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The future encounter between Mark Grayson and Immortal is a quiet but deeply unsettling moment. Mark travels into the future with one goal—to kill Immortal and stop a dark timeline from continuing—but what he finds is far from the powerful leader he once knew. The world around them feels... empty and worn down, reflecting the state of Immortal himself. When Mark finally meets him, Immortal is no longer stable or composed. Centuries of living have taken a toll on his mind. He appears confused, almost fragile, weighed down by endless time and the loss of everyone he has ever known. Instead of attacking, Immortal begins to speak in a way that immediately shifts the tension. He looks at Mark with a strange sense of recognition and curiosity, as if searching for answers. He starts talking about his condition—not as a power, but as a sickness. To him, immortality has become something unbearable, something that has slowly destroyed his sense of self. He asks Mark if he has found a cure… not for death, but for his sickness. The question carries a quiet desperation. Immortal is not afraid to die; instead, he seems to welcome the idea of it. What he truly wants is relief from the endless burden of living. His words reveal a man who is mentally exhausted, someone who has lived far beyond what any mind can handle. For Mark, the moment becomes more than a mission. He is forced to face the reality of what Immortal has become—a broken version of a hero, and possibly a glimpse of what unchecked time and power could do to him as well.show more

Samuel C. Okanume

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People were cheering as workers prepare to remove Trump’s name from the Kennedy Center. What is remarkable is how much goodwill he enjoyed when he returned to the presidency and how quickly he has managed to squander it. He is now unpopular even in communities that voted for him, a reflection of what many see as a deeply disappointing presidency. Instead of focusing on the issues that matter to ordinary Americans, he has spent much of his time embroiled in controversies, accusations of corruption, and allegations that he has used the power of the American state to benefit himself and his family. What a disgrace.

People were cheering as workers prepare to remove Trump’s name from the Kennedy Center. What is remarkable is how much goodwill he enjoyed when he returned to the presidency and how quickly he has managed to squander it. He is now unpopular even in communities that voted for him, a reflection of what many see as a deeply disappointing presidency. Instead of focusing on the issues that matter to ordinary Americans, he has spent much of his time embroiled in controversies, accusations of corruption, and allegations that he has used the power of the American state to benefit himself and his family. What a disgrace.

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Andrei Tarkovsky on Ingmar Bergman's Shame (1968): "Let us look at Bergman's Shame. The film doesn't contain a single 'actor's piece' for the performer to 'give away' the director's purpose, to play the conception of the persona, his attitude to it, to assess it in relation to the overall idea; and the latter is entirely hidden within the dynamic of the characters' lives, at one with it. The people in the film are crushed by circumstances; they act only in accordance with their situation, to which they themselves are subordinate; they make no attempt to proffer us any idea, any perspective on what is happening, or to draw any conclusion. All of that is left to the film as a whole, to the director's vision. And how superbly it is accomplished! You cannot say in simple terms who amongst them is good or bad. I could never say that von Sydow is a bad man. They are all partly good and partly bad, each in his own way. No judgements are passed, because there is no hint of tendentiousness in any of the actors, and the circumstances of the film are used by the director to explore the human possibilities which they test, and not for a moment in order to illustrate a thesis. Max von Sydow's character is developed with masterly power. He is a very good man; a musician; kind and sensitive. It turns out that he is a coward. But by no means every bold man is a good human being, and cowards are not always scoundrels. Of course, he is weak and irresolute. His wife is far stronger than he, so much so that she can overcome her fear. The hero lacks that strength. He is tormented by his own weakness, vulnerability, lack of resilience; he tries to hide, to cower in a corner, not to see and not to hear; and he does this like a child, naively and with complete sincerity. But when circumstances nevertheless force him to defend himself, he instantly turns into a scoundrel. He loses all that was best in him; but the drama and absurdity of his situation is that as he is now he becomes necessary to his wife, who, in her turn, looks to him for protection and succour instead of despising him as she always had. When he beats her about the face and says 'Get out!' she goes crawling after him. There is something here of the age-old idea of passive good and active evil; but its expression is immensely complex. At the beginning of the film the hero cannot even kill a chicken, but as soon as he has found a way of defending himself he becomes a cruel cynic. He has something of Hamlet: my view is that the Prince of Denmark perishes not as a result of the duel, when he dies physically, but immediately after the 'rat' scene, when he understands how irreversible are those laws of life which have forced him, a man of humanity and intellect, to act like the inferior people who inhabit Elsinore. Von Sydow is now a sinister character, afraid of nothing: he kills; will not raise a finger to save his fellows; pursues only his own interests. The point is that you have to be a person of great integrity to feel fear in the face of the foul necessity to kill and humiliate. And by shedding that fear and apparently acquiring courage, a person in fact loses his spiritual strength and intellectual honesty and parts from his innocence. War is the obvious catalyst for the cruel, anti-human elements in people. Bergman uses the war in this film exactly as he uses the heroine's illness in Through a Glass Darkly: to explore his view of man." — "Sculpting in Time" by Andrei Tarkovsky (translated by Kitty Hunter-Blair, 1987)

