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๐†๐‹๐Ž๐๐€๐‹ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ ๐’๐”๐‘๐•๐ˆ๐•๐€๐‹ | ๐‚๐Ž๐Œ๐ˆ๐๐† ๐’๐Ž๐Ž๐ Woman & Man, All Gender NEW ORIGINAL DANCE SERIES! ๋ฌด๋Œ€๋ฅผ ์›€์ง์—ฌ์˜จ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์ง„์งœ ์‹ธ์›€์ด ์‹œ์ž‘๋œ๋‹ค GLOBAL PERFORMANCE DIRECTOR SURVIVAL COMING SOON --- Woman & Man, All Gender NEW ORIGINAL DANCE SERIES! The Real Battle Among Stage Leading Performance Directors Begins. GLOBAL...

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[#SDF] ๊ธ€๋กœ๋ฒŒ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์น˜์—ดํ•œ ์ „์Ÿ | 2026.08 COMING SOON ๐€๐‹๐‹ ๐†๐„๐๐‘๐„ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ ์ถคยท์•ˆ๋ฌดยท์—ฐ์ถœ, ๋ฌด๋Œ€ ์œ„ ๋ชจ๋“  ๊ฒƒ์„ ์„ค๊ณ„ํ•˜๋Š” ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์ž‘ํ’ˆ ์Šน๋ถ€ ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- [#SDF] An Intense Competition Between Global Performance Directors | 2026.08 COMING SOON ๐€๐‹๐‹ ๐†๐„๐๐‘๐„ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ DanceยทChoreographyยทDirection, Performance Directors Who Shape Every Element Onstage, Competing Through a Battle of Their Work Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
1:05

[#SDF] ๊ธ€๋กœ๋ฒŒ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์น˜์—ดํ•œ ์ „์Ÿ | 2026.08 COMING SOON ๐€๐‹๐‹ ๐†๐„๐๐‘๐„ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ ์ถคยท์•ˆ๋ฌดยท์—ฐ์ถœ, ๋ฌด๋Œ€ ์œ„ ๋ชจ๋“  ๊ฒƒ์„ ์„ค๊ณ„ํ•˜๋Š” ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ๋“ค์˜ ์ž‘ํ’ˆ ์Šน๋ถ€ ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- [#SDF] An Intense Competition Between Global Performance Directors | 2026.08 COMING SOON ๐€๐‹๐‹ ๐†๐„๐๐‘๐„ ๐๐„๐‘๐…๐Ž๐‘๐Œ๐€๐๐‚๐„ ๐ƒ๐ˆ๐‘๐„๐‚๐“๐Ž๐‘ DanceยทChoreographyยทDirection, Performance Directors Who Shape Every Element Onstage, Competing Through a Battle of Their Work Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

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393,768 gรถrรผntรผleme โ€ข 3 ay รถnce

[#SDF] ํ•ด์‰ฌ Hash | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ํผํฌ๋จผ์Šค ํฌ๋ฃจ '์ปดํžˆ์–ด'๋ฅผ ์ด๋„๋Š” ํ—ค๋“œ ์•ˆ๋ฌด๊ฐ€์ด์ž ๋ฉ”๊ฐ€ ํผํฌ๋จผ์Šค์˜ ์ •์ ! ๊ธ€๋กœ๋ฒŒ ์ปดํ”ผํ‹ฐ์…˜ ์ตœ๊ฐ• ๋””๋ ‰ํ„ฐ #ํ•ด์‰ฌ #Hash ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Head choreographer of performance crew 'COME HERE' and top director of global competitions at the peak of mega performance Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:31

[#SDF] ํ•ด์‰ฌ Hash | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ํผํฌ๋จผ์Šค ํฌ๋ฃจ '์ปดํžˆ์–ด'๋ฅผ ์ด๋„๋Š” ํ—ค๋“œ ์•ˆ๋ฌด๊ฐ€์ด์ž ๋ฉ”๊ฐ€ ํผํฌ๋จผ์Šค์˜ ์ •์ ! ๊ธ€๋กœ๋ฒŒ ์ปดํ”ผํ‹ฐ์…˜ ์ตœ๊ฐ• ๋””๋ ‰ํ„ฐ #ํ•ด์‰ฌ #Hash ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Head choreographer of performance crew 'COME HERE' and top director of global competitions at the peak of mega performance Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

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23,032 gรถrรผntรผleme โ€ข 2 ay รถnce

[#SDF] ์บ์Šคํผ KASPER | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ์ƒค์ด๋‹ˆ์˜ ํผํฌ๋จผ์Šค ํžˆ์Šคํ† ๋ฆฌ๋ฅผ ํ•จ๊ป˜ ๋งŒ๋“  ์•ˆ๋ฌด๊ฐ€์ด์ž 'K-POP ๋‚จ์„ฑ ์†”๋กœ ์ตœ์ดˆ' ํƒœ๋ฏผ์˜ ์ฝ”์ฒผ๋ผ ๋ฌด๋Œ€๋ฅผ ๋””๋ ‰ํŒ…ํ•œ ์•ˆ๋ฌด๊ฐ€ #์บ์Šคํผ #KASPER ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Choreographer who has built SHINee's performance history, directing TAEMIN's Coachella stage as 'the first-ever K-POP male solo artist' Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:29

[#SDF] ์บ์Šคํผ KASPER | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ์ƒค์ด๋‹ˆ์˜ ํผํฌ๋จผ์Šค ํžˆ์Šคํ† ๋ฆฌ๋ฅผ ํ•จ๊ป˜ ๋งŒ๋“  ์•ˆ๋ฌด๊ฐ€์ด์ž 'K-POP ๋‚จ์„ฑ ์†”๋กœ ์ตœ์ดˆ' ํƒœ๋ฏผ์˜ ์ฝ”์ฒผ๋ผ ๋ฌด๋Œ€๋ฅผ ๋””๋ ‰ํŒ…ํ•œ ์•ˆ๋ฌด๊ฐ€ #์บ์Šคํผ #KASPER ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Choreographer who has built SHINee's performance history, directing TAEMIN's Coachella stage as 'the first-ever K-POP male solo artist' Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

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80,599 gรถrรผntรผleme โ€ข 2 ay รถnce

[#SDF] ๋‚˜์ธ NAIN | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ๊ธ€๋กœ๋ฒŒ ์—ดํ’์˜ ใ€ˆ์ผ€์ดํŒ ๋ฐ๋ชฌ ํ—Œํ„ฐ์Šคใ€‰ '๊ณจ๋“ ' ์•ˆ๋ฌด๊ฐ€๋กœ ์ฐจ์„ธ๋Œ€ K-POP ํผํฌ๋จผ์Šค์˜ ํ๋ฆ„์„ ๋งŒ๋“œ๋Š” MZ ์•ˆ๋ฌด๊ฐ€ #๋‚˜์ธ #NAIN ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Gen Z choreographer of 'Golden' from the global sensation ใ€ˆKPop Demon Huntersใ€‰, leading next-gen K-POP performance Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:33

[#SDF] ๋‚˜์ธ NAIN | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ ๊ธ€๋กœ๋ฒŒ ์—ดํ’์˜ ใ€ˆ์ผ€์ดํŒ ๋ฐ๋ชฌ ํ—Œํ„ฐ์Šคใ€‰ '๊ณจ๋“ ' ์•ˆ๋ฌด๊ฐ€๋กœ ์ฐจ์„ธ๋Œ€ K-POP ํผํฌ๋จผ์Šค์˜ ํ๋ฆ„์„ ๋งŒ๋“œ๋Š” MZ ์•ˆ๋ฌด๊ฐ€ #๋‚˜์ธ #NAIN ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Gen Z choreographer of 'Golden' from the global sensation ใ€ˆKPop Demon Huntersใ€‰, leading next-gen K-POP performance Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

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147,739 gรถrรผntรผleme โ€ข 2 ay รถnce

[#SDF] ๋ฐ”๋‹ค BADA | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ '์Šค๋ชจํฌ ์ฑŒ๋ฆฐ์ง€' ์—ดํ’์„ ์ผ์œผํ‚จ ์•„์ด์ฝ˜์ด์ž ์Šคํƒ€์„ฑ๊ณผ ํ™”์ œ์„ฑ์„ ๋ชจ๋‘ ์‚ฌ๋กœ์žก์€ ํผํฌ๋จผ์Šค ์•ˆ๋ฌด๊ฐ€ #๋ฐ”๋‹ค #BADA ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Icon who has sparked the 'Smoke Challenge', and a performance choreographer with star power and viral buzz Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:27

[#SDF] ๋ฐ”๋‹ค BADA | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ '์Šค๋ชจํฌ ์ฑŒ๋ฆฐ์ง€' ์—ดํ’์„ ์ผ์œผํ‚จ ์•„์ด์ฝ˜์ด์ž ์Šคํƒ€์„ฑ๊ณผ ํ™”์ œ์„ฑ์„ ๋ชจ๋‘ ์‚ฌ๋กœ์žก์€ ํผํฌ๋จผ์Šค ์•ˆ๋ฌด๊ฐ€ #๋ฐ”๋‹ค #BADA ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- Icon who has sparked the 'Smoke Challenge', and a performance choreographer with star power and viral buzz Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

Mnet

144,714 gรถrรผntรผleme โ€ข 2 ay รถnce

[#SDF] ๋ฐฑ๊ตฌ์˜ kooyoung back | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ EXO, ์„ธ๋ธํ‹ด ๋“ฑ ์ƒ์ง•์  ํผํฌ๋จผ์Šค๋ฅผ ํƒ„์ƒ์‹œํ‚ค๋ฉฐ K-POP ํผํฌ๋จผ์Šค์˜ ๊ธฐ์ค€์„ ์„ธ์›Œ์˜จ 1์„ธ๋Œ€ ๋ ˆ์ „๋“œ ์•ˆ๋ฌด๊ฐ€ #๋ฐฑ๊ตฌ์˜ #kooyoungback ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- First-gen legendary choreographer who has set the standard for K-POP performance, creating iconic performances for EXO, SEVENTEEN, and more Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:30

[#SDF] ๋ฐฑ๊ตฌ์˜ kooyoung back | ๐‹๐ˆ๐๐„ ๐”๐ ๐“๐„๐€๐’๐„๐‘ EXO, ์„ธ๋ธํ‹ด ๋“ฑ ์ƒ์ง•์  ํผํฌ๋จผ์Šค๋ฅผ ํƒ„์ƒ์‹œํ‚ค๋ฉฐ K-POP ํผํฌ๋จผ์Šค์˜ ๊ธฐ์ค€์„ ์„ธ์›Œ์˜จ 1์„ธ๋Œ€ ๋ ˆ์ „๋“œ ์•ˆ๋ฌด๊ฐ€ #๋ฐฑ๊ตฌ์˜ #kooyoungback ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON -- First-gen legendary choreographer who has set the standard for K-POP performance, creating iconic performances for EXO, SEVENTEEN, and more Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

Mnet

94,012 gรถrรผntรผleme โ€ข 2 ay รถnce

[#WSWF] ์šฐ๋ฆฌ๊ฐ€ TEAM KOREA? ๋ฒŒ์จ ์•„์Šฌ์•„์Šฌํ•œ ๋ฆฌ๋”์ฆˆ ํŒ€์›Œํฌ ๐Ÿ“ŒFull Ver. ๋ฆฌ๋”์ฆˆ์—๊ฒŒ ์ฃผ์–ด์ง„ ์ƒˆ ํ”„๋กœ์ ํŠธ, ์›”๋“œ ์˜ค๋ธŒ ์Šค์šฐํŒŒ! ???: ๋‚˜ ์ด ํŒ€ ์•ˆ ํ• ๋ž˜ ์‹œ์ž‘๋ถ€ํ„ฐ ํ”๋“ค๋ฆฌ๋Š” TEAM KOREA์˜ ๋ฏธ๋ž˜๋Š”? ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ใ€ˆ์›”๋“œ ์˜ค๋ธŒ ์ŠคํŠธ๋ฆฟ ์šฐ๋จผ ํŒŒ์ดํ„ฐใ€‰ 2025. 05. COMING SOON - A new project for the leaders: WORLD OF SWF! ???: โ€œI donโ€™t want to be on this teamโ€ Is TEAM KOREAโ€™s future already at risk from the start? A World Dance Battle of Unapologetic Women ใ€ˆWORLD OF STREET WOMAN FIGHTERใ€‰ 2025. 05. COMING SOON #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #worldofswf #dance #Mnet
0:44

[#WSWF] ์šฐ๋ฆฌ๊ฐ€ TEAM KOREA? ๋ฒŒ์จ ์•„์Šฌ์•„์Šฌํ•œ ๋ฆฌ๋”์ฆˆ ํŒ€์›Œํฌ ๐Ÿ“ŒFull Ver. ๋ฆฌ๋”์ฆˆ์—๊ฒŒ ์ฃผ์–ด์ง„ ์ƒˆ ํ”„๋กœ์ ํŠธ, ์›”๋“œ ์˜ค๋ธŒ ์Šค์šฐํŒŒ! ???: ๋‚˜ ์ด ํŒ€ ์•ˆ ํ• ๋ž˜ ์‹œ์ž‘๋ถ€ํ„ฐ ํ”๋“ค๋ฆฌ๋Š” TEAM KOREA์˜ ๋ฏธ๋ž˜๋Š”? ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ใ€ˆ์›”๋“œ ์˜ค๋ธŒ ์ŠคํŠธ๋ฆฟ ์šฐ๋จผ ํŒŒ์ดํ„ฐใ€‰ 2025. 05. COMING SOON - A new project for the leaders: WORLD OF SWF! ???: โ€œI donโ€™t want to be on this teamโ€ Is TEAM KOREAโ€™s future already at risk from the start? A World Dance Battle of Unapologetic Women ใ€ˆWORLD OF STREET WOMAN FIGHTERใ€‰ 2025. 05. COMING SOON #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #worldofswf #dance #Mnet

