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In Exit 8 (2025), they built two identical versions of the film’s endless white subway corridor, nicknamed “Hitchcock” and “Kubrick.” The protagonist gets trapped in the loop in the first place because he ignores an "anomaly" in his real life: his pregnant ex-girlfriend calling from the hospital. Instead of...

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76,321 views • 3 months ago •via X (Twitter)

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A person who converted to Islam in Japan was offered a job by a company in Osaka because he knew Arabic. The company’s business was connected to the Middle East. However, they could not reach an agreement on two issues before he started the job. First, he would have to attend business parties where alcohol was also served. Second, there would need to be an arrangement between his prayer times and his office working hours. Because of this, he refused the job. Later, he became the imam of a mosque in Kobe. For some people, it is so easy to say, “Religion is more important than a job.” Such employees also tend to face more conflicts because they want to bring religious rules into the workplace, which is not possible. Here, the question is not just about the job, but about priorities. Was it the right decision to give up such a job opportunity because of his religious beliefs?
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A person who converted to Islam in Japan was offered a job by a company in Osaka because he knew Arabic. The company’s business was connected to the Middle East. However, they could not reach an agreement on two issues before he started the job. First, he would have to attend business parties where alcohol was also served. Second, there would need to be an arrangement between his prayer times and his office working hours. Because of this, he refused the job. Later, he became the imam of a mosque in Kobe. For some people, it is so easy to say, “Religion is more important than a job.” Such employees also tend to face more conflicts because they want to bring religious rules into the workplace, which is not possible. Here, the question is not just about the job, but about priorities. Was it the right decision to give up such a job opportunity because of his religious beliefs?

Alpha Wolf 🐺

96,601 views • 5 days ago

In the movie 'The Dictator', Alladin makes a small gesture of the hand, and his soldiers remove the man next to him. Note: This video clip is not from the movie.
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In the movie 'The Dictator', Alladin makes a small gesture of the hand, and his soldiers remove the man next to him. Note: This video clip is not from the movie.

