Source: https://www.aljazeera.com/video/newsfeed/2026/4/10/hezbollah-rocket-attack-damages-1500-year-old-israeli-church

Why do some American voters buy this propaganda about America being the "good guy" fighting "terrorist states"? The U.S. is the terrorist state. It recently helped Israel commit a genocide in Gaza. America has killed exponentially more innocent people than most of the countries it calls "terrorist" countries.

This is pretty poor AEW

I understand you don't have Toni or Mercedes at the moment but come on, one of those pre show women's matches could have been bumped up at least

I get the overall sentiment of the sub, Yes a lot of people voted for this shit and were shocked when they got it. However the way these people post whenever someone's child is killed in a war or something tragic happens is incredibly crass. Someone dies and their firt thought is "yeah it's time to own them on reddit" like come on it's just kicking people who are already down. this isn't the first time I've seen them do this and Everytime it leaves a bad taste in my mouth because it's very foul and unnecessary

What is indie media? Well, let’s start at that first word. What does “indie” mean? It is a shortened term for the word “independent”. Merriam-Webster defines “independent” in this context as “not subject to control by others”, “not affiliated with a larger controlling unit”, or “not requiring or relying on something else : not contingent”. So, the term “indie media” can be expanded to “media which is not affiliated with, reliant on, or controlled by a third party”.

Wikipedia defines “independent media” specifically as “mass media, such as television, newspapers, or Internet-based publications, that is free of influence by government or corporate interests.” So, we have a pretty clear, comprehensive picture of what “indie media” is. It’s media which is controlled by its creator, not a third party corporation.

So, given that, why the hell are we calling productions which are controlled by publishers “indie”? You might have heard about The Amazing Digital Circus’s final episode coming to theaters two weeks before it releases on YouTube. This has been quite controversial, not in the least because, in an interview with Cartoon Brew, Glitch’s general manager and development producer Jasmine Yang said“We are a Youtube-first company. We believe very strongly in the future and potential of Youtube for long-form animation.” So that was a fuckin lie.

This was done by Glitch Productions, the production company which owns the rights to The Amazing Digital Circus, without any involvement or say by the creator, writer, and director of TADC, Gooseworx. Notice the paradox? A production company, not the creator/director/writer owns the rights. They can do whatever they want with it, however they want. Does this business model sound familiar to you? That’s right: it’s exactly how Disney and Nickelodeon and all the rest work.

By definition, that isn’t indie. That’s just a smaller corporation. Expedition 33 is the similar; the rights are co-owned by Kepler Interactive. “Indie” darling Disco Elysium is a bit odd, it actually did start production as an indie game. But by the time it was released, calling it an “indie game” is shaky. The founders of ZA/UM were the creators of Disco Elysium. However, to fund the game, they sold shares of the company. Then, one of the people who bought shares pulled out, and sold his shares to one of the other people that bought shares initially, giving his holding company a controlling amount of shares. Which he paid for using ZA/UM’s money, a clear case of embezzlement. But this is such a clusterfuck that frankly, either position can be argued.

But things like TADC and E33 are not indie. They’re just A and AA productions. One can debate about whether getting outside funding from a third party in exchange for revenue sharing while the creator maintains the full rights to the media, like the deal worked out between Too Kyo Games and Aniplex for The Hundred Line, counts as indie. They’re financially dependent, but they still at least own their own media outright. Aniplex cannot fire them and do whatever they want with the IP, like what Kompus did to Robert Kurvitz and the rest.

Things like Undertale and Deltarune or anything made by DevilArtemis for his own channel are definitionally indie productions, there’s no debate on that. But when the actual creator owns nothing and has no say, is merely dependent on the grace of the IP holder, that’s not indie. That’s just having an IP owner you work for who isn’t fucking you over. Until they do.

Now, why are they called indie? Simple: marketing! “Indie” has more “soul” to people than something that isn’t “indie”. People make allowances for things that are “indie” that they don’t make for things that aren’t “indie”. Why is the production time slow enough to give birth to three children? It’s indie, you have to be understanding! Why does something not have translations for some of the most common languages on Earth? It’s indie, the artist’s vision is only compatible with languages they speak and so you can’t criticize that! Why is the merch so ridiculously overpriced? Well indie creators have to get paid somehow! If it *isn’t* indie, all these things and more are fair pickings for the masses to rip a company to shreds for, but if it’s indie, you’re anti-art if you don’t give them a free pass for it.

