Sadie Sink 被选做Jean Grey 是不是意味着她以后会有更多大银幕的机会，观众有更多机会看到她了？ Stranger Things 好像一共就孵化出Millie Brown 和她这两个大银幕演员。 Millie 的电影反响都一般，不知道 Sadie 会不会好一点。 Stranger Things 男演员全军覆没，没有出头的。 女演员好像更容易有机会

被排名4516的 @0xCheshire | 柴郡回关是什么体验？ 柴郡大佬深度研究两个方向： 一个是 AI 赛道：他写过郭莎拉（Sarah Guo）的分析——投资 OpenAI 的 Greylock 最年轻合伙人，他认为到 2030 年她会成为亿万富翁。不是那种情绪化的喊单，是把逻辑摊开来讲的风格。 另一个是 Web3 教程：他做了一套 Gitbook 教程，从基础到进阶，覆盖链上交互和工具使用。有 Substack 频道，内容沉淀得比较系统。 整体风格属于有深度但不装——能用中文讲清楚的东西不会硬塞英文，能写成长文的时候也不会只发一句话。适合想看 Crypto + AI 交叉领域深度内容的人。 也是我们灯塔社区的成员，所以加入灯塔真的不亏，不仅可以认识到很多的大佬，对自己的账号也是一种沉淀 入口在我的置顶帖哦 最后发一个呼吁：还没有关注吃货的朋友，赶紧关注起来，我一点架子没有，不信你就试试😆

十大艳星，你看过几个？ 10. Mia Azul（乌克兰） 9. Kay J（乌克兰） 8. Alex Grey （格鲁吉亚） 7. Blaire Nory（美国） 6. Ellie Eilish（美国） 5. Neesa （乌克兰） 4. Milana Zara （乌克兰） 3. Keira Blue （白罗斯） 2. Queenlin（罗斯） 1. Georgia（乌克兰）

玖玖的近日谈（其一） 完全不知道怎么涨粉！所以每天分享一些有意思的事吧√ 当随手小记来看就行 男文援的测评第四期应该今天是半夜更新，完全没有素材了呜呜，求互动好不好，别逼我跪下来求你QAQ 【每期小众（可能？）歌单分享】 先分享下每期决定做的歌单分享： 因为我比较喜欢小众的（可能小众？） 今日分享的是 【RAVEN——Grey/Virtual Riot】 全程小低音的宏大感完全听高潮了√（？） 有点像瓦那种，歌词里的横跨七海有一种海贼王的感觉？ 反正咱也不是鉴赏家，总之，好听好听好听，好感度upupup 再说几件有意思的事情？ 其一的其一 之前第三期的画画的老师其实画功没有那么厉害，汐语老师把图给我我抓了几位小圈子已经大厂上岸和一些学美术的老师给了不少意见？比如单独专门画脚或者接oc大头这样子 然后，就在今天下午，汐语老师很悲伤的告诉我 【我草 ，真有人来找我约稿】 隔着屏幕都能感受到无力感和自卑感，人家发来两张oc给汐语整不自信了，火速赶去嘲笑√最后也是说先画一张看看愿意再找这样hiahia（没有金刚钻别揽瓷器活说是） 顺便，汐语老师想接点大头练练手？说不定可以白嫖（乐），就是第三期测评的那位，欢迎骚扰老师哦 其一的其二 老师前几天在小圈子gank我了，然后今晚老师被自己游戏群的好兄弟一群小男娘gank了（笑死） 【游戏的小南娘群体刷到我推了】 一股死感，好像有点4了，兄弟 对对对，说的就是你们几个截图我还不来和我互动的（真恼火，日笼包），速速加我好友来！ 群里都说什么【米娜头666】【文神米娜头】【米娜头神了】 汐语老师兽欲的一面被群友发现了呢（乐），我们的汐语老师还在据理力争，死嘴硬的说你们一半也文，还有忍不住找汐语老师要的（哈哈哈哈哈，先笑一会肚子疼 其一的其三 最近也有看到也开始做测评的捏，朋友也有发给我，感觉还好，大家开心就好 我觉得女文媛的话很多时候有多幅面孔？单一测评不出什么倒是，男文媛主打的洗脑啊，调教啊，肉戏段戏，文青啦什么的比较固定，所以测评的这样，这个看个人的吧，只是咱一个人的意见啦√我觉得可以挖角各位男皮特色什么的，方便各位女皮交朋友呢~挑自己喜欢送死，男皮方也会觉得雌畜送上门是很开心的事情，是双方灵魂的交融这样（？） 嘛，反正咱是从女皮角度出发来着ww，无所谓啦 希望可以认识更多的朋友（？） 欢迎来扩列，转转咱的推√ 应该这周或者下周拍点cos完善一些人设再发宣传这样 还请多多支持！可以点个关注吗，可以开心一整天！

别只沉迷在 Codex + HyperFrame 的组合了！ Codex + Remotion 同样王炸！ 看完这套视频你能学会什么？ 1. 工具基础概念 - Codex 是什么：集代码、协作者、插件于一体的 AI 界面，比 Claude Code 更适合非技术人员做复杂任务。 - Remotion 是什么：基于 React 的代码生成视频工具，AI写代码 → 自动渲染成动画视频。 - 为什么用它：提示驱动 vs 手动拖时间线，速度极快 2. 完整项目搭建流程 - 在 Codex 里新建项目文件夹 → 安装 Remotion 插件 - 文件组织技巧：创建专用文件夹，放 logo、PNG/SVG、背景渐变、动画元素等，便于后续复用和保持品牌一致性。 3. 从零开始实际制作视频 - 第一步：简单 Hello World 测试（黑底白字 + 抖动动画），熟悉 Remotion 怎么响应 prompt。 - 进阶：导入图片/Logo、添加文字、创建连接光束、淡入淡出、滑入滑出等动画。 - 迭代修改技巧：截图+精确描述，AI能精准理解并修改。 - 多场景构建：用时间线组织多段画面，实现完整故事流。 4. 音频与渲染 - 用 快速生成背景音乐，拖进项目文件夹，然后 prompt 让 AI 自动加入并调音量。 - 预览 + 最终渲染 MP4，一键导出可直接发到 X 平台 5. 实用高级技巧 - 品牌资产复用：提前做好背景、渐变、Logo 组合，后续 prompt 直接调用 red figure 或 dark grey gradient 即可保持风格统一。 - Prompt 写法：越具体越好，用 extra high reasoning effort - 快速迭代：不用每次都重渲染，改 prompt 后直接预览，效率极高

《吻我之前，先把灯关了》 "Turn Off the Lights Before You Kiss Me" 据专家研究分析，恐怖片和爱情动作片，好莱坞惊险片都能刺激大脑分泌多巴胺，我现在把它们都放在一起了，那是不是应该双倍快乐来了。 According to expert research and analysis, horror movies, romantic action films, and Hollywood thrillers can all stimulate the brain to release dopamine. Since I’ve combined them all together, does that mean I’m in for a double dose of happiness? grok imagine prompt: "Turn Off the Lights Before You Kiss Me" 15 seconds, 9:16 vertical format, first-person perspective, recorded on a smartphone, single continuous take. [Realistic Cinematography] The footage is captured entirely by the rear-facing camera of the smartphone held by the male protagonist; no other cameras are involved. The male protagonist holds the phone in his right hand, using the primary (1×) rear lens—providing a field of view equivalent to approximately 26mm—at 1080p resolution and 30fps. The device is positioned between his chest and chin (at a height of roughly 1.45 meters), aimed toward a woman standing in the bathroom doorway. His left hand occasionally enters the frame to operate the light switch. The smartphone itself—its body, back panel, camera module, screen, or flash—is never visible in the shot. Only the light cast by the phone onto the subject, her clothing, and the walls can be seen. There are no mirrors present; this is not a mirror-based selfie. The footage retains the raw, authentic texture of smartphone video—no beauty filters, color grading, or cinematic effects. Skin details