3:09 Bro got -1$ for this video💀

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"h" - Timeworks 2024

1:55 bro liked a copy paste comment 😔

DAMN I CAME BACK TO YOUR CHANNEL AFTER LIKE A YEAR AND GLAD TO SEE YOU HAVE ALMOST 700K SUBS NOW

According to all known laws of aviation, there is no way a bee should be able to fly. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyway because bees don't care what humans think is impossible. Yellow, black. Yellow, black. Yellow, black. Yellow, black. Ooh, black and yellow! PSYCHE!

I love watching timeworks

Your channel was revived because of the video

In the quaint village of Eldoria, nestled between rolling hills and dense forests, life had a rhythm that seemed to flow with the seasons. The villagers, content and harmonious, knew each other by name and shared a bond forged through generations. Among them was a young woman named Elara, whose curious nature and unquenchable thirst for knowledge set her apart. Elara lived with her grandmother, a wise old woman named Anwen, in a small, ivy-covered cottage at the edge of the village. Anwen was known for her vast knowledge of herbal remedies and ancient lore, skills she had passed down to Elara. However, Elara's interests extended beyond the village's traditions; she was captivated by the unknown, the mysteries that lay beyond the familiar boundaries of Eldoria. One crisp autumn morning, as Elara was gathering herbs in the forest, she stumbled upon an ancient, moss-covered stone. Intrigued, she brushed away the leaves and dirt to reveal a faint inscription. It read: "The key to the forgotten lies within the heart of the whispering woods." Her heart raced with excitement. What could this mean? She knew she had to find out. Elara hurried back to the cottage and shared her discovery with Anwen. Her grandmother's eyes widened with recognition, but also with a hint of worry. "The whispering woods are not a place to be taken lightly," Anwen cautioned. "Many have ventured in, but few have returned. They say the woods are enchanted, guarded by spirits who protect its secrets." Despite her grandmother's warnings, Elara's curiosity burned brighter than ever. She spent the next few days preparing for the journey, gathering supplies and studying old maps and texts Anwen had collected over the years. On the dawn of the fifth day, she set out for the whispering woods, a mix of excitement and trepidation swirling within her. The forest was unlike any Elara had seen before. Towering trees with silvery bark and leaves that shimmered like emeralds seemed to form a protective canopy overhead. As she ventured deeper, the air grew cooler, and the sounds of the village faded into an eerie silence, replaced by the soft rustling of leaves and the occasional distant whisper. After hours of walking, Elara reached a clearing where the trees parted to reveal a crystal-clear pond. The water sparkled in the dappled sunlight, and at the center of the pond stood a small island with an ancient, gnarled tree. Its roots twisted and turned like the tendrils of a sleeping giant. Elara felt a strange pull towards the island, as if it were calling her. She carefully waded through the shallow water and climbed onto the island. As she approached the tree, she noticed a small hollow at its base. Inside, there was a worn leather-bound book. With trembling hands, Elara opened it to find pages filled with intricate illustrations and symbols she had never seen before. The book radiated a sense of ancient power and wisdom. As she studied the book, Elara felt a presence behind her. She turned to see a tall figure cloaked in shadows, with eyes that glowed like embers. "Who are you?" she asked, her voice steady despite the fear that gripped her. "I am the guardian of the whispering woods," the figure replied in a voice that seemed to echo through the trees. "You have shown great courage and determination to reach this place. The book you hold contains the knowledge of our ancestors, the secrets of the land, and the power to heal or to harm." Elara's mind raced with questions, but before she could speak, the guardian continued, "You must prove yourself worthy of this knowledge. To unlock its secrets, you must complete three tasks. Each task will test your heart, your mind, and your spirit." With that, the guardian vanished, leaving Elara alone with the ancient book. Determined to prove herself, she opened the book to the first page, where an illustration of a glowing flower caught her eye. Below it was a riddle: "In the place where the moon kisses the earth, find the flower that blooms only in darkness." Elara recalled a spot in the forest where moonlight filtered through the trees in a perfect circle. She had seen it many times on her night walks. As night fell, she made her way to the clearing, and sure enough, there was the glowing flower, its petals shimmering in the moonlight. She carefully plucked it and placed it in her satchel. The second task led her to the heart of the forest, where she had to decipher an ancient script carved into a stone obelisk. Using the knowledge her grandmother had imparted, Elara painstakingly translated the symbols, revealing a message about balance and harmony. She spoke the words aloud, and the obelisk glowed with a soft light, signaling her success. For the final task, Elara had to confront her deepest fear. The book led her to a dark cave, where she encountered a vision of her greatest nightmare: losing her grandmother. Tears streamed down her face as she faced the illusion, but she reminded herself that Anwen was safe and that this was merely a test. Summoning all her courage, she walked through the vision, emerging on the other side unscathed. As she completed the third task, the guardian reappeared, a look of approval in his glowing eyes. "You have proven yourself, Elara. The knowledge of the book is now yours to wield. Use it wisely, for it has the power to change the world." With the ancient book in her possession, Elara returned to Eldoria. She shared her newfound knowledge with the villagers, helping them in ways she had never imagined. The village flourished, and Elara became known as a healer, a scholar, and a guardian of the ancient wisdom. Years passed, and Elara's legend grew, inspiring generations to come. The whispering woods remained a place of mystery and wonder, but also a reminder that courage, knowledge, and heart could unlock even the most elusive secrets. And so, the story of Elara and the ancient book lived on, a testament to the power of curiosity and the enduring spirit of discovery. Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh HhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

Someone who said "sorry this video was too long" on a 2014 Expedition 0-95 mph vid lol

you make some great youtube videos about youtube

Why do Timeworks' videos always get recommended to me so early

Sometime during your life - in fact, very soon - you may find yourself reading a book, and you may notice that a book's first sentence can often tell you what sort of story your book contains. For instance, a book that began with the sentence "Once upon a time there was a family of cunning little chipmunks who lived in a hollow tree" would probably contain a story full of talking animals who get into all sorts of mischief. A book that began with the sentence "Emily sat down and looked at the stack of blueberry pancakes her mother had prepared for her, but she was too nervous about Camp Timbertops to eat a bite" would probably contain a story full of giggly girls who have a grand old time. And a book that began witg the sentence "Gary smelled the leather of his brand-new catcher's mitt and waited impatiently for his best friend Larry to come around the corner" would probably contain a story full of sweaty boys who win some sort of trophy. And if you liked mischief, a grand old time or trophies, you would know which book to read, and you could throw the rest of them away. But this book begins with the sentence "The Baudelaire orphans looked out of the grimy window of the train and gazed at the gloomy blackness of the Finite Forest, wondering if their lives would ever get any better," and you should be able to tell that the story that follows will be very different from the story of Gary or Emily or the family of cunning little chipmunks. And this us for the simple reason that the lives of Violet, Klaus, and Sunny Baudelaire are very different from most people's lives, with the main difference being the amount of unhappiness, horror and despair. The three children have no time to get into all sorts of mischief, because misery follows them wherever they go. They have not had a grand old time since their parents died in a terrible fire. And the only trophy they would win would be some sort of First Prize for Wretchedness. It is atrociously unfair, of course, that the Baudelaires have so many troubles, but that is the way the story goes. So now that I've told you that the first sentence will be "The Baudelaire orphans looked out of the grimy window of the train and gazed at the gloomy blackness of the Finite Forest, wondering if their lives would ever get any better," if you wish to avoid an unpleasant story you had better put this book down.

