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In traditional Chinese culture, the plum blossom is admired for its ability to bloom in the cold of winter, making it a powerful symbol of resilience, strength, and perseverance. Now, let's take a moment to enjoy soprano Geng Haolan performing “Plum Blossoms” with the Shen Yun Symphony Orchestra. May the beauty of the plum blossom—and the music inspired by it—remind us that even through life’s coldest seasons, we can continue to stand strong and bloom. ============= ☘️ Watch more videos: ☘️ Watch live:

Where crypto meets traditional finance - and both keep evolving. Join us to hear from Eowyn Chen (Binance), Dan Maley (BlackRock), Roger Bayston (Franklin Templeton), Ella Zhang (YZi Labs), and Catherine Chen (Binance). 📍 Bangkok | 🗓 28–29 Nov 2026 Be part of the conversation →

overheard from friends talking about AI in China, and it’s very alarming - AI short films went massive in China market because of how good the video models are now - the first wave of people who mastered using AI to generate short films and comics made quite some money because they could produce a lot more content than traditional workflows - but within just a few months, everybody and their mom could make equally good short films because all the expertise could be written in a markdown file - when everyone’s more productive, no one actually has an advantage and it’s a race to the bottom. very quickly it became impossible to make money, and everyone’s busier than they were without AI - the only one making money now is companies like bytedance who owns user demand and distribution. they sell ads to creators who pay to get traffic, and eventually ad spend became 80% of those creators’ operating expense, while AI tokens is less than 5% so what are the problems here? 1. there’s no moat if you are creating anything with AI if a human is really good at something, and it’s hard to find more humans who can do the same, they can leverage the scarcity of their skill to get paid very well but if AI is good at something, it will be infinitely replicated, so there’s no scarcity hence you can’t really expect a sustainable business by creating anything with AI 2. more creators created more content people actually liked. that’s a good thing but the economical benefit of that all got absorbed by the distribution platforms there’s a famous chinese poem 遍身罗绮者，不是养蚕人 - it basically says people who dress well aren’t the people making dresses. that’s exactly what’s happening here if our society doesn’t figure out a better way to distribute wealth, AI will help billionaires become trillionaires while average people become more exhausted than ever

