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In collaboration with Wuthering Waves Fan Creation Special Program Solaris Supercup™ Series we present "Fight Back". A cinematic piece telling the stories of Galbrena and Augusta. Vocals: DizzyEight Songwriting: DizzyEight Music production: Musicality Mixing and Mastering: DizzyEight Illust: dachi Movie：お菊 筆者

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DizzyEight

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51,702 görüntüleme • 8 ay önce •via X (Twitter)

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Wuthering Waves EP 1.3 | An Unfinished Song Enjoy Now: It all begins with a simple melody, a gift from someone special long ago. As she masters one piece after another, her heart yearns to create her own. Lyrics may elude her, much like the intricate emotions woven into human hearts. Yet, every time she plays, it's the memory of someone she holds dear that dances through her mind, a bittersweet reminder of love's lingering presence. Production: Wuthering Waves Composer: Adam Gubman Arranger: Adam Gubman Lyrics: Adam Gubman/Piper Gubman Vocals: Moana Avvenenti String: Leah Zeger Wind: Kristin Naigus Mixing/Mastering: Adam Gubman Music Supervisor: Grass/Steven Tang
4:18

Wuthering Waves EP 1.3 | An Unfinished Song Enjoy Now: It all begins with a simple melody, a gift from someone special long ago. As she masters one piece after another, her heart yearns to create her own. Lyrics may elude her, much like the intricate emotions woven into human hearts. Yet, every time she plays, it's the memory of someone she holds dear that dances through her mind, a bittersweet reminder of love's lingering presence. Production: Wuthering Waves Composer: Adam Gubman Arranger: Adam Gubman Lyrics: Adam Gubman/Piper Gubman Vocals: Moana Avvenenti String: Leah Zeger Wind: Kristin Naigus Mixing/Mastering: Adam Gubman Music Supervisor: Grass/Steven Tang

Wuthering Waves

279,572 görüntüleme • 1 yıl önce

Wuthering Waves × Cyberpunk: Edgerunners — Special Talk Ahead of the launch of our collaboration with Cyberpunk: Edgerunners, we invite you to join us for a special talk featuring Bartosz Sztybor, VP of Franchise at CD PROJEKT RED & writer for Cyberpunk: Edgerunners, and Milena Zając, writer & editor at CD PROJEKT RED. Together, we will share behind-the-scenes stories of our collaboration, explore cyberpunk themes, and discuss how our dev team brought the world of Edgerunners to life in-game. Wuthering Waves × Cyberpunk: Edgerunners Collaboration is set to launch on June 8th (UTC+8). The new 5-Star Resonators Lucy and Rebecca will debut, and you can snag the 5-Star Resonator Rebecca for free! #WutheringWaves #Edgerunners
29:16

Wuthering Waves × Cyberpunk: Edgerunners — Special Talk Ahead of the launch of our collaboration with Cyberpunk: Edgerunners, we invite you to join us for a special talk featuring Bartosz Sztybor, VP of Franchise at CD PROJEKT RED & writer for Cyberpunk: Edgerunners, and Milena Zając, writer & editor at CD PROJEKT RED. Together, we will share behind-the-scenes stories of our collaboration, explore cyberpunk themes, and discuss how our dev team brought the world of Edgerunners to life in-game. Wuthering Waves × Cyberpunk: Edgerunners Collaboration is set to launch on June 8th (UTC+8). The new 5-Star Resonators Lucy and Rebecca will debut, and you can snag the 5-Star Resonator Rebecca for free! #WutheringWaves #Edgerunners

Wuthering Waves

1,581,208 görüntüleme • 3 ay önce

On the auspicious celebration of SHIVRATRI, our new bhajan “Bhola Bhandari” is out on Youtube. Link in bio Har Har Mahadev ✨🙏 I’d like to thank each and everyone who’ve worked on this project tirelessly, starting from recce to the release of the bhajan. ♥️✨😁 Thank you, @kartikdevofficial and Gaurav Singh for thoughtful musical creativity throughout the music production process. Patel Sandeep p , our Director for exceptional direction ,visionary leadership and creative composure on the entire project. @sanxsin for adding creative flair and aesthetics ✨ Thank you shadab.rayeen for mixing and mastering ✨ @chetnasharmaa , beautiful music composition and heartfelt lyrics ♥️ mr.sammy_boy , DOP with a keen eye for lighting turning the scenes to cinematic masterpieces. Daiana Santana.a , meticulous editing and VFX adding magic with color grading ✨ Special thanks to whistlingwoods💜💜 Photos of novos fake.rd the drone shots were amazing! Thanks to the entire crew, Assistant cinematographers @kunaldhakephotography , Ashwani Thurwal great work on enhancing cinematic experience. Great creative and line production by Jaya Kishori Productions and assistant producers @chetnasharmaa @iam_janejennifer Thank you for the lovely outfit Kritika Todi ♥️ Together, we have crafted a music video that exceeds all expectations and stands as a true testament to your talent and dedication. I am incredibly grateful for the opportunity to collaborate with such a remarkable team of individuals.
0:41

On the auspicious celebration of SHIVRATRI, our new bhajan “Bhola Bhandari” is out on Youtube. Link in bio Har Har Mahadev ✨🙏 I’d like to thank each and everyone who’ve worked on this project tirelessly, starting from recce to the release of the bhajan. ♥️✨😁 Thank you, @kartikdevofficial and Gaurav Singh for thoughtful musical creativity throughout the music production process. Patel Sandeep p , our Director for exceptional direction ,visionary leadership and creative composure on the entire project. @sanxsin for adding creative flair and aesthetics ✨ Thank you shadab.rayeen for mixing and mastering ✨ @chetnasharmaa , beautiful music composition and heartfelt lyrics ♥️ mr.sammy_boy , DOP with a keen eye for lighting turning the scenes to cinematic masterpieces. Daiana Santana.a , meticulous editing and VFX adding magic with color grading ✨ Special thanks to whistlingwoods💜💜 Photos of novos fake.rd the drone shots were amazing! Thanks to the entire crew, Assistant cinematographers @kunaldhakephotography , Ashwani Thurwal great work on enhancing cinematic experience. Great creative and line production by Jaya Kishori Productions and assistant producers @chetnasharmaa @iam_janejennifer Thank you for the lovely outfit Kritika Todi ♥️ Together, we have crafted a music video that exceeds all expectations and stands as a true testament to your talent and dedication. I am incredibly grateful for the opportunity to collaborate with such a remarkable team of individuals.

Jaya Kishori

41,501 görüntüleme • 2 yıl önce

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR
9:43

GM! Thanks for sticking with me through these long posts as we dive into the complexities of Kaidro. Today, let's talk about the development of our animation series. We haven't discussed this much because it's quite detailed. Where are we with the animation series development? It's a complex answer because our IP spans multiple mediums. Here's a simplified breakdown: - Learning from Anime: Like popular series such as "Fullmetal Alchemist," "Naruto," and "One Piece," where manga serves as the storyboard for anime, we've taken a similar approach but with a twist. - Starting with the end in mind: We began by creating 3-D assets in Unreal Engine 5 for our Webtoons and print manga. This choice allows us to use the same high-quality assets for cinematic TV, movies, and games, reducing costs and enhancing consistency. - Asset Reuse: By developing assets once for high-quality output, we can use them across comics, games, and animations. This method, similar to what was done in "Arcane," involves hand-painting over 3-D models for a unique look. - Cost and Efficiency: This approach isn't common due to its difficulty and the need for story consistency. However, it allows for smarter production, echoing the methods of visionaries like Disney and Hanna-Barbera, ensuring we can sustain and grow our IP like Pokémon. Current Status: - Pre-production: We're well into preproduction, with story development, storyboards, color scripts, and asset creation nearly complete. This groundwork usually takes years but we're ahead. This is because what I listed above are the mangas. Each manga counts as two episodes. And because each of those are fully developed, we have all the information we need to develop an episode. - Production Timeline: We're set to move into full production in 2025. Post our animation lock-up system with the community we am to go into full production after that in January. - Quality and Speed: An example of our efficiency is the cinematic for December 18th, where we reused game assets for backgrounds, finishing 43 scenes in just a month, which is exceptionally fast. Why This Matters: - For Investors and Community: This strategy not only reduces costs but also extends the life and reach of Kaidro, ensuring long-term success. We're significantly further in our animation development than most Web3 projects, maintaining high quality while pushing boundaries. Our hyper focus is on the production pipeline to allow for the anime to come to life. LFG $KDR

