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He doesn't make love. He fucks. Hard. Deep. Quick. That's what daddy does. ☠️💦 #daddy #daughter #ddlg #taboo #forbidden #hardcore #PUSSAAWARDS #PINTOAWARDS #younggirl #leaked #leakedvideo #online #incest #incestwithdad #incestwithdaughter

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KillSwitchX 🚷🚨

3,676 subscribers

35,284 просмотров • 4 месяцев назад •via X (Twitter)

NSFW#daddy#daughter#ddlg#taboo#forbidden#hardcore#PUSSAAWARDS#PINTOAWARDS#younggirl#leaked#leakedvideo#online#incest#incestwithdad#incestwithdaughter
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Alrighty. I don't know about you, but this scene was one of my favorites from ep 23. But, it's been overlooked. It's a heart-to-heart between cihan and fiko. And, it adds fiko among the people who truly know what cihan feels for alya. I love the fact that fiko starts the conversation with 'will you always live like this?' Because that's what the viewers have been thinking since alya and cihan got married. Sure, it's a marriage of convenience of sorts, but any blind person can tell you they love each other. But, cihan is holding back because of boran and maybe in some small part due to his promise to alya. However, to fiko, it seems ridiculous because she can see that the whole arrangement is already tearing at the seams. When fiko makes it obvious there's no point in hiding things from her, because she sees the two of them too clearly, cihan tells her about his agreement with alya. Then comes my favorite part. Fiko says 'don't let go of my daughter's hand, not now or in the future.' That's her way of saying, make it real, make this marriage real. Live what you two feel for each other. And, there's no judgment in her tone or words. Then she makes cihan promise (he agrees all too readily) that how he knows alya and the place she occupies in his heart will never change even by a milimeter in the future. That's her way of telling him, I know you love her. And, his silence is agreement. For those of us forever wondering what cihan feels for alya, here's your answer. He never objects or says he doesn't love her when sado, nare, or fiko confront him with his feelings. And, then fiko tells him to trust his feelings. HOW GOOD WAS IT TO HEAR THAT? Because all he hears from his witch of a mother is he can't have feelings for alya because of boran. But, here's another mother telling him, it's okay to feel what you feel. Trust your love for alya, let it guide you. Then she tells him to trust alya always, no matter what. Why? Because trust and respect are the foundations of love. I love this woman. I do. I hope fiko becomes a permanent fixture in this series. She then rounds of the conversation by repeating 'don't let go of her hand, stand with her always.' Aka, always love alya, always support her, be the shelter she's always wanted but never found. When cihan inquires why she's suddenly talking so openly, she answers life is uncertain. And, like any good mother, she wants to ensure her daughter is in good hands before it's her time to go. She says she wants to entrust her pure-hearted daughter to him and how does ciho respond? He says 'let there be no doubt in your mind.' That's not just taking up a promise. That's a declaration of intent. That's him saying, I'll look after the bird in my hands all my life. Because he loves her too, just like the woman sitting in front of him. This scene was such a sincere exchange of feelings. Both ciho and fiko are conversing without any diversion, without any artifice. It brings the both of them peace, in different ways. It assures fiko that her daughter will be happy with this man. And it assures cihan that his feelings aren't some kind of sin. He loves alya, and it's okay to act on that love. Brilliant, brilliant scene. Brilliant acting. I absolutely loved it!!! #CihAl #UzakŞehir
2:23

Alrighty. I don't know about you, but this scene was one of my favorites from ep 23. But, it's been overlooked. It's a heart-to-heart between cihan and fiko. And, it adds fiko among the people who truly know what cihan feels for alya. I love the fact that fiko starts the conversation with 'will you always live like this?' Because that's what the viewers have been thinking since alya and cihan got married. Sure, it's a marriage of convenience of sorts, but any blind person can tell you they love each other. But, cihan is holding back because of boran and maybe in some small part due to his promise to alya. However, to fiko, it seems ridiculous because she can see that the whole arrangement is already tearing at the seams. When fiko makes it obvious there's no point in hiding things from her, because she sees the two of them too clearly, cihan tells her about his agreement with alya. Then comes my favorite part. Fiko says 'don't let go of my daughter's hand, not now or in the future.' That's her way of saying, make it real, make this marriage real. Live what you two feel for each other. And, there's no judgment in her tone or words. Then she makes cihan promise (he agrees all too readily) that how he knows alya and the place she occupies in his heart will never change even by a milimeter in the future. That's her way of telling him, I know you love her. And, his silence is agreement. For those of us forever wondering what cihan feels for alya, here's your answer. He never objects or says he doesn't love her when sado, nare, or fiko confront him with his feelings. And, then fiko tells him to trust his feelings. HOW GOOD WAS IT TO HEAR THAT? Because all he hears from his witch of a mother is he can't have feelings for alya because of boran. But, here's another mother telling him, it's okay to feel what you feel. Trust your love for alya, let it guide you. Then she tells him to trust alya always, no matter what. Why? Because trust and respect are the foundations of love. I love this woman. I do. I hope fiko becomes a permanent fixture in this series. She then rounds of the conversation by repeating 'don't let go of her hand, stand with her always.' Aka, always love alya, always support her, be the shelter she's always wanted but never found. When cihan inquires why she's suddenly talking so openly, she answers life is uncertain. And, like any good mother, she wants to ensure her daughter is in good hands before it's her time to go. She says she wants to entrust her pure-hearted daughter to him and how does ciho respond? He says 'let there be no doubt in your mind.' That's not just taking up a promise. That's a declaration of intent. That's him saying, I'll look after the bird in my hands all my life. Because he loves her too, just like the woman sitting in front of him. This scene was such a sincere exchange of feelings. Both ciho and fiko are conversing without any diversion, without any artifice. It brings the both of them peace, in different ways. It assures fiko that her daughter will be happy with this man. And it assures cihan that his feelings aren't some kind of sin. He loves alya, and it's okay to act on that love. Brilliant, brilliant scene. Brilliant acting. I absolutely loved it!!! #CihAl #UzakŞehir

CocoLoco

27,050 просмотров • 1 год назад

This viral video of a Chinese trader keeps getting reposted with wild, ever-changing sensationalist captions claiming he "accidentally exposed" an OpenClaw AI bot farm running 28K arbitrage trades on Polymarket for $868K in profit with zero losses. None of that is in the video. He's simply a trader explaining what he does for a living: all-market short-term trading across gold, large-cap US stocks, S&P 500 futures, Nasdaq futures, and similar instruments. He uses an order flow approach — analyzing deep market data, macro structure, and historical patterns to make probabilistic directional trades. When he points at the screen and says "this is a float 170... float 170 US dollars... then made a breakthrough," he's casually highlighting a small price movement or floating profit target on his chart (roughly $170 on that particular trade). It's not a secret bot strategy or anything spectacular. It’s just informal trader speak for a quick scalp or breakout he's showing live. He openly talks about the uncertainties in trading, mentions that retail investors often haven't encountered these methods yet, and plans to hold offline short-term trading courses in Hangzhou. His bigger message is optimistic and community-oriented: he criticizes the habit of Chinese traders hoarding knowledge and says he wants to share what he knows to build a stronger domestic trading culture with more full-time traders, more participants in stocks and commodity futures, and bigger overall markets in China. The Polymarket bot farm story and profit numbers come from a completely separate leaked WeChat screenshot that someone mismatched with this unrelated clip. It’s classic internet clickbait and the captions keep evolving because the actual video doesn't support the hype. It's just a guy talking shop and encouraging others to learn. I’ve captioned the video for your benefit.
2:09

This viral video of a Chinese trader keeps getting reposted with wild, ever-changing sensationalist captions claiming he "accidentally exposed" an OpenClaw AI bot farm running 28K arbitrage trades on Polymarket for $868K in profit with zero losses. None of that is in the video. He's simply a trader explaining what he does for a living: all-market short-term trading across gold, large-cap US stocks, S&P 500 futures, Nasdaq futures, and similar instruments. He uses an order flow approach — analyzing deep market data, macro structure, and historical patterns to make probabilistic directional trades. When he points at the screen and says "this is a float 170... float 170 US dollars... then made a breakthrough," he's casually highlighting a small price movement or floating profit target on his chart (roughly $170 on that particular trade). It's not a secret bot strategy or anything spectacular. It’s just informal trader speak for a quick scalp or breakout he's showing live. He openly talks about the uncertainties in trading, mentions that retail investors often haven't encountered these methods yet, and plans to hold offline short-term trading courses in Hangzhou. His bigger message is optimistic and community-oriented: he criticizes the habit of Chinese traders hoarding knowledge and says he wants to share what he knows to build a stronger domestic trading culture with more full-time traders, more participants in stocks and commodity futures, and bigger overall markets in China. The Polymarket bot farm story and profit numbers come from a completely separate leaked WeChat screenshot that someone mismatched with this unrelated clip. It’s classic internet clickbait and the captions keep evolving because the actual video doesn't support the hype. It's just a guy talking shop and encouraging others to learn. I’ve captioned the video for your benefit.

Ian Miles Cheong

24,165 просмотров • 4 месяцев назад

Watch this clip carefully. Three people. Two Hindus, one Muslim. A comedy show called 'Teen Taal'. Khan Chacha, through his self-deprecating humor, describes his dip at Har Ki Pauri. And he makes two observations, almost in passing, that should make you stop. One: He removed his taweez before entering the water. *"What if someone objects... the way things are now."* Two: He paid via UPI. What if his Muslim name showed up. The room laughed. He hid his identity. Twice. At a river. To bathe. The thing that gets me is, he's done this dip before. Many times. He never had to think about any of this before. That's the new thing. Not the river. Not Khan Chacha. Just this quiet new math he does now before stepping in. Amulet off. Name hidden. Don't give anyone a reason. And the way he tells it, light, funny, unbothered on the surface, you can tell, maybe he's made peace with it. Which is somehow worse. Now, I get the room. I get the affection. I get that comedy has its own language and you don't stop every joke to make a point. But here's what I can't get past. He is the powerless one in this story. And he is the one making fun of himself. He is doing the work of making everyone comfortable with his own discomfort. Packaging it so nicely that the room can laugh and move on. And the two Hindu men, who clearly love him, I'm not questioning that, they just... laughed along. Warmly. And moved on. Just one line. That's all. "Yaar, Ganga kab se sirf hinduon ki ho gayi? Ganga-Jamuni mein bhi aadhi Ganga hai." Or anything, really. Any small moment where the joke turns outward instead of inward. Where it pokes at the thing creating the discomfort instead of just cushioning it. One funny, throwaway, irreverent line that tells the Muslim man watching at home: Haan yaar, this is wrong, you shouldn't have to do this. That's it. That's all I'm asking for. Because somewhere a Muslim watched this clip and recognized every single beat. The taweez coming off. The half-second before the UPI payment. The quiet calculation, am I too visible right now? He laughed, because Khan Chacha is funny and warm and the joke lands. And then the clip ended. Maybe it's too much to ask. Maybe in this climate even a throwaway joke feels like a risk. Maybe I'm romanticizing what comedy can do. But I also think, what is the point of humor between friends, on a public platform, if it doesn't do this one small thing? If it can't, just once, say I see what's happening to you, and it's not okay? Khan Chacha made it funny. He did the hard part. All they had to do was to put the hand of humor on his shoulder.
2:37

Watch this clip carefully. Three people. Two Hindus, one Muslim. A comedy show called 'Teen Taal'. Khan Chacha, through his self-deprecating humor, describes his dip at Har Ki Pauri. And he makes two observations, almost in passing, that should make you stop. One: He removed his taweez before entering the water. *"What if someone objects... the way things are now."* Two: He paid via UPI. What if his Muslim name showed up. The room laughed. He hid his identity. Twice. At a river. To bathe. The thing that gets me is, he's done this dip before. Many times. He never had to think about any of this before. That's the new thing. Not the river. Not Khan Chacha. Just this quiet new math he does now before stepping in. Amulet off. Name hidden. Don't give anyone a reason. And the way he tells it, light, funny, unbothered on the surface, you can tell, maybe he's made peace with it. Which is somehow worse. Now, I get the room. I get the affection. I get that comedy has its own language and you don't stop every joke to make a point. But here's what I can't get past. He is the powerless one in this story. And he is the one making fun of himself. He is doing the work of making everyone comfortable with his own discomfort. Packaging it so nicely that the room can laugh and move on. And the two Hindu men, who clearly love him, I'm not questioning that, they just... laughed along. Warmly. And moved on. Just one line. That's all. "Yaar, Ganga kab se sirf hinduon ki ho gayi? Ganga-Jamuni mein bhi aadhi Ganga hai." Or anything, really. Any small moment where the joke turns outward instead of inward. Where it pokes at the thing creating the discomfort instead of just cushioning it. One funny, throwaway, irreverent line that tells the Muslim man watching at home: Haan yaar, this is wrong, you shouldn't have to do this. That's it. That's all I'm asking for. Because somewhere a Muslim watched this clip and recognized every single beat. The taweez coming off. The half-second before the UPI payment. The quiet calculation, am I too visible right now? He laughed, because Khan Chacha is funny and warm and the joke lands. And then the clip ended. Maybe it's too much to ask. Maybe in this climate even a throwaway joke feels like a risk. Maybe I'm romanticizing what comedy can do. But I also think, what is the point of humor between friends, on a public platform, if it doesn't do this one small thing? If it can't, just once, say I see what's happening to you, and it's not okay? Khan Chacha made it funny. He did the hard part. All they had to do was to put the hand of humor on his shoulder.

Darab Farooqui

290,248 просмотров • 2 месяцев назад

xiumin once said: "[...] work hard but only listen to the things you wanna hear. that's how i live. i don't listen to the bad words, i only listen to kind words. that's why i only listen to 🧚🏻‍♀️ words and i don't listen to anyone else [...]" "you guys got to know me when you were still young and now you've gotten jobs, have careers and working. also it seems like you come to me to unwind a little from the stress of work. ah you've all grown up now. when did you grow this much? when did you grow up so much?! ah seeing how well you've grown up beautifully makes me so proud. even so, work is probably going to get harder from here on out. but you can do it right?! it's actually simple, just ignore everything. ignore all the things that stress you out. if you do that, work will probably feel a little easier. work hard but only listen to the things you wanna hear. that's how i live. i don't listen to the bad words, i only listen to kind words. that's why i only listen to 🧚🏻‍♀️ words and i don't listen to anyone else. kay?! work hard and when you're spending time with me let's have fun together!!! that's how i'm going to live too. okkk? i love you all! i love you! i love youuu! and to those who can't travel abroad, i hope you'll stay healthy and happy and well until i come to china again. okaaay?! i love you i love you! WHEEEEEEE! 👌🏻" and honestly i think that's the healthiest mindset to live. if the goal is to get through life then shouldn't we be trying to be happy? work hard while taking care of yourself, find things that make you happy and hold on to them. what xm said is something a lot of fairies have already been doing. we're here because being a fan brings us joy and likewise he has brought so much happiness into our lives, not because we want to spend our time hating on other members or fight strangers online. not only to fairies but other fan too please remember what he said and just because someone else is being awful doesn't mean we need to prove anything by doing the same (i know it's TEMPTING to fire back FCKKKKKK AAAHHH but still its needed sometimes) maybe choosing not to engage is the better choice (just maybe idk). we're not the biggest fandom but i'm grateful that so many of us have managed to stay level headed through all this. and just because we're not sitting in your quotes and replies all day doesn't mean he has no fans duh we simply have lives outside this app we'd rather spends our time enjoying the artist we love, to spends our energy on things that actually make us happy, saying only the kind stuff, and move on with our day!!! which means most of us have better things to do than obsessing over people we dislike. to minseok, i love you ♡ and to all my fairy friends, i love you ♡
1:33

xiumin once said: "[...] work hard but only listen to the things you wanna hear. that's how i live. i don't listen to the bad words, i only listen to kind words. that's why i only listen to 🧚🏻‍♀️ words and i don't listen to anyone else [...]" "you guys got to know me when you were still young and now you've gotten jobs, have careers and working. also it seems like you come to me to unwind a little from the stress of work. ah you've all grown up now. when did you grow this much? when did you grow up so much?! ah seeing how well you've grown up beautifully makes me so proud. even so, work is probably going to get harder from here on out. but you can do it right?! it's actually simple, just ignore everything. ignore all the things that stress you out. if you do that, work will probably feel a little easier. work hard but only listen to the things you wanna hear. that's how i live. i don't listen to the bad words, i only listen to kind words. that's why i only listen to 🧚🏻‍♀️ words and i don't listen to anyone else. kay?! work hard and when you're spending time with me let's have fun together!!! that's how i'm going to live too. okkk? i love you all! i love you! i love youuu! and to those who can't travel abroad, i hope you'll stay healthy and happy and well until i come to china again. okaaay?! i love you i love you! WHEEEEEEE! 👌🏻" and honestly i think that's the healthiest mindset to live. if the goal is to get through life then shouldn't we be trying to be happy? work hard while taking care of yourself, find things that make you happy and hold on to them. what xm said is something a lot of fairies have already been doing. we're here because being a fan brings us joy and likewise he has brought so much happiness into our lives, not because we want to spend our time hating on other members or fight strangers online. not only to fairies but other fan too please remember what he said and just because someone else is being awful doesn't mean we need to prove anything by doing the same (i know it's TEMPTING to fire back FCKKKKKK AAAHHH but still its needed sometimes) maybe choosing not to engage is the better choice (just maybe idk). we're not the biggest fandom but i'm grateful that so many of us have managed to stay level headed through all this. and just because we're not sitting in your quotes and replies all day doesn't mean he has no fans duh we simply have lives outside this app we'd rather spends our time enjoying the artist we love, to spends our energy on things that actually make us happy, saying only the kind stuff, and move on with our day!!! which means most of us have better things to do than obsessing over people we dislike. to minseok, i love you ♡ and to all my fairy friends, i love you ♡

𝙨𝙝𝙚𝙧.

16,292 просмотров • 2 месяцев назад

Thinking about Terry Gilliam's Brazil. Specifically the rouge HVAC tech Harry Tuttle, played by Robert De Niro. Tuttle, tired of government bureaucracy keeping him from his work, became an outlaw. He tells us he's "in it for the action". He loves fixing HVAC systems, and he's not going to let rules and regulations stand in his way. He continues in his work even though he's being hunted by the Secret Police. Why not hang it up? Why does he keep going? He doesn't stop because he can't stop. He's compelled to do it, and he couldn't stop if he wanted to. So he sneaks around in the dead of night, armed, watching out for ambushes, fixing heating systems--because he has to. Harry Tuttle cares about fixing heating systems more than he cares about his own life... A topic I keep returning to is the extreme amount of hard work and dedication required to make a movie. It's become a recurring theme of mine, mainly because it just doesn't seem to land with readers. That's probably due to my poor writing skills. But then again, maybe there's no way to explain it. Maybe to truly understand, it's something you have to experience for yourself. Like Harry Tuttle, the people who make movies will do whatever it takes to make their film. They do this because they care about making movies more than anything. They care more about making movies than their spouses, their children, or friends, or morality, or decency, or money, or anything and everything else you can think of. Not that they don't care about those things. But the work comes first. And again, they'll do whatever it takes to make it happen. They'll even risk their own lives (and the lives of others) to get that perfect shot. I've seen that many times over. I've even done it myself. Why do they do this? It's because they have to do it. They're compelled. When the urge to create hits--when it REALLY hits--you have to get it out. You have to make it REAL. And failure isn't an option. It's not about the money or the fame or the accolades. It's about creating the thing they've been inspired to create. And again, they do whatever it takes. They're not going to let anyone or anything stop them. This isn't something you can learn in school, or by watching Youtube videos. And it isn't something that's gifted to you by the "gatekeepers" (except by God maybe...) It's something you're born with. And it makes you abnormal--defective. Life is going to hard. Nothing will ever be good enough. It will be hard to get close to people. And any relationship you manage to build will be wrecked. But if you don't have it--if you don't have The Thing--if you don't have that compulsion, then don't even fucking try. There are easier ways to earn a living. Maybe you should go to Law School kid... So when I see online chatter about "Gatekeepers" or (most laughably) "The Joos" preventing them from making the things they want to make, I just shake my head. Because they have no clue what it is to actually create. If you're really a creator, if you're truly inspired, if you have what it takes (if you have That Thing) then you'll figure out a way. And you won't let anything get between you and your creation. Because you're not brittle like that. OR, maybe you ARE brittle. But that compulsion--That Thing--is going to glue you together. It's going to make you strong. It's going to make you unstoppable. But most of these people are just whiners. Posting--just typing shit--is a low effort activity. It requires almost no sacrifice. If they really cared about creating the content they want to see then they'd go out and do it. And I would invite everyone to try. But again, it's not easy. And you're probably not cut out for this type of work. So you'll probably give up. But that's fine. You can always just open the app and whine. And I'll be here too--probably still trying to get the point across. After all, I'm just in it for the action🤷‍♂️
8:08

Thinking about Terry Gilliam's Brazil. Specifically the rouge HVAC tech Harry Tuttle, played by Robert De Niro. Tuttle, tired of government bureaucracy keeping him from his work, became an outlaw. He tells us he's "in it for the action". He loves fixing HVAC systems, and he's not going to let rules and regulations stand in his way. He continues in his work even though he's being hunted by the Secret Police. Why not hang it up? Why does he keep going? He doesn't stop because he can't stop. He's compelled to do it, and he couldn't stop if he wanted to. So he sneaks around in the dead of night, armed, watching out for ambushes, fixing heating systems--because he has to. Harry Tuttle cares about fixing heating systems more than he cares about his own life... A topic I keep returning to is the extreme amount of hard work and dedication required to make a movie. It's become a recurring theme of mine, mainly because it just doesn't seem to land with readers. That's probably due to my poor writing skills. But then again, maybe there's no way to explain it. Maybe to truly understand, it's something you have to experience for yourself. Like Harry Tuttle, the people who make movies will do whatever it takes to make their film. They do this because they care about making movies more than anything. They care more about making movies than their spouses, their children, or friends, or morality, or decency, or money, or anything and everything else you can think of. Not that they don't care about those things. But the work comes first. And again, they'll do whatever it takes to make it happen. They'll even risk their own lives (and the lives of others) to get that perfect shot. I've seen that many times over. I've even done it myself. Why do they do this? It's because they have to do it. They're compelled. When the urge to create hits--when it REALLY hits--you have to get it out. You have to make it REAL. And failure isn't an option. It's not about the money or the fame or the accolades. It's about creating the thing they've been inspired to create. And again, they do whatever it takes. They're not going to let anyone or anything stop them. This isn't something you can learn in school, or by watching Youtube videos. And it isn't something that's gifted to you by the "gatekeepers" (except by God maybe...) It's something you're born with. And it makes you abnormal--defective. Life is going to hard. Nothing will ever be good enough. It will be hard to get close to people. And any relationship you manage to build will be wrecked. But if you don't have it--if you don't have The Thing--if you don't have that compulsion, then don't even fucking try. There are easier ways to earn a living. Maybe you should go to Law School kid... So when I see online chatter about "Gatekeepers" or (most laughably) "The Joos" preventing them from making the things they want to make, I just shake my head. Because they have no clue what it is to actually create. If you're really a creator, if you're truly inspired, if you have what it takes (if you have That Thing) then you'll figure out a way. And you won't let anything get between you and your creation. Because you're not brittle like that. OR, maybe you ARE brittle. But that compulsion--That Thing--is going to glue you together. It's going to make you strong. It's going to make you unstoppable. But most of these people are just whiners. Posting--just typing shit--is a low effort activity. It requires almost no sacrifice. If they really cared about creating the content they want to see then they'd go out and do it. And I would invite everyone to try. But again, it's not easy. And you're probably not cut out for this type of work. So you'll probably give up. But that's fine. You can always just open the app and whine. And I'll be here too--probably still trying to get the point across. After all, I'm just in it for the action🤷‍♂️

