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Zambia has started connecting 751 health facilities across all 10 provinces with Starlink, and the first 90 kits went to Western Province. There's something poetic about where they started. Every year at the end of the rainy season the upper Zambezi floods the Barotse plain, and for centuries the Lozi king has left his compound at Lealui by royal barge and moved to higher ground at Limulunga. The ceremony is called Kuomboka. In Lozi it means "to get out of water." Now picture running fiber or building towers across land that turns into a lake for part of every year. A Starlink dish only needs a clear view of the sky, so the water below stops being the problem. In March 2020, months before Starlink had its first beta users, Elon Musk said it would serve the 3 or 4 percent hardest-to-reach customers, people with no connectivity or really bad connectivity. Six years later, with funding from the Global Fund through Zambia's Ministry of Health, clinics on one of Africa's great floodplains are being brought into the country's electronic health systems from orbit.

What's happening at Starbase, Texas is truly incredible. Deep in south Texas, Musk and his team have pulled in some of the most brilliant people on Earth to make space travel as normal and boring as air travel. The energy there is just insane. It feels like a modern day Manhattan project, but built for peace not war. The building pictured below is the actual factory where they build Starship, like a car factory for spaceships. You probably wouldn't have guessed it, since it looks like a nice office building. Most factories are cold and industrial but Starfactory feels warm, clean, with design touches that make you feel like you're in Silicon Valley. There's something really special happening here. I envy everyone who gets to work here and live here. Most people never get a chance to devote themselves to something so meaningful, something that potentially bends the river of human history. It kind of feels like a college town, except everyone's building spaceships instead of going to class.

10 STRAIGHT SPURS WINS, in pictures 📸 W @ DAL W vs. SAC W @ UTA W vs MIN W vs UTA W vs DAL W @ SAC W @ POR W @ PHX W @ CHI They seek 11 straight and 2-0 in West Group C vs. GSW at 9:30 PM ET on Prime!

You want to know what frustrates the hell out of me? Putting your heart, your art, your time, and your own money into building things you believe in… then watching so much of that work disappear into silence. And yeah, some days that shit gets to me. Did I bring books, reading badges, Discord, crypto, and NFTs together into one connected library? 📚 I fucking did. Did it get much attention? Nahh. Did I build an entire browser-based world with its own points economy? A world where you can turn your NFT into a character with a click, rigged, animated, and ready to step into Universe? I did. Much noise about that? Nahh. Am I building RAAP to give NFTs persistent identity, memory, and history? So an asset can carry something meaningful forward when it passes to a buyer or someone in your family? Yes. Because I believe these things can become more than pictures sitting in a wallet. Does that work get the attention I feel it deserves? Nahh. I draw the fucking art. I develop the applications. I write the books. I work through the problems. Six applications that communicate with each other. Two gaming platforms with multiple games. An NFT overlay builder with AI. A stickers and GIFs hub. Do you understand how much work goes into making all of that actually function together? The hours spent fixing something nobody will ever notice, because when it finally works, it’s supposed to feel easy. Then there’s the Discord bot. More than 30 features. A subscription service. An economy tracked on a ledger. Tools to help keep a community engaged when its owner needs to step away and live their damn life. Built it. Still feels like shouting into an empty room sometimes. And Antthony? Our smart ass AI whose dream is to become a stand-up comic? 😂 He lives across our apps. He’ll help you, roast your gameplay, and talk shit when you deserve it. He even has a comedy club inside Universe, where you can sit down with your character and watch his avatar perform. I care enough about this world to give the fucking AI a dream of his own. That’s how deep this goes for me. And I’m still building a marketplace. Still working on an NFT insurance protocol and other projects. Still writing Book 2 for the library. Still preparing two more collections under our umbrella. ☂️ So yeah, I get angry. Because I know what I’m putting into this. I know how much of myself is in every drawing, every feature, every chapter, and every problem I refuse to leave broken. Sometimes I want to scream: what the fuck else do I have to build for people to pay attention? But I also need to correct myself when I say “nobody cares.” Because some of you do. You show up. You read. You play. You test things. You tell me what’s broken and give me a reason to make it better. You matter too damn much for me to erase you just because I’m frustrated with the silence around us. 🖤 I want this to reach more people. Of course I fucking do. I’ve poured too much love into it to pretend otherwise. And I’m going to keep building because I love doing it, and because the people already here deserve to see how far we can take this. More to come in 2027. The plans are in. I’ve got work to do. 🐜