Mnet

302,191 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

[#์Šคํ‹ธํ•˜ํŠธํด๋Ÿฝ/4ํšŒ ์„ ๊ณต๊ฐœ] ๋ฐด๋“œ๋Š” ์ฒ˜์Œ์ด๋ผ... ์ง„์งœ ๊ฐ•ํŒ€์ด ๋˜๋Š” ๊ณผ์ • ๐Ÿ”—Full ver. ๋›ฐ์–ด๋‚œ ์‹ค๋ ฅ๊ณผ ํผํฌ๋จผ์Šค, ๊ทผ๋ฐ ๋ฐด๋“œ๋Š” ์ฒ˜์Œ์ด๋ผ... ์˜ˆ์ƒํ•˜์ง€ ๋ชปํ•œ ์ง„์‹ฌ ์–ด๋ฆฐ ํ”ผ๋“œ๋ฐฑ์„ ํ†ตํ•ด ํ•œ์ธต ๋” ์„ฑ์žฅํ•œ ๊ธฐ์–ตํŒ€์˜ ๋ฌด๋Œ€๋Š” ๊ณผ์—ฐ?! ๊ธ€๋กœ๋ฒŒ ๋ฐด๋“œ ๋ฉ”์ดํ‚น ์„œ๋ฐ”์ด๋ฒŒ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ๋ฐฉ์†ก - [#STEALHEARTCLUB/Ep.04 Preview] Itโ€™s their first time in a bandโ€ฆ the process of becoming a real strong team. ๐Ÿ”—Full ver. Great skills and performance, but itโ€™s their first time in a band. Through unexpected, heartfelt feedback, Team Memory takes another step forward โ€” what will their stage be like?! Global Band Making Survival New episodes every Tuesday at 10 PM (KST) #์Šคํ‹ธํ•˜ํŠธํด๋Ÿฝ #stealheartclub #์Šคํ•˜ํด #shc #๋ฐด๋“œ #band #์„œ๋ฐ”์ด๋ฒŒ #์— ๋„ท #Mnet
2:02

[#์Šคํ‹ธํ•˜ํŠธํด๋Ÿฝ/4ํšŒ ์„ ๊ณต๊ฐœ] ๋ฐด๋“œ๋Š” ์ฒ˜์Œ์ด๋ผ... ์ง„์งœ ๊ฐ•ํŒ€์ด ๋˜๋Š” ๊ณผ์ • ๐Ÿ”—Full ver. ๋›ฐ์–ด๋‚œ ์‹ค๋ ฅ๊ณผ ํผํฌ๋จผ์Šค, ๊ทผ๋ฐ ๋ฐด๋“œ๋Š” ์ฒ˜์Œ์ด๋ผ... ์˜ˆ์ƒํ•˜์ง€ ๋ชปํ•œ ์ง„์‹ฌ ์–ด๋ฆฐ ํ”ผ๋“œ๋ฐฑ์„ ํ†ตํ•ด ํ•œ์ธต ๋” ์„ฑ์žฅํ•œ ๊ธฐ์–ตํŒ€์˜ ๋ฌด๋Œ€๋Š” ๊ณผ์—ฐ?! ๊ธ€๋กœ๋ฒŒ ๋ฐด๋“œ ๋ฉ”์ดํ‚น ์„œ๋ฐ”์ด๋ฒŒ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ๋ฐฉ์†ก - [#STEALHEARTCLUB/Ep.04 Preview] Itโ€™s their first time in a bandโ€ฆ the process of becoming a real strong team. ๐Ÿ”—Full ver. Great skills and performance, but itโ€™s their first time in a band. Through unexpected, heartfelt feedback, Team Memory takes another step forward โ€” what will their stage be like?! Global Band Making Survival New episodes every Tuesday at 10 PM (KST) #์Šคํ‹ธํ•˜ํŠธํด๋Ÿฝ #stealheartclub #์Šคํ•˜ํด #shc #๋ฐด๋“œ #band #์„œ๋ฐ”์ด๋ฒŒ #์— ๋„ท #Mnet

Mnet

45,744 gรถrรผntรผleme โ€ข 8 ay รถnce

[#SDF] ใ€ˆ1:1 ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ๋Œ€์ค‘ ํ‰๊ฐ€ใ€‰ ์•ˆ๋‚ด ์ง€๊ธˆ๋ถ€ํ„ฐ ใ€ˆ1:1 ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ๋Œ€์ค‘ ํ‰๊ฐ€ใ€‰๊ฐ€ ์‹œ์ž‘๋ฉ๋‹ˆ๋‹ค. ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์—์„œ ๊ฐ ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด๋ฅผ ํ‰๊ฐ€ํ•ด์ฃผ์„ธ์š” ๐Ÿ“ํˆฌํ‘œ ๊ธฐ๊ฐ„ ~ 5/21(๋ชฉ) 8:00 AM (KST) ๐Ÿ“ํˆฌํ‘œ ๋ฐฉ๋ฒ• โ‘  ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์—์„œ โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€ ์˜์ƒโ€™ ์‹œ์ฒญํ•˜๊ธฐ โ‘ก ๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด๊ฐ€ ์˜ค๋ฆฌ์ง€๋„ ์•ˆ๋ฌด๋ณด๋‹ค ๋” ๋›ฐ์–ด๋‚˜๋‹ค๋ฉด โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€ ์˜์ƒโ€˜์— '์ข‹์•„์š”' ๋ˆ„๋ฅด๊ธฐ ๐Ÿ“์œ ์˜์‚ฌํ•ญ โ€ข ํ‰๊ฐ€ ์ ์ˆ˜๋Š” ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์— ๊ฒŒ์‹œ๋œ ํ‰๊ฐ€ ์˜์ƒ์˜ '์ข‹์•„์š”' ์ˆ˜๋กœ ์‚ฐ์ •๋ฉ๋‹ˆ๋‹ค. โ€ข โ€˜์˜ค๋ฆฌ์ง€๋„ ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ์˜์ƒโ€™์€ ํ‰๊ฐ€ ์˜์ƒ์ด ์•„๋‹™๋‹ˆ๋‹ค. โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€โ€™๋ฅผ ์œ„ํ•œ ์ฐธ๊ณ  ์˜์ƒ์ž…๋‹ˆ๋‹ค. ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON _ ใ€ˆ1:1 Signature Move Public Evaluationใ€‰ Announcement ใ€ˆ1:1 Signature Move Public Evaluationใ€‰ begins NOW. Please evaluate each choreographer's new signature move on YouTube channel The CHOOM. ๐Ÿ“Voting Period ~ May 21 (Thur) 8:00 AM (KST) ๐Ÿ“How to Vote โ‘  Watch 'The New Signature Move Evaluation Video' on YouTube Channel 'The CHOOMโ€™. โ‘ก If the new signature move stands out more than the original move, please 'Like' 'The New Signature Move Evaluation Video'. ๐Ÿ“Notes โ€ข Evaluation Scores will be calculated based on the number of 'Likes' on the evaluation videos posted on YouTube channel The CHOOM. โ€ข 'The Original Signature Move Video' is NOT an evaluation video. It is a reference video for 'The New Signature Move Evaluation'. Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance
0:21

[#SDF] ใ€ˆ1:1 ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ๋Œ€์ค‘ ํ‰๊ฐ€ใ€‰ ์•ˆ๋‚ด ์ง€๊ธˆ๋ถ€ํ„ฐ ใ€ˆ1:1 ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ๋Œ€์ค‘ ํ‰๊ฐ€ใ€‰๊ฐ€ ์‹œ์ž‘๋ฉ๋‹ˆ๋‹ค. ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์—์„œ ๊ฐ ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด๋ฅผ ํ‰๊ฐ€ํ•ด์ฃผ์„ธ์š” ๐Ÿ“ํˆฌํ‘œ ๊ธฐ๊ฐ„ ~ 5/21(๋ชฉ) 8:00 AM (KST) ๐Ÿ“ํˆฌํ‘œ ๋ฐฉ๋ฒ• โ‘  ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์—์„œ โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€ ์˜์ƒโ€™ ์‹œ์ฒญํ•˜๊ธฐ โ‘ก ๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด๊ฐ€ ์˜ค๋ฆฌ์ง€๋„ ์•ˆ๋ฌด๋ณด๋‹ค ๋” ๋›ฐ์–ด๋‚˜๋‹ค๋ฉด โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€ ์˜์ƒโ€˜์— '์ข‹์•„์š”' ๋ˆ„๋ฅด๊ธฐ ๐Ÿ“์œ ์˜์‚ฌํ•ญ โ€ข ํ‰๊ฐ€ ์ ์ˆ˜๋Š” ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์— ๊ฒŒ์‹œ๋œ ํ‰๊ฐ€ ์˜์ƒ์˜ '์ข‹์•„์š”' ์ˆ˜๋กœ ์‚ฐ์ •๋ฉ๋‹ˆ๋‹ค. โ€ข โ€˜์˜ค๋ฆฌ์ง€๋„ ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ์˜์ƒโ€™์€ ํ‰๊ฐ€ ์˜์ƒ์ด ์•„๋‹™๋‹ˆ๋‹ค. โ€˜๋‰ด ์‹œ๊ทธ๋‹ˆ์ฒ˜ ์•ˆ๋ฌด ํ‰๊ฐ€โ€™๋ฅผ ์œ„ํ•œ ์ฐธ๊ณ  ์˜์ƒ์ž…๋‹ˆ๋‹ค. ์•ˆ๋ฌด๊ฐ€๋“ค์˜ ๋””๋ ‰ ์ „์Ÿ ใ€ˆ์ŠคํŠธ๋ฆฟ ์›”๋“œ ํŒŒ์ดํ„ฐ : ๋””๋ ‰ํ„ฐ์Šค ์›Œใ€‰ 2026.08 COMING SOON _ ใ€ˆ1:1 Signature Move Public Evaluationใ€‰ Announcement ใ€ˆ1:1 Signature Move Public Evaluationใ€‰ begins NOW. Please evaluate each choreographer's new signature move on YouTube channel The CHOOM. ๐Ÿ“Voting Period ~ May 21 (Thur) 8:00 AM (KST) ๐Ÿ“How to Vote โ‘  Watch 'The New Signature Move Evaluation Video' on YouTube Channel 'The CHOOMโ€™. โ‘ก If the new signature move stands out more than the original move, please 'Like' 'The New Signature Move Evaluation Video'. ๐Ÿ“Notes โ€ข Evaluation Scores will be calculated based on the number of 'Likes' on the evaluation videos posted on YouTube channel The CHOOM. โ€ข 'The Original Signature Move Video' is NOT an evaluation video. It is a reference video for 'The New Signature Move Evaluation'. Choreographersโ€™ Directing Battle ใ€ˆSTREET WORLD FIGHTER : Directors' Warใ€‰ 2026.08 COMING SOON #์ŠคํŠธ๋ฆฟ์›”๋“œํŒŒ์ดํ„ฐ_๋””๋ ‰ํ„ฐ์Šค์›Œ #์Šค๋””ํŒŒ #์— ๋„ท #๋Œ„์Šค #StreetWorldFighter_DirectorsWar #Mnet #Dance

Mnet

59,297 gรถrรผntรผleme โ€ข 2 ay รถnce

[#WSWF/4ํšŒ ์„ ๊ณต๊ฐœ] ์ง„์งœ ํ€ธ, ๋ˆ„๊ตฐ์ง€ ๋ณด์—ฌ์ค„๊ฒŒ๐Ÿ‘‘ ๐Ÿ”—Full Ver. : ๋กœ์–„ ํŒจ๋ฐ€๋ฆฌ VS ์—์ด์ง€ ์Šค์ฟผ๋“œ ์šด๋ช…์ฒ˜๋Ÿผ ๋งž๋ถ™์€ ๋‘ ํฌ๋ฃจ, ๊ทธ๋ฆฌ๊ณ  ๋ชจ๋‘๋ฅผ ์••๋„ํ•œ ๋กœ์–„ ํŒจ๋ฐ€๋ฆฌ์˜ ํผํฌ๋จผ์Šค๐Ÿ”ฅ ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ ๋ฐฉ์†ก - [WSWF/EP.4 Preview] THE REAL QUEEN, LET ME PROVE IT๐Ÿ‘‘ ROYAL FAMILY vs AG SQUAD The two rivals were fated to clash, And ROYAL FAMILYโ€™s overwhelming performance left everyone speechless๐Ÿ”ฅ A World Dance Battle of Unapologetic Women New episodes every Tuesday at 10 PM (KST) - [WSWF/็ฌฌ4่ฉฑๅ…ˆ่กŒๅ…ฌ้–‹] ๆœฌๅฝ“ใฎใ‚ฏใ‚คใƒผใƒณใŒ่ชฐใ‹ใ€่ฆ‹ใ›ใฆใ‚„ใ‚‹๐Ÿ‘‘ ROYAL FAMILY vs AG SQUAD ้‹ๅ‘ฝใฎๆˆฆใ„ใ‚’ๅง‹ใ‚ใ‚‹ไธกใ‚ฏใƒซใƒผใ€ ใใ—ใฆไผšๅ ดใ‚’ๅœงๅ€’ใ—ใŸROYAL FAMILYใฎใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚น๐Ÿ”ฅ ไธ–็•Œไธญใฎโ€œ่ช‡ใ‚Š้ซ˜ใๅฅณๆ€งโ€ใŸใกใŒใƒ—ใƒฉใ‚คใƒ‰ใ‚’ๆ‡ธใ‘ใŸใ‚ฐใƒญใƒผใƒใƒซใƒ€ใƒณใ‚นใƒใƒˆใƒซ ๆฏŽ้€ฑ(็ซ)ๅคœ10ๆ™‚ๆœฌๆ”พ้€ #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ3 #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #WorldofSWF #WSWF #SWF3 #SWF #Dance #Mnet
2:33

