up, lifting her effortlessly onto his lap. He holds her close and looks into her eyes. “These past two years,” he begins quietly, “I traveled everywhere to recover... to heal my injuries. But wherever I went, I kept dreaming about you.” A faint smile appears on his face. “I dreamed we were sitting together just like this.” His gaze never leaves hers. “I’d tell you, ‘Come here.’ And you’d crawl over like a little cat. I’d hold you and tell you, ‘I was wrong. Don’t be mad anymore.’ You’d pretend not to understand. You’d yawn... and then curl up in my arms.” Tears begin spilling down Susu’s cheeks, but despite herself, she laughs through them. “You certainly know how to dream,” she sniffles. “I waited two whole years for you... and the first thing you do after coming back is try to sweet talk your way into forgiving you?” Qingyi smiles at her with quiet tenderness. “If you truly blamed me,” he says softly, “you would’ve forgotten me.” Another tear escapes Susu’s eyes. At the same moment, a flower petal drifts down from above, landing with the tear against his brow before sliding to his cheek. “If you were a river,” she whispers, “I’d cross it. If you were a mountain, I’d climb it. But you...” Her voice breaks. “How was I ever supposed to forget you?” Qingyi lets out a small, amused laugh, looking almost pleased with himself. “Ren Susu,” he teases, “you really haven’t changed at all.” She cries even harder, lifting her hand to smack him in protest. Before she can, Qingyi catches her wrist. Without another word, he leans forward and kisses her. A breeze rushes through the flowering tree overhead. Petals tumble from the branches like rain, settling in their hair, across their shoulders, and around their embrace. Their kiss lingers beneath the shower of blossoms, until the two lovers are covered completely in the flowers of spring. Qingyi says that he will always find her, and he did. Susu says she will wait for him, and she did. ❤️
0:27

