Published on 2026/03/19
SPECTATORS AND WITNESSES

There are images that don’t need context to feel uncomfortable… but they definitely make you stop and think. And one of those thoughts is how much war has changed… or whether what’s really changed is the way we experience it.

For decades, combat was tied to proximity, to direct exposure, to that kind of clash where both sides shared the same risk. Now, the battlefield also runs through screens, controls, and distances that completely break that classic idea of confrontation.
Drones are probably the clearest example of that shift. Not because they invented long-distance warfare, but because they’ve pushed it to a point where execution is more precise, more accessible… and above all, colder. The enemy stops being someone in front of you and becomes a target framed on a screen.

And that’s where things start to feel uncomfortable.





Because from a legal standpoint, an active soldier is still a valid military target. It doesn’t matter if he’s alone or not actively attacking at that exact moment. The rules of war allow for that. But one thing is what’s considered legal… and another very different thing is how we process it as viewers.
That’s where the clash comes in. Not so much because of the act itself, but because of how it happens. No contact, no dialogue, no margin. Just technology doing its job with brutal efficiency.
And right there, an old mechanism kicks in again: the dehumanization of the enemy. It’s nothing new. It’s been present in every conflict. In a way, it’s what allows people to do things that would otherwise be impossible to accept.

But now there’s a new layer. Because that dehumanization isn’t just ideological or emotional anymore… it’s also technological. Physical distance becomes mental distance. And the further away you are, the easier it is to reduce someone to just a target.

At the same time, there’s another factor that didn’t exist like this before: visibility. We now see these scenes almost in real time, with a clarity that used to be unthinkable. It’s not that things like this didn’t happen before… it’s that we didn’t have them right in front of us like this.
And that changes everything.
Because it puts us in a strange position, somewhere between spectator and witness. Watching something real, but through a format that feels dangerously close to entertainment.

In the end, the question isn’t just what’s happening… it’s what we’re actually looking at. And how aware we really are of what that means.
War, at its core, is still the same as it’s always been. What’s changed is the distance, the tools… and the way we look at it.



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When you forget you’re sharing an apartment.

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Published on 2026/03/19
THE INSTAGRAM OF THE DAY: LEILEIAV

Leila Faler
LEI
I know ur curious…



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Stocking up the pantry.

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Published on 2026/03/19
NARCISSISM AND SOCIALMEDIA VOL33

There are content creators who find a formula… and ride it all the way. And then there’s BigGroove, aka Clive Ibizugbe, who’s built his entire identity around one very specific idea: food, over-the-top reactions, and dancing.

His videos almost always follow the same pattern. He sits in front of a table full of food, takes that first bite… and suddenly everything goes off. He jumps up, pulls a “this is the best thing I’ve ever tasted” face, and breaks into one of his dances. Pure energy, exaggeration, and that theatrical edge that’s become his signature.





And yeah, it works. Millions of followers, millions of views. Because at the end of the day, even if it might feel a bit ridiculous or forced to some, the internet is full of people doing exactly that: performing for the camera, exaggerating reactions, turning any moment into a show.

But there’s one detail that completely changes how it hits. And that’s when you see that same content from the outside. Not the front-facing shot, not the edited version, not the one made for social media… but a third-person recording, someone capturing the scene from a distance, no filters, no framing.
That’s when everything shifts.
Suddenly you’re not watching a creator in his “digital environment”… you’re watching a guy in the middle of nowhere, dancing, gesturing, overreacting in front of someone holding a camera. And that change in perspective makes everything feel way more… off. More artificial. More awkward.
Because we’ve gotten so used to that social media language that we take it as normal. But when you pull it out of context, when you look at it from the outside, that’s when you realize just how much of it is pure performance.

And that’s where that weird feeling kicks in, that mix of surprise and secondhand embarrassment. Not because he’s doing anything different from what millions of people do every day, but because, for a moment, you’re seeing what usually stays off-camera.
And yeah… without the screen framing it all… it doesn’t feel quite as natural anymore.



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Today’s slow-motion moment.