[#WSWF/4ํšŒ ์„ ๊ณต๊ฐœ] ์ง„์งœ ํ€ธ, ๋ˆ„๊ตฐ์ง€ ๋ณด์—ฌ์ค„๊ฒŒ๐Ÿ‘‘ ๐Ÿ”—Full Ver. : ๋กœ์–„ ํŒจ๋ฐ€๋ฆฌ VS ์—์ด์ง€ ์Šค์ฟผ๋“œ ์šด๋ช…์ฒ˜๋Ÿผ ๋งž๋ถ™์€ ๋‘ ํฌ๋ฃจ, ๊ทธ๋ฆฌ๊ณ  ๋ชจ๋‘๋ฅผ ์••๋„ํ•œ ๋กœ์–„ ํŒจ๋ฐ€๋ฆฌ์˜ ํผํฌ๋จผ์Šค๐Ÿ”ฅ ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ ๋ฐฉ์†ก - [WSWF/EP.4 Preview] THE REAL QUEEN, LET ME PROVE IT๐Ÿ‘‘ ROYAL FAMILY vs AG SQUAD The two rivals were fated to clash, And ROYAL FAMILYโ€™s overwhelming performance left everyone speechless๐Ÿ”ฅ A World Dance Battle of Unapologetic Women New episodes every Tuesday at 10 PM (KST) - [WSWF/็ฌฌ4่ฉฑๅ…ˆ่กŒๅ…ฌ้–‹] ๆœฌๅฝ“ใฎใ‚ฏใ‚คใƒผใƒณใŒ่ชฐใ‹ใ€่ฆ‹ใ›ใฆใ‚„ใ‚‹๐Ÿ‘‘ ROYAL FAMILY vs AG SQUAD ้‹ๅ‘ฝใฎๆˆฆใ„ใ‚’ๅง‹ใ‚ใ‚‹ไธกใ‚ฏใƒซใƒผใ€ ใใ—ใฆไผšๅ ดใ‚’ๅœงๅ€’ใ—ใŸROYAL FAMILYใฎใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚น๐Ÿ”ฅ ไธ–็•Œไธญใฎโ€œ่ช‡ใ‚Š้ซ˜ใๅฅณๆ€งโ€ใŸใกใŒใƒ—ใƒฉใ‚คใƒ‰ใ‚’ๆ‡ธใ‘ใŸใ‚ฐใƒญใƒผใƒใƒซใƒ€ใƒณใ‚นใƒใƒˆใƒซ ๆฏŽ้€ฑ(็ซ)ๅคœ10ๆ™‚ๆœฌๆ”พ้€ #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ3 #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #WorldofSWF #WSWF #SWF3 #SWF #Dance #Mnet

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164,902 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

GIRLS PLANET 2 : GLOBAL AUDITION OPEN ๊ฐ€์žฅ ๋น›๋‚˜๋Š” ํ–‰์„ฑ์œผ๋กœ์˜ ์—ฌ์ •์ด ๋‹ค์‹œ ์‹œ์ž‘๋œ๋‹ค! ํ”Œ๋ž˜๋‹› ์‹œ๋ฆฌ์ฆˆ ์ œ์ž‘์ง„์˜ ์ดˆ๋Œ€ํ˜• ๊ธ€๋กœ๋ฒŒ ๊ฑธ๊ทธ๋ฃน ๋ฐ๋ท” ํ”„๋กœ์ ํŠธ ๋น›๋‚˜๋Š” ์—ฌ์ •์„ ํ•จ๊ป˜ํ•  ์ „ ์„ธ๊ณ„ ์†Œ๋…€๋“ค์„ ์ฐพ์Šต๋‹ˆ๋‹ค! ๐Ÿ“Œ์ง€์› ๊ธฐ๊ฐ„ 2026๋…„ 5์›” 1์ผ 08:00AM (KST๊ธฐ์ค€)๋ถ€ํ„ฐ ๋ชจ์ง‘ ๋งˆ๊ฐ ์‹œ๊นŒ์ง€ (๋ชจ์ง‘ ๋งˆ๊ฐ ์ผ์ • ๋ณ„๋„ ๊ณต์ง€ ์˜ˆ์ •) ๐Ÿ“Œ์ง€์› ์ž๊ฒฉ - ๊ธ€๋กœ๋ฒŒ ๊ฑธ๊ทธ๋ฃน ๋ฐ๋ท”๋ฅผ ๊ฟˆ๊พธ๋Š” ์ „ ์„ธ๊ณ„ ์†Œ๋…€๋“ค (๊ตญ์  ๋ฐ ๊ฑฐ์ฃผ์ง€์—ญ ๋ฌด๊ด€) - 2013๋…„ 1์›” 1์ผ ์ด์ „ ์ถœ์ƒ์ž - ๊ฐœ์ธ ์—ฐ์Šต์ƒ, ๊ธฐํš์‚ฌ ์—ฐ์Šต์ƒ, ๋ฐ๋ท” ๊ฐ€์ˆ˜ ๋ฌด๊ด€ - ํ•ด์™ธ์ถœ์ž…๊ตญ์— ๊ฒฐ๊ฒฉ์‚ฌ์œ ๊ฐ€ ์—†๋Š” ์ž ๐Ÿ“Œ์ง€์› ๋ฐฉ๋ฒ• 1) ์ง€์› ํŽ˜์ด์ง€ QR ์ฝ”๋“œ ์ ‘์† ํ›„ ์ง€์›์„œ ์ž‘์„ฑ 2) ์•„๋ž˜ ์˜์ƒ 3๊ฐœ๋ฅผ ๊ฐ 1๋ถ„ ๋‚ด์™ธ๋กœ ์ดฌ์˜ ํ›„ ์ด๋ฉ”์ผ(girlsplanet@cjenm-mnet.com) ์ „์†ก - ์ž๊ธฐ์†Œ๊ฐœ(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ƒ๋ฐ˜์‹  ์ดฌ์˜) - ๋ณด์ปฌ ๋˜๋Š” ๋žฉ(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ƒ๋ฐ˜์‹  ์ดฌ์˜) - ๋Œ„์Šค(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ „์‹  ์ดฌ์˜) ** ๋งˆ์Šคํฌ/๋ชจ์ž ์ฐฉ์šฉ ๊ธˆ์ง€, ๋ณด์ • app ์‚ฌ์šฉ๊ธˆ์ง€ == โ€œA Journey to the Brightest Planet Begins Now!โ€ From the production team of the Planet series comes a mega-scale girl group debut project We are searching for girls all over the world to join us on this journey. ๐Ÿ“ŒApplication Period Starting on May 1, 2026 at 08:00 AM (KST) until further notice (Notice to be announced separately) ๐Ÿ“ŒQualification - Girls/She/Her/They/Them worldwide, dreaming of a global debut (open to all nationalities and places of residence) - Must be born before January 1, 2013 - Open to all experience levels: Independent Trainees, Agency Trainees, and currently debuted artists - With no restrictions on overseas travel ๐Ÿ“ŒHow to Application 1) Complete the application form after accessing the application page QR code 2) Record three videos as outlined below, each approximately 1 minute in length and Send the three videos to the email (girlsplanet@cjenm-mnet.com ) - Self-introduction (upper-body shot; face must be clearly visible) - Vocal or rap performance (upper-body shot; face must be clearly visible) - Dance performance (full-body shot; face must be clearly visible) ** No masks, caps, hats, or any beauty/filter or editing apps #GIRLSPLANET2 #GLOBAL_AUDITION #๊ฑธ์Šคํ”Œ๋ž˜๋‹›2 #๊ธ€๋กœ๋ฒŒ์˜ค๋””์…˜ #Mnet
1:08

GIRLS PLANET 2 : GLOBAL AUDITION OPEN ๊ฐ€์žฅ ๋น›๋‚˜๋Š” ํ–‰์„ฑ์œผ๋กœ์˜ ์—ฌ์ •์ด ๋‹ค์‹œ ์‹œ์ž‘๋œ๋‹ค! ํ”Œ๋ž˜๋‹› ์‹œ๋ฆฌ์ฆˆ ์ œ์ž‘์ง„์˜ ์ดˆ๋Œ€ํ˜• ๊ธ€๋กœ๋ฒŒ ๊ฑธ๊ทธ๋ฃน ๋ฐ๋ท” ํ”„๋กœ์ ํŠธ ๋น›๋‚˜๋Š” ์—ฌ์ •์„ ํ•จ๊ป˜ํ•  ์ „ ์„ธ๊ณ„ ์†Œ๋…€๋“ค์„ ์ฐพ์Šต๋‹ˆ๋‹ค! ๐Ÿ“Œ์ง€์› ๊ธฐ๊ฐ„ 2026๋…„ 5์›” 1์ผ 08:00AM (KST๊ธฐ์ค€)๋ถ€ํ„ฐ ๋ชจ์ง‘ ๋งˆ๊ฐ ์‹œ๊นŒ์ง€ (๋ชจ์ง‘ ๋งˆ๊ฐ ์ผ์ • ๋ณ„๋„ ๊ณต์ง€ ์˜ˆ์ •) ๐Ÿ“Œ์ง€์› ์ž๊ฒฉ - ๊ธ€๋กœ๋ฒŒ ๊ฑธ๊ทธ๋ฃน ๋ฐ๋ท”๋ฅผ ๊ฟˆ๊พธ๋Š” ์ „ ์„ธ๊ณ„ ์†Œ๋…€๋“ค (๊ตญ์  ๋ฐ ๊ฑฐ์ฃผ์ง€์—ญ ๋ฌด๊ด€) - 2013๋…„ 1์›” 1์ผ ์ด์ „ ์ถœ์ƒ์ž - ๊ฐœ์ธ ์—ฐ์Šต์ƒ, ๊ธฐํš์‚ฌ ์—ฐ์Šต์ƒ, ๋ฐ๋ท” ๊ฐ€์ˆ˜ ๋ฌด๊ด€ - ํ•ด์™ธ์ถœ์ž…๊ตญ์— ๊ฒฐ๊ฒฉ์‚ฌ์œ ๊ฐ€ ์—†๋Š” ์ž ๐Ÿ“Œ์ง€์› ๋ฐฉ๋ฒ• 1) ์ง€์› ํŽ˜์ด์ง€ QR ์ฝ”๋“œ ์ ‘์† ํ›„ ์ง€์›์„œ ์ž‘์„ฑ 2) ์•„๋ž˜ ์˜์ƒ 3๊ฐœ๋ฅผ ๊ฐ 1๋ถ„ ๋‚ด์™ธ๋กœ ์ดฌ์˜ ํ›„ ์ด๋ฉ”์ผ([email protected]) ์ „์†ก - ์ž๊ธฐ์†Œ๊ฐœ(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ƒ๋ฐ˜์‹  ์ดฌ์˜) - ๋ณด์ปฌ ๋˜๋Š” ๋žฉ(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ƒ๋ฐ˜์‹  ์ดฌ์˜) - ๋Œ„์Šค(๋ณธ์ธ ํ™•์ธ์ด ๊ฐ€๋Šฅํ•œ ์ „์‹  ์ดฌ์˜) ** ๋งˆ์Šคํฌ/๋ชจ์ž ์ฐฉ์šฉ ๊ธˆ์ง€, ๋ณด์ • app ์‚ฌ์šฉ๊ธˆ์ง€ == โ€œA Journey to the Brightest Planet Begins Now!โ€ From the production team of the Planet series comes a mega-scale girl group debut project We are searching for girls all over the world to join us on this journey. ๐Ÿ“ŒApplication Period Starting on May 1, 2026 at 08:00 AM (KST) until further notice (Notice to be announced separately) ๐Ÿ“ŒQualification - Girls/She/Her/They/Them worldwide, dreaming of a global debut (open to all nationalities and places of residence) - Must be born before January 1, 2013 - Open to all experience levels: Independent Trainees, Agency Trainees, and currently debuted artists - With no restrictions on overseas travel ๐Ÿ“ŒHow to Application 1) Complete the application form after accessing the application page QR code 2) Record three videos as outlined below, each approximately 1 minute in length and Send the three videos to the email ([email protected] ) - Self-introduction (upper-body shot; face must be clearly visible) - Vocal or rap performance (upper-body shot; face must be clearly visible) - Dance performance (full-body shot; face must be clearly visible) ** No masks, caps, hats, or any beauty/filter or editing apps #GIRLSPLANET2 #GLOBAL_AUDITION #๊ฑธ์Šคํ”Œ๋ž˜๋‹›2 #๊ธ€๋กœ๋ฒŒ์˜ค๋””์…˜ #Mnet