Robert Simons | $KDR 🐉

38,221 görüntüleme • 1 yıl önce

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa
16:00

Solon Lee (Producer at Kuro Games): Thank You for Playing My Game "Wuthering Waves: Exploring Game Creation Under Unreal Engine." Interview by Nvliu66 When you think of Unreal Engine, what comes to mind? A few days ago, at the Epic Games Shanghai office, I met the producers of Clair Obscur: Expedition 33 and Wuthering Waves. Both games are developed based on Unreal Engine, and they shared the stories behind their game creation. My biggest takeaway was that while a great game stems from a producer's emotional expression, its realization relies on the "escort" of technology. Let's return to the interview scene and listen once more to their unique insights on game development. Wuthering Waves and Unreal Engine Bill Clifford (VP and GM of Unreal Engine at Epic Games): With Wuthering Waves, they used many complex artistic techniques to present this anime style, and it's truly outstanding. They are among the first companies to create a role-playing game in an open world that is also cross-platform, which is another incredible feat. They introduced console-level graphics and combat systems while maintaining a consistent update frequency. Furthermore, as they adopt and integrate new Unreal Engine technologies into the game, the experience is continuously enhanced. It’s a truly inspiring success story. Solon Lee (Producer at Kuro Games): We have grown alongside the updates of the UE engine, including the release of UE5. Throughout the process, we’ve been able to learn from UE’s updates. When UE5 was released, it introduced many new technical features, especially ray tracing. Everyone currently praises the ray tracing effects in Wuthering Waves, which is actually due to the continuous updates of the engine. We found those highlights and ported them over to UE4.26. During this process, our engineers were learning the logic of the engine, following its updates, and developing an engineering mindset and a way of creating visual effects. So, my biggest personal takeaway is that choosing a top-tier engine doesn’t just make the game better; it makes us better in the process. "Punishing: Gray Raven" was developed on the Unity platform, while "Wuthering Waves" is based on Unreal. What was the reasoning behind this change at the time? Solon Lee: Psychologically, we don’t have a heavy dependence. We don't feel that just because we've used Unity, we must continue using it. We are a bit more pragmatic. When we were about to start Wuthering Waves, we clearly knew we wanted to make an open world. UE obviously offers more support for open worlds. We felt that "standing on the shoulders of giants" to make a game was definitely a more practical decision. At that time, we could also sense that most engineers in the industry had an aspiration toward UE. "Wuthering Waves" has been live for a year and a half. At this stage, could you use a short summary or a few words to introduce "Wuthering Waves" to the players? Solon Lee: Wuthering Waves is a game that strives to continuously create resonance with players. From the excitement and design of the action to the scriptwriting and performances, we strive to find "highlight segments" or moments in every version that can trigger internal resonance, touch the heart, or make players "scream" with excitement. This is actually a creative consensus our team has slowly formed over the past year. When we find that moment in a version and we ourselves "scream" for it, we feel that there is a high probability that when the version is released, it will be recognized by the users. Because the most important thing about a game is that it must be fun, as developers, we often think about what kind of game qualifies as "fun." What is a "Fun" Game? Solon Lee: One point I can think of right now is that the rules should be as simple as possible. As soon as you start, after two slashes or casting a skill, you should feel, "Wow, that was so cool! I want to do it again! Wow, so cool!" Specifically for action games, the "fun" is often hidden in very small granularities. For example, if you compare two different games where you are just running and jumping, the running in some games feels fun. Why? It might just be because the "grip" is better, the animation swing feels better, or it gives you a sense of gravity or momentum. Whether a point in a game is fun can be subjective. For me, there are a few games that have had a significant influence on my work. One is definitely NieR; when we were making Punishing: Gray Raven in the early days, we were very inspired by NieR. When Devil May Cry 5 came out, it gave us a lot of new inspiration for our combat system. Death Stranding is indeed one of my personal favorite games from recent years. When Elden Ring was released, it also gave us a very strong impression and touched us deeply. The project for Wuthering Waves started in the first half of 2020. At that time, there were very few open-world action games on the market because most action games back then were stage-based (linear/hub-based). All excellent action games required very tight level design. Later, Elden Ring came out, and experiencing it gave us strong resonance. We felt that action games definitely have potential in an open world, and we believe it should be that way. A Message to the Players Solon Lee: I am truly grateful that so many players like Wuthering Waves. It is because of everyone’s love whether it's encouragement or criticism that we are given a lot of motivation to maintain our continuous passion to make our game better. I believe the only way we can give back to the players who like Kuro and Wuthering Waves is by producing better and better versions and content, and making more and more great games. Happy New Year, and thank you for playing my game. translated by Xu #WutheringWaves #WuWa

Naru

55,609 görüntüleme • 7 ay önce

Michael Jackson sought permission from the Brazilian government to film the "They Don't Care About Us" music video in Rio de Janeiro's Santa Marta favela and Salvador's Pelourinho district in 1996. The government denied the request, fearing the video would highlight poverty and harm Brazil's image, especially as Rio was bidding to host the 2004 Olympics. Despite the ban, Jackson and director Spike Lee proceeded with filming. Local drug lord Marcinho VP, a fan of Jackson, reportedly provided security for the production in the favela, ensuring safe passage without payment. This protection allowed filming to continue despite the lack of official support, and the video was completed, showcasing the favela's conditions and featuring the Afro-Brazilian group Olodum. They Don't Really Care About Us is a powerful and assertive song by Michael Jackson, released in 1995 on his HIStory: Past Present and Future, Book album. The track stands out for its direct and potent lyrics, which voice strong feelings of frustration and anger against societal structures that seem unresponsive or indifferent. It expresses a deep sense of being unheard and undervalued, with Jackson's vocals conveying raw emotion and defiance. The song's impactful message, combined with its memorable beat, makes it a significant piece in his discography, resonating with anyone who has felt marginalized or overlooked. ~ Shonexyujii ✨🙌🏽💫
0:26

Michael Jackson sought permission from the Brazilian government to film the "They Don't Care About Us" music video in Rio de Janeiro's Santa Marta favela and Salvador's Pelourinho district in 1996. The government denied the request, fearing the video would highlight poverty and harm Brazil's image, especially as Rio was bidding to host the 2004 Olympics. Despite the ban, Jackson and director Spike Lee proceeded with filming. Local drug lord Marcinho VP, a fan of Jackson, reportedly provided security for the production in the favela, ensuring safe passage without payment. This protection allowed filming to continue despite the lack of official support, and the video was completed, showcasing the favela's conditions and featuring the Afro-Brazilian group Olodum. They Don't Really Care About Us is a powerful and assertive song by Michael Jackson, released in 1995 on his HIStory: Past Present and Future, Book album. The track stands out for its direct and potent lyrics, which voice strong feelings of frustration and anger against societal structures that seem unresponsive or indifferent. It expresses a deep sense of being unheard and undervalued, with Jackson's vocals conveying raw emotion and defiance. The song's impactful message, combined with its memorable beat, makes it a significant piece in his discography, resonating with anyone who has felt marginalized or overlooked. ~ Shonexyujii ✨🙌🏽💫

🧬Maxpein🧬

137,319 görüntüleme • 7 ay önce

“What’s the Point?” A series 2.5 decades in the making: I’ve had the same best friend for almost 25 years. His name is BAGHEAD. When we were 8 years old we would run around our backyards making films. We made Saving Private Ryan before ever actually seeing the movie. We enlisted our neighbor and friend, Sage, a Native American, and made backyard Cowboys vs Indians films. After which we would pirate hip-hop on Limewire and play GTA until our moms called the landline telling us to come home. He and I have made a fair bit of music together over the years, about an albums worth. But, despite our individual successes, we’ve never worked together professionally. He’s filmed for everyone from Tiger Woods to Citizen, Formula One to Jelly Roll, shaken hands with Bill Clinton and 2/3rds of the Trump sons. With over 250,000,000 music video views, his production quality is unrivaled and his ability to tell a story on the silver screen is masterful. “What’s the Point” is a series I’ve been wanting to make for over a year now but simply haven’t had the capacity to do it myself. Hopefully this docuseries emerges as a way for us all to explore how humans create value, meaning, and shared narratives in the digital age. We’ll examine the intersection of technology, culture, and collective behavior, asking fundamental questions about why we build what we build and believe what we believe. We’ll be starting with a deep dive on what happened to NFTs on Solana, bridge into the narrative nitty gritties of Jupiter, and end nowhere. I couldn’t be more happy to delve into this with my best friend.
0:54

“What’s the Point?” A series 2.5 decades in the making: I’ve had the same best friend for almost 25 years. His name is BAGHEAD. When we were 8 years old we would run around our backyards making films. We made Saving Private Ryan before ever actually seeing the movie. We enlisted our neighbor and friend, Sage, a Native American, and made backyard Cowboys vs Indians films. After which we would pirate hip-hop on Limewire and play GTA until our moms called the landline telling us to come home. He and I have made a fair bit of music together over the years, about an albums worth. But, despite our individual successes, we’ve never worked together professionally. He’s filmed for everyone from Tiger Woods to Citizen, Formula One to Jelly Roll, shaken hands with Bill Clinton and 2/3rds of the Trump sons. With over 250,000,000 music video views, his production quality is unrivaled and his ability to tell a story on the silver screen is masterful. “What’s the Point” is a series I’ve been wanting to make for over a year now but simply haven’t had the capacity to do it myself. Hopefully this docuseries emerges as a way for us all to explore how humans create value, meaning, and shared narratives in the digital age. We’ll examine the intersection of technology, culture, and collective behavior, asking fundamental questions about why we build what we build and believe what we believe. We’ll be starting with a deep dive on what happened to NFTs on Solana, bridge into the narrative nitty gritties of Jupiter, and end nowhere. I couldn’t be more happy to delve into this with my best friend.

