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“Videodrome” (1983), directed by David Cronenberg, is a surreal exploration of technology, media, and the human body. Set in a dystopian world where television broadcasts can alter reality, it delves deep into the dark intersection between violence, desire, and control. 📺🧠 The story follows Max Renn, a TV executive...

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86,698 görüntüleme • 8 ay önce •via X (Twitter)

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VIDEODROME [1983] Written and directed by David Cronenberg, and brought to life through Rick Baker's groundbreaking VFX - It remains as one of the most influential and disturbing horror films ever made. Released in 🇺🇸 theaters #OnThisDay in 1983, #VIDEODROME
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VIDEODROME [1983] Written and directed by David Cronenberg, and brought to life through Rick Baker's groundbreaking VFX - It remains as one of the most influential and disturbing horror films ever made. Released in 🇺🇸 theaters #OnThisDay in 1983, #VIDEODROME

Arrow Video

11,348 görüntüleme • 4 ay önce

in 1983 - James Woods starred in the movie Videodrome. "As the president of a trashy TV channel, Max Renn (James Woods) is desperate for new programming to attract viewers. When he happens upon "Videodrome," a TV show dedicated to gratuitous torture and punishment, Max sees a potential hit and broadcasts the show on his channel. However, after his girlfriend (Deborah Harry) auditions for the show and never returns, Max investigates the truth behind Videodrome and discovers that the graphic violence may not be as fake as he thought." this was an early look into the sick world of "snuff films" - and what would later become the dark web.
2:09

in 1983 - James Woods starred in the movie Videodrome. "As the president of a trashy TV channel, Max Renn (James Woods) is desperate for new programming to attract viewers. When he happens upon "Videodrome," a TV show dedicated to gratuitous torture and punishment, Max sees a potential hit and broadcasts the show on his channel. However, after his girlfriend (Deborah Harry) auditions for the show and never returns, Max investigates the truth behind Videodrome and discovers that the graphic violence may not be as fake as he thought." this was an early look into the sick world of "snuff films" - and what would later become the dark web.

The Rubber Duck ™

31,409 görüntüleme • 7 ay önce

Videodrome (1983) feels more relevant than ever. Cronenberg predicted our obsession with screens, blending flesh and technology into pure nightmare. “Long live the new flesh” wasn’t just a line…it was a prophecy.
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Videodrome (1983) feels more relevant than ever. Cronenberg predicted our obsession with screens, blending flesh and technology into pure nightmare. “Long live the new flesh” wasn’t just a line…it was a prophecy.

cinesthetic.

18,526 görüntüleme • 7 ay önce

Happy 83rd birthday, David Cronenberg! David Cronenberg on why his movies are body centric: "I have this deep pool of imagery that I keep fishing in and it’s just there for whatever reason. My films are body centric. For me, the first fact of human existence is the body and the further we move away from the human body the less real things become and have to be invented by us. Maybe the body is the only fact of human existence that we can cling to. And yet it seems to be much ignored in movie making, although maybe not in art generally. One thinks of a lot of strange, interesting performance artists and painters like Francis Bacon. But in movie making there still seems to be this flight from the body in a weird way." (Cronenberg's interview with Richard Porton, Cineaste, 1999) Clip from: Videodrome (1983) Director: David Cronenberg
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Happy 83rd birthday, David Cronenberg! David Cronenberg on why his movies are body centric: "I have this deep pool of imagery that I keep fishing in and it’s just there for whatever reason. My films are body centric. For me, the first fact of human existence is the body and the further we move away from the human body the less real things become and have to be invented by us. Maybe the body is the only fact of human existence that we can cling to. And yet it seems to be much ignored in movie making, although maybe not in art generally. One thinks of a lot of strange, interesting performance artists and painters like Francis Bacon. But in movie making there still seems to be this flight from the body in a weird way." (Cronenberg's interview with Richard Porton, Cineaste, 1999) Clip from: Videodrome (1983) Director: David Cronenberg

