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Behind these bars, there should be nowhere left for trouble to hide… but Frank Drebin has never been a man who plays by the rules. 😂 The cell is quiet. The tension is building. Everything appears under control… until Drebin enters the picture. What begins as an ordinary moment...

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Scene Addiction🔰

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536,328 görüntüleme • 5 gün önce •via X (Twitter)

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Leslie Nielsen on how playing Frank Drebin in "N@k€d Gun" movies saved him: "Interviewer: Do you find that you're trying to that people really want you to be Frank Drebin when you go into a room or an interview or in an airplane lounge or whatever? Nielsen: It really makes no difference what they want because I know now that I am Frank Drebin. And it's nice to be able to say, "Hey, no, no, I'm just as dumb and stupid as Drebin is." And yeah, we go to bed together. We are one and the same person. Interviewer: Were you Frank Drebin 20 years ago? Nielsen: Sure, I was. But the expectations of me were were not the same. They had expectation of me go toward perfection. I always looked like I knew what I was talking about and I always looked like just standing there [thinking] that I knew what I was doing and so people expected me to behave in a certain way and they didn't give me any leeway for any imperfection. Drebin has saved me. I'm free now to be to be a lunatic and and to be, you know, kind of insane. I'm free. You know, Drebin has helped to be free me as a person. (...) I think I may have found out one of the reasons I became an actor." (Leslie Nielsen's interview with Jimmy Carter, 1994) Clip from: N@k€d Gun 33⅓: The Final Insult (1994) Director: Peter Segal
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Leslie Nielsen on how playing Frank Drebin in "N@k€d Gun" movies saved him: "Interviewer: Do you find that you're trying to that people really want you to be Frank Drebin when you go into a room or an interview or in an airplane lounge or whatever? Nielsen: It really makes no difference what they want because I know now that I am Frank Drebin. And it's nice to be able to say, "Hey, no, no, I'm just as dumb and stupid as Drebin is." And yeah, we go to bed together. We are one and the same person. Interviewer: Were you Frank Drebin 20 years ago? Nielsen: Sure, I was. But the expectations of me were were not the same. They had expectation of me go toward perfection. I always looked like I knew what I was talking about and I always looked like just standing there [thinking] that I knew what I was doing and so people expected me to behave in a certain way and they didn't give me any leeway for any imperfection. Drebin has saved me. I'm free now to be to be a lunatic and and to be, you know, kind of insane. I'm free. You know, Drebin has helped to be free me as a person. (...) I think I may have found out one of the reasons I became an actor." (Leslie Nielsen's interview with Jimmy Carter, 1994) Clip from: N@k€d Gun 33⅓: The Final Insult (1994) Director: Peter Segal

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The man that you can hear talking in the video is Frank Pieper, who was trying to help an elderly man that just had a heart Monitor fitted leaving the Southport Court house. He and another woman were both arrested on the foot path for not moving fast enough. The woman was arrested first and Frank Turned to look and was hit from behind by Police. Frank says he was slammed to the ground by 3-4 police, they kneed him in the ribs resulting in Bruises, internal left lung bleeding and an old back injury has flared up after it took years to get over previously. They were both filed with non compliance.
1:40

The man that you can hear talking in the video is Frank Pieper, who was trying to help an elderly man that just had a heart Monitor fitted leaving the Southport Court house. He and another woman were both arrested on the foot path for not moving fast enough. The woman was arrested first and Frank Turned to look and was hit from behind by Police. Frank says he was slammed to the ground by 3-4 police, they kneed him in the ribs resulting in Bruises, internal left lung bleeding and an old back injury has flared up after it took years to get over previously. They were both filed with non compliance.

