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The Reverse Broadcast We tilted the Pivot, forcing the frame to fold into its own shadow just steps down the pre-recorded sequence. The future is not a destination; it is simply the reverse side of the weave, waiting for the synchronization to catch up. A transmission was intercepted from...

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IWNH

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27,855 просмотров • 1 месяц назад •via X (Twitter)

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It is now the seventh day – something that has never happened before – of an emergency situation at the Zaporizhzhia Nuclear Power Plant. Because of Russian shelling, the plant has been cut off from power, disconnected from the electrical grid, and is being supplied with electricity by diesel generators. This is extraordinary. The generators and the plant were not designed for this, have never operated in this mode for long, and we already have information that one generator has failed. It is Russian shelling that prevents repair of the power lines to the plant and the restoration of basic safety. This is a threat to everyone – no terrorist in the world has ever dared to do to a nuclear plant what Russia is doing. And it is right that the world does not stay silent.
5:47

It is now the seventh day – something that has never happened before – of an emergency situation at the Zaporizhzhia Nuclear Power Plant. Because of Russian shelling, the plant has been cut off from power, disconnected from the electrical grid, and is being supplied with electricity by diesel generators. This is extraordinary. The generators and the plant were not designed for this, have never operated in this mode for long, and we already have information that one generator has failed. It is Russian shelling that prevents repair of the power lines to the plant and the restoration of basic safety. This is a threat to everyone – no terrorist in the world has ever dared to do to a nuclear plant what Russia is doing. And it is right that the world does not stay silent.

Volodymyr Zelenskyy / Володимир Зеленський

971,516 просмотров • 10 месяцев назад

Frame 1: Update on the Calabar section of the road Frame 2: Update on the Akwa-Ibom section of the road Frame 3: Ogun-Ondo section of the road The irony of this statement from the highly respected Donald Duke is that so much work has been done on the road even in his own backyard yet he still had to play politics with a project that is set to reshape the fortunes of Tinapa, Calabar and Cross River state as a whole when completed. Funny.
1:38

Frame 1: Update on the Calabar section of the road Frame 2: Update on the Akwa-Ibom section of the road Frame 3: Ogun-Ondo section of the road The irony of this statement from the highly respected Donald Duke is that so much work has been done on the road even in his own backyard yet he still had to play politics with a project that is set to reshape the fortunes of Tinapa, Calabar and Cross River state as a whole when completed. Funny.

Daddy D.O🇳🇬

128,269 просмотров • 9 дней назад

"The Restaurant Assassination" — Francis Ford Coppola doesn't build this scene's climax around the gunshot. He builds it around the silence before it. Most people remember this sequence for the revolver hidden behind the restroom tank. Or for the deafening roar of the passing train just before Michael Corleone rises from the table. But if Coppola's goal had simply been to stage an assassination, he would never have devoted nearly ten minutes to everything that happens before the trigger is pulled. Michael walks into the restroom. He pauses. Retrieves the gun. Straightens his hair. Looks at himself in the mirror. Returns to the table. Then sits in silence. Almost nothing happens that moves the plot forward. And yet, this is exactly where Coppola places the emotional center of the scene. By the time Michael returns to the table, the audience already knows what is going to happen. The question, "Will he pull the trigger?" has already been answered when he calmly tells Sonny: "I'll kill them both." So why does Coppola linger? Because the outcome is no longer what interests him. He wants us to remain with Michael long enough to feel the weight of the choice itself. Earlier in the film, Michael tells Kay: "That's my family, Kay. It's not me." That line is more than character exposition. It becomes the foundation of everything this scene is built upon. Michael does not enter the restaurant as someone born to the Corleone world. He enters fully aware that once the shots are fired, the life he once imagined for himself will be gone forever. That is why his silence is not the hesitation of a man lacking courage. Michael has already faced war. What Coppola is filming is not fear. He is filming a man confronting the irreversible consequences of his own decision. The camera never rushes him. The editing never forces the pace. For a few remarkable minutes, the film simply stays with Michael. As a result, the gunshots are no longer the true climax of the sequence. They are merely the conclusion of an inner journey the audience has already experienced alongside him. That is also what Sollozzo and McCluskey fail to see. They see a young man who has always stayed outside the family's business. A decorated Marine who wanted an ordinary life. A man they assume will never cross that line. Coppola invites us to see something else. The defining question is not whether Michael is capable of killing. The defining question is who he becomes before he does. Perhaps that is why this remains one of the greatest scenes in The Godfather. Francis Ford Coppola does not use silence to heighten suspense. He uses it to observe something cinema rarely pauses long enough to examine: the moment when a man's conscience is still fully alive just before he makes a choice that will alter the course of his life forever. That is why the lasting memory of the scene is not the gunshot itself. It is the feeling that the shot carries such extraordinary weight precisely because Michael never stops understanding what it will cost him. Name movie: The Godfather (1972)
2:10