DepressedBergman

123,420 görüntüleme • 3 ay önce

Barry Convex isn’t selling glasses—he’s selling a new reality. And Max Renn just bought in. Don’t miss the director’s cut of David Cronenberg’s VIDEODROME in spectacular 4K at the Academy Museum. 🗓️ March 15 at 2:30PM 🎟️
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Barry Convex isn’t selling glasses—he’s selling a new reality. And Max Renn just bought in. Don’t miss the director’s cut of David Cronenberg’s VIDEODROME in spectacular 4K at the Academy Museum. 🗓️ March 15 at 2:30PM 🎟️

Academy Museum of Motion Pictures

19,896 görüntüleme • 1 yıl önce

Fire and Ice (1983) is a heroic fantasy animated film directed by Ralph Bakshi, with visual art and character design by the legendary Frank Frazetta. Set in a primitive world on the brink of a new ice age, the story follows the conflict between the evil sorcerer Nekron and the kingdoms of fire, as the young warrior Larn joins the mysterious Teegra and the enigmatic Darkwolf to stop his advance. Featuring animation created through rotoscoping and an aesthetic that brings Frazetta’s painterly style to the screen, it is a cult classic that blends violence, epic scope, and dark fantasy very much in the spirit of the 80s. 🔥🧊🗡️ Ralph Bakshi Frank Frazetta
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Fire and Ice (1983) is a heroic fantasy animated film directed by Ralph Bakshi, with visual art and character design by the legendary Frank Frazetta. Set in a primitive world on the brink of a new ice age, the story follows the conflict between the evil sorcerer Nekron and the kingdoms of fire, as the young warrior Larn joins the mysterious Teegra and the enigmatic Darkwolf to stop his advance. Featuring animation created through rotoscoping and an aesthetic that brings Frazetta’s painterly style to the screen, it is a cult classic that blends violence, epic scope, and dark fantasy very much in the spirit of the 80s. 🔥🧊🗡️ Ralph Bakshi Frank Frazetta

Heavy Metal

16,938 görüntüleme • 4 ay önce

Videodrome (1983) 🕯️📹 Released on February 4, 1983, “Videodrome” faced a difficult theatrical run due to its transgressive content but eventually found a massive second life through home video and high-quality restorations. The film opened in 600 theaters across North America. It debuted at number 8 on the box office charts, earning approximately $1.19 million in its opening weekend. It was a significant commercial "bomb," grossing a total of $2.12 million against a budget of roughly $5.95 million. Director David Cronenberg noted that the film was difficult to categorize, neither fitting clearly as an "art-house" film nor a standard "exploitation" horror flick. Universal Pictures executives later expressed regret for giving it a wide release rather than treating it as a specialized art film. Home video was instrumental in transitioning “Videodrome” from a financial failure to a revered cult classic. The film was released on VHS and Betamax in the 1980s by companies like CIC Video. In the UK, early versions were heavily censored—cut by nearly three minutes—due to the "video nasty" moral panic of the era. The film's critical status was cemented with its inclusion in the Criterion Collection, which released a landmark DVD in 2004 and a Blu-ray in 2010. These editions featured the "unrated" version and extensive documentaries on its groundbreaking prosthetic effects. Arrow Video released a highly praised dual-format (Blu-ray/DVD) set in the UK with new restorations and archival content in 2015. New 4K restorations, approved by Cronenberg, were released to theaters and home media, further enhancing the film's "techno-surrealist" visuals for modern audiences. Today, the film is widely available for digital streaming on platforms like Peacock and for purchase through boutique labels.
1:41

