⁣(2002 LEAKED DOC) Secret Covenant of the Illuminati - Satanic Globalist Evil SECRET PLAN
The document was anonymously sent to the email of bankindex.com in June of 2002.

⁣A very important public speech by a doctor with 25 years of medical internship in several specialisations and an expert in the field of vaccines. (June 2021)
⁣S⁣enate committee hearings and other Capitol events are posted to this page soon after they are announced, and removed at the end of the day. You are invited to revisit this page often for the most current version. For links to individual Senate committee websites, please visit the Senate's Committee portal.

For live, streaming video broadcasts of committee hearings and other events within the Capitol complex you may visit the Senate Live Video Broadcasts page. Official Senate hearings and events are archived and can be accessed from the Senate Audio/Video Archives page or from the individual committee pages.
Events listed on this page will be carried live on the Senate Live Broadcasts page unless otherwise noted. Due to technical limitations, most out-of-town committee hearings and all "desk meetings" held on the Senate floor can not be carried live. For such events, audio recordings will be posted to the main Audio/Video Archives, as well as the relevant committee pages, as soon as possible.
A complete Senate room reservation schedule may be be found at
https://roomsched.senate.texas.gov/

Original resource: https://tlcsenate.granicus.com..../MediaPlayer.php?cli

⁣Dick Johnson Is Dead is a 2020 American documentary film directed by Kirsten Johnson and co-written by Johnson and Nels Bangerter.

A lifetime of making documentaries has convinced award-winning filmmaker Kirsten Johnson of the power of the real. But now she’s ready to use every escapist movie-making trick in the book — staging inventive and fantastical ways for her 86-year-old psychiatrist father to die while hoping that cinema might help her bend time, laugh at pain and keep her father alive forever.


The darkly funny and wildly imaginative DICK JOHNSON IS DEAD is a love letter from a daughter to a father, creatively blending fact and fiction to create a celebratory exploration of how movies give us the tools to grapple with life’s profundity. DICK JOHNSON IS DEAD was filmed, produced and directed by Kirsten Johnson (Cameraperson), produced by Katy Chevigny and Marilyn Ness, co-produced by Maureen A. Ryan and executive produced by Megan Ellison.


Cast:
Kirsten Johnson
Charles Richard "Dick" Johnson


Development:
Director Kirsten Johnson at the Miami Film Festival


Kirsten Johnson was inspired to make the film after having a dream in which "there was a man in a casket and he sat up and said, 'I'm Dick Johnson and I'm not dead yet'". When she pitched the idea to her father, she asked him, "Dad, what if we make a movie where we kill you over and over again until you really die? And he laughed".
The film incorporates Johnson family photographs and home movies, including that of Richard Johnson's wife who died from Alzheimer's disease in 2007.


Release:
The film premiered on January 25, 2020 at the 2020 Sundance Film Festival. It was released on October 2, 2020 via Netflix.
RESOURCE: www.dickjohnsonisdead.com

⁣The Rain Song - Led Zeppelin cover
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⁣Based upon Theosophy (the Secret Doctrine) this documentary focuses on the evolution of consciousness over millions of years while revealing the secret chronology of human history from ancient Lemuria and Atlantis to our current root race, while following the natural cyclic deluges between races.

⁣FILM ASKS HARD QUESTIONS ABOUT FAILURE OF ENVIRONMENTAL MOVEMENT TO HALT CLIMATE CHANGE AND SAVE PLANET

Directed by Jeff Gibbs and Executive Produced by Moore, film examines if we’ve been on “wrong road” with so-called “green energy” that is anything but green.

Charges environmental leaders have “lost their way” and “sold out to corporate interests.”

“As we suffer through one health and environmental crisis after another, it is clear we can no longer simply solar-panel-and-windmill our way out of this emergency,” say Moore and Gibbs.


Released on the eve of the 50th anniversary of Earth Day and in the midst of the global Covid-19 pandemic, Planet of the Humans takes a harsh look at how the environmental movement has lost the battle through well-meaning but disastrous choices, including the belief that solar panels and windmills would save us, and by giving in to the corporate interests of Wall Street.