PunsterX

407,221 views • 3 years ago

God created the world in seven days, but it took Michelangelo four years to depict it on this remarkable ceiling.... To any visitor of Michelangelo’s Sistine Chapel, two features become immediately and undeniably apparent: 1) the ceiling is really high up, and 2) there are a lot of paintings up there. Because of this, the centuries have handed down to us an image of Michelangelo lying on his back, wiping sweat and plaster from his eyes as he toiled away year after year, suspended hundreds of feet in the air, begrudgingly completing a commission that he never wanted to accept in the first place. Fortunately for Michelangelo, this is probably not true. But that does nothing to lessen the fact that the frescoes, which take up the entirety of the vault, are among the most important paintings in the world. Michelangelo began to work on the frescoes for Pope Julius II in 1508, replacing a blue ceiling dotted with stars. Originally, the pope asked Michelangelo to paint the ceiling with a geometric ornament, and place the twelve apostles in spandrels around the decoration. Michelangelo proposed instead to paint the Old Testament scenes now found on the vault, divided by the fictive architecture that he uses to organize the composition. The narrative begins at the altar and is divided into three sections. In the first three paintings, Michelangelo tells the story of The Creation of the Heavens and Earth; this is followed by The Creation of Adam and Eve and the Expulsion from the Garden of Eden; finally is the story of Noah and the Great Flood. Ignudi, or nude youths, sit in fictive architecture around these frescoes and they are accompanied by prophets and sibyls (ancient seers who, according to tradition, foretold the coming of Christ) in the spandrels. In the four corners of the room, in the pendentives, one finds scenes depicting the Salvation of Israel. Although the most famous of these frescoes is without a doubt, The Creation of Adam, reproductions of which have become ubiquitous in modern culture for its dramatic positioning of the two monumental figures reaching towards each other, not all of the frescoes are painted in this style. In fact, the first frescoes Michelangelo painted contain multiple figures, much smaller in size, engaged in complex narratives. This can best be exemplified by his painting of The Deluge. In this fresco, Michelangelo has used the physical space of the water and the sky to separate four distinct parts of the narrative. On the right side of the painting, a cluster of people seeks sanctuary from the rain under a makeshift shelter. On the left, even more people climb up the side of a mountain to escape the rising water. Centrally, a small boat is about to capsize because of the unending downpour. And in the background, a team of men work on building the arc—the only hope of salvation. Up close, this painting confronts the viewer with the desperation of those about to perish in the flood and makes one question God’s justice in wiping out the entire population of the earth, save Noah and his family, because of the sins of the wicked. Unfortunately, from the floor of the chapel, the use of small, tightly grouped figures undermines the emotional content and makes the story harder to follow. 🎥© lockette (IG) #archaeohistories
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God created the world in seven days, but it took Michelangelo four years to depict it on this remarkable ceiling.... To any visitor of Michelangelo’s Sistine Chapel, two features become immediately and undeniably apparent: 1) the ceiling is really high up, and 2) there are a lot of paintings up there. Because of this, the centuries have handed down to us an image of Michelangelo lying on his back, wiping sweat and plaster from his eyes as he toiled away year after year, suspended hundreds of feet in the air, begrudgingly completing a commission that he never wanted to accept in the first place. Fortunately for Michelangelo, this is probably not true. But that does nothing to lessen the fact that the frescoes, which take up the entirety of the vault, are among the most important paintings in the world. Michelangelo began to work on the frescoes for Pope Julius II in 1508, replacing a blue ceiling dotted with stars. Originally, the pope asked Michelangelo to paint the ceiling with a geometric ornament, and place the twelve apostles in spandrels around the decoration. Michelangelo proposed instead to paint the Old Testament scenes now found on the vault, divided by the fictive architecture that he uses to organize the composition. The narrative begins at the altar and is divided into three sections. In the first three paintings, Michelangelo tells the story of The Creation of the Heavens and Earth; this is followed by The Creation of Adam and Eve and the Expulsion from the Garden of Eden; finally is the story of Noah and the Great Flood. Ignudi, or nude youths, sit in fictive architecture around these frescoes and they are accompanied by prophets and sibyls (ancient seers who, according to tradition, foretold the coming of Christ) in the spandrels. In the four corners of the room, in the pendentives, one finds scenes depicting the Salvation of Israel. Although the most famous of these frescoes is without a doubt, The Creation of Adam, reproductions of which have become ubiquitous in modern culture for its dramatic positioning of the two monumental figures reaching towards each other, not all of the frescoes are painted in this style. In fact, the first frescoes Michelangelo painted contain multiple figures, much smaller in size, engaged in complex narratives. This can best be exemplified by his painting of The Deluge. In this fresco, Michelangelo has used the physical space of the water and the sky to separate four distinct parts of the narrative. On the right side of the painting, a cluster of people seeks sanctuary from the rain under a makeshift shelter. On the left, even more people climb up the side of a mountain to escape the rising water. Centrally, a small boat is about to capsize because of the unending downpour. And in the background, a team of men work on building the arc—the only hope of salvation. Up close, this painting confronts the viewer with the desperation of those about to perish in the flood and makes one question God’s justice in wiping out the entire population of the earth, save Noah and his family, because of the sins of the wicked. Unfortunately, from the floor of the chapel, the use of small, tightly grouped figures undermines the emotional content and makes the story harder to follow. 🎥© lockette (IG) #archaeohistories

