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🚨 Christopher Nolan’s The Odyssey is breaking AMC ticket records with massive demand — proof audiences still crave big-screen epics. But let’s talk about the “woke agenda” part: Nolan cast Lupita Nyong’o as Helen of Troy — the woman whose beauty “launched a thousand ships” in Homer’s epic. Helen...

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Paul A. Szypula 🇺🇸

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Helen of Troy Casting: Tradition vs. Modern Changes For decades, Helen of Troy — the legendary beauty whose face “launched a thousand ships” — was consistently portrayed as a fair-skinned, blonde or light-haired woman in major films. • 1956 Helen of Troy (dir. Robert Wise) — Rossana Podestà • 2004 Troy (dir. Wolfgang Petersen) — Diane Kruger The 2026 The Odyssey (now in theaters, dir. Christopher Nolan) has sparked widespread debate by casting Lupita Nyong’o as Helen (and her sister Clytemnestra). Whether one approves of the change or not, this casting decision has dominated conversation around the movie. Distractions like these can pull focus from the story itself. (Video: AI) In the end the audience is always right — many are now discussing the identities of the actors chosen for these established roles instead of the performances on screen. That’s what distractions do.
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Helen of Troy Casting: Tradition vs. Modern Changes For decades, Helen of Troy — the legendary beauty whose face “launched a thousand ships” — was consistently portrayed as a fair-skinned, blonde or light-haired woman in major films. • 1956 Helen of Troy (dir. Robert Wise) — Rossana Podestà • 2004 Troy (dir. Wolfgang Petersen) — Diane Kruger The 2026 The Odyssey (now in theaters, dir. Christopher Nolan) has sparked widespread debate by casting Lupita Nyong’o as Helen (and her sister Clytemnestra). Whether one approves of the change or not, this casting decision has dominated conversation around the movie. Distractions like these can pull focus from the story itself. (Video: AI) In the end the audience is always right — many are now discussing the identities of the actors chosen for these established roles instead of the performances on screen. That’s what distractions do.

Paul A. Szypula 🇺🇸

119,905 Aufrufe • vor 2 Monaten

🎥 Matt Damon Hits the Red Carpet for Nolan’s The Odyssey World Premiere in LA — (Video: AI) Christopher Nolan’s star-studded adaptation of Homer’s epic premiered today in Los Angeles, with Matt Damon leading as Odysseus. The film also features Zendaya, Anne Hathaway, Lupita Nyong’o as Helen of Troy, Tom Holland, and others. Some critics have called out what they see as woke casting choices, including casting Lupita Nyong’o (a Black actress) as Helen of Troy — described in the original text as fair-skinned — and Elliot Page in a prominent role. Others have pushed back, saying modern adaptations can take creative liberties. How do you think The Odyssey will perform at the box office and with audiences, given these casting debates? Will it be a hit like Nolan’s previous films or face backlash? Drop your thoughts! 👇
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🎥 Matt Damon Hits the Red Carpet for Nolan’s The Odyssey World Premiere in LA — (Video: AI) Christopher Nolan’s star-studded adaptation of Homer’s epic premiered today in Los Angeles, with Matt Damon leading as Odysseus. The film also features Zendaya, Anne Hathaway, Lupita Nyong’o as Helen of Troy, Tom Holland, and others. Some critics have called out what they see as woke casting choices, including casting Lupita Nyong’o (a Black actress) as Helen of Troy — described in the original text as fair-skinned — and Elliot Page in a prominent role. Others have pushed back, saying modern adaptations can take creative liberties. How do you think The Odyssey will perform at the box office and with audiences, given these casting debates? Will it be a hit like Nolan’s previous films or face backlash? Drop your thoughts! 👇

Paul A. Szypula 🇺🇸

10,980 Aufrufe • vor 2 Monaten

Christopher Nolan’s The Odyssey Storms Box Office with $264M Opening Despite Criticism Christopher Nolan’s epic adaptation of Homer’s The Odyssey delivered a massive $264 million global opening weekend, including $124.5 million domestically. Despite widespread criticism over woke casting choices, the star-studded film (featuring Matt Damon, Tom Holland, Anne Hathaway, Zendaya and more) proved audiences turned out in strong numbers for the ambitious blockbuster. (Video: AI) Reviewers have hailed it as “Nolan’s best film to date” with praise for its “breathtaking epic of men, monsters and moral metamorphosis.” The film marks Nolan’s strongest opening outside the Batman franchise when adjusted for inflation.
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Christopher Nolan’s The Odyssey Storms Box Office with $264M Opening Despite Criticism Christopher Nolan’s epic adaptation of Homer’s The Odyssey delivered a massive $264 million global opening weekend, including $124.5 million domestically. Despite widespread criticism over woke casting choices, the star-studded film (featuring Matt Damon, Tom Holland, Anne Hathaway, Zendaya and more) proved audiences turned out in strong numbers for the ambitious blockbuster. (Video: AI) Reviewers have hailed it as “Nolan’s best film to date” with praise for its “breathtaking epic of men, monsters and moral metamorphosis.” The film marks Nolan’s strongest opening outside the Batman franchise when adjusted for inflation.

Paul A. Szypula 🇺🇸

45,698 Aufrufe • vor 2 Monaten

Let’s talk about Agamemnon’s look in Christopher Nolan’s The Odyssey, because this faceless, dark bronze armor is a masterclass in visual storytelling. People online are split: some call it out-of-place sci-fi or a secret Dark Knight nod, but the real inspiration goes much deeper. Nolan and costume designer Ellen Mirojnick used "blackened bronze" and exaggerated proportions not for historical textbook accuracy, but to mirror how oral epics hyper-inflate legends over centuries. Agamemnon isn't just portrayed as a man here; he’s the ultimate faceless warlord elevated, untouchable, and masked behind an aura of absolute corporate-style tyranny while his men bleed for him. Genius character design or a step too far into fantasy?
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Let’s talk about Agamemnon’s look in Christopher Nolan’s The Odyssey, because this faceless, dark bronze armor is a masterclass in visual storytelling. People online are split: some call it out-of-place sci-fi or a secret Dark Knight nod, but the real inspiration goes much deeper. Nolan and costume designer Ellen Mirojnick used "blackened bronze" and exaggerated proportions not for historical textbook accuracy, but to mirror how oral epics hyper-inflate legends over centuries. Agamemnon isn't just portrayed as a man here; he’s the ultimate faceless warlord elevated, untouchable, and masked behind an aura of absolute corporate-style tyranny while his men bleed for him. Genius character design or a step too far into fantasy?