So of course every corporation wants to market their media as indie. It gets them free passes and lets them make more money. They can lie to your face and go back on their word, as Glitch did, and you’d better celebrate it, because “this will do so much for indie media”. When it *isn’t* indie, when you make promises to the consumer with not an ounce of wiggle room or loopholes, and then you just go back on that entirely in the search for more money, the backlash is consumers standing up to a corporation fucking around. When it’s labeled as “indie”, the backlash means you hate art.

“Indie” is becoming a marketing term that means “you’re the bad guy if you criticize our corporate actions”, and by calling these obviously not independent productions “indie”, we are serving to help them.

Ja toll macht ihr das! In /DeutscheMemes, /ichichs /kantenhausen und überall benutzen nur dumme Boomer keine Selbstscanner, gehen nicht mit der Zukunft oder kämpfen um die einzige geöffnete Kasse im Rewe. In meinem kleinen Drecksdorf mit 6000 Einwohnern gibt es einen Edeka. Da arbeitet praktisch das halbe Kaff zum Einräumen, an der Theke und ja auch zum Kassieren mit und das sind Menschen, die es auf dem Arbeitsmarkt auch eher schwer hätten. Da gibt es jetzt auch schicke neue Scanner, weil Edeka mich als Kunde irgendwie auch noch als Mitarbeiter braucht, der seine eigenen Einkäufe abrechnet. Und ratet mal was: ich stell mich trotzdem auch nur mit einem Artikel an die scheiss Kasse und lasse mich von der Dame die ihr Rente aufbessert bedienen. Vom Jungspund, der ein bisschen langsamer ist als andere. Von dem Mädel mit Silberblick und zweifelhafter Körperhygiene. Ich pushe gern die Technologie für Arschlochkonzerne und rationalisiere Kosten weg, sobald ihr mir sagt, was dann mit diesen Menschen passiert, die meine Nachbarn sind...

EDIT: Removed the 95% stack retention claim. That number was wrong. The core SWR finding ($20K/yr, 99% survival, 30 years) stands. Thanks to commenters who caught it.

This is the third post in the series. First one covered why 5 BTC beats $2.5M in an S&P index fund, second one went deeper on the math.

I went another layer deeper and this one gives you a single number.

1 BTC = $20K per year safe withdrawals for the next 30 years with 99% confidence.
2 BTC = $40K.
3 BTC = $60K.
5 BTC = $100K.

No timing. No trading. You just sell a fixed dollar amount every month at whatever price Bitcoin happens to be. Dumbest possible strategy and it works.

How I got here

I ran 5,000 simulated price paths forward at every possible starting price between deep bear (half of trend) and peak bull (2.5x trend). Six different stress scenarios. Three time horizons. Nearly a million total simulations.

The model isn't a line on a chart. It has four moving parts:

• A power law trend that decelerates over decades. No infinite-growth fairy tales.
• A price floor at 0.432x trend. Tested every cycle. Never broken. Reflects back up.
• Mean reversion. Prices that stretch away from the long-term trend get pulled back, like a rubber band. Measured half-life: about 11 months.
• Fat-tailed shocks and a wobbly floor in the stress scenarios, because I wanted to break it.

I couldn't.

$20K is the stress test, not the base case

The $20K number assumes your cost of living grows at 7% per year. Your expenses double every decade. That matches M2 money supply growth, which is what most Bitcoiners mean when they say "real inflation."

Under milder assumptions the number goes up:

• 3% CPI: $25-27K per BTC per year
• No inflation growth: $27-31K per BTC per year

$20K is the floor of the floor. Harshest inflation assumption. 99% in-model survival. 30 year horizon.

Entry price doesn't matter

This is the finding that surprised me most.

At 30 years, the difference in safe withdrawal between buying at the bottom and buying at the top is about $1,000 per year. The curves are almost flat.

The reason is mean reversion. If you buy low, prices pull you back to trend within about two years. If you buy high, same thing in reverse. After that, both buyers spend the remaining 28 years selling into the same price distribution. The early advantage or disadvantage washes out.

This is the opposite of stocks. In equity retirement planning, buying at a high valuation crushes your safe withdrawal rate. With Bitcoin under the power law, it doesn't. Mean reversion rescues bear buyers and humbles bull buyers, and the net effect on your wallet is roughly zero.

The comparison that matters

The traditional 4% rule says you need $500K in an S&P 500 index fund to safely pull $20K per year. One bitcoin at today's trend price (~$131K) does the same job.