code for review : Prompt : Create a 2D anime short for the web. It must look completely like real Japanese anime, as if it were taken directly from a finished theatrical anime film. This is traditional-looking, hand-drawn 2D anime, not a 3D animation, a moving illustration, or a stylized web graphic. Deliver the final result as a single, self-contained HTML file that plays offline, with a synthesized soundtrack. Use any tools, libraries, references, guides, literally anything etc. Use theatrical mecha and kaiju anime as the art style reference for the design, line work, painted backgrounds, color, and atmosphere. The film is 83 seconds long, in 39 shots. Its characters are a colossal silver archer robot, a fleet of container ships, and a leviathan. No people appear in the film. Use any tools or techniques you want, including 3D, as long as the final result looks 100% like hand-drawn 2D anime. SCENE A blazing sunny day on a coast. A massive armored archer robot, a hundred meters tall, stands in a deep lunge on a headland and draws a bow taller than itself. Close-ups: the hand on the grip, the limb and cable, the foot planted in the surf. Blue energy crawls along the arrow into the chest armor until the arrowhead blazes like crystal. The string snaps forward and a shockwave flattens the sea. The arrow is a harpoon trailing a thin cable. It tears the clouds into two walls above a ship's deck, climbs through the cloud tops, and reaches the edge of space in a blue flash along the planet's limb. Out at sea, container ships cross a colossal shadow. Four humpback whales breach beside a ship, with real arcs and full tail flukes, and dive tail last. From below, shapes move under the bright churning surface. Four whale heads rise from a boiling sea, and a ring of teeth rises around them: they are lures inside a mouth. They drop in and the jaws shut. The leviathan breaches through the fleet in one slow, enormous arc. Its belly slides past the bridge windows. The swell it leaves lifts the ships and stands one on end, spilling containers. Its ridged back and flukes sink into spray fog. High above, the arrow turns over and comes back red-hot through the atmosphere. Below the surface, the leviathan crawls through a luminous canyon on clawed forelimbs and swallows a fleeing whale. A thin streak meets the sea on the horizon and a white plume swells up. The harpoon drives through its back in a blue-white flash, lightning runs along its body, and the barbed tip punches out of its belly into the rock, which bursts apart. The cable stays attached the whole time, rising to the surface. A mountain of water swells from the sea. The dying leviathan erupts, rolls over between the ships and falls, and a wall of water takes the fleet. ANIME QUALITY STANDARD Every frame must look as if it was drawn by professional anime animators and painted by master background artists for a finished theatrical film. Archer: A massive, heavy anime mecha with sculpted overlapping armor plates, panel lines, bolts, markings and a faceted chest reactor that glows blue. Hands really grip the bow and string. The arrow never passes through the armor. Keep it on-model from every angle. Leviathan: Whale-like and colossal, always dwarfing the ships. Rough, dark grey-teal wet hide with barnacles and scars, a pale ribbed throat, a spined back, huge clawed flippers, and a cavernous maw with uneven teeth. A real bending body with weight, never a stiff model hanging on pillars of water. Whales: Real humpback anatomy with tail stock, big notched flukes and long curved flippers rooted in the body. Ships: Detailed container ships with corrugated multicolor containers, lashing bars and a white bridge tower. Line art: Confident, delicate, hand-inked anime line work with subtle variation in thickness and pressure. Coloring: Traditional anime cel coloring with clean color areas, hard-edged cool lavender-blue shadows, crisp highlights, and a bright, high-key, saturated palette. Never gloomy, grey or muddy, even in the darkest moments of the story. Backgrounds: Richly detailed, hand-painted anime backgrounds in a gouache style: towering white cumulus, a cobalt-to-turquoise sea at kilometer scale, a painted coast with a far town, Earth from orbit, a port city from the stratosphere. Underwater: Luminous cyan depth with god rays, a rippling surface seen from below, jagged canyon rock, silt and fish. Bright, not black. Lighting: Summer sun with colorful shadows, and a separate character key light so that nothing sinks into shade. Effects: Bold drawn anime FX on twos and threes. Sharp lightning with a white core, plasma trails, sheets of water pouring off the body, plumes, spray and a wall of water with real mass. Never particle mush or cotton-wool clouds. Animation: Authentic hand-drawn anime timing, with characters on twos, strong key poses, natural holds, and overlapping movement. Huge things move slowly and heavily. Nothing clips, slides or floats. Sound: An original epic score with ominous drones, brass and choir, near silence before the impact, then a colossal hit. Add a recurring whale-song motif, bow creak, charge whine, sonic boom, thunder and the sea, muffled underwater, all timed to the picture. Direction: Cinematic shots, macro close-ups against huge wide shots, thoughtful staging, and pacing that builds from quiet tension to a devastating climax. IT MUST NOT LOOK LIKE - 3D: No plastic materials, CGI shading, visible polygons, game-engine lighting, or computer-perfect perspective. - Blocky "Minecraft" shapes: No plain boxes, empty flat surfaces, or toy-like proportions. Every surface carries design detail. - SVG or vector art: No simple geometric shapes, perfect curves, uniform outlines, flat corporate illustration, or basic gradients. - Web animation: No sliding layers, constant bobbing, floating parts, smooth software easing, or puppet-like joint rotation. - Pasted-on elements: No 2D sprites floating in a 3D scene. - AI art: No warped shapes, melted details, flickering, or changing designs. - Non-anime art: No Western cartoon designs, realistic rendering, soft painterly shading on the characters, or generic digital illustration. - Amateur work: No stiff poses, empty backgrounds, muddy colors, clip art, placeholders, or unfinished details. You are free to change any part of the prompt, if it would result in better results. The result should feel enormous, terrifying and beautiful, a blockbuster in bright anime colors. Before finishing, inspect random frames as still images. If any frame does not look completely like real 2D anime, keep improving it. Do not stop until every frame could pass as a still from a theatrical anime film.

❄️ What makes NICE1® different from traditional ice? Dr. Eric McCarty demonstrates how NICE1® combines cold + compression in an iceless system. No bags of ice. No constant refilling. Less hassle. Recovery technology designed to fit the patient’s routine. 💪 #SportsMedicine#

➤ Every generation gets told to trust the system, even as their money buys less over time. → That reality is a big part of why Ken built @WireNetwork Not to spend years pointing out flaws in traditional finance, but to build a better alternative. → As the world moves toward programmable, native on-chain money, the real opportunity isn't in resisting change it's in creating the infrastructure that makes the next financial era possible. Wire is focused on building for that future. ➤ FT || @KenDicross || @chesus

An increasing number of young opera enthusiasts are flocking to the Garden Expo Park to watch and study operas, perform on stage together, and also spontaneously spread the beauty of traditional Chinese opera through short videos and other new media platforms.

The thing I learned this year is that when engineers say they like working on “hard problems”, they actually don't. What they like is puzzle solving, and having a repertoire of patterns that they can pattern match onto traditionally hard problems, usually involving databases or something with scale, etc. And they know that the industry used to pay you a lot for how deep and broad this repertoire was. Unfortunately, in 2026, well, you have a cheat code machine that has infinite breadth and depth for pattern matching. So the question is, do you actually like hard problems? Because there are now hard problems that are a complection of engineering, product, society, culture, politics, and they are fairly intractable, probably unsolvable! Because if you do want to work on those actually hard problems, there is so much money that people will pay you for it. But you’ll have to face that truth about yourself first.