KEMOSABE

34,300 görüntüleme • 1 yıl önce

🎬 OFFICIAL FAN PROJECT VIDEO 🎬 🇻🇳Screened at FayeAtom 1st Fan Meeting “Love In The Night” in Vietnam 🇻🇳 🗓️ July 11, 2026 Today, our fan project video was proudly screened during FayeAtom 1st Fan Meeting “Love In The Night” in Vietnam. Created with love by Faye Malisorn VN Fanpage, this project is our heartfelt gift to Faye Malisorn , อะตวม , and every fan who has been part of this unforgettable journey. Every frame was carefully crafted to celebrate the beautiful memories we’ve shared and to welcome a new chapter together. We would like to express our sincere gratitude to Fabel Entertainment , S9T Concert , and CDM Entertainment for giving us the opportunity to present this project during the fan meeting. Our deepest thanks also go to everyone who contributed their time, creativity, and dedication to bring this video to life. Most importantly, thank you to every Fayemily who has continuously supported FayeAtom and believed in our projects. Your love and encouragement inspire us to create something meaningful every single time. We hope this video will remain a cherished memory for Faye, Atom, and all of us for years to come. 🤍 ⸻ CREDITS A Production by Faye Malisorn VN Fanpage Director VOD ‎˙ᵕ˙ & SHIN đang lụy FMT FayeAtom in VietNam Producer Faye Malisorn VN Scriptwriter VOD ‎˙ᵕ˙ Director of Photography (D.O.P.) SHIN đang lụy FMT FayeAtom in VietNam Assistant Director VOD ‎˙ᵕ˙ Editor SHIN đang lụy FMT FayeAtom in VietNam Colorist SHIN đang lụy FMT FayeAtom in VietNam Production Designer SHIN đang lụy FMT FayeAtom in VietNam Location Sound SHIN đang lụy FMT FayeAtom in VietNam Sound Designer SHIN đang lụy FMT FayeAtom in VietNam Music / Soundtrack • Glamorous — Fergie feat. Ludacris • Say So — Doja Cat • Like That — Doja Cat feat. Gucci Mane Production Assistants ALAN @madworldnehaha ADA Special Thanks Fabel Entertainment S9T Concert & CDM Entertainment All owners of the videos and photos featured in this project. ⸻ Disclaimer This video is a non-commercial fan project created exclusively for FayeAtom 1st Fan Meeting “Love In The Night” in Vietnam. All copyrights for the music, videos, and images belong to their respective owners. No copyright infringement is intended. FAYEATOM VIETNAM FANMEET #FayeAtom1stFMinHCMC
5:55

🎬 OFFICIAL FAN PROJECT VIDEO 🎬 🇻🇳Screened at FayeAtom 1st Fan Meeting “Love In The Night” in Vietnam 🇻🇳 🗓️ July 11, 2026 Today, our fan project video was proudly screened during FayeAtom 1st Fan Meeting “Love In The Night” in Vietnam. Created with love by Faye Malisorn VN Fanpage, this project is our heartfelt gift to Faye Malisorn , อะตวม , and every fan who has been part of this unforgettable journey. Every frame was carefully crafted to celebrate the beautiful memories we’ve shared and to welcome a new chapter together. We would like to express our sincere gratitude to Fabel Entertainment , S9T Concert , and CDM Entertainment for giving us the opportunity to present this project during the fan meeting. Our deepest thanks also go to everyone who contributed their time, creativity, and dedication to bring this video to life. Most importantly, thank you to every Fayemily who has continuously supported FayeAtom and believed in our projects. Your love and encouragement inspire us to create something meaningful every single time. We hope this video will remain a cherished memory for Faye, Atom, and all of us for years to come. 🤍 ⸻ CREDITS A Production by Faye Malisorn VN Fanpage Director VOD ‎˙ᵕ˙ & SHIN đang lụy FMT FayeAtom in VietNam Producer Faye Malisorn VN Scriptwriter VOD ‎˙ᵕ˙ Director of Photography (D.O.P.) SHIN đang lụy FMT FayeAtom in VietNam Assistant Director VOD ‎˙ᵕ˙ Editor SHIN đang lụy FMT FayeAtom in VietNam Colorist SHIN đang lụy FMT FayeAtom in VietNam Production Designer SHIN đang lụy FMT FayeAtom in VietNam Location Sound SHIN đang lụy FMT FayeAtom in VietNam Sound Designer SHIN đang lụy FMT FayeAtom in VietNam Music / Soundtrack • Glamorous — Fergie feat. Ludacris • Say So — Doja Cat • Like That — Doja Cat feat. Gucci Mane Production Assistants ALAN @madworldnehaha ADA Special Thanks Fabel Entertainment S9T Concert & CDM Entertainment All owners of the videos and photos featured in this project. ⸻ Disclaimer This video is a non-commercial fan project created exclusively for FayeAtom 1st Fan Meeting “Love In The Night” in Vietnam. All copyrights for the music, videos, and images belong to their respective owners. No copyright infringement is intended. FAYEATOM VIETNAM FANMEET #FayeAtom1stFMinHCMC

Faye Malisorn VN 🇻🇳

17,935 görüntüleme • 2 ay önce

Wuthering Waves, and what's next... A visit to Kuro Games headquarters an exclusive interview with CEO Solon by YTN Team Full Video: Q: Looking back, what first motivated the team to take on such an ambitious project? A: From the very beginning, we realized something important: when a goal feels difficult but the result is exciting, people’s eyes light up. That moment tells us the challenge is worth pursuing. We genuinely enjoy tackling hard problems, because we believe meaningful achievements only come from doing things that are difficult but right. Q: Your early projects gained attention very quickly. How did that affect the team? A: When our first product launched, the response exceeded expectations. At the time, it almost made us believe we already had everything figured out. But that confidence was quickly tested. We lacked experience in long-term content planning, sustainable version updates, and large-scale operations. Many issues only became apparent after launch, forcing us to learn by solving problems in real time. Q: How did those early lessons shape Punishing: Gray Raven? A: In hindsight, many early versions of our games didn’t fully reach their potential. Those shortcomings became invaluable lessons. When developing Punishing: Gray Raven, we consciously avoided repeating those mistakes. We studied player ecosystems, observed how other successful titles operated, and anticipated feedback before it arrived. That preparation laid the groundwork for a project that has now sustained itself for nearly six years. Q: When did the concept for Wuthering Waves take shape? A: With Wuthering Waves, our goal was very clear from the start: to create something players had never experienced before. We drew inspiration from works like Death Stranding, Annihilation, and outstanding domestic animation. Themes such as resonance, abstract spaces, supernatural phenomena, and strong audiovisual expression naturally pointed us toward an open-world action game. Q: Sound and “resonance” play a major role in the worldbuilding. Why was that important? A: We wanted sound to be more than atmosphere, it needed to be a narrative force. The idea of a world-altering resonance, a low-frequency “lament” capable of reshaping reality, became the foundation of the setting. From there, the world, its conflicts, and its powers gradually took form. Kuro aims to create concepts players have never experienced before. Inspirations include: - Supernatural themes. - Strong mechanical and emotional imagery. - Music as a storytelling medium. Q: How do you ensure cohesion between story, gameplay, and world design? A: Alignment is critical. Story, environment, and gameplay must reinforce each other. That requires long-term planning, especially when multiple versions are developed in parallel. Early coordination allows level design, systems, and IP development to inspire one another, which improves both efficiency and creative momentum. The goal is to avoid disconnected content between versions and maintain narrative and gameplay cohesion. Q: What does Version 3.0 represent for Wuthering Waves? A: Version 3.0 is a major milestone. It introduces an entirely new region, new characters, upgraded combat systems, and a significantly improved open-world traversal experience. Every version aims to deliver the best experience possible while continuing to surprise players. Q: How does the team handle player feedback? A: We monitor feedback through community data, sentiment analysis, and post-version reviews. Both positive and negative responses are carefully analyzed and reflected in future updates. Continuous iteration is essential to long-term success. Q: Early story reception was mixed. How did the team respond? A: We recognized that narrative presentation needed improvement. By optimizing production pipelines and increasing investment, later versions achieved much stronger storytelling clarity and delivery. Players can now more clearly feel the depth, direction, and long-term potential of the world. Q: Kuro Games is known for polish. How central is that philosophy? A: We believe every visible part of the game must meet high internal standards, like - Visual effects - Skills - Environmental details -Music and audio design or promotional content must meet a high standard. We want players to feel the identity and power of Wuthering Waves both inside and outside the game. We know that early story reception was weaker, but significant effort has been invested in: - Clearer storytelling - Stronger presentation - More emotionally impactful performances and scenes. Q: How do community events factor into long-term development? A: Long-term IP growth depends on emotional connection. Community events, both online and offline, help us understand player expectations while strengthening that bond. It’s a two-way relationship. Q: Looking ahead, what is Kuro Games’ long-term vision? A: Our goal is to become a globally influential action-game developer. Upcoming projects (e.g., Nami, still in development) are focused on: - Delivering unique action combat experiences. - Creating something clearly distinct within the action game genre. The story of Wuthering Waves is planned years in advance, with major narrative arcs already outlined. Q: Finally, how would you describe Kuro Games’ current phase? A: From Zhuhai to Guangzhou, we’re in a strong upward phase. Our growth is driven by a commitment to meaningful, high-quality experiences. Staying true to that original intent is what will continue to guide us forward. #WutheringWaves #punishinggrayraven
2:39