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837,002 gรถrรผntรผleme โ€ข 2 ay รถnce

[#WSWF] ๋ฉ”๊ฐ€ ํฌ๋ฃจ ๋ฏธ์…˜ ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ VOTE NOW! ๊ตญ๊ฐ€์˜ ์ด๋ฆ„์„ ๊ฑธ๊ณ  ์ „ ์„ธ๊ณ„๋ฅผ ๋ฌด๋Œ€๋กœ ์™„์„ฑํ•œ ๊ฑฐ๋Œ€ ์Šค์ผ€์ผ์˜ ํผํฌ๋จผ์Šค ์ „์Ÿ '๋ฉ”๊ฐ€ ํฌ๋ฃจ ๋ฏธ์…˜' ์ƒˆ๋กญ๊ฒŒ ์ ์šฉ๋œ ์‹ฌ์‚ฌ ํฌ์ธํŠธ๋ฅผ ํ™•์ธํ•˜๊ณ  ๋‹น์‹ ์˜ ๋งˆ์Œ์„ ์›€์ง์ธ ํฌ๋ฃจ์—๊ฒŒ ์ง€๊ธˆ ๋ฐ”๋กœ '์ข‹์•„์š”'์™€ '๋Œ“๊ธ€'๋กœ ์‘์›ํ•ด ์ฃผ์„ธ์š”๐Ÿ”ฅ ๐Ÿ“ํˆฌํ‘œ ๊ธฐ๊ฐ„: ~ 6/22(์ผ) 18:00 (KST) ๐Ÿ“์‹ฌ์‚ฌ ํฌ์ธํŠธ โ‘  ํ•˜์ด ์•ต๊ธ€ ์ฑŒ๋ฆฐ์ง€ ๊ตฌ๊ฐ„ โ‘ก ์ž๊ตญ์˜ ๊ณ ์œ ํ•œ ์•„์ด๋ดํ‹ฐํ‹ฐ โ‘ข ๋ฉ”๊ฐ€ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ ์—ญ๋Ÿ‰ ๐Ÿ“์œ ์˜์‚ฌํ•ญ โ‘  ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ ์ ์ˆ˜๋Š” ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์— ๊ฒŒ์‹œ๋œ ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ ์˜์ƒ์˜ '์ข‹์•„์š”'์ˆ˜ x 100๊ณผ ์กฐํšŒ์ˆ˜์˜ ํ•ฉ์œผ๋กœ ์‚ฐ์ •๋ฉ๋‹ˆ๋‹ค. โ‘ก ๋™์˜์ƒ ์บ ํŽ˜์ธ ํ”„๋กœ๋ชจ์…˜ ๋ฐ ๊ฐ์ข… ์–ด๋ทฐ์ง•์œผ๋กœ ์ธํ•œ ์กฐํšŒ์ˆ˜๋Š” ์ง‘๊ณ„์— ๋ฏธํฌํ•จ ๋ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ใ€ˆ์›”๋“œ ์˜ค๋ธŒ ์ŠคํŠธ๋ฆฟ ์šฐ๋จผ ํŒŒ์ดํ„ฐใ€‰ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ ๋ฐฉ์†ก - [WSWF] MEGA CREW MISSION GLOBAL PUBLIC EVALUATION, VOTE NOW! 'MEGA CREW MISSION', The performance of great scale, Completing for the whole world on behalf of the country Check out new evaluation points And support the team, which touched your heart, with 'likes' and 'comments'๐Ÿ”ฅ ๐Ÿ“Voting Period: ~ 6/22(Sun) 18:00 (KST) ๐Ÿ“Evaluation Point โ‘  High Angle Challenge Part โ‘ก Unique National Identity โ‘ข Mega Performance Director's Competence ๐Ÿ“Precautions โ‘  The Global Public Rating will be calculated as the sum of โ€˜Likeโ€™ number x 100 and the hits of the global public rating video posted on the YouTube The CHOOM Channel. โ‘ก Video Campaign Promotions and other videos are not included. A World Dance Battle of Unapologetic Women ใ€ˆWORLD OF STREET WOMAN FIGHTERใ€‰ New episodes every Tuesday at 10 PM (KST) - [WSWF] ใƒกใ‚ฌใ‚ฏใƒซใƒผใƒŸใƒƒใ‚ทใƒงใƒณใ‚ฐใƒญใƒผใƒใƒซๅคง่ก†ๆŠ•็ฅจVOTE NOW! ๅ›ฝใฎๅใ‚’่ƒŒ่ฒ ใ„ใ€ไธ–็•Œใ‚’่ˆžๅฐใจใ—ใฆ็นฐใ‚Šๅบƒใ’ใ‚‰ใ‚Œใ‚‹ ๅฃฎๅคงใชใ‚นใ‚ฑใƒผใƒซใฎใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚นใƒใƒˆใƒซใ€Œใƒกใ‚ฌใ‚ฏใƒซใƒผใƒŸใƒƒใ‚ทใƒงใƒณใ€ ๆ–ฐใŸใซ่ฟฝๅŠ ใ•ใ‚ŒใŸ่ฉ•ไพกใƒใ‚คใƒณใƒˆใ‚’็ขบ่ชใ—ใ€ ใ‚ใชใŸใฎๅฟƒใ‚’ๅ‹•ใ‹ใ—ใŸใ‚ฏใƒซใƒผใซไปŠใ™ใใ€Œใ„ใ„ใญใ€ใจใ‚ณใƒกใƒณใƒˆใงๅฟœๆดใ‚’้€ใฃใฆใใ ใ•ใ„๐Ÿ”ฅ ๐Ÿ“ๆŠ•็ฅจๆœŸ้–“: ~ 6/22(ๆ—ฅ) 18:00 (KST) ใพใง ๐Ÿ“่ฉ•ไพกใƒใ‚คใƒณใƒˆ โ‘  ใƒใ‚คใ‚ขใƒณใ‚ฐใƒซใƒใƒฃใƒฌใƒณใ‚ธใฎใƒ‘ใƒผใƒˆ โ‘ก ่‡ชๅ›ฝใฎใƒฆใƒ‹ใƒผใ‚ฏใชใ‚ขใ‚คใƒ‡ใƒณใƒ†ใ‚ฃใƒ†ใ‚ฃ โ‘ข ใƒกใ‚ฌใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚นใฎใƒ‡ใ‚ฃใƒฌใ‚ฏใ‚ฟใƒผใจใ—ใฆใฎใ‚นใ‚ญใƒซ ๐Ÿ“ๆณจๆ„ไบ‹้ … โ‘  ใ‚ฐใƒญใƒผใƒใƒซๅคง่ก†่ฉ•ไพกใฎ็‚นๆ•ฐใฏใ€YouTubeใ€ŒThe CHOOMใ€ใƒใƒฃใƒณใƒใƒซใซๆŠ•็จฟใ•ใ‚ŒใŸใ‚ฐใƒญใƒผใƒใƒซ่ฉ•ไพกๆ˜ ๅƒใฎใ€Œใ„ใ„ใญๆ•ฐ ร— 100 + ๅ†็”Ÿๅ›žๆ•ฐใ€ใซใ‚ˆใฃใฆ็ฎ—ๅ‡บใ•ใ‚Œใพใ™ใ€‚ โ‘ก ๅ‹•็”ปใ‚ญใƒฃใƒณใƒšใƒผใƒณใ‚„ไธๆญฃๅ†็”Ÿใชใฉใซใ‚ˆใ‚‹ๆ•ฐๅ€คใฏ้›†่จˆๅฏพ่ฑกๅค–ใจใชใ‚Šใพใ™ใ€‚ ไธ–็•Œไธญใฎโ€œ่ช‡ใ‚Š้ซ˜ใๅฅณๆ€งโ€ใŸใกใŒใƒ—ใƒฉใ‚คใƒ‰ใ‚’ๆ‡ธใ‘ใŸใ‚ฐใƒญใƒผใƒใƒซใƒ€ใƒณใ‚นใƒใƒˆใƒซ ใ€ˆใƒฏใƒผใƒซใƒ‰ใƒปใ‚ชใƒ–ใƒปใ‚นใƒˆใƒชใƒผใƒˆใƒปใ‚ฆใƒผใƒžใƒณใƒปใƒ•ใ‚กใ‚คใ‚ฟใƒผใ€‰ ๆฏŽ้€ฑ(็ซ)ๅคœ10ๆ™‚ๆœฌๆ”พ้€ #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ3 #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #WorldofSWF #WSWF #SWF3 #SWF #Dance #Mnet
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[#WSWF] ๋ฉ”๊ฐ€ ํฌ๋ฃจ ๋ฏธ์…˜ ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ VOTE NOW! ๊ตญ๊ฐ€์˜ ์ด๋ฆ„์„ ๊ฑธ๊ณ  ์ „ ์„ธ๊ณ„๋ฅผ ๋ฌด๋Œ€๋กœ ์™„์„ฑํ•œ ๊ฑฐ๋Œ€ ์Šค์ผ€์ผ์˜ ํผํฌ๋จผ์Šค ์ „์Ÿ '๋ฉ”๊ฐ€ ํฌ๋ฃจ ๋ฏธ์…˜' ์ƒˆ๋กญ๊ฒŒ ์ ์šฉ๋œ ์‹ฌ์‚ฌ ํฌ์ธํŠธ๋ฅผ ํ™•์ธํ•˜๊ณ  ๋‹น์‹ ์˜ ๋งˆ์Œ์„ ์›€์ง์ธ ํฌ๋ฃจ์—๊ฒŒ ์ง€๊ธˆ ๋ฐ”๋กœ '์ข‹์•„์š”'์™€ '๋Œ“๊ธ€'๋กœ ์‘์›ํ•ด ์ฃผ์„ธ์š”๐Ÿ”ฅ ๐Ÿ“ํˆฌํ‘œ ๊ธฐ๊ฐ„: ~ 6/22(์ผ) 18:00 (KST) ๐Ÿ“์‹ฌ์‚ฌ ํฌ์ธํŠธ โ‘  ํ•˜์ด ์•ต๊ธ€ ์ฑŒ๋ฆฐ์ง€ ๊ตฌ๊ฐ„ โ‘ก ์ž๊ตญ์˜ ๊ณ ์œ ํ•œ ์•„์ด๋ดํ‹ฐํ‹ฐ โ‘ข ๋ฉ”๊ฐ€ ํผํฌ๋จผ์Šค ๋””๋ ‰ํ„ฐ ์—ญ๋Ÿ‰ ๐Ÿ“์œ ์˜์‚ฌํ•ญ โ‘  ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ ์ ์ˆ˜๋Š” ์œ ํŠœ๋ธŒ The CHOOM ์ฑ„๋„์— ๊ฒŒ์‹œ๋œ ๊ธ€๋กœ๋ฒŒ ๋Œ€์ค‘ ํ‰๊ฐ€ ์˜์ƒ์˜ '์ข‹์•„์š”'์ˆ˜ x 100๊ณผ ์กฐํšŒ์ˆ˜์˜ ํ•ฉ์œผ๋กœ ์‚ฐ์ •๋ฉ๋‹ˆ๋‹ค. โ‘ก ๋™์˜์ƒ ์บ ํŽ˜์ธ ํ”„๋กœ๋ชจ์…˜ ๋ฐ ๊ฐ์ข… ์–ด๋ทฐ์ง•์œผ๋กœ ์ธํ•œ ์กฐํšŒ์ˆ˜๋Š” ์ง‘๊ณ„์— ๋ฏธํฌํ•จ ๋ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์Žˆ ์–ธ๋‹ˆ๋“ค์˜ ์ž์กด์‹ฌ์„ ๊ฑด ๊ธ€๋กœ๋ฒŒ ์ถค ์‹ธ์›€ ใ€ˆ์›”๋“œ ์˜ค๋ธŒ ์ŠคํŠธ๋ฆฟ ์šฐ๋จผ ํŒŒ์ดํ„ฐใ€‰ ๋งค์ฃผ ํ™”์š”์ผ ๋ฐค 10์‹œ ๋ณธ ๋ฐฉ์†ก - [WSWF] MEGA CREW MISSION GLOBAL PUBLIC EVALUATION, VOTE NOW! 'MEGA CREW MISSION', The performance of great scale, Completing for the whole world on behalf of the country Check out new evaluation points And support the team, which touched your heart, with 'likes' and 'comments'๐Ÿ”ฅ ๐Ÿ“Voting Period: ~ 6/22(Sun) 18:00 (KST) ๐Ÿ“Evaluation Point โ‘  High Angle Challenge Part โ‘ก Unique National Identity โ‘ข Mega Performance Director's Competence ๐Ÿ“Precautions โ‘  The Global Public Rating will be calculated as the sum of โ€˜Likeโ€™ number x 100 and the hits of the global public rating video posted on the YouTube The CHOOM Channel. โ‘ก Video Campaign Promotions and other videos are not included. A World Dance Battle of Unapologetic Women ใ€ˆWORLD OF STREET WOMAN FIGHTERใ€‰ New episodes every Tuesday at 10 PM (KST) - [WSWF] ใƒกใ‚ฌใ‚ฏใƒซใƒผใƒŸใƒƒใ‚ทใƒงใƒณใ‚ฐใƒญใƒผใƒใƒซๅคง่ก†ๆŠ•็ฅจVOTE NOW! ๅ›ฝใฎๅใ‚’่ƒŒ่ฒ ใ„ใ€ไธ–็•Œใ‚’่ˆžๅฐใจใ—ใฆ็นฐใ‚Šๅบƒใ’ใ‚‰ใ‚Œใ‚‹ ๅฃฎๅคงใชใ‚นใ‚ฑใƒผใƒซใฎใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚นใƒใƒˆใƒซใ€Œใƒกใ‚ฌใ‚ฏใƒซใƒผใƒŸใƒƒใ‚ทใƒงใƒณใ€ ๆ–ฐใŸใซ่ฟฝๅŠ ใ•ใ‚ŒใŸ่ฉ•ไพกใƒใ‚คใƒณใƒˆใ‚’็ขบ่ชใ—ใ€ ใ‚ใชใŸใฎๅฟƒใ‚’ๅ‹•ใ‹ใ—ใŸใ‚ฏใƒซใƒผใซไปŠใ™ใใ€Œใ„ใ„ใญใ€ใจใ‚ณใƒกใƒณใƒˆใงๅฟœๆดใ‚’้€ใฃใฆใใ ใ•ใ„๐Ÿ”ฅ ๐Ÿ“ๆŠ•็ฅจๆœŸ้–“: ~ 6/22(ๆ—ฅ) 18:00 (KST) ใพใง ๐Ÿ“่ฉ•ไพกใƒใ‚คใƒณใƒˆ โ‘  ใƒใ‚คใ‚ขใƒณใ‚ฐใƒซใƒใƒฃใƒฌใƒณใ‚ธใฎใƒ‘ใƒผใƒˆ โ‘ก ่‡ชๅ›ฝใฎใƒฆใƒ‹ใƒผใ‚ฏใชใ‚ขใ‚คใƒ‡ใƒณใƒ†ใ‚ฃใƒ†ใ‚ฃ โ‘ข ใƒกใ‚ฌใƒ‘ใƒ•ใ‚ฉใƒผใƒžใƒณใ‚นใฎใƒ‡ใ‚ฃใƒฌใ‚ฏใ‚ฟใƒผใจใ—ใฆใฎใ‚นใ‚ญใƒซ ๐Ÿ“ๆณจๆ„ไบ‹้ … โ‘  ใ‚ฐใƒญใƒผใƒใƒซๅคง่ก†่ฉ•ไพกใฎ็‚นๆ•ฐใฏใ€YouTubeใ€ŒThe CHOOMใ€ใƒใƒฃใƒณใƒใƒซใซๆŠ•็จฟใ•ใ‚ŒใŸใ‚ฐใƒญใƒผใƒใƒซ่ฉ•ไพกๆ˜ ๅƒใฎใ€Œใ„ใ„ใญๆ•ฐ ร— 100 + ๅ†็”Ÿๅ›žๆ•ฐใ€ใซใ‚ˆใฃใฆ็ฎ—ๅ‡บใ•ใ‚Œใพใ™ใ€‚ โ‘ก ๅ‹•็”ปใ‚ญใƒฃใƒณใƒšใƒผใƒณใ‚„ไธๆญฃๅ†็”Ÿใชใฉใซใ‚ˆใ‚‹ๆ•ฐๅ€คใฏ้›†่จˆๅฏพ่ฑกๅค–ใจใชใ‚Šใพใ™ใ€‚ ไธ–็•Œไธญใฎโ€œ่ช‡ใ‚Š้ซ˜ใๅฅณๆ€งโ€ใŸใกใŒใƒ—ใƒฉใ‚คใƒ‰ใ‚’ๆ‡ธใ‘ใŸใ‚ฐใƒญใƒผใƒใƒซใƒ€ใƒณใ‚นใƒใƒˆใƒซ ใ€ˆใƒฏใƒผใƒซใƒ‰ใƒปใ‚ชใƒ–ใƒปใ‚นใƒˆใƒชใƒผใƒˆใƒปใ‚ฆใƒผใƒžใƒณใƒปใƒ•ใ‚กใ‚คใ‚ฟใƒผใ€‰ ๆฏŽ้€ฑ(็ซ)ๅคœ10ๆ™‚ๆœฌๆ”พ้€ #์›”๋“œ์˜ค๋ธŒ์Šค์šฐํŒŒ #์Šค์šฐํŒŒ3 #์Šค์šฐํŒŒ #๋Œ„์Šค #์— ๋„ท #WorldofSWF #WSWF #SWF3 #SWF #Dance #Mnet