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Lou Williams just directly called out Lawrence Frank after Chris Paul was sent home: “A lot of these incidents are coming down to an isolated person. And that person is in charge of a lot of these decisions… This isn’t a Clippers thing. It’s an isolated issue with L Frank and the way he’s gone about treating certain players he feels like has been disrespectful or not on the same page with him. He has a way of doing business with these guys… It’s bad optics… There is one particular person in these scenarios who is the common denominator for how things look and the optics when it comes to these types of situations.” 🎥: Run It Back
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Lou Williams just directly called out Lawrence Frank after Chris Paul was sent home: “A lot of these incidents are coming down to an isolated person. And that person is in charge of a lot of these decisions… This isn’t a Clippers thing. It’s an isolated issue with L Frank and the way he’s gone about treating certain players he feels like has been disrespectful or not on the same page with him. He has a way of doing business with these guys… It’s bad optics… There is one particular person in these scenarios who is the common denominator for how things look and the optics when it comes to these types of situations.” 🎥: Run It Back

Joey Linn

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This scene is a perfect example of how The Darker Story builds tension without needing everything to be explained. A young man is found vulnerable and clearly in need of help, yet the situation somehow gets turned around until the people who came to intervene leave convinced that nothing is wrong. What makes the scene so unsettling is the contrast between what the audience can see and what the authorities are being made to believe. Daimler’s ability to control the narrative adds another layer of uneasiness, making you question how many warning signs can be ignored before the truth finally comes to light. The atmosphere is uncomfortable, suspenseful, and brilliantly played.
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This scene is a perfect example of how The Darker Story builds tension without needing everything to be explained. A young man is found vulnerable and clearly in need of help, yet the situation somehow gets turned around until the people who came to intervene leave convinced that nothing is wrong. What makes the scene so unsettling is the contrast between what the audience can see and what the authorities are being made to believe. Daimler’s ability to control the narrative adds another layer of uneasiness, making you question how many warning signs can be ignored before the truth finally comes to light. The atmosphere is uncomfortable, suspenseful, and brilliantly played.

Ijoba

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2001: A Space Travesty (2000) is the Leslie Nielsen film everyone forgets. And for good reason: it's terrible. The first half is a riff on various sci-fi movies, from Coneheads to Total Recall, with Nielsen's character Dick Dix trying to find a kidnapped President Clinton on the Moon. The second half is on Earth because they ran out of space jokes. Nielsen is basically Frank Drebin, the jokes are basically aimed at 13 year olds, the plot was pulled together from ideas fished from a wastepaper bin. You should watch it once, because you should always watch Leslie Nielsen, but this is a low point for the movie spoof genre.
1:26

2001: A Space Travesty (2000) is the Leslie Nielsen film everyone forgets. And for good reason: it's terrible. The first half is a riff on various sci-fi movies, from Coneheads to Total Recall, with Nielsen's character Dick Dix trying to find a kidnapped President Clinton on the Moon. The second half is on Earth because they ran out of space jokes. Nielsen is basically Frank Drebin, the jokes are basically aimed at 13 year olds, the plot was pulled together from ideas fished from a wastepaper bin. You should watch it once, because you should always watch Leslie Nielsen, but this is a low point for the movie spoof genre.

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🔥 What Happened Because of One Careless Mistake? 😱 The Truth Will Shock You! 💥 What started as a simple situation suddenly turned into a major problem when one unexpected mistake changed everything. 😨⚡ Nobody imagined that such a small decision could create so much confusion, tension, and drama. As the truth slowly begins to come out, everyone is left wondering what really happened and who is responsible. 👀💭 Secrets, misunderstandings, and surprising reactions make the situation even more intense. The unexpected twist completely changes the story and leaves everyone stunned. 🎬🔥 Watch till the end to discover the truth behind this shocking turn of events! 😱

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Scorsese Universe

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This might be the coldest way a movie has ever explained a murder. Frank doesn’t just tell us that Joey Gallo is going to die, he walks us through the preparation like he’s explaining something completely ordinary. The guns. The noise. The location. Joey feeling safe. The bodyguard. Even the bathroom. Every detail has a purpose. And that’s what makes Frank terrifying: there’s no hatred in his voice, no excitement, no hesitation. Just calculation. Scorsese makes you hear the murder being planned before you watch it happen and by the time Frank walks into that restaurant, you already know exactly how bad the night about to get.🎬🍿
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This might be the coldest way a movie has ever explained a murder. Frank doesn’t just tell us that Joey Gallo is going to die, he walks us through the preparation like he’s explaining something completely ordinary. The guns. The noise. The location. Joey feeling safe. The bodyguard. Even the bathroom. Every detail has a purpose. And that’s what makes Frank terrifying: there’s no hatred in his voice, no excitement, no hesitation. Just calculation. Scorsese makes you hear the murder being planned before you watch it happen and by the time Frank walks into that restaurant, you already know exactly how bad the night about to get.🎬🍿