Archaeo - Histories

16,175 views • 1 month ago

They did not take cursive from the schools because children no longer needed it. They took it because of what it was quietly building in them. Consider what the exercise actually is. A child, six years old, is handed a pen and asked to draw a single unbroken line that becomes a word. The wrist must float. The fingers must hold a living pressure, never quite the same twice, always correcting. The eye must follow the ink forward and trust the hand to finish what it has begun. There is no lifting, no stopping, no starting over mid-word. The loop must close. The ascender must rise and return. The sentence must travel from one margin to the other as a single continuous gesture, and at the end of it the hand must still be steady. Twelve years of this. Every day. Ten thousand small acts of sustained, self-correcting attention, carried out below the level of conscious thought, until the motion belongs to the body and the body belongs to the motion. This is not penmanship. It is the slow construction of an interior form. The hand that has learned to carry a line without breaking it is the hand of a mind that has learned to carry a thought without breaking it. The two are not metaphors for one another. They are the same faculty, trained in the same child, by the same daily discipline. Continuity of the stroke becomes continuity of the reasoning. The patience of the loop becomes the patience of the argument. The commitment to finish a word one has started becomes the commitment to finish a sentence, a paragraph, a life's idea, without reaching for the nearest distraction halfway through. Print is a different creature entirely. Print lifts. Print stops. Print assembles a word out of separate, stamped, interchangeable pieces, each one beginning and ending in isolation. A mind raised only on print learns to think the way print is made, in discrete tokens, in replaceable units, in fragments that can be recombined by any outside hand without the owner noticing the substitution. It is precisely the shape of thought a language model produces. It is precisely the shape of thought a language model can steer. Cursive is kata. This is the whole of it. A form repeated daily, for years, not for the sake of the form but for what the repetition lays down in the practitioner beneath the form. The swordsman does not train kata so that one day he may fight in kata. He trains it so that when the moment comes and there is no time to think, the movement is already inside him, older and deeper than thought, and it rises on its own. Cursive was the kata of the literate mind, the daily quiet drilling of continuity, of patience, of a line held steady under the long pressure of its own length. And the signature it produced at the end, that small flourished mark unique to a single human being on earth, was only the outward proof of an inward form no machine and no other hand could ever reproduce. Take the kata away and the practitioner is left with vocabulary in place of faculty. He can recognise a whole thought when he encounters one. He cannot carry one himself. He can admire a finished argument. He cannot sustain one long enough to close its loop. He begins books he does not finish, sentences he does not end, ideas he abandons the moment the screen in his palm offers him a brighter one. And when the machine begins feeding him tokens in the exact shape his schooling taught him to receive, he meets it with no interior resistance at all, because no interior form was ever built in him to push back with. They removed it quietly, across a generation, and they removed it in the last years before the machines arrived. Twelve years of daily practice in unbroken, embodied, self-authored thought, gone from the curriculum of almost every child in the Western world, just as the instruments designed to complete their sentences for them came online. The hand forgets. The mind, having never been taught the kata, forgets a thing it never knew it had. That is what cursive was. That is what was taken. And that is why the thought of anyone who still writes by hand, in long unlifted lines, remains, quietly, stubbornly, and without their ever needing to announce it, their own. Now the question stands open. What else has been banned, phased out, quietly retired from the curriculum and from common life over these same decades, under the same soft excuses? Mental arithmetic. Memorisation of poetry. Latin. Logic as a formal subject. Map reading. Knot work. The keeping of a commonplace book. The reading aloud of long passages in class. Singing in parts. What was each of those actually building in the child, beneath the surface of the lesson, and whose interest was served by its disappearance?
0:10

They did not take cursive from the schools because children no longer needed it. They took it because of what it was quietly building in them. Consider what the exercise actually is. A child, six years old, is handed a pen and asked to draw a single unbroken line that becomes a word. The wrist must float. The fingers must hold a living pressure, never quite the same twice, always correcting. The eye must follow the ink forward and trust the hand to finish what it has begun. There is no lifting, no stopping, no starting over mid-word. The loop must close. The ascender must rise and return. The sentence must travel from one margin to the other as a single continuous gesture, and at the end of it the hand must still be steady. Twelve years of this. Every day. Ten thousand small acts of sustained, self-correcting attention, carried out below the level of conscious thought, until the motion belongs to the body and the body belongs to the motion. This is not penmanship. It is the slow construction of an interior form. The hand that has learned to carry a line without breaking it is the hand of a mind that has learned to carry a thought without breaking it. The two are not metaphors for one another. They are the same faculty, trained in the same child, by the same daily discipline. Continuity of the stroke becomes continuity of the reasoning. The patience of the loop becomes the patience of the argument. The commitment to finish a word one has started becomes the commitment to finish a sentence, a paragraph, a life's idea, without reaching for the nearest distraction halfway through. Print is a different creature entirely. Print lifts. Print stops. Print assembles a word out of separate, stamped, interchangeable pieces, each one beginning and ending in isolation. A mind raised only on print learns to think the way print is made, in discrete tokens, in replaceable units, in fragments that can be recombined by any outside hand without the owner noticing the substitution. It is precisely the shape of thought a language model produces. It is precisely the shape of thought a language model can steer. Cursive is kata. This is the whole of it. A form repeated daily, for years, not for the sake of the form but for what the repetition lays down in the practitioner beneath the form. The swordsman does not train kata so that one day he may fight in kata. He trains it so that when the moment comes and there is no time to think, the movement is already inside him, older and deeper than thought, and it rises on its own. Cursive was the kata of the literate mind, the daily quiet drilling of continuity, of patience, of a line held steady under the long pressure of its own length. And the signature it produced at the end, that small flourished mark unique to a single human being on earth, was only the outward proof of an inward form no machine and no other hand could ever reproduce. Take the kata away and the practitioner is left with vocabulary in place of faculty. He can recognise a whole thought when he encounters one. He cannot carry one himself. He can admire a finished argument. He cannot sustain one long enough to close its loop. He begins books he does not finish, sentences he does not end, ideas he abandons the moment the screen in his palm offers him a brighter one. And when the machine begins feeding him tokens in the exact shape his schooling taught him to receive, he meets it with no interior resistance at all, because no interior form was ever built in him to push back with. They removed it quietly, across a generation, and they removed it in the last years before the machines arrived. Twelve years of daily practice in unbroken, embodied, self-authored thought, gone from the curriculum of almost every child in the Western world, just as the instruments designed to complete their sentences for them came online. The hand forgets. The mind, having never been taught the kata, forgets a thing it never knew it had. That is what cursive was. That is what was taken. And that is why the thought of anyone who still writes by hand, in long unlifted lines, remains, quietly, stubbornly, and without their ever needing to announce it, their own. Now the question stands open. What else has been banned, phased out, quietly retired from the curriculum and from common life over these same decades, under the same soft excuses? Mental arithmetic. Memorisation of poetry. Latin. Logic as a formal subject. Map reading. Knot work. The keeping of a commonplace book. The reading aloud of long passages in class. Singing in parts. What was each of those actually building in the child, beneath the surface of the lesson, and whose interest was served by its disappearance?