The film is the debut movie from Jeff Gibbs, whom Moore calls “a brave and brilliant filmmaker whose new voice must be heard.” Gibbs is a lifelong environmentalist and longtime collaborator of Moore’s with whom he co-produced Bowling for Columbine and Fahrenheit 9/11. Planet of the Humans first screened as a work in progress at the most recent Traverse City Film Festival where it was a huge audience favorite.

Moore and Gibbs decided that with the American public – and much of the world – confined to their homes and suddenly having to consider the role humans and their behavior have played in our fragile ecosystems, the moment was too urgent to wait until later this year for the film’s planned release.



“We have ignored the warnings, and instead all sorts of so-called leaders have steered us away from the real solutions that might save us,” says Moore, who holds the all-time box office record for documentaries. “This movie takes no prisoners and exposes the truth about how we have been led astray in the fight to save the planet, to the point where if we don’t reverse course right now, events like the current pandemic will become numerous, devastating and insurmountable. The feel-good experience of this movie is that we actually have the smarts and the will to not let this happen – but only if we immediately launch a new environmental uprising.”



Jeff Gibbs, the writer/editor/director of Planet of the Humans, has dared to say what no one will – that “we are losing the battle to stop climate change because we are following environmental leaders, many of whom are well-intentioned, but who’ve sold out the green movement to wealthy interests and corporate America.
”This film is the wake-up call to the reality which we are afraid to face: that in the midst of a human-caused extinction event, the so-called “environmental movement’s” answer is to push for techno-fixes and band-aids. “It’s too little, too late,” says Gibbs. “Removed from the debate is the only thing that might save us: getting a grip on our out-of-control human presence and consumption. Why is this not the issue? Because that would be bad for profits, bad for business.”


“Have we environmentalists fallen for illusions, ‘green’ illusions, that are anything but green, because we’re scared that this is the end — and we’ve pinned all our hopes on things like solar panels and wind turbines? No amount of batteries are going to save us, and that is the urgent warning of this film.”

This compelling, must-see movie – a full-frontal assault on our sacred cows – is guaranteed to generate anger, debate, and, hopefully, a willingness to see our survival in a new way—before it’s too late.



RESOURCE: https://planetofthehumans.com
Let me know your thoughts in the comments

⁣‘The Truth Illusion’ investigates one of the most profound questions that philosophers through the ages have tried to address. From Plato to Immanuel Kant to Gilles Deleuze, thinkers have asked: what can we prove to be the truth?

The investigation examines these questions in the context of United States today. Is it possible, in such a deeply divided society, for people to view different "realities"?

The documentary by Al Jazeera’s Investigative Unit features commentary from philosophers, psychologists, social scientists and political commentators who discuss how the U.S. is now riven by radically differing views on what is real, and what is not.

Let me know your thoughts in the comments

⁣How to generate homemade infinite energy with a washing machine motor and an engine.
This channel is the home of crazy inventions. I guarantee you will not be disappointed with the videos uploaded because there are some best videos that no one has done.

Contact to Author: kenhmrche@gmail.com

⁣As long as you accept there’ll be no genuine analysis in “My Generation,” Michael Caine’s joy ride through his youth offers significant pleasures. There’s a tremendous amount of pleasure to be had in David Batty’s “My Generation,” a sloppy wet kiss to Michael Caine and British youth culture of the 1960s. Loaded with great footage from the era and accompanied by superbly cleaned-up music tracks from the Kinks, the Beatles, the Rolling Stones and many others, this love letter-as-documentary offers 85 minutes of good old fun. What it doesn’t do is posit any genuine analysis or even make a head-nod to diversity.

But this is Caine’s narrative about the unapologetic working class taking over popular culture, and the writers as well as music mogul Simon Fuller, acting as top producer, have no interest in countering their star’s gleefully empowering chronicle of his youth. Voiceover interviews with such key players of the era as Paul McCartney, Marianne Faithfull, Twiggy and Mary Quant add to the overall feast, making the film an attractive offering for all platforms. Britain in the 1950s was dull, announces Caine, though doesn’t every generation say that about the era before their own gloriously self-satisfied arrival?