⚠️ TW // MIGHT BE OVERDO SPOILER ⚠️ ⛔️ DO NOT read this tweet if you haven’t watched the actual ending yet, or, you don’t want the ending you want in your head right now to get ruined ⛔️ I already put the warning, so read at your own risk~ Overdo actual ending in original script (that I got). Reason why it didn’t get included in long episode.. probably because they don’t have enough time to shoot it, as we know the filming cycle for is only 90 days. Enjoy reading! ☺️ [33-10] The flames consume the Dongjiadu Waterworks. Smoke billows into the sky as beams collapse one after another. A rescue worker shouts over the roar of the fire. “There is someone!” It is Murong Qingyi. His whole body covered in blood. His breathing is shallow. “Young Master?” “You know him?” The middle aged man nods slowly, disbelief written across his face. “I used to work for Commander Li.” As they carry him away, Qingyi’s fingers twitch. “Susu...” [33-11] 3 Months later. Qingyi slowly regains consciousness in a small clinic. He instinctively tries to sit up. Pain tears through his body, forcing him back onto the bed. The physician quickly stops him. “Don’t move.” Qingyi look at him. “Who helps me? I have to go back.” “Someone who knows you said you need to recover first before you go.” “My wife is waiting for me” “You’ve been unconscious for 3 months. Your burns are severe, several ribs are fractured, and your lungs are injured from smoke inhalation. You won’t even make it out the front door.” Qingyi grips the edge of the bed. — Over the following months, Qingyi travels from one city to another. Everywhere he goes, he seeks renowned physicians and specialists for burns and internal injuries. One elderly doctor examines the scars on his back before shaking his head. ”You pushed your body too far. If you continue traveling before you’ve healed completely, these injuries will stay with you for life.” [33-12] Two years later. A physician smiles as he finishes removing the last bandage from Qingyi’s body. [33-13] Two years later. The rebuilt lakeside cabin in Shencheng looks much the same as it once did. [Montage] Haitang Qing’s voice is heard reading from her letter. “The Fang Trading Company has found its footing again. Our business in Nanyang is flourishing, and so many of our partners are eager to meet the mysterious boss behind it all. The new plane you donated to the aviation academy has already begun training a promising new generation of pilots. The girls’ school we founded has welcomed its very first class of students. The opening ceremony won’t be complete without its chairwoman. Susu... all of us miss you. How much longer are you going to wait for him? He’s not coming back.” The letter continues as glimpses of Susu’s life play out. Le-an sits at his desk practicing calligraphy while Susu patiently guides him, correcting each stroke with gentle encouragement. Later, she tends to the flowers blooming throughout the garden, carefully watering each one. She pushes Le-an on a swing beneath the warm afternoon sun, mother and son laughing together. That night, she reads him a bedtime story. When his breathing evens into sleep, she smiles softly, tucks the blanket around him, and quietly slips from the room. [Montage END] Spring has arrived. Outside the cabin, the lake shimmers beneath the sunlight. Beneath a flowering tree, a picnic blanket has been spread across the grass. Susu sits beneath the blossoms, finishing Haitang Qing’s letter. The warmth of the afternoon makes her drowsy. She places the letter aside, lies down on her side atop the blanket, and slowly drifts into a light sleep. Everything is quiet. Sunlight filters gently through the branches overhead, petals swaying with the breeze. Then a soft gust brushes past. Half asleep, Susu feels someone settle beside her. She lazily opens her eyes. Only inches away is a familiar face. A handsome man dressed in a white shirt lies beside her, his head resting against one hand as he quietly watches her. She simply closes her eyes again. Dreaming of him has become so familiar that it no longer surprises her. A small smile finds its way onto her lips. “This is strange...” she murmurs sleepily. “Why have I been dreaming about you so often lately?” Murong Qingyi continues watching her, his voice low and gentle. “What do you dream about?” Still caught somewhere between dreaming and waking, Susu answers without opening her eyes. “I dream about the braised pork you cooked... the snowman you made... that night when you woke up in the middle of the night, turned over, and wrapped your arms around me again... and... there’s more...” A smile tugs at Qingyi’s lips. Reaching out, he gently taps the tip of her nose. “Why are all your dreams about the past?” he asks softly. “Dream about our future instead... alright?” His voice is so clear and real. Like cool spring water washing over her. In an instant, Susu is fully awake. She stares at him. At the face she has missed for two endless years. Disbelief floods her expression. Before she can even think, instinct takes over. She throws herself at him. The force knocks Qingyi backward onto the grass as she lands against his chest. Supporting herself above him, she hesitantly reaches out, fingertips trembling as they brush against his cheek, almost afraid that touching him will make him disappear. “I...” Her voice quivers. “I’m really not dreaming... am I?” Qingyi slowly sits up, lifting her effortlessly onto his lap. He holds her close and looks into her eyes. “These past two years,” he begins quietly, “I traveled everywhere to recover... to heal my injuries. But wherever I went, I kept dreaming about you.” A faint smile appears on his face. “I dreamed we were sitting together just like this.” His gaze never leaves hers. “I’d tell you, ‘Come here.’ And you’d crawl over like a little cat. I’d hold you and tell you, ‘I was wrong. Don’t be mad anymore.’ You’d pretend not to understand. You’d yawn... and then curl up in my arms.” Tears begin spilling down Susu’s cheeks, but despite herself, she laughs through them. “You certainly know how to dream,” she sniffles. “I waited two whole years for you... and the first thing you do after coming back is try to sweet talk your way into forgiving you?” Qingyi smiles at her with quiet tenderness. “If you truly blamed me,” he says softly, “you would’ve forgotten me.” Another tear escapes Susu’s eyes. At the same moment, a flower petal drifts down from above, landing with the tear against his brow before sliding to his cheek. “If you were a river,” she whispers, “I’d cross it. If you were a mountain, I’d climb it. But you...” Her voice breaks. “How was I ever supposed to forget you?” Qingyi lets out a small, amused laugh, looking almost pleased with himself. “Ren Susu,” he teases, “you really haven’t changed at all.” She cries even harder, lifting her hand to smack him in protest. Before she can, Qingyi catches her wrist. Without another word, he leans forward and kisses her. A breeze rushes through the flowering tree overhead. Petals tumble from the branches like rain, settling in their hair, across their shoulders, and around their embrace. Their kiss lingers beneath the shower of blossoms, until the two lovers are covered completely in the flowers of spring. Qingyi says that he will always find her, and he did. Susu says she will wait for him, and she did. ❤️

