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🎬This deleted scene from Kill Bill (2003) features Bill facing off against a fighter named Damoe, played by Michael Jai White. The fight has a raw, old-school martial arts feel that stands out from the highly stylized action in the final movie. 🔥🔥🔥🔥 Kill Bill (2003) is known for...

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BiffBifford™ 🇺🇸

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142,144 görüntüleme • 4 gün önce •via X (Twitter)

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This deleted scene from Quentin Tarantino's KILL BILL 2 wasn't even included in the WHOLE BLOODY AFFAIR for a few reasons. It was unnecessary, it slowed it down, and it turned out sillier than he anticipated. Still a cool scene.
3:30

This deleted scene from Quentin Tarantino's KILL BILL 2 wasn't even included in the WHOLE BLOODY AFFAIR for a few reasons. It was unnecessary, it slowed it down, and it turned out sillier than he anticipated. Still a cool scene.

Hollywood Horror Museum

213,283 görüntüleme • 7 ay önce

You don't want to miss this deleted Star Wars scene. 👀 Before A New Hope begins, Luke reunites with his best friend Biggs Darklighter at Tosche Station in a scene that was ultimately cut from the final film. It gives Luke far more motivation to leave Tatooine and makes Biggs' fate later in the movie even more emotional. Do you think this scene should have stayed in the movie?
2:55

You don't want to miss this deleted Star Wars scene. 👀 Before A New Hope begins, Luke reunites with his best friend Biggs Darklighter at Tosche Station in a scene that was ultimately cut from the final film. It gives Luke far more motivation to leave Tatooine and makes Biggs' fate later in the movie even more emotional. Do you think this scene should have stayed in the movie?

The Dark Side

104,855 görüntüleme • 8 gün önce

On paper this is a functional scene. Bill goes to a hotel, asks about Nick Nightingale, learns two men took him away. Pure exposition. Alan Cumming turns it into something much weirder. The clerk is nervous and flirtatious and helpful and evasive, somehow all at once. He seems thrilled to be talking to Bill, and completely aware that what he's describing is dangerous. It's funny and it's threatening and it never picks one. Which is Eyes Wide Shut in miniature. Almost every encounter in this film has that double quality. People are polite but something's off. They smile a beat too long. They hand over information and it still feels like a performance. Listen to what he actually says. Nick came back with two big guys, bruised, scared. He tried to slip the clerk an envelope. They took it, and told him any mail or messages for Mr. Nightingale would be collected by someone properly authorized to do so. Then they put him in a car. That's a threat delivered as paperwork. And the clerk relays it like gossip. He's not a major character. He shows up, tells Bill what happened, disappears. But he rewires the whole film in five minutes. Bill stops following clues and starts moving through a world where everyone knows more than he does, and every answer makes the mystery less rational instead of more. Cumming's performance is almost too big, and that's why it works. In a normal thriller this clerk would just be scared. Here he's delighted, seductive, impossible to read. Then Bill thanks him for his help and the clerk says "Anytime, Bill." Not Doctor. Not sir. Bill. Kubrick shot that scene for a week. Seven days for five minutes. Bill walks in looking for information. He walks out knowing the whole city is laughing at him.
2:18

On paper this is a functional scene. Bill goes to a hotel, asks about Nick Nightingale, learns two men took him away. Pure exposition. Alan Cumming turns it into something much weirder. The clerk is nervous and flirtatious and helpful and evasive, somehow all at once. He seems thrilled to be talking to Bill, and completely aware that what he's describing is dangerous. It's funny and it's threatening and it never picks one. Which is Eyes Wide Shut in miniature. Almost every encounter in this film has that double quality. People are polite but something's off. They smile a beat too long. They hand over information and it still feels like a performance. Listen to what he actually says. Nick came back with two big guys, bruised, scared. He tried to slip the clerk an envelope. They took it, and told him any mail or messages for Mr. Nightingale would be collected by someone properly authorized to do so. Then they put him in a car. That's a threat delivered as paperwork. And the clerk relays it like gossip. He's not a major character. He shows up, tells Bill what happened, disappears. But he rewires the whole film in five minutes. Bill stops following clues and starts moving through a world where everyone knows more than he does, and every answer makes the mystery less rational instead of more. Cumming's performance is almost too big, and that's why it works. In a normal thriller this clerk would just be scared. Here he's delighted, seductive, impossible to read. Then Bill thanks him for his help and the clerk says "Anytime, Bill." Not Doctor. Not sir. Bill. Kubrick shot that scene for a week. Seven days for five minutes. Bill walks in looking for information. He walks out knowing the whole city is laughing at him.