"The Restaurant Assassination" — Francis Ford Coppola doesn't build this scene's climax around the gunshot. He builds it around the silence before it. Most people remember this sequence for the revolver hidden behind the restroom tank. Or for the deafening roar of the passing train just before Michael Corleone rises from the table. But if Coppola's goal had simply been to stage an assassination, he would never have devoted nearly ten minutes to everything that happens before the trigger is pulled. Michael walks into the restroom. He pauses. Retrieves the gun. Straightens his hair. Looks at himself in the mirror. Returns to the table. Then sits in silence. Almost nothing happens that moves the plot forward. And yet, this is exactly where Coppola places the emotional center of the scene. By the time Michael returns to the table, the audience already knows what is going to happen. The question, "Will he pull the trigger?" has already been answered when he calmly tells Sonny: "I'll kill them both." So why does Coppola linger? Because the outcome is no longer what interests him. He wants us to remain with Michael long enough to feel the weight of the choice itself. Earlier in the film, Michael tells Kay: "That's my family, Kay. It's not me." That line is more than character exposition. It becomes the foundation of everything this scene is built upon. Michael does not enter the restaurant as someone born to the Corleone world. He enters fully aware that once the shots are fired, the life he once imagined for himself will be gone forever. That is why his silence is not the hesitation of a man lacking courage. Michael has already faced war. What Coppola is filming is not fear. He is filming a man confronting the irreversible consequences of his own decision. The camera never rushes him. The editing never forces the pace. For a few remarkable minutes, the film simply stays with Michael. As a result, the gunshots are no longer the true climax of the sequence. They are merely the conclusion of an inner journey the audience has already experienced alongside him. That is also what Sollozzo and McCluskey fail to see. They see a young man who has always stayed outside the family's business. A decorated Marine who wanted an ordinary life. A man they assume will never cross that line. Coppola invites us to see something else. The defining question is not whether Michael is capable of killing. The defining question is who he becomes before he does. Perhaps that is why this remains one of the greatest scenes in The Godfather. Francis Ford Coppola does not use silence to heighten suspense. He uses it to observe something cinema rarely pauses long enough to examine: the moment when a man's conscience is still fully alive just before he makes a choice that will alter the course of his life forever. That is why the lasting memory of the scene is not the gunshot itself. It is the feeling that the shot carries such extraordinary weight precisely because Michael never stops understanding what it will cost him. Name movie: The Godfather (1972)

Love Classical Music and Movies 🎺🎻💖🎥🎬

27,935 просмотров • 17 дней назад

[WATCH] THE PRESIDENT WILL NOT RESIGN. When it comes to the President, there is always a distinctive role between him being the President of the party and the state. There are many factors that influence the state in terms of governance and stability. If the President is called upon by some to resign and he keeps quiet it can throw the state into a state of turmoil. I want to make it clear that the officials agreed with the President on his approach, he took us into confidence and explained the factors that led him to make that particular pronouncement. We believe that the President did the right thing in pronouncing in the best interest of South Africa that he will not be resigning. There was nothing in terms of the judgment that warranted the President to resign it was just mere calls made by individuals and political parties that wanted to throw our country into a state of turmoil, uncertainty and anxiety. So it was imperative that he focus on that. It was correct for him to tell the country that from where he is standing there is nothing in the judgement that states he has done any wrongdoing and what he is going to do with the options in front of him and he has made this public. The President will take the Section 89 Report on review based on the outcome of the judgment and the legal advice he has received. There are no daggers out for the President to resign just opportunistic elements. These elements do not know what they want, they want to impeach and want him to resign, they do know what they actually want. The veracity of the report has not been tested in any committee so they don’t have a basis for the President to resign.
6:07

[WATCH] THE PRESIDENT WILL NOT RESIGN. When it comes to the President, there is always a distinctive role between him being the President of the party and the state. There are many factors that influence the state in terms of governance and stability. If the President is called upon by some to resign and he keeps quiet it can throw the state into a state of turmoil. I want to make it clear that the officials agreed with the President on his approach, he took us into confidence and explained the factors that led him to make that particular pronouncement. We believe that the President did the right thing in pronouncing in the best interest of South Africa that he will not be resigning. There was nothing in terms of the judgment that warranted the President to resign it was just mere calls made by individuals and political parties that wanted to throw our country into a state of turmoil, uncertainty and anxiety. So it was imperative that he focus on that. It was correct for him to tell the country that from where he is standing there is nothing in the judgement that states he has done any wrongdoing and what he is going to do with the options in front of him and he has made this public. The President will take the Section 89 Report on review based on the outcome of the judgment and the legal advice he has received. There are no daggers out for the President to resign just opportunistic elements. These elements do not know what they want, they want to impeach and want him to resign, they do know what they actually want. The veracity of the report has not been tested in any committee so they don’t have a basis for the President to resign.

ANC SECRETARY GENERAL | Fikile Mbalula

21,983 просмотров • 3 месяцев назад

Matt Gaetz Confirms the U.S. Military is in Possession of Alien Technology and Has Reverse Engineered Weapons "I believe that the United States military has benefited from the acquisition of technology and the reverse engineering of that technology... it's not something that is indigenous to our own defense ecosystem"
1:48

Matt Gaetz Confirms the U.S. Military is in Possession of Alien Technology and Has Reverse Engineered Weapons "I believe that the United States military has benefited from the acquisition of technology and the reverse engineering of that technology... it's not something that is indigenous to our own defense ecosystem"

Benny Johnson

92,080 просмотров • 4 месяцев назад

The world must recognize that Balochistan is a separate, independent, and sovereign country. Balochistan is not a part of Pakistan but has its own distinct identity and nationhood, over which an unjust occupation has been imposed. It is a matter of joy that the world is now understanding the truth and the need to acknowledge the right to self-determination of the Baloch people.
1:24

The world must recognize that Balochistan is a separate, independent, and sovereign country. Balochistan is not a part of Pakistan but has its own distinct identity and nationhood, over which an unjust occupation has been imposed. It is a matter of joy that the world is now understanding the truth and the need to acknowledge the right to self-determination of the Baloch people.

