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𝐓𝐑𝐀𝐈𝐋𝐄𝐑 𝐎𝐅 𝐌𝐀𝐀 𝐈𝐒 𝐒𝐏𝐄𝐂𝐓𝐀𝐂𝐔𝐋𝐀𝐑 𝐉𝐢𝐨 𝐒𝐭𝐮𝐝𝐢𝐨𝐬 𝐚𝐧𝐝 𝐀𝐣𝐚𝐲 𝐃𝐞𝐯𝐠𝐧 𝐅𝐢𝐥𝐦𝐬 𝐩𝐫𝐨𝐮𝐝𝐥𝐲 𝐛𝐞𝐜𝐨𝐦𝐞 𝐭𝐡𝐞 𝐟𝐢𝐫𝐬𝐭 𝐩𝐫𝐨𝐝𝐮𝐜𝐭𝐢𝐨𝐧 𝐡𝐨𝐮𝐬𝐞𝐬 𝐢𝐧 𝐈𝐧𝐝𝐢𝐚 𝐭𝐨 𝐢𝐧𝐭𝐫𝐨𝐝𝐮𝐜𝐞 𝐭𝐡𝐞 𝐌𝐘𝐓𝐇𝐎𝐋𝐎𝐆𝐈𝐂𝐀𝐋 𝐇𝐎𝐑𝐑𝐎𝐑 𝐆𝐄𝐍𝐑𝐄 𝐭𝐨 𝐈𝐧𝐝𝐢𝐚𝐧 𝐂𝐢𝐧𝐞𝐦𝐚 Presenting the Trailer of #Maa, featuring #Kajol in the lead role. Visuals and Cinematography looking absolutely TOP NOTCH !! This compelling...

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Sumit Kadel

201,829 subscribers

72,517 次观看 • 1 年前 •via X (Twitter)

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7 条评论

Deepak 的头像
Deepak1 年前

That's an amazing trailer . 100 crores garunteed

Govind Jangir 的头像
Govind Jangir1 年前

Looknnn 🔥

Aryan Reacts 的头像
Aryan Reacts1 年前

Good Horror films genre is going to be a regular from now on I feel , just wish a little less depending on choppy VFX.

IntKshatr 的头像
IntKshatr1 年前

God! No one milks remakes more than these folks

poll Activist 的头像
poll Activist1 年前

Average😑

बागड़ बिल्ला 的头像
बागड़ बिल्ला1 年前

Abey chutiye…if this is the first mythological horror film in India then what Tumbbad, Kantara, Brahmayugam etc were…?

Abhishek Laskar 的头像
Abhishek Laskar1 年前

Kajal overacting karti hai aab

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AJAY DEVGN - JIO STUDIOS - KAJOL: 'MAA' TRAILER DROPS *TOMORROW*... 27 JUNE 2025 RELEASE... The #MaaTrailer will be unveiled tomorrow [29 May 2025]... #MaaTheFilm, a mythological-horror film, stars #Kajol [Kajol] in the lead. Directed by #VishalFuria and written by #SaiwynQuadras, #MaaTheFilm also features #RonitBoseRoy, #IndraneilSengupta and #KherinSharma in pivotal roles. Produced by #AjayDevgn and #JyotiDeshpande and co-produced by #KumarMangatPathak, the film is set for a *theatrical release* on 27 June 2025. #DevgnFilms | #JioStudios
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AJAY DEVGN - JIO STUDIOS - KAJOL: 'MAA' TRAILER DROPS *TOMORROW*... 27 JUNE 2025 RELEASE... The #MaaTrailer will be unveiled tomorrow [29 May 2025]... #MaaTheFilm, a mythological-horror film, stars #Kajol [Kajol] in the lead. Directed by #VishalFuria and written by #SaiwynQuadras, #MaaTheFilm also features #RonitBoseRoy, #IndraneilSengupta and #KherinSharma in pivotal roles. Produced by #AjayDevgn and #JyotiDeshpande and co-produced by #KumarMangatPathak, the film is set for a *theatrical release* on 27 June 2025. #DevgnFilms | #JioStudios

taran adarsh

63,569 次观看 • 1 年前

AJAY DEVGN - JIO STUDIOS REUNITE: KAJOL STARS IN MYTHOLOGICAL-HORROR FILM 'MAA'... 27 JUNE 2025 RELEASE IN 4 LANGUAGES... After the super-success of #Shaitaan, #JioStudios and #DevgnFilms join forces for #Maa, a mythological-horror film starring #Kajol in the lead. Directed by #VishalFuria and written by #SaiwynQuadras, #Maa also features #RonitBoseRoy, #IndraneilSengupta and #KherinSharma in pivotal roles. Produced by #AjayDevgn and #JyotiDeshpande and co-produced by #KumarMangatPathak, the film is set for a *theatrical release* on 27 June 2025 in #Hindi, #Tamil, #Telugu and #Bengali. Kajol
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AJAY DEVGN - JIO STUDIOS REUNITE: KAJOL STARS IN MYTHOLOGICAL-HORROR FILM 'MAA'... 27 JUNE 2025 RELEASE IN 4 LANGUAGES... After the super-success of #Shaitaan, #JioStudios and #DevgnFilms join forces for #Maa, a mythological-horror film starring #Kajol in the lead. Directed by #VishalFuria and written by #SaiwynQuadras, #Maa also features #RonitBoseRoy, #IndraneilSengupta and #KherinSharma in pivotal roles. Produced by #AjayDevgn and #JyotiDeshpande and co-produced by #KumarMangatPathak, the film is set for a *theatrical release* on 27 June 2025 in #Hindi, #Tamil, #Telugu and #Bengali. Kajol

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217,571 次观看 • 1 年前

𝐇𝐄𝐑𝐄 𝐈𝐓 𝐈𝐒 - 𝐓𝐇𝐄 𝐄𝐗𝐂𝐄𝐏𝐓𝐈𝐎𝐍𝐀𝐋. 𝐄𝐋𝐄𝐂𝐓𝐑𝐈𝐅𝐘𝐈𝐍𝐆. 𝐀𝐁𝐒𝐎𝐋𝐔𝐓𝐄𝐋𝐘 𝐒𝐌𝐀𝐒𝐇𝐈𝐍𝐆 𝐓𝐑𝐀𝐈𝐋𝐄𝐑 𝐎𝐅 𝐃𝐇𝐔𝐑𝐀𝐍𝐃𝐇𝐀𝐑! #JioStudios & #B62Studios unveiled the trailer of #Dhurandhar Featuring Ranveer Singh, Sanjay Dutt, Akshaye Khanna, R.Madhavan, Arjun Rampal, and Sara Arjun . This star-studded action-packed entertainer is directed by #AdityaDhar and produced by #JyotiDeshpande & #LokeshDhar. This one is set to take a Flying Opening at the Box Office. Releasing on 5th December 2025. #DhurandharTrailer Aditya Dhar #JyotiDeshpande lokesh dhar Jio Studios B62 Studios
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𝐇𝐄𝐑𝐄 𝐈𝐓 𝐈𝐒 - 𝐓𝐇𝐄 𝐄𝐗𝐂𝐄𝐏𝐓𝐈𝐎𝐍𝐀𝐋. 𝐄𝐋𝐄𝐂𝐓𝐑𝐈𝐅𝐘𝐈𝐍𝐆. 𝐀𝐁𝐒𝐎𝐋𝐔𝐓𝐄𝐋𝐘 𝐒𝐌𝐀𝐒𝐇𝐈𝐍𝐆 𝐓𝐑𝐀𝐈𝐋𝐄𝐑 𝐎𝐅 𝐃𝐇𝐔𝐑𝐀𝐍𝐃𝐇𝐀𝐑! #JioStudios & #B62Studios unveiled the trailer of #Dhurandhar Featuring Ranveer Singh, Sanjay Dutt, Akshaye Khanna, R.Madhavan, Arjun Rampal, and Sara Arjun . This star-studded action-packed entertainer is directed by #AdityaDhar and produced by #JyotiDeshpande & #LokeshDhar. This one is set to take a Flying Opening at the Box Office. Releasing on 5th December 2025. #DhurandharTrailer Aditya Dhar #JyotiDeshpande lokesh dhar Jio Studios B62 Studios

Sumit Kadel

80,714 次观看 • 8 个月前

THIS HAS TO BE THE MOST AUDACIOUS MOVIE ANNOUNCEMENT EVER! #AjayDevgn is coming in & as #Chauhan and I bet you haven’t imagined him in this avtar! #JioStudios backs this #AanandLRai action entertainer that’s directed by #NeerajYadav. You have to go through the entire video, then take a pause around the 1 minute mark, take a deep breath and then let it all go hugely berserk and entertaining! Hats off to whoever thought of making this ‘jumma’ so exciting! Presented by Jio Studios and Colour Yellow, the film is produced by Jyoti Deshpande, Aanand L Rai, and Himanshu Sharma, and will arrive in cinemas on 1st October 2027. Ajay Devgn #JyotiDeshpande Aanand L Rai #HimanshuSharma #NeerajYadav Jio Studios Colour Yellow Movies Parag Desai
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THIS HAS TO BE THE MOST AUDACIOUS MOVIE ANNOUNCEMENT EVER! #AjayDevgn is coming in & as #Chauhan and I bet you haven’t imagined him in this avtar! #JioStudios backs this #AanandLRai action entertainer that’s directed by #NeerajYadav. You have to go through the entire video, then take a pause around the 1 minute mark, take a deep breath and then let it all go hugely berserk and entertaining! Hats off to whoever thought of making this ‘jumma’ so exciting! Presented by Jio Studios and Colour Yellow, the film is produced by Jyoti Deshpande, Aanand L Rai, and Himanshu Sharma, and will arrive in cinemas on 1st October 2027. Ajay Devgn #JyotiDeshpande Aanand L Rai #HimanshuSharma #NeerajYadav Jio Studios Colour Yellow Movies Parag Desai

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DAVID BOWIE ‘HEROES’ - THE POWERFUL & EVOCATIVE FINAL SONG IN THE SERIES FINALE OF NETFLIX’S STRANGER THINGS ‘HEROES’ IS AVAILABLE TO STREAM NOW ON PARLOPHONE: WATCH THE HD REMASTERED 'HEROES' VIDEO: New Year’s Day saw the broadcast on Netflix of the final episode of the phenomenally successful and critically lauded stranger things . Ten years in the making, the final song of the entire series is ‘Heroes’ by David Bowie, one of music’s boldest innovators and most enduring visionaries. After the final scene of Series 5 Episode 8 plays, the show doesn’t jump to its typical credits sequence. Instead, it rolls into a nostalgic animated end-credits segment and lets Bowie’s “Heroes” play all the way through. The decision to end the show with the iconic track was suggested by actor Joe Keery, who plays Steve Harrington on the show and records music under the name Djo. Speaking to Netflix Tudum, the show’s co-creator Ross Duffer says, “Once Joe said that, we immediately knew that was the right song to end the show on because it is, in some ways, an anthem for Stranger Things. To use the original Bowie version just felt right and fitting for the conclusion.” Initially released in September 1977, ‘Heroes’ is the title track of the second instalment of Bowie’s hugely influential ‘Berlin Trilogy’ of albums produced by Bowie and Tony Visconti and featuring Brian Eno. Recorded at Hansa Studios in West Berlin, which was situated only 150 metres away from the Berlin Wall and co-written with Eno, the song references the East German soldiers that could be seen from the studio’s control room and a love affair between a couple kissing in the shadow of the Wall. The song, which has become an iconic anthem, was recorded by Bowie in English, German and French and has been covered by artists such as Oasis, Prince, Coldplay, Yungblud, Lady Gaga, Arcade Fire, Smashing Pumpkins, Depeche Mode, Blondie, Neil Finn, Peter Gabriel, King Crimson, Bon Jovi, Motorhead, Miley Cyrus, Aurora, Moby, David Byrne & St Vincent and The Wallflowers, who took it into the US top 10. A decade after the 1977 release of ‘Heroes’, Bowie brought his Glass Spider Tour to Berlin during the Summer of 1987. He performed as part of a series of shows at the Reichstag, a poignant symbol of the divided city just metres away from the Wall. The concert was held near the border, where many East Berliners crowded along to listen to music forbidden by the Soviet government, allowing the two halves of the city to hear the same show, with ‘Heroes’ as the emotional highlight for both sides. Bowie later remarked, “We kind of heard that a few of the East Berliners might actually get the chance to hear the thing, but we didn’t realise in what numbers they would. And there were thousands on the other side that had come close to the wall. So it was like a double concert where the wall was the division. And we would hear them cheering and singing along from the other side. God, even now I get choked up. It was breaking my heart. I’d never done anything like that in my life, and I guess I never will again.” During the shows, the East German authorities cracked down on the fans, attacking them with water cannons and arresting hundreds. The shows helped change the mood around the Wall, which had stood for over a quarter of a century, and was now seen with renewed anger. Within two years, the Wall came down, and it has long been believed that the Concerts For Berlin were a turning point in the East. When Bowie died in 2016, the German Foreign Office confirmed as much by posting a live version of ‘Heroes’ on social media and declaring, ‘Good-bye David Bowie. You are now among #Heroes. Thank you for helping bring down the #wall’ #StrangerThings #BowieHeroes

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88,408 次观看 • 6 个月前

#BattleOfGalwan| Teaser Review 🔥🇮🇳 The teaser hits hard right from the opening dialogue: “Jawaano yaad rahe, zakham lage toh medal samajhna… aur maut dikhe toh salaam karna aur kehna – aaj nahi, fir kabhi.” This one line alone defines the spirit of a true soldier — fearless, disciplined, and larger than life. Goosebumps guaranteed. Then comes the entry — powerful, impactful, and absolutely whistle-worthy. The entry shot of SK is pure cinema 🔥 No over-the-top gimmicks, no loud buildup — just raw screen presence that commands attention. This is how you introduce a character that’s meant to shake theatres. Salman Khan in Army look is a different beast altogether. The uniform sits perfectly on him, but more than that, it’s the intensity in his eyes that tells the story. He isn’t playing a role — he is in character. Silent rage, controlled aggression, and emotional depth all packed into a few frames. The film is inspired by the India–China conflict of 2020, and the teaser smartly keeps things focused, restrained, and dignified. No unnecessary exposition, no sensationalism — just the emotion, the tension, and the resolve. The collaboration of Himesh Reshammiya & Salman Khan once again proves why this duo is lethal. The BGM and music elevate every frame — patriotic without being loud, intense without being noisy. The sound design alone adds massive weight to the teaser. Whenever Salman Khan steps into intense, content-driven roles, history has shown what happens at the box office — Bajrangi Bhaijaan, Sultan, and now Battle of Galwan — these films don’t just perform, they create havoc. And then comes the Baap of all dialogues 🔥🔥 “Maut se kya darrna… usse toh aana hai.” This line isn’t just a punch — it’s a soldier’s mindset, a sentiment that hits straight in the heart. Shot at real locations, the teaser looks raw, grounded, and brutally authentic. You can feel the cold, the tension, and the reality in every frame — nothing feels artificial. So many teasers and trailers come and go… but Bhai ki sirf ek jhalak hi kaafi hoti hai to create a box office storm 💥 This teaser doesn’t shout — it roars. #SalmanKhan𓃵 #SalmanKhanBirthday #SalmanKhan60 Salman Khan
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#BattleOfGalwan| Teaser Review 🔥🇮🇳 The teaser hits hard right from the opening dialogue: “Jawaano yaad rahe, zakham lage toh medal samajhna… aur maut dikhe toh salaam karna aur kehna – aaj nahi, fir kabhi.” This one line alone defines the spirit of a true soldier — fearless, disciplined, and larger than life. Goosebumps guaranteed. Then comes the entry — powerful, impactful, and absolutely whistle-worthy. The entry shot of SK is pure cinema 🔥 No over-the-top gimmicks, no loud buildup — just raw screen presence that commands attention. This is how you introduce a character that’s meant to shake theatres. Salman Khan in Army look is a different beast altogether. The uniform sits perfectly on him, but more than that, it’s the intensity in his eyes that tells the story. He isn’t playing a role — he is in character. Silent rage, controlled aggression, and emotional depth all packed into a few frames. The film is inspired by the India–China conflict of 2020, and the teaser smartly keeps things focused, restrained, and dignified. No unnecessary exposition, no sensationalism — just the emotion, the tension, and the resolve. The collaboration of Himesh Reshammiya & Salman Khan once again proves why this duo is lethal. The BGM and music elevate every frame — patriotic without being loud, intense without being noisy. The sound design alone adds massive weight to the teaser. Whenever Salman Khan steps into intense, content-driven roles, history has shown what happens at the box office — Bajrangi Bhaijaan, Sultan, and now Battle of Galwan — these films don’t just perform, they create havoc. And then comes the Baap of all dialogues 🔥🔥 “Maut se kya darrna… usse toh aana hai.” This line isn’t just a punch — it’s a soldier’s mindset, a sentiment that hits straight in the heart. Shot at real locations, the teaser looks raw, grounded, and brutally authentic. You can feel the cold, the tension, and the reality in every frame — nothing feels artificial. So many teasers and trailers come and go… but Bhai ki sirf ek jhalak hi kaafi hoti hai to create a box office storm 💥 This teaser doesn’t shout — it roars. #SalmanKhan𓃵 #SalmanKhanBirthday #SalmanKhan60 Salman Khan