such as pores, fine beads of sweat, stray hairs, and natural skin-tone variations are visible. There is slight digital noise in the shadows, and brief motion blur occurs during rapid hand movements or moments of physical instability. Subtle camera shake stems from the holder’s breathing and wrist movements. Changes in proximity are achieved through actual physical steps or the subject pulling the holder closer; there is no digital zooming, automated panning, reverse-angle cutting, or slow motion. The focus remains primarily on the woman’s face, with only momentary hesitation when the distance shifts abruptly—there is no persistent out-of-focus effect. [Characters and Attire] The woman in the doorway (@80130fc6-f744-4f61-9faf-f630a1eb8638) is 28 years old. Her appearance—including her black hair styled in an updo, purple floral hair accessory, earrings, long-sleeved Japanese-style (wafuku) garment in purple (@d7529a1b-8cdb-41e5-816e-c59aa4051803), and dark-colored *obi* (sash)—is consistent with the video uploaded by the user. Her clothing remains intact; the neckline stays in place, and she does not scratch her own chest or tug at her garments. Leaning slightly against the doorframe, she keeps her shoulders relaxed and lowered, her neck elongated, and her legs positioned one in front of the other—creating a natural, subtle S-curve in her posture. She gazes toward the male protagonist with half-lidded eyes and a faint, inviting smile, as if beckoning him closer. From the very beginning, her right hand holds a small pinch of fabric from the male protagonist’s left cuff. This point of contact—her right hand gripping his left cuff—is situated in the lower-left portion of the frame and must remain visible. Because she is only holding the fabric rather than clamping down on his wrist, he retains the freedom to lift his left hand and operate the light switch. Initially, her left hand is concealed between her body and the doorframe. The grayish-white fingers that appear later belong to this same hand; the creature possesses only two hands throughout the entire sequence. The real girlfriend is located in the hallway behind the male protagonist. She is present only as a voice calling out from off-screen; she is never shown on camera, and no second female face appears. 【Environment and Space】 The scene takes place at the entrance to a bathroom in an old apartment building late at night. The setting—featuring aged off-white tiles, a worn wooden doorframe, a standard wall-mounted light switch, and a towel hanging inside the bathroom—conveys the lived-in, weathered feel of an old residence, rather than a ruin. The woman is positioned slightly to the right of the frame’s center, with the open bathroom door behind her. The light switch is located on the wall to the left, approximately thirty centimeters from the male protagonist’s left hand. It is visible from the start and does not suddenly appear later. Behind the male protagonist lies a hallway. The bathroom door remains open inward; the camera angle stays consistent throughout, the door does not move on its own, and the room’s layout remains unchanged. At the start, the woman’s face is about sixty centimeters from the camera. After she gives a gentle tug on his cuff, the male protagonist shifts forward slightly, reducing the distance to approximately forty-five centimeters. The distance closes further only during the final dragging motion. 【Ambient Lighting】 At the beginning, a warm-white overhead light in the bathroom is on, illuminating the woman’s head, shoulders, and the doorway, while the hallway remains dim. The LED flash on the back of the smartphone is illuminated from the very first frame; it remains on and in the same position throughout the entire 15-second duration. Up close, the face is illuminated by the harsh, direct light of a standard mobile phone; small shadows form beside the nose and under the chin, and there are localized highlights on the fabric of the clothing—no artificial "beauty" fill lighting is applied. The only light the male lead turns off is the