What’s undeniable is the momentous shift toward youth culture beginning in the 1960s, as well as the opening up of opportunities for white working-class creative types who no longer submitted to makeovers designed to smooth out their roughness. In one of the more telling anecdotes, Caine talks about auditioning for “Zulu,” his breakthrough role, and accurately suggests that had the director, Cy Endfield, been British instead of American, Caine’s working class London accent would have eliminated any hope of being cast in the role of an upper-class officer. That’s an undeniable fact.

Far more shaky is the suggestion that the working class in the 1960s was the first generation in Britain to thumb its collective nose at convention. On-the-street interviews from the era with stuffed shirts bemoaning the appearance of long-haired men in flowery blouses expose middle-class attitudes, but the filmmakers choose to ignore the fact that the upper class has always played with transgression in ways designed to shock the bourgeoisie. What made the 1960s different was that the working class was playing the same game, and emulating “our betters” was no longer an acceptable form of behavior.

Nor was emulating our elders: Freedom from convention was the hallmark of a social revolution that impacted everything from art, music and clothing to changing concepts of morality. Of course, every Englishman knows the class system remains the key determinant of opportunity, but in the art and entertainment world, coming from the wrong side of the tracks is actually now more desirable than a boarding school certificate, and that’s definitely due to the upheavals of the 1960s. Batty divides the film into three parts, roughly corresponding to the awakening, the flourishing and the decline of 1960s pop culture.

Alongside nods to expected historic markers like the Beatles performing at Liverpool’s Cavern Club are more unanticipated moments, such as Roger Daltry talking about the profound impact of seeing Elvis perform: “For the first time in my life, I saw someone who was free.” That’s about the only time in the film there’s a mention of transatlantic influences on the British scene. From there, the documentary plunges headlong into the intoxicating psychedelic playpen of Pop Art, Vidal Sassoon haircuts, and Mary Quant micro-miniskirts, reminding audiences (or teaching them for the first time) that in the 1960s, color and pattern were transgressive and hip, unlike today’s tediously conformist black monochromaticity.

Suddenly, thanks to the British Invasion, being young and British meant you were cool, stylish and glam, tuned into the best music, clothes and art movements. Models such as Jean Shrimpton and Twiggy set new standards for beauty, and groups like the Animals, the Kinks, the Stones and of course the Beatles set the tone, guiding a generation from the innocent charm of “Love Me Do” to the raucous hunger of “(I Can’t Get No) Satisfaction.” By the end of the decade, hedonism took a darker turn.

The Vietnam War acted as a political coming of age, and the destructive nature of so much heavy drug use began to take its toll, symbolized by the death of Brian Jones and Faithfull’s near-fatal drug overdose, both in 1969. For Caine, “My Generation” is a chance to look back in nostalgic delight at his salad days, allowing him to gamely reminisce about his time as one of the “it” boys of London. He even gets to swan around in the original Aston Martin DB4 he drove in “The Italian Job.”
None of the others interviewed are seen on screen — whether that’s because the producers wanted to maintain the aura of 1960s youth, or it was the only way to get these people to talk, remains open for speculation. It’s also likely that writers Dick Clement and Ian La Frenais allowed themselves to be guided by Caine’s insistence on working-class culture, ignoring the fact that some of those included, most especially Faithfull, are from posh backgrounds. If you set aside analytical skills however, it’s easy to sit back and enjoy the wealth of archival clips accompanied by fantastic music tracks that seem to have been remastered for the occasion (lord knows how much all the music rights must have cost).

Ben Hilton’s editing successfully crams in a great deal without a sense of whiplash. Reviewed at Venice Film Festival (Out of Competition), Sept. 4, 2017. (Also in London Film Festival – Journey.) Production: (Documentary — U.K.) An XIX Entertainment presentation, in association with IM Global, of a Raymi Films production, in association with Ingenious Media. (International sales: IM Global, Los Angeles.)

