⁣Is this how it all started? The mystery of human origins. Where did we come from? With many leading explanations being highly improbable.. Could this be the missing piece to the puzzle?
The 5th Kind Presents: Improbable Cause - A Film & Animation by Giovanni Lodigiani. Music Credits: https://www.trax4pro.com/ - Pro Tracks Available for Licence and use your own Projects. Visit the website for more information.

RESOURCE: https://www.5thkind.tv/

⁣When the 13th amendment was ratified in 1865, its drafters left themselves a large, very exploitable loophole in the guise of an easily missed clause in its definition. That clause, which converts slavery from a legal business model to an equally legal method of punishment for criminals, is the subject of the Netflix documentary “13th.” Premiering tonight at the New York Film Festival, “13th” is the first documentary to open the festival in its 54 year history. Director Ava DuVernay’s takes an unflinching, well-informed and thoroughly researched look at the American system of incarceration, specifically how the prison industrial complex affects people of color. Her analysis could not be more timely nor more infuriating. The film builds its case piece by shattering piece, inspiring levels of shock and outrage that stun the viewer, leaving one shaken and disturbed before closing out on a visual note of hope designed to keep us on the hook as advocates for change.

“13th” begins with an alarming statistic: One out of four African-American males will serve prison time at one point or another in their lives. Our journey begins from there, with a slew of familiar and occasionally surprising talking heads filling the frame and providing information. DuVernay not only interviews liberal scholars and activists for the cause like Angela Davis, Henry Louis Gates and Van Jones, she also devotes screen time to conservatives such as Newt Gingrich and Grover Norquist. Each interviewee is shot in a location that evokes an industrial setting, which visually supports the theme of prison as a factory churning out the free labor that the 13th Amendment supposedly dismantled when it abolished slavery.

We’re told that, after the Civil War, the economy of the former Confederate States of America was decimated. Their primary source of income, slaves, were no longer obligated to line Southerners’ pockets with their blood, sweat and tears. Unless, of course, they were criminals. “Except as punishment for a crime whereof the party shall have been duly convicted” reads the loophole in the law. In the first iteration of a “Southern strategy,” hundreds of newly emancipated slaves were re-enlisted into free, legal servitude courtesy of minor or trumped-up charges. The duly convicted part may have been questionable, but by no means did it need to be justifiably proven.
So begins a cycle that DuVernay examines in each of its evolving iterations; when one method of subservience-based terror falls out of favor, another takes its place. The list feels endless and includes lynching, Jim Crow, Nixon’s presidential campaign, Reagan’s War on Drugs, Bill Clinton’s Three Strikes and mandatory sentencing laws and the current cash-for-prisoners model that generates millions for private bail and incarceration firms.
That last item is a major point of discussion in “13th”, with an onscreen graphic keeping tally of the number of prisoners in the system as the years pass. Starting in the 1940’s, the curve of the prisoner count graph begins rising slowly though steeply. A meteoric rise began during the Civil Rights movement and continued into the current day. As this statistic rises, so does the level of decimation of families of color. The stronger the protest for rights, the harder the system fights back against it with means of incarceration. Profit becomes the major by-product of this cycle, with an organization called ALEC providing a scary, sinister influence on building laws that make its corporate members richer.

Several times throughout “13th” there is a shock cut to the word CRIMINAL, which stands alone against a black background and is centered on the huge movie screen. It serves as a reminder that far too often, people of color are seen as simply that, regardless of who they are. Starting with D.W. Griffith’s “The Birth of a Nation”, DuVernay traces the myth of the scary Black felon with supernatural levels of strength and deviant sexual potency, a myth designed to terrify the majority into believing that only White people were truly human and deserving of proper treatment. This dehumanization allowed for the acceptance of laws and ideas that had more than a hint of bias. We see higher sentences given for crack vs. cocaine possession and plea bargains accepted by innocent people too terrified to go to trial. We also learn that a troubling percentage of people remain in jail because they’re too poor to post their own bail. And regardless of your color, if you’re a felon, you can no longer vote to change the laws that may have unfairly prosecuted you. You lose a primary right all Americans have.

“13th” covers a lot of ground as it works its way to the current days of Black Lives Matter and the terrifying videos of the endless list of African-Americans being shot by police or folks who supposedly “stood their ground.” On her journey to this point, DuVernay doesn’t let either political party off the hook, nor does she ignore the fact that many people of color bought into the “law and order” philosophies that led to the current situation. We see Hillary Clinton talking about “super-predators” and Donald Trump’s full-page ad advocating the death penalty for the Central Park Five (who, as a reminder, were all innocent). We also see people like African-American congressman Charlie Rangel, who originally was on board with the tough on crime laws President Clinton signed into law.

By the time we get to the montage of the deaths of Philando Castile, Tamir Rice, Eric Garner and others (not to mention the huge, screen-covering graphic of names of African-Americans shot by law enforcement), “13th” has already proven its thesis on how such events can not only occur, but can also seem sadly like “business as usual.” It’s a devastating finale to the film, one that follows an onscreen discussion about whether or not the destruction of Black bodies should be run ad nauseum on cable news programs. DuVernay opts to show the footage, with an onscreen disclaimer that it’s being shown with permission by the families of the victims, something she did not need to seek but did so out of respect.

Between the lines, “13th” boldly asks the question if African-Americans were actually ever truly “free” in this country. We are freer, as this generation has it a lot easier than our ancestors who were enslaved, but the question of being as completely “free” as our White compatriots hangs in the air. If not, will the day come when all things will be equal? The final takeaway of “13th” is that change must come not from politicians, but from the hearts and minds of the American people.

Despite the heavy subject matter, DuVernay ends the film with joyful scenes of children and adults of color enjoying themselves in a variety of activities. It reminds us, as she said in her Q&A with NYFF director Kent Jones, that “Black trauma is not our entire lives. There is also Black joy.” That inspiring message, and all the important, educational information provided by this excellent documentary, make “13th” a must-see.

REVIEW RESOURCE: https://www.rogerebert.com/reviews/13th-2016

⁣This documentary from Jeff Orlowski explores how addiction and privacy breaches are features, not bugs, of social media platforms.
That social media can be addictive and creepy isn’t a revelation to anyone who uses Facebook, Twitter, Instagram and the like. But in Jeff Orlowski’s documentary “The Social Dilemma,” conscientious defectors from these companies explain that the perniciousness of social networking platforms is a feature, not a bug.

They claim that the manipulation of human behavior for profit is coded into these companies with Machiavellian precision: Infinite scrolling and push notifications keep users constantly engaged; personalized recommendations use data not just to predict but also to influence our actions, turning users into easy prey for advertisers and propagandists.