Mnet

220,101 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

We want to know how it ends but we want more #LionessSA! ๐Ÿฅบ Watch the very epic final on #MNet101 on 30 March at 20:00. Shannon Esra Official Jacques Bessenger Jazzara Joshua Eady Frank Rautenbach Nokuthula Mavuso #empini Natasha Sutherland Evan Hengst Carl Beukes
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We want to know how it ends but we want more #LionessSA! ๐Ÿฅบ Watch the very epic final on #MNet101 on 30 March at 20:00. Shannon Esra Official Jacques Bessenger Jazzara Joshua Eady Frank Rautenbach Nokuthula Mavuso #empini Natasha Sutherland Evan Hengst Carl Beukes

M-Net

136,159 gรถrรผntรผleme โ€ข 3 yฤฑl รถnce

Scream 4 (2011) Scream 4 stands as a pivotal entry in the iconic slasher franchise. Though it initially struggled at the box office, the film has since garnered a significant cult following, largely due to its surprisingly prescient themes. The movie marked the return of original director Wes Craven and writer Kevin Williamson, who envisioned Scream 4 as the launchpad for a new trilogy. Before production began, Kevin Williamson "sketched out" concepts for Scream 5 and 6. In Williamsonโ€™s original concept, Jill Roberts was supposed to survive the events of Scream 4 and "get away with it all". The planned sequel, Scream 5, would have followed Jill as a "hero" at college, only to be stalked by a new Ghostface who knew the truth about her crimes. These plans were abandoned due to the film's lower-than-expected domestic box office performance and the passing of Wes Craven in 2015. The production of Scream 4 was notoriously difficult. Extensive script rewrites by Ehren Kruger (who penned Scream 3) occurred throughout filming. Early 2011 test screenings further necessitated four days of reshoots for two key sequences involving Aimee Teegarden and Alison Brie. Craven utilized computer-generated effects for the first time, adding knife blades in post-production to facilitate safer and more aggressive stabbing scenes. Unlike the California setting of the original, Scream 4 was filmed entirely in and around Ann Arbor, Michigan, chosen by the production team for its close resemblance to the fictional "Woodsboro." Despite its ambition, Scream 4's theatrical performance was underwhelming. It remains the only film in the series not to surpass the $100 million mark. Analysts attributed this lukewarm reception to an 11-year gap since Scream 3, an aging fan base, and stiff competition from Insidious, which dominated the horror market at the time. Despite its disappointing theatrical run, Scream 4 found greater success on home media. It debuted at #2 on the U.S. rental charts and remained in the top 20 for seven consecutive weeks, generating approximately $10.3 million in domestic DVD and Blu-ray sales. The Blu-ray release further catered to fans with 17 deleted/extended scenes, a gag reel, and an alternate opening/ending, offering a glimpse into the troubled production's original vision. Over time, modern audiences have reappraised Scream 4. Its commentary on social media fame and "remake" culture, which was considered confusing or cynical in 2011, is now seen as remarkably prescient. Hayden Panettiereโ€™s character, Kirby, instantly became a fan favorite, ultimately leading to her highly anticipated return in Scream VI. While Scream 4 temporarily "killed" the franchise until the 2022 reboot, many fans now rank it among the best sequels for its bold "Jill Roberts" reveal and sharp meta-commentary, recognizing its ahead-of-its-time themes and enduring impact.
2:16

Scream 4 (2011) Scream 4 stands as a pivotal entry in the iconic slasher franchise. Though it initially struggled at the box office, the film has since garnered a significant cult following, largely due to its surprisingly prescient themes. The movie marked the return of original director Wes Craven and writer Kevin Williamson, who envisioned Scream 4 as the launchpad for a new trilogy. Before production began, Kevin Williamson "sketched out" concepts for Scream 5 and 6. In Williamsonโ€™s original concept, Jill Roberts was supposed to survive the events of Scream 4 and "get away with it all". The planned sequel, Scream 5, would have followed Jill as a "hero" at college, only to be stalked by a new Ghostface who knew the truth about her crimes. These plans were abandoned due to the film's lower-than-expected domestic box office performance and the passing of Wes Craven in 2015. The production of Scream 4 was notoriously difficult. Extensive script rewrites by Ehren Kruger (who penned Scream 3) occurred throughout filming. Early 2011 test screenings further necessitated four days of reshoots for two key sequences involving Aimee Teegarden and Alison Brie. Craven utilized computer-generated effects for the first time, adding knife blades in post-production to facilitate safer and more aggressive stabbing scenes. Unlike the California setting of the original, Scream 4 was filmed entirely in and around Ann Arbor, Michigan, chosen by the production team for its close resemblance to the fictional "Woodsboro." Despite its ambition, Scream 4's theatrical performance was underwhelming. It remains the only film in the series not to surpass the $100 million mark. Analysts attributed this lukewarm reception to an 11-year gap since Scream 3, an aging fan base, and stiff competition from Insidious, which dominated the horror market at the time. Despite its disappointing theatrical run, Scream 4 found greater success on home media. It debuted at #2 on the U.S. rental charts and remained in the top 20 for seven consecutive weeks, generating approximately $10.3 million in domestic DVD and Blu-ray sales. The Blu-ray release further catered to fans with 17 deleted/extended scenes, a gag reel, and an alternate opening/ending, offering a glimpse into the troubled production's original vision. Over time, modern audiences have reappraised Scream 4. Its commentary on social media fame and "remake" culture, which was considered confusing or cynical in 2011, is now seen as remarkably prescient. Hayden Panettiereโ€™s character, Kirby, instantly became a fan favorite, ultimately leading to her highly anticipated return in Scream VI. While Scream 4 temporarily "killed" the franchise until the 2022 reboot, many fans now rank it among the best sequels for its bold "Jill Roberts" reveal and sharp meta-commentary, recognizing its ahead-of-its-time themes and enduring impact.

Tom๐Ÿ˜ˆLovesโค๏ธHorror๐Ÿ˜ฑ

15,420 gรถrรผntรผleme โ€ข 4 ay รถnce

In Remembrance of Spencer Tracy Born | April 5, 1900 in Milwaukee, Wisconsin, USA Died | June 10, 1967 aged 67 in Beverly Hills, Los Angeles, California American actor Spencer Bonaventure Tracy (April 5, 1900 โ€“ June 10, 1967) was known for his natural performing style and versatility. One of the major stars of Hollywood's Golden Age, Tracy was the first actor to win two consecutive Academy Awards for Best Actor, from nine nominations. During his career, he appeared in 75 films and developed a reputation among his peers as one of the screen's greatest actors. In 1999, the American Film Institute ranked Tracy as the 9th greatest male star of Classic Hollywood Cinema. Tracy first discovered his talent for acting while attending Ripon College, and he later received a scholarship for the American Academy of Dramatic Arts. He spent seven years in the theatre, working in a succession of stock companies and intermittently on Broadway. His breakthrough came in 1930, when his lead performance in The Last Mile caught the attention of Hollywood. After a successful film debut in John Ford's Up the River (in which he starred with Humphrey Bogart), he was signed to a contract with Fox Film Corporation. Tracy's five years with Fox featured one acting tour de force after another that were usually ignored at the box office, and he remained largely unknown to movie audiences after 25 films, nearly all of them starring him as the leading man. None of them were hits, although his performance in The Power and the Glory (1933) was highly praised at the time. In 1935, Tracy joined Metro-Goldwyn-Mayer (MGM), Hollywood's most prestigious studio at the time. His career flourished after his fifth MGM film, Fury (1936), and in 1937 and 1938 he won consecutive Oscars for Captains Courageous and Boys Town. Tracy teamed with Clark Gable, MGM's most prominent leading man, for three major box office successes, and by the early 1940s, he was one of MGM's top stars. In 1942, he appeared with Katharine Hepburn in Woman of the Year, beginning a professional and personal partnership that led to nine films over 25 years. In 1955, Tracy won the Cannes Film Festival Award for Best Actor for his performance in the film Bad Day at Black Rock. Tracy left MGM in 1955 and continued to work regularly as a freelance star, despite several health issues and an increasing weariness and irritability as he aged. His personal life was troubled, with a lifelong struggle against severe alcoholism and guilt over his son's deafness. Tracy and his wife Louise became estranged in the 1930s, but the couple never divorced. His 25-year relationship with Katharine Hepburn was an open secret. Towards the end of his life, Tracy worked almost exclusively for director Stanley Kramer. Tracy made his last film with Kramer, Guess Who's Coming to Dinner (1967), with filming completed just 17 days before he died. Video | Spencer Tracy, Sidney Poitier, and Katharine Hepburn in a scene from Tracy's last film, Guess Who's Coming to Dinner (1967).
4:10