Producers: Simon Fuller, Michael Caine, Dick Clement, Ian La Frenais, Fodhla Cronin O’Reilly. Executive producer: James Clayton. Co-producer: Ben Hilton. CREW: Director: David Batty. Writers: Dick Clement, Ian La Frenais. Camera (color): Ben Hodgson. Editor: Ben Hilton. Music supervisor: Tarquin Gotch. Crew: With: Michael Caine Voices of David Bailey, Twiggy, Terry O’Neill, Roger Daltrey, Marianne Faithfull, Paul McCartney, Lulu, Joan Collins, Sandie Shaw, Penelope Tree, Dudley Edwards, Mary Quant, Mim Scala, David Putnam, Barbara Hulanicki.

⁣The film narrative is focused on the life of singer-songwriter Amy Winehouse, who was found dead on 23 July 2011 from alcohol poisoning, at the age of 27 at her home in Camden, North London.


The film starts with a 1998 home movie depicting a 14-year-old Winehouse singing along with her long-time friend, Juliette Ashby, at the birthday party of their mutual friend, Lauren Gilbert, at a home in Southgate, London.
The rest of the documentary shows the songwriter's life, in a chronological order from her early childhood, to her music career, which attained commercial success through her debut album, Frank (2003), and second, final album Back to Black (2006), to her troubled relationships, self-harm, bulimia, the controversial media attention, and her downfall with her drug and alcohol addiction, all until her death in 2011. Winehouse is featured throughout the film talking about her early influences and how she felt about fame, love, depression, family and her music career.
The subject of the film, Amy Winehouse performing the Virgin Festival, Pimlico, Baltimore in 2007.


Kapadia conducted more than 100 interviews with Winehouse's friends and family that combine to provide a narrative around the star's life and is billed as "the singer in her own words." The film shows extensive unseen footage and unheard tracks Winehouse had recorded in the years before she died. Unheard tracks featured in the film are either rare live sessions, such as "Stronger Than Me", "In My Bed", "What Is It About Men?" and Donny Hathaway's "We're Still Friends", a cover of Johnny Mercer's "Moon River" from when Winehouse attended the National Youth Jazz Orchestra at the age of 16 in 2000 or never-before heard songs the star wrote, such as "Detachment" and "You Always Hurt The Ones You Love".


There are various pieces of extensive, unseen archive footage of Winehouse, such as when she is video-recorded in a cab with friend Tyler James in January 2001 and driving to tours and on her long-term friend, Lauren Gilbert's holiday tape in Majorca, Spain in August 2005.


The film also shows various interviews, such as with Jonathan Ross, Tim Kash, and a funny video of when Winehouse is interviewed and talked to about singer Dido in 2004, when she promoted her debut album. The documentary also includes when Winehouse performed live from London on the Grammy Awards in 2008, and won the award for "Record of the Year".


The film also features footage from when she was filmed with her ex-husband Blake Fielder-Civil, various performances, and when she auditioned at Island Records in February 2003, singing "I Heard Love Is Blind". Also included is footage from when she was recording her second album in March 2006 and a duet single, "Body and Soul", with Tony Bennett in March 2011 as her last recording before her death.


Some outtakes are also featured of her last shambolic performance in Belgrade, Serbia, a month before she died. The film concludes with long-term friend Juliette Ashby talking about her last phone call with Winehouse, footage of Winehouse's body being taken out of her home after her death, and Bennett stating: "Life teaches you really how to live it, if you live long enough." It then shows scenes from three days later of footage from Winehouse's funeral at Edgwarebury Cemetery and Golders Green Crematorium in North London. Closing clips end the film with videos of Winehouse from her early years until her death, with Antonio Pinto's composition, "Amy Forever".

⁣An interview with Dr. Robert W. Malone on the suspicion of an alarming increase in mortality and its correlation with the widespread vaccination of US citizens against Covid 19.