Best of Kubrick

175,447 görüntüleme • 6 gün önce

Deleted scene from Paris, Texas (1984). John Lurie in his memoir wrote about Wim Wender's decision to leave this scene: “I am sitting next to Wim at the screening of Paris, Texas. The lights go down and he whispers to me, 'We had to cut the harmonica scene.' There was a thing in the film where I played harmonica over the phone to Nastassja Kinski, right after Harry Dean Stanton left the booth. When the film played at Cannes it was still in there, and it has come back to me a few times that the scene is great. That it got applause. I’m disappointed that he cut it.” #filmtwt
2:03

Deleted scene from Paris, Texas (1984). John Lurie in his memoir wrote about Wim Wender's decision to leave this scene: “I am sitting next to Wim at the screening of Paris, Texas. The lights go down and he whispers to me, 'We had to cut the harmonica scene.' There was a thing in the film where I played harmonica over the phone to Nastassja Kinski, right after Harry Dean Stanton left the booth. When the film played at Cannes it was still in there, and it has come back to me a few times that the scene is great. That it got applause. I’m disappointed that he cut it.” #filmtwt

Auteur House

27,935 görüntüleme • 2 ay önce

The scene “Fanucci’s dead” in The Godfather Part II is a deleted scene that adds more detail to Don Fanucci’s death. It shows more clearly how Vito Corleone eliminates the extortionist of the Italian community, emphasizing the turning point that transforms Vito into a powerful figure. In this cut sequence, the aftermath of the shooting is highlighted more strongly, underlining Vito’s ruthlessness and decisiveness. The scene reinforces his rise as the true Don of Little Italy, though Coppola ultimately trimmed it for pacing and impact.
0:29

The scene “Fanucci’s dead” in The Godfather Part II is a deleted scene that adds more detail to Don Fanucci’s death. It shows more clearly how Vito Corleone eliminates the extortionist of the Italian community, emphasizing the turning point that transforms Vito into a powerful figure. In this cut sequence, the aftermath of the shooting is highlighted more strongly, underlining Vito’s ruthlessness and decisiveness. The scene reinforces his rise as the true Don of Little Italy, though Coppola ultimately trimmed it for pacing and impact.

Love Classical Music and Movies 🎺🎻💖🎥🎬

36,614 görüntüleme • 3 ay önce

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.
2:15

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.

Kgopolo

53,561 görüntüleme • 1 yıl önce

🎬This tense scene from Training Day (2001) shows Jake Hoyt (Ethan Hawke) being confronted by Smiley and his crew after being set up by Alonzo. What starts as a setup to kill him turns into something more complicated when they discover Jake had earlier saved Smiley’s cousin from danger. Training Day is known for its dark look at police corruption and moral gray areas. This scene stands out because it flips expectations. Instead of the criminals acting purely on violence or revenge, they operate by their own code. Once they confirm Jake’s story, Smiley decides to spare him — not because of the law, but because of a personal debt of honor. It creates a powerful contrast between Alonzo’s selfish corruption and the unexpected integrity shown by the very people he tried to use. The scene also highlights Jake’s growth throughout the movie. Early on, he’s somewhat naive about how the streets actually work. Here, his decision to do the right thing earlier (without expecting anything in return) ends up saving his life. It shows that even in a brutal world, small acts of decency can have major consequences. What makes it effective is the power shift. Jake goes from being completely helpless to being protected by the same people who were about to kill him. It’s a rare moment of humanity in a very cynical film. 👉Here’s my take: Training Day (2001) works so well because it doesn’t paint anyone as purely good or evil. Even the criminals in this scene follow their own twisted sense of right and wrong, which makes the story feel more realistic and unsettling. ❓Do you think Jake deserved to be spared, or was it just luck? And what did you think of how the movie portrayed the “code” among the criminals compared to the police? #TrainingDay #DenzelWashington #MovieAnalysis #ClassicMovies
6:30