Amit Bhatia

22,500 次观看 • 7 个月前

𝐕𝐃𝐇 — 𝐓𝐔𝐂𝐊𝐄𝐑 𝐀𝐍𝐃 𝐂𝐀𝐍𝐃𝐀𝐂𝐄 𝐀𝐑𝐄 𝐂𝐇𝐀𝐌𝐏𝐈𝐎𝐍𝐈𝐍𝐆 𝐈𝐒𝐋𝐀𝐌 𝐎𝐕𝐄𝐑 𝐈𝐒𝐑𝐀𝐄𝐋, 𝐀𝐍𝐃 𝟏𝟒 𝐂𝐄𝐍𝐓𝐔𝐑𝐈𝐄𝐒 𝐒𝐀𝐘 𝐖𝐇𝐘 𝐓𝐇𝐀𝐓’𝐒 𝐃𝐀𝐍𝐆𝐄𝐑𝐎𝐔𝐒 Victor Davis Hanson sat down with historian Raymond Ibrahim — author of 𝘚𝘸𝘰𝘳𝘥 𝘢𝘯𝘥 𝘚𝘤𝘪𝘮𝘪𝘵𝘢𝘳, three seminal books on the 14-century rivalry between Islam and the West — to address something that would have been unthinkable five years ago: a segment of the American right, including Tucker Carlson, Candace Owens, and a recalibrated Megyn Kelly, is now more sympathetic to Islam than to Israel. VDH’s frame: “𝘑𝘶𝘴𝘵 𝘸𝘩𝘦𝘯 𝘸𝘦 𝘵𝘩𝘰𝘶𝘨𝘩𝘵 𝘤𝘰𝘯𝘴𝘦𝘳𝘷𝘢𝘵𝘪𝘷𝘦𝘴 𝘸𝘦𝘳𝘦 𝘢𝘯 𝘢𝘯𝘵𝘪𝘵𝘩𝘦𝘴𝘪𝘴 𝘵𝘰 𝘵𝘩𝘢𝘵, 𝘸𝘦’𝘳𝘦 𝘴𝘦𝘦𝘪𝘯𝘨 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘩𝘰 𝘢𝘳𝘦 𝘰𝘱𝘦𝘯𝘭𝘺 𝘤𝘩𝘢𝘮𝘱𝘪𝘰𝘯𝘪𝘯𝘨 𝘐𝘴𝘭𝘢𝘮 𝘰𝘷𝘦𝘳 𝘐𝘴𝘳𝘢𝘦𝘭.” Ibrahim gives this dynamic a name. It’s a seesaw. “𝘖𝘯 𝘵𝘩𝘦 𝘴𝘦𝘦𝘴𝘢𝘸 𝘪𝘴 𝘐𝘴𝘳𝘢𝘦𝘭 𝘢𝘯𝘥 𝘐𝘴𝘭𝘢𝘮. 𝘈𝘯𝘥 𝘸𝘩𝘪𝘤𝘩𝘦𝘷𝘦𝘳 𝘰𝘯𝘦 𝘪𝘴 𝘥𝘰𝘸𝘯, 𝘪𝘵’𝘴 𝘣𝘦𝘪𝘯𝘨 𝘤𝘳𝘪𝘵𝘪𝘤𝘪𝘻𝘦𝘥. 𝘐𝘯 𝘵𝘩𝘦 𝘤𝘢𝘴𝘦 𝘰𝘧 𝘐𝘴𝘳𝘢𝘦𝘭, 𝘐𝘴𝘳𝘢𝘦𝘭 𝘯𝘰𝘸 𝘪𝘴 𝘣𝘦𝘪𝘯𝘨 𝘤𝘳𝘪𝘵𝘪𝘤𝘪𝘻𝘦𝘥. 𝘛𝘩𝘦 𝘰𝘵𝘩𝘦𝘳 𝘰𝘯𝘦 𝘮𝘶𝘴𝘵 𝘨𝘰 𝘶𝘱. 𝘈𝘯𝘥 𝘴𝘰 𝘯𝘰𝘸 𝘐𝘴𝘭𝘢𝘮 𝘪𝘴 𝘣𝘦𝘪𝘯𝘨 𝘦𝘹𝘰𝘯𝘦𝘳𝘢𝘵𝘦𝘥 𝘣𝘺 𝘢𝘭𝘭 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘩𝘰 𝘸𝘦𝘳𝘦 𝘴𝘶𝘴𝘱𝘪𝘤𝘪𝘰𝘶𝘴 𝘰𝘳 𝘤𝘳𝘪𝘵𝘪𝘤𝘢𝘭 𝘢𝘣𝘰𝘶𝘵 𝘪𝘵.” 𝐓𝐡𝐞 𝐥𝐨𝐠𝐢𝐜 𝐜𝐨𝐥𝐥𝐚𝐩𝐬𝐞𝐬 𝐮𝐧𝐝𝐞𝐫 𝐚 𝐭𝐡𝐨𝐮𝐬𝐚𝐧𝐝 𝐲𝐞𝐚𝐫𝐬 𝐨𝐟 𝐞𝐯𝐢𝐝𝐞𝐧𝐜𝐞. You can critique Israeli policy on any grounds you choose. But Islam was an existential enemy of the West long before the State of Israel was founded — across 14 centuries and counting. The timeline is not debatable. From the death of Muhammad in 632 AD, within two years the Arabs consolidated under Islam. By 635 they were waging war on Byzantium and the Sassanid Persians. 𝐅𝐫𝐨𝐦 𝟔𝟑𝟐 𝐭𝐨 𝟕𝟑𝟐 — 𝐨𝐧𝐞 𝐜𝐞𝐧𝐭𝐮𝐫𝐲 — 𝐈𝐬𝐥𝐚𝐦 𝐜𝐨𝐧𝐪𝐮𝐞𝐫𝐞𝐝 𝐭𝐡𝐞 𝐞𝐧𝐭𝐢𝐫𝐞 𝐌𝐢𝐝𝐝𝐥𝐞 𝐄𝐚𝐬𝐭, 𝐚𝐥𝐥 𝐨𝐟 𝐍𝐨𝐫𝐭𝐡 𝐀𝐟𝐫𝐢𝐜𝐚 𝐟𝐫𝐨𝐦 𝐄𝐠𝐲𝐩𝐭 𝐭𝐨 𝐌𝐨𝐫𝐨𝐜𝐜𝐨, 𝐒𝐩𝐚𝐢𝐧, 𝐚𝐧𝐝 𝐝𝐫𝐨𝐯𝐞 𝐢𝐧𝐭𝐨 𝐭𝐡𝐞 𝐦𝐢𝐝𝐝𝐥𝐞 𝐨𝐟 𝐅𝐫𝐚𝐧𝐜𝐞 𝐛𝐞𝐟𝐨𝐫𝐞 𝐂𝐡𝐚𝐫𝐥𝐞𝐬 𝐌𝐚𝐫𝐭𝐞𝐥 𝐬𝐭𝐨𝐩𝐩𝐞𝐝 𝐢𝐭 𝐚𝐭 𝐓𝐨𝐮𝐫𝐬. Fast forward to Black Tuesday, May 29, 1453, when the Ottoman Sultan’s army scaled the Theodosian walls of Constantinople. The thinned Byzantine defenders — some 7,000 to 8,000 — had to take penance before God for k!lling in battle. The attackers needed no such penance. They were promised paradise for breaking through. That asymmetry in moral accounting partly explains why they won. The Tucker critique doesn’t hold up under scrutiny. Tucker visits Saudi Arabia and says he feels great as a Christian. Ibrahim’s response: “𝘞𝘦𝘭𝘭, 𝘺𝘦𝘢𝘩, 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘪𝘵’𝘴 𝘺𝘰𝘶, 𝘢𝘯𝘥 𝘵𝘩𝘦𝘺’𝘳𝘦 𝘵𝘳𝘦𝘢𝘵𝘪𝘯𝘨 𝘺𝘰𝘶 𝘴𝘱𝘦𝘤𝘪𝘧𝘪𝘤𝘢𝘭𝘭𝘺 𝘸𝘦𝘭𝘭. 𝘉𝘶𝘵 𝘪𝘧 𝘺𝘰𝘶 𝘣𝘶𝘪𝘭𝘥 𝘢 𝘤𝘩𝘶𝘳𝘤𝘩 𝘪𝘯 𝘚𝘢𝘶𝘥𝘪 𝘈𝘳𝘢𝘣𝘪𝘢, 𝘵𝘩𝘦𝘺’𝘭𝘭 𝘥𝘦𝘴𝘵𝘳𝘰𝘺 𝘪𝘵. 𝘐𝘧 𝘵𝘩𝘦𝘺 𝘧𝘪𝘯𝘥 𝘺𝘰𝘶 𝘲𝘶𝘪𝘦𝘵𝘭𝘺 𝘸𝘰𝘳𝘴𝘩𝘪𝘱𝘪𝘯𝘨 𝘢𝘵 𝘊𝘩𝘳𝘪𝘴𝘵𝘮𝘢𝘴, 𝘵𝘩𝘦𝘺’𝘭𝘭 𝘢𝘳𝘳𝘦𝘴𝘵 𝘺𝘰𝘶.” 𝐓𝐡𝐞 𝐬𝐚𝐦𝐞 𝐜𝐨𝐮𝐧𝐭𝐫𝐢𝐞𝐬 𝐓𝐮𝐜𝐤𝐞𝐫 𝐩𝐫𝐚𝐢𝐬𝐞𝐬 𝐟𝐨𝐫𝐛𝐢𝐝 𝐭𝐡𝐞 𝐯𝐞𝐫𝐲 𝐂𝐡𝐫𝐢𝐬𝐭𝐢𝐚𝐧𝐢𝐭𝐲 𝐡𝐞 𝐜𝐥𝐚𝐢𝐦𝐬 𝐭𝐨 𝐛𝐞 𝐝𝐞𝐟𝐞𝐧𝐝𝐢𝐧𝐠. The data from Open Doors backs Ibrahim up. Every year, the World Watch List ranks the 50 nations where Christians face the most severe persecution. 𝐎𝐟 𝐭𝐡𝐨𝐬𝐞 𝟓𝟎, 𝐫𝐨𝐮𝐠𝐡𝐥𝐲 𝟑𝟕 𝐭𝐨 𝟑𝟖 𝐚𝐫𝐞 𝐌𝐮𝐬𝐥𝐢𝐦-𝐦𝐚𝐣𝐨𝐫𝐢𝐭𝐲.” Of the top 13 “extreme persecutors” — nations where being identified as a Christian can get you k!lled on the spot — about 11 are Muslim. If you are a Christian who takes Christian persecution seriously, you have to reckon with that list. Britain is the test case unfolding in real time. VDH and Ibrahim discuss the stabbing of Henry Nowak, a student with no criminal record, just walking by. He was stabbed repeatedly and bled on the ground for 61 minutes. 𝐖𝐡𝐞𝐧 𝐁𝐫𝐢𝐭𝐢𝐬𝐡 𝐩𝐨𝐥𝐢𝐜𝐞 𝐚𝐫𝐫𝐢𝐯𝐞𝐝, 𝐭𝐡𝐞𝐲 𝐰𝐞𝐫𝐞 𝐦𝐨𝐫𝐞 𝐟𝐨𝐜𝐮𝐬𝐞𝐝 𝐨𝐧 𝐰𝐡𝐞𝐭𝐡𝐞𝐫 𝐭𝐡𝐞 𝐚𝐭𝐭𝐚𝐜𝐤𝐞𝐫 𝐡𝐚𝐝 𝐛𝐞𝐞𝐧 𝐜𝐚𝐥𝐥𝐞𝐝 𝐚 𝐫𝐚𝐜𝐢𝐚𝐥 𝐬𝐥𝐮𝐫 𝐭𝐡𝐚𝐧 𝐨𝐧 𝐭𝐡𝐞 𝐦𝐚𝐧 𝐛𝐥𝐞𝐞𝐝𝐢𝐧𝐠 𝐨𝐮𝐭. The attacker carried an eight-inch knife — illegal under British law — but held it legally under a Sikh ceremony exemption. The family hid the knife. The brother called police claiming his sibling had been racially attacked. The mechanisms of Western self-loathing activated exactly when they were most dangerous. What’s driving the right’s realignment? VDH points to two forces. First, the post-October-7 demonization of Israel — even though October 7th itself should have made the pro-Israel case more obvious, not less. Second: Gulf money pouring into American universities. Qatar, Saudi Arabia, and the UAE have directed hundreds of millions into elite academic institutions. The narrative shift in elite discourse didn’t happen by accident. Eastern Europe hasn’t made this mistake. 𝐕𝐢𝐤𝐭𝐨𝐫 𝐎𝐫𝐛𝐚𝐧 𝐫𝐞𝐠𝐮𝐥𝐚𝐫𝐥𝐲 𝐢𝐧𝐯𝐨𝐤𝐞𝐬 𝐎𝐭𝐭𝐨𝐦𝐚𝐧 𝐡𝐢𝐬𝐭𝐨𝐫𝐲 𝐭𝐨 𝐣𝐮𝐬𝐭𝐢𝐟𝐲 𝐡𝐢𝐬 𝐦𝐢𝐠𝐫𝐚𝐭𝐢𝐨𝐧 𝐬𝐭𝐚𝐧𝐜𝐞. Hungarians and Poles have a living memory of what it meant to be ruled under Ottoman Islam through the 18th and 19th centuries. That memory hasn’t been overwritten by progressive revisionism. 𝐓𝐡𝐞 𝐬𝐞𝐞𝐬𝐚𝐰 𝐫𝐮𝐧𝐬 𝐨𝐧 𝐳𝐞𝐫𝐨-𝐬𝐮𝐦 𝐥𝐨𝐠𝐢𝐜 — 𝐛𝐮𝐭 𝐡𝐢𝐬𝐭𝐨𝐫𝐲 𝐢𝐬 𝐧𝐨𝐭 𝐚 𝐬𝐞𝐞𝐬𝐚𝐰. 𝐅𝐨𝐮𝐫𝐭𝐞𝐞𝐧 𝐜𝐞𝐧𝐭𝐮𝐫𝐢𝐞𝐬 𝐨𝐟 𝐜𝐨𝐧𝐪𝐮𝐞𝐬𝐭 𝐝𝐨𝐧’𝐭 𝐝𝐢𝐬𝐚𝐩𝐩𝐞𝐚𝐫 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐜𝐫𝐢𝐭𝐢𝐜𝐢𝐳𝐢𝐧𝐠 𝐈𝐬𝐥𝐚𝐦 𝐡𝐚𝐬 𝐛𝐞𝐜𝐨𝐦𝐞 𝐢𝐧𝐜𝐨𝐧𝐯𝐞𝐧𝐢𝐞𝐧𝐭.
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𝐕𝐃𝐇 — 𝐓𝐔𝐂𝐊𝐄𝐑 𝐀𝐍𝐃 𝐂𝐀𝐍𝐃𝐀𝐂𝐄 𝐀𝐑𝐄 𝐂𝐇𝐀𝐌𝐏𝐈𝐎𝐍𝐈𝐍𝐆 𝐈𝐒𝐋𝐀𝐌 𝐎𝐕𝐄𝐑 𝐈𝐒𝐑𝐀𝐄𝐋, 𝐀𝐍𝐃 𝟏𝟒 𝐂𝐄𝐍𝐓𝐔𝐑𝐈𝐄𝐒 𝐒𝐀𝐘 𝐖𝐇𝐘 𝐓𝐇𝐀𝐓’𝐒 𝐃𝐀𝐍𝐆𝐄𝐑𝐎𝐔𝐒 Victor Davis Hanson sat down with historian Raymond Ibrahim — author of 𝘚𝘸𝘰𝘳𝘥 𝘢𝘯𝘥 𝘚𝘤𝘪𝘮𝘪𝘵𝘢𝘳, three seminal books on the 14-century rivalry between Islam and the West — to address something that would have been unthinkable five years ago: a segment of the American right, including Tucker Carlson, Candace Owens, and a recalibrated Megyn Kelly, is now more sympathetic to Islam than to Israel. VDH’s frame: “𝘑𝘶𝘴𝘵 𝘸𝘩𝘦𝘯 𝘸𝘦 𝘵𝘩𝘰𝘶𝘨𝘩𝘵 𝘤𝘰𝘯𝘴𝘦𝘳𝘷𝘢𝘵𝘪𝘷𝘦𝘴 𝘸𝘦𝘳𝘦 𝘢𝘯 𝘢𝘯𝘵𝘪𝘵𝘩𝘦𝘴𝘪𝘴 𝘵𝘰 𝘵𝘩𝘢𝘵, 𝘸𝘦’𝘳𝘦 𝘴𝘦𝘦𝘪𝘯𝘨 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘩𝘰 𝘢𝘳𝘦 𝘰𝘱𝘦𝘯𝘭𝘺 𝘤𝘩𝘢𝘮𝘱𝘪𝘰𝘯𝘪𝘯𝘨 𝘐𝘴𝘭𝘢𝘮 𝘰𝘷𝘦𝘳 𝘐𝘴𝘳𝘢𝘦𝘭.” Ibrahim gives this dynamic a name. It’s a seesaw. “𝘖𝘯 𝘵𝘩𝘦 𝘴𝘦𝘦𝘴𝘢𝘸 𝘪𝘴 𝘐𝘴𝘳𝘢𝘦𝘭 𝘢𝘯𝘥 𝘐𝘴𝘭𝘢𝘮. 𝘈𝘯𝘥 𝘸𝘩𝘪𝘤𝘩𝘦𝘷𝘦𝘳 𝘰𝘯𝘦 𝘪𝘴 𝘥𝘰𝘸𝘯, 𝘪𝘵’𝘴 𝘣𝘦𝘪𝘯𝘨 𝘤𝘳𝘪𝘵𝘪𝘤𝘪𝘻𝘦𝘥. 𝘐𝘯 𝘵𝘩𝘦 𝘤𝘢𝘴𝘦 𝘰𝘧 𝘐𝘴𝘳𝘢𝘦𝘭, 𝘐𝘴𝘳𝘢𝘦𝘭 𝘯𝘰𝘸 𝘪𝘴 𝘣𝘦𝘪𝘯𝘨 𝘤𝘳𝘪𝘵𝘪𝘤𝘪𝘻𝘦𝘥. 𝘛𝘩𝘦 𝘰𝘵𝘩𝘦𝘳 𝘰𝘯𝘦 𝘮𝘶𝘴𝘵 𝘨𝘰 𝘶𝘱. 𝘈𝘯𝘥 𝘴𝘰 𝘯𝘰𝘸 𝘐𝘴𝘭𝘢𝘮 𝘪𝘴 𝘣𝘦𝘪𝘯𝘨 𝘦𝘹𝘰𝘯𝘦𝘳𝘢𝘵𝘦𝘥 𝘣𝘺 𝘢𝘭𝘭 𝘵𝘩𝘦 𝘴𝘢𝘮𝘦 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘩𝘰 𝘸𝘦𝘳𝘦 𝘴𝘶𝘴𝘱𝘪𝘤𝘪𝘰𝘶𝘴 𝘰𝘳 𝘤𝘳𝘪𝘵𝘪𝘤𝘢𝘭 𝘢𝘣𝘰𝘶𝘵 𝘪𝘵.” 𝐓𝐡𝐞 𝐥𝐨𝐠𝐢𝐜 𝐜𝐨𝐥𝐥𝐚𝐩𝐬𝐞𝐬 𝐮𝐧𝐝𝐞𝐫 𝐚 𝐭𝐡𝐨𝐮𝐬𝐚𝐧𝐝 𝐲𝐞𝐚𝐫𝐬 𝐨𝐟 𝐞𝐯𝐢𝐝𝐞𝐧𝐜𝐞. You can critique Israeli policy on any grounds you choose. But Islam was an existential enemy of the West long before the State of Israel was founded — across 14 centuries and counting. The timeline is not debatable. From the death of Muhammad in 632 AD, within two years the Arabs consolidated under Islam. By 635 they were waging war on Byzantium and the Sassanid Persians. 𝐅𝐫𝐨𝐦 𝟔𝟑𝟐 𝐭𝐨 𝟕𝟑𝟐 — 𝐨𝐧𝐞 𝐜𝐞𝐧𝐭𝐮𝐫𝐲 — 𝐈𝐬𝐥𝐚𝐦 𝐜𝐨𝐧𝐪𝐮𝐞𝐫𝐞𝐝 𝐭𝐡𝐞 𝐞𝐧𝐭𝐢𝐫𝐞 𝐌𝐢𝐝𝐝𝐥𝐞 𝐄𝐚𝐬𝐭, 𝐚𝐥𝐥 𝐨𝐟 𝐍𝐨𝐫𝐭𝐡 𝐀𝐟𝐫𝐢𝐜𝐚 𝐟𝐫𝐨𝐦 𝐄𝐠𝐲𝐩𝐭 𝐭𝐨 𝐌𝐨𝐫𝐨𝐜𝐜𝐨, 𝐒𝐩𝐚𝐢𝐧, 𝐚𝐧𝐝 𝐝𝐫𝐨𝐯𝐞 𝐢𝐧𝐭𝐨 𝐭𝐡𝐞 𝐦𝐢𝐝𝐝𝐥𝐞 𝐨𝐟 𝐅𝐫𝐚𝐧𝐜𝐞 𝐛𝐞𝐟𝐨𝐫𝐞 𝐂𝐡𝐚𝐫𝐥𝐞𝐬 𝐌𝐚𝐫𝐭𝐞𝐥 𝐬𝐭𝐨𝐩𝐩𝐞𝐝 𝐢𝐭 𝐚𝐭 𝐓𝐨𝐮𝐫𝐬. Fast forward to Black Tuesday, May 29, 1453, when the Ottoman Sultan’s army scaled the Theodosian walls of Constantinople. The thinned Byzantine defenders — some 7,000 to 8,000 — had to take penance before God for k!lling in battle. The attackers needed no such penance. They were promised paradise for breaking through. That asymmetry in moral accounting partly explains why they won. The Tucker critique doesn’t hold up under scrutiny. Tucker visits Saudi Arabia and says he feels great as a Christian. Ibrahim’s response: “𝘞𝘦𝘭𝘭, 𝘺𝘦𝘢𝘩, 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘪𝘵’𝘴 𝘺𝘰𝘶, 𝘢𝘯𝘥 𝘵𝘩𝘦𝘺’𝘳𝘦 𝘵𝘳𝘦𝘢𝘵𝘪𝘯𝘨 𝘺𝘰𝘶 𝘴𝘱𝘦𝘤𝘪𝘧𝘪𝘤𝘢𝘭𝘭𝘺 𝘸𝘦𝘭𝘭. 𝘉𝘶𝘵 𝘪𝘧 𝘺𝘰𝘶 𝘣𝘶𝘪𝘭𝘥 𝘢 𝘤𝘩𝘶𝘳𝘤𝘩 𝘪𝘯 𝘚𝘢𝘶𝘥𝘪 𝘈𝘳𝘢𝘣𝘪𝘢, 𝘵𝘩𝘦𝘺’𝘭𝘭 𝘥𝘦𝘴𝘵𝘳𝘰𝘺 𝘪𝘵. 𝘐𝘧 𝘵𝘩𝘦𝘺 𝘧𝘪𝘯𝘥 𝘺𝘰𝘶 𝘲𝘶𝘪𝘦𝘵𝘭𝘺 𝘸𝘰𝘳𝘴𝘩𝘪𝘱𝘪𝘯𝘨 𝘢𝘵 𝘊𝘩𝘳𝘪𝘴𝘵𝘮𝘢𝘴, 𝘵𝘩𝘦𝘺’𝘭𝘭 𝘢𝘳𝘳𝘦𝘴𝘵 𝘺𝘰𝘶.” 𝐓𝐡𝐞 𝐬𝐚𝐦𝐞 𝐜𝐨𝐮𝐧𝐭𝐫𝐢𝐞𝐬 𝐓𝐮𝐜𝐤𝐞𝐫 𝐩𝐫𝐚𝐢𝐬𝐞𝐬 𝐟𝐨𝐫𝐛𝐢𝐝 𝐭𝐡𝐞 𝐯𝐞𝐫𝐲 𝐂𝐡𝐫𝐢𝐬𝐭𝐢𝐚𝐧𝐢𝐭𝐲 𝐡𝐞 𝐜𝐥𝐚𝐢𝐦𝐬 𝐭𝐨 𝐛𝐞 𝐝𝐞𝐟𝐞𝐧𝐝𝐢𝐧𝐠. The data from Open Doors backs Ibrahim up. Every year, the World Watch List ranks the 50 nations where Christians face the most severe persecution. 𝐎𝐟 𝐭𝐡𝐨𝐬𝐞 𝟓𝟎, 𝐫𝐨𝐮𝐠𝐡𝐥𝐲 𝟑𝟕 𝐭𝐨 𝟑𝟖 𝐚𝐫𝐞 𝐌𝐮𝐬𝐥𝐢𝐦-𝐦𝐚𝐣𝐨𝐫𝐢𝐭𝐲.” Of the top 13 “extreme persecutors” — nations where being identified as a Christian can get you k!lled on the spot — about 11 are Muslim. If you are a Christian who takes Christian persecution seriously, you have to reckon with that list. Britain is the test case unfolding in real time. VDH and Ibrahim discuss the stabbing of Henry Nowak, a student with no criminal record, just walking by. He was stabbed repeatedly and bled on the ground for 61 minutes. 𝐖𝐡𝐞𝐧 𝐁𝐫𝐢𝐭𝐢𝐬𝐡 𝐩𝐨𝐥𝐢𝐜𝐞 𝐚𝐫𝐫𝐢𝐯𝐞𝐝, 𝐭𝐡𝐞𝐲 𝐰𝐞𝐫𝐞 𝐦𝐨𝐫𝐞 𝐟𝐨𝐜𝐮𝐬𝐞𝐝 𝐨𝐧 𝐰𝐡𝐞𝐭𝐡𝐞𝐫 𝐭𝐡𝐞 𝐚𝐭𝐭𝐚𝐜𝐤𝐞𝐫 𝐡𝐚𝐝 𝐛𝐞𝐞𝐧 𝐜𝐚𝐥𝐥𝐞𝐝 𝐚 𝐫𝐚𝐜𝐢𝐚𝐥 𝐬𝐥𝐮𝐫 𝐭𝐡𝐚𝐧 𝐨𝐧 𝐭𝐡𝐞 𝐦𝐚𝐧 𝐛𝐥𝐞𝐞𝐝𝐢𝐧𝐠 𝐨𝐮𝐭. The attacker carried an eight-inch knife — illegal under British law — but held it legally under a Sikh ceremony exemption. The family hid the knife. The brother called police claiming his sibling had been racially attacked. The mechanisms of Western self-loathing activated exactly when they were most dangerous. What’s driving the right’s realignment? VDH points to two forces. First, the post-October-7 demonization of Israel — even though October 7th itself should have made the pro-Israel case more obvious, not less. Second: Gulf money pouring into American universities. Qatar, Saudi Arabia, and the UAE have directed hundreds of millions into elite academic institutions. The narrative shift in elite discourse didn’t happen by accident. Eastern Europe hasn’t made this mistake. 𝐕𝐢𝐤𝐭𝐨𝐫 𝐎𝐫𝐛𝐚𝐧 𝐫𝐞𝐠𝐮𝐥𝐚𝐫𝐥𝐲 𝐢𝐧𝐯𝐨𝐤𝐞𝐬 𝐎𝐭𝐭𝐨𝐦𝐚𝐧 𝐡𝐢𝐬𝐭𝐨𝐫𝐲 𝐭𝐨 𝐣𝐮𝐬𝐭𝐢𝐟𝐲 𝐡𝐢𝐬 𝐦𝐢𝐠𝐫𝐚𝐭𝐢𝐨𝐧 𝐬𝐭𝐚𝐧𝐜𝐞. Hungarians and Poles have a living memory of what it meant to be ruled under Ottoman Islam through the 18th and 19th centuries. That memory hasn’t been overwritten by progressive revisionism. 𝐓𝐡𝐞 𝐬𝐞𝐞𝐬𝐚𝐰 𝐫𝐮𝐧𝐬 𝐨𝐧 𝐳𝐞𝐫𝐨-𝐬𝐮𝐦 𝐥𝐨𝐠𝐢𝐜 — 𝐛𝐮𝐭 𝐡𝐢𝐬𝐭𝐨𝐫𝐲 𝐢𝐬 𝐧𝐨𝐭 𝐚 𝐬𝐞𝐞𝐬𝐚𝐰. 𝐅𝐨𝐮𝐫𝐭𝐞𝐞𝐧 𝐜𝐞𝐧𝐭𝐮𝐫𝐢𝐞𝐬 𝐨𝐟 𝐜𝐨𝐧𝐪𝐮𝐞𝐬𝐭 𝐝𝐨𝐧’𝐭 𝐝𝐢𝐬𝐚𝐩𝐩𝐞𝐚𝐫 𝐛𝐞𝐜𝐚𝐮𝐬𝐞 𝐜𝐫𝐢𝐭𝐢𝐜𝐢𝐳𝐢𝐧𝐠 𝐈𝐬𝐥𝐚𝐦 𝐡𝐚𝐬 𝐛𝐞𝐜𝐨𝐦𝐞 𝐢𝐧𝐜𝐨𝐧𝐯𝐞𝐧𝐢𝐞𝐧𝐭.