In Remembrance of Spencer Tracy Born | April 5, 1900 in Milwaukee, Wisconsin, USA Died | June 10, 1967 aged 67 in Beverly Hills, Los Angeles, California American actor Spencer Bonaventure Tracy (April 5, 1900 โ€“ June 10, 1967) was known for his natural performing style and versatility. One of the major stars of Hollywood's Golden Age, Tracy was the first actor to win two consecutive Academy Awards for Best Actor, from nine nominations. During his career, he appeared in 75 films and developed a reputation among his peers as one of the screen's greatest actors. In 1999, the American Film Institute ranked Tracy as the 9th greatest male star of Classic Hollywood Cinema. Tracy first discovered his talent for acting while attending Ripon College, and he later received a scholarship for the American Academy of Dramatic Arts. He spent seven years in the theatre, working in a succession of stock companies and intermittently on Broadway. His breakthrough came in 1930, when his lead performance in The Last Mile caught the attention of Hollywood. After a successful film debut in John Ford's Up the River (in which he starred with Humphrey Bogart), he was signed to a contract with Fox Film Corporation. Tracy's five years with Fox featured one acting tour de force after another that were usually ignored at the box office, and he remained largely unknown to movie audiences after 25 films, nearly all of them starring him as the leading man. None of them were hits, although his performance in The Power and the Glory (1933) was highly praised at the time. In 1935, Tracy joined Metro-Goldwyn-Mayer (MGM), Hollywood's most prestigious studio at the time. His career flourished after his fifth MGM film, Fury (1936), and in 1937 and 1938 he won consecutive Oscars for Captains Courageous and Boys Town. Tracy teamed with Clark Gable, MGM's most prominent leading man, for three major box office successes, and by the early 1940s, he was one of MGM's top stars. In 1942, he appeared with Katharine Hepburn in Woman of the Year, beginning a professional and personal partnership that led to nine films over 25 years. In 1955, Tracy won the Cannes Film Festival Award for Best Actor for his performance in the film Bad Day at Black Rock. Tracy left MGM in 1955 and continued to work regularly as a freelance star, despite several health issues and an increasing weariness and irritability as he aged. His personal life was troubled, with a lifelong struggle against severe alcoholism and guilt over his son's deafness. Tracy and his wife Louise became estranged in the 1930s, but the couple never divorced. His 25-year relationship with Katharine Hepburn was an open secret. Towards the end of his life, Tracy worked almost exclusively for director Stanley Kramer. Tracy made his last film with Kramer, Guess Who's Coming to Dinner (1967), with filming completed just 17 days before he died. Video | Spencer Tracy, Sidney Poitier, and Katharine Hepburn in a scene from Tracy's last film, Guess Who's Coming to Dinner (1967).

Hollywood Golden Age of Cinema

24,715 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

LEAKED: Trans-Care Training Videos By Beleaguered Top Gender-Clinic Doctor, Part 1 I have obtained 12 hours of videos of top pediatric-gender-clinic physician Dr. Johanna Olson-Kennedy and her colleagues, including her husband, providing training to mental-health providers on how to treat minors who have gender dysphoria or otherwise identify as transgender or nonbinary. This is the first of 12 installments I will post during the coming weeks of these videos. Subscribe to my newsletter (link in bio) to receive all of them as I publish them. A 19-year veteran of the pediatric gender medicine field and one of its leading physician-researchers and advocates, Dr. Olson-Kennedy is the medical director of the gender clinic at Childrenโ€™s Hospital Los Angeles. According to figures she provided during this particular video, annual referrals to her clinic surged from just 25 in 2010 to 436 in 2022โ€”following a similar pattern seen in clinics throughout the Western world. The past six months have been challenging for Dr. Olson-Kennedy, to say the least. Dr. Olson-Kennedy is the principal investigator on a National Institutes of Health grant for a long-running research project concerning pediatric gender-transition treatment, one that has received over $10 million to date. In October, The New York Times reported that she has withheld null findings from a study of puberty blockers funded by this grant, doing so for political reasons. The grant is now the subject of a probe by congressional Republicans. In November, however, she asserted in a sworn deposition in a civil case that the Times had mischaracterized her words. In December, Dr. Olson-Kennedy was sued by a former patient, Clementine Breen, who reported that the gender doctor prescribed her puberty blockers at age 12โ€”on her first appointment, without a psychological assessmentโ€”and testosterone at age 13, and then referred her to receive a double mastectomy at age 14. Ms. Breen, now 20, has since detransitioned, reverting to presenting and identifying as a woman. The Trump administration has unleashed an onslaught against the field of pediatric gender medicine, seeking to wipe it off the map. In recent weeks, the NIH has been canceling research grants related to transgender people, including those conducted with animal models. There is currently a preliminary injunction in place to block the presidentโ€™s executive order that would freeze federal funds to hospitals that provide gender-transition interventions to those under age 19. Prior to the injunction, Dr. Olson-Kennedyโ€™s clinic had โ€œpausedโ€ new cross-sex hormone treatments for youth, only to lift the pause a couple of weeks later. It remains unclear whether the grant for which Dr. Olson-Kennedy is the top investigator has been canceled. But it is no longer listed on the NIH site where active grants are described. I reached out to Dr. Olson-Kennedy and her co-principal investigators on the grant to ask about its status. I did not hear back. Prior to the October Times article, Dr. Olson-Kennedy was perhaps best known by the general public for a previous leaked video in which she was giving a training in 2018 to mental health care providers on how to write referral letters for minors seeking gender-transition surgeries. In the video, she expresses exasperation with what she sees as hand wringing over whether natal girls will later regret having their breast removed during adolescence. (At least 1,000 such surgeries have been conducted annually in recent years.) She says: โ€œWhat we do know is that adolescents actually have the capacity to make a reasonable, logical decision. And hereโ€™s the other thing about chest surgery. If you want breasts at a later point in your life, you can go and get them!โ€ Ms. Breen recently reported that she was undergoing reconstructive surgery to provide herself with new breasts. However, it is very unlikely she will ever be able to breastfeed should she have children. Dr. Olson-Kennedy is also newly the president of USPATH, the U.S. branch of the medical-activist group the World Professional Association for Transgender Health. WPATH, which despite is name is largely a U.S.-based organization, has been besieged by damaging publicity over the past year, in particular after internal documents subpoenaed by Alabamaโ€™s attorney general revealed that its leadership was aware that the evidence behind pediatric gender medicine was weak and sought to paper over this fact. 12 hours of leaked Olson-Kennedy training videos The 12-hour training in what is known as the gender-affirming care method for minors who identify as trans or nonbinary took place in late April 2024โ€”a few weeks after Britain published the Cass Review, which found that this medical field is based on โ€œremarkably weak evidence.โ€ The training was led by Dr. Olson-Kennedy; her husband, Aydin Olson-Kennedy, who has a doctorate in social work and is a transgender man; and licensed clinical social worker Darlene Tando. I obtained the videos a few months ago. The training videos are a window into not just the methods of these individuals, but their overall attitudes about gender dysphoria and transgender and nonbinary identification in children. A prevailing attitude they share is one of indignation and irritation with a medical system that demands that children betray a substantial level of distress before they are granted gender-transition medications. Overall, these three favor less gatekeeping and less pathologizing of the mental states and internal lives of the children in their care. If a gender-incongruent child arrives in their care absent any particular distress about their identification as the opposite sex, they believe that that child should be granted the opportunity to medically transition by taking puberty blockers and cross-sex hormones if the family wishes. I have edited the videos to snip or crop out images that would identify the participants in the training, whether because of Zoom-chat questions that pop up in the right-hand corner of the screen, or moments when a matrix of the participants is visible. You can watch the video at the beginning of this Substack. Otherwise, I wrote a summary below:
53:48

LEAKED: Trans-Care Training Videos By Beleaguered Top Gender-Clinic Doctor, Part 1 I have obtained 12 hours of videos of top pediatric-gender-clinic physician Dr. Johanna Olson-Kennedy and her colleagues, including her husband, providing training to mental-health providers on how to treat minors who have gender dysphoria or otherwise identify as transgender or nonbinary. This is the first of 12 installments I will post during the coming weeks of these videos. Subscribe to my newsletter (link in bio) to receive all of them as I publish them. A 19-year veteran of the pediatric gender medicine field and one of its leading physician-researchers and advocates, Dr. Olson-Kennedy is the medical director of the gender clinic at Childrenโ€™s Hospital Los Angeles. According to figures she provided during this particular video, annual referrals to her clinic surged from just 25 in 2010 to 436 in 2022โ€”following a similar pattern seen in clinics throughout the Western world. The past six months have been challenging for Dr. Olson-Kennedy, to say the least. Dr. Olson-Kennedy is the principal investigator on a National Institutes of Health grant for a long-running research project concerning pediatric gender-transition treatment, one that has received over $10 million to date. In October, The New York Times reported that she has withheld null findings from a study of puberty blockers funded by this grant, doing so for political reasons. The grant is now the subject of a probe by congressional Republicans. In November, however, she asserted in a sworn deposition in a civil case that the Times had mischaracterized her words. In December, Dr. Olson-Kennedy was sued by a former patient, Clementine Breen, who reported that the gender doctor prescribed her puberty blockers at age 12โ€”on her first appointment, without a psychological assessmentโ€”and testosterone at age 13, and then referred her to receive a double mastectomy at age 14. Ms. Breen, now 20, has since detransitioned, reverting to presenting and identifying as a woman. The Trump administration has unleashed an onslaught against the field of pediatric gender medicine, seeking to wipe it off the map. In recent weeks, the NIH has been canceling research grants related to transgender people, including those conducted with animal models. There is currently a preliminary injunction in place to block the presidentโ€™s executive order that would freeze federal funds to hospitals that provide gender-transition interventions to those under age 19. Prior to the injunction, Dr. Olson-Kennedyโ€™s clinic had โ€œpausedโ€ new cross-sex hormone treatments for youth, only to lift the pause a couple of weeks later. It remains unclear whether the grant for which Dr. Olson-Kennedy is the top investigator has been canceled. But it is no longer listed on the NIH site where active grants are described. I reached out to Dr. Olson-Kennedy and her co-principal investigators on the grant to ask about its status. I did not hear back. Prior to the October Times article, Dr. Olson-Kennedy was perhaps best known by the general public for a previous leaked video in which she was giving a training in 2018 to mental health care providers on how to write referral letters for minors seeking gender-transition surgeries. In the video, she expresses exasperation with what she sees as hand wringing over whether natal girls will later regret having their breast removed during adolescence. (At least 1,000 such surgeries have been conducted annually in recent years.) She says: โ€œWhat we do know is that adolescents actually have the capacity to make a reasonable, logical decision. And hereโ€™s the other thing about chest surgery. If you want breasts at a later point in your life, you can go and get them!โ€ Ms. Breen recently reported that she was undergoing reconstructive surgery to provide herself with new breasts. However, it is very unlikely she will ever be able to breastfeed should she have children. Dr. Olson-Kennedy is also newly the president of USPATH, the U.S. branch of the medical-activist group the World Professional Association for Transgender Health. WPATH, which despite is name is largely a U.S.-based organization, has been besieged by damaging publicity over the past year, in particular after internal documents subpoenaed by Alabamaโ€™s attorney general revealed that its leadership was aware that the evidence behind pediatric gender medicine was weak and sought to paper over this fact. 12 hours of leaked Olson-Kennedy training videos The 12-hour training in what is known as the gender-affirming care method for minors who identify as trans or nonbinary took place in late April 2024โ€”a few weeks after Britain published the Cass Review, which found that this medical field is based on โ€œremarkably weak evidence.โ€ The training was led by Dr. Olson-Kennedy; her husband, Aydin Olson-Kennedy, who has a doctorate in social work and is a transgender man; and licensed clinical social worker Darlene Tando. I obtained the videos a few months ago. The training videos are a window into not just the methods of these individuals, but their overall attitudes about gender dysphoria and transgender and nonbinary identification in children. A prevailing attitude they share is one of indignation and irritation with a medical system that demands that children betray a substantial level of distress before they are granted gender-transition medications. Overall, these three favor less gatekeeping and less pathologizing of the mental states and internal lives of the children in their care. If a gender-incongruent child arrives in their care absent any particular distress about their identification as the opposite sex, they believe that that child should be granted the opportunity to medically transition by taking puberty blockers and cross-sex hormones if the family wishes. I have edited the videos to snip or crop out images that would identify the participants in the training, whether because of Zoom-chat questions that pop up in the right-hand corner of the screen, or moments when a matrix of the participants is visible. You can watch the video at the beginning of this Substack. Otherwise, I wrote a summary below:

Benjamin Ryan

41,063 gรถrรผntรผleme โ€ข 1 yฤฑl รถnce

Peter Bogdanovich on "Lubitsch Touch" & how Ernst Lubitsch directs his actors: "I had been speaking with Jack Benny and he told me about working with Lubitsch. The director had called Benny in 1939 and asked if heโ€™d be available to do a film. โ€œI said, โ€˜Iโ€™ll do it!โ€™ And he said, โ€˜But you havenโ€™t read the script?โ€™ And I said, โ€˜I donโ€™t have to read the script. If you want me for a picture, I want to be in it!โ€™ Iโ€™d have been an idiot to say anything else. It was always impossible for comedians like me or Bob Hope to get a good director for a movieโ€” thatโ€™s why we made lousy moviesโ€”and here was Ernst Lubitsch, for Godโ€™s sake, calling to ask if Iโ€™d do a picture with him. Who cares what the script is!โ€ The film became 'To Be or Not to Be' (1942) (Carole Lombardโ€™s lastโ€”she died in a plane crash before release), and it caused quite a bit of controversy at the time for being a purportedly frivolous look at Nazism, dealing as it did with a troupe of Polish actors in occupied Warsaw and their comic confrontations with Hitlerโ€™s gauleiters. But those who objected missed the point, having forgotten Thomas De Quinceyโ€™s famous maxim: โ€œIf once a man indulges himself in murder, very soon he comes to think little of robbing; and from robbing he comes next to drinking and Sabbath-breaking, and from that to incivility and procrastination.โ€ For Lubitsch, among the Nazisโ€™ most damning sins was their bad manners, and To Be or Not to Be survives not only as satire but as a glori cation of manโ€™s indomitable good spirits in the face of disasterโ€”survives in a way that many more serious and high-toned works about the war do not. Lubitsch had a habit of establishing his European locales by showing a series of stores, each featuring an increasingly unpronounceable name on its facade. He does this in To Be or Not to Be, then follows it with an identical sequence of the same shops as they looked after the bombing. The simplicity of this is deeply affecting, especially realizing the significance it must have held for Lubitsch, who was, after all, half-Polish and a European to whom those โ€œfunnyโ€ names โ€”like his ownโ€”meant more than the easy laugh he enjoyed giving his American audiences. โ€œThe Lubitsch Touchโ€โ€”it was as famous a monicker in its day as Hitchcockโ€™s โ€œMaster of Suspense,โ€ though perhaps not as superficial. The phrase does connote something light, strangely indefinable, yet nonetheless tangible, and seeing Lubitsch filmsโ€”more than in almost any other directorโ€™s workโ€”one can feel this certain spirit; not only in the tactful and impeccably appropriate placement of camera, the subtle economy of his plotting, the oblique dialog which had a way of saying everything through indirection, but alsoโ€”and particularlyโ€”in the performance of every single player, no matter how small the role. Jack Benny told me that Lubitsch would act out in detail exactly how he wanted everything done. I asked how he was. โ€œWell,โ€ Jack said, โ€œit was a little broad, but you got the idea.โ€ The comedian explained that Lubitsch knew Benny would translate the direction into his own manner and that this would make it work. Lubitsch had started as an actorโ€”was the star of a popular series of early German two-reel comedies. Having seen a sample, I can say he was expansive yet real, funny and human. Clearly, his method must have been the same with all his actors because everybody in a Lubitsch movieโ€”whether Benny or Gary Cooper, Lombard or Kay Francis, Maurice Chevalier or Don Ameche, Jeanette MacDonald or Claudette Colbertโ€”even Garbo or Dietrichโ€”performs in a certain unmistakable style. Despite their individual personalitiesโ€”and Lubitsch never stiffed theseโ€”they all are imbued with the directorโ€™s private view of the world, which made them behave very differently from the way they did in other films." ("Who the devil made it", Peter Bogdanovich, 1997)
1:43

Peter Bogdanovich on "Lubitsch Touch" & how Ernst Lubitsch directs his actors: "I had been speaking with Jack Benny and he told me about working with Lubitsch. The director had called Benny in 1939 and asked if heโ€™d be available to do a film. โ€œI said, โ€˜Iโ€™ll do it!โ€™ And he said, โ€˜But you havenโ€™t read the script?โ€™ And I said, โ€˜I donโ€™t have to read the script. If you want me for a picture, I want to be in it!โ€™ Iโ€™d have been an idiot to say anything else. It was always impossible for comedians like me or Bob Hope to get a good director for a movieโ€” thatโ€™s why we made lousy moviesโ€”and here was Ernst Lubitsch, for Godโ€™s sake, calling to ask if Iโ€™d do a picture with him. Who cares what the script is!โ€ The film became 'To Be or Not to Be' (1942) (Carole Lombardโ€™s lastโ€”she died in a plane crash before release), and it caused quite a bit of controversy at the time for being a purportedly frivolous look at Nazism, dealing as it did with a troupe of Polish actors in occupied Warsaw and their comic confrontations with Hitlerโ€™s gauleiters. But those who objected missed the point, having forgotten Thomas De Quinceyโ€™s famous maxim: โ€œIf once a man indulges himself in murder, very soon he comes to think little of robbing; and from robbing he comes next to drinking and Sabbath-breaking, and from that to incivility and procrastination.โ€ For Lubitsch, among the Nazisโ€™ most damning sins was their bad manners, and To Be or Not to Be survives not only as satire but as a glori cation of manโ€™s indomitable good spirits in the face of disasterโ€”survives in a way that many more serious and high-toned works about the war do not. Lubitsch had a habit of establishing his European locales by showing a series of stores, each featuring an increasingly unpronounceable name on its facade. He does this in To Be or Not to Be, then follows it with an identical sequence of the same shops as they looked after the bombing. The simplicity of this is deeply affecting, especially realizing the significance it must have held for Lubitsch, who was, after all, half-Polish and a European to whom those โ€œfunnyโ€ names โ€”like his ownโ€”meant more than the easy laugh he enjoyed giving his American audiences. โ€œThe Lubitsch Touchโ€โ€”it was as famous a monicker in its day as Hitchcockโ€™s โ€œMaster of Suspense,โ€ though perhaps not as superficial. The phrase does connote something light, strangely indefinable, yet nonetheless tangible, and seeing Lubitsch filmsโ€”more than in almost any other directorโ€™s workโ€”one can feel this certain spirit; not only in the tactful and impeccably appropriate placement of camera, the subtle economy of his plotting, the oblique dialog which had a way of saying everything through indirection, but alsoโ€”and particularlyโ€”in the performance of every single player, no matter how small the role. Jack Benny told me that Lubitsch would act out in detail exactly how he wanted everything done. I asked how he was. โ€œWell,โ€ Jack said, โ€œit was a little broad, but you got the idea.โ€ The comedian explained that Lubitsch knew Benny would translate the direction into his own manner and that this would make it work. Lubitsch had started as an actorโ€”was the star of a popular series of early German two-reel comedies. Having seen a sample, I can say he was expansive yet real, funny and human. Clearly, his method must have been the same with all his actors because everybody in a Lubitsch movieโ€”whether Benny or Gary Cooper, Lombard or Kay Francis, Maurice Chevalier or Don Ameche, Jeanette MacDonald or Claudette Colbertโ€”even Garbo or Dietrichโ€”performs in a certain unmistakable style. Despite their individual personalitiesโ€”and Lubitsch never stiffed theseโ€”they all are imbued with the directorโ€™s private view of the world, which made them behave very differently from the way they did in other films." ("Who the devil made it", Peter Bogdanovich, 1997)

DepressedBergman

44,895 gรถrรผntรผleme โ€ข 7 ay รถnce

The multi-leader blockchain endgame: competitive information inclusion as a self-reinforcing mechanism for global price discovery - how we got here, and why Aptos is leading the charge Onchain trading is the killer app In the nine years since the launch of programmable transactions on the Ethereum blockchain, onchain trading has revealed itself as the killer use case for blockchains: onchain listings, volume, and total value locked are all growing with no signs of slowing down, due to the censorship-resistant, permissionless, 24/7/365 qualities afforded by decentralized (DeFi) systems. Monolithic parallelism is key In 2020 Solana was first to market with monolithic, parallel execution (as opposed sharded execution which offers parallelism by partitioning global state into separate information silos), establishing a new design paradigm that raised the bar for throughput and latency: put all of the information in one replicated state machine and make it run as fast as possible. This design produces a single, global hub for activity, liquidity, and token launches, a kind of financial data whiteboard in the sky, where anyone can come and trade at any time with everybody else who has plugged into the system. DEXes are becoming more competitive Historically decentralized systems have been juxtaposed with centralized ones since the latter eliminates the overhead associated with distributed systems coordination. And yet despite this overhead, Solana as a decentralized exchange (DEX) is still pulling in billions of trading volume per day, exceeding that of all but the largest centralized crypto exchanges (CEXs), that simply can't compete with the giant DEX in the sky on token listings or fees. After all, CEXs have to pay for server space, salaries, and lawyers, while a DEX outsources everything. The colocation arms race The one place where CEXs have an advantage over DEXs is on end-to-end latency for colocation applications, or in other words: someone sets up a trading bot in the same data center as the exchange, and their trades get to the exchange faster than everyone else's. When there is only one data ingestion point the fastest trader wins, and after the arms race has played out everyone ends up huddling around the trading hub, effectively cutting off the rest of the world from playing the latency trading game. This is the model that traditional securities exchanges like the Nasdaq or the NYSE ๐Ÿ› employ, and because they own the server they can effectively charge whatever they want for access to it. The colocation arms race is also why L2s will probably never decentralize: running the sequencer is practically the same as running the NASDAQ, with the same monopoly on transaction fees collected from a nearby cluster of trading bots (I understand from conversations with Logan Jastremski that the Arbitrum arms race has already hit a Nash Equilibrium in Portland, Oregon). Colocation is a trap But once the colocation arms race has played out, trades become less about incorporating new information in the market and more about skimming off the top by spoofing all of the trades coming in from the other bots. High-frequency trading (HFT) bots located in the NYSE New Jersey data center, for example, are constantly placing buys and sell orders that they have no intention of executing, just to spoof the other colocated bots who are playing the same adversarial game. Information inclusion, on the other hand, the synthesis of real-time world events into prices, takes a back seat because anyone who tries to include new information first needs to batch up their order and send it through a series of middlemen before it ultimately ends up on the exchange: you, I, or practically any other individual can not actually "trade on the NASDAQ", no, we have to express our intent to someone like Robinhood, who then sells our order flow to @CitadelSecurities, who then sends it to the exchange, oh and by the way it doesn't actually even "clear" or "settle" once it "executes" because for whatever reason the whole systems splits these things up and prevents them from happening instantaneously even though it's 2024 and we have computers. Onchain trading cuts out middlemen This whole mess is why we have onchain trading, and why it's starting to win: if you want a mainline to the exchange, without setting up a server, and you want to trade on a news event without getting immediately frontrun by an HFT bot that is sniffing out the trades of every other HFT bot who is easing in batched up order flow on their own terms, then you submit your order to a node in the blockchain and the information gets included in the price upon ingestion. Oh, and by the way the trade is actually fully complete: settled, cleared, reconciled, done, whatever you want to call it, because the people who build decentralized finance (DeFi) build it how it should actually work, not in a way that creates a million incumbents and charges exorbitant rents for access to the system. Onchain trading better for price discovery And the beautiful part about this is that even if a distributed system has more latency than a centralized system, DeFi still ends up incorporating more information into the price faster than centralized finance, because with DeFi the information gets included in the system as soon as it is submitted, not after it has been batched up and sent through a series of middlemen. The consensus mechanism of the blockchain disseminates the information around the world in the form of a price update, while the centralized exchange model requires information about the event to first get propagate to the region of the trading hub, then to get submitted to the colocation server. This means that in terms of global price discovery, onchain trading is strictly a better system because the entire consensus model is based around accelerated information propagation. Because price discovery is a global phenomenon, blockchains, which are global, are actually better than the centralized status quo, on a performance basis, not just from an ideological or convenience-based view. And it has to be multi-leader In practice, effective global information synthesis of information has an additional key requirement: multi-leader architecture. That is, in a single-leader blockchain like Solana, where one validator at a time has a monopoly on ordering transactions into blocks, for their duration as a leader they effectively function as a colocation server. This means that if the current leader is in New York, someone in Singapore who wants to trade on local news as soon as it breaks will still need to get their order all the way around the world to the leader, who is effectively serving as the chain's data ingestion point, before the order can start propagating through the network. But this is issue solved by the introduction of multiple distributed leaders, because then anyone with access to new information can submit their order to the leader closest to them, yielding faster information inclusion in the form of price updates. Multi-leader is also required for fair markets A multi-leader architecture is also required for fair markets, because in a single-leader system the leader has the power to censor transactions, reorder them to their advantage, or even replace transactions with copycats that extract maximum value by replacing the sender's address with their own. For example if someone wants to capture an arbitrage opportunity between two onchain DEXes, they'll need to submit a transaction to the leader and trust that the leader won't simply copy the transaction and submit it themselves. But when there are two or more leaders, users whose transactions are censored by one leader will simply work with a different leader the next time around, eventually cutting off transaction fee flow to the extractive leader. Beyond just strict inclusion, in a multi-leader architecture validators are also forced to compete with each other on latency, because the leader who is fastest at disseminating users' transactions across the network will over time gobble up the largest share of the order flow. Transparent priority fees are a must, or a private mempool will emerge But in order to make this work, a multi-leader architecture must also offer users the ability to pay priority fees AKA "tips" or "bribes" to move their transaction to the front of the line: if there is a $5 arbitrage opportunity onchain, users need to have assurance that they if they pay a 4.99 priority fee to take that arb, they will get priority over a different user who is only willing to tip 4.98. If the native blockchain system does not offer this fair market priority fee mechanism, then it is only a matter of time before one spontaneously emerges in the form of a private mempool like Jito, which can create centralization pressures and undermine the integrity of the system as a whole. Competitive payment for order flow is the stable solution With the right architecture in place, the end result is a competitive environment where endpoints running maximum extractable value (MEV) bots compete with one to offer users the best price for their order flow. In other words, if a user wants to submit an order that can get sandwich attacked for as much as $2 of MEV, then the order should ultimately go to the endpoint bot that is willing to pay the user as much as $1.99 for the right to process their transaction. The price that the provider is willing to pay is ultimately a function of how much in priority fees they might need to pay to the current leader (0 they are the current one), but notably at each stage there is a competitive market for order flow, whether in the form of retail trader's orders, or priority fees among bots that might be forwarding orders to one of the leaders. AptosLabs is already building all this With a public mempool and transaction priority fees, Aptos additionally includes a pipelined architecture that already includes concurrent batching of transactions into blocks, with a single consensus leader who propagates the batched blocks out to the network. And the team is already researching running multiple instances of the consensus algorithm in parallel, yielding multiple consensus leaders who can compete with each other on latency and inclusion - just ask pranav | Shelby, Alexander Spiegelman, and Zekun Li. This means that block times can shrink as the number of consensus leaders grows, with each leader having its own geographical radius of inclusion beyond which it makes more sense to submit to a different leader. The starting point? Something like 60 ms blocks and 3 consensus leaders, partitioning the global information space into competitive and constantly-rotating regions of information inclusion. Messaging is important With concurrent pipelined transaction batching, a public mempool, priority fees, and a clear path to a multi-leader architecture, Aptos leads the industry in onchain trading infrastructure that can truly supplant the centralized colocation paradigm that has heretofore dominated global finance - by offering a truly superior product. And I am hopeful that this deep dive is the first step in communicating not how or that superior product is getting built, but what it means from a bigger picture perspective. If blockchains have found product market fit in anything, it is in trading, and the trading game can only be won by building the biggest, baddest, most high performance system that has as its north star a single, concrete goal: constantly reducing, ever lower toward zero, time time it takes to incorporate information from anywhere in the world into the global price discovery computer. Whoever does this, even 1 ms faster than the competitor, wins the price discovery game, as other blockchains are left in the dust, their DEXes arbed away to zero against the fastest chain on the block. And sure, the blockchain that can rise to this challenge can also handle useful things like payments, NFTs, or other solutions that benefit from permissionlessness and low gas costs, but I want to impress that at the core of this pursuit must be the urge to drive down information inclusion latency to the absolute minimum afforded by the laws of physics through a competitive, market-driven environment. I call on avery.apt ๐Ÿ‡บ๐Ÿ‡ธ , CTO of Aptos Labs, to lean in on this messaging, to make it clear that Aptos is here for this singular mission, to build the most performant price discovery engine in history, as a rallying call for alignment in development efforts across the ecosystem and broader industry. Where does this go? As the latencies drop, the spreads tighten, and the information inclusion increases with every incremental increase in network bandwidth, we can expect a new class of competing techno-financial hubs that aggregate around the world's largest information sources: New York, Washington DC, London, Tokyo, etc., commanding stake distribution commensurate with the density of information flow in these respective locales. With the right incentives in place, competing concurrent leaders will invest ever more in infrastructure to get their packets out to the network faster than the rest, yielding clusters of fiber optic cable around the world's financial hubs, neurons in the global financial brain connecting not just HFT firms to servers in their city, but connecting every city with every other city, to move pricing information across oceans and continents. And retail traders, who have been left out of the colocation game, will only benefit: this entire system gets faster, more inclusive, with tighter spreads and lower fees, and it is such an amazing opportunity to watch all of this unfold in real time. The future of blockchains is the future of trading, is the future of competitive information inclusion in real-time, is the future of truly unified global markets, because at the the core of this industry is a simple idea: connect the computers, and see where the incentives lead. They lead to this, and Aptos is leading the charge, because its tech is purpose-built for this exact purpose. So tell the world about it.
2:41