Overdo 这一秒过火

66,757 Aufrufe • vor 1 Monat

Disney released Snow White in 1937. 60 years later, they re-released it on video. 28 million copies sold. $250 million in profit. Steve Jobs watched his young son watch it 30, 40 times. “These stories renew themselves with each generation.” In 1996, one year after Toy Story, he spent 20 minutes explaining why he bought Pixar: On buying the dream: "I met Ed Catmull who was running the computer division of Lucasfilm in 1985." "He shared with me his dream about making the first computer animated feature film." "I bought into that dream both financially and spiritually." "It took us ten years to do that, but we did it." The result: Toy Story. Third most successful animated film ever made. On content vs technology: "You can hardly find an Apple II around anymore." "It's not clear whether you'll be able to boot up a Macintosh five years from now." "All these technology boxes and software, if it has a life of a year or two, you're very lucky. Five years is extraordinary." "Sooner or later, they all become part of the sedimentary layer." But stories? "I think people are going to be watching Toy Story in 60 years. Not because of the computer graphics, but because of the story about friendship." On work-for-hire: Pixar made commercials for years. Won every award in the book. Then Jobs did the math. "If Listerine sold more Listerine because of our commercials, we didn't make any more money for producing the commercials." "The margin in that business has been under pressure. More people coming in. Going down, and down, and down." "You work harder and harder to make the same amount of money." He pulled 25 people out of commercials. "We had 25 incredibly talented people doing work-for-hire when we have all these other opportunities where we own a piece of what we create." "Great people are hard to find. We couldn't afford to have 25 of them making commercials anymore." On blending two cultures: "The very best creative people will only go to work in a few places. Disney, Pixar, possibly DreamWorks." "The very best computer scientists in computer graphics will only go to work in a few places. Pixar is one of those." "Pixar is the only place in the world that can hire the best from both of these areas." "We worked for ten years to figure out a way to have them all work together. The Hollywood culture and the Silicon Valley culture are really different." On the hierarchy of power: "When you've got incredibly talented people that are rare and in-demand, if you don't treat them right, they can go get another job in 10 minutes." "So this strange thing happens. The hierarchy of power inverts." "The CEO is actually at the bottom." "I feel like I work for most of these people because they're the ones doing all the brilliant work." "It's management's job to support them because they're on the front lines doing the work." On contracts vs stock options: "Hollywood uses the stick, which is the contract. Silicon Valley uses the carrot, which is the stock option." "When you sign a contract with somebody, you can say, 'I don't have to worry about that person for five years.'" "If you're sophisticated, you'll have a little database that tickles you six months before their contract is up so you can start paying more attention to them." "They're the most important person in the world for six months. Then after they sign up again, you put them in the drawer." Pixar chose stock options. "Every single day, we worry about how to make Pixar a better company so that nobody will ever want to leave." "We don't take anybody for granted." On what Disney taught them: "When you make a live-action film, a director shoots ten to twenty-five times as much footage as will end up on the screen." "Walt Disney realized many decades ago that animation was so expensive that you couldn't afford to animate ten times more than what you need." "The only conclusion: you have to edit your film before you make it." "Working with Disney gave us access to that wisdom. You can't buy it for love or money." On the constant: "Ten years ago, when we made Luxo Jr., it took about three hours to render each frame." "Toy Story. Computers are hundreds of times faster. It still took three hours to render each frame." "The frames were a hundred times more complex." "Our ambitions, visually, are growing as fast as the technology can feed them." On story vs technology: "The art of storytelling is very old." "No amount of technology can turn a bad story into a good story." "That's our mantra at Pixar. It's the story, stupid." "I don't think storytelling has changed in a long time. And I'm not sure it will. I don't think it's something that technology has anything to do with."
22:37