As in his documentaries about climate change, “Chasing Ice” and “Chasing Coral,” Orlowski takes a reality that can seem too colossal and abstract for a layperson to grasp, let alone care about, and scales it down to a human level. In “The Social Dilemma,” he recasts one of the oldest tropes of the horror genre — Dr. Frankenstein, the scientist who went too far — for the digital age.

In briskly edited interviews, Orlowski speaks with men and (a few) women who helped build social media and now fear the effects of their creations on users’ mental health and the foundations of democracy. They deliver their cautionary testimonies with the force of a start-up pitch, employing crisp aphorisms and pithy analogies.

“Never before in history have 50 designers made decisions that would have an impact on two billion people,” says Tristan Harris, a former design ethicist at Google. Anna Lembke, an addiction expert at Stanford University, explains that these companies exploit the brain’s evolutionary need for interpersonal connection. And Roger McNamee, an early investor in Facebook, delivers a chilling allegation: Russia didn’t hack Facebook; it simply used the platform.
Much of this is familiar, but “The Social Dilemma” goes the extra explainer-mile by interspersing the interviews with P.S.A.-style fictional scenes of a suburban family suffering the consequences of social-media addiction. There are silent dinners, a pubescent daughter (Sophia Hammons) with self-image issues and a teenage son (Skyler Gisondo) who’s radicalized by YouTube recommendations promoting a vague ideology.


This fictionalized narrative exemplifies the limitations of the documentary’s sometimes hyperbolic emphasis on the medium at the expense of the message. For instance, the movie’s interlocutors pin an increase in mental illness on social media usage yet don’t acknowledge factors like a rise in economic insecurity. Polarization, riots and protests are presented as particular symptoms of the social-media era without historical context.
Despite their vehement criticisms, the interviewees in “The Social Dilemma” are not all doomsayers; many suggest that with the right changes, we can salvage the good of social media without the bad. But the grab bag of personal and political solutions they present in the film confuses two distinct targets of critique: the technology that causes destructive behaviors and the culture of unchecked capitalism that produces it.

Nevertheless, “The Social Dilemma” is remarkably effective in sounding the alarm about the incursion of data mining and manipulative technology into our social lives and beyond. Orlowski’s film is itself not spared by the phenomenon it scrutinizes. The movie is streaming on Netflix, where it’ll become another node in the service’s data-based algorithm.

REVIEW RESOURCE: https://www.nytimes.com/2020/0....9/09/movies/the-soci

⁣A documentary film about the origins, development and expansion of one of the most elitist and secret organizations in today's world. Once a year, the most powerful people allegedly meet behind closed doors to discuss their secret agenda.
The Bilderberg Group is believed to be made up of European prime ministers, North American presidents, and the most affluent CEOs on the planet. Together they come together and discuss the economic interests and political future of humanity. Journalists have never been allowed to attend, nor have statements ever been released on the meetings, which have incredible implications on the citizens of the world.
Featuring: Daniel Estulin, Pilar Urbano, Nigel Farage, Mario Borghezio, Jeffrey Steinberg, Lyndon Larouche, Dennis Small, Helga Zepp-Larouche, Michael Billington, Gerard Aalders, Denis Healey

Director’s Note

How and when was it created? Who are they? What do they do, how they do it, and why do they do what they do? Is there anything we can do about it? These were some of the basic questions that came to mind when I accepted Daniel Estulin’s offer to make this documentary film. My greatest fear: that the density of the subject itself would end up distracting the viewer’s attention. My only goal: simplify; make it straightforward; present facts, evidence, cross-checked information. And the big challenge: the film had to maintain a pace, be visually entertaining, beautiful and dynamic, on the one hand; and deeply informative, on the other.
To explain through visual images the existence of an almost ethereal entity, its headquarters – a 20m2, second floor walk up on a quiet street in Leiden, the Netherlands manned only by an answering machine; its members – faceless and nameless to the rest of the world refuse to grant public interviews, was not an easy task. The same organization, its outward secrecy and the shadow of accusations of conspiracy leveled against those who have dared to broach the subject, are also circumstances that made this process much more complex for me, as a filmmaker.
How do you explain to someone who demands freedom, that all he has to do is walk through the open door in front of him? How can I show through images, that the truth that almost everyone considers as such, is a lie? How do I show that this truth, which is not reality, is based on lies which, after repeating them and believing them, end up becoming real? What is the truth? What is reality?
Reality is just that — the truth. A lie, on the other hand, has to have a meaning to be first promulgated and then accepted by the masses. The hardest thing for us, based on how we have been taught to think, is to learn how to detect a lie. The objective of this film is to find the cause whose effect is the lies that are continuously sold to us, as well as to deeply and precisely understand the magnitude of this reality, and its palpable consequences in our lives.
Joan Cutrina

⁣Critically Thinking with Dr. Sherri Tenpenny and Dr. Lawrence B. Palevsky, Dr. Carrie Madej, Dr. Lee Merritt, Dr. Christiane Northrup.
⁣Ever since reports have surfaced in recent days that people who have chosen NOT to receive the experimental COVID-19 shots but have been exposed to those who have received them, and have suffered what appear to be infections coming from these fully "vaccinated" people, affecting mainly women who have reported menstruation difficulties, heavy bleeding, miscarriages, and reduction of breast milk, I have been watching my newsfeed to see if any of the dissenting doctors and scientists we feature regularly here at Health Impact News would address these issues.

Fortunately, a team of 5 doctors in the U.S., all of whom we have featured in the past here at Health Impact News and are highly qualified to address this topic, just held a round-table discussion a couple of days ago to address these issues.

The issues they discuss affect ALL of us in the U.S. (and around the world) right now, and it is imperative that you take 79 minutes of your time to watch this video.

Not only do these highly qualified doctors discuss why they think this is happening, they also give practical advice at the end about what we can be doing right now to protect ourselves and stop this attack on the human race by the Globalists seeking to reduce the world's population.

Every single one of these doctors believe that these shots are NOT vaccines, but bioweapons designed to kill human beings.


Whatever else you are doing when you come across this video, it is highly unlikely that anything else you do the rest of your day will be more important than watching this video so you can be informed of the evil effects of these injections that are being censored in the corporate media and Big Tech social media.

Then share this video with as many people as you can.

⁣Journalist Whitney Webb has worked to uncover some of the most dangerous stories of our lifetime, and she joins Glenn to reveal just how eye-opening it’s been. Her new two-volume book, “One Nation Under Blackmail: The Sordid Union Between Intelligence and Crime that Gave Rise to Jeffrey Epstein,” examines Epstein’s elaborate network of corruption and power, from Bill Clinton to Ghislaine Maxwell and many more.


Her research into transhumanism has given her a terrifying perspective on the World Economic Forum and tech elites, including Elon Musk. And she tells Glenn the dark truth about Biden’s push for electric vehicles that she noticed while living in Chile.

