關於 aliens scene ，我們在網路上蒐集到這些相關的討論、資訊與評價

Reading this post by @Shacind Ananthan
(@shacindananthan) made me cry tears of joy and pride, I felt compelled to share it with all of you...

"This is for all my fellow Malaysians who are still abroad; I hope this gives you a little insight on what went on during my journey from the UK all the way to the hotel I am quarantined in in KL. To my non-Malaysian friends, this is me unabashedly showing off the exemplary work by our government. This is my tribute to the countless men and women in duty who assisted us with so much care and respect.

It all started on the plane from Doha to KL, where I had transited from Manchester. With a mere 50 people on the plane, we were all fairly separated to sit in isolation from one another. After taking off, we were handed a Health Declaration form to fill up. In addition to the general information (name, age, etc), COVID specific questions were also asked. It even asked for our flight and seat number- I figured it was to track down those who came in contact with a suspected COVID-19 patient.

When I landed in KLIA, we were greeted warmly by 2 men in uniform at the end of the jet bridge. One was coordinating us to queue, strictly keeping in mind the 1m gap, and the other was guiding us to the skytrain on a Segway. As we approached the skytrain, another policewoman took over and brought us to the bus lounge, where we boarded a bus to the arrival hall. Each bus had a maximum of only 10 people, and the seats were marked with an ‘X’ to make sure we sat adjacent to each other. In the bus was another policewoman who made sure we went in one by one, and only allowed the next person to enter once the previous one had sat down. A recurring theme you would find is that at every ‘checkpoint’ there were at least 1-2 officers who did their job so diligently, that there was no hold up, making the process very smooth. It felt as if this was an extremely well thought out procedure that had been going on for years. All the i’s were dotted and t’s crossed.

Once we alighted the bus, we walked to the immigration counters and were screened by an infra-red thermometry system. After passing it, we were guided towards a team of health officials from KKM on the right. I was very impressed with the number of health officials and the amenities provided for them. There were around 10 officials in what looked like full hazmat suits, each provided with a chair and table. I was greeted by this lovely woman, who asked for my health declaration form and reaffirmed if I had any symptoms. The constant glee on her face and referring to me as “adik” made me feel like I was in safe hands. The first step to addressing a crisis is to calm the stakeholders. It is the little things like these that reassures one in an anxiety driven situation. She then gave me a home assessment form where I had to monitor and report my symptoms daily.

After clearing the immigration, we queued up to sanitize our hands, and then were given another form to register our particulars and emergency contacts. We sat down and filled up the forms while waiting for 3 more batches of people to arrive. After 20 minutes passed, a police officer gave us a short briefing on the do’s and don’ts while in quarantine. The question on everyone’s minds was “where are we being taken?”. I overheard conversations of people praying that it was a five-star hotel in KL. However dire the circumstances, the innate Malaysian tendency to always expect luxury never fades, does it? The policeman politely replied that he wasn’t sure where we were going to be quarantined, but assured us it was going to be a good place nevertheless.

Then we were escorted by another officer to the baggage claim area where our luggage had already been taken off the baggage carousel and organized for us to simply go and grab them. I figured that this was to reduce the contact between people in case we crowd around the conveyer belt. This also significantly reduced the time taken for us to get re-organized. Take note of the little details that the authorities paid attention to.

Later on, the same police officer led us to the arrival hall where 3 Smart Selangor buses had already been parked for us to board. Before entering the bus, a fireman proceeded to fumigate our luggage and backpacks one by one, while we sanitized our hands once more before being handed a bag full of snacks by another officer. In the bus was a lady who helped us load our luggage. It was very systematic, only allowing one person in the bus at a time to maintain social distancing.

We waited for around 30 minutes for all 3 batches of people to board the buses. My mind was still in a state of disbelief, I and kept wondering how much manpower and logistics it must have taken to make the process as smooth as possible and achieve this insane level of efficiency. Before leaving, the bus driver announced that we were being taken to Impiana KLCC Hotel. Mental gasps could be heard from the 15 people in the bus.

The journey to the hotel was just short of 50 minutes. We were all aghast looking at the sight before us when we reached the hotel. People were busy clicking pictures and taking videos of the scene that frankly seemed like it belonged to a distant dystopian future. Dozens of people in full hazmat suits were standing by a long table which looked like an assembly line, busy screening and registering us aliens. Before we got off the bus, a man in a PASKAU uniform briefed us on the next course of action. He told us to keep our passports ready for registration. We patiently helped each other with the luggage (still maintaining an appropriate distance) and queued up according to yellow tapes on the ground. I was standing in line between two sisters, so I offered the one behind me to take my spot but she politely declined. Soon enough, it was my turn.