Sweetgirl🌸

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🚨 WEIGH IN 33 🚨 •290.8 pounds (ATH 530+ pounds) •Frank has lost 250+ pounds •We’ve officially hit the “Diet Wall” Any health journey will have setbacks, include moments of adversity, and ultimately hit walls. Frank’s journey is no different. The important thing is how you RESPOND to setbacks or moments of stagnation, opposed to wallowing in it. Frank has bounced between 278-292 pounds over the last 6 months. His step count remains well over 20K per day and he has been lifting weights 3X per week since Arnold taught him how over Christmas break. Frank has put on significant muscle and looks great, but he can still lower his BMI. And he’ll need to before going forward with a potential skin removal procedure. To break through the wall of this current 278-290 pound plateau, Frank must level up his discipline on diet. The good news is Frank is completely honest about his eating habits and owns it when he messes up. No excuses. No denial. We have talked it out at length how Frank is learning the hard way that at a certain point, you can’t out walk or out lift a bad diet. The challenge going forward is Frank channeling the ferocious discipline he has applied to his exercise regiment and to his diet. Frank will never be a salad guy (or humus) but he knows he can make better decisions throughout the day and night from baseline meals to snacks to drink choices. This wall is going to be extremely hard to break though, but I know Frank can do it. Just gotta take that sledgehammer and start swinging. The first few hits might not even make a dent, but with consistent pressure and focus THE WALL WILL FALL. Time to lock in. Anudder weigh in in the books
0:55

🚨 WEIGH IN 33 🚨 •290.8 pounds (ATH 530+ pounds) •Frank has lost 250+ pounds •We’ve officially hit the “Diet Wall” Any health journey will have setbacks, include moments of adversity, and ultimately hit walls. Frank’s journey is no different. The important thing is how you RESPOND to setbacks or moments of stagnation, opposed to wallowing in it. Frank has bounced between 278-292 pounds over the last 6 months. His step count remains well over 20K per day and he has been lifting weights 3X per week since Arnold taught him how over Christmas break. Frank has put on significant muscle and looks great, but he can still lower his BMI. And he’ll need to before going forward with a potential skin removal procedure. To break through the wall of this current 278-290 pound plateau, Frank must level up his discipline on diet. The good news is Frank is completely honest about his eating habits and owns it when he messes up. No excuses. No denial. We have talked it out at length how Frank is learning the hard way that at a certain point, you can’t out walk or out lift a bad diet. The challenge going forward is Frank channeling the ferocious discipline he has applied to his exercise regiment and to his diet. Frank will never be a salad guy (or humus) but he knows he can make better decisions throughout the day and night from baseline meals to snacks to drink choices. This wall is going to be extremely hard to break though, but I know Frank can do it. Just gotta take that sledgehammer and start swinging. The first few hits might not even make a dent, but with consistent pressure and focus THE WALL WILL FALL. Time to lock in. Anudder weigh in in the books

Matteo Piper Jenks 🧲 🇮🇹

368,719 görüntüleme • 2 ay önce

Daddy freeze currently on IG live talking about Frank Edoho and his ex wife’s situation “Years ago, When a married man cheats, it is often overlooked, it’s no big deal, but when a married woman cheats, it is her mother that’ll call her and ask her why she’s disgracing the family. In 2016, Chike would never have been able to sell another Album in Nigeria. If Frank Edoho presents those voice notes in court, Frank Edoho will win the case. Frank Edoho was loved until few days ago just because of a comment he made on a podcast many years ago, he’s now the enemy, some people are even calling him a ded beat father”
3:06

Daddy freeze currently on IG live talking about Frank Edoho and his ex wife’s situation “Years ago, When a married man cheats, it is often overlooked, it’s no big deal, but when a married woman cheats, it is her mother that’ll call her and ask her why she’s disgracing the family. In 2016, Chike would never have been able to sell another Album in Nigeria. If Frank Edoho presents those voice notes in court, Frank Edoho will win the case. Frank Edoho was loved until few days ago just because of a comment he made on a podcast many years ago, he’s now the enemy, some people are even calling him a ded beat father”

