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Five suicide attempts couldn’t kill her. An HIV diagnosis was supposed to finish the job. Instead, she walked into a body modification studio and started cutting away everything that made her human. Both ears. 32 teeth. Her nose. She split her tongue, implanted 18 horns into her skull, and covered every inch of skin in scales. Today she goes by “it” - and says she’s never been happier. Her full name is Eva Tiamat Baphhomet Medusa. The world calls her the Dragon Lady. She calls herself “the world’s most modified transsexual.” Before any of this, she was Richard Hernandez - a vice president at a bank in Texas. She grew up in Bruni, a town of 300 people near the Mexican border. As a freshman in high school, she walked up and down the streets screaming “I’m gay” at the top of her lungs in one of the most machismo regions in the country. “Closets are for clothes and tennis shoes,” she says. At 18, she left for Houston. Fresh from a town with no skyscrapers, she didn’t know you couldn’t trust just anyone. Two men raped her. She doesn’t hate them. “I’m not them,” she says. She became a banker. Built a career. Then came the HIV diagnosis, which later progressed to AIDS. She left the bank to take care of her health and nearly died. That’s when something shifted. “I decided I’m not going to die looking like a human,” she told Soft White Underbelly. “Being human has been such a negative part of life.” She spent over $60,000 on body modifications. Not with doctors - with body modification artists. She was the fifth person in the world to get horns implanted into her cranium. She was the first person ever to have both ears surgically removed for cosmetic reasons. She had her testicles removed and plans a full penectomy. “I will be a genderless dragon,” she says. “That’s what dragons are.” Her son hasn’t spoken to her since the transformation. She did some of the modifications specifically so he could see what his father was becoming. “His weird-looking, strange, used to be a man, is now a woman, is now a reptilian, dad,” she says. She was abandoned in the woods as a child by her birth parents. She denounced them in favor of a snake. She tried to take her own life five times before the transformation gave her a reason to stay. “My transformation is by and large what saved my life after five failed suicide attempts,” she says. “I am truly happy for the first time in my life.” She prefers the pronoun “it.” Just like a snake. She swallows food whole because she only has six teeth left - representing the mouth of a rattlesnake. Sirens drive her crazy because without ears, everything sounds louder. She makes cotton candy for the neighborhood kids, and her neighbors say her energy is “the most gentle and pleasant” they’ve ever been around. In the video below, you can see Tiamat sitting across from the interviewer with her full-face scale tattoos, horn implants, and no ears, calmly describing how she eats, why she removed her teeth, and the moment she decided to stop being human. Some will say she’s mentally ill and needs help, not a body modification studio. Others will say she found the only thing that kept her alive when nothing else could. If removing every trace of your humanity is what finally made you happy - were you ever really human to begin with?

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.