M.A. Rothman

30,301 次观看 • 1 个月前

𝐭𝐡𝐞 𝐰𝐨𝐫𝐝𝐰𝐚𝐫𝐞 𝐥𝐚𝐮𝐧𝐜𝐡: 𝐛𝐫𝐢𝐧𝐠𝐢𝐧𝐠 𝐀𝐈 𝐰𝐨𝐫𝐤𝐟𝐥𝐨𝐰𝐬 𝐭𝐨 𝐥𝐢𝐟𝐞 🚀 𝐭𝐥;𝐝𝐫 we've spent the last months building triggers, tools & data sources for wordware - starting today, you can create AI workflows that actually run in your life without writing a single line of code. 2000+ integrations, english as the programming language, it looks like a document but works like magic. see what's possible with AI: 𝐭𝐡𝐞 𝐫𝐢𝐬𝐤𝐲 𝐛𝐞𝐭 🎲 we started by building an infrastructure product for technical teams making AI agents. the high-ceiling, powerful platform got traction - 60 real companies using our API some paying 15k mrr, 10mm+ people used these agents. then our last launch happened. 400k new users hit the same wall: "love it, but can't use it without coding." then we realized in today's world everyone is a builder. so we took the leap: what if our technical foundation became the perfect launchpad to make wordware deployable for everyone? 𝐭𝐡𝐞 𝐦𝐢𝐬𝐬𝐢𝐧𝐠 𝐩𝐢𝐞𝐜𝐞: 𝐭𝐫𝐢𝐠𝐠𝐞𝐫𝐬, 𝐭𝐨𝐨𝐥𝐬 & 𝐝𝐚𝐭𝐚 𝐬𝐨𝐮𝐫𝐜𝐞𝐬 ⚡ for the last months, our team has been working nights and weekends to transform wordware from an AI platform that requires engineers to integrate, into something anyone can deploy. you know those AI workflows already in your life? the ones where you copy-paste between different AI chats, manually trigger actions, and piece together insights? now you can describe it once and automate forever. 𝐰𝐡𝐚𝐭 𝐰𝐞 𝐛𝐮𝐢𝐥𝐭 🛠️ • 𝟐𝟎𝟎𝟎+ 𝐢𝐧𝐭𝐞𝐠𝐫𝐚𝐭𝐢𝐨𝐧𝐬 - connect to all your favorite tools • 𝐝𝐨𝐜𝐮𝐦𝐞𝐧𝐭-𝐥𝐢𝐤𝐞 𝐢𝐧𝐭𝐞𝐫𝐟𝐚𝐜𝐞 - if you can write it in english, you can build it • 𝐫𝐞𝐚𝐬𝐨𝐧𝐢𝐧𝐠-𝐟𝐢𝐫𝐬𝐭 𝐚𝐮𝐭𝐨𝐦𝐚𝐭𝐢𝐨𝐧 - not just "if this, then that" but "understand this, reason about it, then act" imagine: your typeform lead comes in → wordware analyzes intent, enriches with research, calculates a lead score, and routes to the right sales rep with a personalized draft email. or: your email triggers a workflow → wordware determines importance, archives the newsletter, flags the urgent request in slack, and drafts responses that sound like you. your intent and taste, AI's execution. 𝐰𝐡𝐲 𝐭𝐡𝐢𝐬 𝐦𝐚𝐭𝐭𝐞𝐫𝐬 💡 • the future of AI is systems working for us behind the scenes. • we're making AI the reasoning engine, not just another tool in the chain. • traditional automation moves data. wordware understands what that data means. 𝐣𝐨𝐢𝐧 𝐮𝐬 🚀 we've raised $30M to build the AI Operating System - where workflows get built, shared, deployed and forked. no waitlists - we're giving out credits to help build this ecosystem. get started for free: p.s. huge thanks to our team who pulled all-nighters, debugged on weekends, and somehow managed to ship 2000+ integrations while having fun next stop: the beach office with the wind/kite surfing rack 🏄‍♀️
7:04

𝐭𝐡𝐞 𝐰𝐨𝐫𝐝𝐰𝐚𝐫𝐞 𝐥𝐚𝐮𝐧𝐜𝐡: 𝐛𝐫𝐢𝐧𝐠𝐢𝐧𝐠 𝐀𝐈 𝐰𝐨𝐫𝐤𝐟𝐥𝐨𝐰𝐬 𝐭𝐨 𝐥𝐢𝐟𝐞 🚀 𝐭𝐥;𝐝𝐫 we've spent the last months building triggers, tools & data sources for wordware - starting today, you can create AI workflows that actually run in your life without writing a single line of code. 2000+ integrations, english as the programming language, it looks like a document but works like magic. see what's possible with AI: 𝐭𝐡𝐞 𝐫𝐢𝐬𝐤𝐲 𝐛𝐞𝐭 🎲 we started by building an infrastructure product for technical teams making AI agents. the high-ceiling, powerful platform got traction - 60 real companies using our API some paying 15k mrr, 10mm+ people used these agents. then our last launch happened. 400k new users hit the same wall: "love it, but can't use it without coding." then we realized in today's world everyone is a builder. so we took the leap: what if our technical foundation became the perfect launchpad to make wordware deployable for everyone? 𝐭𝐡𝐞 𝐦𝐢𝐬𝐬𝐢𝐧𝐠 𝐩𝐢𝐞𝐜𝐞: 𝐭𝐫𝐢𝐠𝐠𝐞𝐫𝐬, 𝐭𝐨𝐨𝐥𝐬 & 𝐝𝐚𝐭𝐚 𝐬𝐨𝐮𝐫𝐜𝐞𝐬 ⚡ for the last months, our team has been working nights and weekends to transform wordware from an AI platform that requires engineers to integrate, into something anyone can deploy. you know those AI workflows already in your life? the ones where you copy-paste between different AI chats, manually trigger actions, and piece together insights? now you can describe it once and automate forever. 𝐰𝐡𝐚𝐭 𝐰𝐞 𝐛𝐮𝐢𝐥𝐭 🛠️ • 𝟐𝟎𝟎𝟎+ 𝐢𝐧𝐭𝐞𝐠𝐫𝐚𝐭𝐢𝐨𝐧𝐬 - connect to all your favorite tools • 𝐝𝐨𝐜𝐮𝐦𝐞𝐧𝐭-𝐥𝐢𝐤𝐞 𝐢𝐧𝐭𝐞𝐫𝐟𝐚𝐜𝐞 - if you can write it in english, you can build it • 𝐫𝐞𝐚𝐬𝐨𝐧𝐢𝐧𝐠-𝐟𝐢𝐫𝐬𝐭 𝐚𝐮𝐭𝐨𝐦𝐚𝐭𝐢𝐨𝐧 - not just "if this, then that" but "understand this, reason about it, then act" imagine: your typeform lead comes in → wordware analyzes intent, enriches with research, calculates a lead score, and routes to the right sales rep with a personalized draft email. or: your email triggers a workflow → wordware determines importance, archives the newsletter, flags the urgent request in slack, and drafts responses that sound like you. your intent and taste, AI's execution. 𝐰𝐡𝐲 𝐭𝐡𝐢𝐬 𝐦𝐚𝐭𝐭𝐞𝐫𝐬 💡 • the future of AI is systems working for us behind the scenes. • we're making AI the reasoning engine, not just another tool in the chain. • traditional automation moves data. wordware understands what that data means. 𝐣𝐨𝐢𝐧 𝐮𝐬 🚀 we've raised $30M to build the AI Operating System - where workflows get built, shared, deployed and forked. no waitlists - we're giving out credits to help build this ecosystem. get started for free: p.s. huge thanks to our team who pulled all-nighters, debugged on weekends, and somehow managed to ship 2000+ integrations while having fun next stop: the beach office with the wind/kite surfing rack 🏄‍♀️

Filip Kozera

65,236 次观看 • 1 年前

#PahlaviTerrorists #فرقه_تروریستی_پهلوی Open Letter to the Honourable Pierre Poilievre December 26, 2025 OPEN LETTER: Reza Pahlavi’s network shut down your Vancouver event on February 9, 2024 cc: Chief Constable Steve Rai Vancouver Police Andrew Scheer CSIS Canada Stephen Harper Melissa Lantsman The Vancouver Sun Rebel News Canada CanAm Network Dear Mr. Poilievre, Records I recently obtained through a series of orders of the Supreme Court of British Columbia(the most recent granted on December 15, 2025) objectively establish that your Vancouver Persian community meet-and-greet on February 9, 2024 was shut down by Reza Pahlavi’s networks. I am writing this publicly because this represents a new level of atrocity by these networks. They are already notorious for coordinated attacks on Iranian pro-democracy activists, which is why they are before the Supreme Court of BC and why Reza Pahlavi faced two conclusive judgments against him on October 16, 2025. But shutting down the public event of a national political leader on the verge of elections in Canada is an escalation into direct interference with Canadian democratic life. When a Canadian federal political leader like you can be forced out of a venue through intimidation—particularly if the same actors can penetrate political communities through relationship-based access while coordinating venue tracking, harassment, and intimidation with a designated terrorist entity and against the same communities—then Canada has a sovereignty and public-safety problem, which goes beyond any partisan boundaries. On February 9, 2024, Reza Pahlavi’s networks acted through premeditated political intimidation orchestrated on the ground by two individuals: Arezou Soltani of North Vancouver and Mehdi Ahmadzadeh of Maple Ridge, who jointly led a local Pahlavi-affiliated group registered in British Columbia as Canadian Iranian Wakuppers Foundation (the “Wakuppers”). Those disclosed records from the Wakuppers’ WhatsApp group chat show: · real-time tracking of your appearance, · active efforts to locate the venue while you were speaking, · celebratory messaging after the shutdown, and · Mehdi Ahmadzadeh’s own voice message, in which he vividly describes and boasts about assaults, pushing, intimidation and dragging the attendees “into dust and blood”. You remember that night. Barely seconds after you began your remarks at: True Confections Denman, 866 Denman St, Vancouver, BC V6G 2L9, the disruption started by Hamas supporters and the scene changed instantly. The event had been anticipated as roughly a 90-minute meet-and-greet. Instead, you were forced to cut your entire remarks down to roughly 15 minutes and escorted out by your security team early. You also tried to defuse the disruption and offered a fair compromise—words to the effect of: “Let me give my remarks, and during Q&A you can ask your questions.” They refused. You then called it out on the spot—“It seems we have the Iranian regime here,” and referred to them as “IRGC supporters.” You were right, but that was not the full reality. What happened that night was not just “IRGC people showed up.” It was a coordinated operation involving collaboration between IRGC-aligned Hamas supporters on the ground and a local Pahlavi network behind the scenes, with Soltani and Ahmadzadeh operating as the on-the-ground masterminds. What you did not know prior to reading this letter—and what I only fully understood lately, following the Court-ordered disclosures—is that the shutdown was indeed orchestrated by the Pahlavi networks. Here is the blunt truth: Out of expressed hostility, they handed the location to Hamas supporters, who then arrived and executed the shutdown. They were the visible shock-troops on the ground; the venue-locating and mobilization came from the Wakuppers led by the Pahlavi operatives, Soltani and Ahmadzadeh. With all that said: · It is striking that Reza Pahlavi had previously tried to portray himself publicly as a proponent of your political rise and access to the Iranian community, and that he met with you in or about March 2023. Yet the evidence now shows that local circles aligned with him were behind the disruption and shutdown of your February 9, 2024 event. · It is also striking that the same local circle, namely, the Wakuppers, includes Mary Hakimi, the partner of Doug Horne, a former Conservative MLA—an obvious access channel into Conservative circles. Through court-ordered production, I have also obtained a photograph showing Arezou Soltani and Mehdi Ahmadzadeh in close proximity to you. I am informed they obtained backstage access to you through the Mary Hakimi / Doug Horne connection. Another matter you may not be aware of is that these same circles use MEK-labelling exactly the way the Islamic Republic does: as a weapon to intimidate, discredit, and socially isolate Iranian pro-democracy activists—and, when convenient, to smear Conservative politicians and MPs as well. To that point, the Wakuppers’ group chat content I obtained includes foul and contemptuous language directed at the Conservative Party of Canada and at senior Conservative figures, such as the Right Honourable Stephen Harper, including condemning the shutting down of the Islamic Republic’s embassyand advancing pro-IRGC narratives, in the guise of the same MEK-labelling described above. Representative portions are included as appendices by way of certified translation. I should say that all these records and relevant orders were obtained despite persistent efforts by Soltani and Ahmadzadeh—and their counsel, Nojan Kamoosi—to obstruct accountability and distort the process through false and misleading sworn materials. In my proceedings, I have had to confront multiple affidavits that were perjured and specifically designed by Nojan Kamoosi and his law firm to derail proper adjudication, prevent disclosure, and mislead the Court. I assume your office will treat this new disclosure about the February 9, 2024 shutdown as a serious public-order and democratic-integrity concern, and will coordinate with the Vancouver Police Department (and any other appropriate agencies) to ensure that the relevant records are secured and reviewed. I also formally request that your office take immediate steps to ensure the preservation of all relevant records relating to the February 9, 2024 shutdown, for the purpose of ongoing litigation, Action S-246401, against Reza Pahlavi and his network (including co-defendants Soltani and Ahmadzadeh, among others), which addresses their engagement in political violence and intimidation in Canada. This preservation request includes, without limitation: · security incident notes and internal reports; · communications with organizers and any third-party intermediaries about the incident; and · access logs and records relating to who facilitated Soltani’s and Ahmadzadeh’s backstage access to you on Feb 9, 2024; to the extent such records are within your control or can be preserved through timely requests to the relevant custodians. For ease of review, I will provide the following appendices with this open letter: Appendix A: Certified translations of relevant WhatsApp text messages involving Mary Hakimi (Doug Horne’s partner), Arezou Soltani, and Mehdi Ahmadzadeh (including venue-locating and celebratory messaging), dated Feb 9-10, 2024. Appendix B: Link to Mehdi Ahmadzadeh’s voice message of Feb 10, 2024 (as produced). Appendix C: Certified translation of Ahmadzadeh’s voice message of Feb 10, 2024. Appendix D: Photograph showing Arezou Soltani and Mehdi Ahmadzadeh in close proximity to the Honourable Pierre Poilievre (presumably taken on Feb 9, 2025). Appendix E: Photograph of Reza Pahlavi with the Honourables Pierre Poilievre and Melissa Lantsman (presumably taken in March 2023). Appendix F: Vancouver lawyer, Nojan Kamoosi of Allen / McMillan Litigation Counsel; Counsel for Soltani Appendix G: Representative certified translations showing foul language and hostile messaging directed at the Conservative Party and Conservative figures, including discussions condemning the shutting down of the Islamic Republic’s embassy. Appendix H: Affidavit #18 of Masood Masjoody in Action S-246401, Masjoody v. Pahlavi, et al., filed December 12, 2025 A copy of this letter is being provided to the Vancouver Police Department. Respectfully, Masood Masjoody, Ph.D. President and Founder of UNHRC Dossier Burnaby, British Columbia #جاوید_ایران
1:02

#PahlaviTerrorists #فرقه_تروریستی_پهلوی Open Letter to the Honourable Pierre Poilievre December 26, 2025 OPEN LETTER: Reza Pahlavi’s network shut down your Vancouver event on February 9, 2024 cc: Chief Constable Steve Rai Vancouver Police Andrew Scheer CSIS Canada Stephen Harper Melissa Lantsman The Vancouver Sun Rebel News Canada CanAm Network Dear Mr. Poilievre, Records I recently obtained through a series of orders of the Supreme Court of British Columbia(the most recent granted on December 15, 2025) objectively establish that your Vancouver Persian community meet-and-greet on February 9, 2024 was shut down by Reza Pahlavi’s networks. I am writing this publicly because this represents a new level of atrocity by these networks. They are already notorious for coordinated attacks on Iranian pro-democracy activists, which is why they are before the Supreme Court of BC and why Reza Pahlavi faced two conclusive judgments against him on October 16, 2025. But shutting down the public event of a national political leader on the verge of elections in Canada is an escalation into direct interference with Canadian democratic life. When a Canadian federal political leader like you can be forced out of a venue through intimidation—particularly if the same actors can penetrate political communities through relationship-based access while coordinating venue tracking, harassment, and intimidation with a designated terrorist entity and against the same communities—then Canada has a sovereignty and public-safety problem, which goes beyond any partisan boundaries. On February 9, 2024, Reza Pahlavi’s networks acted through premeditated political intimidation orchestrated on the ground by two individuals: Arezou Soltani of North Vancouver and Mehdi Ahmadzadeh of Maple Ridge, who jointly led a local Pahlavi-affiliated group registered in British Columbia as Canadian Iranian Wakuppers Foundation (the “Wakuppers”). Those disclosed records from the Wakuppers’ WhatsApp group chat show: · real-time tracking of your appearance, · active efforts to locate the venue while you were speaking, · celebratory messaging after the shutdown, and · Mehdi Ahmadzadeh’s own voice message, in which he vividly describes and boasts about assaults, pushing, intimidation and dragging the attendees “into dust and blood”. You remember that night. Barely seconds after you began your remarks at: True Confections Denman, 866 Denman St, Vancouver, BC V6G 2L9, the disruption started by Hamas supporters and the scene changed instantly. The event had been anticipated as roughly a 90-minute meet-and-greet. Instead, you were forced to cut your entire remarks down to roughly 15 minutes and escorted out by your security team early. You also tried to defuse the disruption and offered a fair compromise—words to the effect of: “Let me give my remarks, and during Q&A you can ask your questions.” They refused. You then called it out on the spot—“It seems we have the Iranian regime here,” and referred to them as “IRGC supporters.” You were right, but that was not the full reality. What happened that night was not just “IRGC people showed up.” It was a coordinated operation involving collaboration between IRGC-aligned Hamas supporters on the ground and a local Pahlavi network behind the scenes, with Soltani and Ahmadzadeh operating as the on-the-ground masterminds. What you did not know prior to reading this letter—and what I only fully understood lately, following the Court-ordered disclosures—is that the shutdown was indeed orchestrated by the Pahlavi networks. Here is the blunt truth: Out of expressed hostility, they handed the location to Hamas supporters, who then arrived and executed the shutdown. They were the visible shock-troops on the ground; the venue-locating and mobilization came from the Wakuppers led by the Pahlavi operatives, Soltani and Ahmadzadeh. With all that said: · It is striking that Reza Pahlavi had previously tried to portray himself publicly as a proponent of your political rise and access to the Iranian community, and that he met with you in or about March 2023. Yet the evidence now shows that local circles aligned with him were behind the disruption and shutdown of your February 9, 2024 event. · It is also striking that the same local circle, namely, the Wakuppers, includes Mary Hakimi, the partner of Doug Horne, a former Conservative MLA—an obvious access channel into Conservative circles. Through court-ordered production, I have also obtained a photograph showing Arezou Soltani and Mehdi Ahmadzadeh in close proximity to you. I am informed they obtained backstage access to you through the Mary Hakimi / Doug Horne connection. Another matter you may not be aware of is that these same circles use MEK-labelling exactly the way the Islamic Republic does: as a weapon to intimidate, discredit, and socially isolate Iranian pro-democracy activists—and, when convenient, to smear Conservative politicians and MPs as well. To that point, the Wakuppers’ group chat content I obtained includes foul and contemptuous language directed at the Conservative Party of Canada and at senior Conservative figures, such as the Right Honourable Stephen Harper, including condemning the shutting down of the Islamic Republic’s embassyand advancing pro-IRGC narratives, in the guise of the same MEK-labelling described above. Representative portions are included as appendices by way of certified translation. I should say that all these records and relevant orders were obtained despite persistent efforts by Soltani and Ahmadzadeh—and their counsel, Nojan Kamoosi—to obstruct accountability and distort the process through false and misleading sworn materials. In my proceedings, I have had to confront multiple affidavits that were perjured and specifically designed by Nojan Kamoosi and his law firm to derail proper adjudication, prevent disclosure, and mislead the Court. I assume your office will treat this new disclosure about the February 9, 2024 shutdown as a serious public-order and democratic-integrity concern, and will coordinate with the Vancouver Police Department (and any other appropriate agencies) to ensure that the relevant records are secured and reviewed. I also formally request that your office take immediate steps to ensure the preservation of all relevant records relating to the February 9, 2024 shutdown, for the purpose of ongoing litigation, Action S-246401, against Reza Pahlavi and his network (including co-defendants Soltani and Ahmadzadeh, among others), which addresses their engagement in political violence and intimidation in Canada. This preservation request includes, without limitation: · security incident notes and internal reports; · communications with organizers and any third-party intermediaries about the incident; and · access logs and records relating to who facilitated Soltani’s and Ahmadzadeh’s backstage access to you on Feb 9, 2024; to the extent such records are within your control or can be preserved through timely requests to the relevant custodians. For ease of review, I will provide the following appendices with this open letter: Appendix A: Certified translations of relevant WhatsApp text messages involving Mary Hakimi (Doug Horne’s partner), Arezou Soltani, and Mehdi Ahmadzadeh (including venue-locating and celebratory messaging), dated Feb 9-10, 2024. Appendix B: Link to Mehdi Ahmadzadeh’s voice message of Feb 10, 2024 (as produced). Appendix C: Certified translation of Ahmadzadeh’s voice message of Feb 10, 2024. Appendix D: Photograph showing Arezou Soltani and Mehdi Ahmadzadeh in close proximity to the Honourable Pierre Poilievre (presumably taken on Feb 9, 2025). Appendix E: Photograph of Reza Pahlavi with the Honourables Pierre Poilievre and Melissa Lantsman (presumably taken in March 2023). Appendix F: Vancouver lawyer, Nojan Kamoosi of Allen / McMillan Litigation Counsel; Counsel for Soltani Appendix G: Representative certified translations showing foul language and hostile messaging directed at the Conservative Party and Conservative figures, including discussions condemning the shutting down of the Islamic Republic’s embassy. Appendix H: Affidavit #18 of Masood Masjoody in Action S-246401, Masjoody v. Pahlavi, et al., filed December 12, 2025 A copy of this letter is being provided to the Vancouver Police Department. Respectfully, Masood Masjoody, Ph.D. President and Founder of UNHRC Dossier Burnaby, British Columbia #جاوید_ایران

Masood Masjoody | مسعود مسجودی

38,230 次观看 • 7 个月前

A Love Letter to Ferdinand Martin Romualdez | by Franco Mabanta Martin Romualdez, this episode is for you. And for every Filipino who believes that accountability should never depend on wealth, influence or power. For years, the powerful have operated under the assumption that the truth can be bullied, that free speech can be intimidated, that justice can be bought, and that public attention eventually fades. PGMN rejects that idea entirely. Today, PGMN CEO and founder Franco Cruz Mabanta makes his debut appearance on the Anchor Chair, in front of the camera owned by the company he built, for the most consequential statement of his life. In this deeply personal address, he touches the illegal extortion plot against him, the legal battle surrounding PGMN, the principles upon which the network was built, the multitude of untrue accusations, and the corruption issue that PGMN believes remains the single defining challenge facing the Philippines today. More than a response to recent events, it is a reflection on power, abuse, honesty, free speech, faith, and the future of a country still searching for justice from he who plundered what was not his. But before you watch, understand one thing. Do not judge this episode by the reactions of the bots. Do not judge it by the comment section swarmed by accounts created last week. Do not judge it by the trolls, the propaganda, the coordinated attacks, or the noise that inevitably surrounds any serious discussion about plunder, or the kind of greed that directly affects an entire generation, or WHY the Philippines cannot seem to rise above so many of its problems. Judge it by the facts. Judge it by the histories of those involved. Judge it by the actual recorded sequence of events. Judge it by the most logical motives presented. Judge by who you think are the more honest persons speaking. Judge it by the evidence. Judge it by your own investigation. Because when the stakes are this high, we all know that the wealthiest voices are not always the most truthful ones. What follows is far bigger than PGMN. It is bigger than politics. It is bigger than any one person. At its core, this is about whether public officials—especially those instinctively capable of real evil—can still be held accountable when the questions become difficult, the scrutiny becomes dangerous, and the consequences become life-or-death. It is about whether facts still matter in an environment flooded with false and malicious narratives, and whether ordinary Filipinos like us still have the right to demand answers from those we entrusted with power. To Martin Romualdez, we are making PGMN's position crystal clear. We are not backing down. We are not looking away. We are not changing course. You can hope all you want, Martin, for the collective national attention to somehow focus entirely on the senate wars or the energy crisis or the impeachment proceedings—praying to your daily demons that the people of this country turn our heads away from your superabundance of heinous crimes—but the facts remain clear: The Office of the Ombudsman has already referenced you as the “Master Plunderer”; the Sandiganbayan has already said on record that you are the “Purported Mastermind” of Philippine corruption; Boying Remulla has already denied any and all desperate requests from you to flee the country; the government of US President Donald J. Trump has already eviscerated your diplomatic and tourist visas; Mayor Leni Robredo and the Pinks are adamantly insisting on TRUE accountability; Vice President Sara Duterte and the DDS will never EVER forgive you for what you did to her and to them; and President Bongbong Marcos’ powerful/moral decision—not just to cut all ties with you—but to strictly forbid anyone at the Palace from speaking to you anymore, and in any capacity, has completed the metaphorical corruption kill-shot that the entire nation has long, long, long been waiting for. And now 120 million-strong demand to know, with the full weight of everything we are, what you did with OUR MONEY. Distract us all you want, but the questions remain clear. The public interest remains loud. And our commitment to pursuing justice remains explicit. PGMN was founded on the belief that no politician, no billionaire, no dynasty, and no public official should ever become so powerful that they are beyond scrutiny. That belief did not disappear when the pressure arrived. It did not disappear when the controversy intensified. And it will not disappear simply because the stakes are now at their highest. If anything, moments like these are the reason PGMN exists. It is the reason why the Peanut Gallery was built on the backs of real fighters. What follows is a story about accountability, government drama, insider secrets, censorship of the media, prison time, a renewed faith in Christ, resilience that became necessary, sincerity that hopefully cuts through the noise, and what it actually means to go to war for a beautiful idea called freedom of speech—all rolled up into one of the wildest David vs Goliath stories in modern Philippine politics, viewed from the lens of the most radical young media company that exists today. Above all, it is about the critical belief that the Filipino people deserve real justice—regardless of where the truth leads, regardless of who it makes uncomfortable, and regardless of whether or not the subject of that truth is a deeply powerful, historically treacherous man that goes by the name of Ferdinand Martin Romualdez. Watch until the end. Because not only is the conversation not over… The war between PGMN and the single most corrupt Flipino politician of the 21st century has only just begun.
1:28:43