Shelbys_fade

46,420 Aufrufe • vor 1 Monat

“In the modern world, man becomes a slave to the feminine principle, seduced by images and illusions created by emotion and fantasy—decadent forms of eros.” —Julius Evola, Metaphysics of Sex The modern cult of equality has fixed its gaze upon the sexes. What had once been regarded as the polarity of man and woman, grounded in nature and consecrated by tradition, has been lowered to a counterfeit of sameness. Evola returned often to this inversion, discerning in it the same anti-hierarchical impulse that has disfigured every other sphere of life, and which, under the guise of liberation, has stripped both sexes of the dignity proper to their stations. What the age heralds as emancipation he judged to be a degradation, for feminism does not raise woman to her station but strips her of it, compelling her to abandon her essence in order to imitate man, while man himself, bereft of his higher path, sinks into a condition at once impoverished and grotesque. For Evola, culture was the victory of form over chaos, the conquest of the shapeless by order and measure. The city and the empire arose from the recognition of limits, of distinctions, of the rightful ranking of beings. Man attained his true stature as warrior and ascetic; woman realized her dignity as lover and mother. These types were not adversaries but counterparts, separate yet joined, each consecrated to the same principle of transcendence, each charged with its own path of heroism. In the sharpening of these forms, in the intensification of the masculine and the feminine, Europe attained its strength, and love retained its ancient dignity as a force at once generative and cosmic. There is also a beauty in the truth of form, for what is bound to nature and consecrated by tradition does not merely endure but shines. When the polarity of man and woman is clarified, when each fulfills the path proper to its essence, the result is not only strength but radiance. Beauty arises when limit is embraced, when form gives shape to matter, when order compels chaos into harmony. To behold such clarity is to glimpse truth itself, for truth and beauty are of one lineage, both testifying to the higher law that governs being. The modern age has broken this harmony. Bolshevism in the East proclaimed the equality of the sexes in the name of the collective. America in the West proclaimed the same in the name of emancipation. Beneath the opposing banners the result was alike: in one case, a promiscuous communality in which difference was dissolved, in the other, the masculinized woman of the factories and the salons. The poles collapsed, the bond was neutralized, eros was reduced to sterile companionship or the fleeting diversions of appetite. Evola named this impulse a radical pessimism, for beneath the assertion of equality lies the confession that woman, as woman, has no worth. She is compelled to take on the guise of man in order to claim value, and in so doing she forfeits the possibility of fulfillment. Man, in turn, is brutalized into a creature of appetite and utility, stripped of the higher forms once embodied in the ascetic and the warrior. Love itself, which depends upon polarity as fire depends upon the tension of elements, is extinguished, and with it the very possibility of renewal. What rises in its place is the gray world of neuter beings, uniform and without grandeur. Woman no longer appears as lover or as mother, but is driven into labor, into agitation, into pale imitations of intellectual life. Man no longer ascends as ascetic or warrior, but sinks into the tradesman, the showman, the brute. Thus the order of life is betrayed in its most intimate relation, and what once gave depth and height to being is consumed in the twilight of sameness. To revolt against this perversion is not to diminish woman but to restore her to her dignity. It is to affirm that difference and hierarchy are the ground of order, that polarity is the essence of love, that the higher destiny of mankind rests upon the distinction of the sexes. In defending this truth one does not merely preserve a passing custom, but upholds the principle of form itself. For in the bond of man and woman is mirrored the eternal strife of order with chaos, and in that strife the fate of the world is decided.
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“In the modern world, man becomes a slave to the feminine principle, seduced by images and illusions created by emotion and fantasy—decadent forms of eros.” —Julius Evola, Metaphysics of Sex The modern cult of equality has fixed its gaze upon the sexes. What had once been regarded as the polarity of man and woman, grounded in nature and consecrated by tradition, has been lowered to a counterfeit of sameness. Evola returned often to this inversion, discerning in it the same anti-hierarchical impulse that has disfigured every other sphere of life, and which, under the guise of liberation, has stripped both sexes of the dignity proper to their stations. What the age heralds as emancipation he judged to be a degradation, for feminism does not raise woman to her station but strips her of it, compelling her to abandon her essence in order to imitate man, while man himself, bereft of his higher path, sinks into a condition at once impoverished and grotesque. For Evola, culture was the victory of form over chaos, the conquest of the shapeless by order and measure. The city and the empire arose from the recognition of limits, of distinctions, of the rightful ranking of beings. Man attained his true stature as warrior and ascetic; woman realized her dignity as lover and mother. These types were not adversaries but counterparts, separate yet joined, each consecrated to the same principle of transcendence, each charged with its own path of heroism. In the sharpening of these forms, in the intensification of the masculine and the feminine, Europe attained its strength, and love retained its ancient dignity as a force at once generative and cosmic. There is also a beauty in the truth of form, for what is bound to nature and consecrated by tradition does not merely endure but shines. When the polarity of man and woman is clarified, when each fulfills the path proper to its essence, the result is not only strength but radiance. Beauty arises when limit is embraced, when form gives shape to matter, when order compels chaos into harmony. To behold such clarity is to glimpse truth itself, for truth and beauty are of one lineage, both testifying to the higher law that governs being. The modern age has broken this harmony. Bolshevism in the East proclaimed the equality of the sexes in the name of the collective. America in the West proclaimed the same in the name of emancipation. Beneath the opposing banners the result was alike: in one case, a promiscuous communality in which difference was dissolved, in the other, the masculinized woman of the factories and the salons. The poles collapsed, the bond was neutralized, eros was reduced to sterile companionship or the fleeting diversions of appetite. Evola named this impulse a radical pessimism, for beneath the assertion of equality lies the confession that woman, as woman, has no worth. She is compelled to take on the guise of man in order to claim value, and in so doing she forfeits the possibility of fulfillment. Man, in turn, is brutalized into a creature of appetite and utility, stripped of the higher forms once embodied in the ascetic and the warrior. Love itself, which depends upon polarity as fire depends upon the tension of elements, is extinguished, and with it the very possibility of renewal. What rises in its place is the gray world of neuter beings, uniform and without grandeur. Woman no longer appears as lover or as mother, but is driven into labor, into agitation, into pale imitations of intellectual life. Man no longer ascends as ascetic or warrior, but sinks into the tradesman, the showman, the brute. Thus the order of life is betrayed in its most intimate relation, and what once gave depth and height to being is consumed in the twilight of sameness. To revolt against this perversion is not to diminish woman but to restore her to her dignity. It is to affirm that difference and hierarchy are the ground of order, that polarity is the essence of love, that the higher destiny of mankind rests upon the distinction of the sexes. In defending this truth one does not merely preserve a passing custom, but upholds the principle of form itself. For in the bond of man and woman is mirrored the eternal strife of order with chaos, and in that strife the fate of the world is decided.