SiriusB

444,185 views • 5 months ago

This film feels like it was written by VivziePop. Not just because of the heavy use of profanity, but because most of it takes place in Hell. And to think it's from the same distributor as The Oogieloves in the Big Balloon Adventure... Movie: Hell and Back Year: 2015
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This film feels like it was written by VivziePop. Not just because of the heavy use of profanity, but because most of it takes place in Hell. And to think it's from the same distributor as The Oogieloves in the Big Balloon Adventure... Movie: Hell and Back Year: 2015

The 90s and 2000s

17,798 views • 5 months ago

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.
0:13

There is a room in Málaga that was built to be the closest thing on earth to standing inside heaven. It is called the camarín of the Virgin of Victory, and it is hidden at the top of a tower inside the Santuario de la Victoria. To reach it, you climb and the ascent is the entire point... The building you are climbing through was completed in 1700, and it was designed as a single argument made in stone. At the bottom lies a crypt: a black chamber crowded with white plaster skeletons, a meditation on death and the brevity of life. From there a staircase rises, and as you climb it the light grows stronger and the imagery changes from bones to saints. The architects of the time understood this ascent as the soul's own journey, the dark crypt as the stage of penitence, the staircase as the stage of spiritual progress, and the room at the very top as the final stage: the union of the soul with the divine. That room at the top is the camarín, and its dome is one of the most extraordinary interiors in Spain... Every surface is covered in white and gold plasterwork. There is no empty space anywhere. The Baroque called this horror vacui, the horror of the void: the conviction that a space meant to represent heaven should not contain a single bare patch of stone. Out of that plasterwork emerge angels, flowers, birds, and mirrors. The mirrors are not decoration alone. They catch the light pouring in through the windows of the drum and throw it around the chamber, so that the gold seems to move and the whole room appears to shimmer and breathe. This wonder was built by people who believed that if you wanted to show a human being what heaven might feel like, you did not describe it to them. You built a room, and you let them climb into it... -- -- -- If you enjoyed this, I write a weekly newsletter read by over 50,000 people who love rediscovering the beauty of the past. You can join us here: If you'd like to support my work, a paid subscription is what makes it possible.