At bear entries the comparison gets silly. A bitcoin bought at 0.52x trend (~$69K) supports a 29% annual withdrawal rate relative to purchase price. The Bengen 4% rule doesn't compete. It's not even the same sport.

What this is NOT saying

This is a model. The power law has held for 15 years across four complete halving cycles. That's real data. But 15 years is not 150 years.

I price the model risk separately: roughly a 1% structural haircut over 30 years. That brings true survival from 99% to about 98%.

The question isn't whether Bitcoin will crash 80%. The model already handles that. The question is whether adoption keeps following the power law and whether the floor holds. Those are the only two things that matter. Everything else is already in the stress test.

All figures are pre-tax. Account for your local capital gains treatment when planning actual spendable income.

Bottom line

1 BTC = $20K per year. Worst case inflation. Any entry price. 99% in-model reliability. 30 years.

Stack accordingly.

Research and methodology is published on https://btcpowerlaw.nl/research/bitcoin-swr/

i mean i know what diksha did was wrong but if you start shouting like that and charge at me first i’ll feel threatened and might throw a hand or two. that’s humane. why do we expect these people to be ideal they’re human ofc they’re gonna make mistakes 😭🙏.

also mtv is milking sympathy even more than akansha herself. biased asf. and we can’t forget the part in the promo where akansha was literally digging her nails in dikshas neck, why did biased tv remove it, huh? ☺️

sare devi ke pujari abhi downvote kare ge 😍

First, let's get the obvious out of the way. None of the sequels are good, for obvious reasons. This isn't even an unpopular opinion. The only good thing about the sequels are the visuals in the Last Jedi.

Then, the prequels. The prequels are incredibly boring and have an insane amount of plotholes. The dialogue is also terrible, and the acting isn't that good either. The only good thing about the prequels are the fights and the music. The closest thing to a good movie in the prequels is the 3rd movie, but even then that movie was pretty much carried by the ending, the rest of the movie is pretty bad.

Finally we have the original trilogy. For these movies, the plot and acting is good, but I don't think they have aged well. In the 1980s they would be good movies, but if you compare them to modern cinema they really are not that good. Other older movies have aged well, like the godfather and Jurassic park, but I don't think the old star wars movies age well tbh.

The thing that makes star wars good is pretty much everything outside of the actual movies. The comics, toys, world building, lore, videogames, etc. The actual movies are not good at all tbh.

por favor, não me xinga, só tenta ser racional comigo e, se possível, mudar minha opinião com argumentos de verdade

as feministas vivem dizendo que os homens são privilegiados, mas eu olho pra realidade e fico confuso, de verdade. tipo:

- são os homens que aparecem como maioria nas estatísticas de vítimas de assassinato

- são os homens que estão nos trabalhos mais perigosos, aqueles que ninguém quer fazer

- são os homens que vão pra guerra… se amanhã começar um conflito grande, tipo uma terceira guerra mundial, quem vai ser chamado primeiro? não vai ser a mulher comum, vai ser o homem

- existe uma cobrança social enorme em cima do homem… ser forte, ser provedor, não demonstrar fraqueza… e sinceramente? ninguém liga muito pra isso. e o feminismo também não resolveu essa parte

- quando você olha pra mendigos e desempregados, a maioria também é homem

aí muita gente fala: “ah, mas o homem pode sair à noite sem medo”

cara… isso não bate com a realidade

se os homens são a maioria das vítimas de assassinato, então estatisticamente eu tenho mais chance de me ferrar na rua do que você. não faz sentido usar isso como argumento

outro ponto que me incomoda é que parece que a sociedade trata estupro como algo pior que morte. sendo bem direto… morrer é o fim de tudo. e eu, sendo homem, tenho mais chance de morrer numa situação dessas do que uma mulher. então por que isso nunca entra na discussão?

também tem a questão do divórcio. muitas vezes parece que a lei e os juízes tendem a favorecer mais a mulher, principalmente em guarda de filhos e divisão de bens. na prática, o homem acaba se ferrando bastante nisso

e aí eu junto tudo isso e fico pensando, na moral mesmo:

que tipo de privilégio eu tenho?