Disney released Snow White in 1937. 60 years later, they re-released it on video. 28 million copies sold. $250 million in profit. Steve Jobs watched his young son watch it 30, 40 times. “These stories renew themselves with each generation.” In 1996, one year after Toy Story, he spent 20 minutes explaining why he bought Pixar: On buying the dream: "I met Ed Catmull who was running the computer division of Lucasfilm in 1985." "He shared with me his dream about making the first computer animated feature film." "I bought into that dream both financially and spiritually." "It took us ten years to do that, but we did it." The result: Toy Story. Third most successful animated film ever made. On content vs technology: "You can hardly find an Apple II around anymore." "It's not clear whether you'll be able to boot up a Macintosh five years from now." "All these technology boxes and software, if it has a life of a year or two, you're very lucky. Five years is extraordinary." "Sooner or later, they all become part of the sedimentary layer." But stories? "I think people are going to be watching Toy Story in 60 years. Not because of the computer graphics, but because of the story about friendship." On work-for-hire: Pixar made commercials for years. Won every award in the book. Then Jobs did the math. "If Listerine sold more Listerine because of our commercials, we didn't make any more money for producing the commercials." "The margin in that business has been under pressure. More people coming in. Going down, and down, and down." "You work harder and harder to make the same amount of money." He pulled 25 people out of commercials. "We had 25 incredibly talented people doing work-for-hire when we have all these other opportunities where we own a piece of what we create." "Great people are hard to find. We couldn't afford to have 25 of them making commercials anymore." On blending two cultures: "The very best creative people will only go to work in a few places. Disney, Pixar, possibly DreamWorks." "The very best computer scientists in computer graphics will only go to work in a few places. Pixar is one of those." "Pixar is the only place in the world that can hire the best from both of these areas." "We worked for ten years to figure out a way to have them all work together. The Hollywood culture and the Silicon Valley culture are really different." On the hierarchy of power: "When you've got incredibly talented people that are rare and in-demand, if you don't treat them right, they can go get another job in 10 minutes." "So this strange thing happens. The hierarchy of power inverts." "The CEO is actually at the bottom." "I feel like I work for most of these people because they're the ones doing all the brilliant work." "It's management's job to support them because they're on the front lines doing the work." On contracts vs stock options: "Hollywood uses the stick, which is the contract. Silicon Valley uses the carrot, which is the stock option." "When you sign a contract with somebody, you can say, 'I don't have to worry about that person for five years.'" "If you're sophisticated, you'll have a little database that tickles you six months before their contract is up so you can start paying more attention to them." "They're the most important person in the world for six months. Then after they sign up again, you put them in the drawer." Pixar chose stock options. "Every single day, we worry about how to make Pixar a better company so that nobody will ever want to leave." "We don't take anybody for granted." On what Disney taught them: "When you make a live-action film, a director shoots ten to twenty-five times as much footage as will end up on the screen." "Walt Disney realized many decades ago that animation was so expensive that you couldn't afford to animate ten times more than what you need." "The only conclusion: you have to edit your film before you make it." "Working with Disney gave us access to that wisdom. You can't buy it for love or money." On the constant: "Ten years ago, when we made Luxo Jr., it took about three hours to render each frame." "Toy Story. Computers are hundreds of times faster. It still took three hours to render each frame." "The frames were a hundred times more complex." "Our ambitions, visually, are growing as fast as the technology can feed them." On story vs technology: "The art of storytelling is very old." "No amount of technology can turn a bad story into a good story." "That's our mantra at Pixar. It's the story, stupid." "I don't think storytelling has changed in a long time. And I'm not sure it will. I don't think it's something that technology has anything to do with."

