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Paint it black... or better yet, paint it white ! 🖌️ 📽️Black Booty #DPFanatics 🌟#JasmineWebb #ZenzaRaggi #KevinKing #threesomeMMF #ebony #spitroast #cumshot #creampie #mayonaise #yogurt #blackbooty #cumshooter #sprayed #dripping

Beckett_95

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64,534 просмотров • 3 лет назад •via X (Twitter)

NSFW #DPFanatics #JasmineWebb #ZenzaRaggi #KevinKing #threesomeMMF #ebony #spitroast #cumshot #creampie #mayonaise #yogurt #blackbooty #cumshooter #sprayed #dripping

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This grandma and grandpa, weekend warriors, are on a tight budget and wanted to find the easiest and most affordable way to keep their grandbabies and dogs safely fenced inside their yard. So this built this fence with sixteen 8x8x16 cinder blocks, twenty 4x4x10 wood posts and some black paint. Voilà! A quick and easy fence. They said they haven’t secured the cinder blocks together yet but they will with liquid nails or concrete screws. They painted the cinder blocks with black latex house paint and they plan on staining the wood posts. Someone stated they may want to bury a cinder block and attach it to that for more stability. 💯 I think it looks great. What do you think? For a tight budget is there anything easier, quicker or more inexpensive?

This grandma and grandpa, weekend warriors, are on a tight budget and wanted to find the easiest and most affordable way to keep their grandbabies and dogs safely fenced inside their yard. So this built this fence with sixteen 8x8x16 cinder blocks, twenty 4x4x10 wood posts and some black paint. Voilà! A quick and easy fence. They said they haven’t secured the cinder blocks together yet but they will with liquid nails or concrete screws. They painted the cinder blocks with black latex house paint and they plan on staining the wood posts. Someone stated they may want to bury a cinder block and attach it to that for more stability. 💯 I think it looks great. What do you think? For a tight budget is there anything easier, quicker or more inexpensive?

👉M-Û-R-Č-H👈

1,078,904 просмотров • 3 месяцев назад

This 11,000-year-old limestone boar from Göbekli Tepe still bears traces of red, white, and black paint, proving the Neolithic world was vibrantly colored. It rests on a cryptic platform carved with serpents, human masks, and an enigmatic H-symbol long before the invention of writing. What lost mythological story or ancient warning do you think these hunter-gatherers were leaving behind?

This 11,000-year-old limestone boar from Göbekli Tepe still bears traces of red, white, and black paint, proving the Neolithic world was vibrantly colored. It rests on a cryptic platform carved with serpents, human masks, and an enigmatic H-symbol long before the invention of writing. What lost mythological story or ancient warning do you think these hunter-gatherers were leaving behind?

History Content

44,221 просмотров • 5 месяцев назад

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. ___________________________________________________ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. ____________________________________________________ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

🎓Learn how to create a powerful Dynamic Embers smart material in a matter of seconds, in my latest video series (AAA) Pro Tips! This smart material can be used on virtually any 3D asset. _ In this video, the steps are as follows: 1. Create a fill layer to then apply the base maps for our asset into it. 2. Bake out the world space, AO, Curvature, and Position maps. These maps will be crucial for the smart material to function. Also, be sure to add an emissive channel to the project. 3. Next, create another fill layer labeled (Fire animation gradient) with a black mask and inside the mask apply a paint layer. Select the paint layer and paint a simple pill shape using a soft brush. Add an anchorpoint to the mask and disable all channels in this fill layer. 4. Create a folder labeled (embers smart material) and set it to pass through. Add a paint layer inside this folder and set it to pass through as well followed by an anchorpoint. 5. Create another fill layer and apply the paint layers anchorpoint information into its color channel. From here an HSL filter should be added to desaturate and darken the colors. 6. Next, create an additional fill layer with an orange-colored emissive channel. Add a black mask to this fill layer and inside its mask apply a dirt generator. This will give us the illusion of the embers glowing from inside the charred tree. Duplicate this fill layer and tweak its emissive color to a yellowish hue and reduce its mask amount. Do this a second time but with a white-colored emissive channel. This will now create an effect of the embers appearing brighter the deeper they are inside the tree. 7. Lastly, add these layers into a folder with a black mask and apply the (Fire Animation Gradient) anchorpoint into its mask via a fill layer. Now we have a charred embers effect wherever we paint using the paint layer created inside the gradient mask! This gradient mask can also be exported into Unreal engine to create some stunning real-time dynamic animations or the new material can simply be used for in-engine vertex painting. __ More AAA Game Dev Tips can be found on my YouTube channel here: Stay tuned for more weekly Tips! Happy Texturing!💚 #gamedev #gameart #3dmodeling #texturing #madewithsubstance #ue5 #unrealengine #unity #vfx

Cohen Brawley

46,070 просмотров • 2 лет назад

White writers are being removed from Hollywood “In 2011, around 60% of TV writers were white men. Fast forward to 2025, and that number dwindled down to around 12%. So if you're wondering why TV and movies got so much worse anytime basically after 2010, this might help shed some light on the problem. Not because white men are inherently better storytellers, but because this sort of trend doesn't happen naturally. This sort of trend happens when you're choosing TV writers based on trying to fill some sort of quota instead of simply choosing the best writer. One of the best stories in American history, The Color Purple, was told and written by a Black woman, but it wasn't so great because it was written by a Black woman. It was a great story because it is raw and authentic and doesn't try to paint a narrative. Instead, it's very honest about the evil that both Black and white people are capable of. But instead of focusing on raw, authentic storytelling, today TV and Hollywood in general are focused on pushing a narrative that does not align with reality. And because it doesn't align with reality, we are taken out of the story and immediately reminded that we are watching some slop created by someone with an agenda” There is real data to back of entertainment got noticeably worse by removing white writers Top Streaming Series Creators per UCLA 2024 data: - White creators were 91.7% of top scripted series. - White male creators were 78.9%. Theatrical Film Writers per UCLA recent reports: - White writers often 77-91%+ in top films DEI was always about eliminating white people and that’s why the entertainment industry is now awful