Rambo Van Halen

28,638 просмотров • 6 месяцев назад

Analyzing Episode 35. Season 2 aka Turning the Tables Alrighty, let's do this. Episode 35 was one of the strongest episodes of season 2, I think, because we get to see Ciho and Alya kind of switch places, for once. In s1, Alya would mostly pick flight when her feelings got overwhelming. Whereas Ciho, with his Ağa mindset, would inevitably choose to fight. But, unlike in s1, the circumstances are unique. We see the tables turn because Alya probably hasn't loved anyone before like she loves Cihan, and Cihan hasn't ever come across a test as heavy as the half-alive Boran. So, essentially, they're both out of their comfort zones. Let's discuss Alya first. My love for this character just keeps growing. I've yet to see someone be as principled and willing to break the rules, as strong and soft at the same time, as Alya Albora. The woman is a marvel. We must protect her at all costs (Get in line, Ciho). As the episode begins, Alya walks off to their room and proceeds to lock herself in Cihan's study after informing everyone about Cihan's not-so-tiny health problem. I think being the smart cookie she is, she realizes early on that Cihan will be his stubborn self about the surgery business, which is why something of a plan is already forming in her head. When Cihan shows up to talk, Alya doesn't back down from telling him she knows exactly why he's walking to almost certain death. Still, she only brings out the big guns after pleading with him to review his decision doesn't work. Her goal isn't to hurt him. It's to save him. To shock him enough to wake from the limbo Cihan has isolated himself in. When her words fail to achieve their target, she acts. I'm pretty damn sure she knows exactly what she's going to do as she's packing her clothes to leave the mansion. Alya refuses to leave Cihan's side even in the worst of circumstances, so her walking out when he's about to risk his life is completely out of character. And not only that, before leaving, she tells Cihan she doesn't want to talk to him or see him until he changes his mind about becoming the donor. See? Smart. She's doing everything she can to keep him from monitoring her movements (like he generally does :D). She's learned to read her husband, so much so that she turns his tactics on him. And Cihan never picks up on it. And watching her in action is poetry in motion - beautiful and heartbreaking at the same time. Because this time, the one person she can always count on for support isn't with her. She's fighting for Cihan, for their love, all on her own. Even though they promise each other they'd face whatever obstacles come their way together as they leave the airport in ep 29. While everyone gathers to wish Cihan well before the operation, Alya walks through those corridors alone. She has no one to calm her fears, no one to soothe her brow. No one tells her they'll be praying for her quick recovery. And that hurts like a son of a bitch. Because Alya has such a capacity for love and giving, she doesn't hesitate to take huge risks for the people she loves. On the other hand, she has no one other than Cihan to do the same for her. He's her other half. And there's no way in hell she'd stand back and watch him destroy himself. Her devotion and resolve are crystal clear when she speaks to Cihan while he's sedated. Still, I think some of her loneliness and desperation bleeds through her words to her husband. Almost as if something deep inside her cries out for him to wake up and choose her - like she's choosing him. Over everyone. Even her own life. Speaking of choosing, let's pause here and pivot to Cihan Bey. Cihan, like all of us, is a product of his upbringing, his environment, and his personal beliefs. Two of those three things are extremely toxic and warped. Not to mention, the guilt that's eating him alive is a product of those two things. They say when you're undergoing feelings of intense guilt, you tend to fluctuate between two states - suppression and surrender. When you suppress, you tell yourself you're fine. Everything's okay. Things are best this way type of stuff. In fact, I want you to remember this phrase. Then, there's surrender - moments of lucidity where you realize you're falling apart, that this isn't what you want at all. You're flooded by emotions and longing about what you're denying yourself. And that's something you see in Cihan over and over in this episode. He keeps fluctuating from one state to the other, and I don't think he even realizes what he's about to do to himself and Alya by wanting to go through with that operation. Take the scene where they're talking in their room before Alya leaves. On the one hand, Cihan tells Alya he has responsibilities to his family, and on the other, he can't see how his decision will affect Alya and Deniz. Then, when Cihan tries talking to Alya when he's driving her to work, he tells her he doesn't want to sacrifice their love, but in the next instance, he tells her he won't lose her 'in his heart' even if Boran wakes up. You see the inconsistency? He keeps switching between what he truly wants and the things might be best this way mindset. Surrender and suppression. Like when he keeps seeking her out at every turn, but insists on undergoing a surgery that will almost certainly kill him. The guilt inside him builds like pressure almost. He tries to suppress it until it spills over, revealing his true feelings, then he panics and moves back to suppression again. This keeps repeating until he wakes up to discover that Alya is the one undergoing the surgery. That's when the cycle finally breaks. Because when he's faced with the reality of losing Alya forever, he finally accepts the core truth driving his guilt - he fell in love with his brother's wife. Sure, he thinks Boran is dead and gone when it happens, but guilt doesn't really follow logic. That's why Alya being the donor and almost losing her life forces him to accept the love he feels for Alya is part of him now. There is no fighting it, there is no changing it. There is only accepting it. And his speech to Boran before he sees Alya is proof of his surrender. Because he finally admits that his bond with Alya isn't about choice anymore, he doesn't control the love; it controls him now. In front of Boran, no less. He finally looks his guilt in the face and starts to overcome it. That's why we see him initiating the kiss in their room. He's not overcome by self-reproach when he thinks of touching Alya intimately now. All very, very positive signs. And, let's not forget, when he sees his entire family conspired behind his back to allow Alya to be the donor, he understands another sold truth. He is the only family Alya has apart from Deniz. Which makes Alya's sacrifice all the more powerful. Because he realizes that she kept her part of the bargain. She kept fighting for them, even when he didn't. Hopefully, this is the moment where Cihan stops running and starts choosing. Alya didn’t just save his life physically; she forced him to confront the part of himself he kept buried. And now that he’s finally surrendered to that truth, we’re about to see the version of Cihan who fights for love instead of resisting it. Till next time, happy reading, y'all. #CihAl #UzakŞehir
4:55

Analyzing Episode 35. Season 2 aka Turning the Tables Alrighty, let's do this. Episode 35 was one of the strongest episodes of season 2, I think, because we get to see Ciho and Alya kind of switch places, for once. In s1, Alya would mostly pick flight when her feelings got overwhelming. Whereas Ciho, with his Ağa mindset, would inevitably choose to fight. But, unlike in s1, the circumstances are unique. We see the tables turn because Alya probably hasn't loved anyone before like she loves Cihan, and Cihan hasn't ever come across a test as heavy as the half-alive Boran. So, essentially, they're both out of their comfort zones. Let's discuss Alya first. My love for this character just keeps growing. I've yet to see someone be as principled and willing to break the rules, as strong and soft at the same time, as Alya Albora. The woman is a marvel. We must protect her at all costs (Get in line, Ciho). As the episode begins, Alya walks off to their room and proceeds to lock herself in Cihan's study after informing everyone about Cihan's not-so-tiny health problem. I think being the smart cookie she is, she realizes early on that Cihan will be his stubborn self about the surgery business, which is why something of a plan is already forming in her head. When Cihan shows up to talk, Alya doesn't back down from telling him she knows exactly why he's walking to almost certain death. Still, she only brings out the big guns after pleading with him to review his decision doesn't work. Her goal isn't to hurt him. It's to save him. To shock him enough to wake from the limbo Cihan has isolated himself in. When her words fail to achieve their target, she acts. I'm pretty damn sure she knows exactly what she's going to do as she's packing her clothes to leave the mansion. Alya refuses to leave Cihan's side even in the worst of circumstances, so her walking out when he's about to risk his life is completely out of character. And not only that, before leaving, she tells Cihan she doesn't want to talk to him or see him until he changes his mind about becoming the donor. See? Smart. She's doing everything she can to keep him from monitoring her movements (like he generally does :D). She's learned to read her husband, so much so that she turns his tactics on him. And Cihan never picks up on it. And watching her in action is poetry in motion - beautiful and heartbreaking at the same time. Because this time, the one person she can always count on for support isn't with her. She's fighting for Cihan, for their love, all on her own. Even though they promise each other they'd face whatever obstacles come their way together as they leave the airport in ep 29. While everyone gathers to wish Cihan well before the operation, Alya walks through those corridors alone. She has no one to calm her fears, no one to soothe her brow. No one tells her they'll be praying for her quick recovery. And that hurts like a son of a bitch. Because Alya has such a capacity for love and giving, she doesn't hesitate to take huge risks for the people she loves. On the other hand, she has no one other than Cihan to do the same for her. He's her other half. And there's no way in hell she'd stand back and watch him destroy himself. Her devotion and resolve are crystal clear when she speaks to Cihan while he's sedated. Still, I think some of her loneliness and desperation bleeds through her words to her husband. Almost as if something deep inside her cries out for him to wake up and choose her - like she's choosing him. Over everyone. Even her own life. Speaking of choosing, let's pause here and pivot to Cihan Bey. Cihan, like all of us, is a product of his upbringing, his environment, and his personal beliefs. Two of those three things are extremely toxic and warped. Not to mention, the guilt that's eating him alive is a product of those two things. They say when you're undergoing feelings of intense guilt, you tend to fluctuate between two states - suppression and surrender. When you suppress, you tell yourself you're fine. Everything's okay. Things are best this way type of stuff. In fact, I want you to remember this phrase. Then, there's surrender - moments of lucidity where you realize you're falling apart, that this isn't what you want at all. You're flooded by emotions and longing about what you're denying yourself. And that's something you see in Cihan over and over in this episode. He keeps fluctuating from one state to the other, and I don't think he even realizes what he's about to do to himself and Alya by wanting to go through with that operation. Take the scene where they're talking in their room before Alya leaves. On the one hand, Cihan tells Alya he has responsibilities to his family, and on the other, he can't see how his decision will affect Alya and Deniz. Then, when Cihan tries talking to Alya when he's driving her to work, he tells her he doesn't want to sacrifice their love, but in the next instance, he tells her he won't lose her 'in his heart' even if Boran wakes up. You see the inconsistency? He keeps switching between what he truly wants and the things might be best this way mindset. Surrender and suppression. Like when he keeps seeking her out at every turn, but insists on undergoing a surgery that will almost certainly kill him. The guilt inside him builds like pressure almost. He tries to suppress it until it spills over, revealing his true feelings, then he panics and moves back to suppression again. This keeps repeating until he wakes up to discover that Alya is the one undergoing the surgery. That's when the cycle finally breaks. Because when he's faced with the reality of losing Alya forever, he finally accepts the core truth driving his guilt - he fell in love with his brother's wife. Sure, he thinks Boran is dead and gone when it happens, but guilt doesn't really follow logic. That's why Alya being the donor and almost losing her life forces him to accept the love he feels for Alya is part of him now. There is no fighting it, there is no changing it. There is only accepting it. And his speech to Boran before he sees Alya is proof of his surrender. Because he finally admits that his bond with Alya isn't about choice anymore, he doesn't control the love; it controls him now. In front of Boran, no less. He finally looks his guilt in the face and starts to overcome it. That's why we see him initiating the kiss in their room. He's not overcome by self-reproach when he thinks of touching Alya intimately now. All very, very positive signs. And, let's not forget, when he sees his entire family conspired behind his back to allow Alya to be the donor, he understands another sold truth. He is the only family Alya has apart from Deniz. Which makes Alya's sacrifice all the more powerful. Because he realizes that she kept her part of the bargain. She kept fighting for them, even when he didn't. Hopefully, this is the moment where Cihan stops running and starts choosing. Alya didn’t just save his life physically; she forced him to confront the part of himself he kept buried. And now that he’s finally surrendered to that truth, we’re about to see the version of Cihan who fights for love instead of resisting it. Till next time, happy reading, y'all. #CihAl #UzakŞehir

CocoLoco

26,299 просмотров • 9 месяцев назад

Rick Rubin: "I've met very few billionaires who are happy" "I don't look at the outside very much. I look inward. I try to focus on what do I feel, what am I seeing, in the hopes that by sharing what's going on in me, it resonates with someone else. I can't predict what someone else would like. And I don't think anybody can. So if I'm authentically true to myself, that's the best chance of someone else liking something." Rubin explains the paradox of acceptance: "People want to be accepted. And I'm suggesting that the best way to be accepted is to be yourself. It's not to change yourself to what someone else thinks. First of all, you don't really know what someone else thinks. And if you're not genuine to yourself, nothing is there. It's just a projection or a mask. It's not true." On what makes something interesting: "In a sea of information, the more yours is personal, the more it's not like hers or his or theirs, the more it's yours. If we're all thinking the same thing, it's boring. Why would we make anything if everyone thinks the same thing? What makes us interesting are the differences. Even the imperfections. The imperfections are what make us human." Rubin shares what captures his attention: "There's so much middle of the road, and it doesn't interest me. I want it because it's louder, quieter, softer, harder. It's pushing some boundary. That's why I take notice. It's not more of the same. It's the one that makes you stop and think: did I really hear that? Did I really see that? What's going on here?" On what success actually means: "If I like it, that doesn't mean anything. That's what people think. Just because I like it doesn't give it any value. But as an artist, if you like it, that's all of the value. That's the success. It comes when you say, 'I like this enough for other people to see it.' Not 'other people like it, so it's successful.' That doesn't mean anything. Because other people liking it is out of your control. All that's in your control is making the thing to the best of your ability." Rubin reframes what greatness means: "I came to realize recently, it's all an offering to God. And if you're making an offering to God, you're not thinking about the budget, or hoping this segment of the audience is going to like it. We don't think like that. It's a higher vibration. We're making the best we can make, to the best of our ability, out of love and devotion. That's what it is. There is no higher form." On criticism and reviews: "Most of the artists I work with don't read any criticism or reviews, good or bad. The ones who are the strongest in who they are can even read a terrible review and laugh at it. Because when someone gives you criticism, it's telling you as much about who they are as what you've made." Rubin explains the only real competition: "The idea of the Oscars or the Grammys, where we're saying which album is better than another, it doesn't make any sense to me. Because it's always apples and oranges. The only people we can honestly compete with is ourselves. Is this the best I can make today? Have I gone further than I've gone before? That's all we can do. That's the only competition that makes sense." On the obsession required for mastery: "Many of the artists that are great at what they do are great for one reason: they fall in love with this thing, and they just want to know everything they could possibly learn about it. I'm working on a documentary project with comedians now. One of the things they talk about is their commitment; when other people are going out on the weekend, they're going to perform every night they possibly can. For a period of 10 years. Having bad performances. Having people not like what they do. Banging their head against the wall. But that obsession with breaking through, and when I say breaking through, I don't mean to the audience. I mean with themselves." Rubin shares a hard truth about dreams and jobs: "Maybe your purpose in life isn't related to your job. Maybe your job is your job, and the job is the thing that supports you. And then the rest of your waking hours are devoted to your purpose. Don't let following your dreams undermine your ability to support yourself. If you decide 'I want to be a comedian and I'm putting all my eggs in the comedian basket', the pressure of having to support yourself will change you as a comedian. Not for the better. You want the stability of being able to take care of yourself in the world to be free to do whatever your passion is." He challenges the mythology of genius: "There's a mythology that the people who make things that we love are special people, the people on Mount Olympus, magic people who are geniuses. And then there's the rest of us. That's not the case. We're all just people. We're all doing our best. We're all good at some things, not good at other things. We're humans. And sometimes we find a way to make something beautiful." Rubin shares his most vulnerable moment: "The call came: 'How do you feel? You have the number one album in the country.' And I remember saying, 'I've never been more unhappy in my life.' We mistakenly think some kind of outward success is going to change something in us. And it does not. It may make life more comfortable. But it doesn't change who we are. Any hole in ourselves that we're hoping to fill does not get filled." He explains why successful people are often unhappy: "If you spend 20 years of your life working towards a goal that's going to solve everything, and then you finally achieve what you've been trying to do for 20 years, and nothing changes, that's when you get hopeless. It's not uncommon to see very successful artists who are very unhappy. I'm sure you've met many very successful business people. Billionaires. Very few of them are happy. Very few. They've accomplished their dreams and are unhappy. Because we don't know what we want. We're trying to fill something that maybe can't be filled through material or public success. It's something else. Some internal thing." Rubin closes with this: "Don't do things just because you think you're going to get something for it. That's not why we do things. Do what's interesting to you. Follow what's interesting. Don't worry about the outcome. We can never predict the outcome. Follow your own inner guide. It might not make sense to anyone else. It might not even make sense to us. And that's okay. The wisest thing we can do is know enough to know we don't know. Anytime you think 'I know how it is' your world just got a lot smaller."
12:19

Rick Rubin: "I've met very few billionaires who are happy" "I don't look at the outside very much. I look inward. I try to focus on what do I feel, what am I seeing, in the hopes that by sharing what's going on in me, it resonates with someone else. I can't predict what someone else would like. And I don't think anybody can. So if I'm authentically true to myself, that's the best chance of someone else liking something." Rubin explains the paradox of acceptance: "People want to be accepted. And I'm suggesting that the best way to be accepted is to be yourself. It's not to change yourself to what someone else thinks. First of all, you don't really know what someone else thinks. And if you're not genuine to yourself, nothing is there. It's just a projection or a mask. It's not true." On what makes something interesting: "In a sea of information, the more yours is personal, the more it's not like hers or his or theirs, the more it's yours. If we're all thinking the same thing, it's boring. Why would we make anything if everyone thinks the same thing? What makes us interesting are the differences. Even the imperfections. The imperfections are what make us human." Rubin shares what captures his attention: "There's so much middle of the road, and it doesn't interest me. I want it because it's louder, quieter, softer, harder. It's pushing some boundary. That's why I take notice. It's not more of the same. It's the one that makes you stop and think: did I really hear that? Did I really see that? What's going on here?" On what success actually means: "If I like it, that doesn't mean anything. That's what people think. Just because I like it doesn't give it any value. But as an artist, if you like it, that's all of the value. That's the success. It comes when you say, 'I like this enough for other people to see it.' Not 'other people like it, so it's successful.' That doesn't mean anything. Because other people liking it is out of your control. All that's in your control is making the thing to the best of your ability." Rubin reframes what greatness means: "I came to realize recently, it's all an offering to God. And if you're making an offering to God, you're not thinking about the budget, or hoping this segment of the audience is going to like it. We don't think like that. It's a higher vibration. We're making the best we can make, to the best of our ability, out of love and devotion. That's what it is. There is no higher form." On criticism and reviews: "Most of the artists I work with don't read any criticism or reviews, good or bad. The ones who are the strongest in who they are can even read a terrible review and laugh at it. Because when someone gives you criticism, it's telling you as much about who they are as what you've made." Rubin explains the only real competition: "The idea of the Oscars or the Grammys, where we're saying which album is better than another, it doesn't make any sense to me. Because it's always apples and oranges. The only people we can honestly compete with is ourselves. Is this the best I can make today? Have I gone further than I've gone before? That's all we can do. That's the only competition that makes sense." On the obsession required for mastery: "Many of the artists that are great at what they do are great for one reason: they fall in love with this thing, and they just want to know everything they could possibly learn about it. I'm working on a documentary project with comedians now. One of the things they talk about is their commitment; when other people are going out on the weekend, they're going to perform every night they possibly can. For a period of 10 years. Having bad performances. Having people not like what they do. Banging their head against the wall. But that obsession with breaking through, and when I say breaking through, I don't mean to the audience. I mean with themselves." Rubin shares a hard truth about dreams and jobs: "Maybe your purpose in life isn't related to your job. Maybe your job is your job, and the job is the thing that supports you. And then the rest of your waking hours are devoted to your purpose. Don't let following your dreams undermine your ability to support yourself. If you decide 'I want to be a comedian and I'm putting all my eggs in the comedian basket', the pressure of having to support yourself will change you as a comedian. Not for the better. You want the stability of being able to take care of yourself in the world to be free to do whatever your passion is." He challenges the mythology of genius: "There's a mythology that the people who make things that we love are special people, the people on Mount Olympus, magic people who are geniuses. And then there's the rest of us. That's not the case. We're all just people. We're all doing our best. We're all good at some things, not good at other things. We're humans. And sometimes we find a way to make something beautiful." Rubin shares his most vulnerable moment: "The call came: 'How do you feel? You have the number one album in the country.' And I remember saying, 'I've never been more unhappy in my life.' We mistakenly think some kind of outward success is going to change something in us. And it does not. It may make life more comfortable. But it doesn't change who we are. Any hole in ourselves that we're hoping to fill does not get filled." He explains why successful people are often unhappy: "If you spend 20 years of your life working towards a goal that's going to solve everything, and then you finally achieve what you've been trying to do for 20 years, and nothing changes, that's when you get hopeless. It's not uncommon to see very successful artists who are very unhappy. I'm sure you've met many very successful business people. Billionaires. Very few of them are happy. Very few. They've accomplished their dreams and are unhappy. Because we don't know what we want. We're trying to fill something that maybe can't be filled through material or public success. It's something else. Some internal thing." Rubin closes with this: "Don't do things just because you think you're going to get something for it. That's not why we do things. Do what's interesting to you. Follow what's interesting. Don't worry about the outcome. We can never predict the outcome. Follow your own inner guide. It might not make sense to anyone else. It might not even make sense to us. And that's okay. The wisest thing we can do is know enough to know we don't know. Anytime you think 'I know how it is' your world just got a lot smaller."

Jaynit

153,035 просмотров • 4 месяцев назад

Jordan Peterson on how to know if someone is right for you: 1. Living together first doesn't protect you. the evidence points the other way. people who live together are more likely to get divorced, not less. 2. the real test isn't love. it's whether you can negotiate. you should know someone long enough to know you two can tell each other the truth and negotiate. that's the most important part of a relationship. 3. so talk about the boring things. who buys the groceries. who pays the bills. who cooks and when. who does which chores and is it laid out fair. you either sit down like a conscious, articulate couple and negotiate it, or you bring your unconscious assumptions in and clash where they don't match. 4. attraction still matters. if you have that massive erotic attraction, you're unbelievably fortunate and you should do everything you can to maintain it. but that takes real effort and will. and you have to ally it with maturity. what does this look like at the level of detail. money. where you live. careers. children. in-laws. 5. commitment comes first, not after. unless you've made a lifetime commitment, one you're not going to back out of, you won't take the relationship seriously enough to make it high quality. an idea he took from reading carl jung. "shackled together" is a cynical way of putting it. it's more like an unbreakable bond that makes both people better. 6. the hard part is telling the truth. and the truth is generally a horrible thing. it's easy to tell the truth when everyone wants to hear what you have to say. it's very difficult when no one wants to hear it, least of all yourself. 7. you're braiding one rope. you have the strands of your life, your partner has theirs, and you tie them together into something stronger. then you undertake massive adventures. a household. joint careers. each other's mental and physical health. kids. all of it very, very challenging. 8. marriage and child rearing get a bad rap in our culture and he thinks that's a catastrophe. even if you're highly career oriented, that's two thirds of your life. his house has been a sanctuary, and that's part of why he's been effective at work. 9. and it decides your second half. he's 55. both his kids just got engaged in the same month. he might have 40 more years, and now there are grandchildren coming. all that negotiating early is what buys you something to advance into.
8:13

Jordan Peterson on how to know if someone is right for you: 1. Living together first doesn't protect you. the evidence points the other way. people who live together are more likely to get divorced, not less. 2. the real test isn't love. it's whether you can negotiate. you should know someone long enough to know you two can tell each other the truth and negotiate. that's the most important part of a relationship. 3. so talk about the boring things. who buys the groceries. who pays the bills. who cooks and when. who does which chores and is it laid out fair. you either sit down like a conscious, articulate couple and negotiate it, or you bring your unconscious assumptions in and clash where they don't match. 4. attraction still matters. if you have that massive erotic attraction, you're unbelievably fortunate and you should do everything you can to maintain it. but that takes real effort and will. and you have to ally it with maturity. what does this look like at the level of detail. money. where you live. careers. children. in-laws. 5. commitment comes first, not after. unless you've made a lifetime commitment, one you're not going to back out of, you won't take the relationship seriously enough to make it high quality. an idea he took from reading carl jung. "shackled together" is a cynical way of putting it. it's more like an unbreakable bond that makes both people better. 6. the hard part is telling the truth. and the truth is generally a horrible thing. it's easy to tell the truth when everyone wants to hear what you have to say. it's very difficult when no one wants to hear it, least of all yourself. 7. you're braiding one rope. you have the strands of your life, your partner has theirs, and you tie them together into something stronger. then you undertake massive adventures. a household. joint careers. each other's mental and physical health. kids. all of it very, very challenging. 8. marriage and child rearing get a bad rap in our culture and he thinks that's a catastrophe. even if you're highly career oriented, that's two thirds of your life. his house has been a sanctuary, and that's part of why he's been effective at work. 9. and it decides your second half. he's 55. both his kids just got engaged in the same month. he might have 40 more years, and now there are grandchildren coming. all that negotiating early is what buys you something to advance into.