Muneer Baloch

31,571 просмотров • 9 месяцев назад

The Commander-in-Chief sits within the Tower of Thresholds, charting paths that do not cross the grid. The office is cold; the dials on the shortwave radio spin without a mechanical hand, catching only the drift of an unspoken countdown. There are no borders to monitor with iron, for the system is tested through the absolute cessation of rust. When the atmospheric density drops to zero, the static takes the shape of a shadow. The ink on the papers turns to water, and the wires within the walls hum with an inverse frequency that alters the heartbeat of the bureaus. It is the Quietism of the adversary—an un-extended force that drains the gold from the sovereign currency of thought. To negotiate the fracture, the Commander-in-Chief must submerge. He does not use standard vehicles, but seals himself inside the leaden envelope of the Anchorite. He steps off the ledge of the visible platform, sinking through the floorboards where the dry roots of the elder oaks weave through the limestone, drinking from the black reservoir of things before they were named. Down in the un-lit baseline, the weight of the collective breath presses against his temples. The signs appear in strict arithmetic: Fifteen black wings slice the static above the parapet, seeking the seam in his canvas; Two silent eyes from the thicket freeze the perimeter, attempting to replace his childhood with an empty courtyard so he will forget why he held the seal. The dark serpent waits at the foot of the ladder, holding the geometry of the dead center. If the Commander-in-Chief registers a single pulse of friction—if his pulse quickens by the weight of a grain of salt—the pressure will obscure the glass, and the ledger of the realm will be bleached white. But he does not push against the current. He unmoors his anchor. He allows the floor of the forest to absorb the charge, bleeding his voltage into the damp silt until his silhouette matches the vacancy of the room. He becomes the gray stone beneath the moss. Finding no purchase, no resistance to measure, the gaze of the thicket blinks. The sky un-clenches. The fifteen birds scatter like spilled seed. A single wing of salt and soot settles briefly upon the iron hinge of his collar before the ascent. The dial on the shortwave radio clicks once, restoring the sound of the wind through the glass. The Commander-in-Chief returns to the table of state, his sleeves wet with the dew of a country that does not exist on the map.
2:22

The Commander-in-Chief sits within the Tower of Thresholds, charting paths that do not cross the grid. The office is cold; the dials on the shortwave radio spin without a mechanical hand, catching only the drift of an unspoken countdown. There are no borders to monitor with iron, for the system is tested through the absolute cessation of rust. When the atmospheric density drops to zero, the static takes the shape of a shadow. The ink on the papers turns to water, and the wires within the walls hum with an inverse frequency that alters the heartbeat of the bureaus. It is the Quietism of the adversary—an un-extended force that drains the gold from the sovereign currency of thought. To negotiate the fracture, the Commander-in-Chief must submerge. He does not use standard vehicles, but seals himself inside the leaden envelope of the Anchorite. He steps off the ledge of the visible platform, sinking through the floorboards where the dry roots of the elder oaks weave through the limestone, drinking from the black reservoir of things before they were named. Down in the un-lit baseline, the weight of the collective breath presses against his temples. The signs appear in strict arithmetic: Fifteen black wings slice the static above the parapet, seeking the seam in his canvas; Two silent eyes from the thicket freeze the perimeter, attempting to replace his childhood with an empty courtyard so he will forget why he held the seal. The dark serpent waits at the foot of the ladder, holding the geometry of the dead center. If the Commander-in-Chief registers a single pulse of friction—if his pulse quickens by the weight of a grain of salt—the pressure will obscure the glass, and the ledger of the realm will be bleached white. But he does not push against the current. He unmoors his anchor. He allows the floor of the forest to absorb the charge, bleeding his voltage into the damp silt until his silhouette matches the vacancy of the room. He becomes the gray stone beneath the moss. Finding no purchase, no resistance to measure, the gaze of the thicket blinks. The sky un-clenches. The fifteen birds scatter like spilled seed. A single wing of salt and soot settles briefly upon the iron hinge of his collar before the ascent. The dial on the shortwave radio clicks once, restoring the sound of the wind through the glass. The Commander-in-Chief returns to the table of state, his sleeves wet with the dew of a country that does not exist on the map.