Chad Crowley

49,605 Aufrufe • vor 1 Jahr

Christopher Nolan’s Odyssey is not just ridiculous because it’s woke, it falls flat even from an artistic, cinematographic perspective. Watching Ellen Page try to depict an ancient Greek soldier running through the desert, is as visually absurd as watching an elderly Robert De Niro in Martin Scorsese’s The Irishman, playing a young Frank Sheeran. Ellen Page as a male Greek soldier, carries the same level of absurdity as watching the Grocery kicking scene in The Irishman, where Robert De Niro is supposed to be depicting a male in in his 30’s, while he’s visibly and mechanically in his late 70’s. Every kick stiff and old, the same way “Elliot” flops through the desert like an adolescent child. Every time we have to call Ellen, Elliot, every time we’re supposed to pretend Lupita Nyong'o represents Helen of Troy, and every time we’re supposed to pretend The Odyssey looks like ancient Greece, it hits home with the same level of absurdity as watching Joe Pesci say “What’s the matter, kid?” to a 76 year old Robert De Niro. In both instances, there is a common theme. The theme is selfishness and self-centeredness. Sure Robert De Niro could have given a portion of his role to a young up and coming actor, and sure Christopher Nolan could have used this film to promote some talented Greek actors, but that would be too rational, too audience-focused. Who care what the audience wants? Who cares how absurd this is visually, and conceptually, it’s what we want — and we’ll force feed it to you! We live in the world of “truths”, where everyone’s “truth” is more important than the actual truth.
0:13

Christopher Nolan’s Odyssey is not just ridiculous because it’s woke, it falls flat even from an artistic, cinematographic perspective. Watching Ellen Page try to depict an ancient Greek soldier running through the desert, is as visually absurd as watching an elderly Robert De Niro in Martin Scorsese’s The Irishman, playing a young Frank Sheeran. Ellen Page as a male Greek soldier, carries the same level of absurdity as watching the Grocery kicking scene in The Irishman, where Robert De Niro is supposed to be depicting a male in in his 30’s, while he’s visibly and mechanically in his late 70’s. Every kick stiff and old, the same way “Elliot” flops through the desert like an adolescent child. Every time we have to call Ellen, Elliot, every time we’re supposed to pretend Lupita Nyong'o represents Helen of Troy, and every time we’re supposed to pretend The Odyssey looks like ancient Greece, it hits home with the same level of absurdity as watching Joe Pesci say “What’s the matter, kid?” to a 76 year old Robert De Niro. In both instances, there is a common theme. The theme is selfishness and self-centeredness. Sure Robert De Niro could have given a portion of his role to a young up and coming actor, and sure Christopher Nolan could have used this film to promote some talented Greek actors, but that would be too rational, too audience-focused. Who care what the audience wants? Who cares how absurd this is visually, and conceptually, it’s what we want — and we’ll force feed it to you! We live in the world of “truths”, where everyone’s “truth” is more important than the actual truth.

ThePatrioticDog

30,910 Aufrufe • vor 2 Monaten

History has taught you have to choose between 1st World colonization or 3rd World immigration Your Will is either carved into reality or another’s Will is enacted upon you Life itself is a grand struggle between the conquered and the conquerer O but how forgetful is the mind of man in the days of his comfort Only until his land is overrun and his Race is all but gone does he realize this peace was a myth That surely there was war in his midst and he knew it not A bad steward always loses his inheritance and if he does not claim it… it is taken by another The question every man must as himself: Should I rule or be a subject? God will not judge your choice to be one or the other … but rather how you ruled or how you rendered to Caesar what rightfully belonged to him Humility isn’t defined as giving what is yours but in recognizing the power is yours to wield That the cost of doing nothing is greater than the cost of perhaps doing the wrong thing What will history say about you? About us? About our People? That of all men… The Europeans were the most virtuous of Rulers.
0:11

History has taught you have to choose between 1st World colonization or 3rd World immigration Your Will is either carved into reality or another’s Will is enacted upon you Life itself is a grand struggle between the conquered and the conquerer O but how forgetful is the mind of man in the days of his comfort Only until his land is overrun and his Race is all but gone does he realize this peace was a myth That surely there was war in his midst and he knew it not A bad steward always loses his inheritance and if he does not claim it… it is taken by another The question every man must as himself: Should I rule or be a subject? God will not judge your choice to be one or the other … but rather how you ruled or how you rendered to Caesar what rightfully belonged to him Humility isn’t defined as giving what is yours but in recognizing the power is yours to wield That the cost of doing nothing is greater than the cost of perhaps doing the wrong thing What will history say about you? About us? About our People? That of all men… The Europeans were the most virtuous of Rulers.