Andrei Tarkovsky on Ingmar Bergman's Shame (1968): "Let us look at Bergman's Shame. The film doesn't contain a single 'actor's piece' for the performer to 'give away' the director's purpose, to play the conception of the persona, his attitude to it, to assess it in relation to the overall idea; and the latter is entirely hidden within the dynamic of the characters' lives, at one with it. The people in the film are crushed by circumstances; they act only in accordance with their situation, to which they themselves are subordinate; they make no attempt to proffer us any idea, any perspective on what is happening, or to draw any conclusion. All of that is left to the film as a whole, to the director's vision. And how superbly it is accomplished! You cannot say in simple terms who amongst them is good or bad. I could never say that von Sydow is a bad man. They are all partly good and partly bad, each in his own way. No judgements are passed, because there is no hint of tendentiousness in any of the actors, and the circumstances of the film are used by the director to explore the human possibilities which they test, and not for a moment in order to illustrate a thesis. Max von Sydow's character is developed with masterly power. He is a very good man; a musician; kind and sensitive. It turns out that he is a coward. But by no means every bold man is a good human being, and cowards are not always scoundrels. Of course, he is weak and irresolute. His wife is far stronger than he, so much so that she can overcome her fear. The hero lacks that strength. He is tormented by his own weakness, vulnerability, lack of resilience; he tries to hide, to cower in a corner, not to see and not to hear; and he does this like a child, naively and with complete sincerity. But when circumstances nevertheless force him to defend himself, he instantly turns into a scoundrel. He loses all that was best in him; but the drama and absurdity of his situation is that as he is now he becomes necessary to his wife, who, in her turn, looks to him for protection and succour instead of despising him as she always had. When he beats her about the face and says 'Get out!' she goes crawling after him. There is something here of the age-old idea of passive good and active evil; but its expression is immensely complex. At the beginning of the film the hero cannot even kill a chicken, but as soon as he has found a way of defending himself he becomes a cruel cynic. He has something of Hamlet: my view is that the Prince of Denmark perishes not as a result of the duel, when he dies physically, but immediately after the 'rat' scene, when he understands how irreversible are those laws of life which have forced him, a man of humanity and intellect, to act like the inferior people who inhabit Elsinore. Von Sydow is now a sinister character, afraid of nothing: he kills; will not raise a finger to save his fellows; pursues only his own interests. The point is that you have to be a person of great integrity to feel fear in the face of the foul necessity to kill and humiliate. And by shedding that fear and apparently acquiring courage, a person in fact loses his spiritual strength and intellectual honesty and parts from his innocence. War is the obvious catalyst for the cruel, anti-human elements in people. Bergman uses the war in this film exactly as he uses the heroine's illness in Through a Glass Darkly: to explore his view of man." — "Sculpting in Time" by Andrei Tarkovsky (translated by Kitty Hunter-Blair, 1987)