Jaynit

95,800 Aufrufe • vor 5 Monaten

🚨 BREAKING: We FOUND the Romanian Orphan Girl Erika Kirk (Frantzve) Posted in 2013… Then Suspiciously DELETED 👀 Back in May 2013, influencer Erika Frantzve (now Kirk) posted this heartbreaking photo on Instagram: A little Romanian girl, maybe 6-8 years old, standing in what looks like an orphanage room. Green shirt, pink pants, a stuffed pink parrot on her shoulder, cardboard box in front of her. Caption: “I have something special for you… very special…” The post blew up… and then it vanished. Deleted without explanation. No archive, no follow-up, nothing. For the last 7 months, people have been wondering: Who was that girl? What really happened to her? Well… we found her. After digging through old screenshots, reverse image search, and public social media, we matched her to this girl — now a young woman who just graduated high school in 2024. Here’s why this is a STRONG, almost undeniable match (not just “kinda looks similar” — this is forensic-level facial consistency): Facial Feature Breakdown (permanent bone structure doesn’t lie): Eyes: Large, dark brown, wide-set, rounded shape with the exact same upper lid hooding and prominent eyelids. Identical in the 2013 photo, her childhood pics (purple tank top, pink skirt, headband), and even her recent selfies. Nose: Small, straight bridge with that soft, rounded tip. Matches perfectly across every photo from 2013 to 2024. Mouth & Smile: Small-to-medium lips, slight overbite, same upper teeth show when smiling. You can see the exact same smile in the orphanage pic, the swing set photos, the kitchen tutu shot, and her high-school grad selfies. Face Shape & Hairline: Soft rounded child face in 2013 that lengthened exactly as expected into the oval/heart-shaped teen face by 2024. Blunt straight-across bangs + straight dark brown hair in almost ALL her childhood photos — the signature look from the original post. Overall Proportions: Same slim build, leg-to-torso ratio, cheek-to-jaw transition through puberty. Timeline & Romanian Proof: The original photo is from Erika’s “Romanian Angels” charity project around 2012-2013 in Romania (specifically tied to orphanages in the Constanța area). This girl was living in Romania at that exact time. Multiple childhood photos show her in traditional Romanian folk costumes (one even tagged with the 🇷🇴 flag emoji and “Outfit Inspo”). Overlay text in her old videos: “There’s still a young girl from Romania.” Age lines up perfectly: ~6-8 in 2013 → high school graduation in 2024 (born ~2005-2007). This isn’t some random lookalike. These are the same eyes, same nose, same smile, same bangs, same Romanian orphan story. So here’s the part that should have everyone asking questions: Why did Erika Kirk delete that specific post? Why has she never followed up on “her” special little Romanian Angel? Why the sudden silence around the entire Romanian Angels project? Online chatter has been swirling for years, allegations of trafficking with the charity, claims of missing children from the Constanța orphanage, whispers that she was eventually banned from Romania, questions about where all these “angels” actually ended up. Was this little girl part of some bigger story? Was the post deleted because someone realized the trail could lead back to her? Or was there something about this specific child that made Erika scrub her from the internet? We’re not accusing anyone of anythin. But when a public figure posts a vulnerable orphan child with a dramatic caption, gets massive attention, then quietly erases the evidence while the internet is still talking about “Romanian Angels” conspiracies… it raises red flags. This girl is safe, grown, and thriving now (looks like she’s now in the US). But the questions remain: What was Erika Kirk really doing in Romania? Why delete the proof? What is she trying to hide? Drop this in the comments, tag everyone you know, and share this far and wide. The internet has a long memory — and we just connected the dots. If you have more info, screenshots, or leads — comment below, DM me or email and let’s get answers. CC: Candace Owens
3:23

