吴说获悉，X 用户 jujudog69 自称链上可视化平台 Bubblemaps 前员工，指控其与帮助捆绑买家规避探测的工具平台 Proxima 签署秘密协议，声称自 2025 年 4 月起 Proxima 每月向 Bubblemaps 支付 4.5 万美元以获取其聚类算法参数等顾问支持，并附上所谓“合同证据”。对此，Bubblemaps 官方迅速回应强烈驳斥，指出该文件系拙劣伪造的“AI 生成废料”，并列举多处事实漏洞：发布者并非其前员工，实际在推销自己的竞争产品，文件中的 CEO 邮箱纯属捏造，合同标注时间为 2025 年 4 月，但所列总部地址却是团队后来才迁入的现地址，与公开法律注册记录严重不符。Bubblemaps 强调团队规模较小，知晓所有前员工身份，呼吁行业警惕竞争对手的恶意抹黑。

【A股盘前】7月8日 周三 ━━━━━━━━━━━━━ 一、最新24h财经要闻 1. 美国终止对伊朗石油制裁豁免 → Brent原油暴涨5.68%收$75.90，石油板块集体高开（山东墨龙、通源石油、科力股份） 2. 苹果首款折叠屏iPhone量产 → 富士康赣州/龙华/观澜同步招工，果链折叠屏爆发（宜安科技、精研科技、蓝思科技） 3. 国务院印发《旅游强国建设"十五五"规划》→ 2030年出游83亿人次/消费7.7万亿，入境1.9亿人次（大连圣亚、祥源文旅、张家界、长白山） 4. WAIC 2026首发全球首款AI智能体手机 → 传努比亚×字节豆包联合打造量产版（道明光学、福日电子、中兴通讯） 5. 华天科技龙虎榜净买入15.77亿 → 机构+游资合力封板，半导体封测赛道全场资金净流入第一，TCL中环获机构新开仓 6. 英伟达PCB材料厂建滔积层板再发涨价函 → FR-4/PP提价10%-15%，PCB产业链持续涨价传导（威尔高、诺德股份） 7. 木林森子公司PCB产品涨价10%-15%，爱科赛博全系列涨价5%-10% → 涨价潮从上游向下游扩散 8. 谷歌4.11亿欧元投德国核聚变公司Proxima Fusion → 核聚变商业化加速 9. DeepSeek自研AI推理芯片一年前已启动 → 国产AI芯片自主化再添变量 10. 沪指跌穿4000点，两市缩量 → 龙虎榜80只个股上榜成交190亿，资金主线聚焦半导体 二、今日最可能激发的三个热点方向 方向一：石油化工 - 核心催化剂：伊朗制裁豁免终止，Brent单日+5.68% - 受益标的：山东墨龙（油服）、通源石油、科力股份（北交所） - 资金面：原油期货夜盘延续强势，油气板块有望高开 方向二：半导体/封测 - 催化剂：华天科技龙虎榜净买15.77亿，TCL中环机构新仓，建滔PCB涨价 - 资金共识：佛山系+紫阳东路+知春路合力华天科技，章盟主转战大恒科技 - 延伸方向：PCB（威尔高）、MLCC（双星新材）、磷化铟（宿迁联盛） 方向三：苹果折叠屏 - 催化剂：富士康三厂同时招工，折叠屏iPhone进入量产 - 受益：宜安科技（铰链）、精研科技（MIM）、蓝思科技（玻璃盖板） - 风险：果链已炒作多轮，追高需谨慎 三、龙虎榜资金动向 昨日机构重仓：华天科技（15.77亿净买）、TCL中环（机构新仓） 游资动向：佛山系、紫阳东路、知春路合力华天科技；章盟主布局大恒科技+东微半导；宁波桑田路进威尔高；成都系大举TCL中环 散户热度：同花顺热榜TOP5（天娱数科、华天科技、埃斯顿、长电科技、京东方A） 四、小盘A股ALPHA 威尔高：PCB+DC/DC电源模块，刚获批量订单，PCB涨价周期受益，当前股本小弹性大 科力股份：北交所+石油概念，制裁催化下资金关注度飙升，流动性改善预期 五、风险提示 - 大盘缩量，沪指4000点下方，追高风险加大 - 异动公告注意：视源股份提示业绩增速下滑风险、国晟科技涉1.15亿货款纠纷 - 减持预警：合富中国3%、沪硅产业2%、绿岛风2% 请关注、转发、收藏，华尔街观察团队将持续跟踪相关消息 ⭐️⭐️⭐️ 文章所载内容不构成任何投资建议。投资有风险，入市需谨慎。

以太坊基金会推出 Better Codes 开放挑战赛，旨在推动后量子以太坊研究。参与者可使用 AI 智能体、工具链和提示词，探索基于哈希的 SNARKs 数学优化方案。提交成果将通过 Lean 4 形式化证明进行验证，并有机会获得以太坊基金会 100 万美元 Proximity Prize 奖励。该项目由 ZK Security、EigenLabs 和 Yukon Research 共同支持。

《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.