A Love Letter to Ferdinand Martin Romualdez | by Franco Mabanta Martin Romualdez, this episode is for you. And for every Filipino who believes that accountability should never depend on wealth, influence or power. For years, the powerful have operated under the assumption that the truth can be bullied, that free speech can be intimidated, that justice can be bought, and that public attention eventually fades. PGMN rejects that idea entirely. Today, PGMN CEO and founder Franco Cruz Mabanta makes his debut appearance on the Anchor Chair, in front of the camera owned by the company he built, for the most consequential statement of his life. In this deeply personal address, he touches the illegal extortion plot against him, the legal battle surrounding PGMN, the principles upon which the network was built, the multitude of untrue accusations, and the corruption issue that PGMN believes remains the single defining challenge facing the Philippines today. More than a response to recent events, it is a reflection on power, abuse, honesty, free speech, faith, and the future of a country still searching for justice from he who plundered what was not his. But before you watch, understand one thing. Do not judge this episode by the reactions of the bots. Do not judge it by the comment section swarmed by accounts created last week. Do not judge it by the trolls, the propaganda, the coordinated attacks, or the noise that inevitably surrounds any serious discussion about plunder, or the kind of greed that directly affects an entire generation, or WHY the Philippines cannot seem to rise above so many of its problems. Judge it by the facts. Judge it by the histories of those involved. Judge it by the actual recorded sequence of events. Judge it by the most logical motives presented. Judge by who you think are the more honest persons speaking. Judge it by the evidence. Judge it by your own investigation. Because when the stakes are this high, we all know that the wealthiest voices are not always the most truthful ones. What follows is far bigger than PGMN. It is bigger than politics. It is bigger than any one person. At its core, this is about whether public officials—especially those instinctively capable of real evil—can still be held accountable when the questions become difficult, the scrutiny becomes dangerous, and the consequences become life-or-death. It is about whether facts still matter in an environment flooded with false and malicious narratives, and whether ordinary Filipinos like us still have the right to demand answers from those we entrusted with power. To Martin Romualdez, we are making PGMN's position crystal clear. We are not backing down. We are not looking away. We are not changing course. You can hope all you want, Martin, for the collective national attention to somehow focus entirely on the senate wars or the energy crisis or the impeachment proceedings—praying to your daily demons that the people of this country turn our heads away from your superabundance of heinous crimes—but the facts remain clear: The Office of the Ombudsman has already referenced you as the “Master Plunderer”; the Sandiganbayan has already said on record that you are the “Purported Mastermind” of Philippine corruption; Boying Remulla has already denied any and all desperate requests from you to flee the country; the government of US President Donald J. Trump has already eviscerated your diplomatic and tourist visas; Mayor Leni Robredo and the Pinks are adamantly insisting on TRUE accountability; Vice President Sara Duterte and the DDS will never EVER forgive you for what you did to her and to them; and President Bongbong Marcos’ powerful/moral decision—not just to cut all ties with you—but to strictly forbid anyone at the Palace from speaking to you anymore, and in any capacity, has completed the metaphorical corruption kill-shot that the entire nation has long, long, long been waiting for. And now 120 million-strong demand to know, with the full weight of everything we are, what you did with OUR MONEY. Distract us all you want, but the questions remain clear. The public interest remains loud. And our commitment to pursuing justice remains explicit. PGMN was founded on the belief that no politician, no billionaire, no dynasty, and no public official should ever become so powerful that they are beyond scrutiny. That belief did not disappear when the pressure arrived. It did not disappear when the controversy intensified. And it will not disappear simply because the stakes are now at their highest. If anything, moments like these are the reason PGMN exists. It is the reason why the Peanut Gallery was built on the backs of real fighters. What follows is a story about accountability, government drama, insider secrets, censorship of the media, prison time, a renewed faith in Christ, resilience that became necessary, sincerity that hopefully cuts through the noise, and what it actually means to go to war for a beautiful idea called freedom of speech—all rolled up into one of the wildest David vs Goliath stories in modern Philippine politics, viewed from the lens of the most radical young media company that exists today. Above all, it is about the critical belief that the Filipino people deserve real justice—regardless of where the truth leads, regardless of who it makes uncomfortable, and regardless of whether or not the subject of that truth is a deeply powerful, historically treacherous man that goes by the name of Ferdinand Martin Romualdez. Watch until the end. Because not only is the conversation not over… The war between PGMN and the single most corrupt Flipino politician of the 21st century has only just begun.

Peanut Gallery Media Network

17,555 次观看 • 1 个月前

Ep. 31: Gabe Whaley - Playing the Crowd and Outlasting the Hype Gabe Whaley (Gabriel Whaley) is co-founder and CEO of MSCHF (MSCHF), the art collective, fashion and footwear brand, startup, and fill-in-the-blank, famous for its viral products and cultural interventions. A few notable works include Jesus Shoes (Nike Air Max filled with holy water), Severed Spots (a "decentralized" Damien Hirst print), Museum of Forgeries (One original Warhol and 999 perfect forgeries), and of course the Big Red Boot. This conversation was heavily influenced by MSCHF's recently released Made by MSCHF, a "textbook," through which the team peels back the curtain and shows us inside the black box that has produced more viral hits than one can count. Gabe had a sheltered childhood and went to two years of army academy at West Point before eventually finding his way to New York City to intern at Buzzfeed around 2014. In his spare time, he started releasing weird internet projects under the name "Miscellaneous Mischief." After tasting virality a few times, he started collaborating with likeminded creatives and eventually formalized MSCHF in 2019. I've known Gabe for many years (and even did a small collaboration with him from my seat at 100 Thieves). We sat down to reflect on the last 15 years and the arc of MSCHF, what made it special, and where one goes next when virality makes you feel nothing and the internet feels mature. The conversation includes MSCHF's eye-of-the-beholder legibility, their obsession with value, the power of mystery, and how the product doesn't culminate with release, but after the audience has made it their own (in MSCHF parlance, "playing the crowd"). We also discuss the creative process behind the hit factory, how acting as a label rather than individuals changes their relationship to the work, whether the cultural future is actually canceled, how the internet has changed, and how real world experiences offer something to the creator and the consumer that digital life simply can't. We wrap-up by speed-running through many of MSCHF's internal values, from "always punch up," to "death is just as importance as birth," to perhaps its defining frame: "nothing is sacred." I hope you are inspired toward play, originality, embracing discomfort, and having the courage to burn it all down and start anew. Timestamps: 0:00 - Intro 2:21 - Value and Legibility 13:24 - Is the Future Canceled? 20:00 - We Create as a Result of What We Believe In 26:11 - What Makes a Good Remix 29:08 - How MSCHF Relates to the Current Thing and Evolves What Game it Plays 38:31 - Creating Something the Crowd Can Play 44:59 - Emphasis on Craft and Objects Rather than Creating "Lifestyle" 47:27 - Keeping Up in a World That Demands Constant Production 53:11 - Resisting The Internet's Scale and Lack of Friction 1:03:15 - Accidental World Building, Process, Creative Inputs, and Focus 1:14:09 - Creating as a Collective and Gabe's Role in Enabling the Team 1:22:30 - Trust, Shedding the Black Box, and Staying Original 1:30:35 - Applied MSCHF – Doors are Open 1:34:21 - Sarah Andelman, People Who are Still Excited, and Long Time Horizons 1:41:52 - Buzzfeed 1:44:41 - MSCHF Values Available on all platforms and transcript below.
2:03:50

Ep. 31: Gabe Whaley - Playing the Crowd and Outlasting the Hype Gabe Whaley (Gabriel Whaley) is co-founder and CEO of MSCHF (MSCHF), the art collective, fashion and footwear brand, startup, and fill-in-the-blank, famous for its viral products and cultural interventions. A few notable works include Jesus Shoes (Nike Air Max filled with holy water), Severed Spots (a "decentralized" Damien Hirst print), Museum of Forgeries (One original Warhol and 999 perfect forgeries), and of course the Big Red Boot. This conversation was heavily influenced by MSCHF's recently released Made by MSCHF, a "textbook," through which the team peels back the curtain and shows us inside the black box that has produced more viral hits than one can count. Gabe had a sheltered childhood and went to two years of army academy at West Point before eventually finding his way to New York City to intern at Buzzfeed around 2014. In his spare time, he started releasing weird internet projects under the name "Miscellaneous Mischief." After tasting virality a few times, he started collaborating with likeminded creatives and eventually formalized MSCHF in 2019. I've known Gabe for many years (and even did a small collaboration with him from my seat at 100 Thieves). We sat down to reflect on the last 15 years and the arc of MSCHF, what made it special, and where one goes next when virality makes you feel nothing and the internet feels mature. The conversation includes MSCHF's eye-of-the-beholder legibility, their obsession with value, the power of mystery, and how the product doesn't culminate with release, but after the audience has made it their own (in MSCHF parlance, "playing the crowd"). We also discuss the creative process behind the hit factory, how acting as a label rather than individuals changes their relationship to the work, whether the cultural future is actually canceled, how the internet has changed, and how real world experiences offer something to the creator and the consumer that digital life simply can't. We wrap-up by speed-running through many of MSCHF's internal values, from "always punch up," to "death is just as importance as birth," to perhaps its defining frame: "nothing is sacred." I hope you are inspired toward play, originality, embracing discomfort, and having the courage to burn it all down and start anew. Timestamps: 0:00 - Intro 2:21 - Value and Legibility 13:24 - Is the Future Canceled? 20:00 - We Create as a Result of What We Believe In 26:11 - What Makes a Good Remix 29:08 - How MSCHF Relates to the Current Thing and Evolves What Game it Plays 38:31 - Creating Something the Crowd Can Play 44:59 - Emphasis on Craft and Objects Rather than Creating "Lifestyle" 47:27 - Keeping Up in a World That Demands Constant Production 53:11 - Resisting The Internet's Scale and Lack of Friction 1:03:15 - Accidental World Building, Process, Creative Inputs, and Focus 1:14:09 - Creating as a Collective and Gabe's Role in Enabling the Team 1:22:30 - Trust, Shedding the Black Box, and Staying Original 1:30:35 - Applied MSCHF – Doors are Open 1:34:21 - Sarah Andelman, People Who are Still Excited, and Long Time Horizons 1:41:52 - Buzzfeed 1:44:41 - MSCHF Values Available on all platforms and transcript below.

Dialectic with Jackson Dahl

83,100 次观看 • 9 个月前

With or Without BJP, K. Annamalai All Set To Forge Saffron Surge in TN On the second of June 2026, in Delhi, a man from Tamil soil did what few in this age of calculation are willing to do. K. Annamalai submitted his five-page resignation to Nitin Nabin. Not in anger. Not in defeat. But in clarity. This is the same man who once took a near-moribund BJP unit in Tamil Nadu and raised its vote share from 3.7 percent in 2019 to 11.4 percent in 2024 — the highest the saffron had ever recorded in this state. Then the party forced an alliance with a crumbling AIADMK, removed him as state president in April 2025 to make that marriage possible, and watched its own vote share collapse to three percent in the assembly elections. Vijay’s TVK took 108 seats. Annamalai had been warning for years that the departure of Jayalalithaa and Karunanidhi had created a vacuum. The old Dravidian icons were gone. The duopoly was no longer invincible. He tried to convince the BJP leadership that this was the moment to strike at the chink in the armour. Someone else moved first. Vijay’s TVK proved what Annamalai had been saying all along — that the D-stock is not eternal. That it could be defeated. That it could be made politically redundant. Tamil Nadu carries the muscle memory of LTTE terrorism in its bones. A land with such a history cannot afford to be ruled indefinitely by parties whose ideological DNA has always carried an anti-India strain. That strain goes back to the time of Partition, when E.V. Ramaswami pleaded with Jinnah to help carve out an independent Tamil country. Those seeds never fully died. They sprouted again as the LTTE, nurtured at one point by the impulsive decisions of Indira Gandhi. The same outfit that received that support eventually took the life of her own son. Today Pakistan is attempting to revive those old fault lines through narco-terrorism. A nationalist party on these shores is not a luxury. It is a strategic necessity. Today that duopoly is rotting from within. AIADMK is splintering like a self-dividing amoeba. DMK is being gnawed by dynast rot and its rabid hatred for Hinduism. The ground has shifted. The old walls are cracking. Annamalai did not come to negotiate with the Dravidian rupture that has spent decades cutting Tamil pride away from its civilisational roots. That rupture did not begin yesterday. It was set in motion long ago by Periyar and the Justice Party — a formation propped up by British colonial interests and missionary networks. What presented itself as social reform carried the disciplined imprint of a true Jesuit campaign wearing a political cloak. Over decades this project achieved something remarkable in its cynicism: it convinced large sections of Tamilians that a desert cult carried to these shores by white missionaries was not an imposition of foreign culture and faith, while any assertion of Hindu continuity, Tamil civilisational memory, or Indian belonging was branded as fascist aggression. Now two clear paths lie before us. If Annamalai decides to stay with the BJP, the leadership must give him a free hand. No more half-measures. No more alliances that dilute conviction. In a multi-corner contest between DMK, a splintering AIADMK, Congress, and TVK, he can make the lotus bloom in the next election. He has the fire, the organisational mind, and the connect with the very sections the old parties have alienated. If he decides to fight this civilisational war on his own terms, outside the constraints of party arithmetic, then he can do something larger. He can make Sanatan win in Tamil Nadu within ten years. He can reconnect this land to its civilisational scent — bells ringing proudly again in five thousand unchained temples. He can restore the memory of Chola glory in the very soil that produced it, the way Ahoms are still worshipped in Assam, not reduced to a footnote in history books written by those who never understood this civilisation. The sea that washes these shores still carries infiltration routes. A people that forgets its civilisational spine invites every predator. Annamalai’s exit is not the end of something. It is the ground shifting beneath the old order. The RSS has the forge. Annamalai carries the fire. The warrior does not wait for permission to defend the citadel. He reads the moment, gathers what is still whole, and plants the standard on higher ground. Tamil soil is ready. The time is now. Forge it. P.S.: If you liked this content, please consider sharing it with your friends and family. Follow Sanjay Madrasi Pandey | Ex-Reuters | Ex-Telegraph for insightful updates on country, culture and civilisation.
4:58

With or Without BJP, K. Annamalai All Set To Forge Saffron Surge in TN On the second of June 2026, in Delhi, a man from Tamil soil did what few in this age of calculation are willing to do. K. Annamalai submitted his five-page resignation to Nitin Nabin. Not in anger. Not in defeat. But in clarity. This is the same man who once took a near-moribund BJP unit in Tamil Nadu and raised its vote share from 3.7 percent in 2019 to 11.4 percent in 2024 — the highest the saffron had ever recorded in this state. Then the party forced an alliance with a crumbling AIADMK, removed him as state president in April 2025 to make that marriage possible, and watched its own vote share collapse to three percent in the assembly elections. Vijay’s TVK took 108 seats. Annamalai had been warning for years that the departure of Jayalalithaa and Karunanidhi had created a vacuum. The old Dravidian icons were gone. The duopoly was no longer invincible. He tried to convince the BJP leadership that this was the moment to strike at the chink in the armour. Someone else moved first. Vijay’s TVK proved what Annamalai had been saying all along — that the D-stock is not eternal. That it could be defeated. That it could be made politically redundant. Tamil Nadu carries the muscle memory of LTTE terrorism in its bones. A land with such a history cannot afford to be ruled indefinitely by parties whose ideological DNA has always carried an anti-India strain. That strain goes back to the time of Partition, when E.V. Ramaswami pleaded with Jinnah to help carve out an independent Tamil country. Those seeds never fully died. They sprouted again as the LTTE, nurtured at one point by the impulsive decisions of Indira Gandhi. The same outfit that received that support eventually took the life of her own son. Today Pakistan is attempting to revive those old fault lines through narco-terrorism. A nationalist party on these shores is not a luxury. It is a strategic necessity. Today that duopoly is rotting from within. AIADMK is splintering like a self-dividing amoeba. DMK is being gnawed by dynast rot and its rabid hatred for Hinduism. The ground has shifted. The old walls are cracking. Annamalai did not come to negotiate with the Dravidian rupture that has spent decades cutting Tamil pride away from its civilisational roots. That rupture did not begin yesterday. It was set in motion long ago by Periyar and the Justice Party — a formation propped up by British colonial interests and missionary networks. What presented itself as social reform carried the disciplined imprint of a true Jesuit campaign wearing a political cloak. Over decades this project achieved something remarkable in its cynicism: it convinced large sections of Tamilians that a desert cult carried to these shores by white missionaries was not an imposition of foreign culture and faith, while any assertion of Hindu continuity, Tamil civilisational memory, or Indian belonging was branded as fascist aggression. Now two clear paths lie before us. If Annamalai decides to stay with the BJP, the leadership must give him a free hand. No more half-measures. No more alliances that dilute conviction. In a multi-corner contest between DMK, a splintering AIADMK, Congress, and TVK, he can make the lotus bloom in the next election. He has the fire, the organisational mind, and the connect with the very sections the old parties have alienated. If he decides to fight this civilisational war on his own terms, outside the constraints of party arithmetic, then he can do something larger. He can make Sanatan win in Tamil Nadu within ten years. He can reconnect this land to its civilisational scent — bells ringing proudly again in five thousand unchained temples. He can restore the memory of Chola glory in the very soil that produced it, the way Ahoms are still worshipped in Assam, not reduced to a footnote in history books written by those who never understood this civilisation. The sea that washes these shores still carries infiltration routes. A people that forgets its civilisational spine invites every predator. Annamalai’s exit is not the end of something. It is the ground shifting beneath the old order. The RSS has the forge. Annamalai carries the fire. The warrior does not wait for permission to defend the citadel. He reads the moment, gathers what is still whole, and plants the standard on higher ground. Tamil soil is ready. The time is now. Forge it. P.S.: If you liked this content, please consider sharing it with your friends and family. Follow Sanjay Madrasi Pandey | Ex-Reuters | Ex-Telegraph for insightful updates on country, culture and civilisation.

Sanjay Madrasi Pandey | Ex-Reuters | Ex-Telegraph

16,944 次观看 • 1 个月前

Stargate Trivia: Casting Stargate: Atlantis While SG-1 was my first love (We were together for seven years!), my time on Atlantis proved equally memorable. The show was possessed of a similar tone in its mix of high adventure and humor, yet proved distinct in its exploration of Ancient mythology and an unfamiliar galaxy as seen through the eyes of a new set of heroes. Atlantis offered a sense of wonder and camaraderie born of isolation and constant danger. Whereas team SG-1 could always go home at the conclusion of their adventures, the members of the Atlantis expedition (at least for those first few seasons) could only draw comfort from the city of Atlantis itself – and, of course, each other. It was unique and compelling yet, at the same time, comfortingly familiar. Nowhere is this more evident than in its opening theme, composed by the late Joel Goldsmith, which is, at turns fresh, haunting, stirring and, throughout, discernibly Stargate. Stargate: Atlantis wasn’t envisioned as a companion to Stargate: SG-1. It was intended to replace the long-running series. The only problem was, with eight seasons under its belt, SG-1 wasn’t quite done yet. And fans (and the network) weren’t done with it either. And so, instead of passing the torch and segueing to a new Stargate series, we ended up producing both. In retrospect, it was quite an achievement: 40 hours of television! Today's productions can barely manage a third that output, but Stargates SG-1 and Atlantis delivered two fantastic 40 episode seasons before SG-1 took it’s final bow. It wasn’t easy, but it was certainly made easier by all of the enormously talented individuals who made it happen, from the office staff and crew to the cast and my fellow writer/producers. Still, it was not without its challenges. Take casting, for instance. It may surprise you to know that, when it comes to producing a show, not everybody cares about costumes or set design or whether the script’s fifth act denouement is emotionally satisfying - but everybody, and I do mean EVERYBODY, has an opinion on casting. Studio and network execs, producers, hell, even your significant other peering over your shoulder as you screen the auditions on your home computer, will want to weigh in. Of course, the more voices in the mix the more likely there are to be disagreements. So it is with every production and Atlantis was no different. Different individuals envisioned these characters in very different ways and, as a result, consensus was only achieved after many auditions, calls-backs, heated discussions, and not-so-gentle reminders that our start date was fast-approaching and we really needed someone to say the lines on camera. The part of Carson Beckett was one of the first we cast. The other producers were in Rob’s office, screening the first batch of local auditions when Brad called me in and told me to check out the guy onscreen. I hadn’t imagined Beckett with a Scottish accent but, after watching Paul McGillion in the role, I couldn’t imagine him without one. He’d brought something unexpected to the part, something we all responded to. Elizabeth Weir was not an easy character to pull off. She had to be smart, confident and strong yet needed to exude a certain warmth and empathy we were looking for in the civilian leader of the expedition. When it came time to (re)casting the role, several established names were considered (One had her own hit genre show back in the day while another went on to break out on a hit show soon after), but it was Torri Higginson who managed to strike just the right balance and vault her name to the top of the list. The role of Teyla Emmagan was a tough one to cast. Like Weir, she needed to be a strong, empathetic leader. But she also required something even more important – quite literally, an other-worldly quality that made her unique. Some equally talented actresses auditioned for the role but, as good as they were, they were never quite able to achieve that gravitas Rachel pulled off with such grace and seeming ease. Former VJ Rainbow Sun Francks won the role of Lieutenant Ford on the strength of a great audition, preceded by an equally great audition with a funny hat. I recall Brad Wright on the phone with our casting agent, advising him to ensure there would be no hat worn in the callback for fear the network would fixate on it. There wasn't, they didn't, and Rainbow delivered. The role of John Sheppard was the second to last one cast. It came right down to the wire and there were several candidates in play. The character was originally envisioned as a good ole southern boy, so it only made sense that Ben Browder’s name was bandied about early. However, he was too busy shooting Peacekeeper Wars to warrant consideration. A number of other actors were considered (one went on to play the lead in a hugely popular show the following year while another made his mark as a handsome heart throb on another hugely popular medical series) but it was Joe Flanigan who won the part based on his ability to pull off the devil-may-care attitude Brad and Robert were looking for. We come to the final role cast, a character who, in many ways, embodied everything Atlantis was about: exploration, discovery, fun, humor, and seat-of-your-pants-Holy-Sh&%-how-the-hell-am-I-going-to-get-out-of-this-adventure. And, as I mentioned in a previous post, he almost didn’t make the trip to Pegasus. Originally, the casting call went out for a completely different character, an earnest young doctor who would lend the team much-needed medical support on their off-world ventures. Unfortunately, no one could agree on who that actor should be. If the casting of Sheppard went down to the wire, then the casting of this final role went a step past it. Finally, days away from production, Robert Cooper had an idea: Forget the doctor character. Why not use an established character from SG-1? How about Rodney McKay? The writers were on board, but some executives weren't weren’t sold on the idea. They found him annoying! Hell yeah, but he’d be sooo much fun to write for! Rob got on the phone and went to bat for Rodney, pointing out that the character had come a long way since first being introduced way back in SG-1’s 48 Hours. He’d evolved, going from annoying jerk to endearingly irritating. To this day, I’m convinced that they weren’t totally convinced but, with production poised to commence, they relented, I suppose figuring they could just replace the character somewhere down the line. No one, even those who loved the idea of having the endearingly irritating Rodney McKay on board could have predicted how hugely popular the character would become.
0:57

Stargate Trivia: Casting Stargate: Atlantis While SG-1 was my first love (We were together for seven years!), my time on Atlantis proved equally memorable. The show was possessed of a similar tone in its mix of high adventure and humor, yet proved distinct in its exploration of Ancient mythology and an unfamiliar galaxy as seen through the eyes of a new set of heroes. Atlantis offered a sense of wonder and camaraderie born of isolation and constant danger. Whereas team SG-1 could always go home at the conclusion of their adventures, the members of the Atlantis expedition (at least for those first few seasons) could only draw comfort from the city of Atlantis itself – and, of course, each other. It was unique and compelling yet, at the same time, comfortingly familiar. Nowhere is this more evident than in its opening theme, composed by the late Joel Goldsmith, which is, at turns fresh, haunting, stirring and, throughout, discernibly Stargate. Stargate: Atlantis wasn’t envisioned as a companion to Stargate: SG-1. It was intended to replace the long-running series. The only problem was, with eight seasons under its belt, SG-1 wasn’t quite done yet. And fans (and the network) weren’t done with it either. And so, instead of passing the torch and segueing to a new Stargate series, we ended up producing both. In retrospect, it was quite an achievement: 40 hours of television! Today's productions can barely manage a third that output, but Stargates SG-1 and Atlantis delivered two fantastic 40 episode seasons before SG-1 took it’s final bow. It wasn’t easy, but it was certainly made easier by all of the enormously talented individuals who made it happen, from the office staff and crew to the cast and my fellow writer/producers. Still, it was not without its challenges. Take casting, for instance. It may surprise you to know that, when it comes to producing a show, not everybody cares about costumes or set design or whether the script’s fifth act denouement is emotionally satisfying - but everybody, and I do mean EVERYBODY, has an opinion on casting. Studio and network execs, producers, hell, even your significant other peering over your shoulder as you screen the auditions on your home computer, will want to weigh in. Of course, the more voices in the mix the more likely there are to be disagreements. So it is with every production and Atlantis was no different. Different individuals envisioned these characters in very different ways and, as a result, consensus was only achieved after many auditions, calls-backs, heated discussions, and not-so-gentle reminders that our start date was fast-approaching and we really needed someone to say the lines on camera. The part of Carson Beckett was one of the first we cast. The other producers were in Rob’s office, screening the first batch of local auditions when Brad called me in and told me to check out the guy onscreen. I hadn’t imagined Beckett with a Scottish accent but, after watching Paul McGillion in the role, I couldn’t imagine him without one. He’d brought something unexpected to the part, something we all responded to. Elizabeth Weir was not an easy character to pull off. She had to be smart, confident and strong yet needed to exude a certain warmth and empathy we were looking for in the civilian leader of the expedition. When it came time to (re)casting the role, several established names were considered (One had her own hit genre show back in the day while another went on to break out on a hit show soon after), but it was Torri Higginson who managed to strike just the right balance and vault her name to the top of the list. The role of Teyla Emmagan was a tough one to cast. Like Weir, she needed to be a strong, empathetic leader. But she also required something even more important – quite literally, an other-worldly quality that made her unique. Some equally talented actresses auditioned for the role but, as good as they were, they were never quite able to achieve that gravitas Rachel pulled off with such grace and seeming ease. Former VJ Rainbow Sun Francks won the role of Lieutenant Ford on the strength of a great audition, preceded by an equally great audition with a funny hat. I recall Brad Wright on the phone with our casting agent, advising him to ensure there would be no hat worn in the callback for fear the network would fixate on it. There wasn't, they didn't, and Rainbow delivered. The role of John Sheppard was the second to last one cast. It came right down to the wire and there were several candidates in play. The character was originally envisioned as a good ole southern boy, so it only made sense that Ben Browder’s name was bandied about early. However, he was too busy shooting Peacekeeper Wars to warrant consideration. A number of other actors were considered (one went on to play the lead in a hugely popular show the following year while another made his mark as a handsome heart throb on another hugely popular medical series) but it was Joe Flanigan who won the part based on his ability to pull off the devil-may-care attitude Brad and Robert were looking for. We come to the final role cast, a character who, in many ways, embodied everything Atlantis was about: exploration, discovery, fun, humor, and seat-of-your-pants-Holy-Sh&%-how-the-hell-am-I-going-to-get-out-of-this-adventure. And, as I mentioned in a previous post, he almost didn’t make the trip to Pegasus. Originally, the casting call went out for a completely different character, an earnest young doctor who would lend the team much-needed medical support on their off-world ventures. Unfortunately, no one could agree on who that actor should be. If the casting of Sheppard went down to the wire, then the casting of this final role went a step past it. Finally, days away from production, Robert Cooper had an idea: Forget the doctor character. Why not use an established character from SG-1? How about Rodney McKay? The writers were on board, but some executives weren't weren’t sold on the idea. They found him annoying! Hell yeah, but he’d be sooo much fun to write for! Rob got on the phone and went to bat for Rodney, pointing out that the character had come a long way since first being introduced way back in SG-1’s 48 Hours. He’d evolved, going from annoying jerk to endearingly irritating. To this day, I’m convinced that they weren’t totally convinced but, with production poised to commence, they relented, I suppose figuring they could just replace the character somewhere down the line. No one, even those who loved the idea of having the endearingly irritating Rodney McKay on board could have predicted how hugely popular the character would become.