White writers are being removed from Hollywood “In 2011, around 60% of TV writers were white men. Fast forward to 2025, and that number dwindled down to around 12%. So if you're wondering why TV and movies got so much worse anytime basically after 2010, this might help shed some light on the problem. Not because white men are inherently better storytellers, but because this sort of trend doesn't happen naturally. This sort of trend happens when you're choosing TV writers based on trying to fill some sort of quota instead of simply choosing the best writer. One of the best stories in American history, The Color Purple, was told and written by a Black woman, but it wasn't so great because it was written by a Black woman. It was a great story because it is raw and authentic and doesn't try to paint a narrative. Instead, it's very honest about the evil that both Black and white people are capable of. But instead of focusing on raw, authentic storytelling, today TV and Hollywood in general are focused on pushing a narrative that does not align with reality. And because it doesn't align with reality, we are taken out of the story and immediately reminded that we are watching some slop created by someone with an agenda” There is real data to back of entertainment got noticeably worse by removing white writers Top Streaming Series Creators per UCLA 2024 data: - White creators were 91.7% of top scripted series. - White male creators were 78.9%. Theatrical Film Writers per UCLA recent reports: - White writers often 77-91%+ in top films DEI was always about eliminating white people and that’s why the entertainment industry is now awful

Wall Street Apes

72,612 просмотров • 1 месяц назад

Houston Black business owner Kashelle Kelly shared her ratings and commentary on the ridiculous reviews about #MamaTinasGumbo at RODEOHOUSTON. She offers her experienced expertise on commercial food selling and preparation. She also addresses how it’s often your own people coming online with hateful comments for clicks and views. SN: I found it ridiculous that Black people came online lying—especially you weird stan Barbs of Nicki Minaj, Tory Lanez, and Drake. A lot of y’all have mental issues and hateful spirits. There were idiots not from Texas, the South, or familiar with Houston Rodeo culture/lifestyle spreading online lies. I also saw over-the-top New Orleans/Louisiana complaints about the gumbo, full of known lies. Everyone in New Orleans or Louisiana doesn’t make roux the same—some like it dark, light brown, or brown; some even like it dark black. Some prefer thick, medium-thick, or thin roux. I’ve seen people in Louisiana and New Orleans put oysters, lobster, turkey necks, boiled eggs, or chicken feet in gumbo, so the audacity y’all had regarding this gumbo was wild. Ms. Tina literally said it was a hybrid gumbo, and they (her two partners) were testing it at the Rodeo. May I add, the two guys are related to Daniel Smith—Solange’s ex-husband and father to Julez—which I stated last year before anyone else knew. They’re from Louisiana/Texas too, so comparing it to “Louisiana gumbo” when even folks there don’t all do it the same is asinine. The complaints about having crab shells or shrimp shells in the gumbo are normal—that’s how I knew y’all were fabricating lies. It just shows a lot of the reviews were fabricated lies and exaggerations. But if it was a white establishment, y’all wouldn’t dare say it online the way y’all attacked a Black person. I mean, y’all are on Elon’s app right now, and he posts racist stuff about Black people every day, yet I don’t see one Black person besides me calling him out. McDonald’s ice cream machine is always out, but y’all still go… right?? Y’all still shop at Target… right?? Bottom line: y’all did way too much because you’re evil and hateful. You could’ve critiqued better if the reviews were genuine. Whatever love y’all didn’t get inside y’all home, Ms.Tina or her partner Adrian had nothing to do with that. Do better. #rodeohouston #GUMBOGATE #opionionatedtruthspodcast 💎🍾 Akiresatmidnight The OG helios solange knowles Roc Nation Big Mama, your ARM! yvette nicole brown Julez XXL Magazine Red Media Complex FOX26Houston

Houston Black business owner Kashelle Kelly shared her ratings and commentary on the ridiculous reviews about #MamaTinasGumbo at RODEOHOUSTON. She offers her experienced expertise on commercial food selling and preparation. She also addresses how it’s often your own people coming online with hateful comments for clicks and views. SN: I found it ridiculous that Black people came online lying—especially you weird stan Barbs of Nicki Minaj, Tory Lanez, and Drake. A lot of y’all have mental issues and hateful spirits. There were idiots not from Texas, the South, or familiar with Houston Rodeo culture/lifestyle spreading online lies. I also saw over-the-top New Orleans/Louisiana complaints about the gumbo, full of known lies. Everyone in New Orleans or Louisiana doesn’t make roux the same—some like it dark, light brown, or brown; some even like it dark black. Some prefer thick, medium-thick, or thin roux. I’ve seen people in Louisiana and New Orleans put oysters, lobster, turkey necks, boiled eggs, or chicken feet in gumbo, so the audacity y’all had regarding this gumbo was wild. Ms. Tina literally said it was a hybrid gumbo, and they (her two partners) were testing it at the Rodeo. May I add, the two guys are related to Daniel Smith—Solange’s ex-husband and father to Julez—which I stated last year before anyone else knew. They’re from Louisiana/Texas too, so comparing it to “Louisiana gumbo” when even folks there don’t all do it the same is asinine. The complaints about having crab shells or shrimp shells in the gumbo are normal—that’s how I knew y’all were fabricating lies. It just shows a lot of the reviews were fabricated lies and exaggerations. But if it was a white establishment, y’all wouldn’t dare say it online the way y’all attacked a Black person. I mean, y’all are on Elon’s app right now, and he posts racist stuff about Black people every day, yet I don’t see one Black person besides me calling him out. McDonald’s ice cream machine is always out, but y’all still go… right?? Y’all still shop at Target… right?? Bottom line: y’all did way too much because you’re evil and hateful. You could’ve critiqued better if the reviews were genuine. Whatever love y’all didn’t get inside y’all home, Ms.Tina or her partner Adrian had nothing to do with that. Do better. #rodeohouston #GUMBOGATE #opionionatedtruthspodcast 💎🍾 Akiresatmidnight The OG helios solange knowles Roc Nation Big Mama, your ARM! yvette nicole brown Julez XXL Magazine Red Media Complex FOX26Houston

OPINIONATED_TRUTHS_PODCAST™️

41,254 просмотров • 5 месяцев назад

Let’s kill this lie once and for all: Racism doesn’t come from working-class struggle. To claim the white working class would treat Black and Brown people better if they were economically happier is dishonest. It paints them as thoughtless, incapable of moral choice, and worse, it excuses their racism. Poverty doesn’t create racism; white supremacy does. And blaming hardship is just another way to protect it. If they truly cared about their economic struggle, they’d know what’s in Nigel Farage’s manifesto. They’d see that his policies are a direct assault on their own livelihoods. But they don’t care to know, because racism is the priority, not survival. In the age of the internet, ignorance is a choice. Information is at their fingertips, yet they choose hate over truth, division over solidarity. There are no excuses left. They’re complicit, and it’s time we stop pretending otherwise. White liberals in Britain, including Individuals like Gary Stevenson and others who see themselves as non-racists, or the ‘not all white people’ brigade end up gate keeping the deeply entrenched racism in the UK, this direct attack, this insult to the intelligence of Black and Brown people also shines a light on the extent of implicit racism permeated within Britain as a whole. This protects the very structures that uphold white supremacy. Their ‘white fragility’ exposes the truth: Britain’s racism isn’t confined to the far right. It’s polite, it’s intellectual, it’s middle-class. It hides behind reasoned tones and liberal credentials. And that’s why this country never has an honest conversation about racism, because white people of every class are terrified of what the mirror will show them. The truth is too ugly, and they’d rather rewrite it than face it.

