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Without taking accountability for The View's own incendiary and dehumanizing rhetoric against Trump, Alyssa Farah Griffin bloviates about how we need to bring the temperature down: "I know we will talk a lot about this so I won't steal the microphone, but we have a problem with political violence...

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Nicholas Fondacaro

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55,133 Aufrufe • vor 3 Monaten •via X (Twitter)

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Chanhyuk: Company doesn’t matter, but it’s about the people you work with. “There’s also something like this. Even though we say we created a “company,” we just used that word because it’s easier for people to understand. But in the end, it’s not really about the company, it’s about the people. Like, who you work with. And what kind of experiences you share with them, that’s what really matters the most. So with these people, whether we go, volunteering or travel somewhere, we always move together as one group. Because if not and later on, when I write and release a song, if we hadn’t shared those experiences, I’d have to explain everything. Like, “I went somewhere and had this kind of experience…” But since we’ve all lived it together, I can just say, “Hey, I wrote this kind of song this time,” and they’ll be like, “Oh, yeah, I get it. I know exactly what that is.” It just makes everything so much faster, right?”
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Chanhyuk: Company doesn’t matter, but it’s about the people you work with. “There’s also something like this. Even though we say we created a “company,” we just used that word because it’s easier for people to understand. But in the end, it’s not really about the company, it’s about the people. Like, who you work with. And what kind of experiences you share with them, that’s what really matters the most. So with these people, whether we go, volunteering or travel somewhere, we always move together as one group. Because if not and later on, when I write and release a song, if we hadn’t shared those experiences, I’d have to explain everything. Like, “I went somewhere and had this kind of experience…” But since we’ve all lived it together, I can just say, “Hey, I wrote this kind of song this time,” and they’ll be like, “Oh, yeah, I get it. I know exactly what that is.” It just makes everything so much faster, right?”

akmerch ⚔️

194,144 Aufrufe • vor 3 Monaten

Rick Rubin on being addicted to the miracle of creation: “I like the moment of revelation. So we're working on something and it's just okay. It's boring. I'd rather not be there. That's how it feels. But then something happens and it's like magic. Something appears. It's not like we made it. Something comes up in the process. It's conjured in the process. It’s like a miracle and that's the thing that's addictive. That feeling when it's like it's not good, it's not good, it's not good, it's not good. We try something and it doesn't work. Try something else and it doesn't work. But then all of the sudden what we're listening to is really cool. That's the [addictive] feeling, that moment of discovery where it goes from nothing to something really good. And then the whole rest of the process after that is protecting that because it's super delicate. When it happens it's like this miracle happened and this magic thing happened and now we have to protect it through the rest of the process to not ruin it. It's scary because you don't want it to end. You don't want it to stop because we know if it stops, we can't control it. We can't do it again. It's not like that. It's this moment in time where something magical happens. So we spend a lot of time waiting and I can't say that's fun. Waiting is not fun.”
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David Senra

12,759 Aufrufe • vor 2 Monaten

🦁: don't worry, guys. we do communicate with it. 🦁: we have an actual roleplay channel where we talk about rp, like what we plan to do and we ask people if it's okay to do this and this and this. we do communicate. there is communication. it's not just, "i'm gonna log in today and just like terrorize the town", you know? 🦁: it's mainly used for... just kinda letting people know what you are up to today or something. i think people can choose to be a part of it. 🦁: i guess the only thing that i really do need to do better next time is maybe things like big groups and stuff, like big expeditions. i feel like that needs to be limited to only maybe six people 🦁: i'm pretty sure it could coexist. you have crimp over here just building her circus. you have a lot of people seriously roleplaying over there. i think people can just take their business elsewhere, you know? 🦁: and again, i think we learned a lot trying this for the first time. it's definitely a good experience. #lucalive #VcraftEnchanted
2:01

🦁: don't worry, guys. we do communicate with it. 🦁: we have an actual roleplay channel where we talk about rp, like what we plan to do and we ask people if it's okay to do this and this and this. we do communicate. there is communication. it's not just, "i'm gonna log in today and just like terrorize the town", you know? 🦁: it's mainly used for... just kinda letting people know what you are up to today or something. i think people can choose to be a part of it. 🦁: i guess the only thing that i really do need to do better next time is maybe things like big groups and stuff, like big expeditions. i feel like that needs to be limited to only maybe six people 🦁: i'm pretty sure it could coexist. you have crimp over here just building her circus. you have a lot of people seriously roleplaying over there. i think people can just take their business elsewhere, you know? 🦁: and again, i think we learned a lot trying this for the first time. it's definitely a good experience. #lucalive #VcraftEnchanted