Christian Ascania🌞

79,829 Aufrufe • vor 8 Monaten

Madain Saleh, also known as Al-Hijr, is a pre-Islamic archaeological site located in the northwest of Saudi Arabia. It is one of the most important archaeological sites in the Middle East and was designated as a UNESCO World Heritage site in 2008. Madain Saleh is a place of great historical and cultural significance, and it is a must-visit destination for anyone interested in the history and culture of the Arabian Peninsula. Madain Saleh was the second city of the Nabataean kingdom, which was established in 2nd Century BC. The Nabataeans were an Arab tribe who were known for their expertise in carving tombs and buildings out of rock. They were also skilled in agriculture, trade, and commerce. The Nabataean kingdom was centered in Petra, which is located in modern-day Jordan. Madain Saleh served as a strategic outpost for Nabataeans, and it was an important stop on the trade routes that connected the Arabian Peninsula with the Mediterranean world. Archaeological site of Madain Saleh covers an area of 13 square kilometers. It is located in a remote desert region, and it is surrounded by rocky mountains and valleys. The site contains around 130 tombs, which were carved out of the sandstone cliffs. The tombs are adorned with intricate carvings and inscriptions, which provide insights into the culture and religion of the Nabataeans. The most famous tomb at Madain Saleh is the Qasr Al-Farid, which means "the lonely castle." This tomb is located on a hilltop and is surrounded by a large courtyard. It is the largest tomb at the site, and it is considered to be one of the finest examples of Nabataean architecture. The tomb was never completed, and it is believed that it was abandoned after the death of the Nabataean king who commissioned it. Another important tomb at Madain Saleh is the Tomb of Lihyan son of Kuza. This tomb is located in the southern part of the site and is carved into a rock cliff. It features a large entrance hall, a central chamber, and a series of smaller rooms. The tomb is decorated with intricate carvings and inscriptions, which provide insights into the religious beliefs of Nabataeans. Madain Saleh is not just a site of tombs; it also contains a number of other important structures. These include the Al-Khuraymat and Al-Sabika temples, which were used for religious ceremonies and rituals. The site also contains a number of houses, wells, and cisterns, which provide insights into the daily lives of the Nabataeans. Madain Saleh was abandoned in the 3rd Century AD, after decline of the Nabataean kingdom. The site was rediscovered in the 19th Century by the Swiss traveler Johann Ludwig Burckhardt. Since then, it has been studied by archaeologists from all over the world. The site is now managed by the Saudi Commission for Tourism and National Heritage, which has carried out extensive restoration and preservation work. Madain Saleh is not just a site of historical and cultural significance; it is also a place of great natural beauty. The site is surrounded by rugged mountains and valleys, and it is home to a diverse range of flora and fauna. Visitors to the site can enjoy hiking and camping, as well as exploring the ancient ruins. Madain Saleh is a site of great historical and cultural significance, and it is a must-visit destination for anyone interested in the history and culture of the Arabian Peninsula. Ancient ruins at Madain Saleh provide a glimpse into the engineering and architectural skills of the Nabataeans, as well as their religious beliefs and cultural practices. However, as the site becomes an increasingly popular tourist destination, there are concerns about its preservation and the impact of tourism on the local environment. It is important that the Saudi government and local communities work together to ensure that the site is protected and that tourism is managed in a sustainable way. 🎥© Paris Verra #archaeohistories
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Madain Saleh, also known as Al-Hijr, is a pre-Islamic archaeological site located in the northwest of Saudi Arabia. It is one of the most important archaeological sites in the Middle East and was designated as a UNESCO World Heritage site in 2008. Madain Saleh is a place of great historical and cultural significance, and it is a must-visit destination for anyone interested in the history and culture of the Arabian Peninsula. Madain Saleh was the second city of the Nabataean kingdom, which was established in 2nd Century BC. The Nabataeans were an Arab tribe who were known for their expertise in carving tombs and buildings out of rock. They were also skilled in agriculture, trade, and commerce. The Nabataean kingdom was centered in Petra, which is located in modern-day Jordan. Madain Saleh served as a strategic outpost for Nabataeans, and it was an important stop on the trade routes that connected the Arabian Peninsula with the Mediterranean world. Archaeological site of Madain Saleh covers an area of 13 square kilometers. It is located in a remote desert region, and it is surrounded by rocky mountains and valleys. The site contains around 130 tombs, which were carved out of the sandstone cliffs. The tombs are adorned with intricate carvings and inscriptions, which provide insights into the culture and religion of the Nabataeans. The most famous tomb at Madain Saleh is the Qasr Al-Farid, which means "the lonely castle." This tomb is located on a hilltop and is surrounded by a large courtyard. It is the largest tomb at the site, and it is considered to be one of the finest examples of Nabataean architecture. The tomb was never completed, and it is believed that it was abandoned after the death of the Nabataean king who commissioned it. Another important tomb at Madain Saleh is the Tomb of Lihyan son of Kuza. This tomb is located in the southern part of the site and is carved into a rock cliff. It features a large entrance hall, a central chamber, and a series of smaller rooms. The tomb is decorated with intricate carvings and inscriptions, which provide insights into the religious beliefs of Nabataeans. Madain Saleh is not just a site of tombs; it also contains a number of other important structures. These include the Al-Khuraymat and Al-Sabika temples, which were used for religious ceremonies and rituals. The site also contains a number of houses, wells, and cisterns, which provide insights into the daily lives of the Nabataeans. Madain Saleh was abandoned in the 3rd Century AD, after decline of the Nabataean kingdom. The site was rediscovered in the 19th Century by the Swiss traveler Johann Ludwig Burckhardt. Since then, it has been studied by archaeologists from all over the world. The site is now managed by the Saudi Commission for Tourism and National Heritage, which has carried out extensive restoration and preservation work. Madain Saleh is not just a site of historical and cultural significance; it is also a place of great natural beauty. The site is surrounded by rugged mountains and valleys, and it is home to a diverse range of flora and fauna. Visitors to the site can enjoy hiking and camping, as well as exploring the ancient ruins. Madain Saleh is a site of great historical and cultural significance, and it is a must-visit destination for anyone interested in the history and culture of the Arabian Peninsula. Ancient ruins at Madain Saleh provide a glimpse into the engineering and architectural skills of the Nabataeans, as well as their religious beliefs and cultural practices. However, as the site becomes an increasingly popular tourist destination, there are concerns about its preservation and the impact of tourism on the local environment. It is important that the Saudi government and local communities work together to ensure that the site is protected and that tourism is managed in a sustainable way. 🎥© Paris Verra #archaeohistories

Archaeo - Histories

196,581 Aufrufe • vor 2 Jahren

In the climax of the Greek epic, The Odyssey, Odysseus strings a bow and shoots an arrow through 12 axes to win back the hand of his wife, Penelope. The written version of the tale, dated between the 8th and 7th centuries B.C., is as old as time. A godlike man has just helped win the Trojan War (with some deceit thrown in), and now must return home to Ithaca, his wife, and his son. But for many familiar with an equally ancient epic from thousands of miles away, the Ramayana, the parallels are too eerie to be a coincidence. In the Ramayana, too, Rama effortlessly lifts a bow that nobody else can and strings it to win the hand of his wife, Sita. “Does The Odyssey actually have a Ramayana reference in the climax?” one Indian user incredulously asks about Christopher Nolan’s latest film adaptation. “I’m 100% sure it’s inspired by Ramayana,” another responds. But is that true? The Juggernaut spoke to experts to explain exactly how two canonical texts composed 3,500 miles apart — The Odyssey and the Ramayana — are linked across time, place, and people. Read the full story by Isha Banerjee below
0:10

In the climax of the Greek epic, The Odyssey, Odysseus strings a bow and shoots an arrow through 12 axes to win back the hand of his wife, Penelope. The written version of the tale, dated between the 8th and 7th centuries B.C., is as old as time. A godlike man has just helped win the Trojan War (with some deceit thrown in), and now must return home to Ithaca, his wife, and his son. But for many familiar with an equally ancient epic from thousands of miles away, the Ramayana, the parallels are too eerie to be a coincidence. In the Ramayana, too, Rama effortlessly lifts a bow that nobody else can and strings it to win the hand of his wife, Sita. “Does The Odyssey actually have a Ramayana reference in the climax?” one Indian user incredulously asks about Christopher Nolan’s latest film adaptation. “I’m 100% sure it’s inspired by Ramayana,” another responds. But is that true? The Juggernaut spoke to experts to explain exactly how two canonical texts composed 3,500 miles apart — The Odyssey and the Ramayana — are linked across time, place, and people. Read the full story by Isha Banerjee below