Oyindamola🙄

350,614 görüntüleme • 4 ay önce

One of the saddest moments in 2001: A Space Odyssey (1968) isn't a death - it's Frank Poole watching his parents wish him happy birthday from Earth. The scene is almost painfully ordinary. His parents smile, sing to him, mention the cake - talking to him the way any family talks to a son who's far from home. But Frank isn't just "far from home." He's millions of miles away, sealed inside a spacecraft, listening to a message that already feels like it belongs to another life. He barely responds. He just sits there, watching, surrounded by the cold silence of the ship. That's what makes it so sad. Kubrick never says Frank is lonely - he just lets the distance say it for him. A birthday message that's supposed to feel warm instead becomes haunting. It's proof that Frank still has a family, still has a life waiting for him on Earth. The tragedy is they'll never see him again. Even the chess scene adds to it. Frank isn't playing another astronaut - he's playing HAL, the same calm machine that will soon turn on the entire crew. A quiet daily routine that becomes deeply unsettling in hindsight. That's why this part of the film still hits so hard. Before HAL becomes a threat, before the mission collapses, Kubrick gives us something quieter first: a man alone in space, listening to his parents sing happy birthday, from a world he'll never see again.
2:07

One of the saddest moments in 2001: A Space Odyssey (1968) isn't a death - it's Frank Poole watching his parents wish him happy birthday from Earth. The scene is almost painfully ordinary. His parents smile, sing to him, mention the cake - talking to him the way any family talks to a son who's far from home. But Frank isn't just "far from home." He's millions of miles away, sealed inside a spacecraft, listening to a message that already feels like it belongs to another life. He barely responds. He just sits there, watching, surrounded by the cold silence of the ship. That's what makes it so sad. Kubrick never says Frank is lonely - he just lets the distance say it for him. A birthday message that's supposed to feel warm instead becomes haunting. It's proof that Frank still has a family, still has a life waiting for him on Earth. The tragedy is they'll never see him again. Even the chess scene adds to it. Frank isn't playing another astronaut - he's playing HAL, the same calm machine that will soon turn on the entire crew. A quiet daily routine that becomes deeply unsettling in hindsight. That's why this part of the film still hits so hard. Before HAL becomes a threat, before the mission collapses, Kubrick gives us something quieter first: a man alone in space, listening to his parents sing happy birthday, from a world he'll never see again.

Best of Kubrick

41,117 görüntüleme • 2 ay önce

Pride and Prejudice – The Lake Scene A person is truly seen only when they no longer try to be perfect Some moments in cinema do not become timeless because of what a character tries to show. They become unforgettable because, for a very brief moment, the character can no longer hide who they truly are. In the BBC adaptation of Pride and Prejudice, the scene of Darcy walking out of the lake is such a moment. At first glance, it is a simple situation: A wealthy gentleman has just finished swimming and unexpectedly encounters Elizabeth Bennet. There is no declaration of love. No grand conversation. No dramatic event. Yet it is precisely this simplicity that reveals the deepest truth about Darcy’s character. Because, for the first time in the story, Darcy does not appear as the perfect gentleman society expects him to be. He has no perfectly arranged formal attire. No safe distance between himself and others. No preparation to control how people perceive him. He is simply a human being suddenly placed in a moment where there is no time to rebuild all the outer layers he usually uses to present himself. And it is at that exact moment that Elizabeth sees the real Darcy for the first time. Throughout most of the story, Darcy exists as an image. He is: a wealthy man, a proud aristocrat, someone who always maintains his composure, a person who seems unwilling to let emotion overcome reason. But that perfection also creates distance. The more Darcy tries to preserve his calm and dignity, the harder it becomes for others to see the person inside him. He is like a statue carved too perfectly: beautiful, dignified, but cold. And then water appears. Water does not take away Darcy’s qualities. It simply removes the things that conceal him. The wet shirt does not make Darcy less noble. On the contrary, it creates the first moment when he does not need his social position, clothing, or manners to prove who he is. For the first time, Elizabeth does not see “Mr. Darcy.” She sees a person. A man who can feel awkward. A man who can feel embarrassed. A man whose emotions cannot be completely controlled. This is the most beautiful paradox of the scene: Darcy becomes most attractive at the moment when he is not trying to be attractive. He becomes closest to others when he no longer maintains his distance. He becomes most real when the perfect image he has built begins to break apart. Because sometimes, what separates people is not their imperfections. It is the excessive effort to hide those imperfections. This is also why the lake scene fits perfectly with the entire spirit of Pride and Prejudice. The story is not only about love. It is about the way human beings learn to see beyond outer appearances. Elizabeth must overcome her own prejudice toward Darcy. Darcy must overcome his own pride. Both of them must let go of part of the image they created to protect themselves. Only then can they truly see each other. A person is truly seen only when they no longer try to be perfect. And perhaps that is why a moment with almost no dialogue can remain so deeply alive in the memory of viewers. Because it touches something profoundly human: We often believe we are loved when we become the best version of ourselves. But sometimes, what allows others to recognize our true beauty is the moment when we no longer have to pretend to be someone else.
3:50