The multi-leader blockchain endgame: competitive information inclusion as a self-reinforcing mechanism for global price discovery - how we got here, and why Aptos is leading the charge Onchain trading is the killer app In the nine years since the launch of programmable transactions on the Ethereum blockchain, onchain trading has revealed itself as the killer use case for blockchains: onchain listings, volume, and total value locked are all growing with no signs of slowing down, due to the censorship-resistant, permissionless, 24/7/365 qualities afforded by decentralized (DeFi) systems. Monolithic parallelism is key In 2020 Solana was first to market with monolithic, parallel execution (as opposed sharded execution which offers parallelism by partitioning global state into separate information silos), establishing a new design paradigm that raised the bar for throughput and latency: put all of the information in one replicated state machine and make it run as fast as possible. This design produces a single, global hub for activity, liquidity, and token launches, a kind of financial data whiteboard in the sky, where anyone can come and trade at any time with everybody else who has plugged into the system. DEXes are becoming more competitive Historically decentralized systems have been juxtaposed with centralized ones since the latter eliminates the overhead associated with distributed systems coordination. And yet despite this overhead, Solana as a decentralized exchange (DEX) is still pulling in billions of trading volume per day, exceeding that of all but the largest centralized crypto exchanges (CEXs), that simply can't compete with the giant DEX in the sky on token listings or fees. After all, CEXs have to pay for server space, salaries, and lawyers, while a DEX outsources everything. The colocation arms race The one place where CEXs have an advantage over DEXs is on end-to-end latency for colocation applications, or in other words: someone sets up a trading bot in the same data center as the exchange, and their trades get to the exchange faster than everyone else's. When there is only one data ingestion point the fastest trader wins, and after the arms race has played out everyone ends up huddling around the trading hub, effectively cutting off the rest of the world from playing the latency trading game. This is the model that traditional securities exchanges like the Nasdaq or the NYSE ๐Ÿ› employ, and because they own the server they can effectively charge whatever they want for access to it. The colocation arms race is also why L2s will probably never decentralize: running the sequencer is practically the same as running the NASDAQ, with the same monopoly on transaction fees collected from a nearby cluster of trading bots (I understand from conversations with Logan Jastremski that the Arbitrum arms race has already hit a Nash Equilibrium in Portland, Oregon). Colocation is a trap But once the colocation arms race has played out, trades become less about incorporating new information in the market and more about skimming off the top by spoofing all of the trades coming in from the other bots. High-frequency trading (HFT) bots located in the NYSE New Jersey data center, for example, are constantly placing buys and sell orders that they have no intention of executing, just to spoof the other colocated bots who are playing the same adversarial game. Information inclusion, on the other hand, the synthesis of real-time world events into prices, takes a back seat because anyone who tries to include new information first needs to batch up their order and send it through a series of middlemen before it ultimately ends up on the exchange: you, I, or practically any other individual can not actually "trade on the NASDAQ", no, we have to express our intent to someone like Robinhood, who then sells our order flow to @CitadelSecurities, who then sends it to the exchange, oh and by the way it doesn't actually even "clear" or "settle" once it "executes" because for whatever reason the whole systems splits these things up and prevents them from happening instantaneously even though it's 2024 and we have computers. Onchain trading cuts out middlemen This whole mess is why we have onchain trading, and why it's starting to win: if you want a mainline to the exchange, without setting up a server, and you want to trade on a news event without getting immediately frontrun by an HFT bot that is sniffing out the trades of every other HFT bot who is easing in batched up order flow on their own terms, then you submit your order to a node in the blockchain and the information gets included in the price upon ingestion. Oh, and by the way the trade is actually fully complete: settled, cleared, reconciled, done, whatever you want to call it, because the people who build decentralized finance (DeFi) build it how it should actually work, not in a way that creates a million incumbents and charges exorbitant rents for access to the system. Onchain trading better for price discovery And the beautiful part about this is that even if a distributed system has more latency than a centralized system, DeFi still ends up incorporating more information into the price faster than centralized finance, because with DeFi the information gets included in the system as soon as it is submitted, not after it has been batched up and sent through a series of middlemen. The consensus mechanism of the blockchain disseminates the information around the world in the form of a price update, while the centralized exchange model requires information about the event to first get propagate to the region of the trading hub, then to get submitted to the colocation server. This means that in terms of global price discovery, onchain trading is strictly a better system because the entire consensus model is based around accelerated information propagation. Because price discovery is a global phenomenon, blockchains, which are global, are actually better than the centralized status quo, on a performance basis, not just from an ideological or convenience-based view. And it has to be multi-leader In practice, effective global information synthesis of information has an additional key requirement: multi-leader architecture. That is, in a single-leader blockchain like Solana, where one validator at a time has a monopoly on ordering transactions into blocks, for their duration as a leader they effectively function as a colocation server. This means that if the current leader is in New York, someone in Singapore who wants to trade on local news as soon as it breaks will still need to get their order all the way around the world to the leader, who is effectively serving as the chain's data ingestion point, before the order can start propagating through the network. But this is issue solved by the introduction of multiple distributed leaders, because then anyone with access to new information can submit their order to the leader closest to them, yielding faster information inclusion in the form of price updates. Multi-leader is also required for fair markets A multi-leader architecture is also required for fair markets, because in a single-leader system the leader has the power to censor transactions, reorder them to their advantage, or even replace transactions with copycats that extract maximum value by replacing the sender's address with their own. For example if someone wants to capture an arbitrage opportunity between two onchain DEXes, they'll need to submit a transaction to the leader and trust that the leader won't simply copy the transaction and submit it themselves. But when there are two or more leaders, users whose transactions are censored by one leader will simply work with a different leader the next time around, eventually cutting off transaction fee flow to the extractive leader. Beyond just strict inclusion, in a multi-leader architecture validators are also forced to compete with each other on latency, because the leader who is fastest at disseminating users' transactions across the network will over time gobble up the largest share of the order flow. Transparent priority fees are a must, or a private mempool will emerge But in order to make this work, a multi-leader architecture must also offer users the ability to pay priority fees AKA "tips" or "bribes" to move their transaction to the front of the line: if there is a $5 arbitrage opportunity onchain, users need to have assurance that they if they pay a 4.99 priority fee to take that arb, they will get priority over a different user who is only willing to tip 4.98. If the native blockchain system does not offer this fair market priority fee mechanism, then it is only a matter of time before one spontaneously emerges in the form of a private mempool like Jito, which can create centralization pressures and undermine the integrity of the system as a whole. Competitive payment for order flow is the stable solution With the right architecture in place, the end result is a competitive environment where endpoints running maximum extractable value (MEV) bots compete with one to offer users the best price for their order flow. In other words, if a user wants to submit an order that can get sandwich attacked for as much as $2 of MEV, then the order should ultimately go to the endpoint bot that is willing to pay the user as much as $1.99 for the right to process their transaction. The price that the provider is willing to pay is ultimately a function of how much in priority fees they might need to pay to the current leader (0 they are the current one), but notably at each stage there is a competitive market for order flow, whether in the form of retail trader's orders, or priority fees among bots that might be forwarding orders to one of the leaders. AptosLabs is already building all this With a public mempool and transaction priority fees, Aptos additionally includes a pipelined architecture that already includes concurrent batching of transactions into blocks, with a single consensus leader who propagates the batched blocks out to the network. And the team is already researching running multiple instances of the consensus algorithm in parallel, yielding multiple consensus leaders who can compete with each other on latency and inclusion - just ask pranav | Shelby, Alexander Spiegelman, and Zekun Li. This means that block times can shrink as the number of consensus leaders grows, with each leader having its own geographical radius of inclusion beyond which it makes more sense to submit to a different leader. The starting point? Something like 60 ms blocks and 3 consensus leaders, partitioning the global information space into competitive and constantly-rotating regions of information inclusion. Messaging is important With concurrent pipelined transaction batching, a public mempool, priority fees, and a clear path to a multi-leader architecture, Aptos leads the industry in onchain trading infrastructure that can truly supplant the centralized colocation paradigm that has heretofore dominated global finance - by offering a truly superior product. And I am hopeful that this deep dive is the first step in communicating not how or that superior product is getting built, but what it means from a bigger picture perspective. If blockchains have found product market fit in anything, it is in trading, and the trading game can only be won by building the biggest, baddest, most high performance system that has as its north star a single, concrete goal: constantly reducing, ever lower toward zero, time time it takes to incorporate information from anywhere in the world into the global price discovery computer. Whoever does this, even 1 ms faster than the competitor, wins the price discovery game, as other blockchains are left in the dust, their DEXes arbed away to zero against the fastest chain on the block. And sure, the blockchain that can rise to this challenge can also handle useful things like payments, NFTs, or other solutions that benefit from permissionlessness and low gas costs, but I want to impress that at the core of this pursuit must be the urge to drive down information inclusion latency to the absolute minimum afforded by the laws of physics through a competitive, market-driven environment. I call on avery.apt ๐Ÿ‡บ๐Ÿ‡ธ , CTO of Aptos Labs, to lean in on this messaging, to make it clear that Aptos is here for this singular mission, to build the most performant price discovery engine in history, as a rallying call for alignment in development efforts across the ecosystem and broader industry. Where does this go? As the latencies drop, the spreads tighten, and the information inclusion increases with every incremental increase in network bandwidth, we can expect a new class of competing techno-financial hubs that aggregate around the world's largest information sources: New York, Washington DC, London, Tokyo, etc., commanding stake distribution commensurate with the density of information flow in these respective locales. With the right incentives in place, competing concurrent leaders will invest ever more in infrastructure to get their packets out to the network faster than the rest, yielding clusters of fiber optic cable around the world's financial hubs, neurons in the global financial brain connecting not just HFT firms to servers in their city, but connecting every city with every other city, to move pricing information across oceans and continents. And retail traders, who have been left out of the colocation game, will only benefit: this entire system gets faster, more inclusive, with tighter spreads and lower fees, and it is such an amazing opportunity to watch all of this unfold in real time. The future of blockchains is the future of trading, is the future of competitive information inclusion in real-time, is the future of truly unified global markets, because at the the core of this industry is a simple idea: connect the computers, and see where the incentives lead. They lead to this, and Aptos is leading the charge, because its tech is purpose-built for this exact purpose. So tell the world about it.

Alex Kahn

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