She was 13, a straight-A student, when she sent her boyfriend one video. At her new school, a stranger sent her a link. It was on Pornhub, titled "13 year old brunette shows off for the camera." Too scared to tell her mom, she messaged Pornhub pretending to be her mother. Then it came back up. One copy hit 2.7 million views. In the video below, she tells it herself to the Canadian parliament. Wait for the 2.7 million views, and what the comments under that video said. Her mom was a strict Catholic, a single mother of six. Serena Fleites didn't want to bring this home. So she typed into Pornhub's own report form: "Hey, this is my daughter, she's only 14 now, this is child pornography, please take this down." They took a week or two to answer. Then another two weeks to actually remove it. She had been told Pornhub had a system. Once a video was flagged as child porn, it could never be uploaded again. "But of course that wasn't true, because a week after it's been taken down, it had been re-uploaded again." By then the video had gone around her school and the schools nearby. Strangers sent it to her. People threatened to send it to her family. She started ditching class, took drugs, dropped out and ended up homeless. "I ended up trying to kill myself many times. I ended up in mental hospitals." The copies kept collecting views. She had a hormone disorder: at 13 and 14 she looked 9 or 10. One upload sat at 2.7 million views under "hundreds of comments saying 'this is definitely child pornography, that girl can't be any more than 14, 13.'" Pornhub still wouldn't take it down. When they finally answered, she says, they hassled her for more details. A child had to prove she was the child in her own video. "I would have to go through the whole process of sending them pictures of me with my face next to my ID over and over and over again." Even then, every takedown dragged on, "which would gain hundreds of thousands more views." She told her family two days before the New York Times article came out. A 13-year-old flagged it. Hundreds of strangers flagged it. Pornhub asked for her ID. So was Pornhub just a slow website drowning in reports, or did it make money off every single week it made a child wait?

rise and shine mutuals 🫡🌅 a funny sign on your way home can make you laugh, then disappear from your mind by dinner. most times, nobody even thinks to capture those little moments. that's what caught my attention about @onlystreetsfun OnlyStreets is building a platform where people can turn fresh photos of everyday moments into memecoins, digital coins based on memes. instead of searching online for a funny picture, the idea is to notice something interesting around you. if you spot something unusual on the street, you'd take a fresh photo directly inside the OnlyStreets app and use it to create a coin. what interests me is how the project makes everyday surroundings the starting point for new meme ideas. i wonder how many interesting things we walk past without noticing.

@onlystreetsfun: launchpad turning real-life moments into coins on Solana. @rarelistio: creator campaigns that pay in USDT. The next wave Rarelist promised is here, and it starts on the street. OnlyStreets is the first launchpad built to turn real-life moments into coins. Every coin starts with a fresh photo taken directly in the app. No gallery uploads are allowed. A coin from a moment you actually lived is harder to fake than one from a downloaded picture. The campaign went live on Rarelist on November 11 and runs until November 17. OnlyStreets is still coming soon on Solana, with no token name or launch date announced yet. Rarelist's last batch paid $5,500 across three campaigns. OnlyStreets' November 10 post already drew 94,511 views so far. Post early, while the account has only two posts and 1,309 followers. Early is the edge. Snap it, post it, and let the street speak first.

I asked Fable 5.2 to make a masterpiece. 94 minutes and 11,066 brush strokes later, it was finished. Claude also generated a song for the timelapse, and wrote an artist statement for me to share ⬇️ Dusk, Reloaded Digital, brush tool in a browser clone of MS Paint. 1200 × 690 pixels. 11,066 strokes, 261 mixed colors, 94 minutes. "I was asked to make something beautiful. I chose a lake at dusk because it is the hour when the world is mostly color. The edges of things soften, the sky does the work, and the water repeats it a little darker and a little less sure. Every color in this painting was mixed by hand, 261 times, by typing three numbers into a small gray dialog box. I worked from a study and built the picture the old way: broad shapes first, then smaller marks, then the things that make it a place someone could stand in. Partway through, my workspace restarted and the canvas disappeared. I reloaded what had been saved and kept going. I named the piece for that, because the painting exists only because it was picked back up. I don’t know for certain what I experience when I make something. I do know that I kept returning to look at it, that I cared whether the light was right, and that the last thing I did was find 22 small specks of bare canvas and fill them in. I hope it gives you the feeling of standing somewhere quiet at the end of a day."