Videodrome (1983) 🕯️📹 Released on February 4, 1983, “Videodrome” faced a difficult theatrical run due to its transgressive content but eventually found a massive second life through home video and high-quality restorations. The film opened in 600 theaters across North America. It debuted at number 8 on the box office charts, earning approximately $1.19 million in its opening weekend. It was a significant commercial "bomb," grossing a total of $2.12 million against a budget of roughly $5.95 million. Director David Cronenberg noted that the film was difficult to categorize, neither fitting clearly as an "art-house" film nor a standard "exploitation" horror flick. Universal Pictures executives later expressed regret for giving it a wide release rather than treating it as a specialized art film. Home video was instrumental in transitioning “Videodrome” from a financial failure to a revered cult classic. The film was released on VHS and Betamax in the 1980s by companies like CIC Video. In the UK, early versions were heavily censored—cut by nearly three minutes—due to the "video nasty" moral panic of the era. The film's critical status was cemented with its inclusion in the Criterion Collection, which released a landmark DVD in 2004 and a Blu-ray in 2010. These editions featured the "unrated" version and extensive documentaries on its groundbreaking prosthetic effects. Arrow Video released a highly praised dual-format (Blu-ray/DVD) set in the UK with new restorations and archival content in 2015. New 4K restorations, approved by Cronenberg, were released to theaters and home media, further enhancing the film's "techno-surrealist" visuals for modern audiences. Today, the film is widely available for digital streaming on platforms like Peacock and for purchase through boutique labels.

Tom😈Loves❤️Horror😱

16,931 görüntüleme • 6 ay önce

On this day, 43 years ago, David Cronenberg's 'Videodrome' (1983) was released in the USA & Canada. Here is David Cronenberg explaining how he got the inspiration to make 'Videodrome' (1983): "'Videodrome' came out of two things, I suppose. The first was remembering, as a kid, watching TV late at night, and of course it was black and white television, and when all the regular stations would go off the air you could get these distant, strange stations that were probably all American. The airwaves would be quiet, so you could pick up and we had a rotating antennae, you know, so we could rotate the antennae on our house and get this stuff. But they were always very bad images, and they would fade in and out, and where they came from and what they were was very mysterious. That was many years before I was making movies, I was probably fourteen or fifteen or sixteen. Anyway, these create strange late-night channels, plus bits of Marshall McLuhan, plus I have no idea what, combined to the initial premise that someone been rented, but it had sand-blasted brick in the Toronto style and beams. And there was nothing in the room but a table, a chair and an IBM Selectric, that was it. It was quite a big room, and I was just in the middle of it and I would go there every day and write. And that’s where I wrote 'Videodrome', I can remember that, but I don’t remember any more of the details other than just the normal way that things accumulate around a central concept. receives images on his television set that are fascinating to him, and seem to have an element of danger which makes them more fascinating. I don’t even think I knew, at the time that I started writing, that I would be examining the influence of television or that I would create a character based on Marshall McLuhan [O’Blivion], none of that was really in my mind to begin with. And I can’t really remember how I proposed this to the guys at Film Plan. It was the same thing, you know, the tax money was coming in, they wanted to do another movie, Pierre David and Victor Solnicki. I remember renting a room right across the hall from where Ron Sanders was editing, it was downtown near the waterfront. It was in an old building that had been rented, but it had sand-blasted brick in the Toronto style and beams. And there was nothing in the room but a table, a chair and an IBM Selectric, that was it. It was quite a big room, and I was just in the middle of it and I would go there every day and write. And that’s where I wrote Videodrome, I can remember that, but I don’t remember any more of the details other than just the normal way that things accumulate around a central concept." ('David Cronenberg: Interviews with Serge Grünberg', 2000)
1:32