🎬This tense scene from Training Day (2001) shows Jake Hoyt (Ethan Hawke) being confronted by Smiley and his crew after being set up by Alonzo. What starts as a setup to kill him turns into something more complicated when they discover Jake had earlier saved Smiley’s cousin from danger. Training Day is known for its dark look at police corruption and moral gray areas. This scene stands out because it flips expectations. Instead of the criminals acting purely on violence or revenge, they operate by their own code. Once they confirm Jake’s story, Smiley decides to spare him — not because of the law, but because of a personal debt of honor. It creates a powerful contrast between Alonzo’s selfish corruption and the unexpected integrity shown by the very people he tried to use. The scene also highlights Jake’s growth throughout the movie. Early on, he’s somewhat naive about how the streets actually work. Here, his decision to do the right thing earlier (without expecting anything in return) ends up saving his life. It shows that even in a brutal world, small acts of decency can have major consequences. What makes it effective is the power shift. Jake goes from being completely helpless to being protected by the same people who were about to kill him. It’s a rare moment of humanity in a very cynical film. 👉Here’s my take: Training Day (2001) works so well because it doesn’t paint anyone as purely good or evil. Even the criminals in this scene follow their own twisted sense of right and wrong, which makes the story feel more realistic and unsettling. ❓Do you think Jake deserved to be spared, or was it just luck? And what did you think of how the movie portrayed the “code” among the criminals compared to the police? #TrainingDay #DenzelWashington #MovieAnalysis #ClassicMovies

BiffBifford™ 🇺🇸

153,646 görüntüleme • 2 gün önce

🎬This basketball scene from American History X (1998) is one of the more memorable moments in the film. It shows Derek (Edward Norton) playing a game on a public court against a group of Black players, creating an unexpected mix of tension and competition.🍿🍿🍿🍿 American History X is a very heavy movie about racism, hate, and violence. Most of the film is intense and disturbing, but this scene feels slightly different. On the surface, it’s just a basketball game, yet it carries a lot of underlying hostility. At the same time, there’s a strange sense of respect that develops through the competition. It’s one of the few moments where Derek interacts directly with the people he’s been taught to hate, and the game forces a kind of raw, physical confrontation that words can’t easily replace. What makes the scene stand out is how it shows the complexity of prejudice. Derek isn’t just spouting ideology here — he’s physically competing. The basketball court becomes a temporary neutral ground where skill and aggression matter more than background. It doesn’t erase his beliefs, but it creates a moment of uneasy humanity that feels rare in the rest of the movie. The scene also works because it avoids easy answers. It doesn’t suddenly turn Derek into a good person, nor does it make the other players one-dimensional. It simply shows how competition can bring out both the worst and most human sides of people. 👉Here’s my take: While American History X (1998) is known for its shocking and violent moments, this basketball scene might actually be one of its most effective. It shows how hate can exist alongside unexpected moments of respect — even if those moments don’t last. ❓Do you think this scene humanizes Derek too much, or does it make his character more believable? And what did you think of how the movie handled the tension during the game? #AmericanHistoryX #EdwardNorton #MovieAnalysis #ClassicMovies
2:46