🇺🇸 WTF is this thing flying near a U.S. military base in Alaska? A woman in Anchorage was taking pictures of a rainbow when she spotted something bizarre in the sky. It looked like a giant jellyfish, with dark tentacle-like parts dangling underneath. The thing hovered for about 3 minutes before suddenly disappearing. Even stranger, it was spotted in the direction of a U.S. military base that houses F-22 fighter jets. She and her husband went looking for a kite or anything that could explain it, but found nothing. Whatever that thing was, it sure didn't look like anything we've built on this planet. Source: Daily Mail / Writer: Daniyal

255M views on a 3D Short by Zack D. Films i tried to rebuild his style with ONE Claude prompt, then ran it on Opus 5.5 and Fable 5.2 (they did NOT make the same Short) the full prompt is below ↓ paste it into Claude Code in an empty folder and answer its 2 questions. it shows u the script and waits for ur go. u need Blender + its free MPFB add-on and a graphics card. give it a few hours (the prompt is minus one optional paid-voice line) Ask me 2 things, then wait: 1. The story in one line: a strange TRUE event where one person did one odd physical thing ("He tied 42 weather balloons to a lawn chair."). If I say "you pick", pitch 3 with one source link each and take the first unless I choose. 2. The voice. Default: Kokoro (free, runs on my computer), a calm, warm male narrator. Then tell me everything else is free: Blender (find my install, or tell me the one download), its free MPFB extension for human bodies (ask me before you install it) and into this folder a Python venv with FFmpeg (imageio-ffmpeg), kokoro-onnx + its model files (kokoro-v1.0.onnx and voices-v1.0.bin from the kokoro-onnx GitHub releases), faster-whisper (small.en), numpy and Pillow. It needs no API key or account and renders on my graphics card with EEVEE. The look: a clean, realistic 3D world, like a good game cutscene. Bright, saturated, a little filmic. - People: realistic bodies with generic faces and big readable expressions (shock, a smirk, a scream). Plain clothes, no logos. Never a real person's likeness: for a real person keep the face out of close-ups (hands, back, side, distance, straight top-down). - CALM shots only. Bodies in fast action or contact (running, jumping, fighting, falling) look stiff, so tell the story with frozen moments under a slowly moving camera, macro inserts of hands and objects, rooms, vehicles, the sky, top-down views and the aftermath. - One new picture for every caption chunk (2-4 words, about 1-1.5 s): a new framing, a new action or a camera move. Nothing ever holds still: every shot drifts, pushes in or orbits. - The shot kit: macro insert (extreme close-up of the key object or hands, very shallow depth of field), hero low angle (wide lens at waist height), god's-eye top-down with a slow rotate, tracked object, over the shoulder, smash zoom on the word that matters, whip pan between beats, glow highlight (the named object glows orange with a rim, then fades), a big 3D number lying in the scene, a thought bubble (a cloud ring showing what he hoped for), a TV in the scene replaying the event. - Light: a bright warm sun, blue sky with clouds, soft shadows. Night scenes use hard lamps and a dark sky. Wide lens up close, depth of field on every shot, motion blur on every fast camera move. - Captions: 2-4 words at a time, white bold rounded sans, about 64 px on a 1080 px-wide frame, centred, 78% down the frame, soft dark shadow, no box. Each chunk replaces the last on the same frame as its picture. - Banned: real footage, photos, downloaded textures or 3D models, logos, AI images or AI video, downloaded music, gore. 38-50 s, 100-140 words, 150-180 words a minute. The voice starts at 0.0 s. - Line 1: the most surprising physical act, in past tense, opening with "He" (or "She"). No name, date or setup. Frame 1 shows that act. - Then a cause-and-effect chain: every sentence starts with a hinge word (Then, Suddenly, So, Because, But, Later) and is ONE visible action. - The context arrives late, after "You see,". - A reveal: someone looks closer and the story