overhead bathroom light. Once the overhead light is extinguished, the bathroom background remains dim and does not brighten on its own. The phone’s light continues to illuminate her face and the hand gripping the sleeve cuff. The camera’s auto-exposure adjusts only slightly, failing to brighten the dark bathroom to a daylight-like state. When the "mask" (the outer layer of the face) is peeled back, it is illuminated by the same mobile phone light as the rest of the face. The space deep behind the shell remains dark, and the exposed eyeball shows only natural, subtle reflections—it does not emit its own light. [The "False Face" Effect] The horror stems from a thin, pliable, artificial layer being peeled back from within—it is not a case of natural skin being torn or a mouth stretching into an impossible, elongated shape. A grayish-white hand—with only two or three fingertips visible—emerges from the corner of her mouth, hooks onto the lower edge of the "mask," and peels half of the face upward and to the side. The "mask" has a distinct thickness and flexibility; the cheek and part of the area beside the nose fold back, rather than stretching into long, tubular, funnel-like, or tongue-like shapes. Behind the peeled-back section lies a deep, dark cavity containing a normal-sized human eye, which turns to look directly at the camera. The other half of the woman’s face remains intact, establishing the premise that there is an artificial layer on the outside, with something else concealed beneath it. There is no blood, gore, exposed muscle, black ooze, or liquid-like melting effect. The grayish hand does not reach in from off-screen; its fingertips must first emerge from within the corner of the mouth. [Strict 15-Second Timeline] 0–4 Seconds | Gripping the sleeve, an invitation to draw closer. The woman leans sideways against the doorframe, looking first into the male lead’s eyes, then glancing briefly toward the light switch on the left. With her right hand, she grasps the male lead’s left sleeve cuff—positioned at the bottom-left of the frame—and gives it a gentle tug toward herself. The fabric of the cuff pulls taut, prompting the male lead to take a small step forward; the camera moves in tandem with his approach. She lifts her chin slightly and says in a low voice: “The lights are too bright.” Her tone is intimate, with a suppressed smile playing at the corners of her mouth. There is no sign of a monstrous visage, nor does she glance toward her own mouth beforehand. Her right hand continues to hold the same spot on his sleeve; she does not shift her grip to his lapel. 4–7 seconds | Flipping the switch; the background darkens The male protagonist reaches out with his left hand toward a light switch already visible on the left side of the frame. She keeps her grip on his left sleeve, causing her right arm to extend naturally as he moves—she neither lets go nor suffers any "clipping" (graphical glitching). His fingertips press the switch, producing a distinct *click*. The bathroom overhead light goes out, and the tiles, towels, and the space behind the woman grow noticeably darker. Her face remains illuminated by the fill light from a mobile phone. The male protagonist’s left hand pulls away from the switch and returns to the space between them. The camera tilts slightly with the movement, then steadies. 7–9 seconds | A warning from behind From about two meters behind the camera, the man’s actual girlfriend calls out urgently, in an identical tone: “Don’t turn off the light!” The woman in front of him says nothing; her lip movements do not correspond to this warning. As the male protagonist begins to turn, the camera shifts slightly to the side—but the hand gripping his sleeve suddenly tightens, holding him in place. Her smile vanishes. Her eyes glance past the camera toward the space behind the man, then return to the lens. Her knuckles whiten as she grips the sleeve, causing deeper creases to form in the fabric. 