🚨 BREAKING: We FOUND the Romanian Orphan Girl Erika Kirk (Frantzve) Posted in 2013… Then Suspiciously DELETED 👀 Back in May 2013, influencer Erika Frantzve (now Kirk) posted this heartbreaking photo on Instagram: A little Romanian girl, maybe 6-8 years old, standing in what looks like an orphanage room. Green shirt, pink pants, a stuffed pink parrot on her shoulder, cardboard box in front of her. Caption: “I have something special for you… very special…” The post blew up… and then it vanished. Deleted without explanation. No archive, no follow-up, nothing. For the last 7 months, people have been wondering: Who was that girl? What really happened to her? Well… we found her. After digging through old screenshots, reverse image search, and public social media, we matched her to this girl — now a young woman who just graduated high school in 2024. Here’s why this is a STRONG, almost undeniable match (not just “kinda looks similar” — this is forensic-level facial consistency): Facial Feature Breakdown (permanent bone structure doesn’t lie): Eyes: Large, dark brown, wide-set, rounded shape with the exact same upper lid hooding and prominent eyelids. Identical in the 2013 photo, her childhood pics (purple tank top, pink skirt, headband), and even her recent selfies. Nose: Small, straight bridge with that soft, rounded tip. Matches perfectly across every photo from 2013 to 2024. Mouth & Smile: Small-to-medium lips, slight overbite, same upper teeth show when smiling. You can see the exact same smile in the orphanage pic, the swing set photos, the kitchen tutu shot, and her high-school grad selfies. Face Shape & Hairline: Soft rounded child face in 2013 that lengthened exactly as expected into the oval/heart-shaped teen face by 2024. Blunt straight-across bangs + straight dark brown hair in almost ALL her childhood photos — the signature look from the original post. Overall Proportions: Same slim build, leg-to-torso ratio, cheek-to-jaw transition through puberty. Timeline & Romanian Proof: The original photo is from Erika’s “Romanian Angels” charity project around 2012-2013 in Romania (specifically tied to orphanages in the Constanța area). This girl was living in Romania at that exact time. Multiple childhood photos show her in traditional Romanian folk costumes (one even tagged with the 🇷🇴 flag emoji and “Outfit Inspo”). Overlay text in her old videos: “There’s still a young girl from Romania.” Age lines up perfectly: ~6-8 in 2013 → high school graduation in 2024 (born ~2005-2007). This isn’t some random lookalike. These are the same eyes, same nose, same smile, same bangs, same Romanian orphan story. So here’s the part that should have everyone asking questions: Why did Erika Kirk delete that specific post? Why has she never followed up on “her” special little Romanian Angel? Why the sudden silence around the entire Romanian Angels project? Online chatter has been swirling for years, allegations of trafficking with the charity, claims of missing children from the Constanța orphanage, whispers that she was eventually banned from Romania, questions about where all these “angels” actually ended up. Was this little girl part of some bigger story? Was the post deleted because someone realized the trail could lead back to her? Or was there something about this specific child that made Erika scrub her from the internet? We’re not accusing anyone of anythin. But when a public figure posts a vulnerable orphan child with a dramatic caption, gets massive attention, then quietly erases the evidence while the internet is still talking about “Romanian Angels” conspiracies… it raises red flags. This girl is safe, grown, and thriving now (looks like she’s now in the US). But the questions remain: What was Erika Kirk really doing in Romania? Why delete the proof? What is she trying to hide? Drop this in the comments, tag everyone you know, and share this far and wide. The internet has a long memory — and we just connected the dots. If you have more info, screenshots, or leads — comment below, DM me or email and let’s get answers. CC: Candace Owens