⁣It was among the fastest, most efficient production cars ever built. It ran on electricity, produced no emissions and catapulted American technology to the forefront of the automotive industry. The lucky few who drove it never wanted to give it up. So why did General Motors crush its fleet of EV1 electric vehicles in the Arizona desert?
WHO KILLED THE ELECTRIC CAR? chronicles the life and mysterious death of the GM EV1, examining its cultural and economic ripple effects and how they reverberated through the halls of government and big business.
The year is 1990. California is in a pollution crisis. Smog threatens public health. Desperate for a solution, the California Air Resources Board (CARB) targets the source of its problem: auto exhaust. Inspired by a recent announcement from General Motors about an electric vehicle prototype, the Zero Emissions Mandate (ZEV) is born. It required 2% of new vehicles sold in California to be emission-free by 1998, 10% by 2003. It is the most radical smog-fighting mandate since the catalytic converter.
With a jump on the competition thanks to its speed-record-breaking electric concept car, GM launches its EV1 electric vehicle in 1996. It was a revolutionary modern car, requiring no gas, no oil changes, no mufflers, and rare brake maintenance (a billion-dollar industry unto itself). A typical maintenance checkup for the EV1 consisted of replenishing the windshield washer fluid and a tire rotation.
But the fanfare surrounding the EV1’s launch disappeared and the cars followed. Was it lack of consumer demand as carmakers claimed, or were other persuasive forces at work?
Fast forward to 6 years later... The fleet is gone. EV charging stations dot the California landscape like tombstones, collecting dust and spider webs. How could this happen? Did anyone bother to examine the evidence? Yes, in fact, someone did. And it was murder.
The electric car threatened the status quo. The truth behind its demise resembles the climactic outcome of Agatha Christie’s Murder on the Orient Express: multiple suspects, each taking their turn with the knife.
WHO KILLED THE ELECTRIC CAR? interviews and investigates automakers, legislators, engineers, consumers and car enthusiasts 4 from Los Angeles to Detroit, to work through motives and alibis, and to piece the complex puzzle together. WHO KILLED THE ELECTRIC CAR? is not just about the EV1. It’s about how this allegory for failure—reflected in today’s oil prices and air quality—can also be a shining symbol of society’s potential to better itself and the world around it. While there’s plenty of outrage for lost time, there’s also time for renewal as technology is reborn in WHO KILLED THE ELECTRIC CAR?
Director: Chris Paine
Writer: Chris Paine
Cast: Martin Sheen(voice), Tom Hanks (archive footage), Mel Gibson

⁣An exposé on how Hollywood and the mainstream media manipulate the multitudes by spreading propaganda throughout their content.
The movie is banned most of the media.
The Out Of Shadows documentary lifts the mask on how the mainstream media & Hollywood manipulate & control the masses by spreading propaganda throughout their content. Our goal is to wake up the general public by shedding light on how we all have been lied to & brainwashed by a hidden enemy with a sinister agenda.



This project is the result of two years of blood, sweat and tears by a team of woke professionals. It’s been independently produced and funded and is available on many different platforms for FREE for anyone to watch. Patriots made this documentary with the sole purpose of getting the truth out there. If you like the documentary, please share this video.


Official website: www.outofshadows.org

⁣Criminal History Of Fauci And Birx as told by Dr Robert Willner (1994) who revealed the HIV Hoax!. Deadly Deception Dr Willner Corona virus they are using same game plan in 2020 with Faucci.
Dr. Willner and found a few interesting things happened after he began speaking out: Deadly Deception. Filmed Dec. 7th, 1994. Shortly after Dr. Robert Willner started speaking out they took away his medical license. Four months after he made this video he died of a heart attack. Following are some quotes from this lecture:

1990 Dr. Willner has his medical license suspended.
1994 This talk happens (the talk in the above video) and Willner injects himself with the blood of an HIV positive man.
1994 Dr. Willner's book Deadly Deception is published.
1995 Dr. Willner sadly passes away after having a heart attack.

