Flyers fans: if this team continues to spiral out of control, @JoyOnBroad wants you to prepare for the eventual PR/power struggle
#Flyers#LetsGoFlyers#NHL
I just watched a man on the airplane pull his mask below his chin to take a bite of food, then pull it back over his mouth while he chewed only to pull it down again for another bite.
Holy moly. I forgot how nonsensical COVID protocols were.
@charlieo_conn Imagine Porter Martone having anyone on his team standing up for him when he gets kneed and then takes an elbow to the head. Complete mugging and no one does anything.
Q3 2026
Production: 464,391
Deliveries: 486,532
Energy storage deployments: 13.7 GWh
Our Q3 Company Update will be streamed live on X on October 21 at 4:30pm CT
https://t.co/sXBSeLiJIj
This is superb.
The lesson begins with the usual catechism: J.K. Rowling has “bigoted opinions”.
Then someone makes the unforgivable mistake of reading what she actually wrote.
Suddenly, certainty requires definitions. Slogans require evidence. “Everyone knows” requires rather more than everyone saying it.
Critical thinking really is murder on a fashionable consensus.
Drama ads aren’t just for women.
That might be one of the dumbest assumptions in advertising right now.
Men will watch drama.
You just have to give them a reason to care.
And one of the easiest ways to get a man emotionally invested is to put him in a situation that hits his ego.
He feels himself getting weaker.
His hair is disappearing.
He can’t keep up with the younger guys anymore.
His wife doesn’t look at him the same way.
He’s embarrassed by something he would never admit out loud.
That’s your hook.
But the mistake is revealing the product immediately.
Let the story breathe.
Let the insecurity build.
Let the viewer wonder what happens next.
Then, at the end, reveal the bigger picture.
Because the story was never really about the product.
It was about confidence.
Identity.
His relationship.
Getting older.
Feeling like himself again.
That’s what makes drama so powerful.
Almost any product can become a prop inside a story that actually means something.
The product is the mechanism.
The story is the reason to watch.
And this is where watch time becomes a massive creative advantage.
If you can get someone to watch 30, 45, 60+ seconds instead of 2 seconds, you’re creating dramatically more opportunity for Meta to learn who is actually responding to your creative.
More watch time.
More engagement.
More shares.
More signals.
And potentially more efficient acquisition as the system finds people who respond to that type of content.
That’s the part people miss.
The goal isn’t just to make an ad people click.
The goal is to make an ad people watch, finish, and send to someone else.
Because when the story earns the attention, you get something traditional UGC rarely gives you:
Time.
And time is one of the most valuable things you can get in advertising.
You just can’t directly buy it…
People can just swipe right past your ad…
You have to convince the customer to give it to you.
Student: “I know that you disagree with a lot of transgender rights for minors… how does their transition or their opinions affect you or the government?”
@michaeljknowles’ response:
Gemini....
The 3D depth effect at Sphere isn't an optical trick that only looks good on a smartphone camera—it is engineered to sell the illusion directly to human eyes sitting in the seats.
Why It Fools Your Eyes in Person
Peripheral Field of View: In a traditional theater, your eyes can easily see the edges of the flat screen, so your brain constantly reminds you that you are looking at a display. At Sphere, the 16K LED array wraps up over your head and past your left and right peripheral vision. Because there are no visible screen borders, your brain loses its normal depth cues.
Forced Perspective Math: The content played at Sphere is rendered using specialized 3D mapping that matches the exact physical radius, steepness, and curve of the seating bowl. When a 3D digital creature is animated "walking down a digital staircase" that aligns precisely with the real aisle next to you, the spatial scale matches your perspective.
Camera Phone vs. Live View: A smartphone camera compresses depth onto a flat 2D rectangle, which makes the creature look like it's in front of the lens. When sitting in the seat live, binocular vision (using both eyes) means you will still recognize that the screen surface itself is located further back. However, the sheer brightness, high resolution, scale, and motion tracking fool your sense of motion, giving you a strong sense of spatial presence (similar to the sensation of feeling like your car is rolling backward when the bus next to you starts moving).
So while you won't physically reach out and touch a physical object in the aisle, turning your head to watch something "walk" down the edge of your seating section produces a convincing, immersive illusion of 3D depth.
WOAH 😮
Candace Owens has unhinged MELTDOWN 🫠about Erika Kirk on the Steven A Smith podcast‼️
I’ve never seen someone so jealous in my life.
Candace literally can’t go a day without ranting about Erika Kirk everywhere she goes.
Why?
Because Candace wasn’t getting this much attention without Erika Kirk.
Candace is basically a tick that clings to Erika Kirk and feeds on whatever clout she can get from it.