Let’s kill this lie once and for all: Racism doesn’t come from working-class struggle. To claim the white working class would treat Black and Brown people better if they were economically happier is dishonest. It paints them as thoughtless, incapable of moral choice, and worse, it excuses their racism. Poverty doesn’t create racism; white supremacy does. And blaming hardship is just another way to protect it. If they truly cared about their economic struggle, they’d know what’s in Nigel Farage’s manifesto. They’d see that his policies are a direct assault on their own livelihoods. But they don’t care to know, because racism is the priority, not survival. In the age of the internet, ignorance is a choice. Information is at their fingertips, yet they choose hate over truth, division over solidarity. There are no excuses left. They’re complicit, and it’s time we stop pretending otherwise. White liberals in Britain, including Individuals like Gary Stevenson and others who see themselves as non-racists, or the ‘not all white people’ brigade end up gate keeping the deeply entrenched racism in the UK, this direct attack, this insult to the intelligence of Black and Brown people also shines a light on the extent of implicit racism permeated within Britain as a whole. This protects the very structures that uphold white supremacy. Their ‘white fragility’ exposes the truth: Britain’s racism isn’t confined to the far right. It’s polite, it’s intellectual, it’s middle-class. It hides behind reasoned tones and liberal credentials. And that’s why this country never has an honest conversation about racism, because white people of every class are terrified of what the mirror will show them. The truth is too ugly, and they’d rather rewrite it than face it.

Save Our Citizenships 🔻

12,075 просмотров • 10 месяцев назад

Nobody has ever made the dark feel as real as old Disney did. In these films the night isn't an absence of light. It's a color, and someone mixed it by hand… Disney had its own paint laboratory, built by a woman named Mary Weiser, the first of its kind in animation. Its job was to invent shades that did not exist yet. In the early thirties, when the studio was still making shorts, there were around eighty shades on the shelves. By the time they finished Snow White there were fifteen hundred. Every one of them went on by hand, cel by cel, and each cel needed hours to dry before it could be photographed. The Ink and Paint department was almost entirely women. According to the Walt Disney Family Museum, the paints were sometimes named after them, and to have a color carry your name was considered an honour. So the dark of Bambi's forest, the lamplight in Geppetto's workshop, the blue at Cinderella's attic window: none of it is a filter or a setting or a dimmer turned down. Each is a specific colour that a specific person mixed in a jar, and some of those jars had her name on the label. That is why these scenes still feel more alive than anything made since. We went from hands, to computers, to AI, and at every step there is a little less of the person left in it… The author Joanna Maciejewska said it better than anyone: "I want AI to do my laundry and dishes so that I can do art and writing, not for AI to do my art and writing so that I can do my laundry and dishes."

Nobody has ever made the dark feel as real as old Disney did. In these films the night isn't an absence of light. It's a color, and someone mixed it by hand… Disney had its own paint laboratory, built by a woman named Mary Weiser, the first of its kind in animation. Its job was to invent shades that did not exist yet. In the early thirties, when the studio was still making shorts, there were around eighty shades on the shelves. By the time they finished Snow White there were fifteen hundred. Every one of them went on by hand, cel by cel, and each cel needed hours to dry before it could be photographed. The Ink and Paint department was almost entirely women. According to the Walt Disney Family Museum, the paints were sometimes named after them, and to have a color carry your name was considered an honour. So the dark of Bambi's forest, the lamplight in Geppetto's workshop, the blue at Cinderella's attic window: none of it is a filter or a setting or a dimmer turned down. Each is a specific colour that a specific person mixed in a jar, and some of those jars had her name on the label. That is why these scenes still feel more alive than anything made since. We went from hands, to computers, to AI, and at every step there is a little less of the person left in it… The author Joanna Maciejewska said it better than anyone: "I want AI to do my laundry and dishes so that I can do art and writing, not for AI to do my art and writing so that I can do my laundry and dishes."

James Lucas

608,853 просмотров • 1 месяц назад

The chaotic crowds at the Kaaba, in Mecca, with people in white robes shoving and climbing over each other just to kiss or touch that Black Stone, are straight out of pre-Islamic pagan Arabia. But why are Muslims offended by pointing out these historical facts? For centuries before Muhammad, the Kaaba was a pagan shrine packed with up to 360 idols, including the main god Hubal. Arabian tribes already did the exact same Tawaf, circling the building seven times counterclockwise, kissing and rubbing that Black Stone which they treated as a sacred meteorite fallen from the sky. They ran between Safa and Marwa, did animal sacrifices, the whole routine. These were standard pagan rituals in the region. When Muhammad took Mecca in 630, he smashed the idols and called it purified. But he kept every major pagan practice in place of the circling, the stone kissing, the pilgrimage structure. Islam just slapped a new story on top claiming Abraham and Ishmael built it originally for pure monotheism and that pagans had corrupted it. There’s zero real historical or archaeological proof outside later Islamic writings for that Abraham tale at the site. It’s the same old pagan worship with a fresh coat of paint. They constantly pump out lies attacking Judaism and Jewish history even though archaeological evidence proves the history, yet throw a fit and scream Islamophobia the second anyone points out these basic facts about their own Pagan ideology, which history proves is Pagan. Fourteen hundred years of rebranding pagan customs while pretending it’s all brand new and perfect. The hypocrisy is wild.