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We listen to political commentators and pundits talk about politics and the state of the nation, but nothing beats the heartfelt words of a constituent challenging their elected representative face to face at a town hall. Meet Fred Higginbotham resident of Bolivar, Missouri who took time out his day to tell Republican Mark Alford EXACTLY what he thinks about what this regime are doing to the country he loves. I don’t know Fred, but if I had to guess, I’d say he is a man who has served his country and is clearly not shy to speak truth to power. I salute him for his willingness to tell the uncomfortable truth. 🎥 TikTok -

We listen to political commentators and pundits talk about politics and the state of the nation, but nothing beats the heartfelt words of a constituent challenging their elected representative face to face at a town hall. Meet Fred Higginbotham resident of Bolivar, Missouri who took time out his day to tell Republican Mark Alford EXACTLY what he thinks about what this regime are doing to the country he loves. I don’t know Fred, but if I had to guess, I’d say he is a man who has served his country and is clearly not shy to speak truth to power. I salute him for his willingness to tell the uncomfortable truth. 🎥 TikTok -

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He claims to be in politics for 30 years. But as a politician what has he achieved? His father is one of the main reason Indian Economy went to drains. And now he is talking about EPS not being a popular leader. This is the biggest joke. He has to come out of his house and ask. Not during having lunch or dinner. 2026 results will show me who is the most popular leader in TN.

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Winnie Odinga: Sifuna has been stellar. I think as a representative of the people of Nairobi, he is one of the more popular elected leaders. I believe that Edwin Sifuna has a right to say his opinion, he is an elected leader and he has a right to speak whatever it is that he wants to speak #CitizenExplainer

Winnie Odinga: Sifuna has been stellar. I think as a representative of the people of Nairobi, he is one of the more popular elected leaders. I believe that Edwin Sifuna has a right to say his opinion, he is an elected leader and he has a right to speak whatever it is that he wants to speak #CitizenExplainer

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Ben is a single father doing his best to raise his boys with love, faith, and grit. The quiet strength of his dad and grandfathers left a mark on him, and that legacy is what keeps him going. It’s what helps him feel close to Jesus Christ, even when the answers he gets aren’t the ones he hoped for.

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The PRESSURE COOKER is set Mark Carney now has his Majority meaning he needs to deliver on his MASSIVE promises. If he is unable to deliver there is a HUGE RISK, he will be the only one to blame now as he has the POWER of a KING to get things DONE

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In my Hausa response to the terror leader, Bello Turji, I pointed out that he has been desperately releasing videos recently for three main reasons: First, he is frantically trying to rewrite his appalling history as a terrorist, attempting to present himself as a defender of the Fulani people. But this effort is doomed to fail, as the world knows him for what he truly is: a vile kidnapper, armed robber, and murderer. The Fulani community resents him because they recognise him as a criminal tarnishing their reputation. Second, Turji's outbursts are intended to intimidate those of us who expose his terrorism and urge the government to take decisive military action against him and his cohorts. However, his attempts to intimidate me will not work. He is nothing but a coward who preys on innocent, unarmed civilians and then scurries away like a rat. If he truly thinks he’s brave, he should confront the military face-to-face. Third, Turji feels emboldened to make these videos and issue threats because the government has woefully failed to adequately deal with him. He has been allowed to kill, maim, rob, rape and enslave with impunity, which has given him a false sense of power and immunity from legal accountability.

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Rarely in recent memory has India witnessed such an ocean of grief for a cultural icon. The outpouring of sorrow and heartfelt tributes in Assam for Assamese singer and musician, Zubeen Garg—whose untimely passing is both shocking and tragic—reflect the indelible mark he left on the soul of his people. What an extraordinary hero, immortal in the hearts that he touched!