James Lucas

69,389 views • 4 months ago

Let me tell you a secret... The Wheel of Life or Bhavachakra, which represents Samsara, the endless cycle of birth, death, and rebirth within the illusion of Maya, is the simulation. The three poisons, the bird, the dragon, and the boar, are actually the northern constellations: the Big Dipper, Draco, and the Swan (Cygnus). They represent the great wobble or the axial tilt toward the northern sky. They are chasing each other in an endless circle, symbolizing the precession of the equinoxes and the Great Year. There are four seasons represented in the wheel, corresponding to the four Yugas. The outer ring of the wheel, the twelve Nidānas, represent the twelve zodiac constellations. Once you achieve enlightenment, or learn the lessons of good and evil represented by karma, you escape the 'simulation' (illusion). There is more to it, but the interest in this kind of post is rare.
0:13

Let me tell you a secret... The Wheel of Life or Bhavachakra, which represents Samsara, the endless cycle of birth, death, and rebirth within the illusion of Maya, is the simulation. The three poisons, the bird, the dragon, and the boar, are actually the northern constellations: the Big Dipper, Draco, and the Swan (Cygnus). They represent the great wobble or the axial tilt toward the northern sky. They are chasing each other in an endless circle, symbolizing the precession of the equinoxes and the Great Year. There are four seasons represented in the wheel, corresponding to the four Yugas. The outer ring of the wheel, the twelve Nidānas, represent the twelve zodiac constellations. Once you achieve enlightenment, or learn the lessons of good and evil represented by karma, you escape the 'simulation' (illusion). There is more to it, but the interest in this kind of post is rare.

Open Minded Approach

146,131 views • 7 months ago

I wrote the most revealing thread for my subscribers about one potential place that might be safer during the Geophysical Event, as it was in the past, and there was a lot of migration to that place, which is historically disputed even today. During the geomagnetic excursion in the past, this place showed an interesting local anomaly. Plus, you will find out who followed my account when I wrote a thread about the projects being built in that land—he is a very powerful and rich person connected to the President of the USA. This is the most interesting thread; it will be available only to my subscribers on X and Patreon for various reasons...
0:12

I wrote the most revealing thread for my subscribers about one potential place that might be safer during the Geophysical Event, as it was in the past, and there was a lot of migration to that place, which is historically disputed even today. During the geomagnetic excursion in the past, this place showed an interesting local anomaly. Plus, you will find out who followed my account when I wrote a thread about the projects being built in that land—he is a very powerful and rich person connected to the President of the USA. This is the most interesting thread; it will be available only to my subscribers on X and Patreon for various reasons...

Open Minded Approach

145,693 views • 5 months ago

We live in an illusion, a simulation created by nonphysical electromagnetic waves collapsing into material reality, where your soul is trapped inside an energetic container that we call matter. There, it learns the lessons of Good and Evil necessary for its evolution. That is why the body is made of earth/dirt/matter, while the soul is made of fire, which is plasma. In Hinduism and Buddhism, this is represented by the Bhavachakra, or Wheel of Life, which depicts samsara, the cycle of death and rebirth in which the soul is “trapped” until it escapes the wheel after acquiring the knowledge of Good and Evil and attaining wisdom. The three poisons at the center of samsara are actually the northern constellations Draco, Cygnus, and Ursa Major, constantly chasing one another in a circle, symbolizing both the passage of time and the endless, repeating cycles. The twelve outer sections represent the twelve zodiac constellations. So yes, we live in an illusion, a simulation, but not an illusion created by AI, as in The Matrix. It is an illusion created by God for the purpose of the soul’s evolution.
0:15

We live in an illusion, a simulation created by nonphysical electromagnetic waves collapsing into material reality, where your soul is trapped inside an energetic container that we call matter. There, it learns the lessons of Good and Evil necessary for its evolution. That is why the body is made of earth/dirt/matter, while the soul is made of fire, which is plasma. In Hinduism and Buddhism, this is represented by the Bhavachakra, or Wheel of Life, which depicts samsara, the cycle of death and rebirth in which the soul is “trapped” until it escapes the wheel after acquiring the knowledge of Good and Evil and attaining wisdom. The three poisons at the center of samsara are actually the northern constellations Draco, Cygnus, and Ursa Major, constantly chasing one another in a circle, symbolizing both the passage of time and the endless, repeating cycles. The twelve outer sections represent the twelve zodiac constellations. So yes, we live in an illusion, a simulation, but not an illusion created by AI, as in The Matrix. It is an illusion created by God for the purpose of the soul’s evolution.