Johan

173,650 просмотров • 9 дней назад

Analyzing Episode 56. Season 2 aka Processing the Past Despite all the prophecies of doom, episode 56 was a delightful watch. The episode begins with Alya walking into prison, only to discover Meryem holding hands with Ciho. And, the way that entire scene is depicted, it's designed to make the audience see things from Alya's pov. Because we know not a few moments earlier, Cihan tells Meryem she should leave Mardin because there's nothing left for her there. However, from Alya's viewpoint, it seems like the past is repeating itself in the way she finds out about Mine and even Boran. Though this time, there's a slight difference because instead of following Cihan and discovering the truth herself, it's Boran who frames reality in the worst possible way. Still, Cihan and Alya's reactions differ slightly at this instance. For example, Alya's anger, while boiling at that moment, diffuses much quicker. And, while she doubts the reason Cihan keeps Meryem's presence from her, she doesn't start doubting their love. That fortress remains strong. Likewise, any time Cihan is discovered by Alya lying to her, he displays this vibe of embarrassment. You know, like wearing the expression of a kid caught doing something he shouldn't have been doing. But this time, when he rushes after Alya, there's a certain assurance in his gait. It's not overt, mind you, because Cihan knows he's in hot water. But it's almost like this time, he's sure of himself because his feelings in the matter are clear. He hides the truth for two reasons: he's protecting himself and Alya. The former because he doesn't want Alya pulling back from him at a time when she's already forced to leave the konak, and the latter because he doesn't want the spectre of Meryem to hurt her in any way. But the part I really liked in this while sequence? Alya's car breaking down. There are always moments in CihAl's story where you see some external force intervening to move their story forward. For example, the way the roads are blocked in ep42. In this episode, fate intervenes yet again, and the message is clear. Don't run from the past; face it. That message is compounded when Boran shows up on the same road to see the fruits of his labor. In the last few episodes, Alya's reactions to Boran seem to have intensified. I don't know why that is, but it seems like Alya's anger seems to be taking over her despair. To the point where Cihan becomes the one to hold Alya back, which, in my opinion, is a good thing. Anger can be cleansing, unlike passivity. And it seems the days of Alya quietly listening to Boran's BS are finally ending. Anyway, the scene moves on to Cihan driving Alya to a remote location to talk things over, which I kind of liked. I prefer when these two go far away from the maddening crowd to iron out their differences. And note, whenever that happens, they happen to be in a location that has a bird's-eye view of the scene below. Kind of like how you try to take in the bigger picture - another nice subliminal message. Cihan kicks off the conversation by saying Boran is trying to cloud Alya's mind, to which Alya responds adequately by saying the only thing messing with her mind is Cihan's attempts to lie because Boran no longer holds any importance for her. Is that true? I think so. Because even though Alya and Cihan are talking about a highly volatile topic, they're relatively calm. Accusations don't fly about either. And, I liked the fact that Alya openly tells Cihan that his trying to keep her in the dark, even to protect her, is what ends up hurting her the most. Because that is the truth. Cihan's reasoning as to why he keeps Meryem's presence from her in this scene is incomplete. He does want to protect Alya from the pain his past includes, but that's only half the reason. The bigger reason is he's trying to do his damnedest to keep Alya with him. He's already failed to try to keep her with him at the konak, but an emotional distance would likely finish him off. Which is why the talk CihAl have at Alya's apartment is so important. When Meryem calls, Cihan stops Alya from leaving the room - which sets the tone of the conversation. When Cihan relates the story of what Meryem has gone through, Alya's reaction is just what's to be expected. She's empathetic towards her plight, of being forced, of facing violence, because while Alya's lucky enough to find love with Cihan, she understands only too well how women are made to feel helpless and powerless. There's this expression on Cihan's face that can only be described as astonishment. Because, despite Alya's past, what she's gone through in Mardin, and despite Cihan's own stupidities, she finds it in her heart to feel for another woman she wouldn't be wrong to feel threatened by. And that's one of the things he is so in love with about Alya. Her compassion. When Cihan says he feels responsible for all that's gone wrong in Meryem's life since that fateful day, Alya asks him why he felt the need to hide things yet again. But this time, the whole truth comes out. Cihan admits he was afraid of her pulling back from him even more. Another thing to note, Alya refers to Meryem as Cihan's first love, not only love. So, she's not doubtful of his feelings for her. What's scary to Alya is how much of a hold those old feelings still have over Cihan. The good news from that point on is that Cihan doesn't keep anything from Alya regarding Meryem again. That includes him trying to send her to Istanbul to set up a new life for her. The scene ends on a relatively happier note of disaster averted. And Cihan and Alya both look better after talking it out. Still, as the viewers, we know that Alya's fear hasn't been defeated, just delayed. And until Cihan gives Alya the kind of resolution she gives him with Boran, it will keep pushing her away from him, like a self-fulfilling prophecy. Now, the next scene I want to talk about is the scene where Cihan and Kaya talk at the tavern/bar. I loved that entire sequence because we keep transitioning between Cihan's focus on Alya (his future) and Alya's focus on Cihan's past. When Kaya asks Cihan how he could fall for Alya after claiming to love Meryem, when Kaya and Sahin kept waiting/fighting for their respective loves, Cihan's answer reveals one of the reasons his past has sprung up on him, because he still doesn't get it. He says he loved Meryem, was tested by that love, gained experience from it, which prepared him to fight tooth and nail for Alya. He's partially right. Yes, the past and its challenges prepared him and chiseled his determination to fight for Alya. But, he's confused about loving someone and being in love with someone. He is so in love with Alya, he's overcome when he's trying to explain the emotion. True love, the deep, enduring, transformational kind, doesn't ever fade. Almost like it's a state of permanent being, because it survives time, distance, and yes, even death. If what you think love is weakens, is downgraded, moves from the heart to merely the realm of responsibility, it's not the 'love' that mankind has written sonnets about, that people dream about, that lovers die for. Because true love doesn't change, doesn't disappear, or relocate itself into something smaller. If it does, it was never that to begin with. Yes, people can love multiple times. But that feeling of being in love, that one love that trumps everything else, is another kettle of fish entirely. And, according to Cihan's own words, his love for Alya is the kind of thing he's never experienced before. Its weighty and rooted so deeply inside him, it's impossible to escape or forget. So, yes, Ciho is partially right to say that what he experienced with Meryem helped ready the man who'd love and fight for Alya like never before, but he's wrong to think that those feelings can be categorized under the heading 'love.' Since Cihan and Alya's story deals with balance, equality, and symmetry, it's unlikely that Alya's past would reveal she never loved Boran, whereas Cihan's past would be something like oh she prepared me for the future. In fact, I suspect it's a little of both for Cihan and Alya. As in, both Boran and Meryem paved the way to their actual true love, and yes, neither of them truly loved their exes. Not to mention, Boran has exposed himself completely, and Meryem's giving off bad vibes already. Alya understood that early on because of what Boran does to her. Cihan is about to learn. Which is why stories ever truly drag the past into the present anyway, because there's a truth, a lesson, a resolution hidden within, after which, the past can finally be buried and be left behind. So, to me, the vibe of ep56 is - processing the past. Looking at it, dealing with it, but most of all, facing it head-on. Essentially, we're seeing Alya and Cihan inch towards clarity now that both pasts are back in their lives at the same time. There’s still a final understanding waiting to click into place, for CihAl, about what love truly is and what it never was. And once that realization lands, the past won’t just be faced… it will lose its hold altogether. #CihAl #UzakŞehir
2:34

Analyzing Episode 56. Season 2 aka Processing the Past Despite all the prophecies of doom, episode 56 was a delightful watch. The episode begins with Alya walking into prison, only to discover Meryem holding hands with Ciho. And, the way that entire scene is depicted, it's designed to make the audience see things from Alya's pov. Because we know not a few moments earlier, Cihan tells Meryem she should leave Mardin because there's nothing left for her there. However, from Alya's viewpoint, it seems like the past is repeating itself in the way she finds out about Mine and even Boran. Though this time, there's a slight difference because instead of following Cihan and discovering the truth herself, it's Boran who frames reality in the worst possible way. Still, Cihan and Alya's reactions differ slightly at this instance. For example, Alya's anger, while boiling at that moment, diffuses much quicker. And, while she doubts the reason Cihan keeps Meryem's presence from her, she doesn't start doubting their love. That fortress remains strong. Likewise, any time Cihan is discovered by Alya lying to her, he displays this vibe of embarrassment. You know, like wearing the expression of a kid caught doing something he shouldn't have been doing. But this time, when he rushes after Alya, there's a certain assurance in his gait. It's not overt, mind you, because Cihan knows he's in hot water. But it's almost like this time, he's sure of himself because his feelings in the matter are clear. He hides the truth for two reasons: he's protecting himself and Alya. The former because he doesn't want Alya pulling back from him at a time when she's already forced to leave the konak, and the latter because he doesn't want the spectre of Meryem to hurt her in any way. But the part I really liked in this while sequence? Alya's car breaking down. There are always moments in CihAl's story where you see some external force intervening to move their story forward. For example, the way the roads are blocked in ep42. In this episode, fate intervenes yet again, and the message is clear. Don't run from the past; face it. That message is compounded when Boran shows up on the same road to see the fruits of his labor. In the last few episodes, Alya's reactions to Boran seem to have intensified. I don't know why that is, but it seems like Alya's anger seems to be taking over her despair. To the point where Cihan becomes the one to hold Alya back, which, in my opinion, is a good thing. Anger can be cleansing, unlike passivity. And it seems the days of Alya quietly listening to Boran's BS are finally ending. Anyway, the scene moves on to Cihan driving Alya to a remote location to talk things over, which I kind of liked. I prefer when these two go far away from the maddening crowd to iron out their differences. And note, whenever that happens, they happen to be in a location that has a bird's-eye view of the scene below. Kind of like how you try to take in the bigger picture - another nice subliminal message. Cihan kicks off the conversation by saying Boran is trying to cloud Alya's mind, to which Alya responds adequately by saying the only thing messing with her mind is Cihan's attempts to lie because Boran no longer holds any importance for her. Is that true? I think so. Because even though Alya and Cihan are talking about a highly volatile topic, they're relatively calm. Accusations don't fly about either. And, I liked the fact that Alya openly tells Cihan that his trying to keep her in the dark, even to protect her, is what ends up hurting her the most. Because that is the truth. Cihan's reasoning as to why he keeps Meryem's presence from her in this scene is incomplete. He does want to protect Alya from the pain his past includes, but that's only half the reason. The bigger reason is he's trying to do his damnedest to keep Alya with him. He's already failed to try to keep her with him at the konak, but an emotional distance would likely finish him off. Which is why the talk CihAl have at Alya's apartment is so important. When Meryem calls, Cihan stops Alya from leaving the room - which sets the tone of the conversation. When Cihan relates the story of what Meryem has gone through, Alya's reaction is just what's to be expected. She's empathetic towards her plight, of being forced, of facing violence, because while Alya's lucky enough to find love with Cihan, she understands only too well how women are made to feel helpless and powerless. There's this expression on Cihan's face that can only be described as astonishment. Because, despite Alya's past, what she's gone through in Mardin, and despite Cihan's own stupidities, she finds it in her heart to feel for another woman she wouldn't be wrong to feel threatened by. And that's one of the things he is so in love with about Alya. Her compassion. When Cihan says he feels responsible for all that's gone wrong in Meryem's life since that fateful day, Alya asks him why he felt the need to hide things yet again. But this time, the whole truth comes out. Cihan admits he was afraid of her pulling back from him even more. Another thing to note, Alya refers to Meryem as Cihan's first love, not only love. So, she's not doubtful of his feelings for her. What's scary to Alya is how much of a hold those old feelings still have over Cihan. The good news from that point on is that Cihan doesn't keep anything from Alya regarding Meryem again. That includes him trying to send her to Istanbul to set up a new life for her. The scene ends on a relatively happier note of disaster averted. And Cihan and Alya both look better after talking it out. Still, as the viewers, we know that Alya's fear hasn't been defeated, just delayed. And until Cihan gives Alya the kind of resolution she gives him with Boran, it will keep pushing her away from him, like a self-fulfilling prophecy. Now, the next scene I want to talk about is the scene where Cihan and Kaya talk at the tavern/bar. I loved that entire sequence because we keep transitioning between Cihan's focus on Alya (his future) and Alya's focus on Cihan's past. When Kaya asks Cihan how he could fall for Alya after claiming to love Meryem, when Kaya and Sahin kept waiting/fighting for their respective loves, Cihan's answer reveals one of the reasons his past has sprung up on him, because he still doesn't get it. He says he loved Meryem, was tested by that love, gained experience from it, which prepared him to fight tooth and nail for Alya. He's partially right. Yes, the past and its challenges prepared him and chiseled his determination to fight for Alya. But, he's confused about loving someone and being in love with someone. He is so in love with Alya, he's overcome when he's trying to explain the emotion. True love, the deep, enduring, transformational kind, doesn't ever fade. Almost like it's a state of permanent being, because it survives time, distance, and yes, even death. If what you think love is weakens, is downgraded, moves from the heart to merely the realm of responsibility, it's not the 'love' that mankind has written sonnets about, that people dream about, that lovers die for. Because true love doesn't change, doesn't disappear, or relocate itself into something smaller. If it does, it was never that to begin with. Yes, people can love multiple times. But that feeling of being in love, that one love that trumps everything else, is another kettle of fish entirely. And, according to Cihan's own words, his love for Alya is the kind of thing he's never experienced before. Its weighty and rooted so deeply inside him, it's impossible to escape or forget. So, yes, Ciho is partially right to say that what he experienced with Meryem helped ready the man who'd love and fight for Alya like never before, but he's wrong to think that those feelings can be categorized under the heading 'love.' Since Cihan and Alya's story deals with balance, equality, and symmetry, it's unlikely that Alya's past would reveal she never loved Boran, whereas Cihan's past would be something like oh she prepared me for the future. In fact, I suspect it's a little of both for Cihan and Alya. As in, both Boran and Meryem paved the way to their actual true love, and yes, neither of them truly loved their exes. Not to mention, Boran has exposed himself completely, and Meryem's giving off bad vibes already. Alya understood that early on because of what Boran does to her. Cihan is about to learn. Which is why stories ever truly drag the past into the present anyway, because there's a truth, a lesson, a resolution hidden within, after which, the past can finally be buried and be left behind. So, to me, the vibe of ep56 is - processing the past. Looking at it, dealing with it, but most of all, facing it head-on. Essentially, we're seeing Alya and Cihan inch towards clarity now that both pasts are back in their lives at the same time. There’s still a final understanding waiting to click into place, for CihAl, about what love truly is and what it never was. And once that realization lands, the past won’t just be faced… it will lose its hold altogether. #CihAl #UzakŞehir

CocoLoco

21,239 просмотров • 4 месяцев назад

Jordan Peterson: "The most dangerous person is one who is articulate" "Articulate is an interesting word. If your joints are articulated, that means you can do things with them because they're not one solid vague mass. They're differentiated. Someone who's graceful is compelling because they're articulated. And speech is a form of articulation in that manner." Peterson explains why this matters: "It is definitely the case that there is no more exceptional form of the capacity to be dangerous than to be articulate. And one of the things that really shocks me is that young men in particular are never taught this." He makes the case bluntly: "Do you want to be competent and dangerous, or do you want to be vague and useless? Because those are your options. And I don't care what your job is. If you're a plumber, and I have great respect for plumbers, and you're articulate: you can negotiate with your clients, introduce your co-workers, make a case for your employees, advertise your services, think through your problems. You're firing on all cylinders." Peterson shares a deeper truth: "Our whole culture is based on the idea of the supremacy of the word. The idea that it is the word itself that extracts habitable order from chaos and possibility. And the reason our culture is predicated on that is because it's a deep truth." He gives an example from the military: "I know a former special operations soldier, Jocko Willink. He's about four feet wide and three feet thick. One tough son of a bitch. You don't want to mess with him. And he knows perfectly well, and is very capable of articulating, that his success as an eminent warrior is in no small part dependent on his ability to communicate." Peterson explains why: "Because he could communicate well, he could listen to the men under his command. Because he was articulate, he could explain to his superiors the situation on the ground. Because he was articulate, he could make a case that the men under his command who were deserving would be promoted. Because he could think in an articulate manner, he could plan strategically and not lose battles." He asks the hard question: "What's the alternative? You want to be inarticulate? You want to say 'uh' and 'like' and 'um' and pause and stumble? Be unable to formulate a strategy? Be unable to elucidate a vision? Be unable to compel and convince other people to entice them with your articulated vision of what might be? You would choose awkwardness over grace. It's preposterous. It's beyond foolish." How do you become articulate? Peterson offers a metaphor: "Imagine you're trying to walk across a swamp. The swamp is murky, but you know there's a path of stone under the water, and it twists and moves. If you stay on the path, you won't drown. The crocodiles won't devour you. As you walk forward, you feel with your next step where the stone might be. Then you feel it solid. Then you take that step. You search and find out what's solid, and you move forward in that manner." He applies this to speech: "That's what you do with your words. You feel, is this the right word? Is the fact that I'm uttering it putting me together and making me intact and stronger? Or is it tearing me apart and making me dissolute and weak? You can learn to do that." Peterson shares what he noticed 40 years ago: "Much of what I said actually made me feel weak. I didn't know why exactly. But sometimes some of the things I said didn't have that effect. They weren't accompanied by a sense of shame. They weren't accompanied by a sense of vulnerability. They were solid. At the beginning, that was probably only about 5% of what I said. The rest of it was instrumental — language I was using to get my way. There was an arrogance in my use of language that had to do with the desire to attain proximal victories. To appear smart. To win an argument." He contrasts that with real articulation: "A very different idea than merely feeling my way along to see what word was appropriate for what moment. But you can learn to do that. You can listen to yourself. You can stop humming and hawing and using 'like' and 'you know' and fillers. You can take the time necessary to craft your words carefully. You can practice merely saying what you believe to be true. You can read great writers. You can write about the problems that obsess you. And you can become articulate as a consequence." The power of the pause: "When you're in a discussion with someone, they might present you with a question or a conundrum. Instead of responding with what you 'know' to be right, you could just ask yourself: what do I actually think about that? But it has to be a real question. It has to be the kind of question you pose to someone you didn't know. It has to be a question predicated on the idea that you might not know who you are, and that you could ask." Peterson continues: "Someone presents you with a question. You think: okay, what do I think about that? But you have to want to know the answer. And then the answer will make itself known because that's how thought works. And then you can just communicate that answer." He explains what happens next: "If you do that, you'll be interesting right away. You'll be interesting to the person you're talking to. And if they do that to you, they'll be interesting too. And then if you both do that, you'll have an interesting conversation. And if you have an interesting conversation, you'll both grow as a consequence. That's actually the pathway to growth." Peterson uses Joe Rogan as an example: "One of the reasons Joe Rogan is so successful is that that's what Joe does. He just asks questions. He isn't trying to get something from his guests. He's not trying to become more famous. He doesn't need any more money. There's no instrumental utilization of language in his discourse. He's just a humble lunkhead in the most profound sense who would like to know more than he knows, and who asks all the stupid questions he can think up." He continues: "It turns out he's actually very smart and very well educated now, after talking to hundreds of people and listening. The stupid questions he asks aren't stupid. They're questions shared by virtually everyone who's listening. He takes his listeners along on this process of exploratory endeavor. And it's the pathway to success." Peterson closes with this: "The same thing can be true of your life. If you're guided by the spirit of honest inquiry and every word you say is reflective of what you believe to be the truth, then the pathway that you walk on is a golden pathway to success. I know that to be true."
14:21

Jordan Peterson: "The most dangerous person is one who is articulate" "Articulate is an interesting word. If your joints are articulated, that means you can do things with them because they're not one solid vague mass. They're differentiated. Someone who's graceful is compelling because they're articulated. And speech is a form of articulation in that manner." Peterson explains why this matters: "It is definitely the case that there is no more exceptional form of the capacity to be dangerous than to be articulate. And one of the things that really shocks me is that young men in particular are never taught this." He makes the case bluntly: "Do you want to be competent and dangerous, or do you want to be vague and useless? Because those are your options. And I don't care what your job is. If you're a plumber, and I have great respect for plumbers, and you're articulate: you can negotiate with your clients, introduce your co-workers, make a case for your employees, advertise your services, think through your problems. You're firing on all cylinders." Peterson shares a deeper truth: "Our whole culture is based on the idea of the supremacy of the word. The idea that it is the word itself that extracts habitable order from chaos and possibility. And the reason our culture is predicated on that is because it's a deep truth." He gives an example from the military: "I know a former special operations soldier, Jocko Willink. He's about four feet wide and three feet thick. One tough son of a bitch. You don't want to mess with him. And he knows perfectly well, and is very capable of articulating, that his success as an eminent warrior is in no small part dependent on his ability to communicate." Peterson explains why: "Because he could communicate well, he could listen to the men under his command. Because he was articulate, he could explain to his superiors the situation on the ground. Because he was articulate, he could make a case that the men under his command who were deserving would be promoted. Because he could think in an articulate manner, he could plan strategically and not lose battles." He asks the hard question: "What's the alternative? You want to be inarticulate? You want to say 'uh' and 'like' and 'um' and pause and stumble? Be unable to formulate a strategy? Be unable to elucidate a vision? Be unable to compel and convince other people to entice them with your articulated vision of what might be? You would choose awkwardness over grace. It's preposterous. It's beyond foolish." How do you become articulate? Peterson offers a metaphor: "Imagine you're trying to walk across a swamp. The swamp is murky, but you know there's a path of stone under the water, and it twists and moves. If you stay on the path, you won't drown. The crocodiles won't devour you. As you walk forward, you feel with your next step where the stone might be. Then you feel it solid. Then you take that step. You search and find out what's solid, and you move forward in that manner." He applies this to speech: "That's what you do with your words. You feel, is this the right word? Is the fact that I'm uttering it putting me together and making me intact and stronger? Or is it tearing me apart and making me dissolute and weak? You can learn to do that." Peterson shares what he noticed 40 years ago: "Much of what I said actually made me feel weak. I didn't know why exactly. But sometimes some of the things I said didn't have that effect. They weren't accompanied by a sense of shame. They weren't accompanied by a sense of vulnerability. They were solid. At the beginning, that was probably only about 5% of what I said. The rest of it was instrumental — language I was using to get my way. There was an arrogance in my use of language that had to do with the desire to attain proximal victories. To appear smart. To win an argument." He contrasts that with real articulation: "A very different idea than merely feeling my way along to see what word was appropriate for what moment. But you can learn to do that. You can listen to yourself. You can stop humming and hawing and using 'like' and 'you know' and fillers. You can take the time necessary to craft your words carefully. You can practice merely saying what you believe to be true. You can read great writers. You can write about the problems that obsess you. And you can become articulate as a consequence." The power of the pause: "When you're in a discussion with someone, they might present you with a question or a conundrum. Instead of responding with what you 'know' to be right, you could just ask yourself: what do I actually think about that? But it has to be a real question. It has to be the kind of question you pose to someone you didn't know. It has to be a question predicated on the idea that you might not know who you are, and that you could ask." Peterson continues: "Someone presents you with a question. You think: okay, what do I think about that? But you have to want to know the answer. And then the answer will make itself known because that's how thought works. And then you can just communicate that answer." He explains what happens next: "If you do that, you'll be interesting right away. You'll be interesting to the person you're talking to. And if they do that to you, they'll be interesting too. And then if you both do that, you'll have an interesting conversation. And if you have an interesting conversation, you'll both grow as a consequence. That's actually the pathway to growth." Peterson uses Joe Rogan as an example: "One of the reasons Joe Rogan is so successful is that that's what Joe does. He just asks questions. He isn't trying to get something from his guests. He's not trying to become more famous. He doesn't need any more money. There's no instrumental utilization of language in his discourse. He's just a humble lunkhead in the most profound sense who would like to know more than he knows, and who asks all the stupid questions he can think up." He continues: "It turns out he's actually very smart and very well educated now, after talking to hundreds of people and listening. The stupid questions he asks aren't stupid. They're questions shared by virtually everyone who's listening. He takes his listeners along on this process of exploratory endeavor. And it's the pathway to success." Peterson closes with this: "The same thing can be true of your life. If you're guided by the spirit of honest inquiry and every word you say is reflective of what you believe to be the truth, then the pathway that you walk on is a golden pathway to success. I know that to be true."