Mor Edge Insight

45,978 просмотров • 3 месяцев назад

Enough is ENOUGH! A 16-year-old boy in Over-the-Rhine is dead, and a 14-year-old girl was shot due to failed policies and negligence. To Mayor Aftab Pureval and the current City Council 👇 You paint “Black Lives Matter” in front of City Hall. You pose for photo ops in front of Black-owned businesses. You erect plaques honoring Black leaders with cameras rolling. Yet, you do nothing to protect or uplift the Black community or those who are hurting and disenfranchised. Over the past four years, our streets have become more dangerous for children, families have fewer opportunities for jobs and careers, businesses, restaurants, and markets are closing, infrastructure is crumbling with potholes everywhere, and your so-called “affordable housing” projects have become prisons, trapping residents and families in poverty for the foreseeable future. Meanwhile: ➡️ Your friends, contractors, and connected nonprofits/NGOs grow richer. ➡️ You have failed to accept adequate help from the state. ➡️ Your police officers’ hands are tied, leaving them overwhelmed. ➡️ Your firefighters lack financial support to treat the cancer they develop while serving our city. ➡️ And the residents of YOUR city are begging for help. I’m not red or blue in this race. I’m a Cincinnatian, tired of watching the city I love suffer. I’m a pastor, tired of gunshots ringing past our church and the homes of our congregation members every week. I’m a business owner, exhausted from reassuring customers about whether it’s safe to come downtown. At the start of this race, my goal was to make a statement and a stand. Now, it’s to win so our city isn’t left in the gutter. And we DO have a plan and policies to stop this decline and elevate Cincinnati to the heights we know it can reach.

Enough is ENOUGH! A 16-year-old boy in Over-the-Rhine is dead, and a 14-year-old girl was shot due to failed policies and negligence. To Mayor Aftab Pureval and the current City Council 👇 You paint “Black Lives Matter” in front of City Hall. You pose for photo ops in front of Black-owned businesses. You erect plaques honoring Black leaders with cameras rolling. Yet, you do nothing to protect or uplift the Black community or those who are hurting and disenfranchised. Over the past four years, our streets have become more dangerous for children, families have fewer opportunities for jobs and careers, businesses, restaurants, and markets are closing, infrastructure is crumbling with potholes everywhere, and your so-called “affordable housing” projects have become prisons, trapping residents and families in poverty for the foreseeable future. Meanwhile: ➡️ Your friends, contractors, and connected nonprofits/NGOs grow richer. ➡️ You have failed to accept adequate help from the state. ➡️ Your police officers’ hands are tied, leaving them overwhelmed. ➡️ Your firefighters lack financial support to treat the cancer they develop while serving our city. ➡️ And the residents of YOUR city are begging for help. I’m not red or blue in this race. I’m a Cincinnatian, tired of watching the city I love suffer. I’m a pastor, tired of gunshots ringing past our church and the homes of our congregation members every week. I’m a business owner, exhausted from reassuring customers about whether it’s safe to come downtown. At the start of this race, my goal was to make a statement and a stand. Now, it’s to win so our city isn’t left in the gutter. And we DO have a plan and policies to stop this decline and elevate Cincinnati to the heights we know it can reach.

Cory Bowman

641,429 просмотров • 11 месяцев назад

Filmmaker and director of the Plandemic documentary series Mikki Willis says after all the research he’s done he believes Covid was forced to be released earlier than they wanted, and that was what saved us “What we've deduced from all of our research — was that this was planned and the Jeffrey Epstein files have proven that, but it wasn't supposed to happen yet. It wasn't supposed to happen in 2020. They pulled the trigger in 2020 because every effort to stop Trump, every Russia, Russia, every impeachment thing was failing. And so they pushed it forward. This was a plan, but probably maybe it was supposed to happen around now (2026) The saving grace for us all, was that all of their plan wasn't in place. So we have outliers now. We have states within our own country. They hadn't yet been able to install their own leadership, so they didn't play the game. We're able to look at the data and say, well, why is it that the Dakotas did so much better? They didn't clamp down their economies better. They gave their citizens a choice. Whether you wanna wear a mask or not, that's the problem. When they don't have the centralization totally intact because then you get these outliers that become the case study for us to look at and go, well, hold on a second. Why do we have less deaths there for, you know, a country that was 3% vaccinated” He explains how not having that total control in place yet, is what ultimately allowed us to question it. Despite censorship efforts. He goes into more details Covid was crimes against humanity and not one single person has been held accountable for their part in it It was literally basically black and white planned out in the Epstein files before it happened and still no accountability

Filmmaker and director of the Plandemic documentary series Mikki Willis says after all the research he’s done he believes Covid was forced to be released earlier than they wanted, and that was what saved us “What we've deduced from all of our research — was that this was planned and the Jeffrey Epstein files have proven that, but it wasn't supposed to happen yet. It wasn't supposed to happen in 2020. They pulled the trigger in 2020 because every effort to stop Trump, every Russia, Russia, every impeachment thing was failing. And so they pushed it forward. This was a plan, but probably maybe it was supposed to happen around now (2026) The saving grace for us all, was that all of their plan wasn't in place. So we have outliers now. We have states within our own country. They hadn't yet been able to install their own leadership, so they didn't play the game. We're able to look at the data and say, well, why is it that the Dakotas did so much better? They didn't clamp down their economies better. They gave their citizens a choice. Whether you wanna wear a mask or not, that's the problem. When they don't have the centralization totally intact because then you get these outliers that become the case study for us to look at and go, well, hold on a second. Why do we have less deaths there for, you know, a country that was 3% vaccinated” He explains how not having that total control in place yet, is what ultimately allowed us to question it. Despite censorship efforts. He goes into more details Covid was crimes against humanity and not one single person has been held accountable for their part in it It was literally basically black and white planned out in the Epstein files before it happened and still no accountability

Wall Street Apes

387,960 просмотров • 3 месяцев назад

Matthew Madere a man from Gonzales, Louisiana was caught on video hurling racial slurs at a Black man who was simply fishing. The news reported the incident—but chose to blur the offender’s face and withhold identifying details, citing that no charges have been filed. That decision matters. When media outlets hide the identity of someone who openly engages in racist behavior, they aren’t protecting the public—they’re protecting the bigot. Racism doesn’t become less dangerous because it hasn’t been charged yet. It becomes more dangerous when it’s normalized, minimized, or concealed. If someone feels comfortable using racial slurs toward a stranger in public, the community deserves to know who they are and to decide how they want to respond—socially, economically, and morally. Blurring the face of a bigot does not make Black people safer. Brother Marlon Cox was minding his business and was still subjected to hate. That’s the reality many Black folks live with every day. We should demand better—from individuals, and from the institutions that choose who gets protected and who doesn’t. Matt owns Ace Physical Therapy located at 27999 Old S. Walker Road. Suite A. Phone : (225) - 455-2233. His email is MattMadere@gmail.com Give the company a call or send Matt an email and let him know what you think of his actions. Daily Black people are plastered on the news, bigots should not be hidden. If you’re white and a patient at his clinic and not a racist you should call and let them know you’ll be going some where else to spend your money. Otherwise you’re part of the problem. Share if you care. People should know who this bigot is.