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Published on 2026/03/19
EXTENDING THE LIFESPAN OF BOOKS

david, sosuke
Books feel like a thing of the past. New technologies have been replacing paper with digital files you can access from any device, anytime, without taking up any space.

On top of that, there’s the “green” angle: less paper means fewer trees being cut down and, in theory, a small contribution to “saving the planet”.

But physical books aren’t completely out of the game. The ones you still have at home can find a second life… maybe not the one you had in mind, but definitely just as useful—or even more entertaining, as the girls in the following post clearly show.



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Just waiting for it to rain so I can use the new umbrella.






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Published on 2026/03/18
EXHIBITING IN PUBLIC PLACES VOL32

This is the first 2026 entry of “Exhibiting in public places”. And far from being just a simple piece of info, it actually reflects pretty clearly the amount of content we push out daily.

Because yeah, it might feel like a series that pops up every now and then… but not because there’s a lack of material. Quite the opposite. There’s plenty of content ready to go. The thing is, there are so many other series, so many different pieces waiting their turn, that the schedule fills up without you even noticing.
In fact, the last entry was back in December 2025. Three months have gone by before bringing it back. And not because there wasn’t enough content, but because in between, we’ve been publishing other categories, other compilations, other stories.

In the end, this says more about the volume we handle than about the series itself. Because when you’ve got so much content in the backlog, you can’t just keep repeating the same thing. You have to space it out, rotate it, and give room to everything else.
And the funny thing is, another three or four months could easily go by before the next one… and you’d still be getting fresh content every single day without even noticing it’s missing.

Because at the end of the day, it’s not about stretching a series — it’s about keeping the flow going. And when that flow is this wide, some things take longer to come back… but they never really go away.



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Follow me.

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Published on 2026/03/18
SRVIRAL #2186

Leave me some room.

Mutation	Australian football	Scratching the car
Without a lighter?	Kid Bill	Washing the feet
Appetizing	Some rehearsal was missing	Tortilla Robot

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Published on 2026/03/18
SCARING OFF THE DOGS

Tired of going out on his motorcycle or bike and dealing with the same situation over and over again —dogs showing up out of nowhere, barking and chasing him down, turning a simple ride into something way more tense than it should be— the guy in these videos finally had enough.

So he put together a DIY solution with a very clear goal: keep them at a distance and make sure they think twice next time he rolls through their territory.
This isn’t about force or direct confrontation, it’s about street-level ingenuity. One of those ideas that comes from being fed up… but ends up working better than expected.

Because when it keeps happening, it stops being a random moment and turns into something you want to fix. At the very least, something that makes them hesitate next time.



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Screwing it in.

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Published on 2026/03/18
AN AFTERNOON AT THE MINI GOLF COURSE

A putter, a ball, a short course and getting it into the hole in the fewest strokes possible. That’s mini golf. But then you step onto the course, see spinning windmills, impossible ramps, sneaky tunnels and edges that feel like they were designed just to mess with you… and you realize there’s way more going on here than it looks.

The basics are the same as traditional golf: complete the course in the fewest strokes. The difference is there are no endless greens or fancy drivers. Everything happens on compact courses, usually between 9 and 18 holes, where each one is its own little challenge.
You’ve got a putter, a ball, and a clear goal. But every hole throws something at you: a slope, a calculated rebound, a moving obstacle… or straight-up a trap that forces you to think more than you swing.
And that’s the beauty of it: it’s not about hitting harder, it’s about reading the surface, understanding how the ball will react, and keeping your cool after the third ridiculous bounce that makes zero sense.





Even though we associate it with summer plans, laughs, and casual dates, mini golf actually has some pretty interesting roots. Back in the early 20th century, golf was a pretty elite sport and not exactly accessible to everyone.
In the 1920s and 30s, especially in the U.S., smaller “urban-friendly” versions of golf started popping up. Cheaper to build, easier to access, and way more social. That’s where what we now call mini golf really started to take off.
During the Great Depression, these courses became a massive, low-cost form of entertainment. Thousands of improvised tracks popped up in cities like New York. It was affordable, social, and a perfect way to switch off for a while.
Then came the more creative versions — what many call “crazy golf”: courses packed with ridiculous obstacles, themed decorations, and that almost amusement-park vibe that still defines it today.