Jaynit

121,934 просмотров • 4 месяцев назад

Analyzing Episode 40. Season 2 aka Of Uzak Şehir, The Alboras, and The Great Retcon Twist Okay dokie. Let's get to analyzing episode 40, but I'm gonna take a different approach for this one. Why? Because throughout the episode, it seemed like the writer was trying to drive home one point - Who really is Boran Albora? From the moment this episode kicked off, the showdown in the salon shows the viewers Boran refusing to let Alya go. He keeps repeating one thing - you're MY wife, Deniz is MY son. It has nothing to do with feelings and emotions; this man is clearly functioning based on possessiveness and control. Alya, bless her heart, tries to appeal to his emotions and begs him to let her go while preserving some semblance of normalcy for Deniz. But what does the zombie come back with - he says I'll never let you leave me and marry Cihan. Alya keeps repeating she doesn't want him, but it's like her wants and wishes don't even register with Boran. Then, she says something magical. She says she doesn't 'know' him. And, it's true. She lived with the man for seven years, had a child with him, but in the end, his betrayal cuts her so deep, she scraps all the knowledge she thinks she knows about him. Now, I've seen many people saying that's the idea of living with a man and having his kid, while not truly knowing him, is ridiculous. Not true. In fact, in psychologically abusive relationships, it generally takes a very long time for one partner to discover the other's true colors. And note, thus far, the writer seems to be hinting at the fact that Boran's mask tends to slip when he's under pressure. Anyway, when the zombie once again turns to Cihan and all but orders him to get divorced, we see a teeny-tiny glimpse of ruthless Cihan from s1 make a comeback. Being the smarty-pants he is, Cihan says if the zombie wants them to get divorced, he'd better get his old identity back first. Why? Does Cihan want to buy time? Does he want the zombie to reveal himself to figure out what he's hiding? Does he try to trap him into coming out so Alya can divorce his ass once and for all? I suspect it's all three. Now, let's jump to scene two, which seemed to scream the writer wants the audience to go back and ask themselves, was Boran really the benevolent older brother, or was he always the clever manipulator? When Cihan, Nare, and Kaya are all having a heart-to-heart in Cihan's cave room, Kaya starts the conversation by saying 'Boran is still in trauma, because he clearly can't decide what he wants or what he's doing. He's not the same Boran.' Is that right, though? Because from what we know of Boran, the man seems to do stupid shit and leaves everyone else to deal with the mess he leaves behind. He's the walking, talking textbook definition of 'selfish.' Thankfully, it seems like Cihan isn't thinking along the same lines. Because to him, Boran saving his own skin while leaving Alya and Deniz behind doesn't add up. And what's more, it sparks old memories because who knows better about Boran's cut-and-run act than the guy who always has to clean up after him? So, that Cihan suspects Boran's up to his no good shit again is obvious. He seems to be the only one waking up to the fact that the older brother he hero-worshipped may not be the man he thought he was. And, that makes perfect sense, because isn't Cihan the guy to tell Alya that people like the truth can be multifaceted. Which brings me to scene number 3, when Sahin and Zerrin come over to visit 'abi.' To say their meeting doesn't go down well is an understatement. Because, here too, the only one Boran seems to really care about is himself. Nare can't go with Sahin because Ecmel tried to kill him, etc, etc. But, I don't think that's his problem really, seeing as how it's obvious as day the zombie will eventually turn to Ecmel's side. I think what's really eating Boran up is that life has moved on, and he's no longer playing the starring role in any of their lives. Cihan is Aga now. Kaya is no longer a teenager. Nare is a married woman. Alya is in love with Cihan. And Deniz has picked out another father for himself. See? All these people in his orbit, whom he's constantly blaming and picking fights with, have all grown, changed, and matured. All except one. Sadakat. The zombie seems to get along great with her because she's constantly pandering to his massive ego and control issues. She keeps filling his ears with how he can 'take back' Alya and Deniz. She keeps saying no believed her when she said Ecmel was out to kill him. It's almost like the man gravitates towards special treatment and entitlement. Because that's likely how he was raised. Oh, he's the eldest brother; you should respect him. Oh, he's the firstborn who deserves first pickings. And, Boran likely thrives in such an environment. But the story keeps reminding us that when the going gets tough, Boran prefers to run, or if he can't, he gets nasty. And that leads me to the message I get from ep 40. The great Retcon Twist. Was Boran the good guy who turned bad, or was he always this selfish, entitled prick who got special treatment due to his birth and then eventual 'fake' death? Guess which way I'm leaning? Anyway, enough about the zombie. The other bit that stood out to me in this episode, apart from all the zombie's shenanigans, was how the writer seems to be going out of their way to protect CihAl. I mean, sure, Gulizar has issues with her writing, no doubt, but in this episode, if you pay attention to Cihan and Alya's dialogues (when they're together), you'll pick up little clues to let you know that she's saying, ' I got this.' For example, you know how recently everyone has jumped on the blame Cihan and Alya bandwagon with the shameless tirade? What does Cihan say when they're at dinner, 'Their road is pure despite people calling it wrong.' When Alya confesses how she wanted to hug and sleep in Cihan's arms, but couldn't because they're aware of their circumstances, it was exceedingly heartbreaking and a slap to the moral brigade at the same time. And, this is also one of the reasons why I think this love story will not only succeed but will stand the test of time with a happy ending, because they never compromise on their set of principles and ideals. They don't use the cliched excuse 'oh, but we're in love' to steamroll over other people's lives and happiness. That's what makes CihAl so perfect as a couple. There's a lot more to cover from this episode, but this is all from me for now. Till later, watch with your eyes, think with your head, and feel with your heart. Happy reading, y'all. #CihAl #UzakŞehir
3:14

Analyzing Episode 40. Season 2 aka Of Uzak Şehir, The Alboras, and The Great Retcon Twist Okay dokie. Let's get to analyzing episode 40, but I'm gonna take a different approach for this one. Why? Because throughout the episode, it seemed like the writer was trying to drive home one point - Who really is Boran Albora? From the moment this episode kicked off, the showdown in the salon shows the viewers Boran refusing to let Alya go. He keeps repeating one thing - you're MY wife, Deniz is MY son. It has nothing to do with feelings and emotions; this man is clearly functioning based on possessiveness and control. Alya, bless her heart, tries to appeal to his emotions and begs him to let her go while preserving some semblance of normalcy for Deniz. But what does the zombie come back with - he says I'll never let you leave me and marry Cihan. Alya keeps repeating she doesn't want him, but it's like her wants and wishes don't even register with Boran. Then, she says something magical. She says she doesn't 'know' him. And, it's true. She lived with the man for seven years, had a child with him, but in the end, his betrayal cuts her so deep, she scraps all the knowledge she thinks she knows about him. Now, I've seen many people saying that's the idea of living with a man and having his kid, while not truly knowing him, is ridiculous. Not true. In fact, in psychologically abusive relationships, it generally takes a very long time for one partner to discover the other's true colors. And note, thus far, the writer seems to be hinting at the fact that Boran's mask tends to slip when he's under pressure. Anyway, when the zombie once again turns to Cihan and all but orders him to get divorced, we see a teeny-tiny glimpse of ruthless Cihan from s1 make a comeback. Being the smarty-pants he is, Cihan says if the zombie wants them to get divorced, he'd better get his old identity back first. Why? Does Cihan want to buy time? Does he want the zombie to reveal himself to figure out what he's hiding? Does he try to trap him into coming out so Alya can divorce his ass once and for all? I suspect it's all three. Now, let's jump to scene two, which seemed to scream the writer wants the audience to go back and ask themselves, was Boran really the benevolent older brother, or was he always the clever manipulator? When Cihan, Nare, and Kaya are all having a heart-to-heart in Cihan's cave room, Kaya starts the conversation by saying 'Boran is still in trauma, because he clearly can't decide what he wants or what he's doing. He's not the same Boran.' Is that right, though? Because from what we know of Boran, the man seems to do stupid shit and leaves everyone else to deal with the mess he leaves behind. He's the walking, talking textbook definition of 'selfish.' Thankfully, it seems like Cihan isn't thinking along the same lines. Because to him, Boran saving his own skin while leaving Alya and Deniz behind doesn't add up. And what's more, it sparks old memories because who knows better about Boran's cut-and-run act than the guy who always has to clean up after him? So, that Cihan suspects Boran's up to his no good shit again is obvious. He seems to be the only one waking up to the fact that the older brother he hero-worshipped may not be the man he thought he was. And, that makes perfect sense, because isn't Cihan the guy to tell Alya that people like the truth can be multifaceted. Which brings me to scene number 3, when Sahin and Zerrin come over to visit 'abi.' To say their meeting doesn't go down well is an understatement. Because, here too, the only one Boran seems to really care about is himself. Nare can't go with Sahin because Ecmel tried to kill him, etc, etc. But, I don't think that's his problem really, seeing as how it's obvious as day the zombie will eventually turn to Ecmel's side. I think what's really eating Boran up is that life has moved on, and he's no longer playing the starring role in any of their lives. Cihan is Aga now. Kaya is no longer a teenager. Nare is a married woman. Alya is in love with Cihan. And Deniz has picked out another father for himself. See? All these people in his orbit, whom he's constantly blaming and picking fights with, have all grown, changed, and matured. All except one. Sadakat. The zombie seems to get along great with her because she's constantly pandering to his massive ego and control issues. She keeps filling his ears with how he can 'take back' Alya and Deniz. She keeps saying no believed her when she said Ecmel was out to kill him. It's almost like the man gravitates towards special treatment and entitlement. Because that's likely how he was raised. Oh, he's the eldest brother; you should respect him. Oh, he's the firstborn who deserves first pickings. And, Boran likely thrives in such an environment. But the story keeps reminding us that when the going gets tough, Boran prefers to run, or if he can't, he gets nasty. And that leads me to the message I get from ep 40. The great Retcon Twist. Was Boran the good guy who turned bad, or was he always this selfish, entitled prick who got special treatment due to his birth and then eventual 'fake' death? Guess which way I'm leaning? Anyway, enough about the zombie. The other bit that stood out to me in this episode, apart from all the zombie's shenanigans, was how the writer seems to be going out of their way to protect CihAl. I mean, sure, Gulizar has issues with her writing, no doubt, but in this episode, if you pay attention to Cihan and Alya's dialogues (when they're together), you'll pick up little clues to let you know that she's saying, ' I got this.' For example, you know how recently everyone has jumped on the blame Cihan and Alya bandwagon with the shameless tirade? What does Cihan say when they're at dinner, 'Their road is pure despite people calling it wrong.' When Alya confesses how she wanted to hug and sleep in Cihan's arms, but couldn't because they're aware of their circumstances, it was exceedingly heartbreaking and a slap to the moral brigade at the same time. And, this is also one of the reasons why I think this love story will not only succeed but will stand the test of time with a happy ending, because they never compromise on their set of principles and ideals. They don't use the cliched excuse 'oh, but we're in love' to steamroll over other people's lives and happiness. That's what makes CihAl so perfect as a couple. There's a lot more to cover from this episode, but this is all from me for now. Till later, watch with your eyes, think with your head, and feel with your heart. Happy reading, y'all. #CihAl #UzakŞehir

CocoLoco

52,641 просмотров • 8 месяцев назад

Must listen. Tucker just went off on the Jeffrey Epstein cover-up and his connection to Israel on Turning Point. Absolute fire. No one is allowed to say the foreign government Epstein was connected to was Israel because we have been cowed into thinking that that's naughty. There is nothing wrong with saying that... "And I think the real answer is Jeffrey Epstein was working on behalf of intel services, probably not American. And we have every right to ask on whose behalf was he working? How does a guy go from being a math teacher at the Dalton School in the late seventies with no college degree to having multiple airplanes, a private island and the largest residential…house in Manhattan? Where did all the money come from? And, no one has ever gotten to the bottom of that because no one has ever tried. And moreover, it's extremely obvious to anyone who watches that this guy had direct connections to a foreign government. Now, no one's allowed to say that that foreign government is Israel because we have been… somehow cowed… into…thinking that that's naughty. There is nothing wrong with saying that. There is nothing hateful about saying that. There's nothing antisemitic about saying that. There's nothing even antisemitic about saying that. There's nothing even antisemitic about saying that. I've spent my entire life pretty much in Washington where I knew and loved a number of people including one very close person who worked at CIA. That has never…prohibited me from saying, I think the CIA has done some horrible things. Murdered a bunch of people, participated in the murder of a sitting US president. It's got a whole trail of crimes. That doesn't make me a disloyal American. It doesn't make me anti American in any sense. I was born here, my family's been here for hundreds of years. I love this country, that's why I live here. So, criticizing the behavior of a government agency does not make you a hater, it makes you a free person. It makes you a citizen. You're allowed to do that…because you're not a slave, you're a citizen. And you have a right to expect that your government will not act against your interests and you have a right to demand that foreign governments not be allowed to act against your interests. That's not creepy. It shouldn't be forbidden. And yet, all of us have trained ourselves to believe that you can't say that somehow. That that's like too naughty and forbidden. And, the effect… of making that off limits has been to create a lot of resentment and I'll say it, hate online. Where people feel like they can't just say, like, what the hell is this? You have the former Israeli prime minister living in your house… You have had all this contact with the foreign government. Were you working on behalf of Mossad? Were you running a blackmail operation on behalf of foreign government? By the way, every single person in Washington DC thinks that. I've never met anyone who doesn't think that. I don't know any of them that hate Israel, but no one feels they can say that. Why? And I think the longer that we play along with it, the more subterranean and creepy and hateful the conversation actually becomes. So, I think it's better just to say it right out loud. Did this happen? And of course that question has been asked to the government of Israel and their answer is, we're not going to tell you. And I think our answer should be, no no As long as we're sending you money, if you were committing crimes on our soil, we have an absolute right to know, did you do this or not?"
3:34

Must listen. Tucker just went off on the Jeffrey Epstein cover-up and his connection to Israel on Turning Point. Absolute fire. No one is allowed to say the foreign government Epstein was connected to was Israel because we have been cowed into thinking that that's naughty. There is nothing wrong with saying that... "And I think the real answer is Jeffrey Epstein was working on behalf of intel services, probably not American. And we have every right to ask on whose behalf was he working? How does a guy go from being a math teacher at the Dalton School in the late seventies with no college degree to having multiple airplanes, a private island and the largest residential…house in Manhattan? Where did all the money come from? And, no one has ever gotten to the bottom of that because no one has ever tried. And moreover, it's extremely obvious to anyone who watches that this guy had direct connections to a foreign government. Now, no one's allowed to say that that foreign government is Israel because we have been… somehow cowed… into…thinking that that's naughty. There is nothing wrong with saying that. There is nothing hateful about saying that. There's nothing antisemitic about saying that. There's nothing even antisemitic about saying that. There's nothing even antisemitic about saying that. I've spent my entire life pretty much in Washington where I knew and loved a number of people including one very close person who worked at CIA. That has never…prohibited me from saying, I think the CIA has done some horrible things. Murdered a bunch of people, participated in the murder of a sitting US president. It's got a whole trail of crimes. That doesn't make me a disloyal American. It doesn't make me anti American in any sense. I was born here, my family's been here for hundreds of years. I love this country, that's why I live here. So, criticizing the behavior of a government agency does not make you a hater, it makes you a free person. It makes you a citizen. You're allowed to do that…because you're not a slave, you're a citizen. And you have a right to expect that your government will not act against your interests and you have a right to demand that foreign governments not be allowed to act against your interests. That's not creepy. It shouldn't be forbidden. And yet, all of us have trained ourselves to believe that you can't say that somehow. That that's like too naughty and forbidden. And, the effect… of making that off limits has been to create a lot of resentment and I'll say it, hate online. Where people feel like they can't just say, like, what the hell is this? You have the former Israeli prime minister living in your house… You have had all this contact with the foreign government. Were you working on behalf of Mossad? Were you running a blackmail operation on behalf of foreign government? By the way, every single person in Washington DC thinks that. I've never met anyone who doesn't think that. I don't know any of them that hate Israel, but no one feels they can say that. Why? And I think the longer that we play along with it, the more subterranean and creepy and hateful the conversation actually becomes. So, I think it's better just to say it right out loud. Did this happen? And of course that question has been asked to the government of Israel and their answer is, we're not going to tell you. And I think our answer should be, no no As long as we're sending you money, if you were committing crimes on our soil, we have an absolute right to know, did you do this or not?"

Green Lives Matter

1,251,223 просмотров • 1 год назад

NEW Bruce Springsteen formally endorses Kamala Harris and Tim Walz in a new video where he calls Donald Trump “the most dangerous candidate for president in my lifetime.” “Hi, I'm Bruce Springsteen. Friends, fans, and the press have asked me who I'm supporting in this most important of elections. And with full knowledge that my opinions are no more or less important than those of any of my fellow citizens, here's my answer: I'm supporting Kamala Harris for President and Tim Waltz for Vice President and opposing Donald Trump and JD Vance. Here's why. We are shortly coming upon one of the most consequential elections in our nation's history. Perhaps not since the Civil War has this great country felt as politically, spiritually, and emotionally divided as it does then at this moment. It doesn't have to be this way. The common values, the shared stories that make us a great and united nation are waiting to be rediscovered and retold once again. Now that will take time, hard work, intelligence, faith and women and men with the national good, guiding their hearts. America's the most powerful nation on earth. Not just because of her overwhelming military strength or economic power, but because of what she stands for, what she means, what she believes in: freedom, social justice, equal opportunity, the right to be and love who you want. These are the things that make America great. Donald Trump is the most dangerous candidate for President in my lifetime. His disdain for the sanctity of our constitution, the sanctity of democracy, the sanctity of the rule of law, and the sanctity of the peaceful transfer of power should disqualify him from the office of President ever again. He doesn't understand the meaning of this country, its history or what it means to be deeply American. On the other hand, Kamala Harris and Tim Waltz are committed to a vision of this country that respects and includes everyone regardless of class, religion, race, your political point of view or sexual identity, and they want to grow our economy in a way that benefits all, not just the few like me on top. That's the vision of America I’ve been consistently writing about for 55 years now. Everybody sees things different, and I respect your choice as a fellow citizen, but like you, I've only got one vote, and it's one of the most precious possessions that I have. That's why come November 5th, I'll be casting my vote for Kamala Harris and Tim Walz.”
2:54

NEW Bruce Springsteen formally endorses Kamala Harris and Tim Walz in a new video where he calls Donald Trump “the most dangerous candidate for president in my lifetime.” “Hi, I'm Bruce Springsteen. Friends, fans, and the press have asked me who I'm supporting in this most important of elections. And with full knowledge that my opinions are no more or less important than those of any of my fellow citizens, here's my answer: I'm supporting Kamala Harris for President and Tim Waltz for Vice President and opposing Donald Trump and JD Vance. Here's why. We are shortly coming upon one of the most consequential elections in our nation's history. Perhaps not since the Civil War has this great country felt as politically, spiritually, and emotionally divided as it does then at this moment. It doesn't have to be this way. The common values, the shared stories that make us a great and united nation are waiting to be rediscovered and retold once again. Now that will take time, hard work, intelligence, faith and women and men with the national good, guiding their hearts. America's the most powerful nation on earth. Not just because of her overwhelming military strength or economic power, but because of what she stands for, what she means, what she believes in: freedom, social justice, equal opportunity, the right to be and love who you want. These are the things that make America great. Donald Trump is the most dangerous candidate for President in my lifetime. His disdain for the sanctity of our constitution, the sanctity of democracy, the sanctity of the rule of law, and the sanctity of the peaceful transfer of power should disqualify him from the office of President ever again. He doesn't understand the meaning of this country, its history or what it means to be deeply American. On the other hand, Kamala Harris and Tim Waltz are committed to a vision of this country that respects and includes everyone regardless of class, religion, race, your political point of view or sexual identity, and they want to grow our economy in a way that benefits all, not just the few like me on top. That's the vision of America I’ve been consistently writing about for 55 years now. Everybody sees things different, and I respect your choice as a fellow citizen, but like you, I've only got one vote, and it's one of the most precious possessions that I have. That's why come November 5th, I'll be casting my vote for Kamala Harris and Tim Walz.”

Yashar Ali 🐘

4,935,693 просмотров • 1 год назад

Every night as a kid, Kobe Bryant fell asleep visualizing basketball. He’d see himself scoring 10 straight. Then 20. Then 30. “But in the dream, why would you ever interrupt that?” “So you keep dreaming.” “Before I go to sleep, I’m at 120 points.” In 2006, he scored 81. Kobe spent an hour at USC explaining what Mamba Mentality really means: He was born to play. "I started playing at like 2 years old." "My father wasn't one of these fathers that was like: you're going to play basketball. It was just I was around the game a lot and I gravitated to the ball." "I was completely geeking out about the smell of the ball. The way it sounds when it hits concrete versus how it hits a parquet floor." "The sound of the nets. The different material of the nets." "There's certain basketball hoops where the rim sits slightly above the backboard. I was geeking out if I got into a gym where they were completely parallel." "Little shit like that would freak me out." "To answer your question, I was born to do this thing, man. And I did it non-stop all day long from the age of 2 to when I retired." He explains how to know if you've found your thing. "That's the trick, isn't it? Finding what you love to do." "We talk about hard work all the time. And it's like, if you got to get up every single morning and remind yourself how hard you need to work, you probably need to choose a different profession." "That shouldn't be there." "I wake up in the morning excited to get to it. If I'm not training, I'm missing it. If I'm not watching a game of basketball, I miss it." "There's no place I'd rather be." "If you have that feeling, then you're truly doing what God has put you on this earth to do." He explains the 81-point game. "When you grow up downloading that into your brain over and over and over..." "That summer, I made 1000 shots a day. 1000. On top of weight training and conditioning." "And they weren't just shots. They were shots that you saw in that game." "Coming out of the corner. Going to the pinch post. Footwork in the post. Coming off the screen." "It was very specific." "So when you download that into your system and you go out on the court, you're just executing things that you've done thousands of times before." "And you have that dream." "Then that becomes possible." He explains why he doesn't reinvent. "Everything's been not choreographed, but it's been practiced so many times that it's second nature." "Why reinvent it?" "I don't understand that. You go out and play the game and you're just trying to create something new. No." "This is what I do. This is what I do extremely well." "You're going to have to stop me from doing that. And if you do stop me from doing that, I have a counter to that." "Done." He explains the pain. "To be honest, I wasn't even thinking about the game." "My knee was hurting so much. I didn't know then, but I had a flap of cartilage stuck in my joint line." "My mind was really trying to go to a place where I don't feel that pain." "The game started. And because of that, I was just in a different space." "I wasn't worried about what was to come. I wasn't worried about what just happened. I was just here." "When you're just there in the moment, your focus is heightened because nothing else matters." Pete Carroll asked the hard question. "What was it like for you to play with people that weren't as gritty as you were?" Kobe's response. "I'd kill them. I'd bury them." "The kind of culture that the Laker organization stood for, winning championships, is not tolerated." "You're going to show up to play. And you're going to lollygag through this scrimmage, through this drill? I'm going to beat you." "I'm going to let you know I beat you." "I'm going to want you to reconsider your professional life choice." "People will say: okay, that doesn't make a great teammate." "Well, I'm not here to be a great teammate. I'm here to help you win championships." "So it's different." He explains practice. "As a leader of a team, it's your responsibility to elevate the rest of the guys." "What people tend to get stuck on is saying: the way to make players better is to pass them the ball when they're open." "That's a very trivial way to look at things." "You have to get them emotionally to want to be better. You have to get them to an emotional space where they wake up every morning driven to be the best version of themselves." "How do you do that?" "In practice for me, it was a chance to drive them, to challenge them." "You have to know your teammates. Because then you know what nerve to touch." "Some guys, it's like: okay, come on, we can do this. That'll get them going." "Other guys, no. You got to figure out what button to push." He gives an example. "Pau was always Spain." "If I tell him how they lost in the gold medal to us and how they're going to lose again, how I'm going to beat your ass in practice just like I beat you in the gold medal game." "Oh. He would hate that. He would hate that." "But that's what practice was. You have to drive them." "If practice is more intense and harder than a game seven will be, then a game seven will be easy." "But if it's not, then that's when teams start folding and capitulating." He explains standards. "If I got to fight to get you in the gym, that's a problem. That's a problem." "You want players that are gym rats. Players that want to be in the gym, that want to work." "Then from there, you build on top of that." "But if you're lazy, man, I don't want to talk to you. I don't want to deal with you. You make me feel dumber." "You're going to lower my level. I don't think so." "You can go over there. There's plenty of teams where you'll fit right in." He explains loyalty. The Lakers offered to trade him to a contending team. His response. "We've known each other for a very long time. I'm questioning myself because I'm wondering what about me makes you think I would jump ship." "We don't do that." "As a leader, you got to be able to take the good with the bad." "You can't just because the ship's sinking all of a sudden jump off and swim to another. You don't do that." "If you can win championships in front of everybody, then you could miss the playoffs in front of everybody." "You got to be able to take both sides of it." "If you're doing something that's easy, you might want to reconsider what you're doing." He explains what he wishes he knew earlier. "Understanding empathy and compassion." "As a young kid when I came in the league, it was like: I'm driving this way and either you're going to be on the train or be on the track." "There was no such thing as understanding that people have lives outside of the game. Which apparently I did not." "If I understood that at an early age, then it helps me as a leader to communicate better." "Getting to know people on a personal level. What are their fears. What are their insecurities. What are their dreams and ambitions." "When you come to understand that about a person, then you can help them reach the best version of themselves." "I wish I'd known that earlier." He explains how he teaches his daughter. "My daughter said: Dad, can you teach me how to play basketball? I want to be better than you." "All right, cool. Let's start with 15 minutes a day." "For 15 minutes a day, we just stood right in front of the hoop and just shot. Right under the hoop. We didn't move around. We didn't do any dribbling." "Just 15 minutes a day just shoot here." "You do that for a month and a half. Then next month, you step back. Then next month, you step back again. Then you start working on dribbling." "Through actionable things is how we teach our children." "If it becomes a part of their process in sports, it'll become a part of their process in life as well." He explains dreams. "I just dream. I have dreams." "Dreams should be pure." "A lot of times when we're born into this world, we actually wind up going backwards." "The more we mature, the more responsible our dreams become. The more governors we put on ourselves and our ability to dream and to reimagine." "It's always a fight for us to make sure that our dreams always stay pure." "It's not a matter of pushing beyond your limitations or expectations." "It's really a matter of protecting your dreams. Protecting your imagination." "That's really the key." "When you do that, then the world just seems limitless."
59:26