Matthew Madere a man from Gonzales, Louisiana was caught on video hurling racial slurs at a Black man who was simply fishing. The news reported the incident—but chose to blur the offender’s face and withhold identifying details, citing that no charges have been filed. That decision matters. When media outlets hide the identity of someone who openly engages in racist behavior, they aren’t protecting the public—they’re protecting the bigot. Racism doesn’t become less dangerous because it hasn’t been charged yet. It becomes more dangerous when it’s normalized, minimized, or concealed. If someone feels comfortable using racial slurs toward a stranger in public, the community deserves to know who they are and to decide how they want to respond—socially, economically, and morally. Blurring the face of a bigot does not make Black people safer. Brother Marlon Cox was minding his business and was still subjected to hate. That’s the reality many Black folks live with every day. We should demand better—from individuals, and from the institutions that choose who gets protected and who doesn’t. Matt owns Ace Physical Therapy located at 27999 Old S. Walker Road. Suite A. Phone : (225) - 455-2233. His email is [email protected] Give the company a call or send Matt an email and let him know what you think of his actions. Daily Black people are plastered on the news, bigots should not be hidden. If you’re white and a patient at his clinic and not a racist you should call and let them know you’ll be going some where else to spend your money. Otherwise you’re part of the problem. Share if you care. People should know who this bigot is.

Gary Chambers

116,129 просмотров • 8 месяцев назад

Do you really believe the INVASION was a coincidence of humanitarian crisis? Joe Biden and these Cloward-Piven communists, let the FOREIGN INVADERS IN because they knew getting them out would necessitate “racial profiling”. Feeding the racial division they had already built up during previous years. The obvious answer to this SEDITION is MASS DEPORTATIONS! The “racist” narrative to slow down ICE was and is a propaganda psyop. If we bend to it we are playing right into their hands. Signed, a Black man who can see the bullshit. Don’t tell me it’s racist to profile people who committed a crime based on how they look. If a group of clowns rob a bank, I’m going to be looking for clown shoes and face paint. If a group handymen rob a corner store, I’m going to be looking tool belts. If caravans of Central and South Americans were documented on video coming through the southern border, I’m looking for “brown” people. That’s not racist, xenophobic or bigoted, it is common sense. Joe Biden’s choices have exposed American citizens to a necessary combing of our country for invaders. It’s the Democrats who must take responsibility for any discomfort from ICE’s presence. MASS DEPORTATIONS! Royce White for U.S. Senate MN 2026 Vote Primary August 11th

Royce White 🇺🇸

17,989 просмотров • 1 месяц назад

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

My first test with the new Gemini Deep Think 3 🔥🔥🔥 Build a complete Three.js scene in a single HTML file that renders a fully 3D interior room indistinguishable from a classical oil painting hanging in a museum. The Painterly Rendering System Write custom GLSL shaders that replace all standard rendering with oil paint simulation. Every pixel must feel painted by hand. The system needs these layers working together. Brushstroke normals. Generate a procedural brushstroke normal map using layered directional noise at varying scales. Large bold strokes for walls and floors following the plane direction. Small delicate strokes for fine details like metal and glass. Circular strokes for rounded objects. The brushstrokes must catch sidelight and cast tiny shadows into their grooves exactly like real impasto paint on canvas. Paint thickness. Use parallax occlusion mapping to give highlights genuine physical thickness. Where the original painter would load their brush with white or yellow to hit a bright highlight, the paint should visibly sit above the surface. In dark shadow areas, the paint should appear thinner, letting canvas weave show through slightly. Color palette. Restrict the entire scene to a historical oil palette. Titanium white, naples yellow, yellow ochre, raw sienna, burnt sienna, burnt umber, raw umber, ivory black, vermillion used sparingly, and a muted blue-grey. No modern saturated colors. All color mixing should feel subtractive and warm. Edge treatment. No hard edges anywhere in the scene. Object silhouettes must soften and blur slightly as if the painter's brush feathered where one form meets another. Implement this as a screen-space edge-detection pass that blurs based on depth discontinuity and overlays brushstroke texture at boundaries. Canvas texture. The entire final image must have a linen canvas weave overlay rendered with its own normal map that interacts with the scene lighting. As you orbit, the canvas tooth should glint differently. This sells the illusion more than anything else. Varnish layer. Apply a post-processing pass that simulates aged oil varnish. A warm amber tint that is slightly uneven, thicker in corners and thinner in center. A subtle gloss reflection that shifts as you move the camera. Very fine craquelure, hairline crack patterns, visible only when you zoom in close. The Scene. A Dutch Golden Age Study. Model everything procedurally with no external assets. A small intimate room with rough plastered walls in thick paint, warm grey-ochre. A single tall window on the left wall. Leaded glass with thick mullions letting in one dominant shaft of warm light. The window glass should have slight imperfections like bubbles and waviness visible in the paint treatment. A heavy dark wood table positioned center-left. On the table place a brass candlestick with a half-melted candle where the wax drips are modeled and painted with naples yellow impasto highlights. A pewter plate with a half-peeled lemon, the peel curling off the edge of the plate, the exposed fruit flesh a jewel of thick yellow paint catching light. A partially unfolded letter with a broken red wax seal. A small glass of dark wine catching a single highlight. A dark velvet cloth draped from the table edge falling in heavy folds to the floor. The velvet should have that characteristic oil painting treatment where shadows go almost black and the fabric catches light in soft broken highlights. The floor is wide dark wooden planks painted with long horizontal brushstrokes. Against the back wall, barely visible in shadow, a tall wooden cabinet with a few old leather-bound books leaning against each other. A single beam of light from the window cuts diagonally across the scene illuminating floating dust motes painted as soft tiny dots of naples yellow, not CG particles. The rest of the room falls into rich warm shadow. Lighting One dominant directional light from the left simulating window light. Warm, strong, with soft VSM shadows. A very subtle fill from the right in cool blue-grey at perhaps 5% intensity. No ambient light. The shadows should be genuinely dark and warm. This is Vermeer lighting. The contrast between the luminous light-struck areas and the deep velvety shadows is what makes the painting breathe. Post-Processing Chain Render pass. Painterly edge softening pass. Canvas texture overlay pass. Varnish and aging pass. Heavy vignette like a dark gallery frame encroaching. Very subtle bloom only on the brightest impasto highlights. Film grain that mimics canvas tooth texture rather than photographic noise. Interaction OrbitControls with very slow damping at 0.02 and limited orbit range so you can look around the painting but not flip it upside down. Slow zoom. The feeling should be like leaning closer to a painting in a museum and discovering more detail. The Standard When someone opens this file and takes a screenshot, people should genuinely argue whether it is a photograph of a real oil painting or a digital render.