On this day, 43 years ago, David Cronenberg's 'Videodrome' (1983) was released in the USA & Canada. Here is David Cronenberg explaining how he got the inspiration to make 'Videodrome' (1983): "'Videodrome' came out of two things, I suppose. The first was remembering, as a kid, watching TV late at night, and of course it was black and white television, and when all the regular stations would go off the air you could get these distant, strange stations that were probably all American. The airwaves would be quiet, so you could pick up and we had a rotating antennae, you know, so we could rotate the antennae on our house and get this stuff. But they were always very bad images, and they would fade in and out, and where they came from and what they were was very mysterious. That was many years before I was making movies, I was probably fourteen or fifteen or sixteen. Anyway, these create strange late-night channels, plus bits of Marshall McLuhan, plus I have no idea what, combined to the initial premise that someone been rented, but it had sand-blasted brick in the Toronto style and beams. And there was nothing in the room but a table, a chair and an IBM Selectric, that was it. It was quite a big room, and I was just in the middle of it and I would go there every day and write. And that’s where I wrote 'Videodrome', I can remember that, but I don’t remember any more of the details other than just the normal way that things accumulate around a central concept. receives images on his television set that are fascinating to him, and seem to have an element of danger which makes them more fascinating. I don’t even think I knew, at the time that I started writing, that I would be examining the influence of television or that I would create a character based on Marshall McLuhan [O’Blivion], none of that was really in my mind to begin with. And I can’t really remember how I proposed this to the guys at Film Plan. It was the same thing, you know, the tax money was coming in, they wanted to do another movie, Pierre David and Victor Solnicki. I remember renting a room right across the hall from where Ron Sanders was editing, it was downtown near the waterfront. It was in an old building that had been rented, but it had sand-blasted brick in the Toronto style and beams. And there was nothing in the room but a table, a chair and an IBM Selectric, that was it. It was quite a big room, and I was just in the middle of it and I would go there every day and write. And that’s where I wrote Videodrome, I can remember that, but I don’t remember any more of the details other than just the normal way that things accumulate around a central concept." ('David Cronenberg: Interviews with Serge Grünberg', 2000)

DepressedBergman

44,258 görüntüleme • 4 ay önce

WHY IS SANSKRIT KNOWN AS THE LANGUAGE OF THE GODS? Sanskrit is not just a language—it is a vibrational science. Rooted in deep phonetic precision, each syllable carries specific harmonic resonances that interact with the body, mind, and the fabric of reality. Unlike most modern languages, which are primarily symbolic in function, Sanskrit is considered a "vibrational language," where the sound of each word has a direct energetic impact. Sanskrit operates as both a language and a technology—a bridge between the seen and the unseen, the inner world and the greater cosmos. Whether through recitation, chanting, or silent contemplation, the resonance of Sanskrit has the power to transform perception, heal the body, and elevate consciousness to its highest potential. ~ Robert Edward Grant ✨🙌🏾💫 Video © 21stcenturyIndian
0:47

WHY IS SANSKRIT KNOWN AS THE LANGUAGE OF THE GODS? Sanskrit is not just a language—it is a vibrational science. Rooted in deep phonetic precision, each syllable carries specific harmonic resonances that interact with the body, mind, and the fabric of reality. Unlike most modern languages, which are primarily symbolic in function, Sanskrit is considered a "vibrational language," where the sound of each word has a direct energetic impact. Sanskrit operates as both a language and a technology—a bridge between the seen and the unseen, the inner world and the greater cosmos. Whether through recitation, chanting, or silent contemplation, the resonance of Sanskrit has the power to transform perception, heal the body, and elevate consciousness to its highest potential. ~ Robert Edward Grant ✨🙌🏾💫 Video © 21stcenturyIndian

🧬Maxpein🧬

25,729 görüntüleme • 1 yıl önce

#LIK Synopsis👌: "In a world where everything can be insured, a company dares to insure love. An app predicts heartbreak and controls relationships through calculated risk. The voice behind it believes love is just data until he feels it himself. When the system flags his own relationship as a failure, it begins pulling them apart. He discovers the app doesn’t just predict love it manipulates it. Now, he must choose between the system the whole world believes in set in 2040 and the heart and the purest form of love he can’t silence"
0:32

#LIK Synopsis👌: "In a world where everything can be insured, a company dares to insure love. An app predicts heartbreak and controls relationships through calculated risk. The voice behind it believes love is just data until he feels it himself. When the system flags his own relationship as a failure, it begins pulling them apart. He discovers the app doesn’t just predict love it manipulates it. Now, he must choose between the system the whole world believes in set in 2040 and the heart and the purest form of love he can’t silence"