Joseph Mallozzi 🏴‍☠️

28,063 次观看 • 2 年前

No, I don't think so. I think Conor McGregor's tailoring is best understood in the context of how labor has been deskilled for almost 200 years. Let me explain. Before the mid-19th century, most men who were not manual laborers wore bespoke clothes. In other words, their clothes were made specifically for them, typically by women working in the home or by bespoke tailors. This is how the King of Spain gets his clothes. When he was 11 years old, his father brought him to see a bespoke tailor in Madrid named Jaime Gallo. Gallo made the King's clothes using traditional methods: he measured the King's body and then used those measurements to draft a paper pattern from scratch. This pattern, which serves as the garment's architectural blueprint, is used to mark and cut the cloth. The pieces are then roughly basted together into a wearable fitting garment. When the King tries on this garment, the tailor takes notes on what needs to be changed, deconstructs the garment, and makes the necessary adjustment. This process repeats three times — basted, forward, and final fitting — with each step bringing the garment to its final form. This is partly why the King's clothes fit so beautifully: they were made by a skilled tailor and refined through multiple fittings. More important, however, is Gallo's technical skill. To be sure, not all tailors are so skilled, which is why I don't recommend going to just any random tailor. Gallo continued making clothes for the King until his own death in 2015. In the first slide, you can see three photos: two of the King wearing Gallo's tailoring at different periods of his life, and a meeting desk at Sastreria Jaime Gallo (Gallo's workshop). Most people today don't wear bespoke clothes. Instead, they wear ready-made clothes produced by manufacturers and sold by brands and retailers. The shrunken silhouette we see today was principally shaped in the early 2000s by three designers: Raf Simons, Hedi Slimane, and Thom Browne. These men were not rebelling against classic tailoring, which has not been culturally relevant since the late 1960s. Instead, they were rebelling against the oversized tailoring of the '80s and '90s, which was also created by designers (such as Armani). In the 2012 documentary "Antifashion," Simons explains that he felt oversized silhouettes were "too American" and "macho" (think Arnold Schwarzenegger). He wanted something that felt younger, more European, and made for thin, effete bodies. Slimane echoed this sentiment in a separate interview, saying that he felt bullied as a teen for not being very muscular, so he intentionally wanted to design things that felt more androgynous. He rejected the idea that every man needed to feel big and macho. Whatever you want to say about the shrunken suit trend, there were no technical issues with the original versions. Along the top row of the second slide, you can see two suits by Slimane and Browne. Notice that there's no puckering or pulling. The collar hugs the neck. I also think the clothes look pretty good on the models. This is largely because there are still people with technical knowledge working at this stage. The problems arise once those designs slide further away from such people. On the bottom row of the second slide, we can see Lionel Messi wearing a Thom Browne suit. IMO, it doesn't fit him as well as the model above him because he's a more muscular build. The original slim suits work best on thin figures with shoulders broader than the hips. Once you put these clothes on different figures, they can look egg-shaped. This mismatch can happen for all sorts of reasons. The people involved in selling or styling clothes today often lack technical skills: editors, writers, stylists, salespeople, marketers, and such. The designer was already one step removed from the tailor (a technical person), but at least they can work with a pattern maker (another technical person). Many people today are another step removed from that technical layer. Conor McGregor's clothes are from his own line, August McGregor, which he created with David August. Although David August works in custom clothing, he's not a tailor. He measures clients and sends those measurements to an overseas factory, where garments are produced by people who never meet the wearer. Conor's role is simply to market the product. He's a built-in influencer for the brand. There was a recent Wall Street Journal article about the emergence of "muscle suits," which is to say, very bulky guys wearing slim-fit tailoring. IMO, this can only emerge from the history we talked about. As more people lack technical skills and more layers or barriers exist between them and people with technical skills, the garment can look more distorted or strange. On the final slide, we see a video from Brimble and Clark, an custom tailoring company mentioned in the WSJ article. Like those from August McGregor, these are made-to-measure clothes produced in distant factories, though they use more stretch blends. Someone once told me that the owner of Brimble and Clark holds a ceremony when he delivers a suit to you. When you come into the shop to pick up your suit, a painting is mechanically lowered to reveal a collection of tiny knives. The company owner takes one of the tiny knives, sews it behind your lapel, and then ceremoniously puts the jacket on you. Then it's time for your own private photoshoot, where you get to pose around Chesterfield field couches while wearing your jacket concealing a tiny knife. The purpose, of course, is simply to make the wearer feel good. The business person understands something important: how a customer feels is more important than whether the product is good. This is essentially the system we have today. The company owner, salesperson, fitter, customer, writer, and influencer often possess little technical knowledge. The remaining expertise is concentrated among pattern makers and garment workers at the very end of the supply chain. I think about this sometimes when I read about AI, as I think it represents yet another step towards the deskilling of labor. Perhaps one day, someone who knows how to draw with pen and paper will look at an AI-generated image and recognize certain distortions that many have come to accept. But AI is outside my area of expertise, so I'll leave that discussion to others.
0:25

No, I don't think so. I think Conor McGregor's tailoring is best understood in the context of how labor has been deskilled for almost 200 years. Let me explain. Before the mid-19th century, most men who were not manual laborers wore bespoke clothes. In other words, their clothes were made specifically for them, typically by women working in the home or by bespoke tailors. This is how the King of Spain gets his clothes. When he was 11 years old, his father brought him to see a bespoke tailor in Madrid named Jaime Gallo. Gallo made the King's clothes using traditional methods: he measured the King's body and then used those measurements to draft a paper pattern from scratch. This pattern, which serves as the garment's architectural blueprint, is used to mark and cut the cloth. The pieces are then roughly basted together into a wearable fitting garment. When the King tries on this garment, the tailor takes notes on what needs to be changed, deconstructs the garment, and makes the necessary adjustment. This process repeats three times — basted, forward, and final fitting — with each step bringing the garment to its final form. This is partly why the King's clothes fit so beautifully: they were made by a skilled tailor and refined through multiple fittings. More important, however, is Gallo's technical skill. To be sure, not all tailors are so skilled, which is why I don't recommend going to just any random tailor. Gallo continued making clothes for the King until his own death in 2015. In the first slide, you can see three photos: two of the King wearing Gallo's tailoring at different periods of his life, and a meeting desk at Sastreria Jaime Gallo (Gallo's workshop). Most people today don't wear bespoke clothes. Instead, they wear ready-made clothes produced by manufacturers and sold by brands and retailers. The shrunken silhouette we see today was principally shaped in the early 2000s by three designers: Raf Simons, Hedi Slimane, and Thom Browne. These men were not rebelling against classic tailoring, which has not been culturally relevant since the late 1960s. Instead, they were rebelling against the oversized tailoring of the '80s and '90s, which was also created by designers (such as Armani). In the 2012 documentary "Antifashion," Simons explains that he felt oversized silhouettes were "too American" and "macho" (think Arnold Schwarzenegger). He wanted something that felt younger, more European, and made for thin, effete bodies. Slimane echoed this sentiment in a separate interview, saying that he felt bullied as a teen for not being very muscular, so he intentionally wanted to design things that felt more androgynous. He rejected the idea that every man needed to feel big and macho. Whatever you want to say about the shrunken suit trend, there were no technical issues with the original versions. Along the top row of the second slide, you can see two suits by Slimane and Browne. Notice that there's no puckering or pulling. The collar hugs the neck. I also think the clothes look pretty good on the models. This is largely because there are still people with technical knowledge working at this stage. The problems arise once those designs slide further away from such people. On the bottom row of the second slide, we can see Lionel Messi wearing a Thom Browne suit. IMO, it doesn't fit him as well as the model above him because he's a more muscular build. The original slim suits work best on thin figures with shoulders broader than the hips. Once you put these clothes on different figures, they can look egg-shaped. This mismatch can happen for all sorts of reasons. The people involved in selling or styling clothes today often lack technical skills: editors, writers, stylists, salespeople, marketers, and such. The designer was already one step removed from the tailor (a technical person), but at least they can work with a pattern maker (another technical person). Many people today are another step removed from that technical layer. Conor McGregor's clothes are from his own line, August McGregor, which he created with David August. Although David August works in custom clothing, he's not a tailor. He measures clients and sends those measurements to an overseas factory, where garments are produced by people who never meet the wearer. Conor's role is simply to market the product. He's a built-in influencer for the brand. There was a recent Wall Street Journal article about the emergence of "muscle suits," which is to say, very bulky guys wearing slim-fit tailoring. IMO, this can only emerge from the history we talked about. As more people lack technical skills and more layers or barriers exist between them and people with technical skills, the garment can look more distorted or strange. On the final slide, we see a video from Brimble and Clark, an custom tailoring company mentioned in the WSJ article. Like those from August McGregor, these are made-to-measure clothes produced in distant factories, though they use more stretch blends. Someone once told me that the owner of Brimble and Clark holds a ceremony when he delivers a suit to you. When you come into the shop to pick up your suit, a painting is mechanically lowered to reveal a collection of tiny knives. The company owner takes one of the tiny knives, sews it behind your lapel, and then ceremoniously puts the jacket on you. Then it's time for your own private photoshoot, where you get to pose around Chesterfield field couches while wearing your jacket concealing a tiny knife. The purpose, of course, is simply to make the wearer feel good. The business person understands something important: how a customer feels is more important than whether the product is good. This is essentially the system we have today. The company owner, salesperson, fitter, customer, writer, and influencer often possess little technical knowledge. The remaining expertise is concentrated among pattern makers and garment workers at the very end of the supply chain. I think about this sometimes when I read about AI, as I think it represents yet another step towards the deskilling of labor. Perhaps one day, someone who knows how to draw with pen and paper will look at an AI-generated image and recognize certain distortions that many have come to accept. But AI is outside my area of expertise, so I'll leave that discussion to others.

derek guy

269,732 次观看 • 8 天前

The CIA's information war with American citizens and the operation that started it all. Project Mockingbird. This is one main aspect as to why people are so divided and brainwashed in today's society. Information has always been a crucial component to power and control. Knowledge is power, right? The only difference today from 40+ years ago is that now information flows at a rate that is absolutely mind-boggling and allows you to connect with anyone, at anytime, anywhere in the world, with real-time information 24/7 at your finger tips. So what happens when you have people who are suppose to be giving you accurate, truthful, information, and start to give you information that benefits, manipulates, and persuades the global population with mis and disinformation, protects certain corrupt people and groups by not reporting on other information, and who also lies and slanders other individuals all for the purpose to maintain power and control over the entire population, entirely on PURPOSE? You get what's called PROPAGANDA, aka, a sh*t show of so much purposeful bad and fake information, that it literally starts to persuade and mold the populations overall views and opinions on an array of various topics to fit the nefarious controllers, behind the scenes narrative or agenda. Ultimitely benefitting only them. If you take notice, these campaigns have been around for a long time, depending what side your on, your personal views and where you get your overall information will ultimately decide or be a factor of how much it has affected you or how much you are aware of the deception in the first place. Most legacy mainstream media groups are owned and operated by a small group of wealthy globalist individuals who seem to lean towards the left, and some leaning even farther left than others. These campaigns started to really pick up when Trump entered the picture in 2016. Trump was never suppose to win in the first place. Obama reinstated propaganda to be used on American citizens once again in 2013. The task to slander and attempt to destroy and imprison Trump through multiple operations and media campaigns were in full effect for the deep state to regain control of The White House. The group that these campaigns affected the most were the older groups and the younger groups. The people in the middle basically got to see both worlds play out in their lives at a crucial time period in their lives. They've seen the mainstream shift from what it once was, to an extreme lying, propaganda machine when Trump took office. The older aged crowd was so used to the regular nightly news and not as comfortable with newer technology to access alternative media sites and really just stuck with the mainstream's words and kept their faith in the MSM. Now the younger crowd literally grew up with the fully scripted, CIA, propaganda MSM because that is literally all they've ever known and haven't experienced anything else before or have anything to compare it to. Especially when your indoctrinated in a public school system that has been infiltrated itself with a majority of far-left teachers who usually end up being predators as well. That's a whole other story. The problem this CIA operation has caused was a population with people all in their own separate groups and boxes, fighting with each other over many things, instead of the people who started this mess in the first place, that aren't even true because one side has been lied to and manipulated. Brainwashed from a literal military style operation that's used to topple foreign countries during regime changes. And the worst part on top of all this is that know since Elon has started DOGE, a government efficiency operation, we are now uncovering that all these communist, Marxist, ideas, and operations and slander campaigns, and legal cases against Trump, down to these politicians luxurious lifestyles have been all funded and paid for by us, the TAXPAYERS. On the one example above, through USAID, there is proof of over $9 MILLION dollars that went to Reuters for a campaign named, " ACTIVE SOCIAL ENGINEERING DEFENSE LARGE SCALE SOCIAL DECEPTION," which is a definitive contract. There are thousands of examples just like this for all different companies, influencers, T.V. shows, Magazines, Articles, any type of media, and all of them are left leaning outlets. This has been going on for decades. Then on top off all of that, you have people who own these publishing and media companies who are not only getting paid by the taxpayers from the CIA to deceive us, but many of these owners are best friends with people like Jeffery Epstein and Ghislaine Maxell as you can also see above who is with Laurene Powell Jobs, the owner of "The Atlantic" publication, on vacation just hanging out. You wonder why the media never talks about child trafficking. Their paid to cover it up, or they're literally involved themselves... It just get's better and better. The good news is that it is now being exposed and shut down. Let's dive into the history of PROJECT MOCKINGBIRD now. The story of Project Mockingbird begins in the shadow of the Cold War, a period defined by ideological warfare between the United States and the Soviet Union. In the early 1960s, the Central Intelligence Agency (CIA), under the leadership of Director John McCone, launched a covert operation codenamed "Project Mockingbird." Unlike the broader, alleged "Operation Mockingbird" often cited in conspiracy circles as a sprawling media manipulation scheme, the historical Project Mockingbird was a specific, documented wiretapping effort aimed at curbing leaks of classified information. Initiated on March 12, 1963, and concluding on June 15, 1963, Project Mockingbird targeted two Washington-based journalists, Robert S. Allen and Paul J. Scott, who wrote the syndicated "Allen-Scott Report." These columnists had a knack for publishing articles laced with highly classified CIA details—information so sensitive it included Top Secret and Special Intelligence data. Their scoops, often sourced from government insiders, rattled the Kennedy administration, particularly after a July 26, 1962, New York Times article by Hanson Baldwin exposed details of a National Intelligence Estimate comparing U.S. and Soviet nuclear arsenals. President John F. Kennedy, incensed by such leaks, sought to plug the holes. The operation was a collaborative effort, greenlit by Attorney General Robert F. Kennedy, Secretary of Defense Robert McNamara, and Director of the Defense Intelligence Agency Joseph Carroll. The CIA’s Office of Security, led by Sheffield Edwards, executed the wiretapping, monitoring the journalists’ home and office phones. The surveillance results identified congressional sources, including then-Speaker of the House John McCormack, who spoke with Scott on March 26, 1963. The "Family Jewels"—a 1973 CIA document declassified in 2007—later exposed this operation, revealing its scope and raising questions about its legality. Daniel L. Pines, a CIA Assistant General Counsel, argued in a 2009 Indiana Law Journal review that the wiretapping likely violated legal bounds, as its primary aim was to trace leaks rather than gather foreign intelligence. This historical Project Mockingbird, though limited in duration and scope, planted a seed of distrust between the government, the press, and the public—a seed that would grow into a broader narrative of media manipulation. From Wiretaps to Media Empire While Project Mockingbird of 1963 was a discrete surveillance effort, it became conflated with a larger CIA program dubbed "Operation Mockingbird." This narrative emerged most prominently in Deborah Davis’s 1979 book, Katharine the Great, which claimed that the CIA, under Frank Wisner of the Office of Policy Coordination, had systematically infiltrated American media starting in the 1950s. Davis alleged that Wisner recruited Washington Post publisher Phil Graham to orchestrate a propaganda network, embedding CIA-friendly journalists in outlets like The New York Times, Newsweek, and CBS. Cord Meyer, a key CIA figure, was said to have taken the reins in 1951, expanding the operation’s reach. The Church Committee’s 1975-1976 investigation lent some credence to these claims, uncovering CIA ties to around 50 American journalists and covert funding of front groups like the National Student Association, exposed by Ramparts magazine in 1967. Carl Bernstein’s 1977 Rolling Stone article, "The CIA and the Media," further detailed how over 400 U.S. journalists had covertly worked with the CIA, often disseminating propaganda abroad that would then filter back to domestic audiences. the CIA admitted overreach. By 1976, under Director George H.W. Bush, the CIA publicly pledged to end paid relationships with U.S. journalists. Yet, skeptics argued the agency merely shifted tactics, maintaining influence through foreign media outlets that indirectly shaped American narratives. The line between historical fact and conspiracy theory blurred, setting the stage for modern reinterpretations of Mockingbird’s legacy. They claim. The Turning Point came in 2013 and the Smith-Mundt Modernization Act Fast forward to July 2, 2013, a date that marks a pivotal shift in the Mockingbird saga. Under President Barack Obama, the Smith-Mundt Modernization Act—embedded in the 2013 National Defense Authorization Act (NDAA)—took effect. This legislation amended the U.S. Information and Educational Exchange Act of 1948, commonly known as the Smith-Mundt Act, which had long barred government-funded broadcasters like Voice of America (VOA) and Radio Free Europe/Radio Liberty—overseen by the Broadcasting Board of Governors (now the U.S. Agency for Global Media, USAGM)—from disseminating their content domestically. The original intent was to prevent the U.S. government from propagandizing its own citizens, a safeguard rooted in post-World War II fears of authoritarian overreach. The 2013 amendment, co-sponsored by Representatives Adam Smith (D-WA) and Mac Thornberry (R-TX), lifted this restriction, allowing USAGM content to be requested and accessed by Americans. Proponents hailed it as a transparency win, arguing that taxpayers deserved to see what their dollars funded—news and programming in 61 languages, reaching over 100 countries. Critics, however, saw it as a Pandora’s box. Foreign Policy reported on July 14, 2013, that the change unleashed "thousands of hours per week of government-funded radio and TV programs for domestic U.S. consumption," raising fears of legalized propaganda. The timing was notable: it followed a decade of post-9/11 media scrutiny and preceded a surge in misinformation debates. in 2024 claimed "Operation Mockingbird never ended," tying the NDAA to a supposed CIA media takeover. No hard evidence supports a direct CIA role, but the legal shift undeniably blurred lines between foreign and domestic information flows. While the USAGM insists its mission remains outward-facing—delivering uncensored news to foreign audiences lacking free press—and that its journalists adhere to strict objectivity standards, the repeal stoked speculation. Could this be a modern resurrection of Mockingbird-style influence? The answer is yes. Most projects they say they stopped just get renamed or go black and off the books so Congress doesn't even know it exists or get access to it. Be careful what you read, who you follow, and who you get your information from. Look for patterns and scripts. They're easy to find once you understand what's really going on and their tactics and techniques. Keep asking questions, cross reference everything, do your due diligence, have multiple sources, do not buy everything at face value, go deeper, think about the bigger picture or long term goals. And always remember that there are layers, optics, and timing to everything you see. 90% of everything that comes out gets run by the intelligence agencies first. Lastly, keep fighting for the truth and and continue to help others to wake up as well.
8:02