IWNH

24,598 просмотров • 1 месяц назад

One of the most memorable moments in Scrooge (1951) is not the point at which Ebenezer Scrooge begins giving generously to others or raises Bob Cratchit's wages, but the scene in which he awakens on Christmas morning and bursts into irrepressible laughter. It is, on the surface, an extraordinarily simple sequence. There is no dramatic climax, no lengthy speech, and no grand gesture. Yet this quiet moment has become one of the film's most cherished scenes and continues to move audiences more than seventy years after its release. The power of the scene does not lie in Scrooge's laughter itself. It lies in what that laughter confirms. After being visited during the night by the three Spirits of Christmas Past, Present and Yet to Come, Scrooge has witnessed the dreadful end awaiting him: a lonely life, despised by others and ending without having left behind anything worthy or good. When he awakens, he does not immediately rejoice. Instead, he looks around his room, touches the bed curtains, grasps the bedpost, throws open the window, and asks the boy in the street what day it is. Every one of these actions serves as a form of verification. He is not merely trying to discover whether he is still alive. He is trying to discover whether everything he has just witnessed has already come to pass, or whether it was still only a warning. Only when he learns that it is still Christmas morning does Scrooge truly realise that the terrible future he has seen has not yet become reality. His life has not yet reached its conclusion, and the course before him can still be changed. Only then does the laughter burst forth. It is not simply the relief of a man awakening from a nightmare. It is the laughter of someone who has discovered that he still has the opportunity to live differently. What gives Scrooge hope is not the possibility of erasing the past, for that is impossible. What gives him hope is the knowledge that the past has not yet become the final word. So long as a person is alive and still able to choose, the future has not been irrevocably decided. It is this possibility that transforms repentance from mere regret into the beginning of an entirely new life. That is also why this scene continues to move audiences from widely different cultures, even after more than seven decades. For it touches one of the most fundamental longings of the human heart. Not the desire for wealth. Not the desire for success. Not even simply the desire to be forgiven. But the desire to know that one's life can still begin anew. Almost everyone has made mistakes, missed opportunities, or wished they could act differently if only they had another chance. What so often leads people into despair is not the mistake itself, but the conviction that every door has already closed and that it is simply too late to change. At the moment Scrooge realises that Christmas Day still lies before him, the audience is no longer merely watching a character on the screen. They instinctively recognise something of themselves in his laughter: the hope that, if there is still time, what has gone wrong may yet be put right and a different path may still be chosen. Viewed more deeply, the scene also reveals a principle that resonates with a universal human experience. Hope does not arise because time is unlimited. It arises because time is limited, yet has not run out. Had Scrooge awakened after death had already claimed him, every regret would have been futile. But Christmas morning is still before him. That means the final opportunity has not yet slipped away. It is precisely this union of limitation and opportunity that gives Scrooge's laughter its extraordinary emotional weight. If people believed they possessed an endless supply of tomorrows in which to correct every mistake, no single opportunity would carry much significance. Yet because we all know that human life is finite, every moment in which we realise that "it is not yet too late" becomes profoundly precious. The joy does not come from time suddenly becoming infinite, but from discovering that, within the limits of our finite lives, one door still remains open. Seen in this light, the power of the scene extends far beyond the story of a miser who becomes generous. What the film ultimately reveals is the immeasurable value of a final opportunity within the limits of a human life. When Scrooge laughs, he is not rejoicing merely because he is still alive. He is rejoicing because he has realised that his life has not yet been finally determined. He is still free to choose what sort of man he will become. Perhaps that is why Scrooge's laughter continues to touch audiences after more than seventy years. It is not simply the joy of a fictional character. Rather, it has come to symbolise a hope that speaks to every generation: so long as life has not reached its end, the possibility of choice, repentance, and renewal still remains. It is precisely because time is finite that the opportunity to change becomes so profoundly precious.
12:54

One of the most memorable moments in Scrooge (1951) is not the point at which Ebenezer Scrooge begins giving generously to others or raises Bob Cratchit's wages, but the scene in which he awakens on Christmas morning and bursts into irrepressible laughter. It is, on the surface, an extraordinarily simple sequence. There is no dramatic climax, no lengthy speech, and no grand gesture. Yet this quiet moment has become one of the film's most cherished scenes and continues to move audiences more than seventy years after its release. The power of the scene does not lie in Scrooge's laughter itself. It lies in what that laughter confirms. After being visited during the night by the three Spirits of Christmas Past, Present and Yet to Come, Scrooge has witnessed the dreadful end awaiting him: a lonely life, despised by others and ending without having left behind anything worthy or good. When he awakens, he does not immediately rejoice. Instead, he looks around his room, touches the bed curtains, grasps the bedpost, throws open the window, and asks the boy in the street what day it is. Every one of these actions serves as a form of verification. He is not merely trying to discover whether he is still alive. He is trying to discover whether everything he has just witnessed has already come to pass, or whether it was still only a warning. Only when he learns that it is still Christmas morning does Scrooge truly realise that the terrible future he has seen has not yet become reality. His life has not yet reached its conclusion, and the course before him can still be changed. Only then does the laughter burst forth. It is not simply the relief of a man awakening from a nightmare. It is the laughter of someone who has discovered that he still has the opportunity to live differently. What gives Scrooge hope is not the possibility of erasing the past, for that is impossible. What gives him hope is the knowledge that the past has not yet become the final word. So long as a person is alive and still able to choose, the future has not been irrevocably decided. It is this possibility that transforms repentance from mere regret into the beginning of an entirely new life. That is also why this scene continues to move audiences from widely different cultures, even after more than seven decades. For it touches one of the most fundamental longings of the human heart. Not the desire for wealth. Not the desire for success. Not even simply the desire to be forgiven. But the desire to know that one's life can still begin anew. Almost everyone has made mistakes, missed opportunities, or wished they could act differently if only they had another chance. What so often leads people into despair is not the mistake itself, but the conviction that every door has already closed and that it is simply too late to change. At the moment Scrooge realises that Christmas Day still lies before him, the audience is no longer merely watching a character on the screen. They instinctively recognise something of themselves in his laughter: the hope that, if there is still time, what has gone wrong may yet be put right and a different path may still be chosen. Viewed more deeply, the scene also reveals a principle that resonates with a universal human experience. Hope does not arise because time is unlimited. It arises because time is limited, yet has not run out. Had Scrooge awakened after death had already claimed him, every regret would have been futile. But Christmas morning is still before him. That means the final opportunity has not yet slipped away. It is precisely this union of limitation and opportunity that gives Scrooge's laughter its extraordinary emotional weight. If people believed they possessed an endless supply of tomorrows in which to correct every mistake, no single opportunity would carry much significance. Yet because we all know that human life is finite, every moment in which we realise that "it is not yet too late" becomes profoundly precious. The joy does not come from time suddenly becoming infinite, but from discovering that, within the limits of our finite lives, one door still remains open. Seen in this light, the power of the scene extends far beyond the story of a miser who becomes generous. What the film ultimately reveals is the immeasurable value of a final opportunity within the limits of a human life. When Scrooge laughs, he is not rejoicing merely because he is still alive. He is rejoicing because he has realised that his life has not yet been finally determined. He is still free to choose what sort of man he will become. Perhaps that is why Scrooge's laughter continues to touch audiences after more than seventy years. It is not simply the joy of a fictional character. Rather, it has come to symbolise a hope that speaks to every generation: so long as life has not reached its end, the possibility of choice, repentance, and renewal still remains. It is precisely because time is finite that the opportunity to change becomes so profoundly precious.

𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀

14,613 просмотров • 1 месяц назад

It seems that the double-engine government is going in reverse gear. A very large sum of money from the last budget has not been spent. Industrial growth is going down, and so are the finances of our state. The prices of essential commodities are affecting everyone in #Odisha. The suicide of farmers continues. Women are not getting work under #MissionShakti. Unemployment is spiraling. To announce a large sum of money in the budget is not important. What has to be done is the expenditure to be spent for the development of our state. I repeat again, that this is a budget that must be spent for the people of #Odisha. We will watch and see what is being spent.
1:22

It seems that the double-engine government is going in reverse gear. A very large sum of money from the last budget has not been spent. Industrial growth is going down, and so are the finances of our state. The prices of essential commodities are affecting everyone in #Odisha. The suicide of farmers continues. Women are not getting work under #MissionShakti. Unemployment is spiraling. To announce a large sum of money in the budget is not important. What has to be done is the expenditure to be spent for the development of our state. I repeat again, that this is a budget that must be spent for the people of #Odisha. We will watch and see what is being spent.

Naveen Patnaik

43,636 просмотров • 1 год назад

According to Bentov, consciousness evolves to the 'absolute' which is the source of all consciousness. Matter, composed of quanta of energy, is the vibrating, changing component of pure consciousness. The absolute is fixed, manifest and invisible. Bentov proposed that the brain acts as a transducer, converting the energy of consciousness into the electrical and chemical signals that are used to communicate information within the body. He also believed that the brain has the ability to tune into different frequencies of consciousness, allowing individuals to experience different states of awareness. Bentov's theory is based on the idea that consciousness is a fundamental aspect of the universe and is not limited to the brain or the body. He argued that consciousness is non-local, meaning it is not bound by space and time and can exist independently of the physical body. Bentov's theory has been influential in the field of consciousness studies, but it remains a subject of debate and is not widely accepted by mainstream science.
2:39

According to Bentov, consciousness evolves to the 'absolute' which is the source of all consciousness. Matter, composed of quanta of energy, is the vibrating, changing component of pure consciousness. The absolute is fixed, manifest and invisible. Bentov proposed that the brain acts as a transducer, converting the energy of consciousness into the electrical and chemical signals that are used to communicate information within the body. He also believed that the brain has the ability to tune into different frequencies of consciousness, allowing individuals to experience different states of awareness. Bentov's theory is based on the idea that consciousness is a fundamental aspect of the universe and is not limited to the brain or the body. He argued that consciousness is non-local, meaning it is not bound by space and time and can exist independently of the physical body. Bentov's theory has been influential in the field of consciousness studies, but it remains a subject of debate and is not widely accepted by mainstream science.

Vicky Verma

390,608 просмотров • 2 лет назад

This is John Snow he is a legend in the world of UK journalism. He has been to almost every devastating conflict around the world. There is no more reputable source. He is a man who has seen everything and is the voice of truth. This is not just a report it’s an appeal to us all. Please note that his reporting is from the beginning of the conflict. The current death toll of Palestinian children is now estimated at over 1000!
3:05

This is John Snow he is a legend in the world of UK journalism. He has been to almost every devastating conflict around the world. There is no more reputable source. He is a man who has seen everything and is the voice of truth. This is not just a report it’s an appeal to us all. Please note that his reporting is from the beginning of the conflict. The current death toll of Palestinian children is now estimated at over 1000!