The Juggernaut

26,662 Aufrufe • vor 2 Monaten

🤡 Time to remember how Putin failed to “understand” why the G7 is called the “Great of Seven” “Why is it called ‘big’? I don’t get it. What’s so big about it? Wherever you look on the map, you can’t see anyone,” the Russian dictator once said about the G7 — the club of the world’s leading democracies. There’s just one problem: the “G” in G7 doesn’t stand for “Great” — it stands for Group, as in the Group of Seven. But apparently, no one bothered to explain that to Putin. Russia itself used to be part of the club, back when it was known as the G8. But after the annexation of Crimea in 2014, the other members refused to share a table with the Kremlin, scrapped the planned summit in Sochi, and returned to the G7 format. What else is left to say when you’re no longer invited to the meeting?
0:18

🤡 Time to remember how Putin failed to “understand” why the G7 is called the “Great of Seven” “Why is it called ‘big’? I don’t get it. What’s so big about it? Wherever you look on the map, you can’t see anyone,” the Russian dictator once said about the G7 — the club of the world’s leading democracies. There’s just one problem: the “G” in G7 doesn’t stand for “Great” — it stands for Group, as in the Group of Seven. But apparently, no one bothered to explain that to Putin. Russia itself used to be part of the club, back when it was known as the G8. But after the annexation of Crimea in 2014, the other members refused to share a table with the Kremlin, scrapped the planned summit in Sochi, and returned to the G7 format. What else is left to say when you’re no longer invited to the meeting?

NEXTA

140,087 Aufrufe • vor 3 Monaten

This album is not only about love, life, and tragedy, but also the beauty that can come from it all. This is the most vulnerable material I’ve ever released, and it is cathartic to share my story in this way. The 'Love Life Tragedy' album is a thank you to everyone who has loved and supported me for who I am - the artist, the husband, the father, the human being. I am very proud of this album and am excited to share it. Listen to 'Love Life Tragedy' here:
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This album is not only about love, life, and tragedy, but also the beauty that can come from it all. This is the most vulnerable material I’ve ever released, and it is cathartic to share my story in this way. The 'Love Life Tragedy' album is a thank you to everyone who has loved and supported me for who I am - the artist, the husband, the father, the human being. I am very proud of this album and am excited to share it. Listen to 'Love Life Tragedy' here:

Nick Carter

64,393 Aufrufe • vor 1 Jahr

At first glance, it just looks like a stunning painting. Then you step back and realize you’re looking at one of the most impossibly detailed works of art you’ve ever seen... Around 1620, in Antwerp, an unnamed Flemish painter set out to gather the city’s most famous artworks into a single piece, but what he ultimately chose to do with it will never cease to amaze me. Now held at the National Gallery in London, this painting is called Cognoscenti in a Room hung with Pictures, and it is, technically speaking, one of the most vertiginous acts of illusionism in the Western canon. Eleven richly dressed men — artists, dealers, collectors, the cognoscenti of the title — move through a vast imagined gallery, discussing and inspecting its contents. But the figures are almost beside the point. What stops you are the walls. From floor to ceiling, they are covered with meticulous miniature copies of real works by sixteenth- and seventeenth-century masters, mostly from Antwerp, assembled as an ideal gathering of the finest things the city had to offer. Paintings within a painting. A museum compressed into a canvas. This is what scholars call a Kunstkammer, or "cabinet of curiosities", and the genre carried real social weight. To collect art in the Dutch and Flemish Golden Age was a declaration, not merely a pleasure. The cognoscenti shown here are pretentious by design: richly dressed, surrounded by coins, medals, and Persian rugs. Every object is a signal of wealth. And then — almost invisible, sitting on the windowsill at the edge of the composition — there is the monkey. The picture celebrates the pleasures of collecting and the erudition of art appreciation. But the monkey, a traditional symbol of the foolishness of human endeavors, sits there as a reminder of the frivolity and ultimate futility of buying expensive things. He is mocking them... these men so devoted to hoarding precious objects, when perhaps their hours might have been spent on something less perishable. It is one of the most elegant acts of subversion in art history: a painter who spent months lovingly reproducing the work of other painters, in obsessive miniature detail, and then placed a fool's emblem in the corner to ask whether any of it matters... It is simultaneously a love letter to art and an indictment of what happens when love turns into possession. The cognoscenti in the room are not wrong to find beauty worth pursuing, but they have perhaps confused the pursuit with the trophy. Four hundred years later, the monkey is still watching and the question it asks has not changed: are you here for the beauty, or for the proof that the beauty is yours? -- -- -- I wrote about this and 5 other impossible masterpieces in today's article. You can read it here: If you'd like to support my work, a paid subscription is what makes it possible.
0:18

At first glance, it just looks like a stunning painting. Then you step back and realize you’re looking at one of the most impossibly detailed works of art you’ve ever seen... Around 1620, in Antwerp, an unnamed Flemish painter set out to gather the city’s most famous artworks into a single piece, but what he ultimately chose to do with it will never cease to amaze me. Now held at the National Gallery in London, this painting is called Cognoscenti in a Room hung with Pictures, and it is, technically speaking, one of the most vertiginous acts of illusionism in the Western canon. Eleven richly dressed men — artists, dealers, collectors, the cognoscenti of the title — move through a vast imagined gallery, discussing and inspecting its contents. But the figures are almost beside the point. What stops you are the walls. From floor to ceiling, they are covered with meticulous miniature copies of real works by sixteenth- and seventeenth-century masters, mostly from Antwerp, assembled as an ideal gathering of the finest things the city had to offer. Paintings within a painting. A museum compressed into a canvas. This is what scholars call a Kunstkammer, or "cabinet of curiosities", and the genre carried real social weight. To collect art in the Dutch and Flemish Golden Age was a declaration, not merely a pleasure. The cognoscenti shown here are pretentious by design: richly dressed, surrounded by coins, medals, and Persian rugs. Every object is a signal of wealth. And then — almost invisible, sitting on the windowsill at the edge of the composition — there is the monkey. The picture celebrates the pleasures of collecting and the erudition of art appreciation. But the monkey, a traditional symbol of the foolishness of human endeavors, sits there as a reminder of the frivolity and ultimate futility of buying expensive things. He is mocking them... these men so devoted to hoarding precious objects, when perhaps their hours might have been spent on something less perishable. It is one of the most elegant acts of subversion in art history: a painter who spent months lovingly reproducing the work of other painters, in obsessive miniature detail, and then placed a fool's emblem in the corner to ask whether any of it matters... It is simultaneously a love letter to art and an indictment of what happens when love turns into possession. The cognoscenti in the room are not wrong to find beauty worth pursuing, but they have perhaps confused the pursuit with the trophy. Four hundred years later, the monkey is still watching and the question it asks has not changed: are you here for the beauty, or for the proof that the beauty is yours? -- -- -- I wrote about this and 5 other impossible masterpieces in today's article. You can read it here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