Wuthering Waves, and what's next... A visit to Kuro Games headquarters an exclusive interview with CEO Solon by YTN Team Full Video: Q: Looking back, what first motivated the team to take on such an ambitious project? A: From the very beginning, we realized something important: when a goal feels difficult but the result is exciting, people’s eyes light up. That moment tells us the challenge is worth pursuing. We genuinely enjoy tackling hard problems, because we believe meaningful achievements only come from doing things that are difficult but right. Q: Your early projects gained attention very quickly. How did that affect the team? A: When our first product launched, the response exceeded expectations. At the time, it almost made us believe we already had everything figured out. But that confidence was quickly tested. We lacked experience in long-term content planning, sustainable version updates, and large-scale operations. Many issues only became apparent after launch, forcing us to learn by solving problems in real time. Q: How did those early lessons shape Punishing: Gray Raven? A: In hindsight, many early versions of our games didn’t fully reach their potential. Those shortcomings became invaluable lessons. When developing Punishing: Gray Raven, we consciously avoided repeating those mistakes. We studied player ecosystems, observed how other successful titles operated, and anticipated feedback before it arrived. That preparation laid the groundwork for a project that has now sustained itself for nearly six years. Q: When did the concept for Wuthering Waves take shape? A: With Wuthering Waves, our goal was very clear from the start: to create something players had never experienced before. We drew inspiration from works like Death Stranding, Annihilation, and outstanding domestic animation. Themes such as resonance, abstract spaces, supernatural phenomena, and strong audiovisual expression naturally pointed us toward an open-world action game. Q: Sound and “resonance” play a major role in the worldbuilding. Why was that important? A: We wanted sound to be more than atmosphere, it needed to be a narrative force. The idea of a world-altering resonance, a low-frequency “lament” capable of reshaping reality, became the foundation of the setting. From there, the world, its conflicts, and its powers gradually took form. Kuro aims to create concepts players have never experienced before. Inspirations include: - Supernatural themes. - Strong mechanical and emotional imagery. - Music as a storytelling medium. Q: How do you ensure cohesion between story, gameplay, and world design? A: Alignment is critical. Story, environment, and gameplay must reinforce each other. That requires long-term planning, especially when multiple versions are developed in parallel. Early coordination allows level design, systems, and IP development to inspire one another, which improves both efficiency and creative momentum. The goal is to avoid disconnected content between versions and maintain narrative and gameplay cohesion. Q: What does Version 3.0 represent for Wuthering Waves? A: Version 3.0 is a major milestone. It introduces an entirely new region, new characters, upgraded combat systems, and a significantly improved open-world traversal experience. Every version aims to deliver the best experience possible while continuing to surprise players. Q: How does the team handle player feedback? A: We monitor feedback through community data, sentiment analysis, and post-version reviews. Both positive and negative responses are carefully analyzed and reflected in future updates. Continuous iteration is essential to long-term success. Q: Early story reception was mixed. How did the team respond? A: We recognized that narrative presentation needed improvement. By optimizing production pipelines and increasing investment, later versions achieved much stronger storytelling clarity and delivery. Players can now more clearly feel the depth, direction, and long-term potential of the world. Q: Kuro Games is known for polish. How central is that philosophy? A: We believe every visible part of the game must meet high internal standards, like - Visual effects - Skills - Environmental details -Music and audio design or promotional content must meet a high standard. We want players to feel the identity and power of Wuthering Waves both inside and outside the game. We know that early story reception was weaker, but significant effort has been invested in: - Clearer storytelling - Stronger presentation - More emotionally impactful performances and scenes. Q: How do community events factor into long-term development? A: Long-term IP growth depends on emotional connection. Community events, both online and offline, help us understand player expectations while strengthening that bond. It’s a two-way relationship. Q: Looking ahead, what is Kuro Games’ long-term vision? A: Our goal is to become a globally influential action-game developer. Upcoming projects (e.g., Nami, still in development) are focused on: - Delivering unique action combat experiences. - Creating something clearly distinct within the action game genre. The story of Wuthering Waves is planned years in advance, with major narrative arcs already outlined. Q: Finally, how would you describe Kuro Games’ current phase? A: From Zhuhai to Guangzhou, we’re in a strong upward phase. Our growth is driven by a commitment to meaningful, high-quality experiences. Staying true to that original intent is what will continue to guide us forward. #WutheringWaves #punishinggrayraven

Naru

72,974 görüntüleme • 9 ay önce

This Is Absolutely Mind Blowing ⚠️ Barack Obama’s New Movie, Leave The World Behind, When Downloaded & Put Into An Editing Program Has 4 Audio Files Instead Of The Standard 1 One Of The Audio Files Is Just A Frequency 🚨 “Low Frequency Infrasound” Other Movies Do Not Have This. The Guy Has Done Thousands Of Movies & Never Seen This “When you open this this movie right here is Jurassic Park, for instance. Okay? I'm just showing this to people who have never seen this. For the last 15 years that I have been using Sony Vegas and other editing software and have gone through downloading movies And using them in our own video production, 100% of the time, it's either an MKV or a MP For occasionally, you'll download a torrent that's in AVR, but not very often. And this is what it will always look like. One video file right here. One audio file right here always. That's been my experience. Now let me show you what happened when we downloaded and put, Sony put the, uh, movie Leave the World Behind onto Sony Vegas. Here you go. Stunning. Stunning. One video file, 4 audio files opened up. And this one, This 4th audio file seems to be the weapon. This is a low ex uh, ELF, Uh, Low Frequency Infrasound. Infrasonic wave right here. And, um, so we We are gonna let me put the camera back on again. So this is big news just just so people realize. In in 15 years of video editing, I have never downloaded now speaking specifically a movie file. Okay. A Hollywood movie from a torrent downloading it in either MKV, MP4, occasionally AVI. 100% of the time, over a thousands movies I've done this with, you have video file, audio file, period. This is the very first time I've ever seen anything like this with the 4 files. Bonnie's gonna go into now talking about the The infrasonic sound waves and what we found out about that and the fact that there's one here. We're in the point is we're going to go back after Bonnie gives you some information about what it is we're dealing with, how this is a weapon. Then we're gonna go back, uh, towards the end of the live stream here. And I'm gonna hit specific places where this weapon was used against anybody who watches it. Okay.”
2:26

This Is Absolutely Mind Blowing ⚠️ Barack Obama’s New Movie, Leave The World Behind, When Downloaded & Put Into An Editing Program Has 4 Audio Files Instead Of The Standard 1 One Of The Audio Files Is Just A Frequency 🚨 “Low Frequency Infrasound” Other Movies Do Not Have This. The Guy Has Done Thousands Of Movies & Never Seen This “When you open this this movie right here is Jurassic Park, for instance. Okay? I'm just showing this to people who have never seen this. For the last 15 years that I have been using Sony Vegas and other editing software and have gone through downloading movies And using them in our own video production, 100% of the time, it's either an MKV or a MP For occasionally, you'll download a torrent that's in AVR, but not very often. And this is what it will always look like. One video file right here. One audio file right here always. That's been my experience. Now let me show you what happened when we downloaded and put, Sony put the, uh, movie Leave the World Behind onto Sony Vegas. Here you go. Stunning. Stunning. One video file, 4 audio files opened up. And this one, This 4th audio file seems to be the weapon. This is a low ex uh, ELF, Uh, Low Frequency Infrasound. Infrasonic wave right here. And, um, so we We are gonna let me put the camera back on again. So this is big news just just so people realize. In in 15 years of video editing, I have never downloaded now speaking specifically a movie file. Okay. A Hollywood movie from a torrent downloading it in either MKV, MP4, occasionally AVI. 100% of the time, over a thousands movies I've done this with, you have video file, audio file, period. This is the very first time I've ever seen anything like this with the 4 files. Bonnie's gonna go into now talking about the The infrasonic sound waves and what we found out about that and the fact that there's one here. We're in the point is we're going to go back after Bonnie gives you some information about what it is we're dealing with, how this is a weapon. Then we're gonna go back, uh, towards the end of the live stream here. And I'm gonna hit specific places where this weapon was used against anybody who watches it. Okay.”