Pride and Prejudice – The Lake Scene A person is truly seen only when they no longer try to be perfect Some moments in cinema do not become timeless because of what a character tries to show. They become unforgettable because, for a very brief moment, the character can no longer hide who they truly are. In the BBC adaptation of Pride and Prejudice, the scene of Darcy walking out of the lake is such a moment. At first glance, it is a simple situation: A wealthy gentleman has just finished swimming and unexpectedly encounters Elizabeth Bennet. There is no declaration of love. No grand conversation. No dramatic event. Yet it is precisely this simplicity that reveals the deepest truth about Darcy’s character. Because, for the first time in the story, Darcy does not appear as the perfect gentleman society expects him to be. He has no perfectly arranged formal attire. No safe distance between himself and others. No preparation to control how people perceive him. He is simply a human being suddenly placed in a moment where there is no time to rebuild all the outer layers he usually uses to present himself. And it is at that exact moment that Elizabeth sees the real Darcy for the first time. Throughout most of the story, Darcy exists as an image. He is: a wealthy man, a proud aristocrat, someone who always maintains his composure, a person who seems unwilling to let emotion overcome reason. But that perfection also creates distance. The more Darcy tries to preserve his calm and dignity, the harder it becomes for others to see the person inside him. He is like a statue carved too perfectly: beautiful, dignified, but cold. And then water appears. Water does not take away Darcy’s qualities. It simply removes the things that conceal him. The wet shirt does not make Darcy less noble. On the contrary, it creates the first moment when he does not need his social position, clothing, or manners to prove who he is. For the first time, Elizabeth does not see “Mr. Darcy.” She sees a person. A man who can feel awkward. A man who can feel embarrassed. A man whose emotions cannot be completely controlled. This is the most beautiful paradox of the scene: Darcy becomes most attractive at the moment when he is not trying to be attractive. He becomes closest to others when he no longer maintains his distance. He becomes most real when the perfect image he has built begins to break apart. Because sometimes, what separates people is not their imperfections. It is the excessive effort to hide those imperfections. This is also why the lake scene fits perfectly with the entire spirit of Pride and Prejudice. The story is not only about love. It is about the way human beings learn to see beyond outer appearances. Elizabeth must overcome her own prejudice toward Darcy. Darcy must overcome his own pride. Both of them must let go of part of the image they created to protect themselves. Only then can they truly see each other. A person is truly seen only when they no longer try to be perfect. And perhaps that is why a moment with almost no dialogue can remain so deeply alive in the memory of viewers. Because it touches something profoundly human: We often believe we are loved when we become the best version of ourselves. But sometimes, what allows others to recognize our true beauty is the moment when we no longer have to pretend to be someone else.