⁣“Ayahuasca & the Path of the Shaman” is a 94 minute documentary that investigates the healing properties of the Peruvian Plant Medicine, Ayahuasca. Driven by a need to heal from his own depression, Dave, travels from his home outside Vancouver, Canada, to Peru in search of this spiritual plant, where he eventually is taught by a Shipibo Master how to work with it. The film's narrative unfolds through a series of storylines: We follow Shannan, as she begins her journey with Dave and this medicine, uncovering child-hood trauma buried deep inside her sub-conscious.


We hear from Lisa, a recovering heroin and crack addict that worked as a prostitute in the streets of Toronto. We also hear from Gabor Mate, whom through talk therapy, helps participants uncover how their experiences with Ayahuasca relate to their daily lives. And finally we hear from Libby. Who starts her journey with this plant by leaving a suicide message on her phone that thankfully never gets delivered.

⁣ibiru conspiracy theories about the end of the world have been circulating online for more than two decades, with the latest dubious prophecy predicting the apocalypse - September 23, 2017.
Planet X, or Nibiru, refers to a mythological planet in our solar system that will supposedly crash into Earth and wipe out the human race, however it has been consistently dismissed by Nasa and other experts as an internet hoax.
Despite absolutely no scientific evidence to back up the suggestions of a rogue planet getting rapidly closer to Earth, myths about Planet X continue to be perpetuated online.
Of course, this isn't the first time time harbingers of doom have predicted the end of time; Nasa also had to deny the existence of Nibiru in 2012.
Throughout history there have been similar claims, but thankfully none of them so far have been proved correct.
How did conspiracy theories about Planet X start?
Online chatter about Nibiru began back in 1995 when Wisconsin native Nancy Lieder created the alien-conspiracy website ZetaTalk.
Ms Lieder claims to be a conduit for aliens from the Zeta Reticuli star system, 39.17 light years from Earth, who have warned her about the Nibiru catastrophe.
The conspiracy theory hasn’t gone away, with so-called Christian numerologist David Meade claiming Planet X is heading in our direction.
Meade believes October could see the start The Rapture and a seven-year tribulation period of widescale natural disasters.
Why September 23?

It has been claimed an unusual celestial arrangement mirroring signs from the Bible’s Book of Revelation, September 23, will signal the start of the end of the world.
However, the EarthSky blog notes there will be “nothing unique” about the sun, moon and planets on the date.

“In the past 1,000 years, this same event has happened at least four times already, in 1827, 1483, 1293, and 1056,” explains astronomer Christopher M. Graney.
Haven’t we been here before?

Mars, with Earth visible in background CREDIT: Getty
This isn't the first time the apocalypse has been predicted:
1844
American Baptist teacher William Miller first shared publicly his belief in the coming Second Advent of Jesus Christ in 1833, predicting he would return in the year 1843.
The Millerites were his followers and Millerism became a national movement, however when Jesus didn’t arrive, October 22, 1844, became known as the Great Disappointment.
1997
Twenty years ago, 29 members of Heaven’s Gate, a UFO religious millenarian group, committed suicide with the aim of boarding a UFO they believed was hiding behind the Hale-Bopp comet before the supposed end of the world.
2003
Planet X was also supposedly discovered by the ancient Sumerian people and was meant to hit Earth in 2003, but never arrived.
“This catastrophe was initially predicted for May 2003, but when nothing happened the doomsday date was moved forward to December 2012 and linked to the end of one of the cycles in the ancient Mayan calendar at the winter solstice in 2012,” say Nasa.
2011
The end of the world was also supposed to arrive on 21 May 2011, with Christian doomsday prophet Harold Camping predicting the Rapture would begin at 18:00 in each of the world's time zones, wiping out nay-sayers with rolling earthquakes as believers ascended to heaven.
2012
Nasa had to debunk an ancient Maya prophecy theory about the world ending back in 2012.
The Mayan connection “was a misconception from the very beginning,” astrophysicist Dr. John Carlson said at the time.
“The Maya calendar did not end on Dec. 21, 2012, and there were no Maya prophecies foretelling the end of the world on that date."
2015
Chris McCann, leader and founder of the eBible fellowship, said the world would be engulfed and destroyed by a great fire on October 7.
McCann said he was "surprised" by the outcome and wrote a blog post entitled: "A response to being incorrect with the prediction that, in all likelihood, the world would end on October 7."
What does Nasa say this time?

Nasa is confident the world won't end CREDIT: AFP
Nasa has definitively dismissed wild theories about Nibiru as pseudoscience, issuing a number of statements denying its existence.
“Various people are ‘predicting’ that world will end on September 23 when another planet collides with Earth,” say Nasa.
“The planet in question, Nibiru, doesn't exist, so there will be no collision. The story of Nibiru has been around for years (as has the 'days of darkness' tale) and is periodically recycled into new apocalyptic fables.”
They add: “Nibiru and other stories about wayward planets are an internet hoax. There is no factual basis for these claims. If Nibiru or Planet X were real and headed for an encounter with the Earth … astronomers would have been tracking it for at least the past decade, and it would be visible by now to the naked eye. Obviously, it does not exist.
“Eris is real, but it is a dwarf planet similar to Pluto that will remain in the outer solar system; the closest it can come to Earth is about 4 billion miles.”
Nasa fake news and the days of darkness tale
A fake news story being widely shared online suggests Nasa has confirmed Earth will experience 15 days of complete darkness in November 2015.
Another fake news video claims that Nasa has found Nibiru and confirmed it is heading straight for us.
Debunking website Snopes explains the “days of darkness” tale is a “bit of fake news lifted from an older viral rumour”
They say that it “had already been around the online block several times before,” adding, “it has long since become an evergreen online hoax — a jape that is typically resurrected a few times a year by dubious websites that simply update the time span for the alleged ‘period of darkness’ and send it winging around the internet again.
What do other experts say?
Nick Pope, who used to investigate UFOs and other mysteries for the Ministry of Defence, says “Nibiru doesn't exist”.
He adds: “The world won't end on September 23. Shame on the people promoting this hoax in the name of evangelical Christianity.”
Mr Pope told The Telegraph: “I'm certain Nibiru doesn't exist because if there really was a rogue planet heading for Earth, due to hit on Saturday, it would be visible to the naked eye by now.
“Furthermore, astronomers would have been aware of its presence for years, both through direct observation and through gravitational effects on other planets in the solar system.”
Why are some people so keen to promote this conspiracy?
“The people promoting this prediction seem to be doing so because of religious belief, tenuously linking the recent eclipse with Biblical passages, including one from the Book of Revelations,” Pope says.
“I suspect the reasons include self-publicity and the desire to promote their particular brand of evangelical Christianity.”
Is there anything we should be worried about?
“All this isn't to say that there aren't some existential threats out there, but if people want to worry about something, they should probably worry about North Korean missiles, or about Iran acquiring nuclear weapons, not about Nibiru,” Pope adds.
“There have been countless previous predictions of the end of the world. Self-evidently all these predictions were false. September 23 will pass without incident, just as we safely negotiated all the previous dates that had been put forward as doomsday.”