The lady at the start of the table proceeded to check my temperature with a temperature gun and passed me another form, similar to the home assessment one. I then handed my passport to the next guy who immediately photo stated it with the photocopier behind him. While waiting for my passport, the following person asked for my phone number and my place of origin. After I received my passport, I was given the room key along with two masks and was quickly thrusted into the hotel. While it seemed quick and rushed, it was effective as the primary goal was to limit as much contact with others as possible.

As I walked in, I saw the girl who was in front of me struggling with her 4 huge bags, so me and another KKM personnel assisted her into the lift. We had a brief conversation and I got to know that she was a third-year student who had to leave the UK and pack her things for good overnight. Laughing at the fact that our rooms were next to each other, we bid goodbye and stormed into our rooms. In the room were two boxes of bottled water, plastic bags for the contaminated clothes, a huge bag filled with coffee, biscuits and snacks and so on. We are being served good nutritious food three times a day and housed in a four star (some five star) hotel all for free of charge. There is 24/7 surveillance and a medical team at our doorstep at all times. I bow down to this great nation with utmost humility, thank you for this Malaysia.

This lockdown/ quarantine has really cultivated the sense of community and the innate feeling of unity that we had lost. Though the time frame of when this epidemic will end is still unclear, it became clear to me that we will pull through, because that’s what Malaysians do best. This was further proven when all 74 of us quarantined at Impiana KLCC were added into a WhatsApp group by Lieutenant Zakee (who was in charge of our welfare in the hotel) for ease of communication. The group was instantly flooded with messages of hope, optimism and love and gratitude for the lieutenant, health workers and other officers who heroically put our welfare in front of their own lives.

Why am I writing this? This is a primary account of someone who experienced the plight of leaving a foreign country overnight with an uncertain future. This is to counter the fake narratives online that seek to defame our great nation. The entire ecosystem functioned like a well-oiled machine, NO stone was left unturned. It is not an overstatement when I say that Malaysia has been one of the most proactive countries with tackling the menace of COVID-19. Therefore, I urge the armchair economists at home, the constant naysayers- if you cannot acknowledge the good our government is doing, at least don’t stand in their way.

Thank you again, Malaysia, for keeping me safe. I have always been, am always, and will always be a proud citizen of this country that has given me so much.

Tanah tumpahnya darahku!

- Shacind Ananthan
(@shacindananthan)

Join the crew https://www.facebook.com/groups/2366734596727746/?ref=share

The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

A Quiet place ❤️
ไปดูมาละวันนี้ อยากบอกว่าลุ้นมากกกกกก
มีความกดดัน จิกเบาะสุดๆ

กินป็อปคอร์นได้แค่ช่วงแรกๆ
หลังจากนั้น อีนี่เอากล่องป็อปคอร์นมาปิดตา
ขยำจนกล่องพับ บู้บี้ไปหมด
555555

หนังมันมีตัวละครที่เป็นครอบครัว
มีพ่อ แม่ ลูก มีการสูญเสีย
แล้วนี่เป็นแม่ไง ดูแล้วอินจริงๆ

เป็นหนังดี ที่ไม่ควรพลาดค่ะ

มึงง! กูเป็นผู้ชายย!เเละกูไม่เคยมีอาการขวัญเเหก
มือจิกเบาะเสียวเเละกลัวจนเอามือมาปิดหน้าเเบบนี้
มาก่อน ไม่ว่าหนังเรื่องนั้นจะสยอง ระทึก หรือลุ้น
จนขี้จะเเตกเเค่ใหนก็ตาม เเต่เรื่องนี้มันทำได้วะ!
มันสามารถเปลี่ยนผู้ชายเเมนๆเเบบกูให้กลายเป็น
ตุ๊ดสติหลุด เเสดงอาการเเบบสาวใจเเตกออกมาได้
ตั้งเเต่ 5 นาทีเเรกที่หนังเปิดเรื่องกันเลยทีเดียว

ดีงามครับ นี้คืออีกหนึ่งหนังสยองขวัญระทึกขวัญ
ที่ควรตั้งอยู่บนหิ้งหนังสยองคลาสสิคอีกเรื่องนึง
อีก 20 ปีข้างหน้าเเม่งจะกลายเป็นหนังในตำนาน
ที่คนในโลกอนาคตต้องตามหามาดูอีกเเน่นอน
เพราะทุกฉากเเม่งขยี้หนักมาก ออกจากโรงมาเนี้ย
กูยังผวาไม่หายเลย สั่นไปทั้งตัวละห่า!