Seedance 2.0 is pretty wild 100% AI What if Jurassic Park was real? PROMPT: Format: Found-footage vacation video, 15 seconds, seven shots with hard cuts — a tourist's camera roll from one full day, morning to dusk. Image reference: Use the attached gate photo as the exact visual reference for Shot 1 — match its architecture, proportions, torch placement, lighting, and signage precisely. Main subject: Young woman, blond hair in a loose low bun shedding strands, oversized faded olive t-shirt, denim shorts, white canvas sneakers, disposable-camera strap on her wrist. Realistic skin texture, minimal makeup, wide-eyed tourist joy. Maintain perfect visual consistency — identity, hair, clothing, proportions — across every shot and location. Location: A vast island dinosaur preserve. Jungle mountains, open savanna paddocks, wooden observation structures, tall electrified perimeter fences, dirt tour roads. Dinosaurs are photorealistic animals — muted natural hides, birdlike motion, visible breathing weight. Filmed like wildlife, never like monsters. Camera style: Mid-range smartphone, handheld by her friend. Heavy shake, autofocus hunting, motion blur on pans, compression grain, exposure pumping. Each cut is abrupt and mid-motion, like real unedited camera-roll clips. 00:00–00:03 — THE GATES (morning, filmed from inside a moving open-top tour jeep). The camera films forward over the seats as the jeep approaches the colossal timber gates from the reference image — flared stone-and-wood towers, flaming torches, jungle pressing in on both sides, the road still wet from morning rain. The doors groan open. She spins around from the front seat into frame, gripping the roll bar, and half-shouts over the engine: "Oh my god, this is wild! I can't believe we're actually here!" — as the jeep passes under the archway into shadow and out again. 00:03–00:05 — SAVANNA (late morning, wide shot from a raised wooden platform). She stands small at the rail against an open plain where a herd of long-necked giants wades through heat haze, one rearing slowly against the treeline. The camera zooms in shakily, overshoots, corrects. 00:05–00:07 — RIVER CROSSING (midday, low angle through the jeep's open side). Past her shoulder as the jeep fords a shallow river: a crested duck-billed dinosaur drinks twenty meters away, lifting its head to watch them pass, water dripping from its jaw. She raises her disposable camera; the phone catches its tiny click. 00:07–00:09 — JUNGLE FENCE (afternoon, handheld walking shot). Dim under the canopy beside a tall humming fence. She peers through the wire — and a small crested predator peers back from the ferns, head tilting in quick birdlike jerks. She backs up a slow half-step, whispering "okay... hi." Autofocus argues between wire and eye. 00:09–00:11 — THE HERD RUNS (late afternoon, chaotic pan from the jeep at speed). A flock of small striped dinosaurs floods across and around the vehicle. The camera whips left-right, blurred bodies streaking past, her whooping off-mic, dust on the lens. 00:11–00:13 — QUIET GIANT (golden hour, static shot at a wooden overlook). The frame finally settles: silhouetted against low sun, she stands at a rail as an immense horned dinosaur grazes just below, close enough to hear grass tearing. She isn't laughing anymore — just watching. 00:13–00:15 — DUSK ROAR (blue hour, half-framed and accidental). Filmed as the phone was being lowered, frame tilted: a colossal, deep bellow rolls in from the darkening jungle far off. Everyone freezes and turns toward it. Cut to black mid-turn. Audio: Ambient only, shifting per location — jeep engine and gate groan, her excited line over the motor, savanna wind, river wading, fence hum, thundering small feet, grass tearing, and the single distant bellow that swallows everything. No music. No narration. Style & quality boosters: Raw consumer camera-roll aesthetic, abrupt mid-motion cuts, heavy handheld instability, natural motion blur, golden-hour lens flare, coherent animal mass and physics — ground tremor, water displacement, dust. No text overlays, no watermarks. Goal: One unforgettable day inside the world's most famous dinosaur preserve, told through seven imperfect tourist clips — opening on the gates everyone recognizes, and closing on the sound that reminds them what lives beyond the fences.

😋A foreign man is so indulged in his meal at a cha chaan teng that before he swallows the food in his mouth, his eyes are already fixed on the next bite. @salahzhang @consulat_de @zhang_heqing @pan_xuesong @xuejianosaka @YDunhai @CG_WangBaodong #delicious# #AmazingChina# #reels#

Shelters for wildlife are struggling with an influx of heat-stressed animals, a center near the Belgian city of Namur said, with birds nesting under roofs such as swifts, swallows and starlings at particular risk as temperatures soared

Wheat ripens and swallows fly! Capture a summer migrant barn swallow spreading its wings against the backdrop of Shaanxi's golden wheat fields.🌾 Its feather colors and flight posture are clear and dazzling—the color contrast is absolutely striking! xhs@要闲

本日のヒーロー #高橋奎二　投手# 今シーズン初勝利 ナイスピッチング👍 #増田珠　選手# 決勝ホームラン ナイスバッティング👍 増男〜 #モンテル　選手# ナイスキャッチ👍 #swallows# #燕心全開#

#ヤクルト# #赤羽由紘＆##リランソ# が1軍合流へ　ともに故障で2軍調整もすでに実戦復帰　新人の #山崎太陽＆##飯田琉斗# は1軍の練習参加 #スワローズ# #swallows# #燕心全開# #サンスポ#