⁣Based on the book by environmentalist lawyer Robert F. Kennedy Jr., The Real Anthony Fauci is a two-part documentary directed by Kala Mandrake.

When the coronavirus outbreak happened, one face became known to the American public as the one standing for “the science.” That man was NIH Director Anthony Fauci and he continues to haunt the media. However, who is this man? Where did he come from? How has he worked at the NIH for so long? Kennedy explores Fauci’s hidden past, revealing corruption, conflicts of interest, and even a disregard for ethics.

One of the most illuminating parts of the documentary was how Fauci peddled ADZ as a treatment for the AIDs epidemic. Any dissenting voices to his official press release were mocked and disregarded. There is a similar pattern in regard to coronavirus. Fauci did not meet a camera he did not want to yell at and that could be his downfall.

Unlike the glowing propaganda film that Disney put out, this documentary was fearless in its pursuit of the truth behind what is going on behind the scenes with government regulators who are supposed to be protecting Americans when it comes to healthcare.

The tail end of it does sort of veer into a commercial for Ted Kennedy Jr.s organization, but it is his documentary, so I’ll let it slide. There were a few topics I do not agree with Kennedy on, but this issue of Fauci’s fraud overrides those issues.

With this in mind, I went into this skeptical but I came out wondering how the federal health “experts” get away with so much. Fauci has gotten it wrong so many times and somehow he is the highest-paid government official. It is one of the most bizarre things to happen, but it seems in politics, you can fail upwards.

The documentary is an impressive look at the evidence not to mention a feature from which Americans can learn a great deal.

REVIEW RESOURCE: https://studiojakemedia.com/20....22/10/26/the-real-an

⁣Johan Soderberg and Erik Pauser examine world culture, using multimedia art and flash-cuts of varied speakers and artists, all set to music.
World culture gets the channel-flipping treatment in this oddly named docu, which has more in common with “Baraka” and “Powaqqatsi” than with regular travelogues or music-and-dance pics. Irreverent eclecticism is geared to computer-literate age groups, and it already has some buzz on the club circuit.
Using the name Lucky People Center, co-helmers Erik Pauser and Johan Soderberg work as multimedia artists in Stockholm. In “International,” they apply their mixmaster mentality to cinema, slicing and dicing innumerable clips, shot over several years of intense world touring, into a bouillabaisse of art pieces, rapping rants, straight-on conversations and impressionistic images of urban flux.
The flash-cut result is enough to send some viewers into mild catatonia (remember “Max Headroom”?), but when things slow down enough to let you hear from a good-natured Tibetan lama on the American fear of death or a bunch of tattooed Maori warriors chanting in unison about the evils of ATM cards, it drives home their point that the world has already left many people behind.
Other highlights include Russian troublemaker Alexander Brener, seen reading poetry and throwing a brick through a window; gray-suited Tokyo banker Toshiji Mikawa, who moonlights as a screechy electronic performance artist; gorgeous Indian dancer Pragati Sood, in sacramental form; and New Mexico shaman Franklin Bearchild Eriacho, whose common-sense recipe for religion includes “no blind faith, but intelligent devotion.”
These segs, united by thumping electro music provided by the helmers, seem to have little in common (except exhilaratingly varied, color-rich lensing), but themes of spiritual renewal and embrace of the strange keep coming up. Pic may look formless to over-40s, but it’s well-geared to MTV-saturated youth, especially those hungry for something positive but not Polyanna.


Initial release: March 27, 1998 (Sweden)
Directors: Johan Söderberg, Erik Pauser
Running time: 85 minutes
Producer: Lars Jönsson
Music composed by: Bub Wehi, Dr. Nobody, Johan Söderberg, Erik Pauser,
RESOURCE: http://www.imdb.com/title/tt0148428/
REVIEW RESOURCE: https://variety.com/1998/film/....reviews/lucky-people

⁣The Pyramid Code is a made-for-television documentary series of 5 episodes that explores the pyramid fields and ancient temples in Egypt, as well as ancient megalithic sites around the world, looking for clues to matriarchal consciousness, ancient knowledge and sophisticated technology in a golden age.


The ancients knew about an Earth grid of powerful energies and believed they coalesced in designated patterns. Learn how such knowledge translated into an extraordinary mathematical precision, as revealed in monuments including the great pyramids of Egypt, Stonehenge, Teotihuacán and many others.


The series is based on the extensive research done in 25 trips to Egypt and 51 other countries around the world by Dr. Carmen Boulter. The Pyramid Code features interviews with more than a dozen prominent scholars and authors in multidisciplinary fields.


Episode 1 (44 mins)
The Band of Peace
The Band of Peace raises questions about the purpose of the pyramids, challenging the story traditional Egyptology tells.

⁣A Prison on Earth: Beyond The New World Order - In the shadows of other dimensions, there lays a nefarious force waging war upon humans for millennia from the space between spaces - a dark force that governs not just our thoughts and actions but our very souls. The very advent of time began the slave master hierarchy between us and those unseen forces behind our every action and thought.


They built and created "rules" and systems of thought, created kingdoms and spawned religions used to rule the masses from afar by controlling the ebb and flow of space and time on an epic level. Under the guise of "free will" and "individualism" the systems in place around us actually ensure that we have no choice but to comply and obey an underlying agenda that at its core is evil, and have been put in place by beings that feed and are nurtured by the control they maintain over planet Earth.