reese 💫

72,477 Aufrufe • vor 10 Monaten

“What I think SPX is, is a wake-up call. And I think for the normie, the average person, it literally is best described as being the next Bitcoin, because that's literally what it is. Bitcoin was a wake-up call to show people that value is subjective. And SPX is the next iteration of that. And once you get enough people to understand that the value of the dollar is subjective. It only has value because people believe in it. Bitcoin only has value because people believe in it. SPX has value because people believe in it. And the next step is Well, it's not just money that is subjective in value. It is literally everything is subjective. The entire universe is this subjective entity that is created from our own consciousness. And that's what Like, the purpose of this vehicle, yes, it's going to make a lot of people a lot of money, but the point of that is to wake people up to the fact that the entire universe is this subjective entity. It is not just this, like, empirical machine with interlocking gears and like this orderly machine that proceeds from just like the sum of its parts like no like we are literally the universe creating the universe and that's what spx is meant to wake people up to.” — Crypto Maxi 💹🧲
1:36

“What I think SPX is, is a wake-up call. And I think for the normie, the average person, it literally is best described as being the next Bitcoin, because that's literally what it is. Bitcoin was a wake-up call to show people that value is subjective. And SPX is the next iteration of that. And once you get enough people to understand that the value of the dollar is subjective. It only has value because people believe in it. Bitcoin only has value because people believe in it. SPX has value because people believe in it. And the next step is Well, it's not just money that is subjective in value. It is literally everything is subjective. The entire universe is this subjective entity that is created from our own consciousness. And that's what Like, the purpose of this vehicle, yes, it's going to make a lot of people a lot of money, but the point of that is to wake people up to the fact that the entire universe is this subjective entity. It is not just this, like, empirical machine with interlocking gears and like this orderly machine that proceeds from just like the sum of its parts like no like we are literally the universe creating the universe and that's what spx is meant to wake people up to.” — Crypto Maxi 💹🧲

Tanz Cho 💹🧲

12,124 Aufrufe • vor 15 Tagen

OTD 28 years ago "The Strike" aired, and the world learned about "Festivus." We spoke with Dan O'Keefe whose father created Festivus. Dan was Not a fan of the episode, did Not want the episode to air, and to him, Festivus brings back deep rooted trauma. Dan explains: The way people adopted it, I didn’t see that coming. You gotta understand, I’ve been saying this for a while, yeah, that was my father, he was mentally ill and a drunk, but extremely brilliant. For whatever reason he invented this weird fucking extra holiday that was celebrated at random times. It did not have a set date. It was extremely upsetting. It was like borderline child endangerment, and it was not fun. So my brothers and I had this deal: you do not talk about it outside of the house, and we just try to pretend it’s not happening. But I didn’t pitch it, I didn’t want it to go in. I hoped it would fail and be edited out, and nevertheless, the damn thing survived. The reality is far weirder. I have the CDs that were remastered from the cassette tapes my dad used to make during the annual recording of this insanity, which is mostly him screaming about internal Reader’s Digest politics in a deep slur while my brothers are crying and my mom is telling him to simmer down. That was not something I agitated for, quite the reverse. So how do I feel about it taking off? I try to block it out. This holiday was basically an encapsulation of alcoholism and mental illness into one neat little wrapper. I was as surprised as anyone. I was not a booster of this. I was surprised it got on the air. I am beyond surprised that it seems to be something that has, to some extent, legs. There are still a few people who celebrate it. Good for them. I do not personally. I did my time on that in the ’70s and ’80s. Jerry Stiller made it fun. The real thing was terrifying, obviously, and you understood why George was not in favor of it. But he made it fun, and it was Jeff Schaffer’s joke—the idea to give it a pole. That was not the case. The real symbology of it was more peculiar and not as wholesome as an aluminum pole with a good strength-to-weight ratio.
0:33

OTD 28 years ago "The Strike" aired, and the world learned about "Festivus." We spoke with Dan O'Keefe whose father created Festivus. Dan was Not a fan of the episode, did Not want the episode to air, and to him, Festivus brings back deep rooted trauma. Dan explains: The way people adopted it, I didn’t see that coming. You gotta understand, I’ve been saying this for a while, yeah, that was my father, he was mentally ill and a drunk, but extremely brilliant. For whatever reason he invented this weird fucking extra holiday that was celebrated at random times. It did not have a set date. It was extremely upsetting. It was like borderline child endangerment, and it was not fun. So my brothers and I had this deal: you do not talk about it outside of the house, and we just try to pretend it’s not happening. But I didn’t pitch it, I didn’t want it to go in. I hoped it would fail and be edited out, and nevertheless, the damn thing survived. The reality is far weirder. I have the CDs that were remastered from the cassette tapes my dad used to make during the annual recording of this insanity, which is mostly him screaming about internal Reader’s Digest politics in a deep slur while my brothers are crying and my mom is telling him to simmer down. That was not something I agitated for, quite the reverse. So how do I feel about it taking off? I try to block it out. This holiday was basically an encapsulation of alcoholism and mental illness into one neat little wrapper. I was as surprised as anyone. I was not a booster of this. I was surprised it got on the air. I am beyond surprised that it seems to be something that has, to some extent, legs. There are still a few people who celebrate it. Good for them. I do not personally. I did my time on that in the ’70s and ’80s. Jerry Stiller made it fun. The real thing was terrifying, obviously, and you understood why George was not in favor of it. But he made it fun, and it was Jeff Schaffer’s joke—the idea to give it a pole. That was not the case. The real symbology of it was more peculiar and not as wholesome as an aluminum pole with a good strength-to-weight ratio.