🎬This basketball scene from American History X (1998) is one of the more memorable moments in the film. It shows Derek (Edward Norton) playing a game on a public court against a group of Black players, creating an unexpected mix of tension and competition.🍿🍿🍿🍿 American History X is a very heavy movie about racism, hate, and violence. Most of the film is intense and disturbing, but this scene feels slightly different. On the surface, it’s just a basketball game, yet it carries a lot of underlying hostility. At the same time, there’s a strange sense of respect that develops through the competition. It’s one of the few moments where Derek interacts directly with the people he’s been taught to hate, and the game forces a kind of raw, physical confrontation that words can’t easily replace. What makes the scene stand out is how it shows the complexity of prejudice. Derek isn’t just spouting ideology here — he’s physically competing. The basketball court becomes a temporary neutral ground where skill and aggression matter more than background. It doesn’t erase his beliefs, but it creates a moment of uneasy humanity that feels rare in the rest of the movie. The scene also works because it avoids easy answers. It doesn’t suddenly turn Derek into a good person, nor does it make the other players one-dimensional. It simply shows how competition can bring out both the worst and most human sides of people. 👉Here’s my take: While American History X (1998) is known for its shocking and violent moments, this basketball scene might actually be one of its most effective. It shows how hate can exist alongside unexpected moments of respect — even if those moments don’t last. ❓Do you think this scene humanizes Derek too much, or does it make his character more believable? And what did you think of how the movie handled the tension during the game? #AmericanHistoryX #EdwardNorton #MovieAnalysis #ClassicMovies

BiffBifford™ 🇺🇸

602,743 görüntüleme • 2 gün önce

David Cronenberg on why there isn't a sex scene in 'eXistenZ' (1999): "Each movie generates its own little biosphere, and has its own little ecology, and its climate, and you’re attuned to that more than anything else. So when people say, “Is there anything you wouldn’t show on film?” or, “Do you ever draw back?” I’m saying if I do, it’s only because of that biosphere: What is appropriate? What works within the ecology of that movie? So in one movie sex and blood would be very up-front, like 'Crash' (1996), because it’s sort of the subject of the movie, and in another movie, like 'The Dead Zone' (1983), it would not be appropriate. It just doesn’t work somehow; it would be disproportionate. So there’s no sex, really, in 'eXistenZ' (1999), except metaphorically. And there was an opportunity to have sex, to have sex scenes, and we were all willing to do that. But as the film evolved, you know, we just thought that would be wrong. It would take away from the metaphorical sex, which is more interesting, it has more resonance, and if you suddenly threw a real naked sex scene in the middle of it, it would not balance all that, almost invalidate it. So you wait, and the movie gradually tells you what it wants to be, and you have to sort of go along with that." (David Cronenberg's interview with Allen White, Film Threat, 1999)
1:46

David Cronenberg on why there isn't a sex scene in 'eXistenZ' (1999): "Each movie generates its own little biosphere, and has its own little ecology, and its climate, and you’re attuned to that more than anything else. So when people say, “Is there anything you wouldn’t show on film?” or, “Do you ever draw back?” I’m saying if I do, it’s only because of that biosphere: What is appropriate? What works within the ecology of that movie? So in one movie sex and blood would be very up-front, like 'Crash' (1996), because it’s sort of the subject of the movie, and in another movie, like 'The Dead Zone' (1983), it would not be appropriate. It just doesn’t work somehow; it would be disproportionate. So there’s no sex, really, in 'eXistenZ' (1999), except metaphorically. And there was an opportunity to have sex, to have sex scenes, and we were all willing to do that. But as the film evolved, you know, we just thought that would be wrong. It would take away from the metaphorical sex, which is more interesting, it has more resonance, and if you suddenly threw a real naked sex scene in the middle of it, it would not balance all that, almost invalidate it. So you wait, and the movie gradually tells you what it wants to be, and you have to sort of go along with that." (David Cronenberg's interview with Allen White, Film Threat, 1999)

DepressedBergman

96,012 görüntüleme • 1 yıl önce

This man’s daughter needed an ambulance ride, when he received the bill for $600 from the ambulance service, being a hectic situation they didn’t have his insurance card at the time so after he got the bill in the mail he resubmitted with his insurance information thinking that would cover the $600 however instead of getting a receipt in the mail he got a bill for more than double the original amount $1300, the bill was actually even higher it was $2342.17 and his insurance only paid $1000😳 When paying $10 K and insurance premium over the course of the year gets you less than half of your bill paid and someone without insurance only gets a bill for $600… Make it make sense🙄
2:33