Criminal History Of Fauci And Birx as told by Dr Robert Willner (1994) who revealed the HIV Hoax! Deadly Deception Dr Willner Corona virus they are using same game plan in 2020 with Faucci
HOW THE LIE BEGAN In 1980, Dr. Robert Gallo, a retrovirologist with the National Cancer Institute, discovered the first human retrovirus (HTLV-I). A retrovirus is distinguished from an ordinary virus by virtue of the fact that its RNA is converted to DNA by an enzyme called reverse transcriptase. Its replication and survival is totally dependent on the viability of the host cell. If the host cell dies, the virus is finished. Dr. Gallo knew this basic fact; however, he would soon purposely ignore this fact in order to serve his own needs by claiming that the virus was very "mysterious".
Somehow it would mysteriously survive while mysteriously slaughtering T-cells by the millions (this has never been observed). He had contended in the past, but failed to prove, that the very same retrovirus (HTLV-I) caused a specific type of leukemia which was occuring in Japan. The power of position, that of being a top government official and scientist, has allowed the erroneous label of "leukemia virus" to remain intact even though it was rejected by the scientific community.

In 1981, it was proposed that an acquired immune deficiency was the basis for a new syndrome of diseases (AIDS) that appeared to be surfacing amongst promiscuous male homosexuals and intravenous drug users. Dr. David Durack, of Duke University, a recognized expert on infectious diseases and the immune system, though admitting the prevalence of drug use (particular "poppers" or amyl nitrites) and repeated multiple infections, ignored these well-known causes of immune deficiency and announced that this "truly new syndrome" must be due to "some new factor".
Continuously this group of scientists has resorted to theory, not fact, as to how the AIDS virus supposedly accomplishes its dirty deeds. The words, "it is thought", are constantly used in casual conversations or in the non-scientific articles and popular magazines and books. In the scientific journals or at lectures the theory is presented as established fact although there are no facts involved. It is portrayed as an established truth and therefore is accepted as such by most scientists, including physicians.

The so-called HIV virus is still referred to as a "new" virus in spite of the indisputable evidence to the contrary. Incorrectly, the virus has been characterized as "attacking" or "infiltrating" the immune system, when in reality this is impossible because it is not alive and does not invade. Retroviruses are engulfed by the cells and incorporated into the cell's life processes.

⁣This is a short story about the early life stage of Ram Bahadur Bomjon - called Incarnation of Lord Buddha.
In Nepal, five hours from Katmandou, thousands of people, irrespective of wich caste they belong to goes each day on a pilgrimage, on foot or on cart. There, in the middle of the forest, they come to meditate and pray in front of a 16 year old boy. 24 hours a day, this young man sits in the hollow of a tree, in full meditation.


He does not move, he does not eat, he does not drink. He remains sitted quiet, breathes very little, very gently and does not need anything. For the believers, he is the reincarnation of Buddha! Miracle or not? We followed the traces of this man that all Nepali already call Little Bouddha.


WIKI Note
Ram Bahadur Bomjon (Sanskrit: राम बहादुर बम्जन) born c. 1990, sometimes spelled Bomjan, Banjan, or Bamjan), previously known as Palden Dorje (his monastic name) is a controversial ascetic from Ratanapuri, Bara district, Nepal who gained widespread attention and media popularity because of perceived semblances to Gautama Buddha, leading to claims that he is a reincarnation of Gautama Buddha.
In May, 2005, the 15 year old Bomjon left his home near the Indian border after a dream in which a god appeared to him and told him to do so, and sat amongst the roots of a pipal tree to meditate. Claims suggest that for 10 months he rarely spoke, drank, ate, or even moved. Thousands, if not hundreds of thousands of people visited the site to see the boy motionless for hours, days or as rumoured even months, or came in devotion to the possibility of an important spiritual event occurring. As a result of some of these claims, Bomjon's followers believe he is an incarnation of the historical Buddha, Gautama. Bomjon has rejected any such comparisons, saying "Tell the people not to call me a Buddha. I don't have the Buddha's energy currently. I am at the level of a rinpoche." Mahiswor Raj Bajracharya, the president of the Nepal Buddhist Council, has stated likewise: "We do not believe he is Buddha. He does not have Buddha's qualities".


Then, on 11 March 2006 he went missing. On 19 March 2006 Bed Bahadur Lama of the Om Namo Buddha Tapaswi Sewa Samiti (ONBTSS) told reporters that they had seen him in Bara District and that they had spoken to him for half-an-hour, during which Bomjon reportedly assured that he would return in six years.