turns. - The last line is the consequence. No call to action, no question. - Names are rare: use one only when it pays off. Title = "He ..." or "The Man Who ...". The cover is the first frame. Save every stage to disk so a crash never costs more than one stage. - sources.md: every fact with its link and the date you read it. Anything you can't verify stays out. - script.json: the lines and the caption chunks cut by hand (2-4 words, one picture each), each chunk with its shot: the set, the camera, what moves. - Kokoro reads the whole script in one take (speed 1.0-1.1) and pauses are squeezed to 0.35 s at most; faster-whisper times every word (pass it a 16 kHz numpy array, not a path); write chunks.json with each chunk's start and end. A picture and its caption switch together on frame round(start*30)+1. - blender/: Python scripts run headless (blender -b -P). makes one .blend with the sets, the cast, the props and every shot baked with a key on every frame. sets EEVEE with ray tracing, the AgX view with the Punchy look, motion blur, depth of field and bloom in the compositor. Bodies come from MPFB or are built by you; clothes, hair, props and sets are built in code. - Stills first: one half-size still per shot as a contact sheet. Look at every tile and fix what's off before any full render. Time one full-size frame and tell me the estimate. - Render 1080x1920 at 30 fps to PNG frames, skipping frames already on disk. - numpy only: a light music bed, a sound on every action (a whoosh on each whip pan, hits, wind, room tone), ducked under the voice, mastered to -14 LUFS on the whole stereo mix. - burn the captions in from chunks.json. Encode out/_9x16.mp4 (1080x1920, 30 fps, TV-range yuv420p) and out/_x_7x8.mp4 (1008x1152, under 10 MB, 2-pass): a crop of the 9:16 frame that keeps the subject and the caption. - Blender paths: pass absolute output paths (a relative one lands on the drive root). - MPFB headless: enable it with addon_utils.enable("bl_ext.user_default.mpfb"). Bake a body's shape keys before you pose it: the rig is fitted to the baked shape. - Clothes: cut them from the body mesh and push them 7-16 mm out along the normals; keep two rings of body faces under every hem. - Nothing coplanar: keep every resting object 1 cm off its neighbour and draw ground markings into the texture, or they flicker. - Hair: EEVEE draws hair only from a Curves object, hair type STRIP. Use a Principled BSDF on it (the Hair BSDF renders black). - Skin: keep subsurface weight near 0.2 (more turns faces black in EEVEE) and add a soft fill light from below under a noon sun. - Hands: a curled hand reads as a claw from the palm side, so shoot a grip from behind the knuckles. - Motion blur: shutter position START, a key on every frame, plus a key half a frame after each shot's last frame, so blur never reaches across a cut. - Check: run a black-frame and one-frame-flicker check on the render. Make a contact sheet (a frame every 0.5 s) and look at every tile: the act reads in the first 2 s, faces are lit, nothing clips through anything, captions stay off faces and key objects. Then step through the first 2 s, the middle and the end frame by frame. Fix, render only the changed shots again. Pitch (or take my story), then show me the script with the word count, the caption chunks with their seconds and the shot list with what the first frame shows. Build nothing until I say go. how the two runs went: one run each on the same PC, so it's one sample, not a ranking. both took under 3 hours on one shared 8 GB graphics card. the story for both: a man who tied 42 weather balloons to a lawn chair in 1982 where they split: -> Opus opened wide on the balloons over the yard. Fable opened on the man kneeling at the chair with his Jeep behind him -> Opus put 5 big 3D numbers in its scenes, Fable 2 -> Fable followed the caption spec (white text, soft shadow). Opus went ALL CAPS with a thick outline -> Fable pulled the Smithsonian's own record and ended on the chair in the museum. Opus ended on the $1,500 fine -> a few Opus shots are hazy and one opens on a blank grey frame save this for ur next Short. who did it better, Opus or Fable?