This man’s daughter needed an ambulance ride, when he received the bill for $600 from the ambulance service, being a hectic situation they didn’t have his insurance card at the time so after he got the bill in the mail he resubmitted with his insurance information thinking that would cover the $600 however instead of getting a receipt in the mail he got a bill for more than double the original amount $1300, the bill was actually even higher it was $2342.17 and his insurance only paid $1000😳 When paying $10 K and insurance premium over the course of the year gets you less than half of your bill paid and someone without insurance only gets a bill for $600… Make it make sense🙄

ℳ𝒜𝒢𝒜_𝒳_𝒯𝒾𝓂𝑒𝓈 𝒟𝒶𝒾𝓁𝓎 𝒩𝑒𝓌𝓈🇺🇸

143,037 görüntüleme • 2 ay önce

Bynum: I want to start off by saying just how laughable it is to be calling this bill “beautiful” and I would like to replace that word with “trash.” It is a trash bill and here is why. It is a bill that threatens $300 billion in cuts to food assistance, it is a bill that puts health care further out of reach for nearly 14 million people. It is a bill that will make it so families have to choose between putting food on the table or filling a prescription. It is a bill that does nothing to lower costs or address the housing crisis
1:11

Bynum: I want to start off by saying just how laughable it is to be calling this bill “beautiful” and I would like to replace that word with “trash.” It is a trash bill and here is why. It is a bill that threatens $300 billion in cuts to food assistance, it is a bill that puts health care further out of reach for nearly 14 million people. It is a bill that will make it so families have to choose between putting food on the table or filling a prescription. It is a bill that does nothing to lower costs or address the housing crisis

Acyn

211,103 görüntüleme • 1 yıl önce

#WATCH | Delhi | On Telangana OBC reservation, BRS leader K Kavitha says, "Telangana OBC 42% Reservation Bill has been passed in the Legislative Assembly and Legislative Council. Now it is pending assent from the President of India. We are here to demand from the BJP to pass it in the Union government and send it back to the state government and also include it in Schedule 9... This Bill is only for the local bodies... It has been almost 4 months since the Bill was passed from here and the local body elections have been announced, so there is a sense of urgency. We have come to Delhi to say that unless the Bill is passed, we will stop the rail on 17th of this month... Rahul Gandhi flaunts the Telangana model across the nation, but is not implementing it... I will gift him one more constitution, so he goes through it and calls upon his Chief Minister to ensure that 42% reservation is implemented... We request the Prime Minister, who is himself an OBC, to give assent to the Bill pending with the President because 2.5 crores of OBC might lose their opportunity of contesting elections in Telangana..."
2:21

#WATCH | Delhi | On Telangana OBC reservation, BRS leader K Kavitha says, "Telangana OBC 42% Reservation Bill has been passed in the Legislative Assembly and Legislative Council. Now it is pending assent from the President of India. We are here to demand from the BJP to pass it in the Union government and send it back to the state government and also include it in Schedule 9... This Bill is only for the local bodies... It has been almost 4 months since the Bill was passed from here and the local body elections have been announced, so there is a sense of urgency. We have come to Delhi to say that unless the Bill is passed, we will stop the rail on 17th of this month... Rahul Gandhi flaunts the Telangana model across the nation, but is not implementing it... I will gift him one more constitution, so he goes through it and calls upon his Chief Minister to ensure that 42% reservation is implemented... We request the Prime Minister, who is himself an OBC, to give assent to the Bill pending with the President because 2.5 crores of OBC might lose their opportunity of contesting elections in Telangana..."

