But an analysis of social media suggests something else. Many people and groups on the radical and far-right are harnessing a process known as audience capture in order to influence political policy.

A group of anonymous X accounts is said to follow a “posting-to-policy” strategy. These accounts – some of which are run by disaffected Westminster professionals – post to inject their grievances into online discourse.

To explore this dynamic, and how Reform’s recent u-turn has been shaped by it, we analysed the online networks that drove conversation about “mass deportations” on X over the past year. Using computational methods, we identified four distinct sub-communities defined by their retweet relationships. These sub-communities were formed around far-right influencers, radical right influencers, Advance UK/free-marketeer influencers – and around the Reform party.

Discussion of mass deportations in 2024 was almost exclusively dominated by the far-right and the anonymous accounts of the radical right. Fast forward to April 2025 and we find Lowe, Habib and a wider range of rightwing influencers have entered the conversation in support of the policy.

Finally, in September, following Reform’s August announcement, you can see Farage and key Reform personnel supplant the influencers as players in a movement they had little role in creating. In doing so, the party has aligned itself with a policy that less than a year ago it vehemently rejected.

Inside the far-right social media ecosystem normalising extremist ideas in UK politics

A process of normalisation has led Reform to propose mass deportations where once it believed such a policy would never be politically viable.

^{The Conversation}

Crédito: Tomaz Silva/Agência Brasil

A FAVELA SANGRA, E O PAÍS FINGE NORMALIDADE

Nas coberturas à beira–mar, a vida segue, porque o sangue derramado não mancha o piso de mármore

https://diplomatique.org.br/a-baba-a-favela-e-o-centro/

Bending Spoons, the company behind Evernote, Meetup, StreamYard and WeTransfer is acquiring AOL from Yahoo!'s new owner, Apollo Global Management, for $1.5 Billion.

the-independent.com/news/world… (Archive]

https://www.bloomberg.com/opinion/articles/2025-10-29/oil-subsidies-are-bad-exporting-7-5-billion-of-them-is-worse?accessToken=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJzb3VyY2UiOiJTdWJzY3JpYmVyR2lmdGVkQXJ0aWNsZSIsImlhdCI6MTc2MTc0MDEwOCwiZXhwIjoxNzYyMzQ0OTA4LCJhcnRpY2xlSWQiOiJUNFc1QTVHUEZITVMwMCIsImJjb25uZWN0SWQiOiIxMkE1QzVFRUNERDg0NUJEQjVFOTM1MUE0Mzk4QTAxNCJ9.StoLq-Mr46TeGd-D_pV7bmtPAvUaE2D4j8NnE2yPdTk

Authorities at Prague airport detained an Israeli soldier who actively helped the terrorist state commit genocide. Israeli soldier denied entry into the Czech Republic after a 15-hour detention.

Great Job Prague

An Israeli Soldier who fought in Gaza and Lebanon was detained for hours at Prague’s international airport and denied entry to the Czech Republic. pic.twitter.com/yRI6E6vHwG

— Ryan Rozbiani (@RyanRozbiani) October 29, 2025

According to ynet Global, the man travelled to Prague with his wife “after months of reserve duty.” Or, in other words, after months of murdering innocent Palestinians. Hilariously, he also claimed they ‘treated him like a criminal.’ Funny that.

In the end, the couple had to pay for their own return tickets and lost their holiday.

Reports suggest he was denied entry to the Schengen Area after French authorities issued a well-earned criminal alert against him in the Schengen Information System. Authorities put them through 15 hours of questioning before deportation to Israel.

Israeli soldier denied entry: No safe haven for war criminals.

He claimed:

I don’t understand why we’re being deported or what I supposedly did that led to this kind of ‘warning’ against me.

These people are so far removed from reality that they don’t realise that committing genocide might raise the occasional red flag when travelling internationally.

this is how we must respond to all them genocidal cunts who get off on killing innocent people. exclude them, make it known that they are not welcome anywhere. t.co/h8x38et9ve

— ف (@jiminilvrs) October 29, 2025

The Schengen zone prevents travel for individuals with certain criminal records, including drug trafficking and murder. While the Schengen criteria don’t explicitly include ‘war crimes’ or ‘genocide’ in black and white. But anyone with a brain can put two and two together.

He also tried to suggest that someone had stolen his identity and used it to commit serious crimes. Again, did murdering babies slip his mind?

Good, I hope other countries follow suit t.co/ElpospykYf

— MillieMN001 (@MillieMN001) October 29, 2025

May this be the beginning of a worldwide response. No safe haven for war criminals. t.co/GL3AiMVeMJ

— Jugni (@kikigee24) October 29, 2025

Earlier this month, British lawyers said that British courts can now try and jail Brits who served in Israel’s genocide, under the Foreign Enlistment Act. This is thanks to the UK finally recognising the Palestinian state. However, the law cannot be applied retrospectively. This means that those who have served in the IDF over the two years prior to September will effectively get away scot-free.

Declassified UK have previously reported that 80 Brits were serving in the Israeli military on 7 October 2023. This raises questions about a future in which the UK will have baby-murdering ex-IDF soldiers roaming the streets.