Damn, used to watch this channel a lot

can u make a video about the first comment pls?

The Hog Rider card is unlocked from the Spell Valley (Arena 5). He is a very fast building-targeting, melee troop with moderately high hitpoints and damage. He appears just like his Clash of Clans counterpart; a man with brown eyebrows, a beard, a mohawk, and a golden body piercing in his left ear who is riding a hog. A Hog Rider card costs 4 Elixir to deploy. Strategy His fast move speed can boost forward mini tanks like an Ice Golem in a push. At the same time, he can also function as a tank for lower hitpoint troops such as Goblins as he still has a fair amount of health. Most cheap swarms complement the Hog Rider well, as they are nearly as fast as him and usually force more than one card out of the opponent's hand. The Hog Rider struggles with swarms, as they can damage him down and defeat him quickly while obstructing his path. Barbarians in particular can fully counter him without very strict timing on the defender's part, though be wary of spells. A Hunter can kill the Hog Rider in 2 hits if placed right on top of it. However, if you place something in front of the Hog Rider, the Hunter's splash will damage the Hog Rider and hit the card in front of it more. The Hog Rider in conjunction with the Freeze can surprise the opponent and allow the Hog Rider to deal much more damage than anticipated, especially if the opponent's go-to counter is a swarm, or swarms are their only effective counter to him. Skeletons and Bats will immediately be defeated by the spell, while Spear Goblins, Goblins, and Minions will be at low enough health to be defeated by a follow up Zap or Giant Snowball. However, this strategy isn't very effective against buildings as the Hog Rider will take a while to destroy the building, giving the opponent ample time to articulate another counter. Against non-swarm troops, it can deal a lot of damage during the freeze time, but this can allow the opponent to set up a massive counterpush. For this reason, players should either only go for a Hog Rider + Freeze when they have other units backing it up from a counterattack, or if the match is about to end and they need to deal as much damage as possible. It is not a good idea to send in a Hog Rider simply to destroy a building, especially if it is the only building targeting unit available, as defeating Crown Towers becomes substantially more difficult. Spells or simply waiting out the lifetime of the building are more effective. The exception to this is an Elixir Collector placed in front of the King's Tower. If a Hog Rider placed at the bridge, he can destroy the Collector for a positive Elixir trade, though the damage from both Princess Towers will usually mean he does not survive to deal any damage to them. However, if the opponent sends in defending troops, it can be an opportunity to gain spell damage value. In a deck with several low-cost cards, it might be worth it to simply send the Hog Rider against one building. These decks shuffle their card rotation quick enough, that they will arrive to their next Hog Rider before the next building arrives in the opponent's card rotation. Long-ranged troops like Musketeer and Flying Machine can snipe those buildings, preserving some of the Hog Rider's health, possibly allowing it to get some Tower damage. When there are buildings placed in the middle to counter the Hog Rider, understanding the placement of the Hog Rider and the type of building placed can help the Hog Rider to bypass certain buildings. Passive buildings such as spawners and Elixir Collector have a larger hitbox than defensive buildings; which means that if a passive building was placed 3 tiles away from the river in the middle of the opponent's side, then it is impossible for the Hog Rider to bypass that placement as the Hog Rider will get pulled to that building. Defensive buildings have a smaller hitbox than a passive building, which means if that if a defensive building was placed three tiles away from the river in the middle of the opponent's side, a Hog Rider placed at the very left or right side of the Arena may be able to bypass it due to its smaller hitbox. If the player has a building already placed down in the center of the arena, and the opponent tries to bypass it with a Hog Rider at the edge of the arena, they can use certain air troops to push the Hog Rider towards the building as it jumps over the river, effectively denying the bypass attempt. They must be already hovering over the correct placement, as very quick reflexes are required to correctly perform this technique. For Bats, Skeleton Dragons, and Minion Horde, they should be placed right in front of the Hog Rider as soon as it is deployed. For Minions, Skeleton Barrel, Mega Minion, Flying Machine, Electro Dragon, Baby Dragon, Inferno Dragon, Balloon, and Lava Hound, stagger the above placement one tile to the right if the Hog Rider is placed on the left side of the arena, and vice versa. They can also use ground troops to achieve the same result. Something like an Ice Golem deployed at the Hog Rider’s landing spot will obstruct his path and force him to go around the unit, which causes him to be closer to the building instead of the Crown Tower. The Hog Rider can kite Very Fast non-building targeting troops due to his own Very Fast speed and building only targeting if he is placed on the fourth tile from the bridge, slightly into the opposite lane. He can also stall grounded units when placed right at the bridge. He will pull them towards him while deploying, and then be untargetable by them when he jumps over the bridge. After landing, he will pull them back. This can be useful when the player needs to deal damage in the same lane they are defending. It will also help separate troops behind a tank in a large push. A Tornado placed on the second tile front of the player's King's Tower and staggered two tiles towards the Princess Tower will activate it without any damage dealt to the Princess Tower, helping them in defending future pushes. This can also be a method of mitigating all damage dealt to a Princess Tower, but doing this more than three times may result in the King's Tower's health being low enough to be targeted directly, opening up the possible threat of a back door three crown. A better alternative is to pull the Hog away from the Princess Tower into the attacking range of all three Crown Towers, which will negate all damage as long as none of them are already distracted A very powerful combo is the Hog Rider, the Musketeer, and the Valkyrie, typically referred to as the Trifecta. The Musketeer will defend against most troops, while the Valkyrie can protect her and the Hog Rider from swarms or high damage units. The Hog Rider is used to deal damage to the tower. - [ ] This can be effectively countered by Lightning, one-shotting the Musketeer and severely damaging both the Valkyrie and Hog Rider. The Minion Horde is also effective, but the enemy can Zap them and the Musketeer will one-shot them all. Even if the Musketeer is defeated, the Hog Rider and Valkyrie will have enough time to severely damage the Tower. The Hog Rider should be placed behind the Valkyrie to give it a boost so that it stays in front of the Hog Rider, protecting it. A Hog Rider combined with a Goblin Barrel can be awkward for the opponent to defend against. Timing it so that the Hog Rider is tanking the tower shots for the Goblins is the most effective way to deal damage. However, a Barbarian Barrel can shut this down with minimal Tower damage for a positive Elixir trade, as long as the Goblin Barrel was placed directly on the Tower. Pairing the Hog Rider with the Balloon can deal devastating damage. If executed properly, the Hog Rider will act as a tank while the Balloon threatens to deal massive damage. The Hog Rider can also destroy any buildings attempting to slow down the combo. However, this combo is very vulnerable to swarms and anti-air cards as neither of the troops target anything but buildings. Additionally, they are easy to separate, due to the disparity in move speeds. Alternatively, the Hog Rider and the Balloon can be played in different lanes to spread the opponent's defenses thin. However, a building or Tornado can bring them back together for an easier defense. The Hog Rider can be paired with the Lumberjack as both a swarm bait and damage combo. It is a very fast combo with an extremely high damage output potential, so the enemy will likely try to counter it with a swarm. If this happens, use a spell like Arrows to render the opponent defenseless. If they manage to defeat the Lumberjack, the dropped Rage will make the Hog Rider even more dangerous than it normally is. A fast and deadly combination is the Hog Rider and Mini P.E.K.K.A. combo. Both units are fast but the Mini P.E.K.K.A. does much more damage and does not attack only buildings so the Mini P.E.K.K.A. can deal with troops like the Executioner and Musketeer. However, this combo can be defeated with swarms like Skeleton Army, which will defeat both of them since neither of them can deal area damage. They are also unable to target air troops, so the Minion Horde can stop this easily. A risky play is to deploy the Hog Rider at the bridge as soon as the match starts. If the opponent does not react fast enough, the Hog Rider will deal a significant amount of damage to the Princess Tower. This can also allow the player to quickly scout the opponent's deck if they happen to react to him fast enough