The CIA's information war with American citizens and the operation that started it all. Project Mockingbird. This is one main aspect as to why people are so divided and brainwashed in today's society. Information has always been a crucial component to power and control. Knowledge is power, right? The only difference today from 40+ years ago is that now information flows at a rate that is absolutely mind-boggling and allows you to connect with anyone, at anytime, anywhere in the world, with real-time information 24/7 at your finger tips. So what happens when you have people who are suppose to be giving you accurate, truthful, information, and start to give you information that benefits, manipulates, and persuades the global population with mis and disinformation, protects certain corrupt people and groups by not reporting on other information, and who also lies and slanders other individuals all for the purpose to maintain power and control over the entire population, entirely on PURPOSE? You get what's called PROPAGANDA, aka, a sh*t show of so much purposeful bad and fake information, that it literally starts to persuade and mold the populations overall views and opinions on an array of various topics to fit the nefarious controllers, behind the scenes narrative or agenda. Ultimitely benefitting only them. If you take notice, these campaigns have been around for a long time, depending what side your on, your personal views and where you get your overall information will ultimately decide or be a factor of how much it has affected you or how much you are aware of the deception in the first place. Most legacy mainstream media groups are owned and operated by a small group of wealthy globalist individuals who seem to lean towards the left, and some leaning even farther left than others. These campaigns started to really pick up when Trump entered the picture in 2016. Trump was never suppose to win in the first place. Obama reinstated propaganda to be used on American citizens once again in 2013. The task to slander and attempt to destroy and imprison Trump through multiple operations and media campaigns were in full effect for the deep state to regain control of The White House. The group that these campaigns affected the most were the older groups and the younger groups. The people in the middle basically got to see both worlds play out in their lives at a crucial time period in their lives. They've seen the mainstream shift from what it once was, to an extreme lying, propaganda machine when Trump took office. The older aged crowd was so used to the regular nightly news and not as comfortable with newer technology to access alternative media sites and really just stuck with the mainstream's words and kept their faith in the MSM. Now the younger crowd literally grew up with the fully scripted, CIA, propaganda MSM because that is literally all they've ever known and haven't experienced anything else before or have anything to compare it to. Especially when your indoctrinated in a public school system that has been infiltrated itself with a majority of far-left teachers who usually end up being predators as well. That's a whole other story. The problem this CIA operation has caused was a population with people all in their own separate groups and boxes, fighting with each other over many things, instead of the people who started this mess in the first place, that aren't even true because one side has been lied to and manipulated. Brainwashed from a literal military style operation that's used to topple foreign countries during regime changes. And the worst part on top of all this is that know since Elon has started DOGE, a government efficiency operation, we are now uncovering that all these communist, Marxist, ideas, and operations and slander campaigns, and legal cases against Trump, down to these politicians luxurious lifestyles have been all funded and paid for by us, the TAXPAYERS. On the one example above, through USAID, there is proof of over $9 MILLION dollars that went to Reuters for a campaign named, " ACTIVE SOCIAL ENGINEERING DEFENSE LARGE SCALE SOCIAL DECEPTION," which is a definitive contract. There are thousands of examples just like this for all different companies, influencers, T.V. shows, Magazines, Articles, any type of media, and all of them are left leaning outlets. This has been going on for decades. Then on top off all of that, you have people who own these publishing and media companies who are not only getting paid by the taxpayers from the CIA to deceive us, but many of these owners are best friends with people like Jeffery Epstein and Ghislaine Maxell as you can also see above who is with Laurene Powell Jobs, the owner of "The Atlantic" publication, on vacation just hanging out. You wonder why the media never talks about child trafficking. Their paid to cover it up, or they're literally involved themselves... It just get's better and better. The good news is that it is now being exposed and shut down. Let's dive into the history of PROJECT MOCKINGBIRD now. The story of Project Mockingbird begins in the shadow of the Cold War, a period defined by ideological warfare between the United States and the Soviet Union. In the early 1960s, the Central Intelligence Agency (CIA), under the leadership of Director John McCone, launched a covert operation codenamed "Project Mockingbird." Unlike the broader, alleged "Operation Mockingbird" often cited in conspiracy circles as a sprawling media manipulation scheme, the historical Project Mockingbird was a specific, documented wiretapping effort aimed at curbing leaks of classified information. Initiated on March 12, 1963, and concluding on June 15, 1963, Project Mockingbird targeted two Washington-based journalists, Robert S. Allen and Paul J. Scott, who wrote the syndicated "Allen-Scott Report." These columnists had a knack for publishing articles laced with highly classified CIA details—information so sensitive it included Top Secret and Special Intelligence data. Their scoops, often sourced from government insiders, rattled the Kennedy administration, particularly after a July 26, 1962, New York Times article by Hanson Baldwin exposed details of a National Intelligence Estimate comparing U.S. and Soviet nuclear arsenals. President John F. Kennedy, incensed by such leaks, sought to plug the holes. The operation was a collaborative effort, greenlit by Attorney General Robert F. Kennedy, Secretary of Defense Robert McNamara, and Director of the Defense Intelligence Agency Joseph Carroll. The CIA’s Office of Security, led by Sheffield Edwards, executed the wiretapping, monitoring the journalists’ home and office phones. The surveillance results identified congressional sources, including then-Speaker of the House John McCormack, who spoke with Scott on March 26, 1963. The "Family Jewels"—a 1973 CIA document declassified in 2007—later exposed this operation, revealing its scope and raising questions about its legality. Daniel L. Pines, a CIA Assistant General Counsel, argued in a 2009 Indiana Law Journal review that the wiretapping likely violated legal bounds, as its primary aim was to trace leaks rather than gather foreign intelligence. This historical Project Mockingbird, though limited in duration and scope, planted a seed of distrust between the government, the press, and the public—a seed that would grow into a broader narrative of media manipulation. From Wiretaps to Media Empire While Project Mockingbird of 1963 was a discrete surveillance effort, it became conflated with a larger CIA program dubbed "Operation Mockingbird." This narrative emerged most prominently in Deborah Davis’s 1979 book, Katharine the Great, which claimed that the CIA, under Frank Wisner of the Office of Policy Coordination, had systematically infiltrated American media starting in the 1950s. Davis alleged that Wisner recruited Washington Post publisher Phil Graham to orchestrate a propaganda network, embedding CIA-friendly journalists in outlets like The New York Times, Newsweek, and CBS. Cord Meyer, a key CIA figure, was said to have taken the reins in 1951, expanding the operation’s reach. The Church Committee’s 1975-1976 investigation lent some credence to these claims, uncovering CIA ties to around 50 American journalists and covert funding of front groups like the National Student Association, exposed by Ramparts magazine in 1967. Carl Bernstein’s 1977 Rolling Stone article, "The CIA and the Media," further detailed how over 400 U.S. journalists had covertly worked with the CIA, often disseminating propaganda abroad that would then filter back to domestic audiences. the CIA admitted overreach. By 1976, under Director George H.W. Bush, the CIA publicly pledged to end paid relationships with U.S. journalists. Yet, skeptics argued the agency merely shifted tactics, maintaining influence through foreign media outlets that indirectly shaped American narratives. The line between historical fact and conspiracy theory blurred, setting the stage for modern reinterpretations of Mockingbird’s legacy. They claim. The Turning Point came in 2013 and the Smith-Mundt Modernization Act Fast forward to July 2, 2013, a date that marks a pivotal shift in the Mockingbird saga. Under President Barack Obama, the Smith-Mundt Modernization Act—embedded in the 2013 National Defense Authorization Act (NDAA)—took effect. This legislation amended the U.S. Information and Educational Exchange Act of 1948, commonly known as the Smith-Mundt Act, which had long barred government-funded broadcasters like Voice of America (VOA) and Radio Free Europe/Radio Liberty—overseen by the Broadcasting Board of Governors (now the U.S. Agency for Global Media, USAGM)—from disseminating their content domestically. The original intent was to prevent the U.S. government from propagandizing its own citizens, a safeguard rooted in post-World War II fears of authoritarian overreach. The 2013 amendment, co-sponsored by Representatives Adam Smith (D-WA) and Mac Thornberry (R-TX), lifted this restriction, allowing USAGM content to be requested and accessed by Americans. Proponents hailed it as a transparency win, arguing that taxpayers deserved to see what their dollars funded—news and programming in 61 languages, reaching over 100 countries. Critics, however, saw it as a Pandora’s box. Foreign Policy reported on July 14, 2013, that the change unleashed "thousands of hours per week of government-funded radio and TV programs for domestic U.S. consumption," raising fears of legalized propaganda. The timing was notable: it followed a decade of post-9/11 media scrutiny and preceded a surge in misinformation debates. in 2024 claimed "Operation Mockingbird never ended," tying the NDAA to a supposed CIA media takeover. No hard evidence supports a direct CIA role, but the legal shift undeniably blurred lines between foreign and domestic information flows. While the USAGM insists its mission remains outward-facing—delivering uncensored news to foreign audiences lacking free press—and that its journalists adhere to strict objectivity standards, the repeal stoked speculation. Could this be a modern resurrection of Mockingbird-style influence? The answer is yes. Most projects they say they stopped just get renamed or go black and off the books so Congress doesn't even know it exists or get access to it. Be careful what you read, who you follow, and who you get your information from. Look for patterns and scripts. They're easy to find once you understand what's really going on and their tactics and techniques. Keep asking questions, cross reference everything, do your due diligence, have multiple sources, do not buy everything at face value, go deeper, think about the bigger picture or long term goals. And always remember that there are layers, optics, and timing to everything you see. 90% of everything that comes out gets run by the intelligence agencies first. Lastly, keep fighting for the truth and and continue to help others to wake up as well.

The SCIF

82,994 次观看 • 1 年前

We’re often told Western societies are experiencing conditions reminiscent of the German Weimar Republic. But what exactly was the German Weimar Republic? I’d like to explain the republic…and its incredible levels of debauchery, meaninglessness, sex, drugs, and—of course—Jews. “The decay of moral values in all areas of life—the period of deepest German degradation—coincided exactly with the height of Jewish power in Germany.” -Karl Wiehe Background The Weimar Republic is the unofficial name—that was popularized by Adolf Hitler—of the German nation-state that existed from November of 1918 to March of 1933. It was named for the city of Weimar, Germany where the constitutional assembly that established the new German republic met. The official name of the republic was the German Reich. The Weimar Republic was established after Germany’s loss in WWI. Germany was forced under the Treaty of Versailles to accept “full responsibility” for the war and pay the debts of all the allied countries. Being forced to pay these massive debts devastated the German economy and skyrocketed inflation, unemployment, and suicide within Germany. At one point 40% of Germans were unemployed and many were homeless. In 1932, the German suicide rate was more than three times that of Great Britain and in one two-year period, Germany had more suicides than there had been deaths of American soldiers in all of WWI. The German currency became the most worthless currency in Europe. A loaf of bread in Berlin that cost around 160 German Marks at the end of 1922, cost 200,000,000,000 German Marks by late 1923. The German peoples’ life savings and purchasing power had melted away over the course of a few months. With a single US dollar being worth 4,210,500,000,000 German Marks by November of 1923, foreign currencies had much greater buying power in Germany. So naturally, foreigners flocked to Germany to take advantage of the cheap prices. With these foreigners arriving en masse, Germans desperate for work turned to one of primary industries the foreigners flocked to Germany for: the sex industry. Sex and Drugs Germans began flocking to urban hubs in search of work, and no urban hub was more popular than Berlin. Prostitution in Berlin wasn’t explicitly legal but existed in a kind of legal gray area where certain aspects of the sex trade were regulated while others remained unregulated. However, enforcement of any laws restricting prostitution was lax to non-existent. On any given night up to 100,000 prostitutes would line the streets of Berlin. Every type of prostitute was available: midgets, pregnant prostitutes who lined up on the street according to how pregnant they were, prostitutes that purposefully tried to be ugly, prostitutes with acid-scarred faces, prostitutes with missing limbs, mother and daughter prostitute pairs, dominatrixes, even hunchback prostitutes. Interracial, inter-generational, forced or abusive sex acts were all available for the right price. There was also a large male prostitution industry and homosexual men from across Europe came to Germany to pay for homosexual sex. And unlike most cities, Berlin boasted having not a single red-light district—but multiple. Child prostitutes were bought and sold in Weimar Berlin in a booming industry. Advertisements for child prostitutes were even placed in German magazines and newspapers. A person could order a child, or any other type of prostitute for that matter, over the phone and have them a few short minutes later. British historian Sir Arthur Bryant describes throngs of child prostitutes outside the doors of the great Berlin hotels and restaurants. Bryant adds, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” There were homosexual, lesbian, and even transsexual bars where, occasionally, public masturbation and orgies took place. These homosexual bars weren’t isolated or rare one-off outliers either, there were over 50 lesbian bars in Berlin and around 100 homosexual bars total. Drag shows and cross dressing were commonplace in these bars. Sexual acts involving torture or acts bringing a victim close to death, or even—in some instances—to death were performed in Weimar Germany (called Lustmord). As often happens when violent sexual perversions arise, so too do serial killers playing out their fetishes in reality. I refuse to name serial killers in my writings because I think it glorifies them, but you can look them up yourself. German Newspapers devoted entire sections to the violent sexual crimes of these serial killers and fictional accounts of murders sold very well on German book stands. Serial Killers had a romanticized lore around them, similar to what we see in western society today. Alongside prostitution and homosexual clubs, porn also enjoyed a golden age during the Weimar Republic. Like prostitution, porn existed in a kind of legal gray area where enforcement of any regulations on it were lax to non-existent. Images could be purchased under-the-counter at most street media kiosks. According to one report there were as many as 30 homosexual publications on any given Berlin media kiosk. Above all, pornography featuring models who bore a resemblance to the biggest movie stars of the day, such as Marlene Dietrich or Greta Garbo, were in the highest demand. Fashion began to blur the lines between masculine and feminine. The female image began to experiment with a more strong-willed independent tone and some women began to dress in masculine clothing. Similarly, male fashion began to experiment with feminization and cross-dressing amongst men began to rise. Berlin’s women began to question the need for a man in their lives at all and many Berlin women had no desire to start or raise a family. Drug use in the Weimar Republic also ran rampant and Berlin gained a reputation as a drug dealing hub around Germany and Europe. Cocaine was the most popular drug in the Weimar Republic and only required a simple prescription from a doctor. That said, opium (a predecessor to heroin), morphine and amphetamines were all readily available and extensively used as well. The drug usage was so pervasive there was even experimentation with using drugs for “scientific” sexual purposes. One of the chief “scientists” behind this experimentation with sex was a man named Magnus Hirshfeld. Magnus Hirschfeld was a homosexual Jew and one of the thought leaders behind the sexual debauchery overtaking Berlin. Hirschfeld had founded political organizations that fought for the rights of homosexuals in Germany well before the Weimar era and as far back as 1896. He led the campaign to overturn a statue of German Law called Paragraph 175 which forbid homosexuality in Germany. Hirschfeld would later go on to write a 1914 book called The Homosexuality of Men and Women in which he attempted to prove homosexuality occurred in every society around the world. Hirschfeld’s crowning achievement of debauchery, however, occurred in July of 1919 when he opened The Institute of Sexual Research (Institut für Sexualwissenschaft) in Berlin. The institute’s stated purpose was to establish the sexual sciences…and establish the sexual sciences the institute did. It was at the Institute of Sexual Research where the initial rubric for the innumerable genders we see in leftism today originated. At the institute, Hirschfeld developed a system which categorized 64 possible types of sexual intermediary (aka genders) and it was Hirschfeld who coined the term transvestite in 1910 and the term transsexual in 1923. The institute even performed sex re-assignment surgery. The Institute of Sexual Research also housed a large library for any and all homosexual, transsexual, and erotic literature. The institute had places for homosexuals to stay overnight as well as some of the first counseling services specifically tailored to homosexuals. Homosexual-specific medical services were provided in the institute as well. The institute also housed the Museum of Sex, an educational resource for the public, which was reported to have been visited by school classes. I think the writer Luigi Barzini most succinctly summarized the rampant debauchery that was Weimar Berlin when he said: “I saw pimps offering anything to anybody: little boys, little girls, robust young men, libidinous women, animals. The story went the rounds that a male goose whose neck you cut at just the right ecstatic moment would give you the most delicious frisson of all—as it allowed you to enjoy sod*my, bestiality, homosexuality, necrophilia, and sadism at one stroke.” A debaucherous infestation had overtaken Berlin and nowhere was that more evident than in the arts. Art, Music, and Film Art, music, and film in Berlin were overtaken by the sexual revolution and a move toward a Jewish-influenced anti-authoritarianism as well. The Berlin film industry started releasing risqué and homosexual films. The world’s first known homosexual film—Anders als die Andern (1919)—came out in Berlin during the Weimar era and is the story a man falling in love with one of his male violin students. This film was written by and featured none other than Magnus Hirschfeld himself. Another film called Mädchen in Uniform (1931) is about a schoolgirl who falls in love with her female teacher. The two commence a forbidden love and eventually even share an on-screen lesbian kiss on the mouth. The film ends when this lesbian love is exposed and the protagonist attempts suicide. German expressionist cinema also came to prominence in the Weimar Republic. This form of cinema emphasized depicting the artist's inner emotions (no matter how crude those emotions may be) rather than attempting to replicate reality. Two of the three key figures for the German expressionist movement were the Jews Fritz Lang and Robert Wiene. The expressionist film Metropolis was one of the biggest films of the Weimar era. Metropolis’ content is emblematic of the anti-authoritarian and communist messages of German expressionist cinema. The film takes place in a futuristic city where a beautiful and cultured utopia exists above a bleak underworld populated by mistreated workers. When a privileged young man discovers the grim scene under the city, he becomes intent on helping the workers. He befriends a rebellious teacher which puts him at odds with his authoritative father. The film was directed the Jew Fritz Lang and produced by the Jew Erich Pommer. The credits of the films of the Berlin movie industry were also littered with Jews. In fact, in 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jews. In the art scene, a thoroughly anti-authoritarian and communist movement called Dada arose. The Dadaist movement was comprised of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works. Dadaist works opposed any type of authority and made fun of far-right figures, including Hitler himself. According to Wikipedia, some sources claim the Dadaist movement was founded by a group of Jewish modernist artists. In music, one of the most popular singers of the day was a woman who was largely regarded as “the first official lesbian of Berlin” named Claire Waldoff. Waldoff dressed masculine and made no secret of her sexuality while actively trying to convert other culturally important women to become lesbian. One culturally important woman Waldoff succeeded in converting to bisexuality was one of the biggest movie stars in the world, Marlene Dietrich. Marlene was famous for pushing social norms and sometimes wore a tuxedo, helping to erode the image of traditionally masculine and traditionally feminine roles. Marlene credits Clarie Waldoff as “introducing her to lesbian love”. Marlene Deitrich was openly bisexual and an icon for homosexual women around the world when no other homosexual icons existed. One newspaper dubbed Dietrich “perhaps the busiest and most passionate bisexual in theatrical Berlin.” Anita Berber was one of the most popular nude dancers of the Weimar Republic and danced to songs with titles like, suicide, morphiem, and mad house. One of her husbands was also openly homosexual. In one famous story about Anita, she was being ignored by one of the tables she was dancing for, so she went over to the table, stood on top of it, and started peeing on the table while drinking their champagne. What a gal… Architecture One aesthetic element that I think tends to be overlooked in most writings on social decay is architecture. It should come as no surprise that the principal architecture movement of the Weimar Republic—called expressionist architecture—also took a turn from an aesthetic focused on beauty and perfection toward an aesthetic that focused on “distortion of form to create an emotional effect”. This is architecture that’s generally perceived as hideous or repulsive. I’d also argue there’s a larger psychological component to this expressionist architecture. This ugly architecture contributes to social decay by glorifying the more disgusting elements of society and humanity. It subconsciously undermines the idea that society should strive for perfection and instead is a call to accept society’s more heinous elements. This repulsive architecture is, in my view, anti-authoritarian and destructive to social norms. Two of the key architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. Jews One of the key factors in Hitler’s rise to power was his opposition of the Jewish influence inside Berlin. As such, this article would be incomplete without looking at the Jewish influence that existed inside Berlin or—possibly more importantly—the German public’s perception of the Jewish influence inside Berlin. Here are some of the figures I think best illustrate the Jewish over-representation in the Weimar Republic. All these figures should be viewed in consideration of this fact: Jews made up less than 1% (.09%) of the German population in the years of the Weimar Republic. In my opinion, these figures are staggering primarily because of the Jews’ immense over-representation in major positions of power within German society. Politics • The author of the 1919 German constitution was the Jew Hugo Preuss. • One quarter of the members of the 8-person Council of the People's Deputies that established the Weimar Republic were Jews (Otto Landesberg and Hugo Haase). • The main competing faction against the official Weimar government was headed by the Jew Kurt Eisner. • The SPD (Social Democratic Party of Germany) was the political party that primarily ran the Weimar Republic. 22% of the entirety of the SPD were Jews. • The SPD’s main political theorist was a Jew: Eduard Bernstein • Two of the political thinkers most respected by the SPD were Jews: Ferdinand Lassalle, Leopold Sonnemann. • SPD's “foremost theoretician of this century” was the Jew Rudolf Hilferding. • SPD Key Figure, industrialist, and political thinker Walther Rathenau was a Jew. • The Vice President of the Berlin Police was the jew Bernhard Weiss. • In the first Weimar administration Vice Chancellor Eugen Schiffer was Jewish as was Weimar Interior Minister Erich Koch-Weser. • 15% of the members of the Reichstag (German Parliament) were Jewish. • A large number of the members of the political elite of the Weimar Republic were Jews: Rosa Luxemburg, Paul Levi, Ernst Toller, Erich Muhsam, Gustav Landauer, Eugen Levine, and Karl Radek. The Press • The Ullstein Press was the publisher of many of the largest German newspapers and was owned by the Jew Leopold Ullstein. • The Berliner Iliustrirte Zeitung was one of the largest German newspapers. It was Published by the Ullstein Press and its chief editor was the Jew Kurt Korff. • The Vossische Zeitung was another of the largest German newspapers and was published by the Ullstein Press. Its chief editor was the Jew Georg Bernhard. • Another of the othe r largest newspaper publishers was the Jew Rudolf Mosse. • The Berliner Tageblatt was the largest of Rudolf Mosse’s newspapers and its chief editor was the Jew Theodor Wolff • Editor-in-chief of the SPD’s party paper Vorwärts was the Jew Friedrich Stampfer The Arts • The Jew Erich Pommer was a German-born film producer and executive. According to Wikipedia, “Pommer was perhaps the most powerful person in the German and European film industries in the 1920s and early 1930s.” • In 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jewish writers. • Two of the three key figures for the largest film movement of the Weimar era—the German expressionist movement—were the Jews Fritz Lang and Robert Wiene. • Two of the key Architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. • Some of the most influential producers, directors, & actors in Weimar cinema were Jews as well to name a few: Paul Davidson, Joseph Mandel, Jules Greenbaum, Max Reinhardt, Josef Von Sternberg, Fritz Kohn, Otto Wallburg, Peter Lowenstein. • To conclude the arts, some claim the anti-authoritarian and thoroughly communist Dadaist movement was founded by a group of Jewish modernist artists. Sex • Magnus Hirschfeld was Jewish. He was dubbed "the Einstein of Sex". He was president of World League of Sexual Reform and of course, founder of the Institute for Sexual Research. • Ivan Bloch was Jewish and is often called the "first Sexologist". • As quoted by Sir Arthur Bryant earlier, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” Other notable Jewish over-representations: (**Please Note** these next five bullet points are not official numbers and are from a NSDAP piece that was distributed in Weimar Germany. I'm including them because although I can't be completely sure of their accuracy, I think they most likely do generally represent the amalgamations of Jewish power in Weimar society. And, at the very least, these numbers represent the German public’s perception of Jewish amalgamations of power in Weimar society): • 56% of notaries were Jews. • 52% of doctors were Jews. • 45% of Hospital Directors were Jews. • 48% of lawyers were Jews. • 35% of dentists were Jews. One last note on the Jews of the Weimar Republic. I included a link with more detail below, but many Weimar Jews actively tried to conceal their Jewish identity and even went so far as bragging to other Jews when gentiles were unable to identify them. This is one of the reasons that, to this day, it’s somewhat difficult to identify who the Jews of the Weimar Republic were. What this means is that, although the identity of every Jew I list is verified, there are undoubtedly other prominent and non-prominent Jews I was unable to identify. The provided list should not be viewed as wholly representative of the Jewish influence within Weimar Germany. But even just considering the provided list, you can see the Jewish influence was substantial for a race of people comprising less than 1% of the total German population. This Jewish over-representation is even more substantial when you consider that many of these Jewish amalgamations of over-representation occurred within many of Germany’s most important social, political, and economic institutions. The Weimar Republic was often referred to as the "Juden Republic" (Jew's Republic) by Germans. I think it's easy to see why... Enter the National Socialists After Hitler’s rise to power in 1933, Goebbels and the Brownshirts began shutting down the homosexual dive bars that had risen to prominence during the Weimar Republic. They made one of the most popular homosexual bars in Berlin their headquarters after shutting it down. They pillaged Magnus Hirschfeld’s Institute for Sexual Research and Hirschfeld’s books on transsexual ideology were some of the first books the National Socialists burned. From Wikipedia itself, the books the National Socialists burned were: • Writings on sexuality and sexual education which serve the egocentric pleasure of the individual and thus, destroy the principles of race and Volk. • Pornography and explicit literature. • Pacifist literature. • All books degrading German purity. • Literature by Jewish authors, regardless of the field. • Popular entertainment literature that depicts life and life's goals in a superficial, unrealistic and sickly sweet manner, based on a bourgeois or upper class view of life. • The works of traitors, emigrants and authors from foreign countries who believe they can attack and denigrate the new Germany. • The literature of Marxism, Communism and Bolshevism. • Literature with liberal, democratic tendencies and attitudes, and writings supporting the Weimar Republic. • Books that advocate "art" which is decadent, bloodless, or purely constructivist. • The decadent, destructive and Volk-damaging writings of "Asphalt and Civilization" literati • Patriotic kitsch in literature. • All historical writings whose purpose is to denigrate the origin, the spirit and the culture of the German Volk, or to dissolve the racial and structural order of the Volk, or that denies the force and importance of leading historical figures in favor of egalitarianism and the masses, and which seeks to drag them through the mud. Very quickly after Hitler’s rise to power in 1933, the chief purveyors of the degeneracy that had overtaken Berlin would leave the city and National Socialist Germany would rise from its ashes. The rest—as they say—is history. (Sources and further reading in the comments below)
28:45