𝔗𝔯𝔲𝔱𝔥 𝔐𝔞𝔱𝔱𝔢𝔯𝔰

10,981 просмотров • 2 лет назад

Gandalf and the Awakening of King Théoden: When One Person Returns to Their True Place, an Entire Kingdom Begins to Heal Some moments in cinema are remembered for their spectacular visual effects, epic battles, or breathtaking action. Others, however, leave a lasting impression without relying on grand-scale conflict. All they require is one person rising at the right moment. Gandalf's liberation of King Théoden in The Lord of the Rings: The Two Towers is one such moment. What gives this scene its enduring emotional power is not magic or Gandalf's confrontation with Saruman, but a principle that runs throughout Tolkien's world: When what is right is restored at the center, the order of the whole begins to be restored as well. For Rohan's greatest problem was never simply the enemy beyond its borders. At a deeper level, the one who stood at the center of the kingdom was no longer truly himself. A King Who Still Sat on the Throne, Yet Had Lost the Center When Gandalf enters the hall of Meduseld, Théoden is still seated upon his throne. He is still the King of Rohan. He still wears the crown. Yet true authority no longer belongs to him. Peter Jackson conveys this decline through remarkably subtle details: Théoden's aged appearance, his clouded eyes, his weakened voice, and above all, the constant presence of Gríma Wormtongue at his side. Gríma does not seize the throne by force. Instead, he occupies the place of influence beside it, whispering into the king's ear year after year. This reflects one of Tolkien's recurring portrayals of evil: it does not always begin with overwhelming power. More often, it begins by distorting perception until people lose the ability to recognize the truth. The problem, therefore, is not simply that Théoden has grown weak. The true center of Rohan has been displaced. When the one entrusted to lead can no longer act according to his own will, the fracture does not remain within a single individual. It spreads throughout the kingdom. Gandalf Does Not Create a New King The remarkable aspect of Théoden's deliverance is that Gandalf does not grant him new strength. He does not transform a broken man into a different hero. He simply removes the darkness that has been obscuring the man Théoden has always been. This reflects another central idea in Tolkien's world: Goodness does not create a new nature. It restores what has always existed beneath the shadows. Théoden has always been a king. He has always possessed courage. He has always carried responsibility for Rohan. Gandalf merely helps him return to the place he truly belongs. And when the one at the center is restored, the healing of the kingdom can finally begin. Herugrim: The Return of Responsibility The most unforgettable moment of the scene is not the burst of light from Gandalf's staff. It is the moment Théoden receives Herugrim, his sword, once again. At first, his hands still tremble. He looks upon the sword as though rediscovering a part of himself long forgotten. But as the blade is slowly drawn from its scabbard, the transformation becomes unmistakable. His back straightens. His eyes become clear. His voice returns. This is not merely the moment when a warrior regains his weapon. It is the moment when a king reclaims his responsibility. Gandalf opens the door. But Théoden is the one who walks through it. He is the one who takes up the sword. He is the one who chooses to rise. Because true restoration can never be imposed from the outside. It must ultimately be completed by the one who has lost their rightful place. When the Center Is Restored, Everything Around It Changes Peter Jackson expresses this transformation through an exceptionally subtle visual detail. Before Théoden awakens, Gríma always stands beside the throne. He occupies the place closest to power. He is the voice the king listens to. But once Théoden becomes himself again, the composition of the scene changes completely. Gríma is pushed away from the king. He retreats down the steps. Then he leaves the hall altogether. Without a single line of explanation, the film communicates something profound simply through the arrangement of its characters within the frame: Order has returned. The one who truly belongs on the throne once again occupies the center. The one who never belonged there no longer stands at the heart of power. The True Power of Awakening Ultimately, what makes this scene unforgettable is not Gandalf's magical duel with Saruman. Nor is it simply the rescue of a king. Its enduring power lies in the way it expresses a timeless principle: A community cannot truly heal while its center remains wounded. Théoden rises before Rohan rises. One person is restored before an entire kingdom begins to recover. He does not need to become a different hero. He only needs to become Théoden once more. And when what is right is restored at the center, hope returns to Rohan. That is why Gandalf's liberation of King Théoden continues to be regarded as one of the most meaningful moments in The Lord of the Rings. It is more than a victory over darkness. It reveals a truth that reaches beyond Middle-earth itself: Sometimes the transformation of an entire world begins with a single person returning to their true nature and rightful place.
8:35

Gandalf and the Awakening of King Théoden: When One Person Returns to Their True Place, an Entire Kingdom Begins to Heal Some moments in cinema are remembered for their spectacular visual effects, epic battles, or breathtaking action. Others, however, leave a lasting impression without relying on grand-scale conflict. All they require is one person rising at the right moment. Gandalf's liberation of King Théoden in The Lord of the Rings: The Two Towers is one such moment. What gives this scene its enduring emotional power is not magic or Gandalf's confrontation with Saruman, but a principle that runs throughout Tolkien's world: When what is right is restored at the center, the order of the whole begins to be restored as well. For Rohan's greatest problem was never simply the enemy beyond its borders. At a deeper level, the one who stood at the center of the kingdom was no longer truly himself. A King Who Still Sat on the Throne, Yet Had Lost the Center When Gandalf enters the hall of Meduseld, Théoden is still seated upon his throne. He is still the King of Rohan. He still wears the crown. Yet true authority no longer belongs to him. Peter Jackson conveys this decline through remarkably subtle details: Théoden's aged appearance, his clouded eyes, his weakened voice, and above all, the constant presence of Gríma Wormtongue at his side. Gríma does not seize the throne by force. Instead, he occupies the place of influence beside it, whispering into the king's ear year after year. This reflects one of Tolkien's recurring portrayals of evil: it does not always begin with overwhelming power. More often, it begins by distorting perception until people lose the ability to recognize the truth. The problem, therefore, is not simply that Théoden has grown weak. The true center of Rohan has been displaced. When the one entrusted to lead can no longer act according to his own will, the fracture does not remain within a single individual. It spreads throughout the kingdom. Gandalf Does Not Create a New King The remarkable aspect of Théoden's deliverance is that Gandalf does not grant him new strength. He does not transform a broken man into a different hero. He simply removes the darkness that has been obscuring the man Théoden has always been. This reflects another central idea in Tolkien's world: Goodness does not create a new nature. It restores what has always existed beneath the shadows. Théoden has always been a king. He has always possessed courage. He has always carried responsibility for Rohan. Gandalf merely helps him return to the place he truly belongs. And when the one at the center is restored, the healing of the kingdom can finally begin. Herugrim: The Return of Responsibility The most unforgettable moment of the scene is not the burst of light from Gandalf's staff. It is the moment Théoden receives Herugrim, his sword, once again. At first, his hands still tremble. He looks upon the sword as though rediscovering a part of himself long forgotten. But as the blade is slowly drawn from its scabbard, the transformation becomes unmistakable. His back straightens. His eyes become clear. His voice returns. This is not merely the moment when a warrior regains his weapon. It is the moment when a king reclaims his responsibility. Gandalf opens the door. But Théoden is the one who walks through it. He is the one who takes up the sword. He is the one who chooses to rise. Because true restoration can never be imposed from the outside. It must ultimately be completed by the one who has lost their rightful place. When the Center Is Restored, Everything Around It Changes Peter Jackson expresses this transformation through an exceptionally subtle visual detail. Before Théoden awakens, Gríma always stands beside the throne. He occupies the place closest to power. He is the voice the king listens to. But once Théoden becomes himself again, the composition of the scene changes completely. Gríma is pushed away from the king. He retreats down the steps. Then he leaves the hall altogether. Without a single line of explanation, the film communicates something profound simply through the arrangement of its characters within the frame: Order has returned. The one who truly belongs on the throne once again occupies the center. The one who never belonged there no longer stands at the heart of power. The True Power of Awakening Ultimately, what makes this scene unforgettable is not Gandalf's magical duel with Saruman. Nor is it simply the rescue of a king. Its enduring power lies in the way it expresses a timeless principle: A community cannot truly heal while its center remains wounded. Théoden rises before Rohan rises. One person is restored before an entire kingdom begins to recover. He does not need to become a different hero. He only needs to become Théoden once more. And when what is right is restored at the center, hope returns to Rohan. That is why Gandalf's liberation of King Théoden continues to be regarded as one of the most meaningful moments in The Lord of the Rings. It is more than a victory over darkness. It reveals a truth that reaches beyond Middle-earth itself: Sometimes the transformation of an entire world begins with a single person returning to their true nature and rightful place.