One of these days we will be arresting them for their warcrimes and putting them on trial. t.co/ulAQ14kONt

— Dianne Woodward (@WoodwarddianneJ) October 29, 2025

It’s sickening that IDF soldiers feel such entitlement for their little autumn holiday, after trapping 2 million Palestinians in Gaza while they’ve besieged it into oblivion

Now, if a certain British prime minister could stop inviting violent Israeli thugs and war criminals into the UK, that would be great.

It’s hard to overstate just how bizarre it is that something as nonsensical as “BE CV BK 2025 -R-D” has taken over Facebook and even started creeping into Google search results. This strange code — which looks like some mix of a fake model number, a coded message, and a bot gibberish tag — has appeared in thousands of posts across Facebook. And what’s wild is that, despite being so obviously a scam, so clearly fraudulent, so transparently fake, it’s everywhere. The fact that it’s not being widely discussed, not being reported on by major outlets, not being taken down effectively by Facebook, makes the whole thing even more insane.

You can go on Facebook right now, type that code into the search bar — “BE CV BK 2025 -R-D” or “BE CV BK.2025 -R-D” — and what you’ll find is a flood of the same kinds of posts. Some are in different languages. Some use emojis. Some pretend to be part of “puzzle groups” or “mystery challenges.” Others are just random accounts spamming the same text over and over again, often accompanied by weird links, grainy photos, or random “game” announcements. But the one thing they all share is the same exact scam code.

The strangest part is that this isn’t just some obscure niche spam chain buried deep in Facebook’s murky corners. It’s out in the open. Public groups. Public pages. Public posts. You can find it by simply searching. It’s like the digital equivalent of walking through a city and seeing “SCAM” graffiti plastered across every wall — and somehow, no one’s talking about it.

That’s what makes this whole “puzzle scam” phenomenon feel so surreal. It’s not hidden. It’s not subtle. It’s right there in plain sight. And yet, despite being so blatant, it’s spreading like wildfire.

It’s easy to see why the “puzzle” angle works. These kinds of scams often rely on curiosity — on the human desire to “figure out” something mysterious. The code looks cryptic enough to seem like there’s a deeper meaning behind it. “BE CV BK 2025 -R-D.” It almost feels like it could be a secret message, or a part of a viral challenge, or some kind of ARG (alternate reality game). And that’s what hooks people in. Someone sees a friend post it. They think, “What is this? Is this some new Facebook game? Is this part of something?” And before long, they’re clicking links, joining groups, following instructions, or even sharing the post themselves — unknowingly helping to spread the scam further.

The entire design of this “puzzle” is meant to exploit one of the simplest psychological triggers: curiosity. Humans are hardwired to seek answers, especially when something looks like a code or a mystery. Scammers have known this for years — that’s why “riddles,” “tests,” “IQ puzzles,” and “hidden messages” have long been a popular front for phishing scams, malware links, and data-harvesting schemes. This particular Facebook scam just takes that formula and dresses it up with a meaningless code that looks intriguing to the untrained eye.

But what’s really unsettling about this whole thing is just how many posts there are. It’s not just a handful of scammers copying and pasting the same message. There are thousands. Some of them are weeks or months old. Others are being posted in real time. The scam has evolved into a kind of bot swarm, almost like a virus that keeps replicating itself across the platform. And the lack of any large-scale intervention from Facebook makes it even worse.

You’d think a platform with as much power, as much data control, and as much AI filtering as Facebook would be able to catch something as blatantly repetitive and nonsensical as this. But nope. The scam lives on, thriving. And that’s what’s disturbing. The scammers have found a way to stay one step ahead — maybe by slightly changing punctuation, or spacing, or formatting, to keep slipping past Facebook’s algorithmic filters. The difference between “BE CV BK 2025 -R-D” and “BE CV BK.2025 -R-D” might be enough to fool automated moderation systems.

And meanwhile, the rest of us are just sitting here, watching this nonsense flood our feeds, while hardly anyone seems to be calling it out.

It’s a sign of how desensitized we’ve all become to online spam. There’s so much garbage on the internet — from fake giveaways to impersonation accounts to AI-generated comment bots — that something like this barely registers anymore. The absurdity of a code like “BE CV BK 2025 -R-D” showing up everywhere doesn’t even faze people anymore. We’ve reached a point where mass spam has become so normalized that people just scroll past it without question.

But the danger here isn’t just about annoyance. It’s about what’s behind these scams. Many of these “puzzle” posts are actually phishing attempts or clickbait traps that redirect users to shady sites. Others use the puzzle format to get users to comment, share, or click a “Continue” button — all tactics designed to collect engagement data or personal information. And then there’s the possibility that some of these are part of larger coordinated bot networks — networks designed not just to scam individuals, but to manipulate engagement metrics, artificially inflate content visibility, or even test out new spam strategies that can later be used in political or commercial manipulation.

That may sound far-fetched, but it’s not. Facebook has long been a testing ground for disinformation and bot campaigns. If scammers can flood the platform with something so meaningless yet widespread, imagine what they can do when they actually put some effort into it.