ทั้งโรงที่กูไปดูมีคนเกิน 50 คน เเต่ละคนมีทั้งน้ำ
ป็อปคอน เเละเพื่อนหรือเเฟนที่มานั่งข้างๆ ทุกคน
เเม่งนั่งเงียบ เงียบจนได้ยินเสียงคนข้างๆหายใจ
ไม่มีใครกินป็อปคอนเลย! ทั้งๆที่ซื้อกันมาถังใหญ่
คนข้างๆกูไม่เอามือมาเเตะเเก้วน้ำเเล้วยกดูดเลย
เเม้เเต่ครั้งเดียว และไอ้เเฟนของคนที่นั่งเเถวบน
ก็นั่งเงียบ ทั้งๆที่ตอนมานั่งช่วงเเรกคุยกันงุ้งงิงๆ
เสียงดังน่ารำคาณมาก เเต่พอผ่าน 5 นาทีเเรกไป
ทุกคนเเม่งพร้อมใจเงียบ เเละตั้งใจจะดูหนังอย่าง
สงบสุข เข้าโหมดจิตตกไปพร้อมๆกันทุกวินาที

นี้เเสดงให้เห็นเเล้วหนังเเม่งมีของ สามารถทำให้
คนทั้งโรงตั้งใจดูได้อย่างเต็มที่ เเละดำดิ่งไปกับ
สถานการณ์ที่ตัวละครเเต่ละตัวจะต้องเผชิญ ทั้งนี้
ด้วยการเดินเรื่องที่เรียบๆง่ายๆ ทำให้หนังมีบทที่
ละเอียดอ่อน เเละเล่นกับดีเทลได้ครบทั้งหมด

เราจะเห็นหมดเลยว่าการใช้ชีวิตโดยที่ไม่สามารถ
ส่งเสียงอะไรออกมาได้นั้น ต้องใช้ชีวิตเเบบใหน
การสัญจรไปมาต้องทำยังไง การส่งสัญญาญเเละ
การเรียนรู้วิธีหลบหนีต้องใช้อะไรประกอบบ้าง คือ
หนังสามารถเก็บรายละเอียดตรงนี้ได้ทั้งหมด จน
เราอดจะชื่นชมทีมงานไม่ได้เลย ว่าขยันคิดขยัน
สร้าง จนมันเพอร์เฟคได้เกินคาด ในทางกลับกัน
ไอ้รายละเอียดพวกนี้ละ คือตัวดี ที่สามรถทำให้
คนดูลุ้นกันเยี่ยวเเทบราดคาโรง!!

หนังไม่ได้มีดีเเค่สยองระทึกอย่างเดียว ตัวละคร
เเละนัยยะต่างๆยังเขียนออกมาได้ดี กินใจคนดู
ได้เเบบไร้ที่ติ เรียกได้ว่ามีหลั่งน้ำตากันได้อะ

เรารู้สึกว่าหนังมันทำออกมาเพื่อด่าสังคมเเละผู้นำ
ประเทศด้วยนะ เอเลี่ยนในเรื่องเเม่งเหมือนผู้นำ
ประเทศบางประเทศที่ไม่สามารถทนฟังเสียงอะไร
ได้เลยสักเสียง ได้ยินเสียงปุ๊บ ต้องทำลาย ต้องฆ่า
ต้องหาทางหยุดเสียงลง ประชาชนก็ต้องใช้ชีวิตใน
เเบบที่ระวังตัวเเละเงียบที่สุดเพื่ออยู่รอด แต่จง
ระวังไว้ เพราะเมื่อประชาชนลุกขึ้นสู้ได้ เอเลี่ยน
(หรือที่ถูกเปรียบให้เป็นนักการเมื่องหรือรัฐบาล)
ที่เเม้จะมีเกราะหนาเเค่ใหนก็ตายห่าได้เเบบโง่ๆ

สุดท้ายนี้อยากจะขอโทษโรง SF บางเเคนะครับ
ที่ผมทำให้ที่วางเเขนของเก้าอี้โรงหนังขาดไป
''นิดนึง" เพราะตลอดเวลาที่ถึงฉากสำคัญในหนัง
ผมจิกเบาะเเรงมากๆ เชื่อว่าคุณผู้หญิงท่านอื่นเเละ
คุณผู้ชายบางคนก็จิ๊กเบะจนตัวเกร็งเช่นกันกับผม

ใครยังไม่ไปดูรีบเลยครับ
หนังเเบบนี้ควรค่าเเก่การดูในโรงจริงๆ #แอดรีฟ

อ่อ ก่อนเข้าโรงไม่ต้องซื้อป็อปคอนไปกินหรอก
เพราะคุณจะไม่ได้กินมัน! แต่ถ้าอยากอุดหนุน
โรงหนังก็เชิญ SF รอบเยอะนะ 5G ไม่ยึด สบายใจ
#SF #aQuietPlace
You are confused! I am a man! And I have never had a bad condition.
My hands are so thrilling and scared that I put my hands on my face like this.
Before, whether that movie is scary or exciting
No matter how bad it is, but this can do it!
It can turn a man like me into
My mind is out of mind. I feel like a girl. But I can come out.
Since the first 5 minutes the movie opened.