31,107 Aufrufe • vor 4 Monaten

It’s dangerous to have negotiations about Ukraine without Ukraine – President Zelenskyy in an interview for AP His other key points: ◾️Russia is not interested in ceasefire talks while it has the upper hand on the battlefield. Continued sanctions against Russia and support for the Ukrainian military are the only things that can bring Putin to the negotiating table. ◾️Putin can win in the world, without actually winning in Ukraine – if he is not punished, if he has “impunity” for the invasion, and finds a compromise. This will enable other world leaders, who are considering similar actions, to do the same. ◾️The United States, Ukraine, Russia, and the EU must have a place at the negotiating table over any ceasefire. ◾️European peacekeepers in Ukraine are interesting as “a part of the security guarantee, but not as the only guarantee of safety.” The dialogue with French leader Macron on this is still ongoing. ◾️NATO membership is the “cheapest” security guarantee for Ukraine’s allies, and it would also strengthen Trump geopolitically. Source:
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It’s dangerous to have negotiations about Ukraine without Ukraine – President Zelenskyy in an interview for AP His other key points: ◾️Russia is not interested in ceasefire talks while it has the upper hand on the battlefield. Continued sanctions against Russia and support for the Ukrainian military are the only things that can bring Putin to the negotiating table. ◾️Putin can win in the world, without actually winning in Ukraine – if he is not punished, if he has “impunity” for the invasion, and finds a compromise. This will enable other world leaders, who are considering similar actions, to do the same. ◾️The United States, Ukraine, Russia, and the EU must have a place at the negotiating table over any ceasefire. ◾️European peacekeepers in Ukraine are interesting as “a part of the security guarantee, but not as the only guarantee of safety.” The dialogue with French leader Macron on this is still ongoing. ◾️NATO membership is the “cheapest” security guarantee for Ukraine’s allies, and it would also strengthen Trump geopolitically. Source:

Anton Gerashchenko

49,829 Aufrufe • vor 1 Jahr

This is a statue of the only man in Troy who saw the trap. He tried to warn everyone, and this is what the gods did to him because of it... His name was LaocoĂśn, a Trojan priest. When the Greek army vanished and left a giant wooden horse outside the city gates, all of Troy celebrated. Only LaocoĂśn refused to believe it. He warned his people the horse was a trick and, to prove it was hollow, hurled his spear into its side. In Virgil's telling, he spoke a line that has outlasted almost everything else about Troy: "I fear the Greeks, even when they bring gifts." He was right. The horse was packed with soldiers, and Troy was hours from destruction. This sculpture shows what he got for it. Two enormous sea serpents rise out of the sea and coil around him and his young sons, dragging all three down together. The father's whole body is knotted in the struggle, every muscle straining, his face locked in a scream. The gods wanted Troy to fall, and LaocoĂśn was in the way. The Trojans watched him die in agony and drew exactly the wrong conclusion: they decided the gods were punishing him for attacking a holy gift. So they pulled the horse inside their own walls, and that night, Troy burned... The statue is called LaocoĂśn and His Sons. It is the work of three Greek sculptors from the island of Rhodes, Agesander, Athenodoros, and Polydorus, and dates to the Hellenistic period, making it well over two thousand years old. Buried for more than a thousand years, it was dug out of a Roman vineyard in 1506, and Michelangelo rushed across Rome to see it the day it was found. It has been called the single greatest depiction of human suffering in the history of art, but it endures because of what it is really about: the man who sees the truth, says it out loud, and is destroyed for being right while the crowd watches... It is one of the oldest patterns there is, and it has never stopped repeating. There is nothing new under the sun.
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This is a statue of the only man in Troy who saw the trap. He tried to warn everyone, and this is what the gods did to him because of it... His name was LaocoĂśn, a Trojan priest. When the Greek army vanished and left a giant wooden horse outside the city gates, all of Troy celebrated. Only LaocoĂśn refused to believe it. He warned his people the horse was a trick and, to prove it was hollow, hurled his spear into its side. In Virgil's telling, he spoke a line that has outlasted almost everything else about Troy: "I fear the Greeks, even when they bring gifts." He was right. The horse was packed with soldiers, and Troy was hours from destruction. This sculpture shows what he got for it. Two enormous sea serpents rise out of the sea and coil around him and his young sons, dragging all three down together. The father's whole body is knotted in the struggle, every muscle straining, his face locked in a scream. The gods wanted Troy to fall, and LaocoĂśn was in the way. The Trojans watched him die in agony and drew exactly the wrong conclusion: they decided the gods were punishing him for attacking a holy gift. So they pulled the horse inside their own walls, and that night, Troy burned... The statue is called LaocoĂśn and His Sons. It is the work of three Greek sculptors from the island of Rhodes, Agesander, Athenodoros, and Polydorus, and dates to the Hellenistic period, making it well over two thousand years old. Buried for more than a thousand years, it was dug out of a Roman vineyard in 1506, and Michelangelo rushed across Rome to see it the day it was found. It has been called the single greatest depiction of human suffering in the history of art, but it endures because of what it is really about: the man who sees the truth, says it out loud, and is destroyed for being right while the crowd watches... It is one of the oldest patterns there is, and it has never stopped repeating. There is nothing new under the sun.