What’s also strange is how the scam has spread to Google. Search “BE CV BK 2025 -R-D” and you’ll see that it’s indexed in all kinds of pages — cached Facebook links, random blog comment sections, obscure reposting sites. The digital footprint of this nonsense code is massive. And that means it’s not just a Facebook issue anymore. It’s become part of the broader web ecosystem, another layer in the weird, polluted strata of modern internet junk data.

It’s almost poetic, in a depressing way. The internet used to be about connection, creativity, and genuine curiosity. Now that same curiosity — the thing that once drove people to explore and learn — is being weaponized against them. Instead of solving puzzles for fun, people are being tricked into interacting with spam. Instead of decoding art or mystery, they’re decoding scams. And it’s not even subtle anymore.

What’s wild, too, is that Facebook users themselves are often the ones unknowingly keeping it alive. The bots can only do so much — but when real people start engaging, commenting, sharing, or trying to “warn” others by reposting the code, that activity actually boosts the visibility of the scam. Facebook’s algorithm doesn’t care why something is getting engagement — it just sees numbers. So every time someone posts, “Don’t fall for BE CV BK 2025 -R-D, it’s a scam!”, that post can ironically push the code further up the visibility ladder, leading even more people to see it.

The whole thing feels like an ouroboros of internet stupidity — a self-feeding loop where spam generates attention, attention generates engagement, and engagement keeps the spam alive.

And maybe that’s the most disturbing part of all: how effortless it’s become for something like this to go viral without any real content behind it. It doesn’t even have to make sense. It doesn’t have to be convincing. It doesn’t have to look real. It just has to exist in large enough quantity to trick the algorithm.

It’s a perfect reflection of how broken online ecosystems have become. In the old internet, scams had to at least try to look legitimate — a fake website pretending to be your bank, or a phony giveaway with a convincing logo. Now? All it takes is a random string of letters and numbers, a few thousand bot accounts, and a platform too busy or too lazy to do anything about it.

Facebook’s failure to stop something this blatant speaks volumes. It’s not just an oversight — it’s a sign that their moderation systems are reactive, not proactive. They’re so focused on surface-level metrics that something like this can thrive indefinitely. And in that sense, the “BE CV BK 2025 -R-D” code becomes more than just a scam. It becomes a symptom. A sign of decay. Proof that the systems that were supposed to protect users from obvious manipulation are no longer functioning as intended.

It’s worth asking: what’s the endgame here? What’s the point of this code? Is it just engagement farming? A front for phishing? A bot experiment? Or is it something even weirder — an automated system left to run amok, spamming for the sake of spamming?

At this point, no one really knows. But that’s the scary part — no one’s really trying to find out, either. The internet is so overloaded with noise that even something this widespread can go largely unnoticed by the mainstream. People see it, shrug, and move on.

That’s how scams survive. Not because they’re convincing, but because people have stopped caring enough to investigate.

Maybe that’s the biggest takeaway from the “BE CV BK 2025 -R-D” puzzle scam — not just how it spreads, but what it reveals about us. We’re living in a time where nonsense thrives because attention is cheap. Where scams succeed not through sophistication, but through sheer saturation. Where even the most absurd, poorly disguised fraud can blanket an entire social network and nobody blinks.

The “BE CV BK 2025 -R-D” code isn’t just a scam — it’s a mirror. A reflection of an online culture that’s too burned out, too overwhelmed, and too desensitized to call out the obvious anymore.

And maybe, until more people start noticing the sheer absurdity of things like this, we’re going to keep seeing the same pattern play out — again and again — until our feeds are nothing but codes, spam, and empty noise pretending to be meaning.

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When adapting a beloved game like Life is Strange to television, some narrative choices from the original medium need reevaluation. One of the most significant of these involves the reunion between Max Caulfield and Chloe Price. In the game, Max doesn’t immediately recognize Chloe after returning to Arcadia Bay. While this works in an interactive gaming context—where the player experiences discovery and uncertainty—television is a different medium. The audience needs to understand character relationships quickly and believably. Asking viewers to accept that Max, who is socially aware and digitally connected, wouldn’t recognize her long-time friend stretches plausibility. For the TV adaptation, a more realistic approach is necessary: Max and Chloe should reconnect in a way that honors their history and establishes their friendship immediately, even if that means altering the original story slightly.

From the outset, television can utilize modern communication tools to create a believable setup. Max, returning to Arcadia Bay after months or years away, might naturally reach out to Chloe via text or social media, signaling both initiative and awareness. This small act immediately conveys several character traits: Max is thoughtful, proactive, and still invested in her old friendships. A brief exchange—Max sending a simple “Hey, I’m back in town” message—grounds the interaction in reality while opening the door to dramatic tension. Chloe’s reply, perhaps teasingly noting she’s been busy, mentioning she might be seeing someone on campus, or suggesting they catch up later, establishes the social and emotional dynamics of their renewed connection. This approach preserves narrative tension without relying on an implausible lack of recognition.