Very good. This is another thriller movie.
That should be located on another classic movie shelf.
The next 20 years will become legendary movie
What people in the future world will find. Let's see again.
Because every scene is crushing so hard. I got out of the shed.
I'm still terrified. I'm shaking all of them!

The whole shed that I went to see. There are more than 50 people, but each person has water.
Pop Con and friends or lover sitting next to everyone
I'm sitting so quiet that I hear someone next to me breathing.
Nobody eats popcorn! Even though I bought a big tank.
Someone next to me doesn't want to kick water and suck it.
Even once and the boyfriend of the top
I sit quiet when I come to sit in the first time. Haha. I'm confused.
Loud, annoyed, but when I passed the first 5 minutes.
Everyone is willing to be quiet and intends to watch a movie.
Peace. Mind mode. Fall at the same time every second.

I have seen this. The movie has something that can do.
The whole shed is fully focused on watching and getting dark.
The situation that each character has to face.
By Walking, simple things make the movie a script.
Delicate. Play with all the detel.

We will see all that living without being able to.
What kind of noise can I make? How do I have to live?
What should I do about walking around? Sending promises and
Learning how to escape. What does it take to assemble?
The movie can keep all the details here until
I can't help but appreciate the team that I'm diligent and diligent
Build until it's perfect. On the other hand.
These details are the third good ones. Cars make.
The audience is excited. Piss off at karong!!

The movie is not good. Just scary. Character.
And implying things are still written well. Eat the audience's heart.
It's flawless. It can be called tears.

I feel like the movie is made to scold society and leaders.
Country too. Alien in the story like a leader.
Some countries that can't stand to listen to anything.
I got it. I have to kill when I hear it. I have to kill.
Need to find a way to stop the noise. People have to live in
The most careful and quiet way to survive.
Be careful because when people stand up aliens
(or compared to a government or government)
No matter how thick the armor is, you can die like stupid.

Finally, I want to apologize to sf bang khen hospital.
The reason I cut off the theater chair holder.
'' a little bit " because all the time it comes to important scenes in the movie.
I'm so cool. I believe that other women and
Some men are so puzzling that they are tense with me.

Who hasn't seen it yet, hurry up.
This movie is worth watching in the theater. #Admin

Oh, before going to the hospital, no need to buy popcorn to eat.
Because you won't eat it! But if you want to buy
The theater also invites sf. There are plenty of rounds. 5 G. I don't take
#SF #aQuietPlaceTranslated

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訂閱: https://www.youtube.com/channel/UC8vabPSRIBpwSJEMAPCnzVQ?sub_confirmation=1

我最高觀看次數的影片 (我為何不再拍暗網? 只說一次): https://www.youtube.com/watch?v=jbihKaqEEQw&t=127s

首支單曲: https://www.youtube.com/watch?v=UASHWB6Ai9Y

我的成長故事: https://www.youtube.com/watch?v=Kdhtp6A6YJE

這位才是真正的網絡垃圾: https://www.youtube.com/watch?v=jlJYDx1GP-U&t=263s

Billie Eilish出賣靈魂的方法: https://www.youtube.com/watch?v=pfB1S2uy5Po&t=115s
日本最殘酷的直播節目: https://www.youtube.com/watch?v=7E81OKVX7wc
我受夠了, 我的精神困擾: https://www.youtube.com/watch?v=aQ6uxaQhiS4&t=7s

Is oumuamua alien technology?
NASA終於發現外星奇怪生物
NASA終於發現外星奇怪物件
人類終於發現外星奇怪物件
Youtuber終於發現外星奇怪物件
Youtube終於發現外星奇怪物件
Youtube發現外星奇怪物件

2021年Youtube震驚宇宙的外星奇怪恐怖物件
研究2021年震驚宇宙的外星奇怪恐怖物件

望上黑色的天空, 星空之大真是難以估計. 目前人類已發現到超過500個太陽系. 外星人的影視作品同樣深入民心.
那如果我們發現來自第二個太陽系的外星物體不受控地撞近我們地球, 認為他是lo ji wuy yi d friend, is it kind of 不理志呢?