2016: Stars: William Kraft, Robert Mathison, Simon Oliver

⁣Dr. David Martin: Not novel, No pandemic, No variants...Campaign of Coercion & Terror!
This is a bombshell video conference between Dr David E Martin and Reiner Fuellmich that should fatally debunk the official COVID narrative, if you send this to everybody you know who still watches cable news.
David makes a tight case, backed by mountainous evidence that COVID-19 wasn’t a lab leak. It is a US bioweapon, as is the so-called vaccine. The primary motive is money.
Everything David says can be used in a court of law and is backed by over 20 years of research, patent filings and FOIA documents, including Anthony Fauci’s recently-released emails. David does not speculate about anything. He doesn’t get into any ulterior motives beyond what he has seen in official or verified documents. What he can definitively prove is that COVID-19 is a financially-motivated scam more than 20 years in the making.
Furthermore, he says “SARS-CoV-2” is not novel. It’s the same old SARS (SARS-CoV-1) bioweapon targeted for human lung epithelium that Anthony Fauci commissioned the University of North Carolina to create and which was patented on April 19th 2002, months before what he calls the “alleged” outbreak in Asia.
David then goes through the CDC’s patent filing for SARS coronavirus on April 25th, 2003, followed three days later by a filing by Sequoia Pharmaceuticals for the treatment of same, in a patent on anti-viral agents of control of infections by coronavirus. Sequoia Pharmaceuticals (subsequently, AB Links Pharmaceuticals) was later rolled-up into the proprietary holdings of Pfizer, Crucell and Johnson & Johnson.
David says this is a RICO case. “And the RICO pattern, which was established in April 2003 for the first coronavirus was played out to exactly the same schedule, when we see SARS-CoV-2 show up, when we have Moderna getting the spike protein sequence by phone from the Vaccine Research Center at NIAID – prior to the definition of the novel subclade. How do you treat a thing before you actually have the thing?”
The goal of all of this has been to institute an aggressive “pan-coronavirus” vaccine schedule for adults, that seeks to replace our natural immune system with synthetic mRNA biology. This goal and the means to achieve it is encapsulated in a statement made by Wuhan Institute Gain-of-Function contractor, Peter Daszak in 2015: “We need to increase public understanding of the need for medical countermeasures, such as a pan-coronavirus vaccine. A key driver is the media and the economics will follow that hype. We need to use that hype to our advantage to get to the real issues. Investors will respond if they see profit at the end of the process.”
David says, “Peter Daszak, the head of EcoHealth Alliance; Peter Daszak, the person who was independently corroborating the Chinese non-lab leak non-theory, because there wasn’t a lab leak. This was an intentional bioweapon of spike proteins, to inject into people, to get them addicted to a pan-coronavirus vaccine. This has nothing to do with a pathogen that was released and every study that’s ever been launched to try to verify a lab leak is a red herring…
“It’s always been all about money. And just to answer a question that was asked slightly earlier, the script for this was written first January 6th, 2004.”
Reiner asks, “January 6th, 2004. Who wrote the script?”
“Merck, at the conference called SARS and Bioterrorism. ‘Bioterrorism and emerging infectious diseases, antimicrobials and immune modulators.’ Merck introduced the notion of what they called the ‘New Normal’, which is the language that became the branded campaign that was adopted by the World Health Organization, the Global Preparedness Monitoring Board, which was the board, upon which the Chinese Director of the Centers for Disease Control, Bill Gates’ Dr Elias of the Gates Foundation and Anthony Fauci sat together on that Board of Directors but the first introduction of the New Normal campaign, which was about getting people to accept a universal pan-influenza, pan-coronavirus vaccine was actually adopted January 6th, 2004.”
As to the vaunted Delta and Lambda “variants” that we’ve been hearing about lately, David says, point-blank, “There is no evidence that the Delta Variant is somehow distinct from anything else on GISAID. The fact that we are now looking for a thing doesn’t mean that it is a thing, because we are looking at fragments of things…Because of the way in which we currently sequence genomes, which is actually a compositing process – it’s what we’d call in mathematics, an interleaving – we don’t have any point of reference to actually know whether or not the thing we’re looking at is, in fact distinct from either clinical or even genomic sense…It’s just an alteration and a stop-and-start of what you call the ‘reading frame’. There is no ‘novel’ anything.”
As the head of an organization that monitors all breaches of biological weapons treaty violations, that publishes lists of names and contact information and that identifies who is financing these breaches, David says, “For us, it wasn’t hard to figure out that this was not a public health crisis, this was an opportunistic marketing campaign to address a stated objective. And that’s why this is Occam Razor, it’s the easiest thing to describe, because they’re the ones that said it. The Occam’s Razor reality is that they said they needed to get the public to accept a pan-coronavirus vaccine countermeasure and they needed to the media to create the hype and investors would follow where they see profit.
“You do not have anything else you need to rely on to explain the events of the past 20 months than the actual statement of the actual perpetrator. I don’t do the navel-gazing exercise of going in to try to understand whether there were ‘mommy issues’ behind a bank robber. If they’re holding a bag of money outside of a bank, I actually make the crazy assumption that maybe they’re a bank robber.
“Similarly, if I have somebody who says ‘We need to use the media to hype the medical countermeasure,’ which is actually the injection of a synthetic, recombinant, chimeric protein developed off a computer simulation, if I’m actually going to listen to the motivation for why that might be being done, I will listen to the person doing the simulation, who says, ‘Investors will follow where they see profit.’ I don’t need more explanation.”
4,000 PATENTS PERTAINING TO SARS
David begins by telling Reiner that his team has reviewed the over 4,000 patents pertaining to the SARS coronavirus and done a comprehensive analysis of the financing of all of the manipulations which gave rise to SARS as a subclade of the Beta Coronavirus family.
David’s team took the reported gene sequence of the so-called “novel” coronavirus, as indicated by the ICTV (the International Committee on the Taxonomy of Viruses of the World Health Organization) and compared this gene sequence with those in the patent records as of early 2020 and what they found were over 120 patented pieces of evidence to suggest that the declaration of a novel coronavirus was “entirely a fallacy.”
David says, “There was no novel coronavirus. There are countless very subtle modifications of coronavirus sequences that have been uploaded. But there was no single identified novel coronavirus, at all. As a matter of fact, we found records in the patent records of sequences attributed to novelty going to patents that were sought as early as 1999. So, not only was this not a novel anything…it’s not been novel for over two decades.”
David then takes us on a short journey through the patent landscape.
“The first vaccine ever patented for coronavirus was actually sought by Pfizer…which was specifically this ‘S’ spike protein – so the exact same thing that allegedly we have rushed into invention – the first application was filed on January 28, 2000, twenty-one years ago.
“So the idea that we stumbled on the way to ‘intervene’ on vaccines is not only ludicrous it is incredulous, because Timothy Miller, Sharon Klepfer, Albert Paul Reed and Elaine Jones, on January 28th, 2000 filed what ultimately was issued as US Patent #6372224, which was the spike protein virus vaccine for the canine coronavirus, which is actually one of the multiple forms of coronavirus.
“But as I said, the early work, up until 1999 was largely focused in the area of vaccines for animals. The two animals receiving the most attention were probably Ralph Baric’s work on rabbits and the rabbit cardiomyopathy that was associated with significant problems among rabbit breeders and then, canine coronavirus, in Pfizer’s work to identify how to develop ‘S’ and spike protein vaccine target candidates, giving rise to the obvious evidence that says that neither the coronavirus concept of a vaccine, nor the principle of the coronavirus, itself as a pathogen of interest, with respect to the spike protein’s behavior is anything novel, at all. As a matter of fact, it’s 22 years old, based on patent filings.
“What’s more problematic, actually the most egregious problem is that Anthony Fauci and NIAID found the malleability of coronavirus to be a potential candidate for HIV vaccines.
SARS IS A MAN-MADE BIOWEAPON
“SARS is actually not a natural progression of a zoonotic modification of coronavirus. As a matter of fact, very specifically in 1999, Anthony Fauci funded research at the University of North Carolina, Chapel Hill specifically to create – and you cannot help but lament what I’m about to read, because this comes directly from a patent application filed on April 19th, 2002…where the NIAID built an infectious, replication-defective coronavirus. It was specifically targeted for human lung epithelium.
“In other words, we made SARS. And we patented it on April 19, 2002, before there was ever any alleged outbreak in Asia, which as you know, followed that by several months.
“That patent was issued as #7279327. That patent clearly lays out, in very specific gene sequencing, the fact that we knew that the ACE receptor, the ACE-2 binding domain, the S1 spike protein and other elements of what we have come to know as this ‘scourge pathogen’ was not only engineered, but could be synthetically modified in the laboratory using nothing more than gene sequencing technologies; taking computer code and turning it into a pathogen or an intermediate of the pathogen.
“And that technology was funded exclusively, in the early days as a means by which we could actually harness coronavirus as a vector to distribute HIV vaccine…
“So it gets worse. My organization was asked to monitor biological weapons treaty violations in the very early days of 2000. You’ll remember the anthrax events in September of 2001. And we were part of an investigation that gave rise to the Congressional inquiry into not only the anthrax origins but also what was unusual behavior around Bayer’s Ciprofloxacin drug, which was a drug used as a potential treatment for anthrax poisoning. And throughout the fall of 2001, we began monitoring an enormous number of bacterial and viral pathogens that were being patented through NIH, NIAID, USAMERIID, the USArmed Forces Infectious Diseases program and a number of agencies internationally that collaborated with them.
“And our concern was that coronavirus was being seen not only as a potential manipulatable agent for potential use as a vaccine vector, but it was also very clearly being considered as a biological weapon candidate. And so our first public reporting on this took place prior to the SARS outbreak in 2001, so you can imagine how disappointed I am, to be sitting here 20 years later, having 20 years earlier pointed out there was a problem looming on the horizon with respect to coronavirus.
“But after the alleged outbreak. And I will always say, ‘alleged outbreak’, because I think it’s important for us to understand that coronavirus, as a circulating pathogen inside the viral model we have is actually not new to the human condition and it is not new to the last two decades, it’s actually been part of the sequence of proteins that circulates for quite a long time.
“But the alleged outbreak that took place in China in 2002, going into 2003 gave rise to a very problematic April 2003 filing by the United States Centers of Disease Control and Prevention. And this topic is of critical importance to get the nuance very precise. Because, in addition to filing the entire gene sequence on what became SARS coronavirus – which is actually a violation of 35 US Code Section 101 – you cannot patent a naturally-occurring substance, the 35 US Code Section 101 violation was Patent #7220852. Now, that patent also had a series of derivative patents associated with it. These are patent applications that were broken apart, because they were of multiple, patentable subject matter.
“These include, US Patent #46592703P, which is actually a very interesting designation, US Patent #776521. These patents not only covered the gene sequence of SARS coronavirus, but also covered the means of detecting it, using RTPCR.
“Now, the reason why that’s a problem is if you actually both own the patent on the gene, itself and you own the patent on its detection, you have a cunning advantage to being able to control 100% of the provenance of not only the virus, itself but also its detection, meaning you have entire scientific and message control.
“And this patent, sought by the CDC, was allegedly justified by their public relations team as being sought so that ‘everyone would be free to be able to research coronavirus’. The only problem with that statement is it’s a lie. And the reason why it’s a lie is because the Patent Office not once but twice rejected the patent on the gene sequence as ‘unpatentable’, because the gene sequence was already in the Public Domain.
“In other words, prior to CDC’s filing for a patent, the Patent Office found 99.9% identity with the already-existing coronavirus recorded in the Public Domain and over the rejection of the Patent Examiner, and after having to pay an appeal fine in 2006 and 2007, the CDC overrode the Patent Office’s rejection of their patent and ultimately, in 2007, got the patent on SARS coronavirus.
“So every public statement that CDC has made, that said this was in the public interest is falsifiable by their own paid bribe to the Patent Office. This is not something that’s subtle. And to make matters worse, they paid an additional fee to keep their application private. Last time I checked, if you’re trying to make information available for the public research, you would not pay a fee to keep the information private.