10,000 characters

Probably a keyboard smash lmao

H. Is everywhere 💀💀💀💀💀

"I broke KZfaq but that's okay"

"Operation spam"

0:06 broken

One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections. The bedding was hardly able to cover it and seemed ready to slide off any moment. His many legs, pitifully thin compared with the size of the rest of him, waved about helplessly as he looked. "What's happened to me?" he thought. It wasn't a dream. His room, a proper human room although a little too small, lay peacefully between its four familiar walls. A collection of textile samples lay spread out on the table - Samsa was a travelling salesman - and above it there hung a picture that he had recently cut out of an illustrated magazine and housed in a nice, gilded frame. It showed a lady fitted out with a fur hat and fur boa who sat upright, raising a heavy fur muff that covered the whole of her lower arm towards the viewer. Gregor then turned to look out the window at the dull weather. Drops of rain could be heard hitting the pane, which made him feel quite sad. "How about if I sleep a little bit longer and forget all this nonsense", he thought, but that was something he was unable to do because he was used to sleeping on his right, and in his present state couldn't get into that position. However hard he threw himself onto his right, he always rolled back to where he was. He must have tried it a hundred times, shut his eyes so that he wouldn't have to look at the floundering legs, and only stopped when he began to feel a mild, dull pain there that he had never felt before. "Oh, God", he thought, "what a strenuous career it is that I've chosen! Travelling day in and day out. Doing business like this takes much more effort than doing your own business at home, and on top of that there's the curse of travelling, worries about making train connections, bad and irregular food, contact with different people all the time so that you can never get to know anyone or become friendly with them. It can all go to Hell!" He felt a slight itch up on his belly; pushed himself slowly up on his back towards the headboard so that he could lift his head better; found where the itch was, and saw that it was covered with lots of little white spots which he didn't know what to make of; and when he tried to feel the place with one of his legs he drew it quickly back because as soon as he touched it he was overcome by a cold shudder. He slid back into his former position. "Getting up early all the time", he thought, "it makes you stupid. You've got to get enough sleep. Other travelling salesmen live a life of luxury. For instance, whenever I go back to the guest house during the morning to copy out the contract, these gentlemen are always still sitting there eating their breakfasts. I ought to just try that with my boss; I'd get kicked out on the spot. But who knows, maybe that would be the best thing for me. If I didn't have my parents to think about I'd have given in my notice a long time ago, I'd have gone up to the boss and told him just what I think, tell him everything I would, let him know just what I feel. He'd fall right off his desk! And it's a funny sort of business to be sitting up there at your desk, talking down at your subordinates from up there, especially when you have to go right up close because the boss is hard of hearing. Well, there's still some hope; once I've got the money together to pay off my parents' debt to him - another five or six years I suppose - that's definitely what I'll do. That's when I'll make the big change. First of all though, I've got to get up, my train leaves at five." And he looked over at the alarm clock, ticking on the chest of drawers. "God in Heaven!" he thought. It was half past six and the hands were quietly moving forwards, it was even later than half past, more like quarter to seven. Had the alarm clock not rung? He could see from the bed that it had been set for four o'clock as it should have been; it certainly must have rung. Yes, but was it possible to quietly sleep through that furniture-rattling noise? True, he had not slept peacefully, but probably all the more deeply because of that. What should he do now? The next train went at seven; if he were to catch that he would have to rush like mad and the collection of samples was still not packed, and he did not at all feel particularly fresh and lively. And even if he did catch the train he would not avoid his boss's anger as the office assistant would have been there to see the five o'clock train go, he would have put in his report about Gregor's not being there a long time ago. The office assistant was the boss's man, spineless, and with no understanding. What about if he reported sick? But that would be extremely strained and suspicious as in fifteen years of service Gregor had never once yet been ill. His boss would certainly come round with the doctor from the medical insurance company, accuse his parents of having a lazy son, and accept the doctor's recommendation not to make any claim as the doctor believed that no-one was ever ill but that many were workshy. And what's more, would he have been entirely wrong in this case? Gregor did in fact, apart from excessive sleepiness after sleeping for so long, feel completely well and even felt much hungrier than usual. One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections. The bedding was hardly able to cover it and seemed ready to slide off any moment. His many legs, pitifully thin compared with the size of the rest of him, waved about helplessly as he looked. "What's happened to me?" he thought. It wasn't a dream. His room, a proper human room although a little too small, lay peacefully between its four familiar walls. A collection of textile samples lay spread out on the table - Samsa was a travelling salesman - and above it there hung a picture that he had recently cut out of an illustrated magazine and housed in a nice, gilded frame. It showed a lady fitted out with a fur hat and fur boa who sat upright, raising a heavy fur muff that covered the whole of her lower arm towards the viewer. Gregor then turned to look out the window at the dull weather. Drops of rain could be heard hitting the pane, which made him feel quite sad. "How about if I sleep a little bit longer and forget all this nonsense", he thought, but that was something he was unable to do because he was used to sleeping on his right, and in his present state couldn't get into that position. However hard he threw himself onto his right, he always rolled back to where he was. He must have tried it a hundred times, shut his eyes so that he wouldn't have to look at the floundering legs, and only stopped when he began to feel a mild, dull pain there that he had never felt before. "Oh, God", he thought, "what a strenuous career it is that I've chosen! Travelling day in and day out. Doing business like this takes much more effort than doing your own business at home, and on top of that there's the curse of travelling, worries about making train connections, bad and irregular food, contact with different people all the time so that you can never get to know anyone or become friendly with them. It can all go to Hell!" He felt a slight itch up on his belly; pushed himself slowly up on his back towards the headboard so that he could lift his head better; found where the itch was, and saw that it was covered with lots of little white spots which he didn't know what to make of; and when he tried to feel the place with one of his legs he drew it quickly back because as soon as he touched it he was overcome by a cold shudder. He slid back into his former position. "Getting up early all the time", he thought, "it makes you stupid. You've got to get enough sleep. Other travelling salesmen live a life of luxury. For instance, whenever I go back to the guest house during the morning to copy out the contract, these gentlemen are always still sitting there eating their breakfasts. I ought to just try that with my boss; I'd get kicked out on the spot. But who knows, maybe that would be the best thing for me. If I didn't have my parents to think about I'd have given in my notice a long time ago, I'd have gone up to the boss and told him just what I think, tell him everything I would, let him know just what I feel. He'd fall right off his desk! And it's a funny sort of business to be sitting up there at your desk, talking down at your subordinates from up there, especially when you have to go right up close because the boss is hard of hearing. Well, there's still some hope; once I've got the money together to pay off my parents' debt to him - another five or six years I suppose - that's definitely what I'll do. That's when I'll make the big change. First of all though, I've got to get up, my train leaves at five." And he looked over at the alarm clock, ticking on the chest of drawers. "God in Heaven!" he thought. It was half past six and the hands were quietly moving forwards, it was even later than half past, more like quarter to seven. Had the alarm clock not rung? He could see from the bed that it had been set for four o'clock as it should have been; it certainly must have rung. Yes, but was it possible to quietly sleep through that furniture-rattling noise? True, he had not slept peacefully, but probably all the more deeply because of that. What should he do now? The next train went at seven; if he were to catch that he would have to rush like mad and the collection of samples was still not packed, and he did not at all feel particularly fresh and lively. And even if he did catch the train he would not avoid his boss's anger as the office as