We’re often told Western societies are experiencing conditions reminiscent of the German Weimar Republic. But what exactly was the German Weimar Republic? I’d like to explain the republic…and its incredible levels of debauchery, meaninglessness, sex, drugs, and—of course—Jews. “The decay of moral values in all areas of life—the period of deepest German degradation—coincided exactly with the height of Jewish power in Germany.” -Karl Wiehe Background The Weimar Republic is the unofficial name—that was popularized by Adolf Hitler—of the German nation-state that existed from November of 1918 to March of 1933. It was named for the city of Weimar, Germany where the constitutional assembly that established the new German republic met. The official name of the republic was the German Reich. The Weimar Republic was established after Germany’s loss in WWI. Germany was forced under the Treaty of Versailles to accept “full responsibility” for the war and pay the debts of all the allied countries. Being forced to pay these massive debts devastated the German economy and skyrocketed inflation, unemployment, and suicide within Germany. At one point 40% of Germans were unemployed and many were homeless. In 1932, the German suicide rate was more than three times that of Great Britain and in one two-year period, Germany had more suicides than there had been deaths of American soldiers in all of WWI. The German currency became the most worthless currency in Europe. A loaf of bread in Berlin that cost around 160 German Marks at the end of 1922, cost 200,000,000,000 German Marks by late 1923. The German peoples’ life savings and purchasing power had melted away over the course of a few months. With a single US dollar being worth 4,210,500,000,000 German Marks by November of 1923, foreign currencies had much greater buying power in Germany. So naturally, foreigners flocked to Germany to take advantage of the cheap prices. With these foreigners arriving en masse, Germans desperate for work turned to one of primary industries the foreigners flocked to Germany for: the sex industry. Sex and Drugs Germans began flocking to urban hubs in search of work, and no urban hub was more popular than Berlin. Prostitution in Berlin wasn’t explicitly legal but existed in a kind of legal gray area where certain aspects of the sex trade were regulated while others remained unregulated. However, enforcement of any laws restricting prostitution was lax to non-existent. On any given night up to 100,000 prostitutes would line the streets of Berlin. Every type of prostitute was available: midgets, pregnant prostitutes who lined up on the street according to how pregnant they were, prostitutes that purposefully tried to be ugly, prostitutes with acid-scarred faces, prostitutes with missing limbs, mother and daughter prostitute pairs, dominatrixes, even hunchback prostitutes. Interracial, inter-generational, forced or abusive sex acts were all available for the right price. There was also a large male prostitution industry and homosexual men from across Europe came to Germany to pay for homosexual sex. And unlike most cities, Berlin boasted having not a single red-light district—but multiple. Child prostitutes were bought and sold in Weimar Berlin in a booming industry. Advertisements for child prostitutes were even placed in German magazines and newspapers. A person could order a child, or any other type of prostitute for that matter, over the phone and have them a few short minutes later. British historian Sir Arthur Bryant describes throngs of child prostitutes outside the doors of the great Berlin hotels and restaurants. Bryant adds, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” There were homosexual, lesbian, and even transsexual bars where, occasionally, public masturbation and orgies took place. These homosexual bars weren’t isolated or rare one-off outliers either, there were over 50 lesbian bars in Berlin and around 100 homosexual bars total. Drag shows and cross dressing were commonplace in these bars. Sexual acts involving torture or acts bringing a victim close to death, or even—in some instances—to death were performed in Weimar Germany (called Lustmord). As often happens when violent sexual perversions arise, so too do serial killers playing out their fetishes in reality. I refuse to name serial killers in my writings because I think it glorifies them, but you can look them up yourself. German Newspapers devoted entire sections to the violent sexual crimes of these serial killers and fictional accounts of murders sold very well on German book stands. Serial Killers had a romanticized lore around them, similar to what we see in western society today. Alongside prostitution and homosexual clubs, porn also enjoyed a golden age during the Weimar Republic. Like prostitution, porn existed in a kind of legal gray area where enforcement of any regulations on it were lax to non-existent. Images could be purchased under-the-counter at most street media kiosks. According to one report there were as many as 30 homosexual publications on any given Berlin media kiosk. Above all, pornography featuring models who bore a resemblance to the biggest movie stars of the day, such as Marlene Dietrich or Greta Garbo, were in the highest demand. Fashion began to blur the lines between masculine and feminine. The female image began to experiment with a more strong-willed independent tone and some women began to dress in masculine clothing. Similarly, male fashion began to experiment with feminization and cross-dressing amongst men began to rise. Berlin’s women began to question the need for a man in their lives at all and many Berlin women had no desire to start or raise a family. Drug use in the Weimar Republic also ran rampant and Berlin gained a reputation as a drug dealing hub around Germany and Europe. Cocaine was the most popular drug in the Weimar Republic and only required a simple prescription from a doctor. That said, opium (a predecessor to heroin), morphine and amphetamines were all readily available and extensively used as well. The drug usage was so pervasive there was even experimentation with using drugs for “scientific” sexual purposes. One of the chief “scientists” behind this experimentation with sex was a man named Magnus Hirshfeld. Magnus Hirschfeld was a homosexual Jew and one of the thought leaders behind the sexual debauchery overtaking Berlin. Hirschfeld had founded political organizations that fought for the rights of homosexuals in Germany well before the Weimar era and as far back as 1896. He led the campaign to overturn a statue of German Law called Paragraph 175 which forbid homosexuality in Germany. Hirschfeld would later go on to write a 1914 book called The Homosexuality of Men and Women in which he attempted to prove homosexuality occurred in every society around the world. Hirschfeld’s crowning achievement of debauchery, however, occurred in July of 1919 when he opened The Institute of Sexual Research (Institut für Sexualwissenschaft) in Berlin. The institute’s stated purpose was to establish the sexual sciences…and establish the sexual sciences the institute did. It was at the Institute of Sexual Research where the initial rubric for the innumerable genders we see in leftism today originated. At the institute, Hirschfeld developed a system which categorized 64 possible types of sexual intermediary (aka genders) and it was Hirschfeld who coined the term transvestite in 1910 and the term transsexual in 1923. The institute even performed sex re-assignment surgery. The Institute of Sexual Research also housed a large library for any and all homosexual, transsexual, and erotic literature. The institute had places for homosexuals to stay overnight as well as some of the first counseling services specifically tailored to homosexuals. Homosexual-specific medical services were provided in the institute as well. The institute also housed the Museum of Sex, an educational resource for the public, which was reported to have been visited by school classes. I think the writer Luigi Barzini most succinctly summarized the rampant debauchery that was Weimar Berlin when he said: “I saw pimps offering anything to anybody: little boys, little girls, robust young men, libidinous women, animals. The story went the rounds that a male goose whose neck you cut at just the right ecstatic moment would give you the most delicious frisson of all—as it allowed you to enjoy sod*my, bestiality, homosexuality, necrophilia, and sadism at one stroke.” A debaucherous infestation had overtaken Berlin and nowhere was that more evident than in the arts. Art, Music, and Film Art, music, and film in Berlin were overtaken by the sexual revolution and a move toward a Jewish-influenced anti-authoritarianism as well. The Berlin film industry started releasing risqué and homosexual films. The world’s first known homosexual film—Anders als die Andern (1919)—came out in Berlin during the Weimar era and is the story a man falling in love with one of his male violin students. This film was written by and featured none other than Magnus Hirschfeld himself. Another film called Mädchen in Uniform (1931) is about a schoolgirl who falls in love with her female teacher. The two commence a forbidden love and eventually even share an on-screen lesbian kiss on the mouth. The film ends when this lesbian love is exposed and the protagonist attempts suicide. German expressionist cinema also came to prominence in the Weimar Republic. This form of cinema emphasized depicting the artist's inner emotions (no matter how crude those emotions may be) rather than attempting to replicate reality. Two of the three key figures for the German expressionist movement were the Jews Fritz Lang and Robert Wiene. The expressionist film Metropolis was one of the biggest films of the Weimar era. Metropolis’ content is emblematic of the anti-authoritarian and communist messages of German expressionist cinema. The film takes place in a futuristic city where a beautiful and cultured utopia exists above a bleak underworld populated by mistreated workers. When a privileged young man discovers the grim scene under the city, he becomes intent on helping the workers. He befriends a rebellious teacher which puts him at odds with his authoritative father. The film was directed the Jew Fritz Lang and produced by the Jew Erich Pommer. The credits of the films of the Berlin movie industry were also littered with Jews. In fact, in 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jews. In the art scene, a thoroughly anti-authoritarian and communist movement called Dada arose. The Dadaist movement was comprised of artists who rejected the logic, reason, and aestheticism of modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works. Dadaist works opposed any type of authority and made fun of far-right figures, including Hitler himself. According to Wikipedia, some sources claim the Dadaist movement was founded by a group of Jewish modernist artists. In music, one of the most popular singers of the day was a woman who was largely regarded as “the first official lesbian of Berlin” named Claire Waldoff. Waldoff dressed masculine and made no secret of her sexuality while actively trying to convert other culturally important women to become lesbian. One culturally important woman Waldoff succeeded in converting to bisexuality was one of the biggest movie stars in the world, Marlene Dietrich. Marlene was famous for pushing social norms and sometimes wore a tuxedo, helping to erode the image of traditionally masculine and traditionally feminine roles. Marlene credits Clarie Waldoff as “introducing her to lesbian love”. Marlene Deitrich was openly bisexual and an icon for homosexual women around the world when no other homosexual icons existed. One newspaper dubbed Dietrich “perhaps the busiest and most passionate bisexual in theatrical Berlin.” Anita Berber was one of the most popular nude dancers of the Weimar Republic and danced to songs with titles like, suicide, morphiem, and mad house. One of her husbands was also openly homosexual. In one famous story about Anita, she was being ignored by one of the tables she was dancing for, so she went over to the table, stood on top of it, and started peeing on the table while drinking their champagne. What a gal… Architecture One aesthetic element that I think tends to be overlooked in most writings on social decay is architecture. It should come as no surprise that the principal architecture movement of the Weimar Republic—called expressionist architecture—also took a turn from an aesthetic focused on beauty and perfection toward an aesthetic that focused on “distortion of form to create an emotional effect”. This is architecture that’s generally perceived as hideous or repulsive. I’d also argue there’s a larger psychological component to this expressionist architecture. This ugly architecture contributes to social decay by glorifying the more disgusting elements of society and humanity. It subconsciously undermines the idea that society should strive for perfection and instead is a call to accept society’s more heinous elements. This repulsive architecture is, in my view, anti-authoritarian and destructive to social norms. Two of the key architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. Jews One of the key factors in Hitler’s rise to power was his opposition of the Jewish influence inside Berlin. As such, this article would be incomplete without looking at the Jewish influence that existed inside Berlin or—possibly more importantly—the German public’s perception of the Jewish influence inside Berlin. Here are some of the figures I think best illustrate the Jewish over-representation in the Weimar Republic. All these figures should be viewed in consideration of this fact: Jews made up less than 1% (.09%) of the German population in the years of the Weimar Republic. In my opinion, these figures are staggering primarily because of the Jews’ immense over-representation in major positions of power within German society. Politics • The author of the 1919 German constitution was the Jew Hugo Preuss. • One quarter of the members of the 8-person Council of the People's Deputies that established the Weimar Republic were Jews (Otto Landesberg and Hugo Haase). • The main competing faction against the official Weimar government was headed by the Jew Kurt Eisner. • The SPD (Social Democratic Party of Germany) was the political party that primarily ran the Weimar Republic. 22% of the entirety of the SPD were Jews. • The SPD’s main political theorist was a Jew: Eduard Bernstein • Two of the political thinkers most respected by the SPD were Jews: Ferdinand Lassalle, Leopold Sonnemann. • SPD's “foremost theoretician of this century” was the Jew Rudolf Hilferding. • SPD Key Figure, industrialist, and political thinker Walther Rathenau was a Jew. • The Vice President of the Berlin Police was the jew Bernhard Weiss. • In the first Weimar administration Vice Chancellor Eugen Schiffer was Jewish as was Weimar Interior Minister Erich Koch-Weser. • 15% of the members of the Reichstag (German Parliament) were Jewish. • A large number of the members of the political elite of the Weimar Republic were Jews: Rosa Luxemburg, Paul Levi, Ernst Toller, Erich Muhsam, Gustav Landauer, Eugen Levine, and Karl Radek. The Press • The Ullstein Press was the publisher of many of the largest German newspapers and was owned by the Jew Leopold Ullstein. • The Berliner Iliustrirte Zeitung was one of the largest German newspapers. It was Published by the Ullstein Press and its chief editor was the Jew Kurt Korff. • The Vossische Zeitung was another of the largest German newspapers and was published by the Ullstein Press. Its chief editor was the Jew Georg Bernhard. • Another of the othe r largest newspaper publishers was the Jew Rudolf Mosse. • The Berliner Tageblatt was the largest of Rudolf Mosse’s newspapers and its chief editor was the Jew Theodor Wolff • Editor-in-chief of the SPD’s party paper Vorwärts was the Jew Friedrich Stampfer The Arts • The Jew Erich Pommer was a German-born film producer and executive. According to Wikipedia, “Pommer was perhaps the most powerful person in the German and European film industries in the 1920s and early 1930s.” • In 1931, over 60 percent of German films were produced by Jews and 82 percent of film scripts were written by Jewish writers. • Two of the three key figures for the largest film movement of the Weimar era—the German expressionist movement—were the Jews Fritz Lang and Robert Wiene. • Two of the key Architects of the expressionist architecture movement were the Jews Bruno Taut and Erich Mendelsohn. • Some of the most influential producers, directors, & actors in Weimar cinema were Jews as well to name a few: Paul Davidson, Joseph Mandel, Jules Greenbaum, Max Reinhardt, Josef Von Sternberg, Fritz Kohn, Otto Wallburg, Peter Lowenstein. • To conclude the arts, some claim the anti-authoritarian and thoroughly communist Dadaist movement was founded by a group of Jewish modernist artists. Sex • Magnus Hirschfeld was Jewish. He was dubbed "the Einstein of Sex". He was president of World League of Sexual Reform and of course, founder of the Institute for Sexual Research. • Ivan Bloch was Jewish and is often called the "first Sexologist". • As quoted by Sir Arthur Bryant earlier, “most of them—the night clubs and vice resorts—were owned and managed by Jews. And it was the Jews among the promoters of this trade who were remembered in after years.” Other notable Jewish over-representations: (**Please Note** these next five bullet points are not official numbers and are from a NSDAP piece that was distributed in Weimar Germany. I'm including them because although I can't be completely sure of their accuracy, I think they most likely do generally represent the amalgamations of Jewish power in Weimar society. And, at the very least, these numbers represent the German public’s perception of Jewish amalgamations of power in Weimar society): • 56% of notaries were Jews. • 52% of doctors were Jews. • 45% of Hospital Directors were Jews. • 48% of lawyers were Jews. • 35% of dentists were Jews. One last note on the Jews of the Weimar Republic. I included a link with more detail below, but many Weimar Jews actively tried to conceal their Jewish identity and even went so far as bragging to other Jews when gentiles were unable to identify them. This is one of the reasons that, to this day, it’s somewhat difficult to identify who the Jews of the Weimar Republic were. What this means is that, although the identity of every Jew I list is verified, there are undoubtedly other prominent and non-prominent Jews I was unable to identify. The provided list should not be viewed as wholly representative of the Jewish influence within Weimar Germany. But even just considering the provided list, you can see the Jewish influence was substantial for a race of people comprising less than 1% of the total German population. This Jewish over-representation is even more substantial when you consider that many of these Jewish amalgamations of over-representation occurred within many of Germany’s most important social, political, and economic institutions. The Weimar Republic was often referred to as the "Juden Republic" (Jew's Republic) by Germans. I think it's easy to see why... Enter the National Socialists After Hitler’s rise to power in 1933, Goebbels and the Brownshirts began shutting down the homosexual dive bars that had risen to prominence during the Weimar Republic. They made one of the most popular homosexual bars in Berlin their headquarters after shutting it down. They pillaged Magnus Hirschfeld’s Institute for Sexual Research and Hirschfeld’s books on transsexual ideology were some of the first books the National Socialists burned. From Wikipedia itself, the books the National Socialists burned were: • Writings on sexuality and sexual education which serve the egocentric pleasure of the individual and thus, destroy the principles of race and Volk. • Pornography and explicit literature. • Pacifist literature. • All books degrading German purity. • Literature by Jewish authors, regardless of the field. • Popular entertainment literature that depicts life and life's goals in a superficial, unrealistic and sickly sweet manner, based on a bourgeois or upper class view of life. • The works of traitors, emigrants and authors from foreign countries who believe they can attack and denigrate the new Germany. • The literature of Marxism, Communism and Bolshevism. • Literature with liberal, democratic tendencies and attitudes, and writings supporting the Weimar Republic. • Books that advocate "art" which is decadent, bloodless, or purely constructivist. • The decadent, destructive and Volk-damaging writings of "Asphalt and Civilization" literati • Patriotic kitsch in literature. • All historical writings whose purpose is to denigrate the origin, the spirit and the culture of the German Volk, or to dissolve the racial and structural order of the Volk, or that denies the force and importance of leading historical figures in favor of egalitarianism and the masses, and which seeks to drag them through the mud. Very quickly after Hitler’s rise to power in 1933, the chief purveyors of the degeneracy that had overtaken Berlin would leave the city and National Socialist Germany would rise from its ashes. The rest—as they say—is history. (Sources and further reading in the comments below)

Bobby Thorne

67,770 次观看 • 1 年前

In Remembrance of Dorothy Malone. Born | January 29, 1924 in Chicago, Illinois, USA. Died | January 19, 2018 aged 93 in Dallas, Texas, USA. Video | Humphrey Bogart as Philip Marlowe and Dorothy Malone as Acme Bookstore proprietress in the classic film noir, The Big Sleep (1946), directed by Howard Hawks. The blonde, sultry, dreamy-eyed beauty of Dorothy Malone, who was born Mary Maloney in Chicago, took some time before it made an impact with American film-going audiences. But once she did, she played it for all it was worth in her one chance Academy Award-winning “bad girl” performance, a role quite unlike the classy and strait-laced lady herself. Raised in Dallas, she was one of five children born to an accountant father and housewife mother. Two older sisters died of polio. Attending Ursuline Convent and Highland Park High School, she was quite popular (as “School Favourite”). She was also a noted female athlete while there and won several awards for swimming and horseback riding. Following graduation, she studied at Southern Methodist University with the intent of becoming a nurse, but a role in the college play “Starbound” happened to catch the eye of an RKO talent scout and she was offered a Hollywood contract. The lovely brunette started off in typical RKO starlet mode with acting/singing/dancing/diction lessons and bit parts (billed as Dorothy Maloney) in such films as the Frank Sinatra musicals Higher and Higher (1943) and Step Lively (1944), a couple of the mystery “Falcon” entries and a showier role in Show Business (1944) with Eddie Cantor and George Murphy. RKO lost interest, however, after the two-year contract was up. Warner Bros., however, stepped up to the plate and offered the actress a contract. Now billed as Dorothy Malone, her third film offering with the studio finally injected some adrenaline into her floundering young career, when she earned the small role of a seductive book clerk in the Bogart/Bacall classic The Big Sleep (1946). Critics and audiences took notice of her captivating little part. As a reward, the studio nudged her up the billing ladder with more visible roles in Two Guys from Texas (1948), Romance on the High Seas (1948), South of St. Louis (1949) and Colorado Territory (1949), with the westerns showing off her equestrian prowess if not her acting ability. Despite this positive movement, Warner Bros. did not extend Dorothy's contract in 1949 and she returned willingly back to her tight-knit family in her native Dallas. Taking a steadier job with an insurance agency, she happened to attend a work-related convention in New York City and grew fascinated with the big city. Deciding to recommit to her acting career, she moved to the Big Apple and studied at the American Theatre Wing. In between her studies, she managed to find work on TV, which spurred freelancing “B” movie offers in the routine form of Saddle Legion (1951), The Bushwhackers (1951), the Martin & Lewis romp Scared Stiff (1953), Law and Order (1953), Jack Slade (1953), Pushover (1954) and Private Hell 36 (1954). Things picked up noticeably once Dorothy went platinum blonde, which seemed to emphasise her overt and sensual beauty. First off was as a sister to Doris Day in Young at Heart (1954), a musical remake of Four Daughters (1938), back at Warner Bros. She garnered even better attention when she appeared in the war picture Battle Cry (1955), in which she shared torrid love scenes with film's newest heartthrob Tab Hunter, and continued the momentum with the reliable westerns Five Guns West (1955) and Tall Man Riding (1955) but not with melodramatic romantic dud Sincerely Yours (1955) which tried to sell to the audiences a heterosexual Liberace. By this time she had signed with Universal. Following a few more westerns for good measure (At Gunpoint (1955), Tension at Table Rock (1956) and Pillars of the Sky (1956), Dorothy won the scenery-chewing role of wild, nymphomaniac Marylee Hadley in the Douglas Sirk soap opera Written on the Wind (1956) co-starring Rock Hudson, Lauren Bacall and Robert Stack. Stack and Malone had the showier roles and completely out-shined the two leads, both earning supporting Oscar nominations in the process. Stack lost in his category but Dorothy nabbed the trophy for her splendidly trampy, boozed-up Southern belle which was highlighted by her writhing mambo dance. Unfortunately, Dorothy's long spell of mediocre filming did not end with all the hoopla she received for Written on the Wind (1956). The Tarnished Angels (1957), which reunited Malone with Hudson and Stack faltered, and Quantez (1957) with Fred MacMurray was just another run-of-the-mill western. Two major film challenges might have changed things with Man of a Thousand Faces (1957) as the unsympathetic first wife of James Cagney's Lon Chaney Sr, and as alcoholic actress Diana Barrymore in the biographic melodrama Too Much, Too Soon (1958). Cagney, however, overshadowed everyone in the first and the second was fatally watered down by the Production Code committee. To compensate, Dorothy, at age 35 in 1959, finally was married ― to playboy actor Jacques Bergerac (Ginger Rogers's ex-husband). A daughter, Mimi, was born the following year. Fewer film offers, which included Warlock (1959) and The Last Voyage (1960), came her way as Dorothy focused more on family life. While a second daughter, Diane, was born in 1962, the turbulent marriage wouldn't last and their divorce became final in December 1964. A bitter custody battle ensued with Dorothy eventually winning primary custody. It took the small screen to rejuvenate Dorothy's career in the mid-1960s when she earned top billing of TV's first prime time soap opera Peyton Place (1964). Dorothy, starring in Lana Turner's 1957 film role of Constance MacKenzie, found herself in a smash hit. The run wasn't entirely happy however. Doctors discovered blood clots on her lungs which required major surgery and she almost died. Lola Albright filled in until she was able to return. Just as bad, the significance of her role dwindled with time and 20th Century-Fox finally wrote her and co-star Tim O'Connor off the show in 1968. Dorothy filed a breach of contract lawsuit which ended in an out-of-court settlement. Her life on- and off-camera did not improve. Dorothy's second marriage to stockbroker Robert Tomarkin in 1969 would last only three months, and a third to businessman Charles Huston Bell managed about three years. Now-matronly roles in the films Winter Kills (1979), Vortex (1982), The Being (1981) and Descanse en piezas (1987), were few and far between a few TV-movies ― which included some “Peyton Place” revivals, did nothing to advance her career. Malone returned and settled for good back in her native Dallas, returning to Hollywood only on occasion. Dorothy's last film was a cameo in the popular thriller Basic Instinct (1992) as a friend to Sharon Stone. She will be remembered as one of those Hollywood stars who proved she had the talent but somehow got the short end of the stick when it came to quality films offered. She retired to Texas and died in Dallas shortly before her 94th birthday on January 19, 2018.
3:08