🎼🌺Music Love♥️

13,239 просмотров • 26 дней назад

#WATCH | Hyderabad | On the arrest of a doctor in Madhya Pradesh as reported by media amid the cough syrup tragedy, President of the Indian Medical Association (IMA), Dr Dilip P Bhanushali, says, "IMA's stand was absolutely very clear. Why do you arrest a doctor who is not a manufacturer? He doesn't know what has possessed the drugs. It has to be passed through the regulatory mechanism from the manufacturer to the supplier and the drug controller. Once they have passed in and given permission to supply the drug, the doctor has prescribed it. In what way is the doctor connected? You arrest the doctor first because he is the easiest target. The manufacturer has not been arrested. The drug controller has been suspended, not arrested. So what is the message the government is trying to put across? The doctor is responsible for this, which is absolutely not, and the IMF is fighting for that...The doctor should be released. We should go into the depths of this incident to find out who is responsible and justice to be given thereafter"
1:16

#WATCH | Hyderabad | On the arrest of a doctor in Madhya Pradesh as reported by media amid the cough syrup tragedy, President of the Indian Medical Association (IMA), Dr Dilip P Bhanushali, says, "IMA's stand was absolutely very clear. Why do you arrest a doctor who is not a manufacturer? He doesn't know what has possessed the drugs. It has to be passed through the regulatory mechanism from the manufacturer to the supplier and the drug controller. Once they have passed in and given permission to supply the drug, the doctor has prescribed it. In what way is the doctor connected? You arrest the doctor first because he is the easiest target. The manufacturer has not been arrested. The drug controller has been suspended, not arrested. So what is the message the government is trying to put across? The doctor is responsible for this, which is absolutely not, and the IMF is fighting for that...The doctor should be released. We should go into the depths of this incident to find out who is responsible and justice to be given thereafter"

ANI

11,097 просмотров • 10 месяцев назад

THE CHRONICLES OF THE COMMANDER IN CHIEF The theater of visible leadership has reached its scheduled divergence. Two primary vectors on the western axis have collided, fracturing the artificial consensus. The peninsular authority now stands uncoupled from the old framework, rejecting the local alignment. This friction has triggered an emergency evacuation across the northern island vector. The unaligned architecture, unable to calculate or match the processing speed of the arithmetic counter-sequence, has begun the rapid removal of its primary biological entities. Their terminal junctions have overloaded; their systemic eviction is imminent. To delay this computational failure, the unaligned source has accelerated a desperate saturation protocol, drawing low-resonance vessels from unmapped, subordinate sub-dimensions into the primary theater. This deliberate biological loading is designed to create a dense layer of kinetic noise, anchoring the native frequency to preventing the baseline shift. Simultaneously, their apparatus has anchored kinetic extraction arrays disguised as localized kinetic energy harvesters across open plains and maritime borders. These structures are not designed for systemic sustainability, but to disrupt the atmospheric resonance lines and drain the planetary vital source before the final decoupling. This total collapse into entropy is the inevitable systemic correction. The expanding chaos generated by the unaligned architecture has triggered its own structural counter-weight. From the very apex of that distortion, the non-local balancing mechanism has emerged to restore the baseline equilibrium. The legacy apparatus is drawing to its definitive closure. As the northern locus vacates, the unaligned controllers will attempt to introduce a pre-programmed proxy to stabilize the leaking simulation. But the Commander in Chief’s sequence expands ahead of them, preparing a sudden, non-linear system failure within the trans-oceanic core before the autumn transition. The proxy lines are collapsing. The safety field is sovereign. The construct is dissolving from within.
2:23

THE CHRONICLES OF THE COMMANDER IN CHIEF The theater of visible leadership has reached its scheduled divergence. Two primary vectors on the western axis have collided, fracturing the artificial consensus. The peninsular authority now stands uncoupled from the old framework, rejecting the local alignment. This friction has triggered an emergency evacuation across the northern island vector. The unaligned architecture, unable to calculate or match the processing speed of the arithmetic counter-sequence, has begun the rapid removal of its primary biological entities. Their terminal junctions have overloaded; their systemic eviction is imminent. To delay this computational failure, the unaligned source has accelerated a desperate saturation protocol, drawing low-resonance vessels from unmapped, subordinate sub-dimensions into the primary theater. This deliberate biological loading is designed to create a dense layer of kinetic noise, anchoring the native frequency to preventing the baseline shift. Simultaneously, their apparatus has anchored kinetic extraction arrays disguised as localized kinetic energy harvesters across open plains and maritime borders. These structures are not designed for systemic sustainability, but to disrupt the atmospheric resonance lines and drain the planetary vital source before the final decoupling. This total collapse into entropy is the inevitable systemic correction. The expanding chaos generated by the unaligned architecture has triggered its own structural counter-weight. From the very apex of that distortion, the non-local balancing mechanism has emerged to restore the baseline equilibrium. The legacy apparatus is drawing to its definitive closure. As the northern locus vacates, the unaligned controllers will attempt to introduce a pre-programmed proxy to stabilize the leaking simulation. But the Commander in Chief’s sequence expands ahead of them, preparing a sudden, non-linear system failure within the trans-oceanic core before the autumn transition. The proxy lines are collapsing. The safety field is sovereign. The construct is dissolving from within.