🎼🌺Music Love♥️

15,891 görüntüleme • 2 ay önce

😱 A Shocking Moment That Leaves Everyone Speechless! 🥛💥 What begins as an ordinary moment suddenly turns into an unexpected and confusing situation. 👀⚡ A surprising discovery leaves everyone wondering what could possibly be happening. As the tension rises, every second brings new questions and uncertainty. 😨🔍 The unusual moment catches everyone’s attention and turns a simple situation into a dramatic mystery. 🎭🔥 Is there a simple explanation behind what happened, or is something completely unexpected being revealed? 🤯 The suspense continues to build as everyone tries to understand the truth. One thing is certain—this surprising moment will leave viewers curious until the very end! 🎬✨
2:32

😱 A Shocking Moment That Leaves Everyone Speechless! 🥛💥 What begins as an ordinary moment suddenly turns into an unexpected and confusing situation. 👀⚡ A surprising discovery leaves everyone wondering what could possibly be happening. As the tension rises, every second brings new questions and uncertainty. 😨🔍 The unusual moment catches everyone’s attention and turns a simple situation into a dramatic mystery. 🎭🔥 Is there a simple explanation behind what happened, or is something completely unexpected being revealed? 🤯 The suspense continues to build as everyone tries to understand the truth. One thing is certain—this surprising moment will leave viewers curious until the very end! 🎬✨

Meet Saab (17)K

34,228 görüntüleme • 23 gün önce

MY HOUSE, MY RULES sounds confident… until you realize he may have just trapped the wrong man. This scene goes from uncomfortable to genuinely unsettling when the power between these two men completely changes. What looks like one man being in control quickly starts feeling like something much darker is happening inside that house. And that’s what makes the scene work: you’re not just watching an argument you’re trying to figure out who is actually in danger and who is pretending to have control. The confidence in his voice makes the situation even more disturbing, because the more he insists that these are his rules, the more you start wondering what happens when the other man decides he doesn’t have to follow them. One house. Two men. And a power struggle where “my house, my rules” suddenly doesn’t sound like a warning anymore.
1:08

MY HOUSE, MY RULES sounds confident… until you realize he may have just trapped the wrong man. This scene goes from uncomfortable to genuinely unsettling when the power between these two men completely changes. What looks like one man being in control quickly starts feeling like something much darker is happening inside that house. And that’s what makes the scene work: you’re not just watching an argument you’re trying to figure out who is actually in danger and who is pretending to have control. The confidence in his voice makes the situation even more disturbing, because the more he insists that these are his rules, the more you start wondering what happens when the other man decides he doesn’t have to follow them. One house. Two men. And a power struggle where “my house, my rules” suddenly doesn’t sound like a warning anymore.

ADEX🕴️

861,178 görüntüleme • 27 gün önce

🚨 Ghalibaf is openly letting everyone know he is the man in charge. The more he speaks, the more it sounds like we’re witnessing a series of Freudian slips from a man who already sees himself as Iran’s real decision-maker. Listen to how many times he says “I.” Not “the government,” not “the system,” not “we” - just “I.” “I will decide.” At one point he effectively tells others to help formulate policy while he makes the final decisions. For a man who is supposedly just the Speaker of Parliament, he sounds remarkably comfortable speaking as the country’s ultimate authority. This is the same Ghalibaf who has been empowered and legitimized by Trump and his allies through negotiations that have elevated him from a regime insider to a central figure in Iran’s future. The more he talks, the more it appears that Ghalibaf—not the elusive Mojtaba Khamenei or the clerics—is consolidating power behind the scenes. The question is no longer whether there is a power struggle, but whether Ghalibaf has already won it.
3:53

🚨 Ghalibaf is openly letting everyone know he is the man in charge. The more he speaks, the more it sounds like we’re witnessing a series of Freudian slips from a man who already sees himself as Iran’s real decision-maker. Listen to how many times he says “I.” Not “the government,” not “the system,” not “we” - just “I.” “I will decide.” At one point he effectively tells others to help formulate policy while he makes the final decisions. For a man who is supposedly just the Speaker of Parliament, he sounds remarkably comfortable speaking as the country’s ultimate authority. This is the same Ghalibaf who has been empowered and legitimized by Trump and his allies through negotiations that have elevated him from a regime insider to a central figure in Iran’s future. The more he talks, the more it appears that Ghalibaf—not the elusive Mojtaba Khamenei or the clerics—is consolidating power behind the scenes. The question is no longer whether there is a power struggle, but whether Ghalibaf has already won it.