He was again seen in August 2007, preaching to crowds in Nepal’s Hallori jungle, around 100 miles south of Kathmandu.
Controversies
Bomjon's followers have claimed that Bomjon meditates for months without eating or sleeping.


In 2010, Bomjon was investigated for attacking a group of 17 villagers. Bomjon claimed that they were intentionally disturbing his meditation. However, the villagers said they were just looking for vegetables. Bomjon claimed to have taken "minor action" against them with just his hands after they had "tried to manhandle" him, and stopped as soon as they apologized. However, the victims claim that for three hours he struck them on their head and back with an axe handle, resulting in serious injury of one of the victims. Bomjon refused to attend any potential trial, stating, "Do you think a meditating sage will go to the court to hear a case? I took action against them as per the divine law".


In 2012 Nepal Police announced that they had rescued a Slovak woman from Bomjon's followers, but other reports claimed that she had been voluntarily released after media coverage of the kidnapping. Newsweek reported she had been taken from a hotel by two of Bomjon's men riding on a motorcycle and kept tied to a tree for three months and accused of practicing witchcraft in order to disturb the Boy’s meditation. However another report claimed she had been kidnapped from a monastery. When she was released she had a broken arm. A week after her release, Bomjon's siblings accused him of holding his brothers captive overnight, and beating his brothers and his sister. Followers of Bomjon also assaulted five journalists and destroyed their cameras after they had recorded one of Bomjon's sermons.
In September 2018, Bomjon was accused of raping an 18 year old nun repeatedly for nearly 2 years. During a press conference organized by women's rights groups, the nun also accused his wife of trying to keep the abuse hidden so as not to "attract attacks" on their religion. Supporters of Bomjon claim that the nun was in fact involved in theft, and had been ejected from the monastery.


An investigation was opened in January of 2019 after complaints from family members that four devotees had gone missing from several of Bomjon's ashrams. In the same month, police raided one of Bomjon's ashrams in Nepal, but he was not found. On February 6th, 2020, the Sarlahi District Court issued an arrest warrant against Bomjon. The following day, police raided another one of his ashrams, but Bomjon again was not found. However, police did arrest one of his disciples, Gyan Bahadur Bomjan.


More info on official website: https://rambahadurbomjon.wordpress.com

⁣This brilliant documentary reveals how a small group of superrich criminals have been buying virtually everything on earth, until they own it all. From media, health care, technology, travel, food industry, governments... That allows them to control the whole world. Because of this they are now trying to impose the New World Order.

⁣Tim's Vermeer is a 2013 documentary film, directed by Teller, produced by his stage partner Penn Jillette and Farley Ziegler, about inventor Tim Jenison's efforts to duplicate the painting techniques of Johannes Vermeer, in order to test his theory that Vermeer painted with the help of optical devices.


The film premiered at the 2013 Toronto International Film Festival and was released in limited theatrical release in the United States by Sony Pictures Classics on January 31, 2014 Tim Jenison is an inventor and successful founder of NewTek, a company working in various fields of computer graphics, most notably the 3D modeling software "LightWave 3D." Jenison, himself both an engineer and art enthusiast, becomes fascinated with the paintings of Johannes Vermeer, a 17th-century Dutch painter whose paintings have often been said to exhibit a photographic quality. Jenison, spurred by the 2001 book Secret Knowledge by British artist David Hockney and Vermeer's Camera by British architecture professor Philip Steadman, theorizes that Vermeer potentially used a camera obscura to guide his painting technique. His initial idea, that Vermeer used a simple light projection to paint, is quickly discarded after concluding that painting over a projection makes it nearly impossible to match the colors correctly. Jenison then has an epiphany of using a mirror to monitor parts of the picture: by placing a small, fixed mirror above the canvas at a 45-degree angle, he is able to view parts of the original image and the canvas simultaneously, and obtain a precise color match by continuously comparing the reflection of the original image with what he has put on the canvas, moving from area to area by simply moving his own point-of-view slightly. When the edge of the mirror "disappears", he has it right.