Wall Street Apes

3,769,476 görüntüleme • 2 yıl önce

One of the things that makes the ending of Heat so powerful is its music—Moby's "God Moving Over the Face of the Waters." At the time, Moby was relatively unknown, yet Michael Mann somehow discovered the obscure track and decided it was perfect for the final scene. Moby explains: “Let’s get in our little time machine and go back to 1994. I was part of the rave scene, and I was making my first album, Everything Is Wrong. One of the songs—in fact, the last song on the album—that I was desperate to include was "God Moving Over the Face of the Waters." It could arguably be the strangest song ever included on what was supposed to be a dance album. There are no drums and nothing overtly electronic about it. When I was working on it and mixing it, I fell in love with it almost more than anything I’d ever done. So I put it on the album, and it sat there at the end, largely ignored. But somehow, and I still don’t know how, Michael Mann heard it and wanted to use it in this movie he was working on called Heat, with Al Pacino, Robert De Niro, Val Kilmer, on and on and on. This real movie. I was baffled. How does Michael Mann know who I am? How does Michael Mann know about this piece of music? But I said yes, of course. It was such an amazing opportunity. This major Hollywood director knew who I was and wanted to use my music. They flew me to Los Angeles and put me in a professional studio to tailor “God Moving” to the closing scene of the film. Until then, I had only ever worked in my homemade studio in an abandoned loft building in New York… One of the most terrifying professional moments of my life came when someone told me, “Michael Mann wants to talk to you.” And I was like, “Can’t he just leave me alone? I’m terrified. I don’t want to talk to humans.” I thought, “Okay, Michael Mann is going to call me, and it’s going to be scary, but I can deal with it because I’m a big boy.” The phone rang, I picked it up, and Michael Mann talked for about 45 minutes. He talked about archetypes within the film, classical narrative elements and tropes. It was like he gave me this masterclass in what Heat was about, and then just hung up the phone. And then it came out, and to hear the music that I’d made against this phenomenal, beautiful scene—it really was special. I’m thrilled that, 30 years later, people are still discovering the film and “God Moving Over the Face of the Waters.” Spoiler warning: The clip below contains the ending of Heat. If you haven't seen the film, don't watch past the first 30 seconds. The music doesn't begin until about a minute into the scene.
2:59

One of the things that makes the ending of Heat so powerful is its music—Moby's "God Moving Over the Face of the Waters." At the time, Moby was relatively unknown, yet Michael Mann somehow discovered the obscure track and decided it was perfect for the final scene. Moby explains: “Let’s get in our little time machine and go back to 1994. I was part of the rave scene, and I was making my first album, Everything Is Wrong. One of the songs—in fact, the last song on the album—that I was desperate to include was "God Moving Over the Face of the Waters." It could arguably be the strangest song ever included on what was supposed to be a dance album. There are no drums and nothing overtly electronic about it. When I was working on it and mixing it, I fell in love with it almost more than anything I’d ever done. So I put it on the album, and it sat there at the end, largely ignored. But somehow, and I still don’t know how, Michael Mann heard it and wanted to use it in this movie he was working on called Heat, with Al Pacino, Robert De Niro, Val Kilmer, on and on and on. This real movie. I was baffled. How does Michael Mann know who I am? How does Michael Mann know about this piece of music? But I said yes, of course. It was such an amazing opportunity. This major Hollywood director knew who I was and wanted to use my music. They flew me to Los Angeles and put me in a professional studio to tailor “God Moving” to the closing scene of the film. Until then, I had only ever worked in my homemade studio in an abandoned loft building in New York… One of the most terrifying professional moments of my life came when someone told me, “Michael Mann wants to talk to you.” And I was like, “Can’t he just leave me alone? I’m terrified. I don’t want to talk to humans.” I thought, “Okay, Michael Mann is going to call me, and it’s going to be scary, but I can deal with it because I’m a big boy.” The phone rang, I picked it up, and Michael Mann talked for about 45 minutes. He talked about archetypes within the film, classical narrative elements and tropes. It was like he gave me this masterclass in what Heat was about, and then just hung up the phone. And then it came out, and to hear the music that I’d made against this phenomenal, beautiful scene—it really was special. I’m thrilled that, 30 years later, people are still discovering the film and “God Moving Over the Face of the Waters.” Spoiler warning: The clip below contains the ending of Heat. If you haven't seen the film, don't watch past the first 30 seconds. The music doesn't begin until about a minute into the scene.

Gangster Cinema Central

27,798 görüntüleme • 1 ay önce

NEW DOCUMENTARY: "The Censorship Files" How much would you pay to protect your freedom? by Leighton 明 Woodhouse & Michael Shellenberger One year ago, we and other journalists gained access to the Twitter Files. What we discovered shocked us. Not only were highly partisan and ideological individuals within Twitter censoring people for holding views with which they disagreed, they were often doing so on behalf of US government officials and contractors with the FBI, CIA, and Department of Homeland Security. And so, one year later, we are happy to announce a new, full-length documentary film, “The Censorship Files.” You can see the trailer above. The film, made by Leighton Woodhouse and Jonah Markowitz, will bring you inside the Twitter Files and the race to the Supreme Court, which will hear the Missouri v. Biden censorship case early next year. Today we must ask you a personal question: what price would you put on your freedom? Many of us tell ourselves that freedom is priceless: we would sacrifice everything, die even, to protect our freedoms and keep America a free nation. Even if we weren’t willing to die or go to prison for our nation, we would make a significant financial investment to protect it. We are asking you to make a far more modest payment: less than $9/month, or about half the cost of a Netflix subscription. A subscription to Public is an investment in our investigative reporting, our free speech campaigning, and the final production and distribution of “The Censorship Files,” a film that will change how Americans think about free speech. We believe $9/month is a tiny investment to pay to ensure that, in the future, you can read what you want to read, watch the programs you want to watch, and voice your opinions. “The Censorship Files” will be a landmark film in educating younger Americans, who are more censorial than their elders, about America’s remarkable history of strong free speech protections. They will learn about the Civil Rights movement, the right of the New York Times to publish “the Pentagon Papers,” and the right even of pro-Nazi and pro-terrorism activists to march freely through America’s streets. “The Censorship Files” will reveal the origins and scope of the Censorship Industrial Complex, its leaders and architects, and its victims of censorship, from moms sharing stories about the Covid vaccine’s side effects on their children to two of the world’s foremost experts on the Covid response, Harvard’s Martin Kulldorff and Stanford’s Jay Bhattacharya. Finally, we will use “The Censorship Files” to build a new free speech movement in America, city by city, campus by campus, from the grassroots up. Because if we can’t persuade America’s youth to support free speech, then the First Amendment is just some words on a piece of paper. We can’t save the First Amendment without you. We can’t even finish “The Censorship Files” without you. This is not complicated. We need more paid subscribers. We need more than 10% of our subscribers to contribute thirty cents daily. If we could get 30% of our free subscribers to support our movement, I believe that we would have a fighting chance to save our first freedom and the other pillars of democratic civilization along with it. One year ago, we didn’t even know we lived in a heavily censored society. Today, we have ripped back the veil of the Censorship Industrial Complex and are on the cusp of defunding and dismantling it. Such a process will take years but won’t take a decade. It may even happen much more quickly than that, depending on the actions of the Supreme Court and Congress. What’s certain is that we can’t do it without our paid subscribers — and we don’t want to do it without our unpaid ones. We promise that, in the future, you’ll be grateful you funded the fight for our first freedom.
0:41

NEW DOCUMENTARY: "The Censorship Files" How much would you pay to protect your freedom? by Leighton 明 Woodhouse & Michael Shellenberger One year ago, we and other journalists gained access to the Twitter Files. What we discovered shocked us. Not only were highly partisan and ideological individuals within Twitter censoring people for holding views with which they disagreed, they were often doing so on behalf of US government officials and contractors with the FBI, CIA, and Department of Homeland Security. And so, one year later, we are happy to announce a new, full-length documentary film, “The Censorship Files.” You can see the trailer above. The film, made by Leighton Woodhouse and Jonah Markowitz, will bring you inside the Twitter Files and the race to the Supreme Court, which will hear the Missouri v. Biden censorship case early next year. Today we must ask you a personal question: what price would you put on your freedom? Many of us tell ourselves that freedom is priceless: we would sacrifice everything, die even, to protect our freedoms and keep America a free nation. Even if we weren’t willing to die or go to prison for our nation, we would make a significant financial investment to protect it. We are asking you to make a far more modest payment: less than $9/month, or about half the cost of a Netflix subscription. A subscription to Public is an investment in our investigative reporting, our free speech campaigning, and the final production and distribution of “The Censorship Files,” a film that will change how Americans think about free speech. We believe $9/month is a tiny investment to pay to ensure that, in the future, you can read what you want to read, watch the programs you want to watch, and voice your opinions. “The Censorship Files” will be a landmark film in educating younger Americans, who are more censorial than their elders, about America’s remarkable history of strong free speech protections. They will learn about the Civil Rights movement, the right of the New York Times to publish “the Pentagon Papers,” and the right even of pro-Nazi and pro-terrorism activists to march freely through America’s streets. “The Censorship Files” will reveal the origins and scope of the Censorship Industrial Complex, its leaders and architects, and its victims of censorship, from moms sharing stories about the Covid vaccine’s side effects on their children to two of the world’s foremost experts on the Covid response, Harvard’s Martin Kulldorff and Stanford’s Jay Bhattacharya. Finally, we will use “The Censorship Files” to build a new free speech movement in America, city by city, campus by campus, from the grassroots up. Because if we can’t persuade America’s youth to support free speech, then the First Amendment is just some words on a piece of paper. We can’t save the First Amendment without you. We can’t even finish “The Censorship Files” without you. This is not complicated. We need more paid subscribers. We need more than 10% of our subscribers to contribute thirty cents daily. If we could get 30% of our free subscribers to support our movement, I believe that we would have a fighting chance to save our first freedom and the other pillars of democratic civilization along with it. One year ago, we didn’t even know we lived in a heavily censored society. Today, we have ripped back the veil of the Censorship Industrial Complex and are on the cusp of defunding and dismantling it. Such a process will take years but won’t take a decade. It may even happen much more quickly than that, depending on the actions of the Supreme Court and Congress. What’s certain is that we can’t do it without our paid subscribers — and we don’t want to do it without our unpaid ones. We promise that, in the future, you’ll be grateful you funded the fight for our first freedom.