Every night as a kid, Kobe Bryant fell asleep visualizing basketball. He’d see himself scoring 10 straight. Then 20. Then 30. “But in the dream, why would you ever interrupt that?” “So you keep dreaming.” “Before I go to sleep, I’m at 120 points.” In 2006, he scored 81. Kobe spent an hour at USC explaining what Mamba Mentality really means: He was born to play. "I started playing at like 2 years old." "My father wasn't one of these fathers that was like: you're going to play basketball. It was just I was around the game a lot and I gravitated to the ball." "I was completely geeking out about the smell of the ball. The way it sounds when it hits concrete versus how it hits a parquet floor." "The sound of the nets. The different material of the nets." "There's certain basketball hoops where the rim sits slightly above the backboard. I was geeking out if I got into a gym where they were completely parallel." "Little shit like that would freak me out." "To answer your question, I was born to do this thing, man. And I did it non-stop all day long from the age of 2 to when I retired." He explains how to know if you've found your thing. "That's the trick, isn't it? Finding what you love to do." "We talk about hard work all the time. And it's like, if you got to get up every single morning and remind yourself how hard you need to work, you probably need to choose a different profession." "That shouldn't be there." "I wake up in the morning excited to get to it. If I'm not training, I'm missing it. If I'm not watching a game of basketball, I miss it." "There's no place I'd rather be." "If you have that feeling, then you're truly doing what God has put you on this earth to do." He explains the 81-point game. "When you grow up downloading that into your brain over and over and over..." "That summer, I made 1000 shots a day. 1000. On top of weight training and conditioning." "And they weren't just shots. They were shots that you saw in that game." "Coming out of the corner. Going to the pinch post. Footwork in the post. Coming off the screen." "It was very specific." "So when you download that into your system and you go out on the court, you're just executing things that you've done thousands of times before." "And you have that dream." "Then that becomes possible." He explains why he doesn't reinvent. "Everything's been not choreographed, but it's been practiced so many times that it's second nature." "Why reinvent it?" "I don't understand that. You go out and play the game and you're just trying to create something new. No." "This is what I do. This is what I do extremely well." "You're going to have to stop me from doing that. And if you do stop me from doing that, I have a counter to that." "Done." He explains the pain. "To be honest, I wasn't even thinking about the game." "My knee was hurting so much. I didn't know then, but I had a flap of cartilage stuck in my joint line." "My mind was really trying to go to a place where I don't feel that pain." "The game started. And because of that, I was just in a different space." "I wasn't worried about what was to come. I wasn't worried about what just happened. I was just here." "When you're just there in the moment, your focus is heightened because nothing else matters." Pete Carroll asked the hard question. "What was it like for you to play with people that weren't as gritty as you were?" Kobe's response. "I'd kill them. I'd bury them." "The kind of culture that the Laker organization stood for, winning championships, is not tolerated." "You're going to show up to play. And you're going to lollygag through this scrimmage, through this drill? I'm going to beat you." "I'm going to let you know I beat you." "I'm going to want you to reconsider your professional life choice." "People will say: okay, that doesn't make a great teammate." "Well, I'm not here to be a great teammate. I'm here to help you win championships." "So it's different." He explains practice. "As a leader of a team, it's your responsibility to elevate the rest of the guys." "What people tend to get stuck on is saying: the way to make players better is to pass them the ball when they're open." "That's a very trivial way to look at things." "You have to get them emotionally to want to be better. You have to get them to an emotional space where they wake up every morning driven to be the best version of themselves." "How do you do that?" "In practice for me, it was a chance to drive them, to challenge them." "You have to know your teammates. Because then you know what nerve to touch." "Some guys, it's like: okay, come on, we can do this. That'll get them going." "Other guys, no. You got to figure out what button to push." He gives an example. "Pau was always Spain." "If I tell him how they lost in the gold medal to us and how they're going to lose again, how I'm going to beat your ass in practice just like I beat you in the gold medal game." "Oh. He would hate that. He would hate that." "But that's what practice was. You have to drive them." "If practice is more intense and harder than a game seven will be, then a game seven will be easy." "But if it's not, then that's when teams start folding and capitulating." He explains standards. "If I got to fight to get you in the gym, that's a problem. That's a problem." "You want players that are gym rats. Players that want to be in the gym, that want to work." "Then from there, you build on top of that." "But if you're lazy, man, I don't want to talk to you. I don't want to deal with you. You make me feel dumber." "You're going to lower my level. I don't think so." "You can go over there. There's plenty of teams where you'll fit right in." He explains loyalty. The Lakers offered to trade him to a contending team. His response. "We've known each other for a very long time. I'm questioning myself because I'm wondering what about me makes you think I would jump ship." "We don't do that." "As a leader, you got to be able to take the good with the bad." "You can't just because the ship's sinking all of a sudden jump off and swim to another. You don't do that." "If you can win championships in front of everybody, then you could miss the playoffs in front of everybody." "You got to be able to take both sides of it." "If you're doing something that's easy, you might want to reconsider what you're doing." He explains what he wishes he knew earlier. "Understanding empathy and compassion." "As a young kid when I came in the league, it was like: I'm driving this way and either you're going to be on the train or be on the track." "There was no such thing as understanding that people have lives outside of the game. Which apparently I did not." "If I understood that at an early age, then it helps me as a leader to communicate better." "Getting to know people on a personal level. What are their fears. What are their insecurities. What are their dreams and ambitions." "When you come to understand that about a person, then you can help them reach the best version of themselves." "I wish I'd known that earlier." He explains how he teaches his daughter. "My daughter said: Dad, can you teach me how to play basketball? I want to be better than you." "All right, cool. Let's start with 15 minutes a day." "For 15 minutes a day, we just stood right in front of the hoop and just shot. Right under the hoop. We didn't move around. We didn't do any dribbling." "Just 15 minutes a day just shoot here." "You do that for a month and a half. Then next month, you step back. Then next month, you step back again. Then you start working on dribbling." "Through actionable things is how we teach our children." "If it becomes a part of their process in sports, it'll become a part of their process in life as well." He explains dreams. "I just dream. I have dreams." "Dreams should be pure." "A lot of times when we're born into this world, we actually wind up going backwards." "The more we mature, the more responsible our dreams become. The more governors we put on ourselves and our ability to dream and to reimagine." "It's always a fight for us to make sure that our dreams always stay pure." "It's not a matter of pushing beyond your limitations or expectations." "It's really a matter of protecting your dreams. Protecting your imagination." "That's really the key." "When you do that, then the world just seems limitless."

Jaynit

17,383 просмотров • 2 месяцев назад

Analyzing Episode 33. Season 3 aka Of Breaking Out, Waking Up and Fighting Together Evvvveeeettttt. Feels good to be back at analyzing Far City. And, it feels especially good to analyze ep 33 because it was a whopper of an episode. The flow of events, the dialogues, and the acting were all top-notch. Brilliant work. Now, let's get down to business. The episode kicks off with Sadotor (an amalgamation of Sadakat and dementor because fcuk if this woman doesn't suck all the happiness from any room she's in) kicking up a fuss and demanding Ciho and Alya get divorced. Now, I don't know if you've read my analysis of the Far City title song, but in it, I said from the lyrics and picturization of 'de mardin', it seems like Uzak Sehir is a tale of a land lost within its own oppressive history, crying out for a change. And the catalyst for that change is none other than Alya Albora. In the opening scene of ep 33, I was reminded yet again of why Alya is such an important character for this story - not just for Cihan, but also for Albora. Because Alya doesn't stand silent in the face of injustice or wrongdoing. She speaks out. Fearlessly. And each of her words helps lighten some of the burden of systematic abuse, both in the Albora family and the land. Some folks were calling out Alya for not loving Cihan enough or feeling something for Boran in ep32. I hope y'all have been satisfied. Because the only thing Alya feels for Frankenboran is disdain and anger. Rightly so. When Sadakat tries to pin the blame of 'shameless' on Alya and Cihan, Alya reads her the riot act and reminds her exactly of all the things Sadator has done that she should be ashamed of. She reminds her of the will imposed on her and Cihan. Something that Boran should be ashamed of. And then she points out that the only victims in this sorry tale are her, Cihan, and Deniz, because it's their lives that Boran and Sadator almost destroy. Lives that Sadotor is still trying to destroy. And let me tell you - THANK GOD. Because it was about time someone started speaking the truth in that household. That what Boran did wasn't some kind of supreme sacrifice - it was extreme selfishness. Like Alya says, when Boran sends her to Albora, to Sadotor, he knows exactly the kind of hell his mother is capable of unleashing. But instead of being truthful to his wife, Frankenboran gives Cihan one set of instructions, Vurgun another set of instructions, and tells Alya nothing at all. A more assholish move I've yet to see from a husband. Suffice it to say, Alya Albora wipes the floor with Sadotor with the truth. Because the truth can be a weapon in the hands of the oppressed, as long as they have the courage to speak. Something that's highly necessary for the Albora clan. My queen, that's all I can say for Alya. Now, let's switch to Ciho. Just like people were calling Alya ungrateful last week, folks are lynching Ciho for being a 'coward.' Le sigh. I mean, if that's the way you wanna go, no one's gonna stop you. But Cihan Albora is no coward. He's just a man, catching up to his learning curve. When Cihan tells Sadotor 'I wish you weren't my mom' I felt heartbroken for him. I was also incredibly, incredibly proud. Because just like Alya is breaking out of the circle of abuse, Cihan is waking up to his mother's constant, vile manipulation. The next scene that most stood out was Alya and Cihan's heart-to-heart along the banks of the Tigris. And, once again, let me say, I LOVE Alya Albora. She does love fearlessly, this woman. Which is why she tells Cihan outright that when Boran wakes up, she will divorce his ass. So, why does Cihan not come up with an equally kick-ass declaration? Because he's like the Eupharates, remember? Silent waters run deep, and Cihan's character isn't one to rush. Does that mean he's having second thoughts about Alya? HELL NO. The reason he's hesitant is because 1. he's not sure about Alya's feelings (until she tells him in that moment), and 2. he's the one who'll be burning bridges when this showdown happens. He doesn't regret falling in love with Alya, but when you're standing at the edge of a precipice, about to take a leap of faith, you can't help but think about what you're about to do. I know a lot of you had problems with him calling Alya Boran's wife legally, but he's trying to give her room and gauge her reaction. Remember, this is the guy who forces Alya to marry him in the beginning, and he still regrets that. He doesn't want a repeat. Then there's the fact that whether Alya wants to stay with him or go back to Boran is her decision. He knows that. He's shit scared of it, but he knows, if either Deniz or Alya wants to 'go back' to the status quo, they'd be well within their rights. He even says as much. So he keeps asking what if Boran wants you, because saying what if you want Boran is beyond horror. It's a death sentence for Cihan, and he knows it. His efforts finally bear fruit when Alya tells him straight up, she doesn't want Boran and that she wants to stay with the man she loves. The relief on Cihan's face is palpable then. Cihan once tells Sahin that when making a decision, it's best to focus on what you'll be giving up to help make up your mind. Alya is his very life; he makes that clear when he says, 'Sen bana nefes oldu.' So, giving her up is not an option. What that also means is that the brotherhood he's prized all his life (whether rightly or wrongly) will fall under fire, and he won't be able to stop it. And, how that will affect other parts of their lives is up in the air, so you can't blame the man for taking a moment to process. Neither he nor Alya have it easy, but in this case, Alya feels easier to break away. Cihan needs to shed a lifetime of memories he's burdened with. But, despite all that, I'm glad Alya tells him that if he doesn't have the courage to stand with her, she won't go back to Boran. As jarring as her words are, they act as a sort of wake-up call. Reminding Cihan what's at stake. That's needed, and you can see the effect they have almost a few scenes later. When Cihan is talking to Sadotor to ask her to leave Deniz alone, he finally drops his nice-guy act and threatens her exactly the way she operates. Tit for tat. And that made me really happy, because both he and Alya will need to be unrepentant and perhaps even ruthless to save their relationship from what's coming. What sets CihAl apart is their ability to read each other and to communicate. That comes through very clearly in this episode. Another thing that's made obvious is that these two not only belong together (Dicla and Firat) but also that they're never going to give up on each other. To wrap things up, ep 33 marks another turning point in CihAl's lives. This episode seemed to give me 'emancipation' vibes. Alya tears down the walls of guilt and silence that surround Albora ailesi. Meanwhile, Cihan starts taking apart the shackles his past and Sadotor's manipulation have forged around him since childhood. Both Cihan and Alya stop being just survivors and start becoming active fighters in their story, and I loved each minute of it. Till next time, happy reading y'all. #CihAl #UzakŞehir
2:25

Analyzing Episode 33. Season 3 aka Of Breaking Out, Waking Up and Fighting Together Evvvveeeettttt. Feels good to be back at analyzing Far City. And, it feels especially good to analyze ep 33 because it was a whopper of an episode. The flow of events, the dialogues, and the acting were all top-notch. Brilliant work. Now, let's get down to business. The episode kicks off with Sadotor (an amalgamation of Sadakat and dementor because fcuk if this woman doesn't suck all the happiness from any room she's in) kicking up a fuss and demanding Ciho and Alya get divorced. Now, I don't know if you've read my analysis of the Far City title song, but in it, I said from the lyrics and picturization of 'de mardin', it seems like Uzak Sehir is a tale of a land lost within its own oppressive history, crying out for a change. And the catalyst for that change is none other than Alya Albora. In the opening scene of ep 33, I was reminded yet again of why Alya is such an important character for this story - not just for Cihan, but also for Albora. Because Alya doesn't stand silent in the face of injustice or wrongdoing. She speaks out. Fearlessly. And each of her words helps lighten some of the burden of systematic abuse, both in the Albora family and the land. Some folks were calling out Alya for not loving Cihan enough or feeling something for Boran in ep32. I hope y'all have been satisfied. Because the only thing Alya feels for Frankenboran is disdain and anger. Rightly so. When Sadakat tries to pin the blame of 'shameless' on Alya and Cihan, Alya reads her the riot act and reminds her exactly of all the things Sadator has done that she should be ashamed of. She reminds her of the will imposed on her and Cihan. Something that Boran should be ashamed of. And then she points out that the only victims in this sorry tale are her, Cihan, and Deniz, because it's their lives that Boran and Sadator almost destroy. Lives that Sadotor is still trying to destroy. And let me tell you - THANK GOD. Because it was about time someone started speaking the truth in that household. That what Boran did wasn't some kind of supreme sacrifice - it was extreme selfishness. Like Alya says, when Boran sends her to Albora, to Sadotor, he knows exactly the kind of hell his mother is capable of unleashing. But instead of being truthful to his wife, Frankenboran gives Cihan one set of instructions, Vurgun another set of instructions, and tells Alya nothing at all. A more assholish move I've yet to see from a husband. Suffice it to say, Alya Albora wipes the floor with Sadotor with the truth. Because the truth can be a weapon in the hands of the oppressed, as long as they have the courage to speak. Something that's highly necessary for the Albora clan. My queen, that's all I can say for Alya. Now, let's switch to Ciho. Just like people were calling Alya ungrateful last week, folks are lynching Ciho for being a 'coward.' Le sigh. I mean, if that's the way you wanna go, no one's gonna stop you. But Cihan Albora is no coward. He's just a man, catching up to his learning curve. When Cihan tells Sadotor 'I wish you weren't my mom' I felt heartbroken for him. I was also incredibly, incredibly proud. Because just like Alya is breaking out of the circle of abuse, Cihan is waking up to his mother's constant, vile manipulation. The next scene that most stood out was Alya and Cihan's heart-to-heart along the banks of the Tigris. And, once again, let me say, I LOVE Alya Albora. She does love fearlessly, this woman. Which is why she tells Cihan outright that when Boran wakes up, she will divorce his ass. So, why does Cihan not come up with an equally kick-ass declaration? Because he's like the Eupharates, remember? Silent waters run deep, and Cihan's character isn't one to rush. Does that mean he's having second thoughts about Alya? HELL NO. The reason he's hesitant is because 1. he's not sure about Alya's feelings (until she tells him in that moment), and 2. he's the one who'll be burning bridges when this showdown happens. He doesn't regret falling in love with Alya, but when you're standing at the edge of a precipice, about to take a leap of faith, you can't help but think about what you're about to do. I know a lot of you had problems with him calling Alya Boran's wife legally, but he's trying to give her room and gauge her reaction. Remember, this is the guy who forces Alya to marry him in the beginning, and he still regrets that. He doesn't want a repeat. Then there's the fact that whether Alya wants to stay with him or go back to Boran is her decision. He knows that. He's shit scared of it, but he knows, if either Deniz or Alya wants to 'go back' to the status quo, they'd be well within their rights. He even says as much. So he keeps asking what if Boran wants you, because saying what if you want Boran is beyond horror. It's a death sentence for Cihan, and he knows it. His efforts finally bear fruit when Alya tells him straight up, she doesn't want Boran and that she wants to stay with the man she loves. The relief on Cihan's face is palpable then. Cihan once tells Sahin that when making a decision, it's best to focus on what you'll be giving up to help make up your mind. Alya is his very life; he makes that clear when he says, 'Sen bana nefes oldu.' So, giving her up is not an option. What that also means is that the brotherhood he's prized all his life (whether rightly or wrongly) will fall under fire, and he won't be able to stop it. And, how that will affect other parts of their lives is up in the air, so you can't blame the man for taking a moment to process. Neither he nor Alya have it easy, but in this case, Alya feels easier to break away. Cihan needs to shed a lifetime of memories he's burdened with. But, despite all that, I'm glad Alya tells him that if he doesn't have the courage to stand with her, she won't go back to Boran. As jarring as her words are, they act as a sort of wake-up call. Reminding Cihan what's at stake. That's needed, and you can see the effect they have almost a few scenes later. When Cihan is talking to Sadotor to ask her to leave Deniz alone, he finally drops his nice-guy act and threatens her exactly the way she operates. Tit for tat. And that made me really happy, because both he and Alya will need to be unrepentant and perhaps even ruthless to save their relationship from what's coming. What sets CihAl apart is their ability to read each other and to communicate. That comes through very clearly in this episode. Another thing that's made obvious is that these two not only belong together (Dicla and Firat) but also that they're never going to give up on each other. To wrap things up, ep 33 marks another turning point in CihAl's lives. This episode seemed to give me 'emancipation' vibes. Alya tears down the walls of guilt and silence that surround Albora ailesi. Meanwhile, Cihan starts taking apart the shackles his past and Sadotor's manipulation have forged around him since childhood. Both Cihan and Alya stop being just survivors and start becoming active fighters in their story, and I loved each minute of it. Till next time, happy reading y'all. #CihAl #UzakŞehir

CocoLoco

19,602 просмотров • 10 месяцев назад

🧑🏻‍🦱: JossGawin Concert! I'm telling you, this is a concert where you just lose your mind. My brain literally went dead right during the song 'Bao Bao'… I mean girl, from the slow song, it wasn't soft for me at all. My brain completely shut down and stopped processing right then and there. I couldn't understand anything after that. Is this a pre-wedding shoot? Is this the perspective Joss sees Gawin from every single day? 🧑🏻‍🦱: Does he secretly take photos of him on his phone because it looks like this? Because the angle looks so good. Looking up at the screen, it's totally pre-wedding vibes like they're recording an anniversary video! Is this a concert for people who are already married? Or wait, they aren't married yet? Are they just boyfriends? Just partners? 🧑🏻‍🦱: They don't even have obvious fan-service moments. The whole concert, no holding hands, no kissing, no cheek-kisses, no touching cheeks, NONE! They barely touch each other at all, practically dodging every moment. BUT why does the vibe feel like a married couple? Hey! Why is the vibe subtly saying 'we're a couple', like they're going home to sleep in the same bed or something? Don't make me think... don't make me think... BUT I'M THINKING IT 🥹 🧑🏻‍🦱: As for the song choices, they just let Gawin choose whatever he wanted because Joss doesn't have the right to choose anyway. Joss spoils Gawin to the max! The show had such a high contrast. It was a roller coaster… up, down, up, down. Why is this concert like a wild train ride? But was it good? Yes, the three of them sang every song beautifully. 🧑🏻‍🦱: Right, how could it not be good? It's Gawin Caskey! I'm so happy for him. Finally, this is 'Your Time', this is his moment now. 🧑🏻‍🦱: See, and people call this 'not in love'? Anyone who doesn't understand this kind of vibe would be like, 'Why are there no skinship moments at all?' JossGawin is like you don't understand! It feels like a couple that's been together for a long time, not overly showy, not overly sweet. Try standing back and looking at their eyes... look at the emotional energy... look at each performance they present. You'll realize that THIS is what sweet means! This is already sweet! Super sweet! The vibe is totally there :((( 🧑🏻‍🦱: Joss was giving major "Daddy" energy today. The silver hair was so Daddy! And when Lego came out, Lego was so respectful but also danced so fiercely. But honestly, no matter how sexy Lego was, it couldn't beat the "side-eye" romantic tension between JossGawin 🤲🏻 Lego seemed so polite, during the performance, wow, so intense! But right after, the feeling was so polite, like an uncle and nephew chatting. #JossGawinConcert #JossGawin
2:32

🧑🏻‍🦱: JossGawin Concert! I'm telling you, this is a concert where you just lose your mind. My brain literally went dead right during the song 'Bao Bao'… I mean girl, from the slow song, it wasn't soft for me at all. My brain completely shut down and stopped processing right then and there. I couldn't understand anything after that. Is this a pre-wedding shoot? Is this the perspective Joss sees Gawin from every single day? 🧑🏻‍🦱: Does he secretly take photos of him on his phone because it looks like this? Because the angle looks so good. Looking up at the screen, it's totally pre-wedding vibes like they're recording an anniversary video! Is this a concert for people who are already married? Or wait, they aren't married yet? Are they just boyfriends? Just partners? 🧑🏻‍🦱: They don't even have obvious fan-service moments. The whole concert, no holding hands, no kissing, no cheek-kisses, no touching cheeks, NONE! They barely touch each other at all, practically dodging every moment. BUT why does the vibe feel like a married couple? Hey! Why is the vibe subtly saying 'we're a couple', like they're going home to sleep in the same bed or something? Don't make me think... don't make me think... BUT I'M THINKING IT 🥹 🧑🏻‍🦱: As for the song choices, they just let Gawin choose whatever he wanted because Joss doesn't have the right to choose anyway. Joss spoils Gawin to the max! The show had such a high contrast. It was a roller coaster… up, down, up, down. Why is this concert like a wild train ride? But was it good? Yes, the three of them sang every song beautifully. 🧑🏻‍🦱: Right, how could it not be good? It's Gawin Caskey! I'm so happy for him. Finally, this is 'Your Time', this is his moment now. 🧑🏻‍🦱: See, and people call this 'not in love'? Anyone who doesn't understand this kind of vibe would be like, 'Why are there no skinship moments at all?' JossGawin is like you don't understand! It feels like a couple that's been together for a long time, not overly showy, not overly sweet. Try standing back and looking at their eyes... look at the emotional energy... look at each performance they present. You'll realize that THIS is what sweet means! This is already sweet! Super sweet! The vibe is totally there :((( 🧑🏻‍🦱: Joss was giving major "Daddy" energy today. The silver hair was so Daddy! And when Lego came out, Lego was so respectful but also danced so fiercely. But honestly, no matter how sexy Lego was, it couldn't beat the "side-eye" romantic tension between JossGawin 🤲🏻 Lego seemed so polite, during the performance, wow, so intense! But right after, the feeling was so polite, like an uncle and nephew chatting. #JossGawinConcert #JossGawin

BABY G’s Sparkling Wings ꒰ྀི১🪽🎀༘♔ ִֶָ🎸🎧ྀི ⋆｡🍎

13,422 просмотров • 12 дней назад

CRITICAL: Joe Rogan connects the dots between the AIDS and Covid scams (my term): "Maybe [AIDS was] the same as what happened during Covid, but maybe back then, there's no internet, and... they could just get away with it... [and it's Fauci who pushed] the vaccine during... [AIDS and] during the Covid crisis." Rogan (Joe Rogan), who's talking with stand-up comic Brian Redban here, goes on to highlight several key points: 1. The fact that Peter Duesberg, a genius German-American molecular biologist and professor of molecular and cell biology at the University of California, Berkeley, known for his early research into the genetic aspects of cancer, said that AIDS was not due to HIV, but rather namely heavy drug usage among the gay community. 2. AZT (zidovudine), a drug—supposedly—used to treat HIV infection by inhibiting the virus from replicating, was actually doing immense harm. 3. Tony Fauci was the face of both the AIDS and Covid scams (again, my term). Rogan even notes that Fauci pushed both the Covid injections and AZT as quote-unquote "safe and effective." 4. Reading an article in Spin Magazine written by Bob Guccione, Jr., Rogan even highlights the fact that AIDS journalist Cecilia Farber (Celia Farber) had "unearthed hard evidence of the cold-bloodedness of the AIDS establishment pushing a drug [AZT] that was worse than the disease and killed faster than the natural progression of AIDS left untreated." Regarding Covid, note that there are parallels between AZT and Remdesivir, the deadly drug physicians and nurses used to kill "Covid patients" in hospitals. (See tweets 4 and 5.) Critically, note that Rogan's conclusions in this clip almost perfectly parallel those of cancer and AIDS research titan Dr. David Rasnick, who has said that the "bogus" HIV pandemic established the "playbook" for the bogus Covid "pandemic." (See tweet 2.) Also note that a documentary film was made about the possibility AIDS was a scam, dubbed House of Numbers. In the film, Nobel Prize winner and inventor of the PCR technique Kary Mullis noted that there was no link (that he could find) between HIV and AIDS. (See tweet 3.) ----------------Partial transcription of clip--------------- "Suge Knight was on— I think he was on Jimmy Kimmel show, talking about how you just inject somebody with AIDS. You can inject them with AIDS. What was my question? Oh, Peter Duesberg, Spin Magazine. "So he wrote this article about it, and then he— I believe he wrote a book about it. But he's fucked. Like, his career completely stalled out after that. He couldn't get funding for things and, you know, widely dismissed by all— most all other scientists. And back then, I used to think it doesn't make sense that this one guy has figured things out and that nobody else does. But now I'm like, maybe it's the same as what happened during COVID but maybe back then, there's no Internet, and maybe back then they could just get away with it. "Maybe back then they got used to getting away with it, which is why they tried it again in 2020. That's why they did the exact same thing to all those, like, legitimate professors, legitimate doctors. They shamed them and banned them. They didn't want anybody deviating. And that's, I think, what they might have done to this guy. "That's crazy to think that the the whole AIDS crisis might have really been about people destroying their immune system through hardcore drug use. That was his contention. People were saying, it's very homophobic. It's like, okay, let's. Let's not. Let's say a bunch of nice things about gay people. Let's. We love them. We appreciate. You know, I have no problem with gay. Let's say it. Like, if you're. If we're talking about this. If you were a doctor back then, gay people are amazing. However, all these gay people are doing drugs. All these gay people that are getting AIDS, like, something like 90% of them were hardcore drug users. This was his contention. "And you would say, 'Well, that's what opens them to the type of behavior that you get AIDS with.' Like, oh, okay, right. But Sam Kinison had a bit about that. Do you remember his bit? He was like, they say, 'Sam, AIDS is a communicable disease. Straight people get it too.' He goes, 'Name one. Name one fucking guy. Name one. It's not our fucking dance.' He didn't write the article, but he's definitely in the article. Right, there was an article about him... No, he didn't write the article. Did I say he wrote it? "Bob Guccione, Spin Magazine. Isn't he the guy that owns Penthouse? I think so. Right? Bob Guccione, Jr. Founder of Spin. "Okay, listen to this. So this is what he wrote, what Bob Guccione Jr. wrote. Scroll up a little higher. At the end of 1989, two years after we started the highly controversial AIDS column, in Spin, we published an article by Cecilia Farber called the Sins of Omission about the truly bad and corrupt science surrounding promoting AZT as a treatment for the syndrome of diseases. Celia was the editor and frequent writer of the column, and unearthed hard evidence of the coldbloodedness of the AIDS establishment, pushing a drug that was worse than the disease and killed faster than the natural progression of AIDS left untreated. "AZT had been an abandoned cancer drug, discarded because of its fatal toxicity, resurrected in the cynical belief that AIDS patients were going to die anyway. So trying it out was sort of like playing with the house's money, because the drug didn't require the usual massive expensive research and trial processes. Having gone through that years earlier, it was insanely profitable for its maker, Burroughs Wellcome. "It was a tragically perfect storm of windfall profits, something to pacify AIDS activists and the media, and a convenient boom to the patient holders for HIV testing. Patent. Excuse me, patent owners, patent holders for HIV testing. Celia, who should get the Congressional Medal of Honor for her brave and relentless reporting here and throughout the 10 years we ran the column, exposed the worthlessness of the drug, the shady studies and deals to suppress the negative findings and its awful and final consequences. "This piece very literally changed the media's view of AIDS and sharpened their discerning and skeptical eye. And soon after, AZT was once again shelved, hopefully this time forever. Many times over the years since, people have come up to me and said that reading this article saved their lives, that they either stopped taking the drug and their health improved vastly, or they never took it because of what we reported. Nothing ever made me prouder. Bob Guccione, Jr. Founder of Spin October 3, 2015. So this is all— This article is all about Peter Duesberg's perspective on this. And, it's very complicated. And it's certainly not for me, a guy like me, to figure out, if he's telling the truth or if he's correct. But what they said about AZT and chemotherapy and pushing AZT through and how they made a bunch of money, that's all true. "Not only that, but they were giving AZT to people that showed no symptoms like Arthur Ashe. Arthur Ash tested positive. They gave him AZT. There's a bunch of people died from taking AZT that probably didn't have to die. That's scary shit, man. If it's the same guy that pushed the vaccine during the AIDS crisis, during the COVID crisis, it's kind of fucked that he got to do it twice. "And if he didn't do it twice, nobody probably would be aware that it was the same guy. Because, even if you know about AZT, nobody was going Anthony Fauci. Nobody was saying that guy's name. You know, you weren't saying when you would talk about the AIDS crisis even. They even made a movie about it, right? Dallas Buyers Club. That's the movie. That's what it's about. The bad guy in Dallas Buyers Club is Anthony Fauci. "That's the guy keeping them from getting other medications and pushing AZT. They do the same thing. We— We played a video the other day where Fauci's talking about AZT. The reason why they use it is because it's both safe and effective. He used the exact same terminology. Fucking wild."
6:23