Open Minded Approach

104,488 views • 1 month ago

Meet Jim Jordan Rep. Jim Jordan , the head of the judicial cartel, making every excuse in the book to not impeach a single activist judge. We have a system of checks and balances. They are to be used to prevent activist judges from doing what they are doing across America. Jim Jordan does not care and he would rather make excuses instead of using the power of Congress to put judges on notice. Do we have the votes in the Senate? We have 100 Senators, and this will expose which Senators refuse to impeach the activist judges continuing to destroy our country. Jim Jordan is showing exactly who he is and who he works for. Instead of doing his job and allowing America to see which members of Congress support the activist judges and which members of Congress are against the activist judges, Jim Jordan buries his head in the sand. Our American citizens deserve the right to see which members of Congress support and which members of Congress reject activist judges, because we can use this information to decide who we want to vote for and who we want to primary during the elections. Jim Jordan is instead providing cover for Congress and shielding them from being exposed. Jim Jordan is protecting Congress and is giving his middle finger to our American citizens. He is protecting Congress and the machine (also known as the deep state) Jim Jordan needs to be censured and primaried from Congress as he has already proven to America that he does NOT represent his constituents. He claims to be a conservative but those are only words, as actions speak louder than words. RINO Jim Jordan, blocking the will of our American citizens and defending Congress and the activist judicial cartel. Jim Jordan, the protector and head of the judicial cartel.
0:10

Meet Jim Jordan Rep. Jim Jordan , the head of the judicial cartel, making every excuse in the book to not impeach a single activist judge. We have a system of checks and balances. They are to be used to prevent activist judges from doing what they are doing across America. Jim Jordan does not care and he would rather make excuses instead of using the power of Congress to put judges on notice. Do we have the votes in the Senate? We have 100 Senators, and this will expose which Senators refuse to impeach the activist judges continuing to destroy our country. Jim Jordan is showing exactly who he is and who he works for. Instead of doing his job and allowing America to see which members of Congress support the activist judges and which members of Congress are against the activist judges, Jim Jordan buries his head in the sand. Our American citizens deserve the right to see which members of Congress support and which members of Congress reject activist judges, because we can use this information to decide who we want to vote for and who we want to primary during the elections. Jim Jordan is instead providing cover for Congress and shielding them from being exposed. Jim Jordan is protecting Congress and is giving his middle finger to our American citizens. He is protecting Congress and the machine (also known as the deep state) Jim Jordan needs to be censured and primaried from Congress as he has already proven to America that he does NOT represent his constituents. He claims to be a conservative but those are only words, as actions speak louder than words. RINO Jim Jordan, blocking the will of our American citizens and defending Congress and the activist judicial cartel. Jim Jordan, the protector and head of the judicial cartel.

Kwasny

21,066 views • 20 days ago

The Philippines can’t catch a break in the wake of Typhoon Kalmaegi (TinoPH), because just as that system heads deeper into the Vietnamese jungle, a new leviathan has emerged from the depths of the Pacific. On the right side of this satellite loop is Tropical Storm Fung-wong, a sprawling embryonic cyclone in the Philippine Sea. She may be weak and disorganized now, but the environment ahead is going to be favorable for rapid intensification. The island of Luzon is her most likely target for landfall. Watch this one closely.
0:11

The Philippines can’t catch a break in the wake of Typhoon Kalmaegi (TinoPH), because just as that system heads deeper into the Vietnamese jungle, a new leviathan has emerged from the depths of the Pacific. On the right side of this satellite loop is Tropical Storm Fung-wong, a sprawling embryonic cyclone in the Philippine Sea. She may be weak and disorganized now, but the environment ahead is going to be favorable for rapid intensification. The island of Luzon is her most likely target for landfall. Watch this one closely.

Backpirch Weather

238,747 views • 10 months ago

#MegaManStarForce Legacy Collection Tips You can now scroll through the Card Folder and loop back to the top, which was not possible in the original versions of the game. ☄️
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#MegaManStarForce Legacy Collection Tips You can now scroll through the Card Folder and loop back to the top, which was not possible in the original versions of the game. ☄️

