bardo 🗿

Got no change sorry brotha

for some reason, can't

invented a new kind of factory farming where the animal suffers even more . we are using ai also

We were quoting this fat penguin for the rest of my entire trip

Boss looking swag #metalgearsolid #mgs

Earthset 🌏🌑🛰️ (Apr 6) Camera setup by #ArtemisII @Astro_Christina Raw photos courtesy of the ESRS @NASAEarth @NASA_Johnson ID ART002-E-20957 to 21293 (only 80mm ƒ/8 frames - stabilized - linear interpolation) Edit by Riccardo Rossi (ISAA) Enjoy! @astro_reid @AstroVicGlover @Astro_Jeremy @NASAAdmin

La date du tweet, tu peux faire le puristes de tasty crousty stv

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…

the astronomy community is getting FED today

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

Artemis II if it was shot on Apollo 11 era Kodak Ektachrome film.

I dreamt of the beach (1/4)

Maire de Pisse ouais allez hop envoyer tweet

You're watching a $248 million film and not a single green or blue screen was used. The alien is a handmade puppet. The cockpit physically rotates to simulate gravity. I looked at the production tech behind this 95% score, and the engineering is wild. Phil Lord and Chris Miller, directing their first live-action movie in 12 years, built the entire Hail Mary spacecraft as a real set at Shepperton Studios in England. Not a miniature. Not a digital model. A full-size ship interior you can walk through. Production designer Charlie Wood studied the International Space Station, Russia's Mir station, and the Boeing 747 cockpit to get the look right. He deliberately made the panels mismatched, because real spacecraft are assembled from parts made by different companies. Nothing matches perfectly. That's what makes it feel real. The cockpit is only about 8 feet wide. It sits on a mechanical platform that can tilt, spin, and shake, so when the ship changes direction or enters different gravity conditions, the whole set moves. Chairs end up on walls. Ladders flip direction. Gosling was suspended inside a spinning ring so he could float and move through the ship for real, reacting to actual hardware around him. No guessing where a wall might be added later. Then there's Rocky. He's the alien co-lead, and he's not CGI. Neal Scanlan, the creature designer who built the Porgs for Star Wars, spent a full year on this character. Over 300 designs before they landed on the final look. Rocky is a thin, hollow shell, 3D-printed from a digital sculpture, then hand-painted in see-through layers so light passes through him like skin. His arms pop off and swap out depending on the scene: one set has a closed fist for walking, another has tiny motorized fingers strong enough to pick up objects. Five puppeteers (nicknamed the "Rockyteers") operated him in every scene. James Ortiz, an award-winning puppet designer from New York theater, voiced Rocky and controlled him on set. When Scanlan met him, he told Ortiz, "You're Frank Oz, and I'm making Yoda for you." Every reaction Gosling gives to the alien is to something physically in front of him. Greig Fraser, who won the Oscar for shooting Dune, filmed the space scenes in the larger IMAX format (that taller image you see in IMAX theaters) and the Earth flashbacks in regular widescreen. Then the team did something unusual: they took the digital footage and printed it onto real film strips, twice, using two different types of film stock. Then they scanned those strips back into digital. It sounds redundant, but it adds a texture and warmth that you can only get from physical film. Fraser used the same technique on Dune and The Batman. Drew Goddard spent six years writing this screenplay. His last adaptation of Andy Weir's novel, The Martian, earned him an Oscar nomination. He described the challenge this way: a screenplay gets about 5% of a novel's word count. The lead is alone for most of the runtime. When he finally gets a co-star, that co-star doesn't speak English, communicates through sounds closer to whale song, and has no face. Goddard called it a screenwriter's nightmare, then said that difficulty was the whole point. He and the directors fought studio pushback to keep Weir's original ending intact. 95% from 212 critics. 98% from over 2,500 audience ratings. And the lead isn't a superhero, a cop, or a soldier. He's just an ordinary middle school science teacher.

depuis tout a l’heure j’ouvre et je referme l’appli pour voir si l’autre salopard est mort ou pas mdr

new Evangelion, Ghost in the Shell, and Patlabor series in 2026

Ron Cobb's semiotic standards for Alien (1979)

Metal Gear Solid 4