CRITICAL: Joe Rogan connects the dots between the AIDS and Covid scams (my term): "Maybe [AIDS was] the same as what happened during Covid, but maybe back then, there's no internet, and... they could just get away with it... [and it's Fauci who pushed] the vaccine during... [AIDS and] during the Covid crisis." Rogan (Joe Rogan), who's talking with stand-up comic Brian Redban here, goes on to highlight several key points: 1. The fact that Peter Duesberg, a genius German-American molecular biologist and professor of molecular and cell biology at the University of California, Berkeley, known for his early research into the genetic aspects of cancer, said that AIDS was not due to HIV, but rather namely heavy drug usage among the gay community. 2. AZT (zidovudine), a drug—supposedly—used to treat HIV infection by inhibiting the virus from replicating, was actually doing immense harm. 3. Tony Fauci was the face of both the AIDS and Covid scams (again, my term). Rogan even notes that Fauci pushed both the Covid injections and AZT as quote-unquote "safe and effective." 4. Reading an article in Spin Magazine written by Bob Guccione, Jr., Rogan even highlights the fact that AIDS journalist Cecilia Farber (Celia Farber) had "unearthed hard evidence of the cold-bloodedness of the AIDS establishment pushing a drug [AZT] that was worse than the disease and killed faster than the natural progression of AIDS left untreated." Regarding Covid, note that there are parallels between AZT and Remdesivir, the deadly drug physicians and nurses used to kill "Covid patients" in hospitals. (See tweets 4 and 5.) Critically, note that Rogan's conclusions in this clip almost perfectly parallel those of cancer and AIDS research titan Dr. David Rasnick, who has said that the "bogus" HIV pandemic established the "playbook" for the bogus Covid "pandemic." (See tweet 2.) Also note that a documentary film was made about the possibility AIDS was a scam, dubbed House of Numbers. In the film, Nobel Prize winner and inventor of the PCR technique Kary Mullis noted that there was no link (that he could find) between HIV and AIDS. (See tweet 3.) ----------------Partial transcription of clip--------------- "Suge Knight was on— I think he was on Jimmy Kimmel show, talking about how you just inject somebody with AIDS. You can inject them with AIDS. What was my question? Oh, Peter Duesberg, Spin Magazine. "So he wrote this article about it, and then he— I believe he wrote a book about it. But he's fucked. Like, his career completely stalled out after that. He couldn't get funding for things and, you know, widely dismissed by all— most all other scientists. And back then, I used to think it doesn't make sense that this one guy has figured things out and that nobody else does. But now I'm like, maybe it's the same as what happened during COVID but maybe back then, there's no Internet, and maybe back then they could just get away with it. "Maybe back then they got used to getting away with it, which is why they tried it again in 2020. That's why they did the exact same thing to all those, like, legitimate professors, legitimate doctors. They shamed them and banned them. They didn't want anybody deviating. And that's, I think, what they might have done to this guy. "That's crazy to think that the the whole AIDS crisis might have really been about people destroying their immune system through hardcore drug use. That was his contention. People were saying, it's very homophobic. It's like, okay, let's. Let's not. Let's say a bunch of nice things about gay people. Let's. We love them. We appreciate. You know, I have no problem with gay. Let's say it. Like, if you're. If we're talking about this. If you were a doctor back then, gay people are amazing. However, all these gay people are doing drugs. All these gay people that are getting AIDS, like, something like 90% of them were hardcore drug users. This was his contention. "And you would say, 'Well, that's what opens them to the type of behavior that you get AIDS with.' Like, oh, okay, right. But Sam Kinison had a bit about that. Do you remember his bit? He was like, they say, 'Sam, AIDS is a communicable disease. Straight people get it too.' He goes, 'Name one. Name one fucking guy. Name one. It's not our fucking dance.' He didn't write the article, but he's definitely in the article. Right, there was an article about him... No, he didn't write the article. Did I say he wrote it? "Bob Guccione, Spin Magazine. Isn't he the guy that owns Penthouse? I think so. Right? Bob Guccione, Jr. Founder of Spin. "Okay, listen to this. So this is what he wrote, what Bob Guccione Jr. wrote. Scroll up a little higher. At the end of 1989, two years after we started the highly controversial AIDS column, in Spin, we published an article by Cecilia Farber called the Sins of Omission about the truly bad and corrupt science surrounding promoting AZT as a treatment for the syndrome of diseases. Celia was the editor and frequent writer of the column, and unearthed hard evidence of the coldbloodedness of the AIDS establishment, pushing a drug that was worse than the disease and killed faster than the natural progression of AIDS left untreated. "AZT had been an abandoned cancer drug, discarded because of its fatal toxicity, resurrected in the cynical belief that AIDS patients were going to die anyway. So trying it out was sort of like playing with the house's money, because the drug didn't require the usual massive expensive research and trial processes. Having gone through that years earlier, it was insanely profitable for its maker, Burroughs Wellcome. "It was a tragically perfect storm of windfall profits, something to pacify AIDS activists and the media, and a convenient boom to the patient holders for HIV testing. Patent. Excuse me, patent owners, patent holders for HIV testing. Celia, who should get the Congressional Medal of Honor for her brave and relentless reporting here and throughout the 10 years we ran the column, exposed the worthlessness of the drug, the shady studies and deals to suppress the negative findings and its awful and final consequences. "This piece very literally changed the media's view of AIDS and sharpened their discerning and skeptical eye. And soon after, AZT was once again shelved, hopefully this time forever. Many times over the years since, people have come up to me and said that reading this article saved their lives, that they either stopped taking the drug and their health improved vastly, or they never took it because of what we reported. Nothing ever made me prouder. Bob Guccione, Jr. Founder of Spin October 3, 2015. So this is all— This article is all about Peter Duesberg's perspective on this. And, it's very complicated. And it's certainly not for me, a guy like me, to figure out, if he's telling the truth or if he's correct. But what they said about AZT and chemotherapy and pushing AZT through and how they made a bunch of money, that's all true. "Not only that, but they were giving AZT to people that showed no symptoms like Arthur Ashe. Arthur Ash tested positive. They gave him AZT. There's a bunch of people died from taking AZT that probably didn't have to die. That's scary shit, man. If it's the same guy that pushed the vaccine during the AIDS crisis, during the COVID crisis, it's kind of fucked that he got to do it twice. "And if he didn't do it twice, nobody probably would be aware that it was the same guy. Because, even if you know about AZT, nobody was going Anthony Fauci. Nobody was saying that guy's name. You know, you weren't saying when you would talk about the AIDS crisis even. They even made a movie about it, right? Dallas Buyers Club. That's the movie. That's what it's about. The bad guy in Dallas Buyers Club is Anthony Fauci. "That's the guy keeping them from getting other medications and pushing AZT. They do the same thing. We— We played a video the other day where Fauci's talking about AZT. The reason why they use it is because it's both safe and effective. He used the exact same terminology. Fucking wild."

Sense Receptor

18,528 просмотров • 9 месяцев назад

Surprising progress from ~3 months of teaching the 8yo to do "keepy uppy" with a soccer ball. Some lessons learned... First, this skill is embedded in a larger goal that he cares about. He wants to be a better footballer (I hate calling it "soccer", which comes from a contraction of "association" 🤮). This means there is some baseline motivation. This helps you get through the times it sucks to practice. And by the way... It's ok if it sucks (just not too much). What you don't see here is him failing 1,000 times and rage quitting. Probably 1/3 of the sessions involve tears. But you get the biggest gains when you're in your "zone of proximal development" -- the place where it's not too hard, not too easy. It took a lot of cajoling to get him through the early sessions when there wasn't much progress yet. It has to be his choice. When he gets upset, I don't force him. I just ask him if he wants to quit. He never does. I think if I forced him to stick with it, he would be less motivated. By asking him to step outside his momentary frustration and make the decision to quit or not, I think I'm helping him have the space to think about how this connects to his larger goal. But I don't really know. Human motivation is mysterious. Long consistency + intensity, short duration. We do 15 minutes a day, every day. First thing in the morning. I believe duration of training is overrated. In school for example, I think we could get more learning in 30 intense minutes per day than we get in 6 hours a day plus homework now. It takes more effort to do 15 minutes of keepy uppy than it takes to do 2 hours of team practice. And I bet the payoff is higher. Same applies to learning anything. Encouragement is underrated. I watch him while I exercise and drink my coffee. I say "beautiful" even when he messes it up (I got that from Richard Williams, Venus and Serena's dad). I celebrate his PRs. I take videos and I chart his daily progress so he can see the wins. Three months ago he could get 3 at his max, now his average is over 30. Seeing this progress over time has made it easier for him to show up and do the work every day. One focus at a time. We interleave other soccer skills (like shooting and dribbling), but tend to hyper focus on one area at a time so that we see fast progress. We use the same principle in our homeschooling. We are always working on a few things at once, but there is only one priority at a time. Start easy to build momentum. When you start your kids on a skill, you just want to be able to get *any* success at all. Don't be afraid to make it so easy it almost doesn't seem like the same skill. When we started I had him let the ball bounce between each kick. If I didn't do that it would have been so much harder for him to do keep uppy that he might have just quit. You want kids to get momentum in any skill, and you shouldn't be afraid to make the first steps so easy it almost doesn't seem like even the same skill. Focus on fundamentals. You might ask if keepy uppy is even important, since the real game is played mostly on the ground. The reason is found in the slight shuffling of his feet between each hit. In the real game, the quality of your control touch, shooting, and dribbling primarily comes down to these micro foot movements and how they position your body for balance. Keepy uppy trains the nervous system to a level of precision that is otherwise hard to attain. For education, the analogy is probably to something like reading. Reading is fundamental and makes you better at learning everything else, even if what you're reading about is unrelated to what you'll learn later. Students today would probably be better off just reading more vs. doing most of what passes today for "education." Beware of thresholds. The best people at keep uppy are not pro footballers. Every skill has a threshold where getting better at it confers little extra benefit. In education, I think the most obvious example is math. Everyone needs to master some fundmentals, but beyond it's rare to become more successful by getting better at math. Your effort is better spent on some complementary skill where you are weaker. Dress for success. Just kidding. I don't know why he's dressed like a ninja. That's all for now. Would love to hear how you guys think about building skills in the comments. 🙏
0:27

Surprising progress from ~3 months of teaching the 8yo to do "keepy uppy" with a soccer ball. Some lessons learned... First, this skill is embedded in a larger goal that he cares about. He wants to be a better footballer (I hate calling it "soccer", which comes from a contraction of "association" 🤮). This means there is some baseline motivation. This helps you get through the times it sucks to practice. And by the way... It's ok if it sucks (just not too much). What you don't see here is him failing 1,000 times and rage quitting. Probably 1/3 of the sessions involve tears. But you get the biggest gains when you're in your "zone of proximal development" -- the place where it's not too hard, not too easy. It took a lot of cajoling to get him through the early sessions when there wasn't much progress yet. It has to be his choice. When he gets upset, I don't force him. I just ask him if he wants to quit. He never does. I think if I forced him to stick with it, he would be less motivated. By asking him to step outside his momentary frustration and make the decision to quit or not, I think I'm helping him have the space to think about how this connects to his larger goal. But I don't really know. Human motivation is mysterious. Long consistency + intensity, short duration. We do 15 minutes a day, every day. First thing in the morning. I believe duration of training is overrated. In school for example, I think we could get more learning in 30 intense minutes per day than we get in 6 hours a day plus homework now. It takes more effort to do 15 minutes of keepy uppy than it takes to do 2 hours of team practice. And I bet the payoff is higher. Same applies to learning anything. Encouragement is underrated. I watch him while I exercise and drink my coffee. I say "beautiful" even when he messes it up (I got that from Richard Williams, Venus and Serena's dad). I celebrate his PRs. I take videos and I chart his daily progress so he can see the wins. Three months ago he could get 3 at his max, now his average is over 30. Seeing this progress over time has made it easier for him to show up and do the work every day. One focus at a time. We interleave other soccer skills (like shooting and dribbling), but tend to hyper focus on one area at a time so that we see fast progress. We use the same principle in our homeschooling. We are always working on a few things at once, but there is only one priority at a time. Start easy to build momentum. When you start your kids on a skill, you just want to be able to get *any* success at all. Don't be afraid to make it so easy it almost doesn't seem like the same skill. When we started I had him let the ball bounce between each kick. If I didn't do that it would have been so much harder for him to do keep uppy that he might have just quit. You want kids to get momentum in any skill, and you shouldn't be afraid to make the first steps so easy it almost doesn't seem like even the same skill. Focus on fundamentals. You might ask if keepy uppy is even important, since the real game is played mostly on the ground. The reason is found in the slight shuffling of his feet between each hit. In the real game, the quality of your control touch, shooting, and dribbling primarily comes down to these micro foot movements and how they position your body for balance. Keepy uppy trains the nervous system to a level of precision that is otherwise hard to attain. For education, the analogy is probably to something like reading. Reading is fundamental and makes you better at learning everything else, even if what you're reading about is unrelated to what you'll learn later. Students today would probably be better off just reading more vs. doing most of what passes today for "education." Beware of thresholds. The best people at keep uppy are not pro footballers. Every skill has a threshold where getting better at it confers little extra benefit. In education, I think the most obvious example is math. Everyone needs to master some fundmentals, but beyond it's rare to become more successful by getting better at math. Your effort is better spent on some complementary skill where you are weaker. Dress for success. Just kidding. I don't know why he's dressed like a ninja. That's all for now. Would love to hear how you guys think about building skills in the comments. 🙏

Chrisman

80,718 просмотров • 2 лет назад

Analyzing Episode 55. Season 2 aka The Violence of Alignment If I visualize CihAl's journey for this season, a spiral tightening its rings comes to mind. There's always one problem after another, spiking in intensity and reaction. And, the weight of it is reflected in both Alya's increasingly somber demeanor. But, here's the thing. In every new problem, there's an echo of the old one, which leaves one with an inevitable feeling of deja vu - for the audience and the characters. We'll get to why towards the end of this analysis. For now, on we go. We kick off epi 55 with Cihan being introduced to Meryem *cough* dishrag *cough* by Sadakat. And what follows is a breakdown of her story with Cihan listening. However, when Meryem recounted her past woes, I focused less on her words and more on Cihan's words and expression. And what follows is a masterclass in the difference between sympathy and empathy. Kudos to Ozan Akbaba for portraying the difference. I couldn't help but compare the situation to when Cihan is listening to Alya's account of her past. With Alya, Cihan leans forward, barely moving. He listens, but his face tends to reflect his own emotion and mirrors Alya's at times - in other words, he's living those events with her. When he talks, his voice drops lower, but more importantly, there's a gentle softness meant to soothe. With Meryem, Cihan's body language is a tad more detached. When he's leaning forward in the seat, his hands are extended in front of him, clasped together, creating space. Then he leans back, one arm extended on the table, the other on his thigh. Again, there's this feel of distance. His voice remains soft, but there's no tenderness. He's not trying to alleviate, rather he's simply listening. Don't get me wrong, it's not like the guy doesn't feel bad for her, because what she relates shouldn't be experienced by anyone. But empathy goes beyond sympathy. Empathy is when you hurt with the one who's hurting. And that difference, to me, is clear between the two scenes. Long story short, when he's heard what Meryem's gone through, he offers to help get her out of prison because he feels responsible in part for her misfortunes. He says it's his 'duty' to help her. Here's what's interesting: when Meryem says his kindness and heart haven't changed, he gets uncomfortable. And after that, he's the one to get up from the chair, signaling the end of the conversation. Like he wants to get out of there, because some part of him that's not stupidly male understands Meryem's still attached to him, but he has no interest in that whatsoever. His method of saying goodbye is a handshake, again, a testament to his aloofness. And when Meryem hugs him, his hands remain at their sides; the man could have been a pillar. So, while he speaks not of Alya, the one time he takes her name, he drives the message across that 'she's no one ordinary' and 'tread carefully'. Honestly, I don't think he wants to talk about Alya to Meryem. Not because Alya's not important, but because Alya is too important. The part of his life that Alya represents is his alone, and he's very possessive about sharing that with anyone. To him, Meryem is a past that exists, but one that he would erase if he had the choice, because it hurts Alya. And that's pretty much the whole feel of this conversation. He wants to help Meryem, but he also wants her gone because her presence is a source of discomfort to Alya. Speaking of discomforts, the next scene I want to talk about is when the massive turd, who happens to be Alya's ex-husband, goes to the hospital to threaten her some more. Seriously, this character is a step short of absolute psycho. He's incapable of true emotion, just like his mother. Anyway, when Alya is explaining why she hasn't moved out yet, the zombie's eyes zero in on her wedding band. And, of course, being who he is, he absolutely ignores the topic of Deniz, his own flesh and blood, and instead, wants the ring gone because it symbolizes Alya's love and attachment to Cihan. Thankfully, Cihan arrives in time to push away the zombie and to hear Alya proclaim that while Boran has the power to use her son and distance her from Cihan physically, he has no power over her heart and who reigns over it. Now, think back to that conversation where Deniz wants her to pick between Cihan and himself. And Cihan says Deniz's throne (or place) in her heart is so secure, he's happy to live in the shadow of that throne. While Alya smiles at Cihan's response, she also looks miserable later at the thought of not being able to tell Cihan that things aren't exactly so. However, I think she manages to get her point across in this scene without even realizing it. Because while she may make sacrifices for her son, no amount of blackmail, pain, or hurt can remove Cihan's love from her heart. Now, I don't know about you, but that sounds almost like an equal footing. The only difference is that she's bound to protect her son, because, unlike Cihan, he can't protect himself. And that's what leads Cihan to later tell Alya that her words are etched across his heart, and that he's never felt that loved by anyone. Curiously enough, this scene also brings the spotlight on two other details: Alya's 'anka' side and the wedding ring. Both of which will feature rather greatly, in the coming episodes, I think. Now, there's a rumor going around that Alya will take off her wedding ring. And, I don't know, the fact that Cihan's almost preening at Alya, still wearing the ring, and Alya saying 'I couldn't take it off' tells me that's not what's going to happen. For some reason, I'm beginning to get the vibes of a showdown of trust in the same vein as episode 27. Now you may argue that Cihan actually tells Alya about Mine's pregnancy in that episode, but CihAl have had a long journey since then. Alya has seen Cihan choose her over Boran with her own eyes. She's seen the lengths the man has gone to for her and Deniz. So, yes, she might be pissed about something or the other related to Meryem in future episodes, but her taking off the ring seems not within her character somehow. But hey, that's just me, and I could be wrong. Anyway, the final scene I want to talk about is, of course, the ending. Everyone kept focusing on why Cihan allowed Meryem to hold his hands, but I focused on his words. Because he very clearly tells Meryem that he's no longer in love with her, that he's moved on, and that she should not hang about in the hopes of that ever changing. In his own way, Cihan is quite ruthless here. He draws a line, but his words are designed not to hurt, because he's not an ahole. He just wants dishrag to understand that even the thought of Alya being hurt pains him more now than anything else. And, he's not very kind to people who try to hurt Alya. It's a disclosure and warning, but in the form of steel wrapped in satin. Now, let's go back to the beginning for a bit, where I mentioned spiraling events. See, I somehow thought that those vows Cihal took 'savaşta, bedelde, kararda, kaderde, aşkta' were linear levels. That they'd clear them one by one and get to love. But when you see the overall structure of their journey in this season, it's not linear at all. Because all those things have existed in one form or another since ep 29. There's always an element of all of these conditions in every episode. Which is why we keep thinking, wait a minute, we've been here before. But as I said, the spiral is tightening itself. With every episode, the stakes are raised higher, and CihAl are pushed a little bit closer to the edge. Almost like the deep breath before the plunge. And here’s where things get interesting. Because what feels like repetition is not actually stagnation, it’s confrontation deferred, coming back sharper each time. Every cycle brings them back to the same point. Their love deepens, fear follows, a decision is made in the name of protection, and that decision creates distance instead of resolution. Which brings me back to the vows - savaşta, bedelde, kararda, kaderde, aşkta. I was wrong to think of them as steps. They’re not something Cihan and Alya are moving towards; they’re something CihAl are already inside of. Every episode is them living those vows in real time. But with every new episode, the pressure mounts, like music builds to a crescendo. And yet, within all of that, aşk remains. Not as a reward at the end of the journey. But as the one thing that refuses to disappear, no matter how many times everything else goes wrong. And maybe that's why episode 55 feels the way it does. It creates the illusion that everything is falling apart, yet again, when in reality, everything is being forced into alignment. Something is moving all the pieces on the chessboard for an ultimate showdown. And the process gets more violent by the minute. Cihan hides the truth because he thinks love needs protection. Alya experiences that same act as distance, almost betrayal. Meanwhile, Boran and Sadakat keep pushing, and Meryem drops like a freaking bomb at the worst possible moment. Suddenly, everything that could have remained unsaid, unresolved, or postponed is dragged into the open. This has all the hallmarks of a breaking point. Note, I said breaking point, not breakdown. Because, unlike breakdowns, breaking points are used for revelations. I guess what I'm trying to say is things are headed towards alignment, not just for the overall story, but also CihAl's journey individually. Because Cihan and Alya also keep repeating their mistakes. Their growth requires something along the lines of a push, too. So, we have war, sacrifice, decisions, fate, and love, all coming to a head. And while there are plenty of reasons to feel ominous, I personally don't. The story is no longer about them loving each other - we're well past that. It’s about whether they can finally stand in that love openly and without any fear. Because everything is pushing them toward a breaking point, not to destroy them, I think, but to shape them into who they need to be. And if there’s one thing CihAl have proven since day one, it’s this - they don’t fall apart under pressure, they grow stronger, and they survive the impossible. #CihAl #UzakŞehir
2:51