ANI

12,060 görüntüleme • 1 yıl önce

I'm recovering from surgery and decided to watch the Green Lantern. I've never seen it before and wanted to see if it really is as bad as every says it it - it is! But I noticed that about 30 mins into the film, there's a scene where Lively and Reynolds characters dance in a bar in an almost identical way to the slow dance scene from IEWU. The only difference is the characters were talking Could it be possible that Lively was trying to recreate the scene to be similar to the scene she did with her husband when she fell in love with him? Did she rewrite the scene to mirror the details of the dance? Is this what she means when she says her husband is "all over this movie"? Did Reynolds see this and get jealous because it hit a nerve? *side observation - she's rubbing her hands all over him and not intimacy coordinator is around
0:57

I'm recovering from surgery and decided to watch the Green Lantern. I've never seen it before and wanted to see if it really is as bad as every says it it - it is! But I noticed that about 30 mins into the film, there's a scene where Lively and Reynolds characters dance in a bar in an almost identical way to the slow dance scene from IEWU. The only difference is the characters were talking Could it be possible that Lively was trying to recreate the scene to be similar to the scene she did with her husband when she fell in love with him? Did she rewrite the scene to mirror the details of the dance? Is this what she means when she says her husband is "all over this movie"? Did Reynolds see this and get jealous because it hit a nerve? *side observation - she's rubbing her hands all over him and not intimacy coordinator is around

Leanne Newton

528,201 görüntüleme • 1 yıl önce

Color grading in Blender is how you build your visual style. Most artists skip it — and every render ends up looking like a render. Technically fine. Visually forgettable. Grading directly in Blender means no external tools, no roundtripping. Cinematic result straight out of the renderer. But more than that — this is where your signature look comes from. The contrast, the temperature, the way shadows feel. That's not the scene. That's you. Ignore it and you're always one step away from having a style of your own. Power Grade Color Grading in Blender add-on:
0:55

Color grading in Blender is how you build your visual style. Most artists skip it — and every render ends up looking like a render. Technically fine. Visually forgettable. Grading directly in Blender means no external tools, no roundtripping. Cinematic result straight out of the renderer. But more than that — this is where your signature look comes from. The contrast, the temperature, the way shadows feel. That's not the scene. That's you. Ignore it and you're always one step away from having a style of your own. Power Grade Color Grading in Blender add-on:

SLAVO | c g s l a v

28,626 görüntüleme • 4 ay önce

Theresa May, "I do not believe the safeguards in this bill will prevent people from being pressurised to end their lives, sometimes for the benefits for others" "I also worry, as we have seen in countries where there is such a law, that people will feel they must end their lives simply because they feel they are a burden on others" "I worry about the impact it will have on people with disabilities, chronic illness, with mental health problems, because there is a risk that legalising assisted dying reenforces the dangerous notion that some lives are less worth living than others" "We have seen in other countries, once a law like this is passed, the pressure then grows to extend the scope of it" "I also oppose it because I believe that in the absence of a coroners report this could be used to cover up" "I have a friend who calls it the License to Kill Bill" "And finally my Lords, this is not an assisted dying bill, it's an assisted suicide bill" "As a society we believe that suicide is wrong. The government has a national suicide prevention strategy. Suicide is not ok. Suicide is wrong. This bill is wrong" "In my opinion, it should not pass"
2:31

Theresa May, "I do not believe the safeguards in this bill will prevent people from being pressurised to end their lives, sometimes for the benefits for others" "I also worry, as we have seen in countries where there is such a law, that people will feel they must end their lives simply because they feel they are a burden on others" "I worry about the impact it will have on people with disabilities, chronic illness, with mental health problems, because there is a risk that legalising assisted dying reenforces the dangerous notion that some lives are less worth living than others" "We have seen in other countries, once a law like this is passed, the pressure then grows to extend the scope of it" "I also oppose it because I believe that in the absence of a coroners report this could be used to cover up" "I have a friend who calls it the License to Kill Bill" "And finally my Lords, this is not an assisted dying bill, it's an assisted suicide bill" "As a society we believe that suicide is wrong. The government has a national suicide prevention strategy. Suicide is not ok. Suicide is wrong. This bill is wrong" "In my opinion, it should not pass"