Michael Shellenberger

1,032,836 görüntüleme • 2 yıl önce

Communist and socialist groups call for 'revolution' and seizure of property at Minneapolis May Day rally | Michael Dorgan, Fox News Communist and socialist groups called for a "revolution" at a May Day rally in Minneapolis Friday, highlighting the growing influence of far-left organizations at an event traditionally centered on workers’ rights. Some of those demonstrators denounced capitalism and pushed for the seizure of private property and the means of production, marking a shift in tone from past May Day rallies that primarily focused on labor issues. Protesters on the ground outlined a range of demands, including rent caps tied to income, a reduced work week and the redistribution of wealth from billionaires. The rally, which drew well over 1,000 people, was organized as an immigrant rights demonstration but brought together a broad mix of labor unions, activist organizations and far-left political groups marching side by side. Among the groups present were the Communist Party USA, the Freedom Road Socialist Organization (FRSO), the Revolutionary Communists of America (RCA), the Party for Socialism and Liberation (PSL), and members of the Democratic Socialists of America (DSA), with numerous participants carrying flags and signage featuring socialist imagery like the hammer and sickle. Members of the Communist Party USA were seen handing out newspapers and leaflets, including a publication titled The Communist with the headline "Down with Trump’s War!" Demonstrators carried signs reading "F--k ICE," "Abolish ICE," "Fight Trump’s Agenda," "No Kings" and "Stop the War," while others waved red flags associated with the Communist Party USA and held banners featuring the hammer and sickle, including signage from the Revolutionary Communists of America. A Fox News Digital investigation previously identified U.S.-born tech entrepreneur Neville Roy Singham, who lives in China, as a key figure in a network tied to some far-left groups involved in protests, part of a broader mobilization involving roughly 600 organizations nationwide. But demonstrators interviewed in Minneapolis said they were largely unaware of him or dismissed concerns about funding. Andy Koch, a member of the Freedom Road Socialist Organization, told Fox News Digital the U.S. is "run by billionaires" and should instead be run by working people. He said support from a a wealthy donor would be acceptable if it advanced the cause. "If one billionaire… wants to donate to progressive pro-worker causes, that’s great," Koch said. When asked for examples of successful socialist systems, Koch pointed to China, saying "China’s doing pretty good right now," and praised the former Soviet Union for having "done a lot for its people. Members of the Revolutionary Communists of America were also present, with one protester saying he was "radicalized" in 2020 following the death of George Floyd. "We’re calling for down with Trump and down with the Democrats," the protester said. Demonstrations in Minneapolis come months after large-scale anti-ICE protests with Friday’s May Day events reflecting similar themes tied to immigration enforcement and broader economic concerns. The march was organized as an immigrant rights demonstration, promoted under the slogan "Immigrants Rise! Workers Unite!" and led by groups including the Minnesota Immigrant Rights Action Committee (MIRAC). A speaker with MIRAC led chants of "No one is illegal" and "All power to the people," with large sections of the crowd repeating the slogans. The event began with organizers and speakers affiliated with the Minnesota Immigrant Rights Action Committee (MIRAC) leading chants and addressing the crowd from a makeshift stage, while dancers in indigenous regalia were also present. Socialist and communist groups initially gathered toward the back of the crowd but later joined the march, falling in line behind the immigrant rights organizers as demonstrators moved through the city. A significant contingent of socialist and communist groups marched alongside the organizers, underscoring the ideological overlap at the event. Flags throughout the march reflected a wide mix of causes and affiliations, including Palestinian flags, LGBTQ pride imagery and banners associated with socialist and communist groups. High-visibility marshals affiliated with protest groups directed the march and blocked side streets, with little to no visible police presence along much of the route. Another protester who identified as a communist said the current system is a "dead end" and argued that "the workers create all the value in society and we get to own none of it under capitalism." She said the group supports policies including rent caps tied to income and limiting rent to 10% of wages. When asked about rent-control policies in cities like New York and California, where such measures have faced criticism, one woman said those efforts failed because they were not "under workers' control." "Under capitalism, it won't work. We need a society under control of the workers," she said. Owen Phernetton, a member of the Revolutionary Communists of America, said the group is "building a party of class fighters" and argued that "we need a revolution… on a socialist basis." He said the organization supports seizing property, including factories, mines and office spaces and placing them under the ownership of the working class. "We argue for decreasing the workday to only 20 hours a week without any loss in pay," he said. He added that billionaire wealth should be "expropriated and put in use for the working class," pointing to the Soviet Union as an example. Several Minneapolis City Council members, most affiliated with the Democratic-Farmer-Labor Party (DFL), attended the rally and read out a non-binding resolution recognizing May 1 as International Workers Day. During the remarks, one speaker told the crowd "we must abolish ICE," linking labor issues with immigration policy. Jason Chavez read parts of the resolution alongside fellow council members Elliott Payne, Aurin Chowdhury, Soren Stevenson and Jamal Osman. Council member Robin Wonsley was also present. Not all observers supported the messaging. Sedonia Meyers, who said she was watching from the sidewalk, described herself as "a very centrist individual" and said immigration should follow a legal process. "If you want to be a citizen… you should work hard… and do the proper steps," she said, adding that the U.S. must "vet the people that come into this country" to ensure public safety. Two other elderly women observing nearby welcomed the presence of communist and socialist groups, describing the rally as a "big tent," and inisting that there was "room for everyone," though they did not support calls to abolish ICE. The protest concluded without major disruption, with demonstrators marching through the city in largely good spirits. A marching band played upbeat music as participants moved along the route, though speakers delivered more forceful rhetoric as they outlined their demands. Earlier in the day, smaller gatherings drew limited turnout, including a union-led rally at Government Plaza that a union leader described a union gathering with "no connection to broader protests."
1:16

Communist and socialist groups call for 'revolution' and seizure of property at Minneapolis May Day rally | Michael Dorgan, Fox News Communist and socialist groups called for a "revolution" at a May Day rally in Minneapolis Friday, highlighting the growing influence of far-left organizations at an event traditionally centered on workers’ rights. Some of those demonstrators denounced capitalism and pushed for the seizure of private property and the means of production, marking a shift in tone from past May Day rallies that primarily focused on labor issues. Protesters on the ground outlined a range of demands, including rent caps tied to income, a reduced work week and the redistribution of wealth from billionaires. The rally, which drew well over 1,000 people, was organized as an immigrant rights demonstration but brought together a broad mix of labor unions, activist organizations and far-left political groups marching side by side. Among the groups present were the Communist Party USA, the Freedom Road Socialist Organization (FRSO), the Revolutionary Communists of America (RCA), the Party for Socialism and Liberation (PSL), and members of the Democratic Socialists of America (DSA), with numerous participants carrying flags and signage featuring socialist imagery like the hammer and sickle. Members of the Communist Party USA were seen handing out newspapers and leaflets, including a publication titled The Communist with the headline "Down with Trump’s War!" Demonstrators carried signs reading "F--k ICE," "Abolish ICE," "Fight Trump’s Agenda," "No Kings" and "Stop the War," while others waved red flags associated with the Communist Party USA and held banners featuring the hammer and sickle, including signage from the Revolutionary Communists of America. A Fox News Digital investigation previously identified U.S.-born tech entrepreneur Neville Roy Singham, who lives in China, as a key figure in a network tied to some far-left groups involved in protests, part of a broader mobilization involving roughly 600 organizations nationwide. But demonstrators interviewed in Minneapolis said they were largely unaware of him or dismissed concerns about funding. Andy Koch, a member of the Freedom Road Socialist Organization, told Fox News Digital the U.S. is "run by billionaires" and should instead be run by working people. He said support from a a wealthy donor would be acceptable if it advanced the cause. "If one billionaire… wants to donate to progressive pro-worker causes, that’s great," Koch said. When asked for examples of successful socialist systems, Koch pointed to China, saying "China’s doing pretty good right now," and praised the former Soviet Union for having "done a lot for its people. Members of the Revolutionary Communists of America were also present, with one protester saying he was "radicalized" in 2020 following the death of George Floyd. "We’re calling for down with Trump and down with the Democrats," the protester said. Demonstrations in Minneapolis come months after large-scale anti-ICE protests with Friday’s May Day events reflecting similar themes tied to immigration enforcement and broader economic concerns. The march was organized as an immigrant rights demonstration, promoted under the slogan "Immigrants Rise! Workers Unite!" and led by groups including the Minnesota Immigrant Rights Action Committee (MIRAC). A speaker with MIRAC led chants of "No one is illegal" and "All power to the people," with large sections of the crowd repeating the slogans. The event began with organizers and speakers affiliated with the Minnesota Immigrant Rights Action Committee (MIRAC) leading chants and addressing the crowd from a makeshift stage, while dancers in indigenous regalia were also present. Socialist and communist groups initially gathered toward the back of the crowd but later joined the march, falling in line behind the immigrant rights organizers as demonstrators moved through the city. A significant contingent of socialist and communist groups marched alongside the organizers, underscoring the ideological overlap at the event. Flags throughout the march reflected a wide mix of causes and affiliations, including Palestinian flags, LGBTQ pride imagery and banners associated with socialist and communist groups. High-visibility marshals affiliated with protest groups directed the march and blocked side streets, with little to no visible police presence along much of the route. Another protester who identified as a communist said the current system is a "dead end" and argued that "the workers create all the value in society and we get to own none of it under capitalism." She said the group supports policies including rent caps tied to income and limiting rent to 10% of wages. When asked about rent-control policies in cities like New York and California, where such measures have faced criticism, one woman said those efforts failed because they were not "under workers' control." "Under capitalism, it won't work. We need a society under control of the workers," she said. Owen Phernetton, a member of the Revolutionary Communists of America, said the group is "building a party of class fighters" and argued that "we need a revolution… on a socialist basis." He said the organization supports seizing property, including factories, mines and office spaces and placing them under the ownership of the working class. "We argue for decreasing the workday to only 20 hours a week without any loss in pay," he said. He added that billionaire wealth should be "expropriated and put in use for the working class," pointing to the Soviet Union as an example. Several Minneapolis City Council members, most affiliated with the Democratic-Farmer-Labor Party (DFL), attended the rally and read out a non-binding resolution recognizing May 1 as International Workers Day. During the remarks, one speaker told the crowd "we must abolish ICE," linking labor issues with immigration policy. Jason Chavez read parts of the resolution alongside fellow council members Elliott Payne, Aurin Chowdhury, Soren Stevenson and Jamal Osman. Council member Robin Wonsley was also present. Not all observers supported the messaging. Sedonia Meyers, who said she was watching from the sidewalk, described herself as "a very centrist individual" and said immigration should follow a legal process. "If you want to be a citizen… you should work hard… and do the proper steps," she said, adding that the U.S. must "vet the people that come into this country" to ensure public safety. Two other elderly women observing nearby welcomed the presence of communist and socialist groups, describing the rally as a "big tent," and inisting that there was "room for everyone," though they did not support calls to abolish ICE. The protest concluded without major disruption, with demonstrators marching through the city in largely good spirits. A marching band played upbeat music as participants moved along the route, though speakers delivered more forceful rhetoric as they outlined their demands. Earlier in the day, smaller gatherings drew limited turnout, including a union-led rally at Government Plaza that a union leader described a union gathering with "no connection to broader protests."