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🦖: Actually, Offroad is someone who has a lot of charm. He is passionate about studying. When I saw him for the first time, I knew that he was very passionate about studying. I feel like he could be an expert in the field. You know, he graduated with honors even though he was competing on Lazicon at the time. Although, he doesn’t have the basic skills when it comes to singing and dancing, but his hard work has brought him to where he is today. Whenever he talks about these kinds of things, he is very passionated, and (it makes him) charming. But he is someone who has a lot of charm. Whether it’s his way of speaking, his way of living, his smile, eyes, nose, mouth, face, something like that. #Flex1045xDAOU_ละลาย #ต้าห์อู๋เดินสายละลายD2

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Gandalf, whose true name is Olórin, is a Maia of the Ainur; in essence, an immortal spirit. During his battle with the Balrog in Moria, his physical body, his old man guise as an Istar, was destroyed, meaning what we call “death” for him was only the end of his physical form. His spirit was cast beyond time and space, outside the bounds of Arda. At this point, it is not the Valar who intervene. Gandalf’s mission is not yet complete, and his sacrifice triggers a higher authority that surpasses even the Valar’s jurisdiction: Eru Ilúvatar himself. Eru calls him back from the Timeless Halls and sends him once again to Middle-earth. For a Maia, taking physical form again requires great sacrifice and power. In this rebirth, Gandalf does not merely return; he is restored with even greater strength and elevated to leadership among the Istari. Taking the place of the fallen Saruman, he becomes Gandalf the White, now endowed with higher authority to complete his task. His spirit is returned naked to the peak of Zirakzigil, where he is reborn anew. He is then found and rescued by Gwaihir the Eagle and carried to Lothlórien, where he is fully healed. This transformation marks him as no longer just a guide, but one of the direct instruments of divine will in the war against Sauron.

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Ati Uhuru is using mungiki to burn Nairobi? How? Where have we seen mungiki burning Nairobi? And when Ruto says atasafirisha Uhuru, what exactly does he mean? Instead of acting as a Head of State and the father of a nation, instead of speaking to Kenyans to show concern over their grievances because of the unbearable cost of living, instead of de-escalating the tension, he is chest thumping and issuing such reckless and baseless remarks?! This man does not care for this country. All he wanted was power, and now he has it. He got there by lies and propaganda, and that is how he has chosen to govern.

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🇨🇦Jagmeet Singh has a parting gift for Canada. He torpedoed his party according to media and all but ensured a Liberal Win. Did he do it out of hatred for Canada and Canadians or is he getting something from Mark Carney and the Liberals?🤔

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A man living in a haunted house suddenly felt something deep inside urging him to ask God for help. He picked up his Bible and began to pray, asking the Lord and His angels to enter his home and drive out anything evil. The moment he held the Bible, something changed. He felt a strange surge of power - stronger, more confident, like he was in control. But as soon as he started reading, things took a dark turn. The cross flipped upside down... and a strange, unsettling scream echoed through the room, shaking him completely. Still, he kept going, commanding whatever was there to leave in the name of the Lord. But instead of stopping, everything got worse. His strength suddenly faded. His mind felt clouded, his body weak, like something was draining all his energy. The room felt chaotic... heavy... dark. Overcome with fear, he ran out of the room as fast as he could. Add a comment for creepyzone4 GIF

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Nick Sortor

234,856 Aufrufe • vor 1 Monat

Mark Carney is a corrupt liar. Who voted for this clown? He only cares about his own wealth and not the well being of all us Canadians. He has to go.

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A Ghanaian man who returned from the UK for a two-week work leave says he is not going back, as life in Ghana is far better than what he experienced in the UK. According to him, he was a contractor in Ghana and travelled to the UK in December 2023, hoping to secure a well-paying job and improve his living conditions, spending £14,000 on a visa. However, he says his expectations were quickly dashed. The cost of living, he explains, was so high that he couldn’t even save £200 a month. He admitted that life and work were far better in Ghana and says he has no intention of returning to the UK once his leave expires.