Mega Man

14,080 views • 3 months ago

❗️Hundreds of thousands of Russians are marching right in Ekaterinburg to commemorate Tsar Nicholas II. The central event of Tsar’s Days is the Divine Liturgy held on the night of 16/17 July, followed by a 21-km Cross Procession, from the Church on the Blood in central Ekaterinburg to the Monastery of the Holy Royal Passion-Bearers at Ganina Yama. for which “the whole of Russia gathers” in the Ural capital. Tsar’s Days, which will be held in the Ural capital and in Alapaevsk from 11th to 21st July 2026. This year marks the 108th anniversary of the death and martyrdom of Emperor Nicholas II, his family and their four faithful retainers on 17th July 1918. It also marks the 108th anniversary of the death and martyrdom of Grand Duchess Eliabeth Feodorovna and other Romanov family members in Alapaevsk on 18th July 1918. The Imperial Procession is not only an important event in the spiritual life of Russia, but also the largest Communion service in Russia! The clergy administer Communion to the participants of the procession simultaneously from 100 (!) chalices! A whole sea of Orthodox Christians! Praise God for everything!
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❗️Hundreds of thousands of Russians are marching right in Ekaterinburg to commemorate Tsar Nicholas II. The central event of Tsar’s Days is the Divine Liturgy held on the night of 16/17 July, followed by a 21-km Cross Procession, from the Church on the Blood in central Ekaterinburg to the Monastery of the Holy Royal Passion-Bearers at Ganina Yama. for which “the whole of Russia gathers” in the Ural capital. Tsar’s Days, which will be held in the Ural capital and in Alapaevsk from 11th to 21st July 2026. This year marks the 108th anniversary of the death and martyrdom of Emperor Nicholas II, his family and their four faithful retainers on 17th July 1918. It also marks the 108th anniversary of the death and martyrdom of Grand Duchess Eliabeth Feodorovna and other Romanov family members in Alapaevsk on 18th July 1918. The Imperial Procession is not only an important event in the spiritual life of Russia, but also the largest Communion service in Russia! The clergy administer Communion to the participants of the procession simultaneously from 100 (!) chalices! A whole sea of Orthodox Christians! Praise God for everything!

🇷🇺 STANISLAV KRAPIVNIK 🇷🇺

32,399 views • 2 months ago

The spaceship buried beneath the Sphinx and the Pyramids, mentioned in the Emerald Tablets of Thoth the Atlantean, is the key to passing the Halls of Amenti. The ancient Egyptians traveled the stars to achieve immortality and the Akh body, which is essentially a star or a body made of plasma. It is connected to the Merkabah chariot that carries the soul to God, or a space ship, just as the ancient Egyptians depicted the journey through the Underworld as a ship sailing on the waters of the stars and the Milky Way. Beneath lies the knowledge of ascension. Or…
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The spaceship buried beneath the Sphinx and the Pyramids, mentioned in the Emerald Tablets of Thoth the Atlantean, is the key to passing the Halls of Amenti. The ancient Egyptians traveled the stars to achieve immortality and the Akh body, which is essentially a star or a body made of plasma. It is connected to the Merkabah chariot that carries the soul to God, or a space ship, just as the ancient Egyptians depicted the journey through the Underworld as a ship sailing on the waters of the stars and the Milky Way. Beneath lies the knowledge of ascension. Or…

Open Minded Approach

69,816 views • 9 months ago

Six of our team members were forced to spend the night in jail for simply denouncing the mockery of Christians by having the message "STOP ATTACKS ON CHRISTIANS" written on a bus. This is not illegal in any way, as a lawyer states: “It appears impossible to constitute the crime of failing to communicate a protest because there is no protest in the presence of one unique vehicle. The prosecutor pushed the law to its limits to stop the bus and limit their free speech. Moreover, the procedure was irregular.” In short, this is anti-Christian political and ideological persecution. #Paris2024 #Christianity
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Six of our team members were forced to spend the night in jail for simply denouncing the mockery of Christians by having the message "STOP ATTACKS ON CHRISTIANS" written on a bus. This is not illegal in any way, as a lawyer states: “It appears impossible to constitute the crime of failing to communicate a protest because there is no protest in the presence of one unique vehicle. The prosecutor pushed the law to its limits to stop the bus and limit their free speech. Moreover, the procedure was irregular.” In short, this is anti-Christian political and ideological persecution. #Paris2024 #Christianity

CitizenGO

448,478 views • 2 years ago

The Count remained in the soil from which he was born, suspended between wakefulness and sleep. It was a coffin and a womb, a quiet place of waiting on the path to eternity.
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The Count remained in the soil from which he was born, suspended between wakefulness and sleep. It was a coffin and a womb, a quiet place of waiting on the path to eternity.

坂本眞一　Shin-ichi Sakamoto

55,128 views • 9 months ago