Farrukh

49,790 görüntüleme • 10 ay önce

Here’s a very small story about the kind of leader Geoff Duncan is, and has been, from my time working with him my first term. When I served in the state Senate, the first bill I ever filed was hijacked. It passed out of the Senate, through House committee, and made it all the way through House Rules, at which point it was yanked back. (I actually appreciated the House GOP leadership for telling me this so plainly—it saved me a lot of time—but essentially I was told: “We like your policy. We don’t like your name on it. So we’re going to give it to a Republican woman.”) And…I get it. Sometimes that’s how it works in this place. It’s about the work, and the policy, not about getting credit. What we actually do and the people we help is what’s most important. But the thing I remember about this process was meeting with Geoff early in my first term, his encouragement, his telling me how he recognized good work when he saw it. I remember the ways he helped me, in the small, invisible ways it takes, to help this first-year nobody in the minority party to move her first bill. And he didn’t like what ultimately happened to that bill, because he believed—has always believed—in people over politics. The following year, that bill came back to us for a final vote. (Without my name in it, of course.) But he saw it, and remembered it, and did something so kind, and frankly unprecedented. He called me up to the rostrum, gave me the gavel, and allowed me to preside over the passage of my own bill. It was the first bill I ever wrote as a lawmaker, and it was ultimately signed into law the Spring of 2022. (Of note, this was also the first and last time we had two women physicians speaking together from the rostrum of the state Senate. And I know there were no subsequent times, because there are still only two of us.) Is this a huge story? No. Was this the most life-changing thing that ever happened in my time at the state Capitol? No. But that’s actually why it’s important. Because the true mark of leadership, and personal character, is what you do when you don’t *have* to. It’s when you show, rather than tell. It’s when you practice mentorship, true bipartisanship, strength of character, and genuine, human kindness, even when no one else might notice or care. Think for a second if we would ever see this in today’s legislative environment. And ask yourself if we would be better to have more moments, and leaders, like this. Geoff is the kind of leader I want to see leading our state. And I know, with our support, that he can win. And that’s why I’m endorsing him to be the next governor of Georgia.
3:26

Here’s a very small story about the kind of leader Geoff Duncan is, and has been, from my time working with him my first term. When I served in the state Senate, the first bill I ever filed was hijacked. It passed out of the Senate, through House committee, and made it all the way through House Rules, at which point it was yanked back. (I actually appreciated the House GOP leadership for telling me this so plainly—it saved me a lot of time—but essentially I was told: “We like your policy. We don’t like your name on it. So we’re going to give it to a Republican woman.”) And…I get it. Sometimes that’s how it works in this place. It’s about the work, and the policy, not about getting credit. What we actually do and the people we help is what’s most important. But the thing I remember about this process was meeting with Geoff early in my first term, his encouragement, his telling me how he recognized good work when he saw it. I remember the ways he helped me, in the small, invisible ways it takes, to help this first-year nobody in the minority party to move her first bill. And he didn’t like what ultimately happened to that bill, because he believed—has always believed—in people over politics. The following year, that bill came back to us for a final vote. (Without my name in it, of course.) But he saw it, and remembered it, and did something so kind, and frankly unprecedented. He called me up to the rostrum, gave me the gavel, and allowed me to preside over the passage of my own bill. It was the first bill I ever wrote as a lawmaker, and it was ultimately signed into law the Spring of 2022. (Of note, this was also the first and last time we had two women physicians speaking together from the rostrum of the state Senate. And I know there were no subsequent times, because there are still only two of us.) Is this a huge story? No. Was this the most life-changing thing that ever happened in my time at the state Capitol? No. But that’s actually why it’s important. Because the true mark of leadership, and personal character, is what you do when you don’t *have* to. It’s when you show, rather than tell. It’s when you practice mentorship, true bipartisanship, strength of character, and genuine, human kindness, even when no one else might notice or care. Think for a second if we would ever see this in today’s legislative environment. And ask yourself if we would be better to have more moments, and leaders, like this. Geoff is the kind of leader I want to see leading our state. And I know, with our support, that he can win. And that’s why I’m endorsing him to be the next governor of Georgia.