Oumuamua (scream !!!!) omuamua
是2017年被科學家發現首個interstellar object (pause vid) 中文: 星際物體.
意思是來自我們太陽系以外, 更不受我們萬有引力影響在piu fuw的長型物體.
這物件的存在has cause a two-sided debate in the scientific community, is this a外星飛船呢?
大家好又是我暗網仔!
Ever since young I’ve wanted aliens to exist so badly! 所以今天的影片的確比較peen bong有外星人的

為何這件看似沒什麼的Oumuamua 物體能jun hum整個科學界呢? 首先) 外型上oumuamua跟一般的彗星jit yeen不同. 第二, 牠接近太陽時不像其他天然石體, 會搖滾得比較利害. 反以在太陽付近suen轉得cheung suen, 由如太空suen.
牠到底來自那一個星系到現在還是沒有人知道.
對比一直研究oumuamua 這位Karen j meech, 哈佛天文學家Avi Loeb是獨自分享這個大dam的外星人看法!
My brother!!!

雖然在少眾, 但如果大家有過interstellar星際效應的朋友利用當中的概念tou在現實oumuamua身上也會覺得外星人理論是合理的. 我不是講笑!

“大家好! 我是 ‘暗阿莫’ 故事背景地球已是一個不能再居住的地方. 太空梭駕駛員男主角為救自己的女兒和人類的未來決定參加NASA一個穿過黑洞尋找能居住的新星球故事”
不好意思講回廣東話. 在不同星系的星球中時間長短非常不一樣. 在某星球過一小時可能在地球已過了30年. (Play scene)

其實導演Christopher nolan拍這部電影時真是聘請了物理學家確保當中理論的準確性. 而尾段講維度的kiu段tou在oumuamua身上可能解釋得到.

故事結局講述通過黑洞的男主角由我們現在生活的四維空間去了高等生物行走的五維空間. 到了5維空間之後他能穿越時空影響四維空間的reality及過去. 就如神一樣.
之前看老高講述這部電影講過我們4維空間的生物能影響3維空間所有事: 即是平面的東西. 列如紙上的畫像. 快chook翻動的時候能做出各種動態. 更容易明白是我們電腦在播放的影片, 我們除時能把影片jam停, 或回帶到之前或之後.
5維生物看著我們也擁有同樣的控制能力.
所以電影結論是當初讓男主角能到達5維空間的那一個蟲洞是5維空間的高度民ming放在人類的星糸, 讓他們自己發現, 然後導致人類
作出ching gauw自己! 不要mit mong! 這個決定.

Omuaomua是否高度民ming放在我們眼前的東西? 如果是的話是想引導我們做什麼ching gauw自己的行為嗎?

更有趣是電影暗示那kwun 5維空間的高度民ming其實是未來的人類. 代表人類未來能進化到更高的維度.
有外國Youtuber分析Omuaomua是否外星生物的creation影片結論不要將所有還未能解釋得到的自然現象也lai lok外星人身上. 因為是懶惰和沒有科學根據的做法.
但如果放oumuamua 這物件在我們太空中的really is future humans. 那用 ‘外星人’ 解釋這物件其實也挺有科學根據. 只是那種科學根據是我們現在還沒有發明到的.

(Alien being discovered news)
(Alien being discovered news)
(Alien being discovered news)
自omuaomua被發現的2017年短短兩年後2019年來自另一星際的彗星2i/Borisov被發現. It’s different from other objects as it’s not affected by the gravitational pull of the sun. Also, it has since disappeared from our view because it was traveling at high speeds 每小時超過10萬理.

Why are these happening so close to each other? Are their signs of aliens that’s trying to be shown to us.
星空上是否很快有什麼祕密會被kit hiu呢?

Watch My Friends from Afar 知星人 on Toggle NOW!
http://tv.toggle.sg/en/channel8/shows/my-friends-from-afar-tif/episodes

My Alien Girlfriend (Ep 6) - You Don’t See What’s Close To You
After using her alien powers on Thomas, Emily fled the scene frantically. In a panic, Emily called Dean for help. To her surprise, Dean asked no questions and offered to accompany Emily home every day after work. There seems to be something going on between the two of them...

我的知星女友 (Ep 6) - 远在天边，近在眼前
Emily在情急之下使用了她的外星力量制服了Thomas。她在暴露了身份后，打给 Dean 求救。Dean非但没有质问她，还提议每天下班后陪 Emily 回家。他们两人之间似乎擦出了什么火花...

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