Owen Gregorian

10,816 görüntüleme • 4 ay önce

Beyond Nitro: Q. Who Ran Over Stone Cold? A. Mongo??? In the fall of 2000, ‘Stone Cold’ Steve Austin returned to the WWF, looking to find out who had ‘run him over’ at the previous year’s Survivor Series (an angle necessary to provide a kayfabe explanation for a lengthy absence related to injury). Due to Austin’s romantic involvement with Debra McMichael – the former wife of Steve ‘Mongo’ McMichael, last seen on WCW television with the Four Horsemen – Vince Russo and his team had a brainwave. “We reached out to [McMichael] when WWE did the ‘who ran over Steve Austin’ storyline,” wrote Bill Banks, one of Russo’s lieutenants, in a social media pronouncement. “We wanted to bring Mongo back as a surprise to WCW and have him claim that he was the one that ran over Austin…because Austin stole Debra. “[Our] plan was to have an announcement the week before,” continued Banks, “that the person who ran over Austin had contacted WCW – and wanted to reveal himself on Nitro. The next week, the same car that hit Austin would pull up to the back of the arena. The window would open slightly to reveal someone holding a photo of Debra. After commercial, [the] car would drive into the arena…[and] out comes Mongo to cut a promo explaining the story as revenge – against Austin – for stealing Debra. If Austin wanted to do anything, Mongo would be in the ring on Nitro the next week to fight [him]. “[In other words], we were going to attempt to finish [their] storyline on WCW.” Listen to Beyond Nitro on Audible and Apple Books for more: USA: UK: Canada: Australia: Deep Cuts - Wrestling Stories in 60 Seconds! Conrad the Mortgage Guy Brian Gewirtz Fightful Wrestling Raj Giri On This Day in WWE BaseballHistoryNut GrappleClips Cultaholic Wrestling c b j Jus⛏in🩸 tribal chief ☝🏻🩸 Allan Because WCW forever botchamania WCW Archive Matt D - SC The Lapsed Fan Mr. Nobody pittsburghbad Tyler Wessel The Kyle Peterson Sean Ross Sapp of Fightful.com A.J. Leatherman WrestlePurists Pro Wrestling Stories Wrestling from 80s/90s Apple Books link: Direct Audible link:
1:57

Beyond Nitro: Q. Who Ran Over Stone Cold? A. Mongo??? In the fall of 2000, ‘Stone Cold’ Steve Austin returned to the WWF, looking to find out who had ‘run him over’ at the previous year’s Survivor Series (an angle necessary to provide a kayfabe explanation for a lengthy absence related to injury). Due to Austin’s romantic involvement with Debra McMichael – the former wife of Steve ‘Mongo’ McMichael, last seen on WCW television with the Four Horsemen – Vince Russo and his team had a brainwave. “We reached out to [McMichael] when WWE did the ‘who ran over Steve Austin’ storyline,” wrote Bill Banks, one of Russo’s lieutenants, in a social media pronouncement. “We wanted to bring Mongo back as a surprise to WCW and have him claim that he was the one that ran over Austin…because Austin stole Debra. “[Our] plan was to have an announcement the week before,” continued Banks, “that the person who ran over Austin had contacted WCW – and wanted to reveal himself on Nitro. The next week, the same car that hit Austin would pull up to the back of the arena. The window would open slightly to reveal someone holding a photo of Debra. After commercial, [the] car would drive into the arena…[and] out comes Mongo to cut a promo explaining the story as revenge – against Austin – for stealing Debra. If Austin wanted to do anything, Mongo would be in the ring on Nitro the next week to fight [him]. “[In other words], we were going to attempt to finish [their] storyline on WCW.” Listen to Beyond Nitro on Audible and Apple Books for more: USA: UK: Canada: Australia: Deep Cuts - Wrestling Stories in 60 Seconds! Conrad the Mortgage Guy Brian Gewirtz Fightful Wrestling Raj Giri On This Day in WWE BaseballHistoryNut GrappleClips Cultaholic Wrestling c b j Jus⛏in🩸 tribal chief ☝🏻🩸 Allan Because WCW forever botchamania WCW Archive Matt D - SC The Lapsed Fan Mr. Nobody pittsburghbad Tyler Wessel The Kyle Peterson Sean Ross Sapp of Fightful.com A.J. Leatherman WrestlePurists Pro Wrestling Stories Wrestling from 80s/90s Apple Books link: Direct Audible link:

WCWNitroBook

12,359 görüntüleme • 5 ay önce

I met this week’s guest last summer at an energy summit at Carnegie Mellon University. He heard me talking about our country’s ever-widening skills gap, our quest for energy independence, and the pressing need to reinvigorate America’s manufacturing capabilities. He pulled me aside after my remarks and spoke quickly and quietly. “You don’t know me,” he said, “but I love everything you’re doing, and I agree with everything you’ve said. I think the lack of skilled workers is probably the most pressing issue of our times. I’d like to talk to you about expanding your scholarship program.” I thanked him for his interest and directed him to the website, where people can support our efforts in a number of ways, most of which involve clicking on the red donate button. “Thanks,” he said. “My name is Thomas Tull. I’ll be in touch.” The name was familiar, but I didn’t know why. I filed it away in my short-term memory bank and went on to my next meeting, fairly sure we’d never talk again. I meet a lot of people who agree with me, often with great enthusiasm, but never follow through. On the flight home, however, I recalled our brief meeting and went looking to see who Thomas Tull was. According to Grok, he used to own laundromats and auto repair shops before forming a band called The Ghost Hounds that opens for The Rolling Stones. Interesting. An entrepreneur and musician who jams with Keith Richards and just happens to care deeply about skilled labor, energy independence, and the pressing need to reinvigorate our manufacturing base. I kept reading, however, and learned that Thomas Tull also owns a piece of the New York Yankees. And the Pittsburgh Steelers. He’s also a philanthropist who sits on the board of The Smithsonian and The Baseball Hall of Fame. Interesting. An entrepreneur, musician, sports fan, and philanthropist who happens to care deeply about skilled labor, energy independence, and the pressing need to reinvigorate our manufacturing base. I kept reading and finally realized why I knew his name. Thomas Tull started a movie studio a few years ago called Legendary Entertainment. With zero experience in the entertainment industry, he produced a movie called 300 – which told the story of Sparta’s storied defense of Thermopylae while making Gerard Butler’s abs eternally famous. He then formed a relationship with Christopher Nolan and produced an extraordinary film called Inception. And then, The Dark Knight trilogy. And then, the entire Hangover franchise. And so forth. Unlike traditional studio heads, Thomas treated movie production like a diversified portfolio. He was among the first to use advanced data analytics and AI to determine how to market films and figure out which projects were worth the risk. Forty films later, Thomas sold Legendary for $3.5 billion dollars and started a company called Tulco, which is currently in the process of changing the world through massive investments in AI and defense. He’s also involved in the business of de-extinction and currently trying to bring back the woolly mammoth and dodo bird. Interesting. An entrepreneur, musician, sports fan, philanthropist, Hollywood producer, investor, naturalist, and multi-billionaire tech genius who happens to care deeply about skilled labor, energy independence, and the pressing need to reinvigorate our manufacturing base. It was at this point I began to wish I had taken Thomas Tull’s phone number. Happily, there was no need. Thomas reached out to my office a few days later and asked if we could continue our conversation on my podcast. That struck me as a fantastic idea. “I’ll come to you,” he said. “At your convenience.” “How about now?” I asked. And so, Thomas Tull flew across the country to record the conversation you’re about to hear. We discussed a lot, including his relationship with my favorite backup singer of all time and the curious way he’s always found himself adjacent to greatness over the course of his extraordinary career. I loved every minute of our conversation, and I bet you will, too. And now, I have his phone number…
2:17