A Ghanaian man who returned from the UK for a two-week work leave says he is not going back, as life in Ghana is far better than what he experienced in the UK. According to him, he was a contractor in Ghana and travelled to the UK in December 2023, hoping to secure a well-paying job and improve his living conditions, spending £14,000 on a visa. However, he says his expectations were quickly dashed. The cost of living, he explains, was so high that he couldn’t even save £200 a month. He admitted that life and work were far better in Ghana and says he has no intention of returning to the UK once his leave expires.

EDHUB🌍ℹ

245,257 Aufrufe • vor 11 Monaten

One of the most memorable moments in The Scarlet Pimpernel (1982) is not a dazzling sword fight or a daring rescue, but the scene near the end of the film when Sir Percy Blakeney no longer has any need to maintain the façade of a foolish aristocrat. After spending the entire story appearing frivolous, preoccupied only with fashionable clothes, light verse, and the pleasures of high society, he finally stands revealed as the man he truly is: composed, resolute, and quietly heroic. The power of this scene does not lie in Percy revealing his abilities. It lies in the meaning of what he has chosen to conceal. From the beginning of the film, the audience already knows that Percy is the Scarlet Pimpernel. Each time he speaks absurdly, behaves with theatrical affectation, or allows himself to become the object of ridicule, viewers understand that this is not his true character. The mystery the film gradually unfolds is not who Percy is, but why he has willingly lived behind such a mask for so long. Percy does not pretend to be a fool because he lacks courage. He pretends to be one because it is the surest way to save lives. If the world believes him to be nothing more than a vain and idle nobleman, no one will suspect him of possessing the resolve and intelligence required to lead a secret network rescuing innocent men and women from the guillotine during the French Revolution. The contempt of others becomes the very shield that protects every mission he undertakes. Every insult Percy quietly accepts helps preserve another human life. It is here that Percy begins to differ from many familiar portrayals of heroism. Ordinarily, when people are misunderstood, they seek to explain themselves. When they are underestimated, they feel compelled to prove their worth. Honour and recognition seem almost instinctive human desires. Percy chooses the opposite path. He knows who he is, and therefore has no need for others to confirm it. He knows what is right, and therefore has no need for others to applaud it. What he chooses to protect is not his own reputation, but the lives of those waiting to be rescued. For this reason, when the mask is finally laid aside at the end of the film, the audience's admiration arises from far more than the discovery that Percy is brave, intelligent, and resourceful. What commands their respect is the full measure of the sacrifice he has quietly embraced all along. The greatest trial is not crossing swords with one's enemies, but enduring misunderstanding while continuing, without complaint, to do what is right. This is precisely why Percy so clearly embodies the traditional ideal of the hero. Within that tradition, heroism is defined not first by glorious deeds, but by virtue. Strength, intellect, and courage are all admirable qualities, yet they attain their highest worth only when governed by moral goodness. The true hero does not act in order to be celebrated. He acts because what is right must be done. Reputation, if it comes at all, is merely the consequence, never the purpose. At a deeper level, the scene touches upon a fundamental principle of human dignity. A person is truly free only when his worth no longer depends upon the judgement of others. So long as one requires praise in order to persevere in goodness, or recognition in order to justify one's actions, one's conduct remains, to some degree, governed by the ego. But when someone is willing to sacrifice even his own reputation in order to defend what is right, he places a higher value above personal self-interest. Percy is the embodiment of that freedom. Seen in this light, the deepest power of the scene lies not merely in the removal of a disguise. What the film ultimately reveals is a profoundly classical ideal of heroism: a person achieves true nobility not when admired by the world, but when remaining faithful to goodness even when no one knows who he truly is. Virtue does not require public display in order to be virtue, nor does duty require applause in order to remain duty. It is for this reason that Sir Percy Blakeney is more than the man who rescues innocent victims from the machinery of terror unleashed during the French Revolution. He becomes the embodiment of the heroic ideal cherished within the classical tradition: one who is prepared to sacrifice even his own good name in defence of what is just. Perhaps this is why Sir Percy Blakeney has endured as such a compelling figure, continuing to be admired by successive generations as one of the finest representations of the classical hero.