1 minute ago is crazy

My phone crashed trying to write a comment 💀

As a child, I asked for life to “give me all it’s got” very matter-of-factly. Actually, my mother says that I was speaking directly to a higher power. To God. So I write to this higher power, one whom I’m not sure can even hear me or even exists or even cares, and I say that it’s unfair to hold me to that. Now much older, I revert back to that childlike state and I’m throwing my arms into the air, launching my body onto the floor, and screaming at the top of my lungs so loud that I lose my breath. It’s not fair. Don’t hold me to that. Go easy on me. Sometimes I scoff at those who refer to themselves as “old souls.” Because really, hasn’t life worn us all down and made us all “old,” even already? Even at twenty-six, I feel like an old, worn coffee table. Drinks placed on me without coasters, crayons pressed against my curves, and God cursing me as he stubs his pinky toe on my left leg. Life is beautiful, but it is also the most horrendous work. Sure, I am proud of my life and pleased with my candid ability to turn a shitty situation into a more pleasant one. But some days I murmur to myself, to this higher power who may or may not exist, just go easy on me today. November 16, 2012Leave a Reply I do not have all of the answers, but I am an old soul and in a past life we lived together in a cottage on top of a mountain. You put every wood panel in place and cut out each window and your salty sweat and hard-worked hands created a magical place. I still remember it; still ache for it and our life together there, in that time and space. We spent our days walking barefoot through the forest, collecting berries and mushrooms and herbs and flowers. The trees knew us by name, and the moist ground reminded us daily that we came out of the soil and would once again return to it. But not yet. We had too much living to do. At night, we would sip deep, scarlet wine straight from the bottle until our teeth and lips were stained. You would pull me close to you, and kiss me hard and passionately and sometimes I can still feel my heart racing from those moments. I can still taste the wine on your lips. I can still feel my body melting into you. I still hear the laughter and the quiet ways we would talk without speaking. We would lay in bed, intertwined and it would be impossible to tell where one body ended and the other began. I still remember the way you would gently touch my hair and kiss my breasts and sometimes, the rain patting on our tin roof made me sure that The Universe was applauding those tender moments. In that same bed, we would eventually birth our children; little humans created by a holy mixture of our souls and your wild hair and my dark freckles and natures overpowering energy and life force. The forest would be their playground, and we would smile as we heard them in the distant brush beating their chests and howling like cyotes. They would return to us in the evening, from their secret world of nymphs and faeries and we would pull the sticks and leaves from their hair and kiss their rosy cheeks and wash the soil from their toes and fingernails in a warm bath smelling of lavendar oil. We would wrap them up in cotton pajamas, and the moon would watch over them through their open windows; the owls humming them to sleep. A day never passed that I didn’t look into your eyes and see my very soul reflecting back at me. You were my true soul mate. We both came from the Earth and I was born in you and you were born in me. In that cottage, our love was so intoxicating that at night I lay in bed drunk from spending each dreamy moment with you. Years would pass; our bodies would age. And we would talk about death and I would always whisper that I wanted to go first; that living in a world without you would be unbearable. But you were wise, and reminded me that a soul never dies. It leaves the body and returns to the wind and rain and leaves and birds and deer and sunshine and each tiny blade of grass from where it initially came. We were happy. I still remember it; still ache for it and our life together there, in that time and space.As a child, I asked for life to “give me all it’s got” very matter-of-factly. Actually, my mother says that I was speaking directly to a higher power. To God. So I write to this higher power, one whom I’m not sure can even hear me or even exists or even cares, and I say that it’s unfair to hold me to that. Now much older, I revert back to that childlike state and I’m throwing my arms into the air, launching my body onto the floor, and screaming at the top of my lungs so loud that I lose my breath. It’s not fair. Don’t hold me to that. Go easy on me. Sometimes I scoff at those who refer to themselves as “old souls.” Because really, hasn’t life worn us all down and made us all “old,” even already? Even at twenty-six, I feel like an old, worn coffee table. Drinks placed on me without coasters, crayons pressed against my curves, and God cursing me as he stubs his pinky toe on my left leg. Life is beautiful, but it is also the most horrendous work. Sure, I am proud of my life and pleased with my candid ability to turn a shitty situation into a more pleasant one. But some days I murmur to myself, to this higher power who may or may not exist, just go easy on me today. November 16, 2012Leave a Reply I do not have all of the answers, but I am an old soul and in a past life we lived together in a cottage on top of a mountain. You put every wood panel in place and cut out each window and your salty sweat and hard-worked hands created a magical place. I still remember it; still ache for it and our life together there, in that time and space. We spent our days walking barefoot through the forest, collecting berries and mushrooms and herbs and flowers. The trees knew us by name, and the moist ground reminded us daily that we came out of the soil and would once again return to it. But not yet. We had too much living to do. At night, we would sip deep, scarlet wine straight from the bottle until our teeth and lips were stained. You would pull me close to you, and kiss me hard and passionately and sometimes I can still feel my heart racing from those moments. I can still taste the wine on your lips. I can still feel my body melting into you. I still hear the laughter and the quiet ways we would talk without speaking. We would lay in bed, intertwined and it would be impossible to tell where one body ended and the other began. I still remember the way you would gently touch my hair and kiss my breasts and sometimes, the rain patting on our tin roof made me sure that The Universe was applauding those tender moments. In that same bed, we would eventually birth our children; little humans created by a holy mixture of our souls and your wild hair and my dark freckles and natures overpowering energy and life force. The forest would be their playground, and we would smile as we heard them in the distant brush beating their chests and howling like cyotes. They would return to us in the evening, from their secret world of nymphs and faeries and we would pull the sticks and leaves from their hair and kiss their rosy cheeks and wash the soil from their toes and fingernails in a warm bath smelling of lavendar oil. We would wrap them up in cotton pajamas, and the moon would watch over them through their open windows; the owls humming them to sleep. A day never passed that I didn’t look into your eyes and see my very soul reflecting back at me. You were my true soul mate. We both came from the Earth and I was born in you and you were born in me. In that cottage, our love was so intoxicating that at night I lay in bed drunk from spending each dreamy moment with you. Years would pass; our bodies would age. And we would talk about death and I would always whisper that I wanted to go first; that living in a world without you would be unbearable. But you were wise, and reminded me that a soul never dies. It leaves the body and returns to the wind and rain and leaves and birds and deer and sunshine and each tiny blade of grass from where it initially came. We were happy. I still remember it; still ache for it and our life together there, in that time and space.Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg Ghggggggggggggggggggghfhhfhdhshgdgdggdg

