🛒 Cricket 🦗

Happy Valentines Day & 1 Year of love 💕 to someone as perfect, adorable, and amazing as you. There’s no one else I’d rather spend all my time with 🥹🫶

@officialTRNDS @GEICO State Farm! Terrible to work with.

. @GEICO is quite literally the absolute worst insurance company i’ve ever dealt with

I posted “i am the first man in my bloodline to jack off in an Arby’s” on facebook and my uncle replied “not true.”

Hello from the other side 🌔 🛰️ The Artemis II astronauts have completed their lunar flyby and are looping toward home. ⬇️ (1/5)

Hello, Moon. It’s great to be back. Here’s a taste of what the Artemis II astronauts photographed during their flight around the Moon. Check out more photos from the mission: nasa.gov/artemis-ii-mul…

We're going farther than ever before 🚀 Today, the Artemis II crew will break the record for how far humans have traveled from Earth as they fly around the far side of the Moon. Coverage begins at 1 p.m. EDT (1700 UTC). Watch Artemis II make history: nasa.gov/ways-to-watch/

Pleased to share my favorite high-resolution capture of the Artemis II launch- the moment the SLS is clearing the tower, captured by a sound-triggered camera placed near the pad. I'll have prints linked in my bio for this one, and here's a short thread about how it was captured

GOING LIVE IN 35 MINUTES🛒 TWITCH.TV/GroceryBoiz

This is the shot you can’t get from the press site. This camera was sitting a few football fields from the SLS rocket at Pad 39B for days before launch, baking in the Florida sun, surviving rain, humidity, and whatever else the Cape threw at it. No photographer behind the viewfinder. Just a camera, a sound trigger, and a bet. The way pad remotes work: you set your camera up days in advance, dial in your composition, lock everything down, and walk away. You don’t touch it again until after the launch. The shutter fires on sound activation with a @MiopsTrigger smart+ trigger. With SLS, the four RS-25 engines ignite six seconds before the solid rocket boosters, so the camera is already firing before the vehicle even leaves the pad. You get home, pull the card, and find out if you nailed it or if a bird landed on your lens two days ago and left your a present and you got 400 photos of soemthing crappy. There’s no formula for protecting your gear this close. Some photographers build wooden boxes with doors that pop open. Some use plastic bags and tape. Some do plastic or metal barn door rigs on hinges. I tend to leave mine open just in plastic rain covers because boxes limit my composition and setup time, but that means your cameras are more exposed to the elements and whatever energy and debris comes off the pad. You’re basically gambling a camera body every time you set one. That’s what I love about this genre. There’s no playbook. You make it up as you go. Every time is an adventure. 📸 credit: me for @SuperclusterHQ - Artemis II pad remote | ~1,000 ft from Pad 39B | Kennedy Space Center

@sqishi_official Let’s drink some?

Think they got booze over there ?

Apple 50th anniversary installation at the office featuring classic Mac lineup

🚨A new trailer for ‘Euphoria’ Season 3 has been released. Premiering April 12 on @HBO

Your Netflix "4K" stream and a 4K disc put the same number of pixels on your screen. But the disc version of a two-hour movie is about 70 gigabytes. The stream is about 14. Same pixels, roughly five times less data filling them. You see it first in dark scenes. The stream doesn't have enough data to tell dark grey from black, so your TV just mashes it all into chunky blocks. Then you notice sunsets looking like a paint-by-numbers, with visible stripes where smooth color should be. Film grain is probably the biggest casualty. Directors add that slightly textured look on purpose to make movies feel cinematic. Streaming compression reads it as noise and wipes it. That's where the weirdly plastic, waxy look on a good OLED comes from. One comparison I can't stop thinking about. A regular 1080p Blu-ray (the older HD format, not even 4K) pushes about 40 megabits of data per second to fill 2 million pixels. A 4K stream pushes 15-25 to fill 8 million pixels. Four times the pixels. Less data. A plain HD disc from 2008 can look sharper than a brand new 4K stream. Sound is worse. Netflix sends "Dolby Atmos" audio at about 768 kilobits per second, compressed, with parts of the original permanently deleted. A disc sends TrueHD Atmos at up to 18,000, lossless, nothing removed. Up to 23x more sound data. If dialogue sounds flat when you're streaming, that's not your speakers. Netflix is getting better at this. As of late 2025, 30% of their streaming runs on a newer compression method called AV1, the same picture at a third less data. They also strip film grain out before compressing, then rebuild it on your TV during playback. Saves over a third on file size for most content, and up to two-thirds for really grainy movies. The rebuilt grain looks solid. The tradeoff won't go away, though. Netflix has to deliver a file that works over spotty rural Wi-Fi and gigabit fiber, adjusting quality frame by frame to whatever your connection can handle. A disc reads plastic. Same quality every time.

marauda was a grown ass man spewing some incredibly vile shit… fuck that guy 🤷🏽‍♂️ @RJergo

This double has been doing DAMAGE in my sets for the past year 😮‍💨 Track ID: @djmxrly - Spazzmidsightout @MADCOREmusic x @ValkDubstep - Silk Throat cc: @SUBZMUSIK

Entire Spider-Man 2 (2002) as GIF

Today is the 25th anniversary of the GBA! 💜