⁣Nobody owns the air. A look at the deception being perpetrated by the aircraft manufacturers and airlines charging for fuel they don't use.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance of fair use.

⁣25 years after the mysterious death of princess Diana of Wales.
⁣Twenty five years ago Princess Diana’s car crashed inside the Pont de L’Alma tunnel in Paris France. Her lover, Dodi Fayad, died upon impact along with the driver. And even though Diana survived, it took about 40 minutes to get her from the car to the ambulance. The Official story was that they were trying to free her from the car, but several witnesses say that Diana was conscious and unobstructed. Photographs show that the backseat of the car was undamaged. And witnesses were pleading with the police to open the door and help her. Once in the ambulance, it took about 40 minutes for them to choose a Hospital. And when they finally set off, the ambulance drove at a snails pace and made several stops. Taking about 40 minutes to drive less than 4 miles.


Doctors were turned away. Witnesses were strip searched. Cameras were confiscated. No evidence was gathered. No blood samples were taken. And by 3am the entire scene was sprayed down with high pressure water hoses. Mercedes wanted to study the wreckage to see why it failed so badly. But they were denied. Diana‘s body was taken by the Royal family. Who had her reproductive organs removed before burying her remains. All 17 cameras along the route of the crash were mysteriously turned off. And all radio police frequencies went down. Witnesses were assaulted and threatened. And there was no investigation. Until the inquest ten years later. Which is when most people learned that Diana had penned a note in 1996 saying that someone was going to kill her in a car accident. This note was concealed for 6 years.

⁣Social Engineering, behaviorism, Mind Control, Sudo Democracy, human experimentatio, mechanistic philosophy, schooling, Noam Chomsky, Depopulation, Conspiracy, aggression, Deep State, Dehumanisation

Human Resources: Social Engineering in the 20th Century explores the rise of mechanistic philosophy and the exploitation of human beings under modern hierarchical systems. Topics covered include behaviorism, scientific management, work-place democracy, schooling, frustration-aggression hypothesis and human experimentation

Resources explores the rise of mechanistic philosophy and the exploitation of human beings under modern hierarchical systems.
Topics covered include behaviorism, scientific management, work-place democracy, schooling, frustration-aggression hypothesis and human experimentation.

Scott Noble releases all of his films online for free, but they do cost a fair bit to produce. If you're able and appreciate his work, consider supporting the production of the filmmaker's next film with a monthly donation on Patreon.