AmuthaBharathi

26,222 görüntüleme • 3 ay önce

Yesterday, Lue Elizondo did a Q&A on X, and when he was asked about the connection between the phenomenon, the ancient Nephilim, and giants, he said that he was well aware of the stories, as he himself served in Afghanistan and the Middle East. This means that the story about the encounter with the red-haired giant in the desert in Kandahar really circulated among the soldiers and is not a made-up story by the media. The story goes that the red-haired giant emerged from a cave and neutralized one of the soldiers with his spear before he was taken down with heavy gunfire. The giant was clothed as if he were from the Bronze Age. Funny enough, the last time a giant was mentioned in the Bible was during the battle of David and Goliath in the Bronze Age.
0:20

Yesterday, Lue Elizondo did a Q&A on X, and when he was asked about the connection between the phenomenon, the ancient Nephilim, and giants, he said that he was well aware of the stories, as he himself served in Afghanistan and the Middle East. This means that the story about the encounter with the red-haired giant in the desert in Kandahar really circulated among the soldiers and is not a made-up story by the media. The story goes that the red-haired giant emerged from a cave and neutralized one of the soldiers with his spear before he was taken down with heavy gunfire. The giant was clothed as if he were from the Bronze Age. Funny enough, the last time a giant was mentioned in the Bible was during the battle of David and Goliath in the Bronze Age.

Open Minded Approach

130,445 görüntüleme • 1 ay önce

The first footage from French body horror film ‘SPECIES’ has arrived ahead of its Cannes Midnight Screenings premiere. The film follows a young ER intern who begins undergoing a disturbing physical transformation as mysterious patients flood the hospital. Story: [
0:23

The first footage from French body horror film ‘SPECIES’ has arrived ahead of its Cannes Midnight Screenings premiere. The film follows a young ER intern who begins undergoing a disturbing physical transformation as mysterious patients flood the hospital. Story: [

Brad @ Dread Central

2,470,957 görüntüleme • 1 ay önce

Evening viewing recommendation? On Criterion Channel, watch our Directed by David Cronenberg collection! The auteur's audacious cinematic transgressions are not so much watched as experienced in a visceral, full-body wave of can’t-look-away revulsion and fascination. Watch the definitive body-horror classics DEAD RINGERS, SCANNERS, RABID, THE BROOD, and more!
1:09

Evening viewing recommendation? On Criterion Channel, watch our Directed by David Cronenberg collection! The auteur's audacious cinematic transgressions are not so much watched as experienced in a visceral, full-body wave of can’t-look-away revulsion and fascination. Watch the definitive body-horror classics DEAD RINGERS, SCANNERS, RABID, THE BROOD, and more!

Criterion Collection

22,270 görüntüleme • 1 yıl önce

Long fascinated by the ways that technology is transforming our bodies and minds Cronenberg returns with one of his most profoundly personal films, an audacious, elegiac exploration of grief, mortality, and love wrapped in the guise of a corporate-espionage thriller. Alongside the film, watch a new interview with Cronenberg, part of our MEET THE FILMMAKERS series.
0:21

Long fascinated by the ways that technology is transforming our bodies and minds Cronenberg returns with one of his most profoundly personal films, an audacious, elegiac exploration of grief, mortality, and love wrapped in the guise of a corporate-espionage thriller. Alongside the film, watch a new interview with Cronenberg, part of our MEET THE FILMMAKERS series.

Criterion Collection

27,752 görüntüleme • 1 yıl önce

This is a film that weaves horror with threads of humanity. Amid shadows, silence, and scars, it turns the postwar world into a mirror of the soul, where every open wound becomes an act of survival. Victoria Carmen Sonne delivered one of the most powerful performances of recent years, in a film inspired by a true story that shocked Denmark in the early 20th century The black-and-white cinematography was a deliberate stylistic choice, meant to evoke expressionist cinema and the visual atmosphere of the 1910s and 1920s. This film is called “THE GIRL WITH THE NEEDLE” from 2024
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This is a film that weaves horror with threads of humanity. Amid shadows, silence, and scars, it turns the postwar world into a mirror of the soul, where every open wound becomes an act of survival. Victoria Carmen Sonne delivered one of the most powerful performances of recent years, in a film inspired by a true story that shocked Denmark in the early 20th century The black-and-white cinematography was a deliberate stylistic choice, meant to evoke expressionist cinema and the visual atmosphere of the 1910s and 1920s. This film is called “THE GIRL WITH THE NEEDLE” from 2024