This reconnection also reinforces the continuity of the characters’ histories. In the game, Max’s initial confusion creates a sense of estrangement, which can feel artificial in a television adaptation. Audiences watching the show know these characters have shared a deep past, full of memories and emotional weight. By allowing Max to recognize Chloe immediately, the show honors the audience’s expectations and strengthens the emotional core of their friendship. The characters’ bond is not invented or discovered slowly; it is remembered and rekindled, which makes their interactions more meaningful and their stakes more personal when extraordinary events unfold.

Introducing this adjustment also allows the show to explore more nuanced character dynamics. Chloe, aware that Max has been away, may express a mix of relief, skepticism, and guarded optimism. She might hint at her own growth or changes in her life—new friends, a potential romantic interest, or experiences she’s had in Max’s absence. Max, in turn, could reveal her anxieties, insecurities, or the reasons she stayed away. This dialogue creates a layered, believable reunion that conveys emotional depth while setting the stage for future narrative arcs. It also helps establish Chloe as a fully realized character, not just a catalyst for Max’s story. Television affords these small but significant character beats, which might be overlooked or handled differently in a game.

Another advantage of this approach is pacing. A believable reconnection early in the series allows the show to move quickly into central plot developments—Max’s powers, the mysterious tornado, the unfolding mysteries of Arcadia Bay—without spending excessive time on an implausible estrangement. By establishing their friendship from the outset, the series can use the emotional resonance of their bond to heighten suspense, drama, and moral stakes. The audience immediately cares about their relationship, so when supernatural or catastrophic events occur, the impact is more intense. Their connection feels earned and real, rather than artificially constructed by delayed recognition.

Social media and texting also provide a realistic lens for contemporary storytelling. Unlike the early 2010s setting of the original game, the TV adaptation can depict Max and Chloe as digitally connected characters. Max may have seen Chloe’s new hair color, changes in style, or other indicators of her evolving personality online. This allows the reunion to be rooted in plausibility: Max recognizes Chloe instantly, while Chloe’s personality and experiences during Max’s absence are subtly conveyed. These small narrative choices communicate both continuity and realism, ensuring that viewers accept the reunion without questioning character logic.

This revised approach also opens opportunities for tension and narrative layering. For instance, Chloe’s reply to Max could include a hint that she’s wary of reconnecting, or that she’s currently engaged in other social or romantic entanglements. Max might respond with humor, hesitation, or self-deprecation, signaling both her eagerness to reconnect and her awareness of the complexities of Chloe’s life. These small exchanges create dramatic depth and set up future conflicts or dilemmas, which are essential for a serialized television narrative. They also reinforce the central theme of friendship and choice: the decisions Max and Chloe make early on will echo throughout the story.

From a character development perspective, this adjustment allows the show to portray Max as socially aware and emotionally mature. In the game, her initial failure to recognize Chloe could be interpreted as a narrative convenience. On television, however, audiences expect characters to act in ways that are consistent with their established traits. Max is intelligent, observant, and digitally connected; it makes sense that she would remember Chloe and take proactive steps to reconnect. By aligning behavior with characterization, the show avoids jarring inconsistencies and ensures that viewers can fully invest in the narrative.

Additionally, establishing their connection early creates opportunities for foreshadowing and thematic resonance. As Max and Chloe rekindle their friendship, subtle visual or narrative cues can hint at the supernatural and temporal elements to come. Their conversation might take place against a backdrop of environmental anomalies, minor temporal distortions, or other subtle Easter eggs that signal to the audience that Arcadia Bay is not ordinary. These details, woven into a realistic reunion, maintain tension and intrigue without undermining the believability of the characters’ interactions.

This approach also deepens emotional stakes. In the TV adaptation, when extraordinary events occur—Max manipulating time, Chloe facing danger, the tornado threatening Arcadia Bay—the audience will feel the weight of their bond more acutely. Because their friendship was never artificially erased or delayed, viewers perceive it as authentic and enduring. The consequences of Max’s choices, Chloe’s risks, and the unfolding mysteries carry greater emotional resonance because the show has established that these characters genuinely care for each other. The dramatic tension is therefore amplified by a foundation of relational realism.

A more immediate reunion also allows for creative storytelling opportunities that the game did not explore. For instance, early dialogue could hint at Chloe’s personal struggles or past traumas in Max’s absence, which can be revisited in later episodes to enrich character arcs. Max’s awareness of Chloe’s social or romantic entanglements introduces subtle interpersonal tension, creating narrative threads that pay off in later episodes. By integrating these relational dynamics early, the show can weave together character-driven and plot-driven storytelling in a way that feels organic and compelling.

Moreover, this adjustment reinforces one of the series’ core themes: connection and reconnection. Life is Strange is a story about relationships, memory, and the choices that shape lives. By allowing Max and Chloe to reconnect in a realistic, modern way, the show foregrounds this theme from the beginning. Their friendship is not discovered belatedly; it is rekindled thoughtfully, emphasizing the enduring nature of bonds even across distance and time. This sets the tone for the narrative’s exploration of consequence, choice, and the ways relationships evolve under extraordinary circumstances.