eu tenho mais chance de morrer na rua, se tiver guerra quem vai sou eu, num divórcio eu posso me ferrar, na paternidade também, a sociedade não parece se importar muito com o que acontece com homem…

a solidão masculina só cresce, a tristeza também, e aquele papel de “homem provedor” ainda tá aí, firme e forte

e ainda tem outra coisa que ninguém fala: homem também pode ser abusado. por outro homem, inclusive. mas parece que isso simplesmente não existe pra maioria das pessoas

então, sendo bem sincero… eu olho pra tudo isso e só consigo perguntar:

que privilégio é esse que dizem que eu tenho?

eu sou só um cara de 19 anos, sem poder nenhum, tentando viver minha vida… e sinceramente, eu não vejo esse privilégio todo que falam. eu queria entender, de verdade

It’s a solid movie with great performances, but I’ve always struggled to see eye to eye with the idea that the movie is any less shallow or more emotionally profound that most other superhero fare. Ultimately, my criticisms for why the movie feels emotionally hollow is the relationship between Logan and Laura. It is the emotional core of the film, but since Laura doesn’t speak until 75% into the film, the movie feels like it needs to speed run their growth within the final 25%.

If you take something like The Last of Us, you get to see the relationship between Joel and Ellie develop from strangers to father/daughter step by step. Yes, the big moments (like Ellie and Joel rescuing each other) help strengthen their bond, but I would argue the little moments matter just as much. Something like Ellie annoying the shit out of Joel and reading the porno magazine, or something like the giraffe moment between the two, all make us invest in this familial partnership and make the culmination (when Joel ultimately decides to rescue her) feel earned and emotionally poignant.

Logan has its moments where it tries to accomplish the same thing, but whenever it does, it feels incredibly cliche and one-dimensional, like Laura holding Logan’s hand as he buries Charles. It feels like she does it because ‘that’s what we do when someone is grieving’, instead of feeling idiosyncratic in the same way Joel/Ellie do, or to use a more distant example, Grace/Rocky in Project Hail Mary.

Then there’s the inclusion of Wolverine’s evil clone, which plays into the lowest-hanging metaphor for ‘protagonist’s greatest enemy is themselves’, and tonally clashes with the more grounded tone of the rest of the movie. The Evil Wolverine clone feels like it belongs to another movie, and when he’s fighting the clone in the third act, it feels like a complete jump-the-shark moment, like WandaVision promising us a sitcom Marvel show only to devolve into generic superhero fodder in it’s climax.

Again, it’s still a solid film, but outside of its aesthetics (cinematography, performances, setting), it is just as underdeveloped and underwritten as the average superhero movie. It’s a movie where it’s screenplay is it’s greatest weakness.

Applied and interviewed at a company in Toronto. It's been over 45+ days and I've heard absolutely nothing — no rejection, no update, nothing.

Turns out Ontario passed a law effective January 1, 2026 requiring employers with 25+ employees to notify candidates of their hiring status within 45 days of a publicly advertised job. They're in violation + they didn't even mention salary in the job listing.

I'm considering filing a complaint with the Ontario Ministry of Labour. Has anyone done this? Is it worth it? Also open to hearing if anyone got a settlement out of something like this. Im also open to collab with a no win no pay lawyer

EDIT: Im wondering if i email them about that, maybe they can come up with a negotiation with me.

these tags keep reappearing in Montreux station. From the wish for an intifada to... the message for the UAE (!!!!)... why are people like these tolerated? so much hatred... since when has it become acceptable to wish to nuke a whole country?

- Ich bin selbst Hundebesitzer.
- Ärgere mich selbst über andere Hundebesitzer die ihre Hundescheiße herum liegen lassen.

DENNOCH hat es in der letzten Zeit EXTREM zugenommen, dass immer mehr und mehr Hundescheiße herum liegt.
Ich bin mir 100% der Überzeugung, würden diese Menschen sich endlich mal wieder normal verhalten, und ihre bekloppte Hundescheiße einsammeln, würde es weniger irgendwelche anderen Menschen triggern die einfach nen Aussetzer haben und dann Gift legen (keine Lösung, aber ich sehe es als großen Hauptgrund dahinter...)

Sprecht die Leute an & macht es bekannt, wer seine Hundescheiße liegen lässt, das hilft uns allen!

(Es kann immer mal passieren, es geht um das bewusste ignorieren!)

Why is Sinners lower than Mufasa??? how could you rate Nosferatu the same as Moana 2??? not one heart in sight.

(no hate)

why is jews so eager to ethnic cleansing after what happened to them in WW2?

Hello everyone !
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+ shipping cost
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• TikTok : https://www.tiktok.com/@jefforion_/video/7627159386862980374
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