Analyzing Episode 55. Season 2 aka The Violence of Alignment If I visualize CihAl's journey for this season, a spiral tightening its rings comes to mind. There's always one problem after another, spiking in intensity and reaction. And, the weight of it is reflected in both Alya's increasingly somber demeanor. But, here's the thing. In every new problem, there's an echo of the old one, which leaves one with an inevitable feeling of deja vu - for the audience and the characters. We'll get to why towards the end of this analysis. For now, on we go. We kick off epi 55 with Cihan being introduced to Meryem *cough* dishrag *cough* by Sadakat. And what follows is a breakdown of her story with Cihan listening. However, when Meryem recounted her past woes, I focused less on her words and more on Cihan's words and expression. And what follows is a masterclass in the difference between sympathy and empathy. Kudos to Ozan Akbaba for portraying the difference. I couldn't help but compare the situation to when Cihan is listening to Alya's account of her past. With Alya, Cihan leans forward, barely moving. He listens, but his face tends to reflect his own emotion and mirrors Alya's at times - in other words, he's living those events with her. When he talks, his voice drops lower, but more importantly, there's a gentle softness meant to soothe. With Meryem, Cihan's body language is a tad more detached. When he's leaning forward in the seat, his hands are extended in front of him, clasped together, creating space. Then he leans back, one arm extended on the table, the other on his thigh. Again, there's this feel of distance. His voice remains soft, but there's no tenderness. He's not trying to alleviate, rather he's simply listening. Don't get me wrong, it's not like the guy doesn't feel bad for her, because what she relates shouldn't be experienced by anyone. But empathy goes beyond sympathy. Empathy is when you hurt with the one who's hurting. And that difference, to me, is clear between the two scenes. Long story short, when he's heard what Meryem's gone through, he offers to help get her out of prison because he feels responsible in part for her misfortunes. He says it's his 'duty' to help her. Here's what's interesting: when Meryem says his kindness and heart haven't changed, he gets uncomfortable. And after that, he's the one to get up from the chair, signaling the end of the conversation. Like he wants to get out of there, because some part of him that's not stupidly male understands Meryem's still attached to him, but he has no interest in that whatsoever. His method of saying goodbye is a handshake, again, a testament to his aloofness. And when Meryem hugs him, his hands remain at their sides; the man could have been a pillar. So, while he speaks not of Alya, the one time he takes her name, he drives the message across that 'she's no one ordinary' and 'tread carefully'. Honestly, I don't think he wants to talk about Alya to Meryem. Not because Alya's not important, but because Alya is too important. The part of his life that Alya represents is his alone, and he's very possessive about sharing that with anyone. To him, Meryem is a past that exists, but one that he would erase if he had the choice, because it hurts Alya. And that's pretty much the whole feel of this conversation. He wants to help Meryem, but he also wants her gone because her presence is a source of discomfort to Alya. Speaking of discomforts, the next scene I want to talk about is when the massive turd, who happens to be Alya's ex-husband, goes to the hospital to threaten her some more. Seriously, this character is a step short of absolute psycho. He's incapable of true emotion, just like his mother. Anyway, when Alya is explaining why she hasn't moved out yet, the zombie's eyes zero in on her wedding band. And, of course, being who he is, he absolutely ignores the topic of Deniz, his own flesh and blood, and instead, wants the ring gone because it symbolizes Alya's love and attachment to Cihan. Thankfully, Cihan arrives in time to push away the zombie and to hear Alya proclaim that while Boran has the power to use her son and distance her from Cihan physically, he has no power over her heart and who reigns over it. Now, think back to that conversation where Deniz wants her to pick between Cihan and himself. And Cihan says Deniz's throne (or place) in her heart is so secure, he's happy to live in the shadow of that throne. While Alya smiles at Cihan's response, she also looks miserable later at the thought of not being able to tell Cihan that things aren't exactly so. However, I think she manages to get her point across in this scene without even realizing it. Because while she may make sacrifices for her son, no amount of blackmail, pain, or hurt can remove Cihan's love from her heart. Now, I don't know about you, but that sounds almost like an equal footing. The only difference is that she's bound to protect her son, because, unlike Cihan, he can't protect himself. And that's what leads Cihan to later tell Alya that her words are etched across his heart, and that he's never felt that loved by anyone. Curiously enough, this scene also brings the spotlight on two other details: Alya's 'anka' side and the wedding ring. Both of which will feature rather greatly, in the coming episodes, I think. Now, there's a rumor going around that Alya will take off her wedding ring. And, I don't know, the fact that Cihan's almost preening at Alya, still wearing the ring, and Alya saying 'I couldn't take it off' tells me that's not what's going to happen. For some reason, I'm beginning to get the vibes of a showdown of trust in the same vein as episode 27. Now you may argue that Cihan actually tells Alya about Mine's pregnancy in that episode, but CihAl have had a long journey since then. Alya has seen Cihan choose her over Boran with her own eyes. She's seen the lengths the man has gone to for her and Deniz. So, yes, she might be pissed about something or the other related to Meryem in future episodes, but her taking off the ring seems not within her character somehow. But hey, that's just me, and I could be wrong. Anyway, the final scene I want to talk about is, of course, the ending. Everyone kept focusing on why Cihan allowed Meryem to hold his hands, but I focused on his words. Because he very clearly tells Meryem that he's no longer in love with her, that he's moved on, and that she should not hang about in the hopes of that ever changing. In his own way, Cihan is quite ruthless here. He draws a line, but his words are designed not to hurt, because he's not an ahole. He just wants dishrag to understand that even the thought of Alya being hurt pains him more now than anything else. And, he's not very kind to people who try to hurt Alya. It's a disclosure and warning, but in the form of steel wrapped in satin. Now, let's go back to the beginning for a bit, where I mentioned spiraling events. See, I somehow thought that those vows Cihal took 'savaşta, bedelde, kararda, kaderde, aşkta' were linear levels. That they'd clear them one by one and get to love. But when you see the overall structure of their journey in this season, it's not linear at all. Because all those things have existed in one form or another since ep 29. There's always an element of all of these conditions in every episode. Which is why we keep thinking, wait a minute, we've been here before. But as I said, the spiral is tightening itself. With every episode, the stakes are raised higher, and CihAl are pushed a little bit closer to the edge. Almost like the deep breath before the plunge. And here’s where things get interesting. Because what feels like repetition is not actually stagnation, it’s confrontation deferred, coming back sharper each time. Every cycle brings them back to the same point. Their love deepens, fear follows, a decision is made in the name of protection, and that decision creates distance instead of resolution. Which brings me back to the vows - savaşta, bedelde, kararda, kaderde, aşkta. I was wrong to think of them as steps. They’re not something Cihan and Alya are moving towards; they’re something CihAl are already inside of. Every episode is them living those vows in real time. But with every new episode, the pressure mounts, like music builds to a crescendo. And yet, within all of that, aşk remains. Not as a reward at the end of the journey. But as the one thing that refuses to disappear, no matter how many times everything else goes wrong. And maybe that's why episode 55 feels the way it does. It creates the illusion that everything is falling apart, yet again, when in reality, everything is being forced into alignment. Something is moving all the pieces on the chessboard for an ultimate showdown. And the process gets more violent by the minute. Cihan hides the truth because he thinks love needs protection. Alya experiences that same act as distance, almost betrayal. Meanwhile, Boran and Sadakat keep pushing, and Meryem drops like a freaking bomb at the worst possible moment. Suddenly, everything that could have remained unsaid, unresolved, or postponed is dragged into the open. This has all the hallmarks of a breaking point. Note, I said breaking point, not breakdown. Because, unlike breakdowns, breaking points are used for revelations. I guess what I'm trying to say is things are headed towards alignment, not just for the overall story, but also CihAl's journey individually. Because Cihan and Alya also keep repeating their mistakes. Their growth requires something along the lines of a push, too. So, we have war, sacrifice, decisions, fate, and love, all coming to a head. And while there are plenty of reasons to feel ominous, I personally don't. The story is no longer about them loving each other - we're well past that. It’s about whether they can finally stand in that love openly and without any fear. Because everything is pushing them toward a breaking point, not to destroy them, I think, but to shape them into who they need to be. And if there’s one thing CihAl have proven since day one, it’s this - they don’t fall apart under pressure, they grow stronger, and they survive the impossible. #CihAl #UzakŞehir

CocoLoco

21,061 просмотров • 4 месяцев назад

(1/2) Last night's Aidan Kearney meltdown over his falling out with Karen Read on an X Space is the peak of catharsis and real-time online toxicity: It starts with the the bombshell claim about Aidan recorded Karen Read, moves to Karen's newly-released texts about being "done" with Aidan after "someone" sent a recording of that conversation to David Yannetti and Alan Jackson, then spirals into ad hominems, and ends with Kearney storming off to counter-publish. The flood of primary source documents posted on online overnight, thus, acts as the host's (Chris) victory lap over Kearney. FULL TRANSCRIPT; *(Cleaned for grammar/spelling, punctuated for flow, and line-broken for readability. Some errors are expected.)* **Aidan:** Am I on? **Host/Other:** You're on. **Aidan:** So who are you? Who is this? **Chris:** Don't worry about it. It doesn't matter who I am. **Aidan:** Well, it does. You're some fucking kangaroo court motherfucker talking about her. What the fuck do you know about anything? **Chris:** Well, I don't know exactly what you've been doing. **Aidan:** So what are your sources? What are your sources? What are your sources you're talking about? Huh? You don't know your sources? What do you talk about? No, your sources. Shut up. Let's see 'em. Let's see your sources. **Lily:** Hang on, Aidan. I'm the host. I'm Lily. **Aidan:** Yes, Lily. Hi, Lily. How are you? **Lily:** I'm good. I'm just going to wait. I know you may not know it, Chris, but you know me. And so I just wanted to say hi. **Aidan:** Yeah, I know, but this Koala motherfucker is up here making shit up, running his mouth nonsense. Let's see the receipts. I mean, what were you talking to Karen Read about? What are you talking about? Who the fuck are you? **Chris:** I'm asking you flat out: Did you or did you not record her phone calls between yourself and Karen? **Aidan:** I did not. I did not. **Chris:** Okay, so Karen is lying? **Aidan:** You talked to Karen Read? Karen isn't talking to anyone in the media, but she's talking to this call-the-motherfucker. That's what you're telling me right now. **Chris:** Like I said, If you want to go down this hill, stand ten toes down." **Aidan:** I'm calling you out because you're making shit up. **Chris:** Who? I'm not making anything up. I'm not making anything up. I'm not making anything up. **Aidan:** So let's see it. Let's see the fucking evidence. Let's see your communications with Karen Read where she says that. Let's see it. **Lily:** Hang on. Chris, you're going to have to provide the receipts. **Chris:** I'm going to tell you, the guy who's doing this—you know, he's going to put them out. **Chris:** Do you really want to prove it? You want to prove it to me? I've got all the mistakes that come out. I can't. Literally. Yeah. Yeah. Sure. What's that? Let's see it. Let's see it. Produce it. Tweet it out right now. **Aidan:** So I'm denying it—like, hardcore, 100%. I'm the guy you have to deny it to. I don't, because you've become a bit of a fuck-up. It's about as fucking legitimate as Lindsey trying to be a rake. Let's fucking see it, motherfucker. You got it, right? 'Cause I—accusations—I always bring fucking receipts. Where's your receipt, bitch? **Aidan:** You got 'em? **Chris:** I've got 'em now. I think you want me to be saying—to be honest—hang a room on the fucker with no receipt. **Aidan:** You got 'em? Yes or no? **Chris:** I've got a receipt. Where's your fuck? **Chris:** You just need, bro—you just need to like chill, because you're gonna have a lot of fucking neck on your face, because I don't really care. **Chris:** I said to the people who bought this story: If I end up having egg on my face, I'll put everyone's name in it, and I'm given—I have a... Just shut your fucking mouth for one fucking minute. **Aidan:** Right. Let's see it. **Chris:** I've just messaged the person. **Aidan:** Joe Flipp, you want to talk about a fucking psychopath? That motherfucker is—just, Joe Flipp. Really want to fucking go there?" 'Cause it's Joe. You can just say it's Nick from Philadelphia, isn't it? Yeah, I know all about Nick from Philadelphia. If you fucking want to go there and the fucking hell—that psychopath—what Olivia Lambo went through. You just don't want to come out. Does he want to talk about all that? Does he want to launch? **Chris:** Okay? You know what? How was your lunch with Meredith the other week. Fuck it. I don't care. How was your lunch with Meredith? How's your lunch with Meredith? **Aidan:**What the fuck? **Chris:** Chat, what, what am I talking about? How is your lunch with Meredith here? We got—you know what you want to do? You want to carry on and be a fuck with me here? I like you—always up. **Chris:** How was your lunch with Meredith a couple weeks ago, and what did you play for her? What the fuck are you talking about? Yeah, what the fuck am I talking about? You know exactly what I'm talking about. And I'm trying to do this respectfully, but you come in hot like you always do. So now I'm just gonna fucking do it. How was your lunch with Meredith the other week? **Aidan:** I didn't have one with Meredith. Yeah, bullshit. Okay, so that's it. So someone else is lying now. **Chris:** So you're gonna call Meredith a liar? Why? Meredith's a liar? **Aidan:** Are you talking to Meredith? **Chris:**I'm not talking to Meredith. **Aidan:** What are you talking about? **Chris:** Okay, well, so you have great Meredith in an Oscar. If you said that to Meredith, you just spread rumors. That's what you do—you don't spread any rumors. I want to laugh tonight about this. **Erika Walsh:** I warned you, Chris, about this last night. **Aidan:** You got no—Joe Flipp—fucking feeding you nonsense. That slimy psychopath, fucking nut job who called in Olivia's entire family to harass them—to the point where she had the fucking... Nothing to do with Olivia. And Joe's Flipp— **Chris:* this is to do with you. Stop deflecting, that motherfucker. **Aidan:** I'm telling you this—he's the one telling you this. **Chris:** I've been told by three different people. Three different people. There's people in this chat who know about this. There's people in chat—they won't stand up and say anything, but I know the people who know about this. **Aidan:** Bring all these lame cons up one by one so I can slam 'em down one by one, because none of you motherfuckers got a receipt to back up any of this shit. None of you do. Bring it. By adding them. **Chris:** Stand by. Stand by. Stand by. **Joe Flipperhead:** You have the text, bro. You know I saw the screenshot. **Aidan:** So we gonna talk about what you did to Olivia Lambo? We have a lot of things, dude. **Joe:** You're deflecting. When you... **Aidan:** You want to go there? Mark Bedderow? Oh, of being in on a fucking conspiracy against you? To tell us—if when we told you Olivia Lambo... You made us fucking get on a FaceTime with her because you thought she was dead. You thought you were being catfished by her, fucking... I was, and so we agreed to do a Zoom call with her. And when I called you and I told you Olivia Lambo is real—I just saw her face. What did you do? You accused me and Mark Bedderow of lying to you, of being in on it, because you are a fucking psychopathic motherfucker. And I didn't put it there because I don't want to fuck... **Joe:** Yeah, you did put it out there, though. If you want to get into the Olivia thing, that's fine, and I'll go down that road. But you're calling me a psychopath You fucking recorded Karen Read's fucking calls and sent them to people. **Chris:** I'm just gonna keep muting him because he's yelling. You can say it. **Aidan:** Is this Lily's space or yours? **Joe:** I have the text, dude. I'll put it on one of our... Your—She told me she's fucking done with you, dude. **Aidan:** All right. I'm going on my own right now. I'm calling out fucking Joe Flipp-ed life. If I get muted one more fucking time. I'm gonna do a whole fucking... Thank you. I'm publishing all your fucking texts—the whole world can see what a fucking sadistic psychopath you are. You controlling predator piece of shit. You fucking go there. **Chris:** This is completely the actions of a normal innocent person. **Aidan:* You're a pyscho freak. **Joe:** Yeah, says the guy that recorded Karen. **Aidan:** Oh, yeah, let's hear it. See the fucking recording. Can I hear it? **Joe:** I got the text saying you recorded. But the text says there's a recording, so where's the fucking recording? *Aidan:** Hey, let's hear Joe. Why? I just got asked if I'm—what would you say if I'm a massage in this? Like, go— **Joe:** Why does Liv still text me to this day? **Aidan:** You text her. Oh, you want to see the receipts, dude? I've seen the receipts—all of them. Okay, I got all the receipts. **Joe:** You got the August ones, the September ones where she misses me and hates how things ended? You got those? Fuck, I see 'em. Publish 'em. I will do it. I don't plan—I talk about you. Go for it. **Chris:** You're doing everything back. **Joe:** When I told you how she wouldn't FaceTime me for three months, how she puts up month-old pictures if you wouldn't fucking... **Aidan:** Yeah, you know why? You know why she wouldn't do that? She's just not into you. Ever have you do this with every girl you fucking talk to? **Joe:**You said to me, after reading the text from her sister— **Chris:** Says the guy who is swining on a 19-year old. **Joe:** You said Aidan, that she said to you, "she's love with you," bro. That's what you said. She's in love with you. That's what you said. Yeah, when her sister—and then he can get you caught by somebody. Let's just get back to you. Deflection from Aidan, who doesn't want to be on the line. **Joe:** As you wish—she wouldn't FaceTime me. She wouldn't meet up with me, and she lied to me constantly. Yeah, why would she meet up? **Aidan:** Maybe she's just not that into you. Ever think about that? Maybe she's just not that into you. Maybe you saw the text. I know, I know—it's hard for you to accept that the girl just doesn't want you. You have to accept the person doesn't want nothing to do with you, isn't it? I did, and you got clingy and possessive. And so she fucking stopped talking to you, so you called her mother and you talked—you don't even know because you're psychotic, bro. I'm fucking... you. *Joe:** You're just deflecting, bro. This is fucking pathetic. I'm not your one. She's talking about this. **Aidan:** I got no fucking thing—you—you are a fucking psychopath. **Joe:** You're first of all—she doesn't want you to fucking be talking about this because why? **Aidan:** You're the one fucking airing it out now, motherfucker. **Chris:** You're the one airing it because you got caught recording Karen. **Aidan:** So let's hear the recording. Let's play the recording. You got a recording of me, right? **Joe:** I know you did it, dude. **Aidan:** What? **Joe:** I know you recorded. Are you lying? Karen Read's a liar? All right, am I...? **Aidan:** You are the fucking coward. Where's the recording? What recording you talking about? You're—you're— **Joe:** You're accusing Karen Read of lying about this? **Aidan:** Yes. **Joe:** You're really—are you really serious? How many fucking—serious? **Aidan:** Let's hear the fucking recording. **Lily** Chris or Joe? Please play it. Did it? You didn't have... for people. Can you please provide a receipt? Just like I think it's fair. **Joe:** Aidan has it. **Aidan:: I thought you had it. I thought you had it. Let's hear it. Let's hear the recording. **Joe:** All right, you sent me the text that I sent. You haven't... **Aidan:** Yeah, let's—so let's hear the actual recording. Does it exist, though? **Joe:** So Karen is lying. **Aidan:: Karen Read would never lie (sarcastic tone). Oh, yeah. **Chris:** True color. *Joe:** So yeah, let me just run this: You recorded it. You recorded the conversation. You showed it to people, and then the very next day she randomly accused you of fucking doing it. That's what happened. That's what your story is, right? **Aidan:** There's no fucking recording. **Joe:** There is, dude. Where is it? **Aidan:** So let me hear it. Play it. **Joe:** I don't fucking have it. **Aidan:** Oh, you don't know if there's a recording, do you? Thank you. Because you're full of shit. I know—I just fucking caught you. That's what you just said. Those—bring it up here. I talked to somebody—bring her up here. Bring Karen Read up here, bro. You talked to her? Bring her on up here. **Joe:** I spoke to somebody that you played the recording for. Okay, oh—you know, just—I just say I've already said it, so just say it. Okay, I said I wanted to not say her name, but you know who—you played it for. **Aidan:** I haven't played it for anyone just— there's no recording. **Joe:** Stop fucking lying. Let's hear it from the point. *Aidan:** Let's hear it. Let's hear it. **Joe:** Aidan, this is fucking crazy, dude. **Aidan:** I'm not the one that fucking caught it—got blocked by Olivia's mother, and fucking brother... **Joe** Here we go. This is deflecting, and dude—that's admitting how fucking guilty you are right here. **Aidan:** Let's hear a fucking recording. You said you got a fucking recording, right? **Joe:** Nobody said that. We said—oh, Karen Read doesn't want to talk to you anymore because you recorded her calls, set them to people, and it got back to her. **Chris:** I got a question for you, Aidan, I didn't know—so sure. When you went on your little pity party and then you— **Joe:** The worst part is you lied to everybody acting on it. You had no idea what was wrong and why she she fucking set you straight—trying to get sympathy. That, my friend, is fucking psychotic. **Aidan:** Okay, okay, sure thing. Yeah, you said I sent the recording out. Where's the recording? *Joe:** Dude? It's not—I'm not obligated to fucking get the recording. **Aidan:** Oh, yeah, you wouldn't want to back it up, right? **Joe:** You're so—you're going to go on record that Karen is lying? Say it. You're caling Karen Read a liar about this. **Aidan:** There is no fucking recording. **Joe:** You're lying, dude. It's fucking crazy. This is what's here. It—play the note. You played it for somebody. You got it. I don't got it. **Aidan:** Let's hear you play it. You're the one that says there's a fucking record. **Chris:** I mean, that's—you have a history of recording people. **Lily:** Wait, we have—well, I feel like we have a responsibility as me as a host to Chris and... You're both—you're actually both not providing a receipt, and I'm—Aidan is actually asking for a receipt. I have to—for the recording. **Joe and Chris** He has—asking for the recording. **Lily:** You guys—she has which he sent to—we know I said. So who has it? One of the receipts. I know you're not gonna have— **Aidan:: you don't have the recording because— **Lily:** Just fucking say it. Karen doesn't want the recording out there. **Aidan:** What recording? There's no recording. **Joe:** Never even asked her for it, to be honest with you. **Aidan:** And so you wait—yeah, you never asked. Thank you—you never asked. **Joe:** Karen is fucking so done with you, bro. She sent—she told me about this completely unsolicited. **Lily:**That's beside the point, and I'm not the first—(Joe) Karen's done with him, ..but what the fuck—just post the fucking receipt for him. **Chris:** You can't come on here saying he has it, Lily. He's seen the same thing you've seen. He's even seen the same thing that I showed you. **Lily:** I know. You don't come on here and say I've got this, and then Aidan demands a receipt—you deserve. Okay... **Joe:** He's deflecting, asking for a recording he knows about the text. **Lily:** Yeah, I know, Joe. I get what you're saying, and I respect every—like what you're saying, but he's denying it. **Joe:** Fine, I'll post the fuck—I'll post them right now. I really don't give a fuck. **Lily:** Thank you. And that's immense—he can—he can then riff like whatever he can. I can't—I'm so like nervous. I've got dry mouth because... Then Aidan can like look at those, and he at least has—you know exactly what's been spoken about. He's just denying it. I can't say that, and I get it, but he is asking for the receipt, which is fair. And **Joe:** I'll even add the text message when he came on here initially. He said it was all alive, right? He said he sent me—fucking text message on Monday morning. **Lily:** I see it. We've established that now. We established that Aidan's denying it, so just post the receipt that you have, and then he can actually reflect on that and—and do you see what I mean? He's not gonna turn around now and say actually it is true. But if you've got the receipt, he can then say, "I will—this is x, y and z there." I just think it's fair—like... **Aidan:** Now, yeah, what he has is a screenshot that he claims is from Karen Read. It was— **Joe:** You're saying it's not from Karen Read. **Aidan:** I don't—there's no fucking name on the top. **Joe:** Yeah, I have it. Do you want me to read? **Aidan:** Okay, so there was an allegation? I'm reading. **Joe:** Do I have a text from you saying I was sent the same thing the morning after the verdict? Did you not say that to me? **Aidan:** Yes, you sent me the same thing the morning after the verdict. **Joe:** Okay, so then she sent it to me too. **Aidan:** Yeah, she knows—she said to me the morning after the Wilbur—she after the morning after the show, she said that she was sent a 30-minute fucking tape. Where's the fuck? What tape? Okay, she's not fucking accusing me. I have no—there's no fucking tape. There's no tape. She thinks I recorded her because I fucking told people about the conversation. That's it. **Joe:** You're telling me you didn't? **Aidan:: And I'm telling you I fucking didn't. You're wrong. **Joe:** 100% You're lying, dude. **Aidan:** Okay, so prove it. Let's see it. You got evidence, right? You like evidence? You got Any? **Joe**: I mean—I—a screenshot of—how many people did you send it to? **Aidan:** Zero, because there's no recording. **Joe:** There is. **Aidan:** Let's hear it. Play it. Let's play it. Let's go. **Joe:** Let's hold on. Let's hold on. Can I go real quick? So you come in here calling it—you were making fun of Chris because he's an Australian motherfucker. He doesn't have nothing, right? You said there was no text, no proof. And then now we're transitioning to the recording because I don't have the recording. Okay, so you think Karen Read is just fucking lying about this? How would she know? How would she know what about the recording? **Aidan:** There is no recording. **Joe:** You're telling me you didn't show it to anybody? Is that really what you're gonna tell people? **Aidan:**There's no recording to share with anyone. Okay, okay. Well, I mean, you got evidence, right? To back this up. **Joe:** Yeah, right. **Aidan:: You got something, right? Yeah, yeah. Did you been right? I mean, you have that, right? You have that right because you wouldn't say something—because if you know I had it, right? **Joe:** I have—why Karen Read won't speak to you. **Aidan:** You have a screenshot of a conversation with Karen Read. You don't have an actual fucking audio, though. **Joe:** I have—in Karen Read's words. Why do you think she would lie about this? **Aidan:** Do I think she would lie about having a recording? **Joe:** She wouldn't lie about this. Explain that one—about having a recording. **Aidan:** Yes, I know she's lying about that. **Joe:** Why, though? **Aidan:** I don't know why Karen is acting the way she is. It's unfortunate. Yeah, and honestly, I'm not the one—you're a fucking airing it all out right now. That's odd that Karen would green-light you coming on here and fucking doing this. That's kind of odd. Because I love you—notice, but like—kind of yeah, we raised 1.1 million fucking dollars for a little... Here I know—here, I'm here. I'm here. There's still a— **Chris;** there's no because you—still a fucking snake. Yeah, I know. He records people's phone calls. **Aidan:: Let's hear the tape. Let's hear the tape. You're the one making—you guys got nothing. Nothing. Nothing. I just sent the fucking text out. Just say—there you go, buddy. **Aidan:** Okay, so Karen Read is green-lighting this sort of drama? That's what you're saying? **Joe:** I asked her. I said—you asked her? She said yes, go ahead. I said, do you want your side out there? She said, 'sure. You're gonna read it? Sure. I told many people my side. This is my last straw. I would never and have never betrayed him. Meanwhile, he has put me in harm's way in a huge way multiple times.' **Aidan:** I put her—fucking words, okay? Not mine. Yep. Okay. I put Karen Read in harm's way? I went to jail for Karen Read. I don't know if you're familiar. **Chris:** You didn't go to jail for Karen Read, you fuck. **Aidan:** Oh, really? Then what am I on bail for? What is—the full—what's the full? **Chris:** You went to jail for Karen Read? You went to jail because of Lindsey. You went to jail because you're a fucking dick. **Aidan:** Why was I on bail? I think you're a fuck—while you're on bail. I'm saying because—why would I care? Maybe someone in the night— **Chris:** hey, you're full of shit. You're a fucking hell. **Aidan:** What the fuck was I on bail for? **Joe** Because they may know that—if you didn't record it, why are you being so hush-hush about it with everybody? Why would he just tell the people what she was saying since she's lying? What do you mean hush-hush about it? **Aidan** You think I won't talk about what she texted me? But you were hinting at it because I don't want to hear the fucking drama, but apparently she does because she's—you fucking do this because you're recording. Thank you. You're telling me no recording of any fucking phone calls? What's the—what's the fight? So you weren't mocking her the past however long—every time you went on the show saying you owe everything to Karen, all that shit? How is that little white lie? **Aidan:** I owe everything to Karen? What? Why is that little sub-story? You went on two weeks—how is that mocking her? That wasn't in the recording. What recording? There's no fucking recording. **Joe:** I heard it was a 10-minute recording. Does that make sense? **Aidan:** No recording, bro. Let's hear it. You heard it. Let's hear it. **Joe:** Dude, I'm not putting that part out here. **Aidan:** She's talking about her shit. What she's texting you right now—obviously. Who egging this on, isn't she? **Joe:** Who? Okay? Okay, who? Keep playing dumb. Hey—who? **Aidan:** Mm-hmm? Believe it or not—you guys got nothing, right? **Chris;** We got good—from the horse's mouth, mate. I mean, it's not over the horse. Yeah, that's enough for me. I don't need... **Aidan:** Karen's not talking to anyone in the media. **Joe:** If you read the text message, I just reached out to her as a friend—just to reach out and say hope you're doing well. She went into this whole thing about you. **Aidan:** So you reached out—let me get this right—you reached out to her just to say hope you're doing well, and the first thing she did was complain about me? **Joe:** Yes, okay. That says it all. There we go. Where is she? Tired of me? Maybe she's fucking tired of you telling the people bullshit. **Aidan:** What—what—what—what—what bullshit have I told people? That you have no idea why she won't fucking come on your whatever it is. **Aidan:** What do you mean I have no idea why? **Joe:** That's what you've been saying—you don't know what's going on, like you feel a bit sorry for—like the thing with the fucking Howie Carr, dude. That was ridiculous. **Aidan:** What was ridiculous? You're the entire way you handled—I didn't say a word about that. **Chris:** Yes, you did. You deleted the receipt, but let's see—where did I complain about her appearance on Howie Carr? You made a lot of all quiet. Oh, this fuck it. Oh... **Joe:** Wait, but you think we're fucking dumb? Do people are fucking dumb? So where did I—after you deleted it, and then you made a post about deleting it. **Aidan:** What did I say about it? I don't remember. **Chris:** But you don't remember? Yeah, you deleted it, bro. You deleted it. Yeah, remember? You deleted it. And then you made a post about the deleting of the post. Part 2 coming later.
37:52