The adjustment also has visual and narrative advantages. Television can use visual cues to highlight the characters’ familiarity and comfort with each other. A text message notification can trigger a small smile or nervous glance from Max. Chloe’s reaction to seeing Max on campus can be layered with subtle body language: recognition, surprise, warmth, and guarded optimism. These cues create a rich, cinematic portrayal of friendship that transcends dialogue alone. By combining dialogue, visuals, and pacing, the show communicates both emotional depth and narrative clarity.

This reconnection also resolves a potential implausibility in the game. In reality, even if Max and Chloe had drifted apart, it is highly unlikely that Max would fail to recognize her friend after months or years, especially given social media awareness. By addressing this directly, the show respects audience intelligence and avoids stretching plausibility. Viewers can immediately accept the reunion as natural, which allows them to focus on the drama, suspense, and supernatural elements of the story rather than questioning basic character logic.

In addition, this approach enriches the pacing of early episodes. With the reunion established from the beginning, the show can quickly transition into the central mysteries: Max’s powers, environmental anomalies, and the tornado that threatens Arcadia Bay. Because viewers understand the characters’ emotional stakes, these plot developments land with greater impact. The audience is already invested in Max and Chloe’s bond, so every decision, every risk, and every supernatural event resonates more deeply.

Finally, this adjustment highlights television’s ability to enhance narrative plausibility while remaining faithful to the spirit of the original game. Max and Chloe’s friendship, rooted in history and rekindled realistically, maintains the emotional core of the story. Minor changes—texting, acknowledgment of social media awareness, and early dialogue about personal lives—make the reunion believable and relatable without undermining plot or thematic elements. By establishing their connection early, the show can deliver an emotionally resonant, suspenseful, and engaging adaptation that honors both characters and narrative while making necessary adjustments for a modern, serialized television format.

In conclusion, the TV adaptation of Life is Strange should revise the Max-Chloe reunion to reflect realism and modern social dynamics. Max should recognize Chloe immediately, reconnecting via text or social media after months or years apart. Chloe’s response can hint at current social or romantic dynamics while leaving room for future narrative tension. This approach strengthens character development, honors audience expectations, establishes emotional stakes, and allows the series to move efficiently into central plotlines. By creating a reunion grounded in plausibility, the show preserves the spirit of Max and Chloe’s friendship, enhances narrative coherence, and ensures that viewers are emotionally invested from the very first episode. A believable, early reconnection is not just a minor change—it is essential for selling the characters’ bond, maximizing emotional resonance, and anchoring the extraordinary events of Arcadia Bay in a foundation of authentic friendship.

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The beginning of a television adaptation is the foundation upon which everything else rests. For Life is Strange, the game opens in media res, with Max glimpsing a terrifying tornado flash-forward during her photography class. While this works interactively, television requires a more deliberate approach. Audiences are passive viewers, so they need context, character, and world-building before being confronted with apocalyptic visions. In my vision for the opening of the Life is Strange TV show, the very first scene should immediately establish Max as a character, her environment, and her passions, while hinting at the supernatural elements that will define the series. There is no better way to do this than to begin with Max taking the Everyday Heroes contest selfie.

Starting the show with this selfie scene accomplishes multiple narrative goals efficiently. Max is meticulously composing her shot, adjusting angles, lighting, and framing, immediately establishing her perfectionism, her artistic eye, and her attention to detail. Torn-up photos litter the floor around her, visual evidence of her self-critical nature. These details convey that Max is both insecure and highly disciplined, providing immediate insight into her character without dialogue. At the same time, the setting—a dorm room or photography classroom—anchors the audience in her daily life. We know who she is, where she is, and what she cares about, all before the story escalates to extraordinary events. This grounding ensures that when the series later introduces supernatural or catastrophic elements, the audience is emotionally invested in Max’s perspective.

From this opening, the series can transition smoothly into the broader Day 1 narrative. Max’s morning could continue with small, seemingly mundane interactions that reveal character and relationships. A brief conversation with a roommate about the contest might demonstrate her humility and her social anxieties. A casual exchange with a peer in the hallway could hint at her self-conscious nature, reinforcing her perfectionism. These grounded moments allow the audience to understand Max as a fully realized character, rather than as an avatar for player choice. Television thrives on subtle, visual storytelling, and these early interactions provide the scaffolding upon which the series’ emotional stakes can be built.

Once the audience is grounded in Max’s character and daily routine, the show can begin to introduce subtle anomalies that hint at the larger supernatural and temporal narrative. These could be phenomena that were minor Easter eggs in the game, now elevated to narrative significance. Perhaps Max notices her camera briefly capturing ghostly streaks of light that aren’t visible to the naked eye, or she sees shadows shifting unnaturally in peripheral vision. Objects might flicker or move slightly when she isn’t looking directly at them. These anomalies should be subtle enough not to dominate the narrative but noticeable enough that attentive viewers sense that Arcadia Bay is not quite ordinary. By seeding these supernatural cues early, the series builds tension gradually, making the eventual tornado flash-forward feel less like a jarring intrusion and more like the natural escalation of events.