Can you inspect element and remove character limit?

*Random Typek enters the chat*

Bruh has a beard

‎

Crazy shit

I love you 1%❤ I love you 2%🧡 I love you 3%💛 I love you 4%💚 I love you 5%💙 I love you 6%💜 I love you 7%💗 I love you 8%❤ I love you 9%🧡 I love you 10%💛 I love you 11%💚 I love you 12%💙 I love you 13%💜 I love you 14%💗 I love you 15%❤ I love you 16%🧡 I love you 17%💛 I love you 18%💚 I love you 19%💙 I love you 20%💜 I love you 21%💗 I love you 22%❤ I love you 23%🧡 I love you 24%💛 I love you 25%💚 I love you 26%💙 I love you 27%💜 I love you 28%💗 I love you 29%❤ I love you 30%🧡 I love you 31%💛 I love you 32%💚 I love you 33%💙 I love you 34%💜 I love you 35%💗 I love you 36%❤ I love you 37%🧡 I love you 38%💛 I love you 39%💚 I love you 40%💙 I love you 41%💜 I love you 42%💗 I love you 43%❤ I love you 44%🧡 I love you 45%💛 I love you 46%💚 I love you 47%💙 I love you 48%💜 I love you 49%💗 I love you 50%❤ I love you 51%🧡 I love you 52%💛 I love you 53%💚 I love you 54%💙 I love you 55%💜 I love you 56%💗 I love you 57%❤ I love you 58%🧡 I love you 59%💛 I love you 60%💚 I love you 61%💙 I love you 62%💜 I love you 63%💗 I love you 64%❤ I love you 65%🧡 I love you 66%💛 I love you 67%💚 I love you 68%💙 I love you 69%💜 I love you 69%💗 I love you 70%❤ I love you 71%🧡 I love you 72%💛 I love you 73%💚 I love you 74%💙 I love you 75%💜 I love you 76%💗 I love you 77%❤ I love you 78%🧡 I love you 79%💛 I love you 80%💚 I love you 81%💙 I love you 82%💜 I love you 83%💗 I love you 84%❤ I love you 85%🧡 I love you 86%💛 I love you 87%💚 I love you 88%💙 I love you 89%💜 I love you 90%💗 I love you 91%❤ I love you 92%🧡 I love you 93%💛 I love you 94%💚 I love you 95%💙 I love you 96%💜 I love you 97%💗 I love you 98%❤ I love you 99%🧡 I LOVE YOU 100% I Love you 101% I Love you 102% I Love you 103% I Love you 104% I Love you 105% I Love you 106% I Love you 107% I Love you 108% I Love you 109% I Love you 110% I Love you 111% I Love you 112% I Love you 113% I Love you 114% I Love you 115% I Love you 116% I Love you 117% I Love you 118% I Love you 119% I Love you 120% I Love you 121% I Love you 122% I Love you 123% I Love you 124% I Love you 125% I Love you 126% I Love you 127% I Love you 128% I Love you 129% I Love you 130% I Love you 131% I Love you 131% I Love you 132% I Love you 133% I Love you 134% I Love you 135% I Love you 136% I Love you 137% I Love you 138% I Love you 139% I Love you 140% I Love you 141% I Love you 142% I Love you 143% I Love you 144% I Love you 145% I Love you 146% I Love you 147% I Love you 148% I Love you 149% I Love you 150% I Love you 151% I Love you 152% I Love you 153% I Love you 154% I Love you 155% I Love you 156% I Love you 157% I Love you 158% I Love you 159% I Love you 160% I Love you 161% I Love you 162% I Love you 163% I Love you 164% I Love you 165% I Love you 166% I Love you 167% I Love you 168% I Love you 169% I Love you 170% I Love you 171% I Love you 172% I Love you 173% I Love you 174% I Love you 175% I Love you 176% I Love you 177% I Love you 178% I Love you 179% I Love you 180% I Love you 181% I Love you 182% I Love you 183% I Love you 184% I Love you 185% I Love you 186% I Love you 187% I Love you 188% I Love you 189% I Love you 190% I Love you 191% I Love you 192% I Love you 193% I Love you 194% I Love you 195% I Love you 196% I Love you 197% I Love you 198% I Love you 199% I LOVE U 200%

I’m too tired to make a long comment

I feel like you've already made this vid before... Or am I experiencing Deja Vu?