Love Classical Music and Movies 🎺🎻💖🎥🎬

104,344 görüntüleme • 5 ay önce

The Mask (1961) was Canada's first horror film and its first 3D feature. The story follows a young archaeologist who becomes obsessed with a mysterious mask he believes is cursed, triggering bizarre nightmares and possibly driving him to commit murder. Whenever the film announces, "Put the mask on now!", audiences are prompted to put on their 3D glasses and experience the mask's surreal visions firsthand.
0:59

The Mask (1961) was Canada's first horror film and its first 3D feature. The story follows a young archaeologist who becomes obsessed with a mysterious mask he believes is cursed, triggering bizarre nightmares and possibly driving him to commit murder. Whenever the film announces, "Put the mask on now!", audiences are prompted to put on their 3D glasses and experience the mask's surreal visions firsthand.

Carnival of Horror

85,208 görüntüleme • 1 ay önce

This is scene is extremely important. The parallels that the series draws between Thatdanai and Charan are pivotal. Here more than ever we see that Thatdanai is far more than a supporting figure in the narrative, he is, in many ways, the emotional and thematic backbone of the series. His presence is essential not just for the development of Khanin as a character, but for the deeper philosophical undercurrents of the story itself. Thatdanai embodies the fusion of duty and love, demonstrating that the two need not be mutually exclusive, and through this, he becomes a profound emotional and moral compass that will inform the relationship between Khanin and Charan. As Khanin’s guardian, mentor, and emotional anchor, Thatdanai doesn’t merely protect the young prince, he raises him with a profound understanding of empathy, paternal love, integrity, and responsibility. His guidance is not mechanical or obligatory; it is suffused with affection and unwavering loyalty, creating one of the most intimate and formative relationships in Khanin's life as discussed in my psychological analysis of Khanin from episode 1. Thatdanai gives the prince the tools to grow not just into a ruler, but into a human being capable of balancing strength with sensitivity. I Narratively, Thatdanai’s role becomes even more compelling when seen as a foil or parallel to Charan. Where Charan is haunted by the compartmentalisation of duty and emotion, Thatdanai lives at their intersection. He serves out of love, and loves through his service. This contrast does not merely deepen the complexity of Charan’s character arc, it reframes it. For Charan subconsciously, Thatdanai represents a lived example of what could be: a life where devotion does not require the erasure of self or feeling. He recognises that as clearly demonstrated in this scene and that is very important. There is a layered, almost subconscious mirroring happening in scenes where Charan witnesses the relationship between Thatdanai and Khanin. It is the first time Charan truly sees, that love and duty are not inherently in conflict. Same goes for Khanin. This quiet revelation becomes a pivotal emotional fulcrum, nudging Charan toward transformation, or at the very least, toward introspection. Thatdanai is narrative necessity incarnate, not in just in a functional sense, but in an emotional and philosophical one. His presence allows the story to explore its most tender and fraught questions: Can duty hold love without destroying it? In the end, Thatdanai is not simply a guardian to a prince, he is the embodiment of a possibility. Through him, both Khanin and Charan are confronted with a world where care is not weakness, where duty is not cold, and where love is not a distraction but a guiding light. THE NEXT PRINCE EPISODE2 #TheNextPrinceEP2 #ZeeNuNew
1:21