Watch PART 1 (One) here => ⁣https://vajratube.com/v/SXRrCw
⁣After a long summer of feasting, their bodies stately and plump, the emperor penguins of Antarctica begin to feel, toward autumn, a need to march inland to the breeding grounds "where each and every one of them was born." They are all of a mind about this, and walk in single file, thousands of them, in a column miles long. They all know where they are going, even those making the march for the first time, and when they get there, these countless creatures, who all look more or less the same to us, begin to look more or less desirable to one another. Carefully, they choose their mates.

This is not a casual commitment. After the female delivers one large egg, the male gathers it into a fold of his abdomen, plants his feet to protect the egg from the ice below, and then stands there for two months with no food or water, in howling gales, at temperatures far below zero, in total darkness, huddled together with the other fathers for warmth. The females meanwhile, march all the way back to the sea, now even more distant, to forage for food, which they will bring when the spring comes, if they know it must. When the females return to the mass of countless males, they find their mate without error and recognize the cries of chicks they have never seen.

"March of the Penguins" is simply, and astonishingly, the story of this annual cycle. It was filmed under unimaginable conditions by the French director Luc Jacquet and his team, including the cinematographers Laurent Chalet and Jerome Maison. There is not much to choose from in setting up their shots: On the coldest, driest and (in winter) darkest continent on Earth, there is snow, and there is ice, and there are penguins. There is also an ethereal beauty.

Although the compulsion to reproduce is central to all forms of life, the penguins could be forgiven if they'd said the hell with it and evolved in the direction of being able to swim to Patagonia. The film's narrator, Morgan Freeman, tells us that Antarctica was once a warm land with rich forests that teemed with creatures. But as the climate grew colder over long centuries, one lifeform after another bailed out, until the penguins were left in a land that, as far as they can see, is inhabited pretty much by other penguins, and edged by seas filled with delicious fish. Even their predators, such as the leopard seal, give them a pass during the dark, long, cold winter.

"This is a love story," Freeman's narration assures us, reminding me for some reason of Tina Turner singing "What's Love Got to Do With It?" I think it is more accurately described as the story of an evolutionary success. The penguins instinctively know, because they have been hard-wired by evolutionary trial and error, that it is necessary to march so far inland because in spring, the ice shelf will start to melt toward them, and they need to stand where the ice will remain thick enough to support them.

As a species, they learned this because the penguins who paused too soon on their treks had eggs that fell into the sea. Those who walked farther produced another generation, and eventually every penguin was descended from a long line of ancestors who were willing to walk the extra mile.

Why do penguins behave in this manner? Because it works for them, and their environment gives them little alternative. They are Darwinism embodied. But their life history is so strange that until the last century, it was not even guessed at. The first Antarctic explorers found penguins aplenty, but had little idea where they came from, where they went to, and indeed whether they were birds or mammals.

The answers to those questions were discovered by a man named Apsley Cherry-Garrard, in one of the most remarkable books ever written, The Worst Journey in the World (1922). He was not writing about the journey of the penguins, but about his own trek with two others through the bitter night to their mating grounds. Members of Scott's 1910-1912 expedition to the South Pole, they set out in the autumn to follow the march of the penguins, and walked through hell until he found them, watched them, returned with one of their eggs. Cherry-Garrard retired to England, where he lived until 1959; his friends felt the dreadful march, and the later experience of finding the frozen bodies of Scott and two others, contributed to his depression for the rest of his life.

For Jacquet and his crew, the experience was more bearable. They had transport, warmth, food and communication with the greater world. Still, it could not have been pleasant, sticking it out and making this documentary, when others were filming a month spent eating at McDonald's. The narration is a little fanciful for my taste, and some of the shots seem funny to us but not to the penguins. When they fall over, they do it with a remarkable lack of style. And for all the walking they do, they're ungainly waddlers. Yet they are perfect in their way, with sleek coats, grace in the water and heroic determination. It's poignant to watch the chicks in their youth, fed by their parents, playing with their chums, the sun climbing higher every day, little suspecting what they're in for.

REVIEW RESOURCE: https://www.rogerebert.com/rev....iews/march-of-the-pe

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