I literally comment in that video

not mine, credit to the owner so... Waste generation rates are increasing in a worrying way around the world. Since 2016, cities have generated more than 2 billion tons of solid waste per year. With rapid population growth and urbanization, this generation is estimated to increase by 70%, with the potential to reach 3.40 billion tons by 2050. Thus, increasing waste production and inadequate waste management (WM) are drivers of disease vectors and global climate change (Araújo et al., 2021; Espuny et al., 2021; World Bank, 2019). The difficulties in WM have begun to intensify, especially after the industrial age when the extraction of resources and the production of goods were expanding to meet society's consumption needs. A range of products such as textiles and electronics, once treated as luxury items, has come to be regarded as everyday products. Production processes have become complex and often use composite and hazardous materials, which leads to the generation of several types of waste that can be harmful to the environment (Ugwu et al., 2020; Zaman, 2015). These residues demand sustainable management, which avoids damage to the planet and does not compromise the supply of raw material to the supply chain of economic sectors, such as construction, food, clothing, and others (Ugwu et al., 2020; Zaman, 2015). Sustainability can be defined as providing for the needs of the present generation without interfering with the conditions for the survival of future generations (Alhaddi, 2015; Elkington, 1994). The Triple Bottom Line framework, which includes the economic, social, and environmental pillars, can be used to measure the sustainable performance of the activities conducted by the organizations (Alhaddi, 2015; Elkington, 1997). It is possible to relate to each of these pillars to WM. The activity performed by recyclers, who generate income by buying and selling waste, and a lean and efficient budget of public services for waste treatment and disposal are related to the economic pillar. Better hygiene conditions and a high life expectancy through a WM that avoids the contamination of society are related to the social pillar. The preservation of water and soil by strategically planning landfill areas that do not impact water table or produce methane gas by imposing explosion risks in the surroundings, contribute to the environmental pillar (Tseng, 2011). Among the articles that involve solid waste in the context of sustainability, the main issues mentioned are finite natural resources and riches that can be exploited from the waste (Pan et al., 2020; Tan et al., 2014). The concept that waste is a pollutant is progressively changing to the idea that waste is a recoverable, reusable, recyclable resource, or even an energy source (Laurent et al., 2014b). The goals of WM are to protect people and the environment, increase the life span of products, and reduce the use of energy and space. These actions contribute to the reduction of negative impacts on the environment that occurs because of human activities (Allesch and Brunner, 2014; Brunner and Rechberger, 2015; Laurent et al., 2014a). Among the main residues and the ones most studied in the literature are: municipal solid (Ghiani et al., 2014; Gupta et al., 2015; Yay, 2015), food (Salemdeeb et al., 2017; Thi et al., 2015), hospital (Windfeld and Brooks, 2015), construction and demolition (Butera et al., 2015; Dahlbo et al., 2015), electro-electronic (Sarath et al., 2015), and high-level radioactive (Sellin and Leupin, 2014). Municipal Solid Waste (MSW) is generated by residences, commercial establishments, industries, and public bodies. It is composed of items from street sweeping and daily use, such as product packaging and clothing, excluding waste from municipal wastewater treatment (Yay, 2015; Liu et al., 2014). Knowledge of its composition is essential for the implementation of the most appropriate policies to reduce waste generation and to choose the most convenient processes for its treatment and disposal. Its composition and quantity vary according to location, climate, socioeconomic conditions, waste collection and disposal methods, and other factors (Gupta et al., 2015; Vazquez et al., 2020; Yay, 2015). Through proper municipal solid waste management, the city becomes cleaner and less vulnerable to the spread of diseases. The effectiveness of the municipal solid waste management (MSWM) system can be an indicator of appropriate governance. Therefore, it increases the chances of receiving external investments by showing a reliable local government (Wilson et al., 2015). Food waste is the wastage that occurs during the food production and consumption phase, usually caused by retailers' mismanagement or consumers' bad habits (Thi et al., 2015). The European Commission has developed guidelines through the food waste hierarchy law to indicate the best options for treatment and final disposal (Figure 1) (Salemdeeb et al., 2017). Figure 1 Figure 1 In the food waste hierarchy, the sequence of priorities are: reduction, redistribution, recycling as animal feed, reuse, and as a last option, disposal in landfills. In Figure 1, it is determined that the rulers should take actions for reducing food waste; its redistribution to those who suffer from food insecurity, such as the homeless; its recycling as animal feed or use in composting; its recovery as energy through anaerobic digestion and its disposal to landfills (Rastogi et al., 2020; Salemdeeb et al., 2017). It is worth noting that these guidelines must be adapted to regional or local contexts (Eriksson et al., 2015). Hospital Waste (HW) is the waste generated in the diagnosis, treatment, or immunization of humans or animals and can be infectious or non-infectious. The United States Medical Waste Tracking Act adds that HW can also be generated in research related to living beings or in the testing and production of biological drugs (Windfeld and Brooks, 2015). Exposure of healthcare workers, waste handlers, patients, and the general community to HW can cause risks of contamination from diseases and injuries from the workplace. This type of waste can also lead to environmental pollution and degradation of the environment (Makajic-Nikolic et al., 2016). The best way to mitigate these impacts is the separation of infectious from non-infectious HW. Infectious ones should be treated according to their specificity and non-infectious ones should be sent for treatment together with MSW (Windfeld and Brooks, 2015). Construction and Demolition Waste (C&DW) are generated in renovation activities and building new infrastructure. It can be generated from works performed by small families to large construction companies (Dahlbo et al., 2015; Wu et al., 2017). This type of waste can be classified according to its chemical characteristics as inert and non-inert. The main difference between inert materials (such as concrete and brick) and non-inert materials (such as wood) is that in the first group, there is no solubility in water (Wu et al., 2017). The main obstacles to recycling are the high availability and low cost of virgin raw materials, which decreases the demand for recycles and interest in developing businesses from recycling (Dahlbo et al., 2015). Waste Electrical and Electronic Equipment (WEEE) is the component and subassembly of electronic and electrical equipment that is considered obsolete or unwanted by users. It can come from telecommunications, lighting, and automatic systems (Lu et al., 2014). This type of waste, besides containing valuable resources, such as noble metals and rare earth elements, has many toxic materials, such as heavy metals. The high generation and mismanagement of WEEE can cause risks to human health and the environment, and instability of the technological industry of this sector, due to the scarcity of mineral resources. Therefore, the implementation of recycling is essential for the preservation of human health, ecosystems, and natural resources (Zeng et al., 2017). High-Level Waste (HLW) is generated by reprocessing nuclear fuel after uranium and plutonium extraction (Stefanovsky et al., 2016). Its management is principally concerned with the processing of HLW solutions for the recovery of valuable actinides such as uranium and plutonium; removal of minor actinides and other long-lived fission products (Sengupta and Gupta, 2017). For the destination of this waste, geological disposal is conducted, which consists of isolating and containing radioactive material in such a way that there is no need for long-term monitoring by future generations and that there is a reduction of risks for human beings. The procedure is done through a system that isolates the waste from the biosphere for a long period to ensure that its concentrations in the atmosphere are insignificant compared to the natural level of radioactivity (Sellin and Leupin, 2014). There are some important studies on WM that use the literature review research method like this work. Among the most influential, Malinauskaite et al. (2017) have studied national MSW and waste-to-energy systems in the context of the circular economy in some European countries; Qambrani et al. (2017) have presented a review of the concepts involved in biochar production (charcoal) from the pyrolysis of biomass from cattle manure and feed waste, specifying its qualities and applications; Czajczyńska et al. (2017) have studied fast, intermediate, and slow pyrolysis of organic waste and mixtures of inorganic and organic household waste; Yong et al. (2016) have studied the more efficient use of energy from cleaner fuels and biofuels and WM; Rajaeifar et al. (2017) have identified the main difficulties of electricity generation from MSW.