Mini golf has something special about it: it looks like a harmless game, but it actually brings out a lot in people.
It’s the classic first date plan. Chill enough to talk, but with just enough competition to reveal how someone really is: whether they get salty, laugh at themselves, celebrate too early… or completely fall apart after missing an easy shot.
Then there’s that friend who says “I’m not competitive”… and by the third hole is already calculating angles like they’re playing for the Masters.
And of course, that universal moment: the perfect shot, the ball bouncing exactly as planned… and stopping millimeters short of the hole. That silence. That look. That “you’ve got to be kidding me.”

The cool thing about mini golf is that it sits right between casual fun and actual skill. You can play with zero experience and have a great time, or you can get obsessed with angles, force, rebounds… and turn it into a mini mental battle.
That’s why it works so well: it’s accessible, fast, visual, and social. No training needed, no athletic shape required… just a bit of brains and a decent sense of humor.
Because at the end of the day, mini golf isn’t really about getting the ball in the hole. It’s about laughing when everything goes wrong… and enjoying those rare moments when everything goes exactly how you pictured it.





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- Give it a shot.
- I’m drunk.
- Just once.
- I’m really drunk.
- Just one time.

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Published on 2026/03/18
THE NUDES OF RYAN TYLER COLLIER

Ryan Collier is a professional photographer based in Orange County and Los Angeles, California, known for his work in fashion, portrait, and swimwear photography.
He is the founder of Baqpac Photography.

His work focuses on both commercial projects and portfolio development for models and brands.

Overall, his style blends fashion, sensuality, and a carefully crafted visual narrative, making him a standout name in contemporary fashion and portrait photography.



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Wonder Woman.

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She is the actress Romi Rain, and in this other link you can check out more of her scenes.




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Published on 2026/03/18
CHOOSE WHO YOU’D LIKE TO BE TODAY

What a strange time we’re living in. This is another one of those videos where, at the top, you see a guy in his room talking and moving in front of his webcam… and below, the exact same scene, the same guy, the same movements… but with different bodies, different ages, different versions of himself. Slimmer, stronger, more attractive, older. Like you could choose who you want to be at any moment just by switching on a filter.

And what’s really wild —or fascinating— isn’t what we’re seeing now, but what’s coming next. Because it’s only a matter of time before we can all stream ourselves in real time, effortlessly becoming whoever we want to be. No waiting. No editing. No limits.




And the first reaction might be to think this will isolate us. That it’ll break relationships. That no one will be authentic anymore. But if you really think about it… when have we ever been completely authentic?

On a first date, you’re not 100% yourself. You get dressed up, pick your outfit carefully, put on makeup, watch what you say, smile a little more than usual. You try to impress. You try to connect. You try to be the best version of yourself.
Then, over time, when things settle down and there’s no need to impress as much… the rest shows up. The good, the bad, and the normal.

These filters are just an evolution of that. Taken to the extreme.
Because now it’s not “I’ll clean myself up a bit.” Now it’s: I choose exactly which version of myself I want to show. And it’s pretty clear the person on the other side is doing the same.
And that’s where things get weird… but interesting.

A space where maybe you couldn’t reach a certain type of partner in the real world… but here, you can. Where looks, age, or even money stop being barriers. Where you can play, experiment, explore.
A place where you don’t just choose how you present yourself… but where the other person might even choose how they want to see you.





But it’s not just that. There might not even be a real person on the other side — just an AI pretending to be one, or making you believe it is. And then the question becomes: does it really matter?
Because in the end, we’re all looking for the same thing: to feel heard, desired, accepted. To feel a connection.
If an AI —or a person using filters— can give you that… does it really matter what’s on the other side?

Maybe it does for us. The ones who grew up differently. More physical, more direct, more “real.” But the new generations… will they need that? Will they even value it? Or will it be enough for them to have a connection that works, even if it’s built on layers, filters, and edited versions of reality?
Because if you really think about it… maybe we’re not losing ourselves. Maybe we’re just starting to choose which part of ourselves we want to be at any given moment.



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Today’s slow-motion moment.

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