This is scene is extremely important. The parallels that the series draws between Thatdanai and Charan are pivotal. Here more than ever we see that Thatdanai is far more than a supporting figure in the narrative, he is, in many ways, the emotional and thematic backbone of the series. His presence is essential not just for the development of Khanin as a character, but for the deeper philosophical undercurrents of the story itself. Thatdanai embodies the fusion of duty and love, demonstrating that the two need not be mutually exclusive, and through this, he becomes a profound emotional and moral compass that will inform the relationship between Khanin and Charan. As Khanin’s guardian, mentor, and emotional anchor, Thatdanai doesn’t merely protect the young prince, he raises him with a profound understanding of empathy, paternal love, integrity, and responsibility. His guidance is not mechanical or obligatory; it is suffused with affection and unwavering loyalty, creating one of the most intimate and formative relationships in Khanin's life as discussed in my psychological analysis of Khanin from episode 1. Thatdanai gives the prince the tools to grow not just into a ruler, but into a human being capable of balancing strength with sensitivity. I Narratively, Thatdanai’s role becomes even more compelling when seen as a foil or parallel to Charan. Where Charan is haunted by the compartmentalisation of duty and emotion, Thatdanai lives at their intersection. He serves out of love, and loves through his service. This contrast does not merely deepen the complexity of Charan’s character arc, it reframes it. For Charan subconsciously, Thatdanai represents a lived example of what could be: a life where devotion does not require the erasure of self or feeling. He recognises that as clearly demonstrated in this scene and that is very important. There is a layered, almost subconscious mirroring happening in scenes where Charan witnesses the relationship between Thatdanai and Khanin. It is the first time Charan truly sees, that love and duty are not inherently in conflict. Same goes for Khanin. This quiet revelation becomes a pivotal emotional fulcrum, nudging Charan toward transformation, or at the very least, toward introspection. Thatdanai is narrative necessity incarnate, not in just in a functional sense, but in an emotional and philosophical one. His presence allows the story to explore its most tender and fraught questions: Can duty hold love without destroying it? In the end, Thatdanai is not simply a guardian to a prince, he is the embodiment of a possibility. Through him, both Khanin and Charan are confronted with a world where care is not weakness, where duty is not cold, and where love is not a distraction but a guiding light. THE NEXT PRINCE EPISODE2 #TheNextPrinceEP2 #ZeeNuNew

From N to Z

14,120 görüntüleme • 1 yıl önce

This seems like a conversation between two comedians, but really it’s a deep reflection of the fundamental difference between the Aryan and the Jew. Norm Macdonald- “Life is what is not what we think it is.” As in reality is what matters not perception. Jerry Seinfeld- “I would say it’s the exact opposite.” As in perception is what matters not reality. The Aryan has long believed that life/ nature has come with a certain set of rules and we are to learn from those rules. That is the foundation of western thought. We observe the world as it is. The Jew believes that he can create his own reality. Create the world the way he wishes to see it, as he does with social science professors and Hollywood. This is why the Aryan pushes for what he sees as “normal.” 2 parent relationships, strong male Leadership, etc. while the Jew pushes for transgenderism, homosexuality, multiculturalism.
2:35

This seems like a conversation between two comedians, but really it’s a deep reflection of the fundamental difference between the Aryan and the Jew. Norm Macdonald- “Life is what is not what we think it is.” As in reality is what matters not perception. Jerry Seinfeld- “I would say it’s the exact opposite.” As in perception is what matters not reality. The Aryan has long believed that life/ nature has come with a certain set of rules and we are to learn from those rules. That is the foundation of western thought. We observe the world as it is. The Jew believes that he can create his own reality. Create the world the way he wishes to see it, as he does with social science professors and Hollywood. This is why the Aryan pushes for what he sees as “normal.” 2 parent relationships, strong male Leadership, etc. while the Jew pushes for transgenderism, homosexuality, multiculturalism.

Uncommon Sense

213,811 görüntüleme • 4 ay önce

Series :- Evil (2019) 🎬🍿 A psychologist, a priest-in-training, and a tech expert investigate terrifying cases that blur the line between science and the supernatural. The deeper they go, the darker it becomes - filled with disturbing visions, psychological horror, and questions that refuse to leave your mind at night
0:37

Series :- Evil (2019) 🎬🍿 A psychologist, a priest-in-training, and a tech expert investigate terrifying cases that blur the line between science and the supernatural. The deeper they go, the darker it becomes - filled with disturbing visions, psychological horror, and questions that refuse to leave your mind at night

𝔸𝔹𝔻𝕌𝕃𝔽𝕃𝕀X 🍿🎥

14,825 görüntüleme • 1 ay önce