9–12 seconds | Half of her face is peeled back from within Two or three grayish-white fingertips emerge from the inner corner of her mouth. The fingertips hook onto the lower edge of the "shell" of her face, slowly peeling it upward and outward. The corner of her mouth and her cheek—forming a single, thin, pliable layer—fold back together; the lips do not stretch or elongate independently. Half of the artificial face is lifted away, revealing an eye in the darkness beneath that shifts to look directly at the camera. The intact half of her face remains visible alongside the eye revealed from within. For a brief moment, the camera steadies, allowing at least half a second to take in the details: Fingers emerge from within the face; the "shell" of the face begins to fold back, revealing another eye underneath. The woman’s right hand maintains a firm grip on the man’s left cuff—she cannot let go, even as she peels back the face. The only sounds are the dry, grating friction of the mask and the man’s sudden, sharp intake of breath. 12–15 seconds | The grip shifts into a forceful tug. The man immediately grabs the woman’s right wrist—the one holding his cuff—and tries to pry it away. The point of contact is clearly visible; he does not reach for the grey, peeling fingers. The creature’s right arm suddenly retracts toward the bathroom, yanking the cuff hard. The sequence must be clear: The cuff goes taut → the man’s left arm is pulled straight → his body stumbles forward → the camera (held in his right hand) is dragged closer. The camera moves from about 45 centimeters away to roughly 15 centimeters, accompanied by a sudden dip and tilt—this is not a smooth, controlled zoom. The partially peeled-back face, the unblinking eye beneath, and the greyish-white fingers now dominate the frame. The other half of the face remains "normal," preserving its original appearance. In the final half-second, the man collides with the wooden doorframe, producing a dull thud. The camera jerks to the side; the edge of the facial shell sweeps across the lens, partially obscuring the view. The recording ends abruptly while the struggle is still underway. No fade to black, no additional dialogue, and no new creatures appear. [Ambient Audio] Captured via a mobile phone microphone: close-range speech, the friction of fabric at the cuff, the sound of a light switch, the hum of a bathroom exhaust fan, the distant ambient noise of the city, heavy breathing, and the final impact against the doorframe. The exhaust fan continues to run independently; it does not stop when the overhead light is switched off. The background sounds maintain a sense of spatial distance—they are not suddenly muted for the sake of a "jump scare." The opening line, "The light is too bright," comes from the woman in front of him. The mid-sequence line, "Don't turn off the light," clearly originates from behind the man; the woman in front does not move her lips. There is no further dialogue—no sinister laughter, voice-over narration, heartbeat sound effects, or pre-recorded horror audio cues. [Mandatory Continuity] The only camera is the mobile phone through which the audience is viewing the scene; the phone itself is never visible within the frame, nor is there any additional camera operator. The male protagonist holds the phone in his right hand; he uses his left hand to flip the light switch, then immediately grabs the monster’s right wrist. The monster’s right hand remains firmly gripping the same spot on the male protagonist’s left cuff; its left hand lifts a portion of the "false face" from underneath. Do not generate a third hand, swap left and right hands, or have the monster’s hand shift its grip from the cuff to the female protagonist’s own clothing. Once the bathroom light is turned off, it remains off; the mobile phone’s light source (fill light) stays on. The positions of the door and the light switch remain fixed. Changes in distance must be achieved through physical movement (stepping or dragging); do not use digital zoom. The "false face" should be lifted, not stretched like rubber; do not generate long tongues, tubular mouths, an elongated jaw, or a melting face.