In Remembrance of Dorothy Malone. Born | January 29, 1924 in Chicago, Illinois, USA. Died | January 19, 2018 aged 93 in Dallas, Texas, USA. Video | Humphrey Bogart as Philip Marlowe and Dorothy Malone as Acme Bookstore proprietress in the classic film noir, The Big Sleep (1946), directed by Howard Hawks. The blonde, sultry, dreamy-eyed beauty of Dorothy Malone, who was born Mary Maloney in Chicago, took some time before it made an impact with American film-going audiences. But once she did, she played it for all it was worth in her one chance Academy Award-winning “bad girl” performance, a role quite unlike the classy and strait-laced lady herself. Raised in Dallas, she was one of five children born to an accountant father and housewife mother. Two older sisters died of polio. Attending Ursuline Convent and Highland Park High School, she was quite popular (as “School Favourite”). She was also a noted female athlete while there and won several awards for swimming and horseback riding. Following graduation, she studied at Southern Methodist University with the intent of becoming a nurse, but a role in the college play “Starbound” happened to catch the eye of an RKO talent scout and she was offered a Hollywood contract. The lovely brunette started off in typical RKO starlet mode with acting/singing/dancing/diction lessons and bit parts (billed as Dorothy Maloney) in such films as the Frank Sinatra musicals Higher and Higher (1943) and Step Lively (1944), a couple of the mystery “Falcon” entries and a showier role in Show Business (1944) with Eddie Cantor and George Murphy. RKO lost interest, however, after the two-year contract was up. Warner Bros., however, stepped up to the plate and offered the actress a contract. Now billed as Dorothy Malone, her third film offering with the studio finally injected some adrenaline into her floundering young career, when she earned the small role of a seductive book clerk in the Bogart/Bacall classic The Big Sleep (1946). Critics and audiences took notice of her captivating little part. As a reward, the studio nudged her up the billing ladder with more visible roles in Two Guys from Texas (1948), Romance on the High Seas (1948), South of St. Louis (1949) and Colorado Territory (1949), with the westerns showing off her equestrian prowess if not her acting ability. Despite this positive movement, Warner Bros. did not extend Dorothy's contract in 1949 and she returned willingly back to her tight-knit family in her native Dallas. Taking a steadier job with an insurance agency, she happened to attend a work-related convention in New York City and grew fascinated with the big city. Deciding to recommit to her acting career, she moved to the Big Apple and studied at the American Theatre Wing. In between her studies, she managed to find work on TV, which spurred freelancing “B” movie offers in the routine form of Saddle Legion (1951), The Bushwhackers (1951), the Martin & Lewis romp Scared Stiff (1953), Law and Order (1953), Jack Slade (1953), Pushover (1954) and Private Hell 36 (1954). Things picked up noticeably once Dorothy went platinum blonde, which seemed to emphasise her overt and sensual beauty. First off was as a sister to Doris Day in Young at Heart (1954), a musical remake of Four Daughters (1938), back at Warner Bros. She garnered even better attention when she appeared in the war picture Battle Cry (1955), in which she shared torrid love scenes with film's newest heartthrob Tab Hunter, and continued the momentum with the reliable westerns Five Guns West (1955) and Tall Man Riding (1955) but not with melodramatic romantic dud Sincerely Yours (1955) which tried to sell to the audiences a heterosexual Liberace. By this time she had signed with Universal. Following a few more westerns for good measure (At Gunpoint (1955), Tension at Table Rock (1956) and Pillars of the Sky (1956), Dorothy won the scenery-chewing role of wild, nymphomaniac Marylee Hadley in the Douglas Sirk soap opera Written on the Wind (1956) co-starring Rock Hudson, Lauren Bacall and Robert Stack. Stack and Malone had the showier roles and completely out-shined the two leads, both earning supporting Oscar nominations in the process. Stack lost in his category but Dorothy nabbed the trophy for her splendidly trampy, boozed-up Southern belle which was highlighted by her writhing mambo dance. Unfortunately, Dorothy's long spell of mediocre filming did not end with all the hoopla she received for Written on the Wind (1956). The Tarnished Angels (1957), which reunited Malone with Hudson and Stack faltered, and Quantez (1957) with Fred MacMurray was just another run-of-the-mill western. Two major film challenges might have changed things with Man of a Thousand Faces (1957) as the unsympathetic first wife of James Cagney's Lon Chaney Sr, and as alcoholic actress Diana Barrymore in the biographic melodrama Too Much, Too Soon (1958). Cagney, however, overshadowed everyone in the first and the second was fatally watered down by the Production Code committee. To compensate, Dorothy, at age 35 in 1959, finally was married ― to playboy actor Jacques Bergerac (Ginger Rogers's ex-husband). A daughter, Mimi, was born the following year. Fewer film offers, which included Warlock (1959) and The Last Voyage (1960), came her way as Dorothy focused more on family life. While a second daughter, Diane, was born in 1962, the turbulent marriage wouldn't last and their divorce became final in December 1964. A bitter custody battle ensued with Dorothy eventually winning primary custody. It took the small screen to rejuvenate Dorothy's career in the mid-1960s when she earned top billing of TV's first prime time soap opera Peyton Place (1964). Dorothy, starring in Lana Turner's 1957 film role of Constance MacKenzie, found herself in a smash hit. The run wasn't entirely happy however. Doctors discovered blood clots on her lungs which required major surgery and she almost died. Lola Albright filled in until she was able to return. Just as bad, the significance of her role dwindled with time and 20th Century-Fox finally wrote her and co-star Tim O'Connor off the show in 1968. Dorothy filed a breach of contract lawsuit which ended in an out-of-court settlement. Her life on- and off-camera did not improve. Dorothy's second marriage to stockbroker Robert Tomarkin in 1969 would last only three months, and a third to businessman Charles Huston Bell managed about three years. Now-matronly roles in the films Winter Kills (1979), Vortex (1982), The Being (1981) and Descanse en piezas (1987), were few and far between a few TV-movies ― which included some “Peyton Place” revivals, did nothing to advance her career. Malone returned and settled for good back in her native Dallas, returning to Hollywood only on occasion. Dorothy's last film was a cameo in the popular thriller Basic Instinct (1992) as a friend to Sharon Stone. She will be remembered as one of those Hollywood stars who proved she had the talent but somehow got the short end of the stick when it came to quality films offered. She retired to Texas and died in Dallas shortly before her 94th birthday on January 19, 2018.

Hollywood Golden Age of Cinema

22,629 次观看 • 6 个月前

THE CIA's INFORMATION WAR on American citizens and the operation that started it all. PROJECT MOCKINGBIRD. This is one main aspect as to why people are so divided and brainwashed in today's society. Information has always been a crucial component to power and control. Knowledge is power, right? The only difference today from 40+ years ago is that now information flows at a rate that is absolutely mind-boggling and allows you to connect with anyone, at anytime, anywhere in the world, with real-time information 24/7 at your finger tips. So what happens when you have people who are suppose to be giving you accurate, truthful, information, and start to give you information that benefits, manipulates, and persuades the global population with mis and disinformation, protects certain corrupt people and groups by not reporting on other information, and who also lies and slanders other individuals all for the purpose to maintain power and control over the entire population, entirely on PURPOSE? You get what's called PROPAGANDA, aka, a sh*t show of so much purposeful bad and fake information, that it literally starts to persuade and mold the populations overall views and opinions on an array of various topics to fit the nefarious controllers, behind the scenes narrative or agenda. Ultimately benefitting only them. If you take notice, these campaigns have been around for a long time, depending what side your on, your personal views and where you get your overall information will ultimately decide or be a factor of how much it has affected you or how much you are aware of the deception in the first place. Most legacy mainstream media groups are owned and operated by a small group of wealthy globalist individuals who seem to lean towards the left, and some leaning even farther left than others. These campaigns started to really pick up when Trump entered the picture in 2016. Trump was never suppose to win in the first place. Obama reinstated propaganda to be used on American citizens once again in 2013. The task to slander and attempt to destroy and imprison Trump through multiple operations and media campaigns were in full effect for the deep state to regain control of The White House. The group that these campaigns affected the most were the older groups and the younger groups. The people in the middle basically got to see both worlds play out in their lives at a crucial time period in their lives. They've seen the mainstream shift from what it once was, to an extreme lying, propaganda machine when Trump took office. The older aged crowd was so used to the regular nightly news and not as comfortable with newer technology to access alternative media sites and really just stuck with the mainstream's words and kept their faith in the MSM. Now the younger crowd literally grew up with the fully scripted, CIA, propaganda MSM because that is literally all they've ever known and haven't experienced anything else before or have anything to compare it to. Especially when your indoctrinated in a public school system that has been infiltrated itself with a majority of far-left teachers who usually end up being predators as well. That's a whole other story. The problem this CIA operation has caused was a population with people all in their own separate groups and boxes, fighting with each other over many things, instead of the people who started this mess in the first place, that aren't even true because one side has been lied to and manipulated. Brainwashed from a literal military style operation that's used to topple foreign countries during regime changes. And the worst part on top of all this is that know since Elon has started DOGE, a government efficiency operation, we are now uncovering that all these communist, Marxist, ideas, and operations and slander campaigns, and legal cases against Trump, down to these politicians luxurious lifestyles have been all funded and paid for by us, the TAXPAYERS. On the one example above, through USAID, there is proof of over $9 MILLION dollars that went to Reuters for a campaign named, " ACTIVE SOCIAL ENGINEERING DEFENSE LARGE SCALE SOCIAL DECEPTION," which is a definitive contract. There are thousands of examples just like this for all different companies, influencers, T.V. shows, Magazines, Articles, any type of media, and all of them are left leaning outlets. This has been going on for decades. Then on top off all of that, you have people who own these publishing and media companies who are not only getting paid by the taxpayers from the CIA to deceive us, but many of these owners are best friends with people like Jeffery Epstein and Ghislaine Maxell as you can also see above who is with Laurene Powell Jobs, the owner of "The Atlantic" publication, on vacation just hanging out. You wonder why the media never talks about child trafficking. Their paid to cover it up, or they're literally involved themselves... It just get's better and better. The good news is that it is now being exposed and shut down. Let's dive into the history of PROJECT MOCKINGBIRD now. The story of Project Mockingbird begins in the shadow of the Cold War, a period defined by ideological warfare between the United States and the Soviet Union. In the early 1960s, the Central Intelligence Agency (CIA), under the leadership of Director John McCone, launched a covert operation codenamed "Project Mockingbird." Unlike the broader, alleged "Operation Mockingbird" often cited in conspiracy circles as a sprawling media manipulation scheme, the historical Project Mockingbird was a specific, documented wiretapping effort aimed at curbing leaks of classified information. Initiated on March 12, 1963, and concluding on June 15, 1963, Project Mockingbird targeted two Washington-based journalists, Robert S. Allen and Paul J. Scott, who wrote the syndicated "Allen-Scott Report." These columnists had a knack for publishing articles laced with highly classified CIA details—information so sensitive it included Top Secret and Special Intelligence data. Their scoops, often sourced from government insiders, rattled the Kennedy administration, particularly after a July 26, 1962, New York Times article by Hanson Baldwin exposed details of a National Intelligence Estimate comparing U.S. and Soviet nuclear arsenals. President John F. Kennedy, incensed by such leaks, sought to plug the holes. The operation was a collaborative effort, greenlit by Attorney General Robert F. Kennedy, Secretary of Defense Robert McNamara, and Director of the Defense Intelligence Agency Joseph Carroll. The CIA’s Office of Security, led by Sheffield Edwards, executed the wiretapping, monitoring the journalists’ home and office phones. The surveillance results identified congressional sources, including then-Speaker of the House John McCormack, who spoke with Scott on March 26, 1963. The "Family Jewels"—a 1973 CIA document declassified in 2007—later exposed this operation, revealing its scope and raising questions about its legality. Daniel L. Pines, a CIA Assistant General Counsel, argued in a 2009 Indiana Law Journal review that the wiretapping likely violated legal bounds, as its primary aim was to trace leaks rather than gather foreign intelligence. This historical Project Mockingbird, though limited in duration and scope, planted a seed of distrust between the government, the press, and the public—a seed that would grow into a broader narrative of media manipulation. From Wiretaps to Media Empire While Project Mockingbird of 1963 was a discrete surveillance effort, it became conflated with a larger CIA program dubbed "Operation Mockingbird." This narrative emerged most prominently in Deborah Davis’s 1979 book, Katharine the Great, which claimed that the CIA, under Frank Wisner of the Office of Policy Coordination, had systematically infiltrated American media starting in the 1950s. Davis alleged that Wisner recruited Washington Post publisher Phil Graham to orchestrate a propaganda network, embedding CIA-friendly journalists in outlets like The New York Times, Newsweek, and CBS. Cord Meyer, a key CIA figure, was said to have taken the reins in 1951, expanding the operation’s reach. The Church Committee’s 1975-1976 investigation lent some credence to these claims, uncovering CIA ties to around 50 American journalists and covert funding of front groups like the National Student Association, exposed by Ramparts magazine in 1967. Carl Bernstein’s 1977 Rolling Stone article, "The CIA and the Media," further detailed how over 400 U.S. journalists had covertly worked with the CIA, often disseminating propaganda abroad that would then filter back to domestic audiences. the CIA admitted overreach. By 1976, under Director George H.W. Bush, the CIA publicly pledged to end paid relationships with U.S. journalists. Yet, skeptics argued the agency merely shifted tactics, maintaining influence through foreign media outlets that indirectly shaped American narratives. The line between historical fact and conspiracy theory blurred, setting the stage for modern reinterpretations of Mockingbird’s legacy. They claim. The Turning Point came in 2013 and the Smith-Mundt Modernization Act Fast forward to July 2, 2013, a date that marks a pivotal shift in the Mockingbird saga. Under President Barack Obama, the Smith-Mundt Modernization Act—embedded in the 2013 National Defense Authorization Act (NDAA)—took effect. This legislation amended the U.S. Information and Educational Exchange Act of 1948, commonly known as the Smith-Mundt Act, which had long barred government-funded broadcasters like Voice of America (VOA) and Radio Free Europe/Radio Liberty—overseen by the Broadcasting Board of Governors (now the U.S. Agency for Global Media, USAGM)—from disseminating their content domestically. The original intent was to prevent the U.S. government from propagandizing its own citizens, a safeguard rooted in post-World War II fears of authoritarian overreach. The 2013 amendment, co-sponsored by Representatives Adam Smith (D-WA) and Mac Thornberry (R-TX), lifted this restriction, allowing USAGM content to be requested and accessed by Americans. Proponents hailed it as a transparency win, arguing that taxpayers deserved to see what their dollars funded—news and programming in 61 languages, reaching over 100 countries. Critics, however, saw it as a Pandora’s box. Foreign Policy reported on July 14, 2013, that the change unleashed "thousands of hours per week of government-funded radio and TV programs for domestic U.S. consumption," raising fears of legalized propaganda. The timing was notable: it followed a decade of post-9/11 media scrutiny and preceded a surge in misinformation debates. In 2024, claimed "Operation Mockingbird never ended," tying the NDAA to a supposed CIA media takeover. No hard evidence supports a direct CIA role, but the legal shift undeniably blurred lines between foreign and domestic information flows. While the USAGM insists its mission remains outward-facing—delivering uncensored news to foreign audiences lacking free press—and that its journalists adhere to strict objectivity standards, the repeal stoked speculation. Could this be a modern resurrection of Mockingbird-style influence? The answer is yes. Most projects they say they stopped just get renamed or go black and off the books so Congress doesn't even know it exists or get access to it. Be careful what you read, who you follow, and who you get your information from. Look for patterns and scripts. They're easy to find once you understand what's really going on and their tactics and techniques. Keep asking questions, cross reference everything, do your due diligence, have multiple sources, do not buy everything at face value, go deeper, think about the bigger picture or long term goals. Remember that there are layers, optics, and timing with everything.
11:31

THE CIA's INFORMATION WAR on American citizens and the operation that started it all. PROJECT MOCKINGBIRD. This is one main aspect as to why people are so divided and brainwashed in today's society. Information has always been a crucial component to power and control. Knowledge is power, right? The only difference today from 40+ years ago is that now information flows at a rate that is absolutely mind-boggling and allows you to connect with anyone, at anytime, anywhere in the world, with real-time information 24/7 at your finger tips. So what happens when you have people who are suppose to be giving you accurate, truthful, information, and start to give you information that benefits, manipulates, and persuades the global population with mis and disinformation, protects certain corrupt people and groups by not reporting on other information, and who also lies and slanders other individuals all for the purpose to maintain power and control over the entire population, entirely on PURPOSE? You get what's called PROPAGANDA, aka, a sh*t show of so much purposeful bad and fake information, that it literally starts to persuade and mold the populations overall views and opinions on an array of various topics to fit the nefarious controllers, behind the scenes narrative or agenda. Ultimately benefitting only them. If you take notice, these campaigns have been around for a long time, depending what side your on, your personal views and where you get your overall information will ultimately decide or be a factor of how much it has affected you or how much you are aware of the deception in the first place. Most legacy mainstream media groups are owned and operated by a small group of wealthy globalist individuals who seem to lean towards the left, and some leaning even farther left than others. These campaigns started to really pick up when Trump entered the picture in 2016. Trump was never suppose to win in the first place. Obama reinstated propaganda to be used on American citizens once again in 2013. The task to slander and attempt to destroy and imprison Trump through multiple operations and media campaigns were in full effect for the deep state to regain control of The White House. The group that these campaigns affected the most were the older groups and the younger groups. The people in the middle basically got to see both worlds play out in their lives at a crucial time period in their lives. They've seen the mainstream shift from what it once was, to an extreme lying, propaganda machine when Trump took office. The older aged crowd was so used to the regular nightly news and not as comfortable with newer technology to access alternative media sites and really just stuck with the mainstream's words and kept their faith in the MSM. Now the younger crowd literally grew up with the fully scripted, CIA, propaganda MSM because that is literally all they've ever known and haven't experienced anything else before or have anything to compare it to. Especially when your indoctrinated in a public school system that has been infiltrated itself with a majority of far-left teachers who usually end up being predators as well. That's a whole other story. The problem this CIA operation has caused was a population with people all in their own separate groups and boxes, fighting with each other over many things, instead of the people who started this mess in the first place, that aren't even true because one side has been lied to and manipulated. Brainwashed from a literal military style operation that's used to topple foreign countries during regime changes. And the worst part on top of all this is that know since Elon has started DOGE, a government efficiency operation, we are now uncovering that all these communist, Marxist, ideas, and operations and slander campaigns, and legal cases against Trump, down to these politicians luxurious lifestyles have been all funded and paid for by us, the TAXPAYERS. On the one example above, through USAID, there is proof of over $9 MILLION dollars that went to Reuters for a campaign named, " ACTIVE SOCIAL ENGINEERING DEFENSE LARGE SCALE SOCIAL DECEPTION," which is a definitive contract. There are thousands of examples just like this for all different companies, influencers, T.V. shows, Magazines, Articles, any type of media, and all of them are left leaning outlets. This has been going on for decades. Then on top off all of that, you have people who own these publishing and media companies who are not only getting paid by the taxpayers from the CIA to deceive us, but many of these owners are best friends with people like Jeffery Epstein and Ghislaine Maxell as you can also see above who is with Laurene Powell Jobs, the owner of "The Atlantic" publication, on vacation just hanging out. You wonder why the media never talks about child trafficking. Their paid to cover it up, or they're literally involved themselves... It just get's better and better. The good news is that it is now being exposed and shut down. Let's dive into the history of PROJECT MOCKINGBIRD now. The story of Project Mockingbird begins in the shadow of the Cold War, a period defined by ideological warfare between the United States and the Soviet Union. In the early 1960s, the Central Intelligence Agency (CIA), under the leadership of Director John McCone, launched a covert operation codenamed "Project Mockingbird." Unlike the broader, alleged "Operation Mockingbird" often cited in conspiracy circles as a sprawling media manipulation scheme, the historical Project Mockingbird was a specific, documented wiretapping effort aimed at curbing leaks of classified information. Initiated on March 12, 1963, and concluding on June 15, 1963, Project Mockingbird targeted two Washington-based journalists, Robert S. Allen and Paul J. Scott, who wrote the syndicated "Allen-Scott Report." These columnists had a knack for publishing articles laced with highly classified CIA details—information so sensitive it included Top Secret and Special Intelligence data. Their scoops, often sourced from government insiders, rattled the Kennedy administration, particularly after a July 26, 1962, New York Times article by Hanson Baldwin exposed details of a National Intelligence Estimate comparing U.S. and Soviet nuclear arsenals. President John F. Kennedy, incensed by such leaks, sought to plug the holes. The operation was a collaborative effort, greenlit by Attorney General Robert F. Kennedy, Secretary of Defense Robert McNamara, and Director of the Defense Intelligence Agency Joseph Carroll. The CIA’s Office of Security, led by Sheffield Edwards, executed the wiretapping, monitoring the journalists’ home and office phones. The surveillance results identified congressional sources, including then-Speaker of the House John McCormack, who spoke with Scott on March 26, 1963. The "Family Jewels"—a 1973 CIA document declassified in 2007—later exposed this operation, revealing its scope and raising questions about its legality. Daniel L. Pines, a CIA Assistant General Counsel, argued in a 2009 Indiana Law Journal review that the wiretapping likely violated legal bounds, as its primary aim was to trace leaks rather than gather foreign intelligence. This historical Project Mockingbird, though limited in duration and scope, planted a seed of distrust between the government, the press, and the public—a seed that would grow into a broader narrative of media manipulation. From Wiretaps to Media Empire While Project Mockingbird of 1963 was a discrete surveillance effort, it became conflated with a larger CIA program dubbed "Operation Mockingbird." This narrative emerged most prominently in Deborah Davis’s 1979 book, Katharine the Great, which claimed that the CIA, under Frank Wisner of the Office of Policy Coordination, had systematically infiltrated American media starting in the 1950s. Davis alleged that Wisner recruited Washington Post publisher Phil Graham to orchestrate a propaganda network, embedding CIA-friendly journalists in outlets like The New York Times, Newsweek, and CBS. Cord Meyer, a key CIA figure, was said to have taken the reins in 1951, expanding the operation’s reach. The Church Committee’s 1975-1976 investigation lent some credence to these claims, uncovering CIA ties to around 50 American journalists and covert funding of front groups like the National Student Association, exposed by Ramparts magazine in 1967. Carl Bernstein’s 1977 Rolling Stone article, "The CIA and the Media," further detailed how over 400 U.S. journalists had covertly worked with the CIA, often disseminating propaganda abroad that would then filter back to domestic audiences. the CIA admitted overreach. By 1976, under Director George H.W. Bush, the CIA publicly pledged to end paid relationships with U.S. journalists. Yet, skeptics argued the agency merely shifted tactics, maintaining influence through foreign media outlets that indirectly shaped American narratives. The line between historical fact and conspiracy theory blurred, setting the stage for modern reinterpretations of Mockingbird’s legacy. They claim. The Turning Point came in 2013 and the Smith-Mundt Modernization Act Fast forward to July 2, 2013, a date that marks a pivotal shift in the Mockingbird saga. Under President Barack Obama, the Smith-Mundt Modernization Act—embedded in the 2013 National Defense Authorization Act (NDAA)—took effect. This legislation amended the U.S. Information and Educational Exchange Act of 1948, commonly known as the Smith-Mundt Act, which had long barred government-funded broadcasters like Voice of America (VOA) and Radio Free Europe/Radio Liberty—overseen by the Broadcasting Board of Governors (now the U.S. Agency for Global Media, USAGM)—from disseminating their content domestically. The original intent was to prevent the U.S. government from propagandizing its own citizens, a safeguard rooted in post-World War II fears of authoritarian overreach. The 2013 amendment, co-sponsored by Representatives Adam Smith (D-WA) and Mac Thornberry (R-TX), lifted this restriction, allowing USAGM content to be requested and accessed by Americans. Proponents hailed it as a transparency win, arguing that taxpayers deserved to see what their dollars funded—news and programming in 61 languages, reaching over 100 countries. Critics, however, saw it as a Pandora’s box. Foreign Policy reported on July 14, 2013, that the change unleashed "thousands of hours per week of government-funded radio and TV programs for domestic U.S. consumption," raising fears of legalized propaganda. The timing was notable: it followed a decade of post-9/11 media scrutiny and preceded a surge in misinformation debates. In 2024, claimed "Operation Mockingbird never ended," tying the NDAA to a supposed CIA media takeover. No hard evidence supports a direct CIA role, but the legal shift undeniably blurred lines between foreign and domestic information flows. While the USAGM insists its mission remains outward-facing—delivering uncensored news to foreign audiences lacking free press—and that its journalists adhere to strict objectivity standards, the repeal stoked speculation. Could this be a modern resurrection of Mockingbird-style influence? The answer is yes. Most projects they say they stopped just get renamed or go black and off the books so Congress doesn't even know it exists or get access to it. Be careful what you read, who you follow, and who you get your information from. Look for patterns and scripts. They're easy to find once you understand what's really going on and their tactics and techniques. Keep asking questions, cross reference everything, do your due diligence, have multiple sources, do not buy everything at face value, go deeper, think about the bigger picture or long term goals. Remember that there are layers, optics, and timing with everything.

The SCIF

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