James Lucas

499,570 Aufrufe • vor 2 Monaten

Apparently, I saw this video online and I decided to share. What this worker is applying is called bitumen, or what many of us know as bituminous coating. Most people think a wall is a solid, impenetrable block, but in reality, it is more like a sponge. Concrete and blocks have microscopic pores that pull water from the earth through a process we call capillary action. This thick black substance is the shield that stops that water from climbing up into the house. It is not about making the wall look good because this part will be buried under the dirt forever. It is about creating a skin that water cannot breathe through. When do you need to do this? The need for this arises because the soil is a very aggressive environment. Water is not your only enemy.. The ground also contains salts and sulfates that want to eat away at the cement. If this moisture finds its way to the steel bars inside the columns, those bars will start to rust. And when steel rusts, it expands, and that expansion is what cracks the concrete from the inside out. This coating is the only thing standing between your foundation and that kind of slow destruction. Thats is why if you see wet patches at the bottom of your walls inside your house, it usually means someone skipped this step or did it poorly during construction. You can apply this anytime you are building parts of a structure that will stay in contact with the ground. It is common in areas where the water table is high or where the soil stays damp for most of the year. This is a one-shot opportunity. Once you backfill the soil, you can never go back to fix it without a lot of expense and a lot of digging. It is about having the foresight to protect the heart of the building while it is still exposed. Please don’t ignore this if you need to. If you ignore it now to save a bit of money, you will be funding the future decay of your own home. I hope this helps.
0:11

Apparently, I saw this video online and I decided to share. What this worker is applying is called bitumen, or what many of us know as bituminous coating. Most people think a wall is a solid, impenetrable block, but in reality, it is more like a sponge. Concrete and blocks have microscopic pores that pull water from the earth through a process we call capillary action. This thick black substance is the shield that stops that water from climbing up into the house. It is not about making the wall look good because this part will be buried under the dirt forever. It is about creating a skin that water cannot breathe through. When do you need to do this? The need for this arises because the soil is a very aggressive environment. Water is not your only enemy.. The ground also contains salts and sulfates that want to eat away at the cement. If this moisture finds its way to the steel bars inside the columns, those bars will start to rust. And when steel rusts, it expands, and that expansion is what cracks the concrete from the inside out. This coating is the only thing standing between your foundation and that kind of slow destruction. Thats is why if you see wet patches at the bottom of your walls inside your house, it usually means someone skipped this step or did it poorly during construction. You can apply this anytime you are building parts of a structure that will stay in contact with the ground. It is common in areas where the water table is high or where the soil stays damp for most of the year. This is a one-shot opportunity. Once you backfill the soil, you can never go back to fix it without a lot of expense and a lot of digging. It is about having the foresight to protect the heart of the building while it is still exposed. Please don’t ignore this if you need to. If you ignore it now to save a bit of money, you will be funding the future decay of your own home. I hope this helps.

A.Y.O

75,399 Aufrufe • vor 5 Monaten

A Response to Historical Amnesia: The Truth About Cyprus Europe’s mind has long been occupied — not by armies, but by narratives. The Greek Cypriot and Hellenic propaganda machine has colonized European discourse so thoroughly that many in Brussels have stopped thinking — and started parroting. Worse yet, they do so willingly, without protest, as if truth were an inconvenience and justice a partisan tool. Let’s get one thing straight. This isn’t about “occupation” — it’s about the prevention of annihilation. In 1974, Türkiye didn’t invade Cyprus; it intervened as a guarantor power, after a violent coup orchestrated by Athens aimed to annex the island under the infamous ENOSIS plan — a plan that translated into the ethnic cleansing of Turkish Cypriots. Let’s not mince words: Before Türkiye’s intervention, Turkish Cypriots were being hunted, displaced, and massacred. They lived in enclaves, cut off, under siege. The so-called Republic of Cyprus had already collapsed as a bi-communal entity in the 1960s — it became a de facto Greek state long before 1974. For 51 years, the island has known peace. No war. No massacres. No ethnic cleansing. Türkiye didn’t bring conflict — it brought stability. It halted a bloodbath that Europe was either unable or unwilling to stop. And yet, here comes EPP Group — repeating the age-old script, eyes wide shut, ears closed to history, lips moving only to echo Greek Cypriot talking points. You speak of international law, but you erase the Zurich and London Agreements, which gave Türkiye the legal and moral obligation to act. What’s truly illegal is not Türkiye’s presence — but the EU’s decision to reward the Greek Cypriot side after it rejected the UN-backed Annan Plan in 2004. Turkish Cypriots said yes to reunification. Greek Cypriots said no — and were rewarded with EU membership. That’s not diplomacy. That’s betrayal. The Greek Cypriot administration was admitted into the European Union in blatant violation of the very principles the Union claims to uphold — through deception, unilateral recognition, and by exploiting the vacuum created by an unresolved conflict. So let’s not pretend. The real division in Cyprus was born not in 1974 — but in the massacres of the 1960s, in the refusal to share power, and in the Europe-enabled silencing of an entire people. As long as Türkiye stands firm on the island — and it will — no amount of political theatre, rhetorical acrobatics, or historical revisionism will alter the reality on the ground. You speak of reunification, yet pursue a fantasy detached from history, justice, and human dignity. The course you are on is a parallel universe — one where truth is optional and consequences are overlooked. If change is what you seek, know this: the only path you leave open is conflict — and in that path, all sides lose. But make no mistake: if ever forced to choose, we will protect that land with the last drop of our blood. We will never allow it to be stained by those who once turned it into a graveyard of peace. Let it be clear: the era of federation is over. We offered it — again and again. The Greek Cypriot side rejected it — again and again. Now, the only viable path is two sovereign states. That is not a threat. It is the reality you refused to accept for decades. Türkiye didn’t split Cyprus — it saved lives. And the world is not blind. We see the selective outrage. We note the hypocrisy. And history, whether you accept it or not, remembers everything.
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A Response to Historical Amnesia: The Truth About Cyprus Europe’s mind has long been occupied — not by armies, but by narratives. The Greek Cypriot and Hellenic propaganda machine has colonized European discourse so thoroughly that many in Brussels have stopped thinking — and started parroting. Worse yet, they do so willingly, without protest, as if truth were an inconvenience and justice a partisan tool. Let’s get one thing straight. This isn’t about “occupation” — it’s about the prevention of annihilation. In 1974, Türkiye didn’t invade Cyprus; it intervened as a guarantor power, after a violent coup orchestrated by Athens aimed to annex the island under the infamous ENOSIS plan — a plan that translated into the ethnic cleansing of Turkish Cypriots. Let’s not mince words: Before Türkiye’s intervention, Turkish Cypriots were being hunted, displaced, and massacred. They lived in enclaves, cut off, under siege. The so-called Republic of Cyprus had already collapsed as a bi-communal entity in the 1960s — it became a de facto Greek state long before 1974. For 51 years, the island has known peace. No war. No massacres. No ethnic cleansing. Türkiye didn’t bring conflict — it brought stability. It halted a bloodbath that Europe was either unable or unwilling to stop. And yet, here comes EPP Group — repeating the age-old script, eyes wide shut, ears closed to history, lips moving only to echo Greek Cypriot talking points. You speak of international law, but you erase the Zurich and London Agreements, which gave Türkiye the legal and moral obligation to act. What’s truly illegal is not Türkiye’s presence — but the EU’s decision to reward the Greek Cypriot side after it rejected the UN-backed Annan Plan in 2004. Turkish Cypriots said yes to reunification. Greek Cypriots said no — and were rewarded with EU membership. That’s not diplomacy. That’s betrayal. The Greek Cypriot administration was admitted into the European Union in blatant violation of the very principles the Union claims to uphold — through deception, unilateral recognition, and by exploiting the vacuum created by an unresolved conflict. So let’s not pretend. The real division in Cyprus was born not in 1974 — but in the massacres of the 1960s, in the refusal to share power, and in the Europe-enabled silencing of an entire people. As long as Türkiye stands firm on the island — and it will — no amount of political theatre, rhetorical acrobatics, or historical revisionism will alter the reality on the ground. You speak of reunification, yet pursue a fantasy detached from history, justice, and human dignity. The course you are on is a parallel universe — one where truth is optional and consequences are overlooked. If change is what you seek, know this: the only path you leave open is conflict — and in that path, all sides lose. But make no mistake: if ever forced to choose, we will protect that land with the last drop of our blood. We will never allow it to be stained by those who once turned it into a graveyard of peace. Let it be clear: the era of federation is over. We offered it — again and again. The Greek Cypriot side rejected it — again and again. Now, the only viable path is two sovereign states. That is not a threat. It is the reality you refused to accept for decades. Türkiye didn’t split Cyprus — it saved lives. And the world is not blind. We see the selective outrage. We note the hypocrisy. And history, whether you accept it or not, remembers everything.