The Iran Watcher 🇮🇷

485,982 görüntüleme • 3 ay önce

As I regain my physical freedom, my commitment to Venezuela has never been deeper. 🇻🇪 We do not seek the path of confrontation, but the path of justice. A peaceful transition to democracy is not a sign of weakness—it is the ultimate expression of strength from a people who refuse to give up. It is the only way to heal our wounds and rebuild our home. But my freedom remains incomplete as long as a single Venezuelan remains behind bars for their ideas. A true democracy does not fear dissent; it embraces it. We demand the immediate and full release of all political prisoners.
1:21

As I regain my physical freedom, my commitment to Venezuela has never been deeper. 🇻🇪 We do not seek the path of confrontation, but the path of justice. A peaceful transition to democracy is not a sign of weakness—it is the ultimate expression of strength from a people who refuse to give up. It is the only way to heal our wounds and rebuild our home. But my freedom remains incomplete as long as a single Venezuelan remains behind bars for their ideas. A true democracy does not fear dissent; it embraces it. We demand the immediate and full release of all political prisoners.

Jesús Armas

13,851 görüntüleme • 7 ay önce

The audacity of this man to state that Alberta separation will never happen is just ludicrous! Who in the hell is he to state the outcome of a democratic process until it plays out?! He states he’s an Albertan yet refuses to address a single concern Albertans have. This man will not save you Alberta. He’s just another slimy eastern politician who will pander to the west for votes to give him the power he craves and will continue allowing the east to control Canada’s future. The ONLY WAY Albertans get a voice is by separating and becoming independent. #AlbertaIndependence
0:46

The audacity of this man to state that Alberta separation will never happen is just ludicrous! Who in the hell is he to state the outcome of a democratic process until it plays out?! He states he’s an Albertan yet refuses to address a single concern Albertans have. This man will not save you Alberta. He’s just another slimy eastern politician who will pander to the west for votes to give him the power he craves and will continue allowing the east to control Canada’s future. The ONLY WAY Albertans get a voice is by separating and becoming independent. #AlbertaIndependence

Michelle Phillips

14,173 görüntüleme • 6 ay önce

There’s a deleted scene in Scarface in which we were supposed to be introduced to Nick “The Pig,” an independent Miami drug dealer. The scene was meant to show that Tony was already “making moves” on the street outside of Frank Lopez’s organization. This is why later in the film, when Tony returns from Bolivia after making the huge cocaine deal with Sosa, and Frank asks what they’re supposed to do if they can’t come up with the money, Tony reassures him: “Relax, I’m in tight with Sosa. You short a couple mil, I’ll go on the street for you. I make a couple of moves, a mil here, a mil there, you got it.” Frank is taken aback: “You’re making moves on your own?” Up to this point, as far as Frank knows, the only drug deals Tony has been involved in are through Frank’s own operation - namely, the string of mules he was running out of Colombia on commercial flights, another sequence cut from the finished film. Nick “The Pig” is also the same character Tony later turns to after Frank Lopez tries to have him killed at the Babylon Club. Tony has Nick call Frank at “3 o’clock sharp,” pretending to be one of the assassins, and tell him: “We fucked up. He got away.” If you watch the deleted scene, it’s pretty obvious why it never made the final cut.
1:30

There’s a deleted scene in Scarface in which we were supposed to be introduced to Nick “The Pig,” an independent Miami drug dealer. The scene was meant to show that Tony was already “making moves” on the street outside of Frank Lopez’s organization. This is why later in the film, when Tony returns from Bolivia after making the huge cocaine deal with Sosa, and Frank asks what they’re supposed to do if they can’t come up with the money, Tony reassures him: “Relax, I’m in tight with Sosa. You short a couple mil, I’ll go on the street for you. I make a couple of moves, a mil here, a mil there, you got it.” Frank is taken aback: “You’re making moves on your own?” Up to this point, as far as Frank knows, the only drug deals Tony has been involved in are through Frank’s own operation - namely, the string of mules he was running out of Colombia on commercial flights, another sequence cut from the finished film. Nick “The Pig” is also the same character Tony later turns to after Frank Lopez tries to have him killed at the Babylon Club. Tony has Nick call Frank at “3 o’clock sharp,” pretending to be one of the assassins, and tell him: “We fucked up. He got away.” If you watch the deleted scene, it’s pretty obvious why it never made the final cut.

Gangster Cinema Central

79,673 görüntüleme • 1 ay önce