I met this week’s guest last summer at an energy summit at Carnegie Mellon University. He heard me talking about our country’s ever-widening skills gap, our quest for energy independence, and the pressing need to reinvigorate America’s manufacturing capabilities. He pulled me aside after my remarks and spoke quickly and quietly. “You don’t know me,” he said, “but I love everything you’re doing, and I agree with everything you’ve said. I think the lack of skilled workers is probably the most pressing issue of our times. I’d like to talk to you about expanding your scholarship program.” I thanked him for his interest and directed him to the website, where people can support our efforts in a number of ways, most of which involve clicking on the red donate button. “Thanks,” he said. “My name is Thomas Tull. I’ll be in touch.” The name was familiar, but I didn’t know why. I filed it away in my short-term memory bank and went on to my next meeting, fairly sure we’d never talk again. I meet a lot of people who agree with me, often with great enthusiasm, but never follow through. On the flight home, however, I recalled our brief meeting and went looking to see who Thomas Tull was. According to Grok, he used to own laundromats and auto repair shops before forming a band called The Ghost Hounds that opens for The Rolling Stones. Interesting. An entrepreneur and musician who jams with Keith Richards and just happens to care deeply about skilled labor, energy independence, and the pressing need to reinvigorate our manufacturing base. I kept reading, however, and learned that Thomas Tull also owns a piece of the New York Yankees. And the Pittsburgh Steelers. He’s also a philanthropist who sits on the board of The Smithsonian and The Baseball Hall of Fame. Interesting. An entrepreneur, musician, sports fan, and philanthropist who happens to care deeply about skilled labor, energy independence, and the pressing need to reinvigorate our manufacturing base. I kept reading and finally realized why I knew his name. Thomas Tull started a movie studio a few years ago called Legendary Entertainment. With zero experience in the entertainment industry, he produced a movie called 300 – which told the story of Sparta’s storied defense of Thermopylae while making Gerard Butler’s abs eternally famous. He then formed a relationship with Christopher Nolan and produced an extraordinary film called Inception. And then, The Dark Knight trilogy. And then, the entire Hangover franchise. And so forth. Unlike traditional studio heads, Thomas treated movie production like a diversified portfolio. He was among the first to use advanced data analytics and AI to determine how to market films and figure out which projects were worth the risk. Forty films later, Thomas sold Legendary for $3.5 billion dollars and started a company called Tulco, which is currently in the process of changing the world through massive investments in AI and defense. He’s also involved in the business of de-extinction and currently trying to bring back the woolly mammoth and dodo bird. Interesting. An entrepreneur, musician, sports fan, philanthropist, Hollywood producer, investor, naturalist, and multi-billionaire tech genius who happens to care deeply about skilled labor, energy independence, and the pressing need to reinvigorate our manufacturing base. It was at this point I began to wish I had taken Thomas Tull’s phone number. Happily, there was no need. Thomas reached out to my office a few days later and asked if we could continue our conversation on my podcast. That struck me as a fantastic idea. “I’ll come to you,” he said. “At your convenience.” “How about now?” I asked. And so, Thomas Tull flew across the country to record the conversation you’re about to hear. We discussed a lot, including his relationship with my favorite backup singer of all time and the curious way he’s always found himself adjacent to greatness over the course of his extraordinary career. I loved every minute of our conversation, and I bet you will, too. And now, I have his phone number…

The Real Mike Rowe

40,959 görüntüleme • 7 ay önce

'Kicked to the curb': Vaccine-injured Canadians to be heard at the Allison Inquiry 💉 A veteran who says he was ready to die for his country broke down describing how Ottawa abandoned him after his COVID shot, and MP Dean Allison says this is only the beginning. Day one of the Allison Inquiry is in the books, and if the first testimonies are any indication, Canadians are only beginning to understand the scale of the vaccine injury crisis this country has spent five years trying to ignore. The inquiry, led by Conservative MP Dean Allison, was created to do what Ottawa has refused to do since the rollout of the novel modified RNA COVID-19 injections: actually listen to the people who were hurt by them, and dig into why the federal Vaccine Injury Support Program has left so many of them behind. I sat down with Allison at the end of the day, and his message was that this isn't about politics, but permission. "We want to give people permission to tell their stories," Allison said. "If they can't tell their stories, then they can't get help. If they can't get help, they continue to feel terrible, they feel isolated." Special guest U.S. Senator Ron Johnson and Denis Rancourt — a physicist with a PhD in the field who spent 23 years as a professor and lead scientist at the University of Ottawa — set the tone for the day, laying out context that's old news to those of us who've covered this unfolding story for years. Two sitting MPs, Mike Dawson and Chris Lewis Essex, also shared their own experiences with vaccine injuries publicly, for what may have been the first time. But one testimony that stopped the room was a Canadian Forces veteran who said he was prepared to die for this country, then discarded by it the moment he was injured. "Imagine giving your life for your best friend, and in return, they turn their back on you," Allison said, visibly perturbed by what he heard. "That is so disturbing. What a travesty for people who were prepared to give their life to protect our country, only to be turned away and kicked to the curb." Allison didn't shy away from critics already dismissing the inquiry online as a "conspiracy round table." "Our own government admits people are injured. They have a program for it, and they keep numbers on it," he said. "Anyone who minimizes these individuals doesn't know what they're talking about. They're either arrogant, or ignorant, or maybe both. These people have real stories. There's been real harm done, and we owe it to them to at least hear what they have to say." Even Canada's state broadcaster showed up, albeit briefly. Allison said a CBC reporter approached him in the morning to ask what he expected out of the day, then vanished. No panel invite. No follow-up. "I haven't seen any fair coverage so far," Allison said. "What I'm expecting is that independent media in the room will be fair, because we actually talk to real people. Legacy media talks to people inside the bubble." That's the difference this inquiry is banking on: real people, telling real stories, in front of the parliamentarians who are supposed to be listening. Day one is over, but the stories are only getting started. Day two of the Allison Inquiry will bring roughly a dozen vaccine-injured Canadians to the mic.
15:28

'Kicked to the curb': Vaccine-injured Canadians to be heard at the Allison Inquiry 💉 A veteran who says he was ready to die for his country broke down describing how Ottawa abandoned him after his COVID shot, and MP Dean Allison says this is only the beginning. Day one of the Allison Inquiry is in the books, and if the first testimonies are any indication, Canadians are only beginning to understand the scale of the vaccine injury crisis this country has spent five years trying to ignore. The inquiry, led by Conservative MP Dean Allison, was created to do what Ottawa has refused to do since the rollout of the novel modified RNA COVID-19 injections: actually listen to the people who were hurt by them, and dig into why the federal Vaccine Injury Support Program has left so many of them behind. I sat down with Allison at the end of the day, and his message was that this isn't about politics, but permission. "We want to give people permission to tell their stories," Allison said. "If they can't tell their stories, then they can't get help. If they can't get help, they continue to feel terrible, they feel isolated." Special guest U.S. Senator Ron Johnson and Denis Rancourt — a physicist with a PhD in the field who spent 23 years as a professor and lead scientist at the University of Ottawa — set the tone for the day, laying out context that's old news to those of us who've covered this unfolding story for years. Two sitting MPs, Mike Dawson and Chris Lewis Essex, also shared their own experiences with vaccine injuries publicly, for what may have been the first time. But one testimony that stopped the room was a Canadian Forces veteran who said he was prepared to die for this country, then discarded by it the moment he was injured. "Imagine giving your life for your best friend, and in return, they turn their back on you," Allison said, visibly perturbed by what he heard. "That is so disturbing. What a travesty for people who were prepared to give their life to protect our country, only to be turned away and kicked to the curb." Allison didn't shy away from critics already dismissing the inquiry online as a "conspiracy round table." "Our own government admits people are injured. They have a program for it, and they keep numbers on it," he said. "Anyone who minimizes these individuals doesn't know what they're talking about. They're either arrogant, or ignorant, or maybe both. These people have real stories. There's been real harm done, and we owe it to them to at least hear what they have to say." Even Canada's state broadcaster showed up, albeit briefly. Allison said a CBC reporter approached him in the morning to ask what he expected out of the day, then vanished. No panel invite. No follow-up. "I haven't seen any fair coverage so far," Allison said. "What I'm expecting is that independent media in the room will be fair, because we actually talk to real people. Legacy media talks to people inside the bubble." That's the difference this inquiry is banking on: real people, telling real stories, in front of the parliamentarians who are supposed to be listening. Day one is over, but the stories are only getting started. Day two of the Allison Inquiry will bring roughly a dozen vaccine-injured Canadians to the mic.

Rebel News

15,867 görüntüleme • 8 gün önce