Emily

20,940 просмотров • 6 месяцев назад

The fact that Joshua Fox has STILL not been charged with assaulting Dalton “Chud the Builder” Eatherly is fucking bullshit Anti White, two tiered policing at its finest. The prosecution argued that though they don’t have the audio of the altercation, “we can only assume” that Dalton started his stream to harass the first black people he saw. What a fucking PATHETIC, prejudiced, and assumptive basis to charge someone with attempted MURDER. “We have no idea what was said, but let’s charge him with murder based on what we’ve seen him do in the past” In what fucking world is that how you establish probable cause?? What about Joshua Fox’s Facebook comments where he said he HOPED to run into Chud so he could fight him? This prosecutor, DA General Nash, OBVIOUSLY has it out for Dalton. He goes on to say that deciding on whether or not Dalton provoked the altercation is for a jury to decide later, but then immediately spends the next 2 minutes reading off Dalton’s tweets, falsely trying to paint Dalton as a racist intent on killing black people and thus the reason for the altercation. Fucking ridiculous. How in the world do you have enough video evidence to charge Dalton with ATTEMPTED MURDER but simultaneously not have enough evidence to charge Joshua Fox with assault when HE’S THE ONE THAT FOLLOWED AFTER DALTON AND ASSAULTED HIM?? This is nothing more than prejudiced, cowardly prosecution from the Montgomery County DA office. They’re choosing NOT to charge Joshua Fox because they’re scared of getting protestors outside their courthouse. It is obvious and clear that far more than the events of that day are being taken into consideration in the prosecution of this case. #FreeChud

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The fact that Joshua Fox has STILL not been charged with assaulting Dalton “Chud the Builder” Eatherly is fucking bullshit Anti White, two tiered policing at its finest. The prosecution argued that though they don’t have the audio of the altercation, “we can only assume” that Dalton started his stream to harass the first black people he saw. What a fucking PATHETIC, prejudiced, and assumptive basis to charge someone with attempted MURDER. “We have no idea what was said, but let’s charge him with murder based on what we’ve seen him do in the past” In what fucking world is that how you establish probable cause?? What about Joshua Fox’s Facebook comments where he said he HOPED to run into Chud so he could fight him? This prosecutor, DA General Nash, OBVIOUSLY has it out for Dalton. He goes on to say that deciding on whether or not Dalton provoked the altercation is for a jury to decide later, but then immediately spends the next 2 minutes reading off Dalton’s tweets, falsely trying to paint Dalton as a racist intent on killing black people and thus the reason for the altercation. Fucking ridiculous. How in the world do you have enough video evidence to charge Dalton with ATTEMPTED MURDER but simultaneously not have enough evidence to charge Joshua Fox with assault when HE’S THE ONE THAT FOLLOWED AFTER DALTON AND ASSAULTED HIM?? This is nothing more than prejudiced, cowardly prosecution from the Montgomery County DA office. They’re choosing NOT to charge Joshua Fox because they’re scared of getting protestors outside their courthouse. It is obvious and clear that far more than the events of that day are being taken into consideration in the prosecution of this case. #FreeChud

fud reaper 🪦

27,510 просмотров • 2 месяцев назад

I've told you guys so many times about Dr Yakub the black scientists. 🌞🧘🏾‍♂️💚 AKA Jacob in the Bible Satan, Lucifer, Jesus, Zeus whatever you want to call him this days. He comes from planet Nern and his planet is connected to the artificial moon and the CERN machine. All this technology was designed from planet Nern. In planet nern there are different white angelic beings that visits most of the Christian that Yakub created. All in the name to keep on brainwashing you. Myself and other spiritual brothers and sisters personally know Yakub from the cosmos that he always wanted to be worshiped. He didn't like the idea that we are all gods and so he made his white race to only worship him and that's where the concept of a "jealous God" comes from. This concept of stop idolizing other God's it was Yakub giving instructions to all human beings the white race to only worship him and not us. Anyone whom he created that was against this I remember he would strike them with lightning and they would perish because they didn't have a soul. The funny thing about this even though he created the white race, the first breed turned against him and didn't like the idea of worshiping someone that does not look like them at all. They decided to paint their own God white and that's where the concept of white Jesus comes from. By the way Yakub is a coward that hides behind the Bible and the matrix with so much evil characters because his just a trickster. A person who cheats or decieves people. Yakub literally channeled the lowest vibration from his root chakra hell to the point that he came out of it and he became the strong force of the impure energies. And his 1000 years of ruling earth began. How do I know this? Haha hahaha you wouldn't believe me if I told you but I definitely know Yakub and am not scared of him. His just a child that was always thinking he is way brilliant than all of the ancient ALL.