“A viscerally overpowering film and at the same time a thoughtful meditation on the human condition.”
- Walter A. Davis, Professor Emeritus, Ohio State University

“Brilliant…Riveting…The amount of material the filmmaker covers and unifies is astounding…Human Resources diagnoses the 20th century.”
- Stephen Soldz, Professor, Boston Graduate School of Psychoanalysis; President, Psychologists for Social Responsibility

"Powerful…Must See…It will leave you Spellbound.”
- Andrew Goliszek, Author, In the Name of Science: A History of Secret Programs, Medical Research, and Human Experimentation

"An important work…terrifiying in its implications….Human Resources is a must see for those of us who still take democracy seriously.”
- Bruce E. Levine, Author Commonsense Rebellion: Taking Back Your Life from Drugs, Shrinks, Corporations, and a World Gone Crazy

“It scared the shit out of me…A powerful and methodical dissection of the dominant culture.” - Derrick Jensen, Author, Endgame

⁣Documentary about Stanisław Szukalski had been discussed in Poland quite some time ago. Talks began as soon as it was announced that Leonardo DiCaprio was going to finance a movie about this extraordinary Polish artist. The news was even more exciting and intriguing since not many people had known that such a gifted sculptor, who was almost like a family member to DiCaprio, ever lived in the United States. Stanisław Szukalski is not among the familiar names even for Polish art experts and devotees. Rarely is he an idol for those who do know him, but he is rather considered a controversial figure with ideas not easily accepted by the artistic community of today. Dedicated fans of the rock band Tool may have heard something about Szukalski because the band members are inspired by the artist’s works to a great extent. However, the group most familiar with his life and works are the promoters of the Old Slavic tradition, especially neo-pagan nationalists. They certainly could say a lot about Stanisław or Stach from the Warta River (Stach z Warty), as the artist used to call himself quite often. If those are the people interested in the life and adventures of the main hero in Struggle: The Life and Lost Art of Szukalski, then we can surely expect that his story is fascinating but involves many ideological struggles and serious controversies at the same time.

Stanisław Szukalski was born in Warta near Łódź in 1893. From an early age he eagerly used his vivid imagination and showed every sign of being talented in fine arts. He went to the US for the first time in 1907 to live with his father who worked there. This is when his frequent travels between Poland and America began, which lasted until the 1940s. He felt fine in both places and his talent was seen and respected by both communities. Despite that, he was struggling to find out where he really belonged. He was quite obsessed with Polish history and culture but, at the same time, he very quickly grew into the American lifestyle of flamboyancy on the verge of arrogance, and overbearing individualism that almost equalled self-creation. This was the trap he got himself into because he was never fully understood in America and his attitude prevented him from being approved and acclaimed in Poland (or Europe), where one needed to respect authority. His aggressive approach and exotic, individual artistic ideas were the reasons he did not manage to graduate from the Academy of Fine Arts in Kraków and made him an outsider unapproved by the Polish fine arts community. His political views were radical as well. Szukalski had an idea of a new form of Polish national art which would be based on Slavic heritage. This idea gained recognition by some elite political groups and was a big part of the Polish community of the 1930s. After World War II, Szukalski settled in Los Angeles for good. He even made several works which were used in Hollywood movies. However, he did not accept being a simple worker and he was deeply affected by the fact that the majority of his works were destroyed in Poland during the war. This was the moment his stardom started to fade away gradually. Even then, he did not abandon his unique ideas on art and eccentric anthropological concepts.

Struggle: The Life and Lost Art of Szukalski mainly focuses on events in the 1970s and 1980s, i.e. the late stage of Szukalski’s life, when he was rediscovered by a group of underground, counterculture veterans. Among them was a publisher and occasional performer George DiCaprio (the father of Leonardo DiCaprio), a collector and enthusiast of comic books Glenn Bray, as well as their family members and friends. They were surprised that such fascinating artist lived in Los Angeles, so they started to visit him on a regular basis. What originated as a fascination with a somehow quirky old man quickly evolved into genuine friendship and later on transformed into a strong relationship which could equal family bonds. The young companions not only took care of Szukalski himself, but also embarked on a mission of getting various institutions interested in his works and achievements. Glenn Bray collaborated with his own wife and together they organised a few exhibitions of Szukalski’s works. It was also thanks to their efforts that several books about Szukalski were published. Improvised lectures which Szukalski delivered to his friends were also documented and recorded. Like a professional actor, he presented the story of his life, his art, an overview of his eccentric views and opinions and his own conception about the origin of humans, called zermatism. Bray has long hours of such recordings at his disposal and they are the main input material for the Netflix documentary.

The director of the film is documentary filmmaker Irek Dobrowolski, who depicted Szukalski as a paradoxical and multi-dimensional figure. The Polish patriot, who was devoted to Polish and Slavic ideas and heritage and was deeply critical about American culture, became a surprising hero for a bunch of mediocre post-hippies. In a way they saved his life. This unusual situation became the starting point for the director, which allowed him to explore internal conflicts and mental struggles that bothered not only Szukalski, but also his admirers. The beginning of the film shows only the American perspective. Szukalski seems a fascinating but strange man whose life was not all roses. We find out that in the past he was a leader of Chicago’s bohemia, and had an unquestionable talent and great imagination. Then Dobrowolski gradually uncovers past events to us. Experts helped him present a different, Polish narrative on the artist’s activities. This is not only a story about an arrogant eccentric, but also a disturbing picture of an avid nationalist and pagan ideologist with para-fascist inclinations, who was even a member of anti-Semitic organisations. Szukalski’s American friends were not familiar with this part of the artist’s biography which, when uncovered, left them deeply shocked. Each of them reacted to what they learned differently – some were critical and detached while others eagerly defended the artist because they believed that as he got older he became a different, better man. Irek Dobrowolski does not officially support any of these attitudes. Nevertheless, in the movie we can see that the “milder” American view of Szukalski’s transformation dominates in the end. Struggle is a fascinating study of duality and ambivalence. It is also a story about a guru and his followers who learn the truth about their prophet after many long years.

This experience is never enjoyable and easy – this we can say for sure.
At the beginning, I mentioned that the Polish artistic community was in opposition to Szukalski. The reason for this dislike and reluctance was the artist’s devotion to certain ideologies, but also controversial aesthetic qualities of his works which were over-expressive and monumental. The establishment did approve of the fantastic elements in Szukalski’s works. Such elements were not in line with modernist trends and, therefore, were considered kitsch. Nevertheless, the artist intrigues many and in recent years he has been mentioned increasingly frequently, however usually with negative connotations. The exhibition Late Polishness (2017) organised at U-Jazdowski Centre for Contemporary Art in Warsaw was an important event which attempted to remind the audience of Szukalski’s works. The event emphasised that these works are a troublesome heritage to us and provided inspiration for a discussion about the role of the nation in contemporary Polish art. Maurycy Gomulicki was responsible for the part of the exhibition which included Szukalski’s works. He is open about the fact that he is deeply fascinated with Szukalski, which started with strong admiration at a young age. As he got older he gained more perspective, but he continues to be interested in this unique figure. This is yet more proof that the artist’s charisma, emphasised in the film Struggle, affects people today.