Chloe Price, a central figure in Max’s life, should also be introduced early in this Day 1 build-up. Her appearance should feel organic, emerging naturally from Max’s routine. Perhaps Chloe bursts into the dorm room to tease Max about obsessing over the perfect shot or jokingly critiques her selfie attempt. Their interaction should capture both affection and tension, establishing the complexity of their friendship immediately. By grounding Chloe’s introduction in a shared moment with Max, the show reinforces their bond and sets up emotional stakes for the tornado and other climactic events later in the series. Television can capture nuance through gestures, pauses, and visual framing, which allows the depth of their relationship to resonate without needing extended exposition.

Environmental world-building is another crucial component of the Day 1 sequence. Arcadia Bay should feel like a living, breathing town from the outset. The show can depict local shops, students walking to class, teachers interacting, and minor townspeople engaging in everyday activities. Subtle signs of unusual phenomena could be scattered throughout: birds flocking erratically, a local news report mentioning unexplained weather patterns, or power fluctuations at Blackwell Academy. By integrating these details organically into Max’s first day, the series communicates that the world is layered, with ordinary life intersecting with extraordinary anomalies. Viewers perceive these cues as foreshadowing, even if they are initially background elements.

Max’s photography, introduced with the contest selfie, should remain a through-line throughout Day 1. Her camera serves not just as a tool for art but as a lens for observing the world and capturing subtle temporal or environmental distortions. Perhaps she takes a casual photo of Chloe or the dorm hallway and later notices anomalies in the developed image—slight streaks, unexpected reflections, or blurred figures. These anomalies could serve as narrative breadcrumbs, hinting at Max’s latent powers and the story’s overarching temporal themes. By grounding these supernatural hints in Max’s established interests and habits, the series maintains coherence between character and plot while rewarding attentive viewers.

The Day 1 sequence should also emphasize Max’s internal perspective. Television can achieve this through visual motifs, voice-over narration, and cinematic framing. Early glimpses into her thoughts—her self-critical tendencies while reviewing photos, her curiosity about unusual events, or her anxious anticipation about the contest—invite the audience into her consciousness. By establishing this internal viewpoint from the outset, the show ensures that subsequent events, including the tornado flash-forward and later moral dilemmas, carry emotional weight and narrative clarity. Audiences are invested not just in what happens, but in Max’s experience of it.

As Day 1 progresses, the show can gradually build toward the first tornado vision. Subtle environmental cues introduced earlier—the flickering lights, distorted shadows, anomalies in photographs—can escalate in intensity. Papers might swirl unnaturally, distant objects might appear to bend or shimmer, or the wind could carry a strange, almost musical tone. These cues set up a tense, suspenseful atmosphere, culminating in Max glimpsing the tornado flash-forward. By the time this vision occurs, viewers are already primed: they understand Max, her environment, her friends, and the subtle strangeness in her world. The tornado sequence is no longer a sudden shock but the natural escalation of an intricately constructed opening day.

The opening Day 1 narrative also allows for foreshadowing of moral and thematic stakes. Max’s perfectionism, demonstrated through discarded photos and her obsessive attention to detail, mirrors her later struggle with the limits of her powers. Her curiosity and observational nature, highlighted through photography, foreshadow her eventual confrontation with temporal anomalies and the tornado. Chloe’s presence establishes relational stakes, creating tension around the moral and emotional choices Max will face. By interweaving these narrative threads into the first day, the show prepares the audience for the complex interplay of character, choice, and consequence that defines the series.

Furthermore, Day 1 is an opportunity to explore subtle humor and teen drama, balancing the supernatural tension with relatable, grounded moments. Max’s interactions with classmates, her quiet frustration at imperfect photos, and Chloe’s playful teasing provide levity and emotional texture. These grounded moments make the extraordinary elements—the temporal anomalies, environmental distortions, and the tornado flash-forward—feel more impactful by contrast. By balancing humor, drama, and suspense, the opening episode establishes the tonal rhythm of the series, signaling to the audience that Life is Strange blends everyday life with extraordinary, sometimes frightening, events.

The Easter eggs from the original game can be elevated in Day 1 into meaningful narrative hints. Minor anomalies, hidden messages, or peculiar behaviors by background characters can become threads that the show can revisit in later episodes. For example, a fleeting glimpse of a strange symbol on a bulletin board or an NPC reacting oddly to Max’s photography can be introduced casually but carry significance later. Television allows the audience to perceive and ponder these subtle details, creating a layered, immersive narrative where the world itself feels alive and unpredictable.

Max’s latent powers can also be subtly foreshadowed during Day 1. She may notice small distortions—objects behaving unpredictably, déjà vu moments, or anomalies in her photographs. These hints signal that her abilities are emerging and that the world around her is not entirely ordinary. By presenting these cues gradually, the show creates suspense and prepares the audience for the central role Max’s powers will play in shaping both character development and narrative outcomes.