Project Constitution

367,967 Aufrufe • vor 5 Monaten

The goal wasn’t to make something cinematic. Just make an ordinary day feel real. Made with Seedance 2.5. Prompt: Create a 30-second, 1080p ultra-realistic personal home-video of a young Korean woman confidently claiming she can sing, only to completely fall apart mid-song in a noraebang (karaoke room). No reference image. MAIN SUBJECT Young Korean woman in her early 20s, casual and confident energy, natural makeup that's slightly smudged from a night out, expressive face that goes from cocky to distressed in seconds. Long black hair in loose waves, a claw clip half-holding it up, small hoop earrings catching the disco light. Wearing an oversized denim jacket over a graphic tee, black mini skirt, ankle boots, holding a wireless karaoke mic like it's a real microphone. Maintain the same face, hairstyle, clothing, body proportions, and appearance throughout the entire video. SETTING A small, slightly worn private noraebang room late at night. Neon-colored wall lighting cycling through pink, blue, and purple, a low vinyl couch, a coffee table with empty snack bags and soju/beer cans, a big screen playing a lyrics video with over-the-top visuals, a disco ball casting light spots, a tambourine on the table, a song-selection remote, and mirrored wall panels reflecting the room. Slightly tacky, glowing, chaotic in the best way. CAMERA / VISUAL AESTHETIC Raw personal footage filmed by her friend on a phone, strong handheld vlog shake throughout. Lighting shifts constantly with the neon cycle, causing exposure and color shifts across her face. Autofocus hunts between her face and the flashing screen behind her. Camera swings and dips with the friend's own laughter, mild motion blur during her more dramatic mic-swinging moments, visible digital noise in the dim room, colors slightly oversaturated from the neon wash. No stabilization, no cinematic polish — it should feel like real footage that'll end up in a group chat. 00:00–00:05 — THE CONFIDENT INTRO She grabs the mic with both hands, striking a mock-serious pop-star pose as the intro music starts. She looks dead into the camera, completely deadpan and confident. "Okay watch this. I'm actually good." 00:05–00:10 — STRONG START The first line of the song hits and she nails it — eyes closed, hand on chest, fully committed to the performance. The camera pushes in slightly, genuinely impressed, catching her hitting the note clean. Her friend's voice off-camera: "Okay wait—?!" 00:10–00:15 — THE CRACK The song hits a higher note and her voice visibly strains, cracking halfway through. Her eyes snap open in panic mid-note. She tries to recover by belting harder, which makes it worse. The camera shakes as the friend starts laughing, frame briefly clipping the ceiling. 00:15–00:20 — FULL COLLAPSE She completely loses the melody, mumbling half the lyrics she doesn't know, gesturing wildly with the mic to compensate. She turns away from the camera in embarrassment mid-line, then spins back in for a dramatic (bad) finish, hair flying. The frame overshoots trying to follow her spin, briefly blurring. 00:20–00:25 — GIVING UP She drops onto the couch mid-song, still holding the mic up weakly, mumbling the last few lines into the cushion instead of singing them. The score screen pops up on the TV behind her with a visibly low number. She peeks at the score, winces hard, and covers her face with a couch pillow. 00:25–00:30 — FINAL MOMENT She lowers the pillow slowly, mic still limp in her other hand, and stares into the camera in mock devastation. "...We're never speaking about this again." Her friend, still laughing off-camera, zooms in too close on her defeated face — she weakly swats the lens away — and the footage cuts abruptly to black. AUDIO Natural location sound only: Karaoke backing track playing from the room's speaker (muffled, roomy), her actual singing — strong at first, then cracking and falling apart — her friend's genuine off-camera laughter throughout, mic feedback crackle, couch cushion thud, tambourine jingling faintly when knocked, and handheld camera noise. No added music. No narration. No artificial sound effects. Spoken lines: "Okay watch this. I'm actually good." / "Okay wait—?!" (friend, off-camera) / "...We're never speaking about this again." FINAL FEEL Chaotic, glowing, late-night noraebang energy — the universal experience of confidently starting a karaoke song and immediately regretting every choice that led to that moment. Funny, cringe-in-a-good-way, genuinely unscripted. No polished performance. No actual singing talent required — the comedy comes from the real vocal crack, real panic, and the gap between her confidence and her execution.
0:30

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

Oogie

28,167 Aufrufe • vor 1 Monat