This Podcast is Making Me Thirsty Seinfeld Podcast

103,005 Aufrufe • vor 7 Monaten

People always ask me: But how could AI kill us all? So, here is how I think AI will literally kill us all. It's just a guess, I'm just a human. I wrote this essay for a book nearly two years ago. It's not something I like to talk about. But the academic presentation of AI risk is just not working. We need real human emotion in this debate. When we say we're all going to die if we don't change course, and our faces don't show it, it doesn't connect.
5:10

People always ask me: But how could AI kill us all? So, here is how I think AI will literally kill us all. It's just a guess, I'm just a human. I wrote this essay for a book nearly two years ago. It's not something I like to talk about. But the academic presentation of AI risk is just not working. We need real human emotion in this debate. When we say we're all going to die if we don't change course, and our faces don't show it, it doesn't connect.

John Sherman

180,286 Aufrufe • vor 4 Monaten

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'
3:56

Zack Snyder discusses virtual production technology with the Russo Bros. and explains why he chose to build practical sets for Rebel Moon: "The idea of this sort of virtual production that's really interesting is that it does come back around. The green screen environment is an exclusive world, right? "Like there's not a lot of guys that can make a movie with no sets. Because as it is now, there's a thousand visual effects artists between that green screen and it being in your movie. "In the virtual production version, anybody who walks in there with a camera... The desert is there. And they can go and film it. So in a lot of ways it's kind of... it demystifies visual effects a little bit. "The thing that I've always found a little off-putting about a big green screen environment is it's not really engaging for anybody. Even for us, even for the filmmakers. We've been looking at the concept, we know what it is. "And the actors especially are like, 'I don't know where the hell I am.' Like, 'I guess... Okay, whatever you guys say, I'll do it.'" Anthony Russo: "But for camera operators too, right? It's just like there's nothing to grab on to." Snyder: "Yeah, I don't know, tilt up to the mountain. What mountain?" Joe Russo: "No, no, it's a little higher." Snyder: "Yeah, exactly. I think it's a small mountain. "Anyway, but I do think that the introduction of this kind of virtual productions as a concept really brings sort of physicality back to visual effects. And sort of a fantastic world. "You really can, you know, you can feel it and see it. They can put Atmos in, it can really feel like you're in a place. Which is really just... You're more passionate about it, you know, filming it. "Like I did a small thing that we were just really more of an experiment. And I was really fascinated by like, you know, they're like, 'Okay, here's, we have a cave set with light shafts coming through these holes in the ceiling.' And then we were like, literally, you know, 'Okay, now we're in like this forest.' "And it was the same rocks, but suddenly they didn't look like- they worked in both spots. It was just, I was like, 'Wow, this is really...' And even the focus and everything, the wall understood the depth of field as well. "So like everything, like especially in the eyepiece was like, 'Wow, that's scary.' That's like, feels like I'm there. So I think there's huge potential and hugely exciting future for that technology. "You know, as it becomes more available to like, and also scale, I think, you know, from this to like also being able to have, you know, 100 guys standing around inside of, you know, a giant environment would be just, it's just cool. Which they're doing now anyway, everyone's doing it. "But what was funny, because like on the movie that we're working on now, we ended up, we took a deep dive into it. And it just, the reason why we ended up not doing it in the end was because we just, we have these big war scenes. "And I had like 100 guys, you know, and we were just like, I don't even like, the amount of French reverses I have to do, everyone's brains were exploding. "Because, you know, you're always like, I'm like, 'Oh, just flip the set again and flip the set again.' And then for his reverse, we flipped the set that way and we flipped the set that way. "And so we had to build all the, all in the design, everything was symmetrical, right? Like the bridges and the houses were kind of symmetrical. "So you could always be flipping and not tell... because the sets were all symmetrical. You could shoot them from both sides and it was kind of the same. But the audience couldn't tell because the backgrounds were not symmetrical. "So it was only the immediate stuff, you know. It was, so it was a bit of a brain teaser for everyone. And then in the end, we were like, because of the scale of the fighting, I was like, 'Oh, let's just...' "So now we're just building it up the road. "But it's cool. "It's fun to build a giant thing as well. Just to go there and like, 'Oh my God, we made a village.'

Zack Snyder Film

23,149 Aufrufe • vor 6 Monaten