By grounding Day 1 in Max’s routine—her selfie, interactions, observations, and subtle environmental oddities—the series establishes both character and narrative foundations. Viewers understand her personality, her relationships, and her environment while being gently primed for the extraordinary events to come. When the tornado flash-forward finally occurs, it lands with both visual and emotional impact, reinforcing the stakes and the significance of Max’s powers, choices, and limitations.

Finally, this approach ensures cohesion between character development, thematic resonance, and narrative escalation. Max’s perfectionism and insecurity, her observational skills, her relationship with Chloe, and the subtle anomalies of Arcadia Bay all converge in Day 1 to create a rich, layered opening. The tornado vision becomes more than a shock; it is the culmination of an intricately constructed day that grounds viewers in Max’s world, establishes emotional stakes, and foreshadows the supernatural and temporal challenges of the series. By starting the show with Max’s Everyday Heroes selfie and carefully building her first day, the adaptation honors the spirit of the game while exploiting television’s strengths: visual storytelling, character depth, and immersive pacing.

In conclusion, the Life is Strange TV adaptation should begin with Max taking the Everyday Heroes contest selfie, a brief but powerful scene that immediately conveys character, environment, and tone. From there, the first day unfolds with grounded, relatable interactions, subtle Easter eggs, environmental anomalies, and hints of Max’s latent powers. Chloe’s introduction, town-building, and minor supernatural cues create narrative tension and foreshadow the tornado. This opening episode balances humor, drama, suspense, and thematic resonance, ensuring that the audience is invested in Max, Chloe, and Arcadia Bay before the story escalates. By integrating these elements thoughtfully, the show can craft a compelling, immersive first episode that lays the foundation for the emotional and narrative journey to follow, blending ordinary life with extraordinary events in a way that is both faithful to the game and enhanced by television storytelling.

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Oggi… e ieri… e forse anche l’altro ieri… mi trovo forse in un bel po’ di rotting, che è ahimè l’unica reazione che mi è sia permessa (a differenza di cosa io preferirei fare…) che praticamente possibile (a differenza di cosa sarebbe in realtà meglio fare…) all’infinita disperazione che si sviluppa dentro di me a […]

octospacc.altervista.org/2025/…

minioctt

2025-10-29 23:02:34

Pignianza mediastica con l’aggiunta di gaming, il che ci porta verso cose più epiche!

Oggi… e ieri… e forse anche l’altro ieri… mi trovo forse in un bel po’ di rotting, che è ahimè l’unica reazione che mi è sia permessa (a differenza di cosa io preferirei fare…) che praticamente possibile (a differenza di cosa sarebbe in realtà meglio fare…) all’infinita disperazione che si sviluppa dentro di me a causa dei parametri della mia esistenza e delle interferenze (o mancate tali) del mondo universale in essa… Ormai, anche dormire ben 10 ore non è più sufficiente a riparare le mie crepe interiori. 😱

In tutto questo marcire, però, è da sabato o forse addirittura venerdì che non faccio nemmeno il minimo gaming!!! Estremamente tragico, lo so, e forse sarà il cambio d’orario che mi ha fatto perdere energia vitale fino a questo punto, ma non importa… perché da ora (cioè, da sabato e domenica, in cui almeno ho fatto della pazza programmazione anziché il più sano niente), il mio Pignio si occupa anche di gaming passivo, per così dire, oltre che dei miei memini particolari e pericolosi. 😳

Infatti, da un lato ho aggiunto delle nuove funzioni specifiche per l’editing video — tagliuzzamento e incollamento, che in realtà sono solo un inizio, perché ne dovrei aggiungere varie altre, così come strumentopoli per le foto — e contemporaneamente, proprio approfittando di questi affari che torneranno molto utili al caso, ho scaricato il mio intero album di Nintendo Swiss sul server (solo dal 2022 ad oggi, però… la roba degli anni precedenti fu trasferita fuori tempo addietro, e ora chissà dove è finita), goduriosamente navigabile. E, per quanto passivo, perché è solo guardare senza fare, è pur sempre gaming al 100%. 👍👌💥

Per ora è pubblico… semplicemente perché in Pignio non ho ancora nessuna funzione per impostare elementi o cartelle private. Questo è sicuramente un po’ ops in generale, ed è una mancanza a cui dovrò lavorare… ma, in questo caso specifico non è un problema; voglio dire, non ci sarà nulla di sensibile in un album che contiene solo catture di videogiochi, considerato che Switch non ha una fotocamera come invece il 3DS ha (di quello, l’album decisamente non potrei dumparlo sul clear web come se nulla fosse…)… spero. Al massimo c’è qualche dimostrazione di miei problemi di skill, ma sono già così nota per averne tanti e tanti che qualche clip in più non mi rovinerà la reputazione. 🥱

Fare questo gran trasferimento mi serviva perché mi sono resa conto che, quando mi serve una cattura particolare per qualcosa, come un articolo, dal marasma di tutte le mie tracce audiovisive di gaming faccio grande fatica a trovarla; dalla console in primis, ma da qualsiasi gestore di file su PC o smartphone ancora di più. Pignio non solo ha di base un’interfaccia estremamente ottimizzata per trovare aghi multimediali in pagliai di file, ma posso aggiungere anche titoli, descrizioni, commenti, tag, organizzare tutto in collezioni… a distanza di mesi dalla prima versione, è ancora davvero così fottutamente rivoluzionario. Inoltre, boh, posso al volo ritrovare i momenti videoludici anche solo per linkarli ovunque quando serve, da qualsiasi dispositivo. 🤗