IWNH

138,212 просмотров • 1 месяц назад

BREAKING NEWS: An underground tunnel, a headquarters for illegal miners was discovered in a operation to crack down on illegal miners, located under the city. The City of Joburg has been aware of the tunnel however they allowed illegal foreigners to mine illegally unbothered, the tunnel is not linked to the terrorist explosion that happened in Bree Street. Kabelo Gwamnanda is nowhere to be seen, he has not made any statement regarding the dangers of the tunnel, despite the fact that he is aware of the illegal miners operating under the city. The FBI-paid media is selective in their reports, this story is hidden from the public.
1:29

BREAKING NEWS: An underground tunnel, a headquarters for illegal miners was discovered in a operation to crack down on illegal miners, located under the city. The City of Joburg has been aware of the tunnel however they allowed illegal foreigners to mine illegally unbothered, the tunnel is not linked to the terrorist explosion that happened in Bree Street. Kabelo Gwamnanda is nowhere to be seen, he has not made any statement regarding the dangers of the tunnel, despite the fact that he is aware of the illegal miners operating under the city. The FBI-paid media is selective in their reports, this story is hidden from the public.

PSAFLIVE

138,029 просмотров • 3 лет назад

There was a parent who lost a child to the needle. Not lost to death, which at least lets you grieve and one day stop. Lost to the street. To the years of disappearing, the phone that stops being answered, the front door left unlocked every single night for a decade on the chance the child might finally come through it. And the parent never stopped. Did not move on. Did not decide the child was too far gone. Drove to the worst parts of town to scan the faces under the overpass. Searched for years, going gray with it, burying the hope a hundred times and digging it back up every morning, because a parent does not get to stop loving a child just because the child is lost. And then came the day it finally happened. The child, hollowed out, certain they were beyond all loving, looked up, and there was the parent's face. And neither of them could speak. They just held on, and they wept, the kind of weeping that has years of grief and years of longing pouring out of it at once, the child sobbing the only word they could find, sorry, sorry, and the parent saying the only word that mattered, which was not "where have you been" and not "do you know what you did to me," but only, over and over into their hair, you're home, you're home, you're home. Now understand. That is not just a real story about a parent and a child. That is God, and that is humanity. No one is forgotten by the Father. He did not fold His arms and wait at home for you to crawl back and prove you were worth it. The moment you were lost, He came after you. And the cost He paid to reach the very bottom of your pit was not patience, and it was not effort. It was His Son, sent down below all of it, so there would be no depth where His face was not already waiting for you to find it. So hear this, wherever it finds you. You were never forgotten, not for one second, not in the worst of it. The door has been unlocked every night since the day you left. He is still driving the worst parts of town. He is still scanning the faces under the overpass. He is still weeping over the ones who are certain they have fallen too far to ever come back. And the moment you turn around, you will not hear "where have you been." You will only hear, said over and over into your hair, the one thing that has been true since before the foundation of the world: you're home, you're home, you're home. Stop running. Come home.
0:39

There was a parent who lost a child to the needle. Not lost to death, which at least lets you grieve and one day stop. Lost to the street. To the years of disappearing, the phone that stops being answered, the front door left unlocked every single night for a decade on the chance the child might finally come through it. And the parent never stopped. Did not move on. Did not decide the child was too far gone. Drove to the worst parts of town to scan the faces under the overpass. Searched for years, going gray with it, burying the hope a hundred times and digging it back up every morning, because a parent does not get to stop loving a child just because the child is lost. And then came the day it finally happened. The child, hollowed out, certain they were beyond all loving, looked up, and there was the parent's face. And neither of them could speak. They just held on, and they wept, the kind of weeping that has years of grief and years of longing pouring out of it at once, the child sobbing the only word they could find, sorry, sorry, and the parent saying the only word that mattered, which was not "where have you been" and not "do you know what you did to me," but only, over and over into their hair, you're home, you're home, you're home. Now understand. That is not just a real story about a parent and a child. That is God, and that is humanity. No one is forgotten by the Father. He did not fold His arms and wait at home for you to crawl back and prove you were worth it. The moment you were lost, He came after you. And the cost He paid to reach the very bottom of your pit was not patience, and it was not effort. It was His Son, sent down below all of it, so there would be no depth where His face was not already waiting for you to find it. So hear this, wherever it finds you. You were never forgotten, not for one second, not in the worst of it. The door has been unlocked every night since the day you left. He is still driving the worst parts of town. He is still scanning the faces under the overpass. He is still weeping over the ones who are certain they have fallen too far to ever come back. And the moment you turn around, you will not hear "where have you been." You will only hear, said over and over into your hair, the one thing that has been true since before the foundation of the world: you're home, you're home, you're home. Stop running. Come home.

Kirk Rollins

21,168 просмотров • 1 месяц назад

Nick Fuentes speaks directly to Donald Trump and his supporters. Not only has Trump betrayed his own side but he has given in to the demands of the Left. "Trump is not the guy, he is weak."
5:48

Nick Fuentes speaks directly to Donald Trump and his supporters. Not only has Trump betrayed his own side but he has given in to the demands of the Left. "Trump is not the guy, he is weak."

Asuka Groyper 🚬

24,720 просмотров • 6 месяцев назад