I've told you guys so many times about Dr Yakub the black scientists. 🌞🧘🏾‍♂️💚 AKA Jacob in the Bible Satan, Lucifer, Jesus, Zeus whatever you want to call him this days. He comes from planet Nern and his planet is connected to the artificial moon and the CERN machine. All this technology was designed from planet Nern. In planet nern there are different white angelic beings that visits most of the Christian that Yakub created. All in the name to keep on brainwashing you. Myself and other spiritual brothers and sisters personally know Yakub from the cosmos that he always wanted to be worshiped. He didn't like the idea that we are all gods and so he made his white race to only worship him and that's where the concept of a "jealous God" comes from. This concept of stop idolizing other God's it was Yakub giving instructions to all human beings the white race to only worship him and not us. Anyone whom he created that was against this I remember he would strike them with lightning and they would perish because they didn't have a soul. The funny thing about this even though he created the white race, the first breed turned against him and didn't like the idea of worshiping someone that does not look like them at all. They decided to paint their own God white and that's where the concept of white Jesus comes from. By the way Yakub is a coward that hides behind the Bible and the matrix with so much evil characters because his just a trickster. A person who cheats or decieves people. Yakub literally channeled the lowest vibration from his root chakra hell to the point that he came out of it and he became the strong force of the impure energies. And his 1000 years of ruling earth began. How do I know this? Haha hahaha you wouldn't believe me if I told you but I definitely know Yakub and am not scared of him. His just a child that was always thinking he is way brilliant than all of the ancient ALL.

Rhadebelihle Melchizedek

58,116 просмотров • 3 лет назад

🚨EXPOSED: Cabot Phillips' BOOKSHELF Tells a DARK Story –Assassinations, Cannibals, Cadavers & "Pizza" Codes And More! 😬 Cabot Phillips (Erika Kirk's ex) dropped an alibi photo, but zoom in on that bookshelf... the books SCREAM a twisted narrative. We're talking themes of secret killings, child predators, human eating, and dead bodies. Coincidence? Or clues hiding in plain sight? Let's break it down: 1⃣Rise and Kill First: The Secret History of Israel's Targeted Assassinations – A deep dive into covert ops and eliminations. Why this on your shelf, Cabot? 2⃣In the Name of the Children: An FBI Agent's Relentless Pursuit of the Nation's Worst Predators – All about hunting child exploiters. Ironic, given the "pizza" vibes... 3⃣Cannibalism: A Perfectly Natural History (by Bill Schutt) – Normalizes eating humans? "Perfectly natural"? Red flag city. 4⃣Stiff: The Curious Lives of Human Cadavers – Exploring what happens to dead bodies. Creepy much? Surprise, Kill, Vanish: The Secret History of CIA Paramilitary Armies, Operators & Assassins – More on shadowy assassins and CIA black ops. Now add THIS: Cabot's got "PIZZA" tattooed INSIDE HIS LIP (posted in 2018). In social media circles (and FBI docs), "pizza" is code for child predation (Pizzagate anyone?). Charlie Kirk KNEW about this – he posted warnings linking "pizza" to CP networks. Yet Cabot mocks it? Sick. 🍕 Oh, and those 2017 photos: Cabot with Charlie AND Erika – but Erika claimed she didn't know Charlie back then? Timeline BS alert! I'm not saying Cabot's involved in anything nefarious – could be innocent. But in the Charlie Kirk probe context? These "coincidences" paint a story of hidden agendas, elite ties, and protecting predators. We NEED answers. From: JOKAMRREDPILLZ FOLLOW Him! Charlie deserved better. Share if this bookshelf gives YOU chills – tag Candace Owens, detectives! Let's uncover the truth. 👇

🚨EXPOSED: Cabot Phillips' BOOKSHELF Tells a DARK Story –Assassinations, Cannibals, Cadavers & "Pizza" Codes And More! 😬 Cabot Phillips (Erika Kirk's ex) dropped an alibi photo, but zoom in on that bookshelf... the books SCREAM a twisted narrative. We're talking themes of secret killings, child predators, human eating, and dead bodies. Coincidence? Or clues hiding in plain sight? Let's break it down: 1⃣Rise and Kill First: The Secret History of Israel's Targeted Assassinations – A deep dive into covert ops and eliminations. Why this on your shelf, Cabot? 2⃣In the Name of the Children: An FBI Agent's Relentless Pursuit of the Nation's Worst Predators – All about hunting child exploiters. Ironic, given the "pizza" vibes... 3⃣Cannibalism: A Perfectly Natural History (by Bill Schutt) – Normalizes eating humans? "Perfectly natural"? Red flag city. 4⃣Stiff: The Curious Lives of Human Cadavers – Exploring what happens to dead bodies. Creepy much? Surprise, Kill, Vanish: The Secret History of CIA Paramilitary Armies, Operators & Assassins – More on shadowy assassins and CIA black ops. Now add THIS: Cabot's got "PIZZA" tattooed INSIDE HIS LIP (posted in 2018). In social media circles (and FBI docs), "pizza" is code for child predation (Pizzagate anyone?). Charlie Kirk KNEW about this – he posted warnings linking "pizza" to CP networks. Yet Cabot mocks it? Sick. 🍕 Oh, and those 2017 photos: Cabot with Charlie AND Erika – but Erika claimed she didn't know Charlie back then? Timeline BS alert! I'm not saying Cabot's involved in anything nefarious – could be innocent. But in the Charlie Kirk probe context? These "coincidences" paint a story of hidden agendas, elite ties, and protecting predators. We NEED answers. From: JOKAMRREDPILLZ FOLLOW Him! Charlie deserved better. Share if this bookshelf gives YOU chills – tag Candace Owens, detectives! Let's uncover the truth. 👇

Project Constitution

217,739 просмотров • 7 месяцев назад

The Mormon Militia depicted in the new Netflix show American Primeval is insane for all the wrong reasons. This gritty “historical fiction” of the old American West features members of The Church of Jesus Christ of Latter-day Saints, commonly known as Mormons, as villains. Yet even one of the show’s historical consultants admitted, it's “definitely not an accurate history of anything,” so here's what it gets wrong about Latter-day Saint history. First the show has a Mormon militia known as the Nauvoo Legion riding in with hoods to destroy an innocent pioneer company, and then it eliminates an entire regiment of US Federal Troops, and then an entire Shoshone village, just to cover their tracks. In reality, the Nauvoo legion never, once, saw, combat. Latter-day Saints also never attacked a wagon train of pioneers at Fort Bridger. Nor did they harm a single soldier of the US Federal Army. Even during the “Utah War.” And they never destroyed a Shoshone village to cover their tracks of the first crime. All of these plot elements paint Latter-day Saints as a radical and zealously hostile religious group, yet all of these plot points are 100% fiction. Some of the show’s characters are based on real people, such as Brigham Young, Bill Hickman, and Jim Bridger. Yet again, this is more fiction than fact, such as in the depiction of Brigham Young as a ruthless and mu****ous empire builder, which is simply not supported by the documents we have of his life. Now to be clear, there are examples in Latter-day Saint history where they were the aggressors, such as in the Mountain Meadows Mass***e, or the Black Hawk War. These are complex and horrifying events that I think deserve careful study and discussion. But the way this show exaggerates, expands, and conflates multiple, isolated events into a single plot—just to ramp up the violins—can perpetuate harmful stereotypes about the religion. /1