hermes | jeopolitik

96,615 Aufrufe • vor 1 Jahr

As a gynecologist, one of the most frequently asked questions is about the ''hymen''. The hymen is not a structure located deep inside the vagina. It is a thin, flexible fold of tissue situated very close to the vaginal opening, anatomically at the entrance of the vaginal canal. It is typically found about 1–2 cm inside the vaginal opening, but in many women, it is almost at the surface. Therefore, the common belief that it is located deep inside is incorrect. One of the most important points is this: The hymen is not a closed membrane. It naturally has openings that allow menstrual blood to pass. Additionally, the structure of the hymen varies from person to person. Its thickness, elasticity, and shape are not standard. In some women, it may be very thin and elastic, while in others, it may be minimal or barely noticeable. This is completely a normal anatomical variation. A common misconception is that changes in the hymen occur only due to sexual intercourse. In reality, factors such as certain physical activities or tampon use can also lead to stretching or changes in this tissue. Therefore, the hymen is not a reliable indicator of a person’s sexual history or “virginity.” In summary, the hymen is a small and variable anatomical structure. The meanings attributed to it are largely shaped by sociocultural beliefs rather than medical facts.
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As a gynecologist, one of the most frequently asked questions is about the ''hymen''. The hymen is not a structure located deep inside the vagina. It is a thin, flexible fold of tissue situated very close to the vaginal opening, anatomically at the entrance of the vaginal canal. It is typically found about 1–2 cm inside the vaginal opening, but in many women, it is almost at the surface. Therefore, the common belief that it is located deep inside is incorrect. One of the most important points is this: The hymen is not a closed membrane. It naturally has openings that allow menstrual blood to pass. Additionally, the structure of the hymen varies from person to person. Its thickness, elasticity, and shape are not standard. In some women, it may be very thin and elastic, while in others, it may be minimal or barely noticeable. This is completely a normal anatomical variation. A common misconception is that changes in the hymen occur only due to sexual intercourse. In reality, factors such as certain physical activities or tampon use can also lead to stretching or changes in this tissue. Therefore, the hymen is not a reliable indicator of a person’s sexual history or “virginity.” In summary, the hymen is a small and variable anatomical structure. The meanings attributed to it are largely shaped by sociocultural beliefs rather than medical facts.

Op. Dr. Mehmet Bekir Şen

597,069 Aufrufe • vor 11 Tagen

Let’s consider the demographic situation of Western Civilization seriously. Its core demographic base is about 750 million people, with a fertility rate of about 1.3 children per woman. What that means a few generations out is terrifying – we are DYING OUT. I did the exercise for Poland, which is about one twentieth of that demographic base, with a fertility rate at about half of replacement. Four generations into the future, it gives us this👇🏻 – basically the end of the nation. Multiply it by 20 and you get the fate of the whole Civilization. You do the math… Our only hope is in the families with 3+ children, who are able to pass that tradition on to their children. They will inherit Our Civilization, if it survives. The rest will simply die out. (The same math that dooms the average saves the tail.)
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Let’s consider the demographic situation of Western Civilization seriously. Its core demographic base is about 750 million people, with a fertility rate of about 1.3 children per woman. What that means a few generations out is terrifying – we are DYING OUT. I did the exercise for Poland, which is about one twentieth of that demographic base, with a fertility rate at about half of replacement. Four generations into the future, it gives us this👇🏻 – basically the end of the nation. Multiply it by 20 and you get the fate of the whole Civilization. You do the math… Our only hope is in the families with 3+ children, who are able to pass that tradition on to their children. They will inherit Our Civilization, if it survives. The rest will simply die out. (The same math that dooms the average saves the tail.)

Krzysztof Szczawinski 🇵🇱

1,850,418 Aufrufe • vor 1 Monat

🇺🇸🇪🇺 There is no US-EU Split... US President Donald Trump is no more actually "fighting" with the Europeans than he "fought" professional wrestling WWE CEO Vince McMahon in the middle of a live performance (not AI). This is all theater to sell the US "division of labor" or "burden sharing" as multiple US officials and policy papers have repeatedly called it and have spelled out in great detail. The only way US-backed European elite can sell the crippling transfer of public funds to the pursuit of US foreign policy objectives is to convince the European public the US has "abandoned" them. Everything the Europeans are preparing to do ahead of being "abandoned" by the US, are things the US itself told them to do back in February in Brussels! Not only does the West regularly perform this sort of theater to manipulate Western audiences - President Trump previously performed this sort of theater much more dramatically during professional wrestling performances before taking up politics...
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🇺🇸🇪🇺 There is no US-EU Split... US President Donald Trump is no more actually "fighting" with the Europeans than he "fought" professional wrestling WWE CEO Vince McMahon in the middle of a live performance (not AI). This is all theater to sell the US "division of labor" or "burden sharing" as multiple US officials and policy papers have repeatedly called it and have spelled out in great detail. The only way US-backed European elite can sell the crippling transfer of public funds to the pursuit of US foreign policy objectives is to convince the European public the US has "abandoned" them. Everything the Europeans are preparing to do ahead of being "abandoned" by the US, are things the US itself told them to do back in February in Brussels! Not only does the West regularly perform this sort of theater to manipulate Western audiences - President Trump previously performed this sort of theater much more dramatically during professional wrestling performances before taking up politics...

Brian Berletic

25,390 Aufrufe • vor 9 Monaten