Ty

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A Symphony in Silence In the heart of an ancient city, nestled between the towering spires and cobblestone streets, lay the small, forgotten district of Arvensis. Time had dulled the vibrant hues of its once bustling marketplace, leaving behind a quiet charm that spoke of bygone days. The air was thick with the scent of rain-soaked earth, mingling with the faint aroma of aging wood and the distant memory of laughter. In this serene enclave, there lived a man named Alaric. He was a craftsman of sorts, though not in the traditional sense. Alaric's art was the manipulation of sound and silence, a skill passed down through generations of his family. His workshop, a modest abode cluttered with an assortment of peculiar instruments, stood as a testament to his life's work. Tuning forks, chimes, and delicate glass spheres filled the shelves, each one meticulously arranged according to a system known only to him. Alaric's most prized possession, however, was a grand piano, an heirloom from his great-grandfather. Its polished surface bore the scars of time, yet it remained a masterpiece of craftsmanship. The piano's strings had a unique resonance, producing notes that could evoke the deepest emotions. Alaric believed it held the power to communicate with the soul directly, bypassing the need for words. Every evening, as the sun dipped below the horizon, Alaric would sit at the piano and play. His fingers danced across the keys with the grace of a master, weaving melodies that seemed to transcend the physical realm. The notes flowed like water, filling the room with a symphony that spoke of joy, sorrow, and the myriad shades of human experience. Those who heard Alaric's music often described it as a conversation with the divine. One such listener was Seraphina, a young woman who had recently moved to Arvensis. Seraphina was a painter, drawn to the district by its quiet beauty and the promise of inspiration. She had rented a small apartment overlooking Alaric's workshop, and each night, as she worked on her canvases, the sound of the piano would drift through her open window, filling her with a sense of wonder. Seraphina's own art was vibrant and full of life, yet she felt there was something missing. Despite her best efforts, she struggled to capture the essence of her subjects, the intangible qualities that made them unique. She longed to infuse her paintings with the same depth of emotion that Alaric achieved with his music. One evening, unable to contain her curiosity any longer, Seraphina ventured down to Alaric's workshop. She knocked softly on the door, her heart pounding in her chest. When Alaric opened the door, he was surprised to see the young woman standing there, her eyes wide with anticipation. "Hello," she said, her voice barely above a whisper. "I live upstairs and have been listening to your music every night. It's beautiful. I was wondering if... if you might let me watch you play?" Alaric smiled warmly, his eyes twinkling with a mixture of pride and amusement. "Of course," he replied. "Come in." Seraphina stepped inside, her gaze sweeping over the eclectic collection of instruments. She marveled at the delicate balance between order and chaos, each item contributing to the room's unique atmosphere. Alaric led her to the piano and gestured for her to sit nearby. As he settled onto the bench, he glanced at Seraphina, noting the paint stains on her hands and the spark of creativity in her eyes. He began to play, the notes flowing effortlessly from his fingers. Seraphina watched in awe, her senses overwhelmed by the sheer beauty of the music. She felt as if she were witnessing a dance between sound and silence, each note perfectly placed, each pause pregnant with meaning. The melodies seemed to paint vivid pictures in her mind, stirring emotions she had long thought dormant. As the final note faded into the air, Seraphina found herself at a loss for words. She struggled to articulate the impact of Alaric's music, the way it had touched her soul and opened her eyes to new possibilities. "That was... incredible," she finally managed. "I can see now why your music is so special. It's like you're telling a story without words." Alaric nodded, his expression thoughtful. "Music has a way of reaching places that words cannot. It's a language all its own, one that speaks directly to the heart." Inspired by this revelation, Seraphina returned to her apartment with renewed determination. She began to experiment with her art, seeking to infuse her paintings with the same emotional depth she had experienced in Alaric's music. She spent hours at her easel, layering colors and textures, striving to capture the essence of her subjects. As the days turned into weeks, a bond formed between Alaric and Seraphina. They would often meet in the evenings, sharing their progress and offering each other feedback. Alaric's music provided the backdrop to Seraphina's creative process, and her paintings inspired new compositions from him in turn. One day, Alaric confided in Seraphina about a dream he had harbored for many years. He wished to compose a piece that would encapsulate the essence of Arvensis, a symphony that would capture the spirit of the district and its people. "I want to create something that will endure," he explained, "a piece that will speak to future generations , conveying the beauty and history of this place. But I feel like I'm missing a key element, something that would truly bring the composition to life." Seraphina pondered his words, her mind racing with possibilities. "What if we combined our talents?" she suggested. "Your music and my paintings could create a multisensory experience, one that immerses people in the essence of Arvensis. We could tell its story through both sound and sight." Alaric's eyes lit up at the idea. "That's brilliant," he said. "Together, we could create something truly unique, something that speaks to the heart and soul of everyone who experiences it." Over the next few months, Alaric and Seraphina worked tirelessly on their joint project. Alaric composed melodies that reflected the district's vibrant past and tranquil present, while Seraphina painted scenes that captured the district's charm and resilience. Their collaboration grew more seamless with each passing day, their individual talents merging into a harmonious whole. As their masterpiece neared completion, they decided to present it in a special exhibition. They secured a venue in the heart of Arvensis-a grand, old hall that had once been a center of community life. They transformed the space into a gallery, displaying Seraphina's paintings on the walls and arranging the seating to focus on Alaric's piano. The night of the exhibition arrived, and the hall was filled with an eager crowd. Residents of Arvensis, both old and new, gathered to witness the unveiling of the district's story through the combined artistry of Alaric and Seraphina. As the audience settled in, a hush fell over the room, the air thick with anticipation. Alaric took his place at the piano, his fingers poised above the keys. He glanced at Seraphina, who stood beside her paintings, her heart pounding with nervous excitement. With a nod of encouragement, Alaric began to play. The first notes echoed through the hall, a gentle melody that captured the essence of a quiet morning in Arvensis. As Alaric's music filled the room, Seraphina unveiled her first painting-a vibrant scene of the district's marketplace in its heyday. The audience gasped in awe, their eyes darting between the painting and the pianist. With each new composition, Seraphina revealed another painting, each one meticulously crafted to mirror the emotions evoked by Alaric's music. The synergy between the visual and auditory elements was palpable, drawing the audience deeper into the narrative. They felt the joy of community gatherings, the sorrow of loss, the resilience of rebuilding, and the quiet peace of the present day. As the final notes of the symphony rang out, Alaric played a delicate coda, a reflection of the enduring spirit of Arvensis. The last painting depicted the district as it stood now, a place of quiet beauty and rich history. The audience rose to their feet in a standing ovation, tears glistening in their eyes. After the exhibition, the residents of Arvensis spoke of the profound impact the performance had on them. They felt a renewed connection to their home, a deeper appreciation for its history and its people. Alaric and Seraphina's collaboration had not only captured the essence of the district but had also strengthened the bonds within the community. In the days that followed, Alaric and Seraphina continued to work together, exploring new ways to merge their art forms. They held workshops for children, teaching them the power of creativity and collaboration. Their influence spread beyond Arvensis, inspiring other artists to seek out new and innovative ways to tell their own stories. As the years passed, the grand piano and the paintings became a symbol of the district's identity, a reminder of the transformative power of art. Alaric and Seraphina's legacy endured, their symphony in silence a testament to the beauty that can arise when hearts and minds come together in pursuit of a shared vision. And so, in the quiet district of Arvensis, the echoes of Alaric's melodies and the vibrant colors of Seraphina's paintings continued to inspire generations. The story of their collaboration, much like the music they created, was a conversation with the divine, a reminder that even in the simplest of places, extraordinary things can happen when creativity and passion unite.