(1/2) Last night's Aidan Kearney meltdown over his falling out with Karen Read on an X Space is the peak of catharsis and real-time online toxicity: It starts with the the bombshell claim about Aidan recorded Karen Read, moves to Karen's newly-released texts about being "done" with Aidan after "someone" sent a recording of that conversation to David Yannetti and Alan Jackson, then spirals into ad hominems, and ends with Kearney storming off to counter-publish. The flood of primary source documents posted on online overnight, thus, acts as the host's (Chris) victory lap over Kearney. FULL TRANSCRIPT; *(Cleaned for grammar/spelling, punctuated for flow, and line-broken for readability. Some errors are expected.)* **Aidan:** Am I on? **Host/Other:** You're on. **Aidan:** So who are you? Who is this? **Chris:** Don't worry about it. It doesn't matter who I am. **Aidan:** Well, it does. You're some fucking kangaroo court motherfucker talking about her. What the fuck do you know about anything? **Chris:** Well, I don't know exactly what you've been doing. **Aidan:** So what are your sources? What are your sources? What are your sources you're talking about? Huh? You don't know your sources? What do you talk about? No, your sources. Shut up. Let's see 'em. Let's see your sources. **Lily:** Hang on, Aidan. I'm the host. I'm Lily. **Aidan:** Yes, Lily. Hi, Lily. How are you? **Lily:** I'm good. I'm just going to wait. I know you may not know it, Chris, but you know me. And so I just wanted to say hi. **Aidan:** Yeah, I know, but this Koala motherfucker is up here making shit up, running his mouth nonsense. Let's see the receipts. I mean, what were you talking to Karen Read about? What are you talking about? Who the fuck are you? **Chris:** I'm asking you flat out: Did you or did you not record her phone calls between yourself and Karen? **Aidan:** I did not. I did not. **Chris:** Okay, so Karen is lying? **Aidan:** You talked to Karen Read? Karen isn't talking to anyone in the media, but she's talking to this call-the-motherfucker. That's what you're telling me right now. **Chris:** Like I said, If you want to go down this hill, stand ten toes down." **Aidan:** I'm calling you out because you're making shit up. **Chris:** Who? I'm not making anything up. I'm not making anything up. I'm not making anything up. **Aidan:** So let's see it. Let's see the fucking evidence. Let's see your communications with Karen Read where she says that. Let's see it. **Lily:** Hang on. Chris, you're going to have to provide the receipts. **Chris:** I'm going to tell you, the guy who's doing this—you know, he's going to put them out. **Chris:** Do you really want to prove it? You want to prove it to me? I've got all the mistakes that come out. I can't. Literally. Yeah. Yeah. Sure. What's that? Let's see it. Let's see it. Produce it. Tweet it out right now. **Aidan:** So I'm denying it—like, hardcore, 100%. I'm the guy you have to deny it to. I don't, because you've become a bit of a fuck-up. It's about as fucking legitimate as Lindsey trying to be a rake. Let's fucking see it, motherfucker. You got it, right? 'Cause I—accusations—I always bring fucking receipts. Where's your receipt, bitch? **Aidan:** You got 'em? **Chris:** I've got 'em now. I think you want me to be saying—to be honest—hang a room on the fucker with no receipt. **Aidan:** You got 'em? Yes or no? **Chris:** I've got a receipt. Where's your fuck? **Chris:** You just need, bro—you just need to like chill, because you're gonna have a lot of fucking neck on your face, because I don't really care. **Chris:** I said to the people who bought this story: If I end up having egg on my face, I'll put everyone's name in it, and I'm given—I have a... Just shut your fucking mouth for one fucking minute. **Aidan:** Right. Let's see it. **Chris:** I've just messaged the person. **Aidan:** Joe Flipp, you want to talk about a fucking psychopath? That motherfucker is—just, Joe Flipp. Really want to fucking go there?" 'Cause it's Joe. You can just say it's Nick from Philadelphia, isn't it? Yeah, I know all about Nick from Philadelphia. If you fucking want to go there and the fucking hell—that psychopath—what Olivia Lambo went through. You just don't want to come out. Does he want to talk about all that? Does he want to launch? **Chris:** Okay? You know what? How was your lunch with Meredith the other week. Fuck it. I don't care. How was your lunch with Meredith? How's your lunch with Meredith? **Aidan:**What the fuck? **Chris:** Chat, what, what am I talking about? How is your lunch with Meredith here? We got—you know what you want to do? You want to carry on and be a fuck with me here? I like you—always up. **Chris:** How was your lunch with Meredith a couple weeks ago, and what did you play for her? What the fuck are you talking about? Yeah, what the fuck am I talking about? You know exactly what I'm talking about. And I'm trying to do this respectfully, but you come in hot like you always do. So now I'm just gonna fucking do it. How was your lunch with Meredith the other week? **Aidan:** I didn't have one with Meredith. Yeah, bullshit. Okay, so that's it. So someone else is lying now. **Chris:** So you're gonna call Meredith a liar? Why? Meredith's a liar? **Aidan:** Are you talking to Meredith? **Chris:**I'm not talking to Meredith. **Aidan:** What are you talking about? **Chris:** Okay, well, so you have great Meredith in an Oscar. If you said that to Meredith, you just spread rumors. That's what you do—you don't spread any rumors. I want to laugh tonight about this. **Erika Walsh:** I warned you, Chris, about this last night. **Aidan:** You got no—Joe Flipp—fucking feeding you nonsense. That slimy psychopath, fucking nut job who called in Olivia's entire family to harass them—to the point where she had the fucking... Nothing to do with Olivia. And Joe's Flipp— **Chris:* this is to do with you. Stop deflecting, that motherfucker. **Aidan:** I'm telling you this—he's the one telling you this. **Chris:** I've been told by three different people. Three different people. There's people in this chat who know about this. There's people in chat—they won't stand up and say anything, but I know the people who know about this. **Aidan:** Bring all these lame cons up one by one so I can slam 'em down one by one, because none of you motherfuckers got a receipt to back up any of this shit. None of you do. Bring it. By adding them. **Chris:** Stand by. Stand by. Stand by. **Joe Flipperhead:** You have the text, bro. You know I saw the screenshot. **Aidan:** So we gonna talk about what you did to Olivia Lambo? We have a lot of things, dude. **Joe:** You're deflecting. When you... **Aidan:** You want to go there? Mark Bedderow? Oh, of being in on a fucking conspiracy against you? To tell us—if when we told you Olivia Lambo... You made us fucking get on a FaceTime with her because you thought she was dead. You thought you were being catfished by her, fucking... I was, and so we agreed to do a Zoom call with her. And when I called you and I told you Olivia Lambo is real—I just saw her face. What did you do? You accused me and Mark Bedderow of lying to you, of being in on it, because you are a fucking psychopathic motherfucker. And I didn't put it there because I don't want to fuck... **Joe:** Yeah, you did put it out there, though. If you want to get into the Olivia thing, that's fine, and I'll go down that road. But you're calling me a psychopath You fucking recorded Karen Read's fucking calls and sent them to people. **Chris:** I'm just gonna keep muting him because he's yelling. You can say it. **Aidan:** Is this Lily's space or yours? **Joe:** I have the text, dude. I'll put it on one of our... Your—She told me she's fucking done with you, dude. **Aidan:** All right. I'm going on my own right now. I'm calling out fucking Joe Flipp-ed life. If I get muted one more fucking time. I'm gonna do a whole fucking... Thank you. I'm publishing all your fucking texts—the whole world can see what a fucking sadistic psychopath you are. You controlling predator piece of shit. You fucking go there. **Chris:** This is completely the actions of a normal innocent person. **Aidan:* You're a pyscho freak. **Joe:** Yeah, says the guy that recorded Karen. **Aidan:** Oh, yeah, let's hear it. See the fucking recording. Can I hear it? **Joe:** I got the text saying you recorded. But the text says there's a recording, so where's the fucking recording? *Aidan:** Hey, let's hear Joe. Why? I just got asked if I'm—what would you say if I'm a massage in this? Like, go— **Joe:** Why does Liv still text me to this day? **Aidan:** You text her. Oh, you want to see the receipts, dude? I've seen the receipts—all of them. Okay, I got all the receipts. **Joe:** You got the August ones, the September ones where she misses me and hates how things ended? You got those? Fuck, I see 'em. Publish 'em. I will do it. I don't plan—I talk about you. Go for it. **Chris:** You're doing everything back. **Joe:** When I told you how she wouldn't FaceTime me for three months, how she puts up month-old pictures if you wouldn't fucking... **Aidan:** Yeah, you know why? You know why she wouldn't do that? She's just not into you. Ever have you do this with every girl you fucking talk to? **Joe:**You said to me, after reading the text from her sister— **Chris:** Says the guy who is swining on a 19-year old. **Joe:** You said Aidan, that she said to you, "she's love with you," bro. That's what you said. She's in love with you. That's what you said. Yeah, when her sister—and then he can get you caught by somebody. Let's just get back to you. Deflection from Aidan, who doesn't want to be on the line. **Joe:** As you wish—she wouldn't FaceTime me. She wouldn't meet up with me, and she lied to me constantly. Yeah, why would she meet up? **Aidan:** Maybe she's just not that into you. Ever think about that? Maybe she's just not that into you. Maybe you saw the text. I know, I know—it's hard for you to accept that the girl just doesn't want you. You have to accept the person doesn't want nothing to do with you, isn't it? I did, and you got clingy and possessive. And so she fucking stopped talking to you, so you called her mother and you talked—you don't even know because you're psychotic, bro. I'm fucking... you. *Joe:** You're just deflecting, bro. This is fucking pathetic. I'm not your one. She's talking about this. **Aidan:** I got no fucking thing—you—you are a fucking psychopath. **Joe:** You're first of all—she doesn't want you to fucking be talking about this because why? **Aidan:** You're the one fucking airing it out now, motherfucker. **Chris:** You're the one airing it because you got caught recording Karen. **Aidan:** So let's hear the recording. Let's play the recording. You got a recording of me, right? **Joe:** I know you did it, dude. **Aidan:** What? **Joe:** I know you recorded. Are you lying? Karen Read's a liar? All right, am I...? **Aidan:** You are the fucking coward. Where's the recording? What recording you talking about? You're—you're— **Joe:** You're accusing Karen Read of lying about this? **Aidan:** Yes. **Joe:** You're really—are you really serious? How many fucking—serious? **Aidan:** Let's hear the fucking recording. **Lily** Chris or Joe? Please play it. Did it? You didn't have... for people. Can you please provide a receipt? Just like I think it's fair. **Joe:** Aidan has it. **Aidan:: I thought you had it. I thought you had it. Let's hear it. Let's hear the recording. **Joe:** All right, you sent me the text that I sent. You haven't... **Aidan:** Yeah, let's—so let's hear the actual recording. Does it exist, though? **Joe:** So Karen is lying. **Aidan:: Karen Read would never lie (sarcastic tone). Oh, yeah. **Chris:** True color. *Joe:** So yeah, let me just run this: You recorded it. You recorded the conversation. You showed it to people, and then the very next day she randomly accused you of fucking doing it. That's what happened. That's what your story is, right? **Aidan:** There's no fucking recording. **Joe:** There is, dude. Where is it? **Aidan:** So let me hear it. Play it. **Joe:** I don't fucking have it. **Aidan:** Oh, you don't know if there's a recording, do you? Thank you. Because you're full of shit. I know—I just fucking caught you. That's what you just said. Those—bring it up here. I talked to somebody—bring her up here. Bring Karen Read up here, bro. You talked to her? Bring her on up here. **Joe:** I spoke to somebody that you played the recording for. Okay, oh—you know, just—I just say I've already said it, so just say it. Okay, I said I wanted to not say her name, but you know who—you played it for. **Aidan:** I haven't played it for anyone just— there's no recording. **Joe:** Stop fucking lying. Let's hear it from the point. *Aidan:** Let's hear it. Let's hear it. **Joe:** Aidan, this is fucking crazy, dude. **Aidan:** I'm not the one that fucking caught it—got blocked by Olivia's mother, and fucking brother... **Joe** Here we go. This is deflecting, and dude—that's admitting how fucking guilty you are right here. **Aidan:** Let's hear a fucking recording. You said you got a fucking recording, right? **Joe:** Nobody said that. We said—oh, Karen Read doesn't want to talk to you anymore because you recorded her calls, set them to people, and it got back to her. **Chris:** I got a question for you, Aidan, I didn't know—so sure. When you went on your little pity party and then you— **Joe:** The worst part is you lied to everybody acting on it. You had no idea what was wrong and why she she fucking set you straight—trying to get sympathy. That, my friend, is fucking psychotic. **Aidan:** Okay, okay, sure thing. Yeah, you said I sent the recording out. Where's the recording? *Joe:** Dude? It's not—I'm not obligated to fucking get the recording. **Aidan:** Oh, yeah, you wouldn't want to back it up, right? **Joe:** You're so—you're going to go on record that Karen is lying? Say it. You're caling Karen Read a liar about this. **Aidan:** There is no fucking recording. **Joe:** You're lying, dude. It's fucking crazy. This is what's here. It—play the note. You played it for somebody. You got it. I don't got it. **Aidan:** Let's hear you play it. You're the one that says there's a fucking record. **Chris:** I mean, that's—you have a history of recording people. **Lily:** Wait, we have—well, I feel like we have a responsibility as me as a host to Chris and... You're both—you're actually both not providing a receipt, and I'm—Aidan is actually asking for a receipt. I have to—for the recording. **Joe and Chris** He has—asking for the recording. **Lily:** You guys—she has which he sent to—we know I said. So who has it? One of the receipts. I know you're not gonna have— **Aidan:: you don't have the recording because— **Lily:** Just fucking say it. Karen doesn't want the recording out there. **Aidan:** What recording? There's no recording. **Joe:** Never even asked her for it, to be honest with you. **Aidan:** And so you wait—yeah, you never asked. Thank you—you never asked. **Joe:** Karen is fucking so done with you, bro. She sent—she told me about this completely unsolicited. **Lily:**That's beside the point, and I'm not the first—(Joe) Karen's done with him, ..but what the fuck—just post the fucking receipt for him. **Chris:** You can't come on here saying he has it, Lily. He's seen the same thing you've seen. He's even seen the same thing that I showed you. **Lily:** I know. You don't come on here and say I've got this, and then Aidan demands a receipt—you deserve. Okay... **Joe:** He's deflecting, asking for a recording he knows about the text. **Lily:** Yeah, I know, Joe. I get what you're saying, and I respect every—like what you're saying, but he's denying it. **Joe:** Fine, I'll post the fuck—I'll post them right now. I really don't give a fuck. **Lily:** Thank you. And that's immense—he can—he can then riff like whatever he can. I can't—I'm so like nervous. I've got dry mouth because... Then Aidan can like look at those, and he at least has—you know exactly what's been spoken about. He's just denying it. I can't say that, and I get it, but he is asking for the receipt, which is fair. And **Joe:** I'll even add the text message when he came on here initially. He said it was all alive, right? He said he sent me—fucking text message on Monday morning. **Lily:** I see it. We've established that now. We established that Aidan's denying it, so just post the receipt that you have, and then he can actually reflect on that and—and do you see what I mean? He's not gonna turn around now and say actually it is true. But if you've got the receipt, he can then say, "I will—this is x, y and z there." I just think it's fair—like... **Aidan:** Now, yeah, what he has is a screenshot that he claims is from Karen Read. It was— **Joe:** You're saying it's not from Karen Read. **Aidan:** I don't—there's no fucking name on the top. **Joe:** Yeah, I have it. Do you want me to read? **Aidan:** Okay, so there was an allegation? I'm reading. **Joe:** Do I have a text from you saying I was sent the same thing the morning after the verdict? Did you not say that to me? **Aidan:** Yes, you sent me the same thing the morning after the verdict. **Joe:** Okay, so then she sent it to me too. **Aidan:** Yeah, she knows—she said to me the morning after the Wilbur—she after the morning after the show, she said that she was sent a 30-minute fucking tape. Where's the fuck? What tape? Okay, she's not fucking accusing me. I have no—there's no fucking tape. There's no tape. She thinks I recorded her because I fucking told people about the conversation. That's it. **Joe:** You're telling me you didn't? **Aidan:: And I'm telling you I fucking didn't. You're wrong. **Joe:** 100% You're lying, dude. **Aidan:** Okay, so prove it. Let's see it. You got evidence, right? You like evidence? You got Any? **Joe**: I mean—I—a screenshot of—how many people did you send it to? **Aidan:** Zero, because there's no recording. **Joe:** There is. **Aidan:** Let's hear it. Play it. Let's play it. Let's go. **Joe:** Let's hold on. Let's hold on. Can I go real quick? So you come in here calling it—you were making fun of Chris because he's an Australian motherfucker. He doesn't have nothing, right? You said there was no text, no proof. And then now we're transitioning to the recording because I don't have the recording. Okay, so you think Karen Read is just fucking lying about this? How would she know? How would she know what about the recording? **Aidan:** There is no recording. **Joe:** You're telling me you didn't show it to anybody? Is that really what you're gonna tell people? **Aidan:**There's no recording to share with anyone. Okay, okay. Well, I mean, you got evidence, right? To back this up. **Joe:** Yeah, right. **Aidan:: You got something, right? Yeah, yeah. Did you been right? I mean, you have that, right? You have that right because you wouldn't say something—because if you know I had it, right? **Joe:** I have—why Karen Read won't speak to you. **Aidan:** You have a screenshot of a conversation with Karen Read. You don't have an actual fucking audio, though. **Joe:** I have—in Karen Read's words. Why do you think she would lie about this? **Aidan:** Do I think she would lie about having a recording? **Joe:** She wouldn't lie about this. Explain that one—about having a recording. **Aidan:** Yes, I know she's lying about that. **Joe:** Why, though? **Aidan:** I don't know why Karen is acting the way she is. It's unfortunate. Yeah, and honestly, I'm not the one—you're a fucking airing it all out right now. That's odd that Karen would green-light you coming on here and fucking doing this. That's kind of odd. Because I love you—notice, but like—kind of yeah, we raised 1.1 million fucking dollars for a little... Here I know—here, I'm here. I'm here. There's still a— **Chris;** there's no because you—still a fucking snake. Yeah, I know. He records people's phone calls. **Aidan:: Let's hear the tape. Let's hear the tape. You're the one making—you guys got nothing. Nothing. Nothing. I just sent the fucking text out. Just say—there you go, buddy. **Aidan:** Okay, so Karen Read is green-lighting this sort of drama? That's what you're saying? **Joe:** I asked her. I said—you asked her? She said yes, go ahead. I said, do you want your side out there? She said, 'sure. You're gonna read it? Sure. I told many people my side. This is my last straw. I would never and have never betrayed him. Meanwhile, he has put me in harm's way in a huge way multiple times.' **Aidan:** I put her—fucking words, okay? Not mine. Yep. Okay. I put Karen Read in harm's way? I went to jail for Karen Read. I don't know if you're familiar. **Chris:** You didn't go to jail for Karen Read, you fuck. **Aidan:** Oh, really? Then what am I on bail for? What is—the full—what's the full? **Chris:** You went to jail for Karen Read? You went to jail because of Lindsey. You went to jail because you're a fucking dick. **Aidan:** Why was I on bail? I think you're a fuck—while you're on bail. I'm saying because—why would I care? Maybe someone in the night— **Chris:** hey, you're full of shit. You're a fucking hell. **Aidan:** What the fuck was I on bail for? **Joe** Because they may know that—if you didn't record it, why are you being so hush-hush about it with everybody? Why would he just tell the people what she was saying since she's lying? What do you mean hush-hush about it? **Aidan** You think I won't talk about what she texted me? But you were hinting at it because I don't want to hear the fucking drama, but apparently she does because she's—you fucking do this because you're recording. Thank you. You're telling me no recording of any fucking phone calls? What's the—what's the fight? So you weren't mocking her the past however long—every time you went on the show saying you owe everything to Karen, all that shit? How is that little white lie? **Aidan:** I owe everything to Karen? What? Why is that little sub-story? You went on two weeks—how is that mocking her? That wasn't in the recording. What recording? There's no fucking recording. **Joe:** I heard it was a 10-minute recording. Does that make sense? **Aidan:** No recording, bro. Let's hear it. You heard it. Let's hear it. **Joe:** Dude, I'm not putting that part out here. **Aidan:** She's talking about her shit. What she's texting you right now—obviously. Who egging this on, isn't she? **Joe:** Who? Okay? Okay, who? Keep playing dumb. Hey—who? **Aidan:** Mm-hmm? Believe it or not—you guys got nothing, right? **Chris;** We got good—from the horse's mouth, mate. I mean, it's not over the horse. Yeah, that's enough for me. I don't need... **Aidan:** Karen's not talking to anyone in the media. **Joe:** If you read the text message, I just reached out to her as a friend—just to reach out and say hope you're doing well. She went into this whole thing about you. **Aidan:** So you reached out—let me get this right—you reached out to her just to say hope you're doing well, and the first thing she did was complain about me? **Joe:** Yes, okay. That says it all. There we go. Where is she? Tired of me? Maybe she's fucking tired of you telling the people bullshit. **Aidan:** What—what—what—what—what bullshit have I told people? That you have no idea why she won't fucking come on your whatever it is. **Aidan:** What do you mean I have no idea why? **Joe:** That's what you've been saying—you don't know what's going on, like you feel a bit sorry for—like the thing with the fucking Howie Carr, dude. That was ridiculous. **Aidan:** What was ridiculous? You're the entire way you handled—I didn't say a word about that. **Chris:** Yes, you did. You deleted the receipt, but let's see—where did I complain about her appearance on Howie Carr? You made a lot of all quiet. Oh, this fuck it. Oh... **Joe:** Wait, but you think we're fucking dumb? Do people are fucking dumb? So where did I—after you deleted it, and then you made a post about deleting it. **Aidan:** What did I say about it? I don't remember. **Chris:** But you don't remember? Yeah, you deleted it, bro. You deleted it. Yeah, remember? You deleted it. And then you made a post about the deleting of the post. Part 2 coming later.

Grant Smith Ellis

85,913 просмотров • 10 месяцев назад