Perhaps it was not a coincidence that Szukalski’s admirers were enthusiasts of comic and fantasy books. His works remind us of other artists who created their own, fantasy-based mythology and were subsequently rejected by the art establishment. They found their space in popular culture and attracted their own groups of “worshippers”. Painters such as H.R. Giger and Zdzisław Beksiński are a rich source of inspiration for pop culture artists. But Szukalski has the most in common with another artist – the “rejected” writer H.P. Lovecraft, who is the founding father of modern American horror books. Both artists imagined very similar things and their views on life were quite homogenous. They both lure their audiences with similarly incredible marvels. They also both have very radical attitudes, close to racism (anti-Semitism for Szukalski and white suprematism for Lovecraft), which is disconcerting for fans. The problem I just mentioned was presented quite mildly by Irek Dobrowolski in his film.

Szukalski’s change of attitude, which we see in Struggle, most likely never happened. Szukalski’s zermatism was about finding the roots of a strong and noble race, which certainly does not depart from radical, racist inclinations. His interest in ethnography was similar to what Leni Riefenstahl tried to present after the war. We also know that Szukalski was in mail contact with Polish pro-Slavic circles for a long time. In the movie, these incriminating facts were hidden behind personal, often moving stories told by Glenn Bray who defended his Polish friend with teary eyes. He took care of him until his death, but, as it turned out, he did not know everything about his past. I think that these personal touches are the most valuable parts of Struggle: The Life and Lost Art of Szukalski. In general, this is another instance where art, life, official ideologies and intimate scenes from everyday life do not form a coherent picture.

Struggle: The Life and Lost Art of Szukalski, 2018, directed by Irek Dobrowolski, is available on Netflix now
REVIEW RESOURCE: https://contemporarylynx.co.uk..../struggling-with-dou

⁣Are UFOs real? Unidentified flying objects have been a state secret for a long time. In less than 100 years, mankind has experienced a wide range of U.F.O./U.A.P. phenomena the world over. From these experiences, fascinating data has been gathered by military, government, and private organizations in key geopolitical countries, leading people within these organizations to believe that a unified human effort should be undertaken to study extraterrestrial phenomena.

Watch this UFO documentary and let us know what you think in the comments.

"Covers the most up to date, most credible ufo incidents in recent memory including the Pentagon UFO videos. While nothing new for ufo enthusiasts, for anyone not in deep in the ufo field, it's a short, succinct, straight to the point ufo documentary on the latest happenings."

In less than 100 years, mankind has experienced a wide range of U.F.O./U.A.P. phenomena the world over. From these experiences, fascinating data has been gathered by military, government, and private organizations in key geopolitical countries, leading people within these organizations to believe that a unified human effort should be undertaken to study extraterrestrial phenomena.

⁣GLOBAL FASCISM AHEAD - Totalitarians Create Major Shortages and Crisis, and Then They Step In And Pose As Saviours
https://www.epochoriginal.com/the-shadow-state

“The Shadow State,” a feature documentary by The Epoch Times, takes a deep dive into the environmental, social, and governance (ESG) industry. This emerging multitrillion-dollar power structure unites governments with corporations in the march toward a brave new world of climate and social justice. See how it works, its goals, and who is driving it.

Will this new global alliance bring us a cleaner, more peaceful, more equitable future, or will it bring shortages, poverty, and political instability? Will this partnership of government with banking and tech giants deliver prosperity and freedom, or will it control our lives in ways that 20th-century totalitarians only dreamed of?

RESOURCE:https://new.awakeningchannel.c....om/global-fascism-ah
https://www.youtube.com/watch?v=y4IGAE76gqU&ab_channel=TheEpochTimes

⁣Homeschooling is the wise choice. The "training" a child receives in the Satanic public school system is not of the God of the King James Bible. Training and teaching children is a parental responsibility. We should not expose our children to the Satanic government education systems, demonic video games, demonic movies, whisperers, demonic music, yoga, tarot cards, horoscopes, (divination) etc as exposure to these things creates demonic strongholds in their minds that are contrary to The Word of God (King James Bible).
What does the school do with the children? Gatto states the following assertions in "Dumbing Us Down":
It makes the children confused. It presents an incoherent ensemble of information that the child needs to memorizsto stay in school. Apart from the tests and trials that programming is similar to the television, it fills almost all the "free" time of children. One sees and hears something, only to forget it again.

It teaches them to accept their class affiliation.
It makes them indifferent.
It makes them emotionally dependent.
It makes them intellectually dependent.
It teaches them a kind of self-confidence that requires constant confirmation by experts (provisional self-esteem).

It makes it clear to them that they cannot hide, because they are always supervised
Nowhere in the Bible does it say to enrol your children in the Satanic, public, government owned and operated education system's "indoctrination camps" known as "schools."
Education of children is a parental responsibility.

The Education systems have been used and are being used as a tool by Satanic governments (around the world) to indoctrinate and conduct experiments on children.
A corrupt tree (government owned and operated public education system) cannot bring forth good fruit (a child raised according to Biblical values and principles).

Matthew 7:18: 18 A good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit.
As it is written: Proverbs 22:6: Train up a child in the way he should go: and when he is old, he will not depart from it.
Proverbs 22:6 is one of the most famous verses in the Bible, but also one of the least followed.
The "training" a child receives in the Satanic public school system is not of the God of the King James Bible. Training and teaching children is a parental responsibility. We should not expose our children to the Satanic government education systems, demonic video games, demonic movies, etc as exposure to these things creates demonic strongholds in their minds. Homeschooling is the wise choice.

We live in a world increasingly opposed to the laws of its Creator. Christians are looking more and more ‘peculiar’ (1 Peter 2:9). We must teach our children the Word of God (King James Bible), teach them how to put Jesus Christ first in all aspects of their lives, teach them how to pray, pray for them to be filled with the Holy Spirit, teach them to recognize the answer to prayer, teach them how to depend on God, teach them how to serve and live for Him as we lead them by example and pray for them without ceasing.
Training a child includes teaching them to see the Hand of God at Work while being aware of the wiles of the evil one.

We must help our children examine everything in the light of God’s standards (the King James Bible), and encourage them to be salt and light, to stand apart when necessary, to stand for righteousness, to be wise as serpents and harmless as doves. (Matthew 10:16)

We must help our children to see the evil and demonic in music, books, games (including video games), movies, videos and certain friendships. We owe it to them to teach them the spiritual realities (rigged realities) of the world in which we live and protect them from corruption.