comments on shorts that are “i will pin the longest ____”

I tried to make the longest comment by copy and pasting, but it instead freezes and crashes the app on my phone 🤷‍♂️

That’s a very long comment

I just found a mrbeast comment from 8 years ago with only 4 likes

We're no strangers to love. You know the rules and so do I. A full commitment's what I'm thinking of. You wouldn't get this from any other guy. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going on. We know the game and we're gonna play it. And if you ask me how I'm feeling. Don't tell me you're too blind to see. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you.(Ooh, give you up)(Ooh, give you up)Never gonna give, never gonna give.(Give you up)Never gonna give, never gonna give.(Give you up)We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going onWe know the game and we're gonna play it. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We're no strangers to love. You know the rules and so do I. A full commitment's what I'm thinking of. You wouldn't get this from any other guy. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going on. We know the game and we're gonna play it. And if you ask me how I'm feeling. Don't tell me you're too blind to see. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you.(Ooh, give you up)(Ooh, give you up)Never gonna give, never gonna give.(Give you up)Never gonna give, never gonna give.(Give you up)We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going onWe know the game and we're gonna play it. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We're no strangers to love. You know the rules and so do I. A full commitment's what I'm thinking of. You wouldn't get this from any other guy. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going on. We know the game and we're gonna play it. And if you ask me how I'm feeling. Don't tell me you're too blind to see. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you.(Ooh, give you up)(Ooh, give you up)Never gonna give, never gonna give.(Give you up)Never gonna give, never gonna give.(Give you up)We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going onWe know the game and we're gonna play it. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We're no strangers to love. You know the rules and so do I. A full commitment's what I'm thinking of. You wouldn't get this from any other guy. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going on. We know the game and we're gonna play it. And if you ask me how I'm feeling. Don't tell me you're too blind to see. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you.(Ooh, give you up)(Ooh, give you up)Never gonna give, never gonna give.(Give you up)Never gonna give, never gonna give.(Give you up)We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going onWe know the game and we're gonna play it. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We're no strangers to love. You know the rules and so do I. A full commitment's what I'm thinking of. You wouldn't get this from any other guy. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going on. We know the game and we're gonna play it. And if you ask me how I'm feeling. Don't tell me you're too blind to see. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you.(Ooh, give you up)(Ooh, give you up)Never gonna give, never gonna give.(Give you up)Never gonna give, never gonna give.(Give you up)We've known each other for so long. Your heart's been aching, but. You're too shy to say it. Inside, we both know what's been going onWe know the game and we're gonna play it. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We're no strangers to love. You know the rules and so do I. A full commitment's what I'm thinking of. You wouldn't get this from any other guy. I just wanna tell you how I'm feeling. Gotta make you understand. Never gonna give you up. Never gonna let you down. Never gonna run around and desert you. Never gonna make you cry. Never gonna say goodbye. Never gonna tell a lie and hurt you. We've known each other for so long. Your heart's been aching, but. You're too shy to say it *666*

HhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhHhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh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Goku

Ok I'm tired of kids saying you fell off it's like the "first, second, fourth" of 2024

You could make it even longer if you spammed W's The largest character in the English language.

Hhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh is such a cool thing

W is longer

HELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ AHHHHHHHHELP ME PLZ 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Go to the end Almost there Close there! So close! You made it! You made it (for real) Congrats! 🎉 You made it! Congrats! 🎉

*sorts by new* oh great more spam

bruh

this is a comment.

I said ""

Hi

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Timeworks found a new engagement hack against his will 3:03 Estimated revenue $-1

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common kind of grass is used to cover the ground in places such as lawns and parks. Grass is usually the color green. That is because they are wind-pollinated rather than insect-pollinated, so they do not have to attract insects. Green is the best colour for photosynthesis. Grasslands such as savannah and prairie where grasses are dominant cover 40.5% of the land area of the Earth, except Greenland and Antarctica.[4] Grasses are monocotyledon herbaceous plants. They include the "grass" of the family Poaceae, which are called grass by ordinary people. This family is also called the Gramineae, and includes some of the sedges (Cyperaceae) and the rushes (Juncaceae).[5] These three families are not very closely related, though all of them belong to clades in the order Poales. They are similar adaptations to a similar life-style. With about 780 genera and about 12,000 species,[3] the Poaceae is the fifth-largest plant family. Only the Asteraceae, Orchidaceae, Fabaceae and Rubiaceae have more species.[6] The true grasses include cereals, bamboo and the grasses of lawns (turf) and grassland. Uses for graminoids include food (as grain, shoots or rhizomes), drink (beer, whisky), pasture for livestock, thatch, paper, fuel, clothing, insulation, construction, sports turf[broken anchor], basket weaving and many others. Many grasses are short, but some grasses can grow tall, such as bamboo. Plants from the grass family can grow in many places and make grasslands, including areas which are very dry or cold. There are several other plants that look similar to grass and are referred to as such, but are not members of the grass family. These plants include rushes, reeds, papyrus and water chestnut. Seagrass is a monocot in the order Alismatales. Grasses are an important food for many animals, such as deer, buffalo, cattle, mice, grasshoppers, caterpillars and many other grazers. Unlike other plants, grasses grow from the bottom, so when animals eat grass they usually do not destroy the part that grows.[7] This is part of the reason why the plants are so successful. Without grass, more soil might wash away into rivers (erosion). Evolution of grass change Grasses include some of the most versatile plant life-forms. They became widespread toward the end of the Cretaceous. Fossilized dinosaur dung (coprolites) have been found containing grass phytoliths (silica stones inside grass leaves).[8] Grasses have adapted to conditions in lush rain forests, dry deserts, cold mountains and even intertidal habitats, and are now the most widespread plant type. Grass is a valuable source of food and energy for many animals.[9] Grass and people change Lawn grass is often planted on sports fields and in the area around a building. Sometimes chemicals and water is used to help lawns to grow. People have used grasses for a long time. People eat parts of grasses. Corn, wheat, barley, oats, rice and millet are cereals, common grains whose seeds are used for food and to make alcohol such as beer. Sugar comes from sugar cane, which is also a plant in the grass family. People have grown grasses as food for farm animals for about 4,000 years. People use bamboo to build houses, fences, furniture and other things. Grass plants can also be used as fuel, to cover rooves, and to weave baskets. Language change In English, the word "grass" appears in several phrases. For example: "The grass is always greener on the other side" means "people are never happy with what they have and want something else". "Don't let the grass grow under your feet" means "Do something". "A snake in the grass" is about a person that will not be honest and will trick others. All flesh is grass: Old Testament book of Isaiah, chapter 40, verses 6-8. A very true observation of the present-day ecology. See the Miocene for the ecological relevance. Grass is a slang term for cannabis (pot, weed, or marijuana). Cannabis looks like a grass, but it is actually a rosid.

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