The Mormon Militia depicted in the new Netflix show American Primeval is insane for all the wrong reasons. This gritty “historical fiction” of the old American West features members of The Church of Jesus Christ of Latter-day Saints, commonly known as Mormons, as villains. Yet even one of the show’s historical consultants admitted, it's “definitely not an accurate history of anything,” so here's what it gets wrong about Latter-day Saint history. First the show has a Mormon militia known as the Nauvoo Legion riding in with hoods to destroy an innocent pioneer company, and then it eliminates an entire regiment of US Federal Troops, and then an entire Shoshone village, just to cover their tracks. In reality, the Nauvoo legion never, once, saw, combat. Latter-day Saints also never attacked a wagon train of pioneers at Fort Bridger. Nor did they harm a single soldier of the US Federal Army. Even during the “Utah War.” And they never destroyed a Shoshone village to cover their tracks of the first crime. All of these plot elements paint Latter-day Saints as a radical and zealously hostile religious group, yet all of these plot points are 100% fiction. Some of the show’s characters are based on real people, such as Brigham Young, Bill Hickman, and Jim Bridger. Yet again, this is more fiction than fact, such as in the depiction of Brigham Young as a ruthless and mu**ous empire builder, which is simply not supported by the documents we have of his life. Now to be clear, there are examples in Latter-day Saint history where they were the aggressors, such as in the Mountain Meadows Mass*e, or the Black Hawk War. These are complex and horrifying events that I think deserve careful study and discussion. But the way this show exaggerates, expands, and conflates multiple, isolated events into a single plot—just to ramp up the violins—can perpetuate harmful stereotypes about the religion. /1

ScripturePlus

39,230 просмотров • 1 год назад

What does the Mona Lisa, Trump and the Antichrist have in common? Let’s examine a mural in Bank of America created by a great friend on Donald, which means “world ruler” by the way. Also, National Day of Donald is on March 22nd, or better, 3/22 = skull and bones. ☠️ Funny how Lord Donald is always pervasive throughout all secret society symbolism. This mural at Bank of America portrays a young figure embodying the Antichrist Trump. Designed by Benjamin Long, the artwork reflects themes of creation and destruction, chaos and creativity, as well as planning and knowledge, according to Long’s own description of his work. In the sky above, there is a depiction of the Black Sun, a symbol with deep esoteric significance. Hermetic traditions describe two suns: one visible to the masses, the material sun, and another, invisible and esoteric, made of pure “philosophical gold.” In alchemy, the Black Sun (Sol Niger) represents the first stage of the Magnum Opus, the Great Work. This process begins with “blackening,” the calcination of base metals, and culminates in their transmutation into pure gold. This can be interpreted on a spiritual level as well. Other elements in the mural further expand on symbolic themes, including Jacob’s Masonic Ladder to godhood, the pyramid, and burning bush. At the bottom left, the depiction of bankers signifies the strategic planning behind “The Great Reset,” which is leading toward the introduction of the Beast System. If all of this sounds a bit far-fetched, trust me, I completely understand. But before you dismiss it, consider this: Benjamin Long’s other murals at Bank of America paint a remarkably similar picture, offering more insight into the larger narrative, even foretelling Trump’s border wall. But let’s put that aside for now and focus on something that will really challenge your perception—I know it certainly challenged mine. The next video may be a bit lengthy at 20 minutes, but I can’t stress enough how fascinating and revelatory it is within this context. It does something I could never properly articulate with words—it uses imagery to convey a deeper understanding. The video explores various timelines surrounding Trump, animation, children’s movies, and delves into one of Long’s most significant works, which some could liken to the concept of the virgin birth. Or, it’s blasphemous inversion. Watch closely, and I promise you’ll be taken aback when you see Donald Trump’s mother’s face superimposed onto the artwork. Party 8 below

What does the Mona Lisa, Trump and the Antichrist have in common? Let’s examine a mural in Bank of America created by a great friend on Donald, which means “world ruler” by the way. Also, National Day of Donald is on March 22nd, or better, 3/22 = skull and bones. ☠️ Funny how Lord Donald is always pervasive throughout all secret society symbolism. This mural at Bank of America portrays a young figure embodying the Antichrist Trump. Designed by Benjamin Long, the artwork reflects themes of creation and destruction, chaos and creativity, as well as planning and knowledge, according to Long’s own description of his work. In the sky above, there is a depiction of the Black Sun, a symbol with deep esoteric significance. Hermetic traditions describe two suns: one visible to the masses, the material sun, and another, invisible and esoteric, made of pure “philosophical gold.” In alchemy, the Black Sun (Sol Niger) represents the first stage of the Magnum Opus, the Great Work. This process begins with “blackening,” the calcination of base metals, and culminates in their transmutation into pure gold. This can be interpreted on a spiritual level as well. Other elements in the mural further expand on symbolic themes, including Jacob’s Masonic Ladder to godhood, the pyramid, and burning bush. At the bottom left, the depiction of bankers signifies the strategic planning behind “The Great Reset,” which is leading toward the introduction of the Beast System. If all of this sounds a bit far-fetched, trust me, I completely understand. But before you dismiss it, consider this: Benjamin Long’s other murals at Bank of America paint a remarkably similar picture, offering more insight into the larger narrative, even foretelling Trump’s border wall. But let’s put that aside for now and focus on something that will really challenge your perception—I know it certainly challenged mine. The next video may be a bit lengthy at 20 minutes, but I can’t stress enough how fascinating and revelatory it is within this context. It does something I could never properly articulate with words—it uses imagery to convey a deeper understanding. The video explores various timelines surrounding Trump, animation, children’s movies, and delves into one of Long’s most significant works, which some could liken to the concept of the virgin birth. Or, it’s blasphemous inversion. Watch closely, and I promise you’ll be taken aback when you see Donald Trump’s mother’s face superimposed onto the artwork. Party 8 below

🔥Sir Escanor (𝘏𝘰𝘱𝘪𝘶𝘮 𝘚𝘭𝘢𝘺𝘦𝘳)🔥

50,129 просмотров • 1 год назад