Il passo successivo sarebbe creare un homebrew per caricare la galleria di Nintendo Switch su Pignio in automatico, grazie alla API… ma per ora dovrò accontentarmi di scaricare manualmente dalla console le catture che via via produco. Se non altro, visto che ho implementato quelle funzioni di editing di cui sopra, posso riorganizzare con estrema facilità i videini non perfetti: tagliare eventuali eccessi, con un’interfaccia persino più goduriosa di quella di Nintendo (che di per sé ritengo già molto meglio che fare tagli con qualsiasi altro programma), ed unire video distinti in uno più grosso, che è invece utile per quelle registrazioni fatte di 30 secondi in 30 secondi. 🎗️

Ne ho poi approfittato per fare persino un’altra cosa… Visto che, da un lato, i browser web iniziano a macinare malissimo quando a schermo sono presenti decine di video riprodotti contemporaneamente, cosa che succederebbe nelle schermate di listino dei media sul Pignio… e, dall’altro, dato che l’album di Switch è sul disco esterno USB lento in culo (perché non ho spazio sull’SSD interno del server)… ho implementato la generazione di miniature in formato GIF per tutti i video, e ne sono alquanto ingolosita. Non occupano troppo spazio, sono veloci tanto per il server da inviare quanto leggere per il client da mostrare, ma non appiattiscono l’anteprima di video a noiose immagini statiche. 🤯

…Ora che però sono riuscita a convincere chiunque nel leggere quello che è un devlog di Pignio mascherato da qualcosa di non molto chiaro, vagamente a che fare con il gaming, mi sembra anche giusto dire che mi sono decisa anche a creare un sito di documentazione per l’affarino, che tornerà tanto più utile quanto più sarà allargato: octospacc.github.io/Pignio/. E, con pure il Docker comodo ora fornito, chiunque si trova qui a leggere non avrà mai più scuse che reggono per non installare il Pignio sui propri server, ed integrarlo anche pesantemente nella propria vita quotidiana… forza!!! (Ovviamente, qualora aveste difficoltà nonostante i documenti, non esitate a pregare per il mio aiuto.) 🥴

#devlog #gaming #media #Pignio

Pignio 📌

Pignio is your personal self-hosted media pinboard, built on top of flat-file storage.

^Pignio

Right-wing podcaster Brandi Kruse filming ICE agents shooting pepper balls at peaceful protesters from the rooftop of the ICE facility

Portland OR, 10/25/2025

Taranto, who was found with illegal guns and ammunition near Obama’s house, was convicted of those charges in May. In their memo Tuesday, Valdivia and White, asked a judge to sentence Taranto to 27 months in prison.

Laying out the factual background of their request, Valdivia and White told the court Taranto participated in the Jan. 6 attack and subsequently spread conspiracy theories about it.

DOJ Puts Prosecutors On Leave For Accurately Describing Jan. 6 Attack - Democracy Docket

The Department of Justice (DOJ) this week placed two federal prosecutors on leave after they wrote in a court filing that on Jan. 6, 2021, “thousands of people comprising a mob of rioters attacked the U.S.

^{Democracy Docket}

https://apnews.com/article/no-kings-protest-shooting-salt-lake-city-45a04fb74a09dfaa7140ce395cf7246c

Quick reaction to help people? Like in a disaster?

No.

Revealed: Pentagon orders states’ national guards to form ‘quick reaction forces’ for ‘crowd control’

Pentagon memo details plan to train over 20,000 national guard members across the US to carry out Trump’s order on subduing civil unrest

^{Aaron Glantz (The Guardian)}

As artificial intelligence reconfigures every dimension of our societies—from labor markets to classrooms to newsrooms—we should remember the Luddites. Not as caricatures, but in the original sense: People who refuse to accept that the deployment of new technology should be dictated unilaterally by corporations or in cahoots with the government, especially when it undermines workers’ ability to earn a living, social cohesion, public goods, and democratic institutions.

Journalists, academics, policymakers, and educators—people whose work shapes public understanding or steers policy responses—have a special responsibility in this moment: To avoid reproducing AI hype by uncritically acquiescing to corporate narratives about the benefits or inevitability of AI innovation. Rather, they should focus on human agency and what the choices made by corporations, governments, and civil society mean for the trajectory of AI development.

This isn’t just about AI’s capabilities; it’s about who decides what those capabilities are used for, who benefits, and who pays the price.

We should all be Luddites

Courtney Radsch discusses rehabilitating the idea of Luddites as people concerned with the control and impact of technology.

^Brookings

Video link -> video.twimg.com/ext_tw_video/1…

Source -> xcancel.com/JustCherry__/statu…

Also, this is a list of games NK people can play:

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