Dr. Michelle Au

31,393 görüntüleme • 3 ay önce

👉 I oppose the Transgender Persons (Protection of Rights) Amendment Bill, 2026, as this bill was introduced in Parliament without due consultation with transgender persons and other stakeholders. This itself shows the callous attitude of the Modi government. 👉 This Bill is not a reform; it is a regression. It takes away what the Constitution and the Supreme Court of India have already guaranteed. The Bill deletes the right to self-determination. 👉 Many transgender persons have already spoken about the immense barriers they face in securing a simple ID card. By adding more bureaucratic hurdles, we are not protecting them; we are exhausting them into invisibility. 👉 The Bill must be referred to the Standing Committee for detailed and inclusive consultation with the transgender community and all stakeholders. I urge the government to withdraw the Bill. : Jothimani ji in Lok Sabha
9:10

👉 I oppose the Transgender Persons (Protection of Rights) Amendment Bill, 2026, as this bill was introduced in Parliament without due consultation with transgender persons and other stakeholders. This itself shows the callous attitude of the Modi government. 👉 This Bill is not a reform; it is a regression. It takes away what the Constitution and the Supreme Court of India have already guaranteed. The Bill deletes the right to self-determination. 👉 Many transgender persons have already spoken about the immense barriers they face in securing a simple ID card. By adding more bureaucratic hurdles, we are not protecting them; we are exhausting them into invisibility. 👉 The Bill must be referred to the Standing Committee for detailed and inclusive consultation with the transgender community and all stakeholders. I urge the government to withdraw the Bill. : Jothimani ji in Lok Sabha

Congress

33,540 görüntüleme • 4 ay önce

Oldboy (2003) Park Chan-wook on the corridor fight as a metaphor for life’s struggles: "Being surrounded by these people and fighting with them for what feels like an eternity, I felt like this was literally a metaphor for one man's life. So if we call one man's life a battle, this battle-istic attitude, uh, there's things in life that fight with us, like an illness or anything in life that threatens us, or for instance, an internal conflict. Well, I almost saw the scene as a materialization of those things that fight with us and torture us in life. And the fatigue and loneliness that comes from this lifelong battle, with these things that torture us. I saw it as a metaphor in that way. If we look at life from a distance, like in the hallway scene, there is tragedy, but there's also comedy. It's this intense battle, but there are also these ironic and comedic moments hidden in our lives."
2:59

Oldboy (2003) Park Chan-wook on the corridor fight as a metaphor for life’s struggles: "Being surrounded by these people and fighting with them for what feels like an eternity, I felt like this was literally a metaphor for one man's life. So if we call one man's life a battle, this battle-istic attitude, uh, there's things in life that fight with us, like an illness or anything in life that threatens us, or for instance, an internal conflict. Well, I almost saw the scene as a materialization of those things that fight with us and torture us in life. And the fatigue and loneliness that comes from this lifelong battle, with these things that torture us. I saw it as a metaphor in that way. If we look at life from a distance, like in the hallway scene, there is tragedy, but there's also comedy. It's this intense battle, but there are also these ironic and comedic moments hidden in our lives."

Gangster Cinema Central

11,240 görüntüleme • 5 ay önce

Scott Jennings on the Epstein Files: Well, look, they've released how many documents tonight? 200,000 or more? 400? So, a good faith effort is being made to release files tonight… Regarding Bill Clinton, I'm sorry to tell you, the reason that Bill Clinton's picture is in the Epstein files is because this has always been a story about Bill Clinton and not Donald Trump. We should call it the Clinton files, not the Epstein files.” “That's what we're learning tonight. This is the Clinton files. This is the blowing up in the face of the Democrats over this. It's Bill Clinton — this is a story about Democrats and Bill Clinton, and it's always been that way.”
1:00

Scott Jennings on the Epstein Files: Well, look, they've released how many documents tonight? 200,000 or more? 400? So, a good faith effort is being made to release files tonight… Regarding Bill Clinton, I'm sorry to tell you, the reason that Bill Clinton's picture is in the Epstein files is because this has always been a story about Bill Clinton and not Donald Trump. We should call it the Clinton files, not the Epstein files.” “That's what we're learning tonight. This is the Clinton files. This is the blowing up in the face of the Democrats over this. It's Bill Clinton — this is a story about Democrats and Bill Clinton, and it's always been that way.”

RedWave Press

753,600 görüntüleme • 7 ay önce