One of the most memorable moments in The Scarlet Pimpernel (1982) is not a dazzling sword fight or a daring rescue, but the scene near the end of the film when Sir Percy Blakeney no longer has any need to maintain the façade of a foolish aristocrat. After spending the entire story appearing frivolous, preoccupied only with fashionable clothes, light verse, and the pleasures of high society, he finally stands revealed as the man he truly is: composed, resolute, and quietly heroic. The power of this scene does not lie in Percy revealing his abilities. It lies in the meaning of what he has chosen to conceal. From the beginning of the film, the audience already knows that Percy is the Scarlet Pimpernel. Each time he speaks absurdly, behaves with theatrical affectation, or allows himself to become the object of ridicule, viewers understand that this is not his true character. The mystery the film gradually unfolds is not who Percy is, but why he has willingly lived behind such a mask for so long. Percy does not pretend to be a fool because he lacks courage. He pretends to be one because it is the surest way to save lives. If the world believes him to be nothing more than a vain and idle nobleman, no one will suspect him of possessing the resolve and intelligence required to lead a secret network rescuing innocent men and women from the guillotine during the French Revolution. The contempt of others becomes the very shield that protects every mission he undertakes. Every insult Percy quietly accepts helps preserve another human life. It is here that Percy begins to differ from many familiar portrayals of heroism. Ordinarily, when people are misunderstood, they seek to explain themselves. When they are underestimated, they feel compelled to prove their worth. Honour and recognition seem almost instinctive human desires. Percy chooses the opposite path. He knows who he is, and therefore has no need for others to confirm it. He knows what is right, and therefore has no need for others to applaud it. What he chooses to protect is not his own reputation, but the lives of those waiting to be rescued. For this reason, when the mask is finally laid aside at the end of the film, the audience's admiration arises from far more than the discovery that Percy is brave, intelligent, and resourceful. What commands their respect is the full measure of the sacrifice he has quietly embraced all along. The greatest trial is not crossing swords with one's enemies, but enduring misunderstanding while continuing, without complaint, to do what is right. This is precisely why Percy so clearly embodies the traditional ideal of the hero. Within that tradition, heroism is defined not first by glorious deeds, but by virtue. Strength, intellect, and courage are all admirable qualities, yet they attain their highest worth only when governed by moral goodness. The true hero does not act in order to be celebrated. He acts because what is right must be done. Reputation, if it comes at all, is merely the consequence, never the purpose. At a deeper level, the scene touches upon a fundamental principle of human dignity. A person is truly free only when his worth no longer depends upon the judgement of others. So long as one requires praise in order to persevere in goodness, or recognition in order to justify one's actions, one's conduct remains, to some degree, governed by the ego. But when someone is willing to sacrifice even his own reputation in order to defend what is right, he places a higher value above personal self-interest. Percy is the embodiment of that freedom. Seen in this light, the deepest power of the scene lies not merely in the removal of a disguise. What the film ultimately reveals is a profoundly classical ideal of heroism: a person achieves true nobility not when admired by the world, but when remaining faithful to goodness even when no one knows who he truly is. Virtue does not require public display in order to be virtue, nor does duty require applause in order to remain duty. It is for this reason that Sir Percy Blakeney is more than the man who rescues innocent victims from the machinery of terror unleashed during the French Revolution. He becomes the embodiment of the heroic ideal cherished within the classical tradition: one who is prepared to sacrifice even his own good name in defence of what is just. Perhaps this is why Sir Percy Blakeney has endured as such a compelling figure, continuing to be admired by successive generations as one of the finest representations of the classical hero.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

28,441 Aufrufe • vor 9 Tagen