⁣Ciemna strona buddyzmu tybetańskiego, czyli nadużycia władzy, despotyzm, seksualne wykorzystywanie uczniów, pedofilia, chciwość i gromadzenie dóbr materialnych. Autorka dokumentu podąża tropem skandali związanych z działalnością popularnego w Europie, Azji i Stanach Zjednoczonych odłamu zwanego Szambalą. Diamentowa Droga potrafi być kręta, pełna pułapek i niebezpieczeństw.

⁣Reżyseria : Elodie Emery

⁣A true twentieth-century trailblazer, Harvey Milk was an outspoken human rights activist and one of the first openly gay U.S. politicians elected to public office; even after his assassination in 1978, he continues to inspire disenfranchised people around the world. The Oscar-winning The Times of Harvey Milk, directed by Robert Epstein and produced by Richard Schmiechen, was as groundbreaking as its subject.
One of the first feature documentaries to address gay life in America, it’s a work of advocacy itself, bringing Milk’s message of hope and equality to a wider audience. This exhilarating trove of original documentary material and archival footage is as much a vivid portrait of a time and place (San Francisco’s historic Castro District in the seventies) as a testament to the legacy of a political visionary.
This documentary examines the political life of the self-proclaimed "Mayor Of Castro Street," N.Y. stockbroker turned San Francisco activist Harvey Milk, the first openly gay politician elected to public office in California. Milk was elected to a City Supervisor position in the '70s, when a successful gay politician was an anomaly, but Milk made the most of his brief time in power. When Dan White killed Milk and Mayor George Moscone, the loss experienced by Milk's supporters was profound.
White robbed the gay-rights movement of a charismatic leader and eloquent voice, but he accidentally gave it something a smart political operative like Milk would surely have appreciated the power and value of: a bona fide martyr.

⁣They Can’t Hide This Any Longer… Some COVID-19 Patients Have Deadly Venom In Them
36 different shellfish toxins and snake venom are showing up in COVID-19 patients…
How did this end up in their blood, feces, or urine?
Some experts believe this so-called “respiratory” disease is actually an envenomation from the vaccine.
They’ve targeted people with toxins for decades…
Why wouldn’t this be the case now?
Did you know that the word “corona” means “crown for the king” and virus in Latin actually means “venom” so coronavirus very closely translates to “king venom”?
If you thought this film was eye-opening, then you won’t want to miss out on what we reveal next. It’s even more shocking… and the good news is, there are solutions!

⁣My Reincarnation is an epic father-son drama, spanning two decades and three generations, about spirituality, cultural survival, identity, inheritance, growing old, growing up — and past and future lives.

The film follows the renowned reincarnate Tibetan spiritual master, Chögyal Namkhai Norbu, as he struggles to save his spiritual tradition, and his Italian born son, Yeshi, who wants nothing to do with his father's mission. Yeshi was recognized at birth as the reincarnation of his father's uncle, a powerful spiritual master who died at the hands of the Chinese in Tibet. But while Yeshi longs for a normal life, he cannot escape his destiny. As time passes, he begins to have visions and dreams of another life....

⁣An Interview withJohn Shipton -Julian Assange’s father


⁣The pacifist John Shipton is Julian Assange’s father. Robert Cibis interviews him exclusively about the judicial decision to extradite his son to the US. This discussion reveals political interference in the legal system. How far will Western governments go to set themselves apart from their pre-set values?
RESOURCE: https://www.oval.media/en/75fc....7f35-8fb4-4db2-a399-
Let me know your thoughts in the comments below 👇

⁣Is there a connection between UFOs, alien abductions, channeling spirits, demonic possessions, the new age movement, secret societies, and satanism?

In Age of Deceit: Fallen Angels and the New World Order, we investigate why the New World Order and the Global Elite are tirelessly working to form a One World Government and who they are getting this instruction from.

A biblical look at the history of fallen angels and it's relationship to the New World Order and the new age movement.
Topics covered are the fall of mankind, the pre-flood world as Atlantis, the new age through theosophy, the fallen angels and their origin of planting the seeds to society, UFOs, ETs and abduction cases, demonic possession, channeling, and more.

⁣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

⁣Facebook has a director of social good. She is called Hema and if she has a surname, we weren’t privy to it. The BBC’s Horizon team, as if bewitched at being granted unprecedented access to the social network, bowed to its ethos by captioning interviewees by first name only. But access is like sex: it’s not what you have, but what you do with it that matters.
We met David, the director of harmful behaviour (tough gig, if his task is to stop it, rather than enable it), Monika, who is head of global policy management, and Vlad, Facebook’s head of artificial intelligence, though he will always be The Impaler to me. Sadly, we didn’t get to see Nick, but David Cameron’s former fig leaf has become Mark Zuckerberg’s now he is Facebook’s vice-president of global affairs. Mention Cleggmania in Menlo Park and nobody will know what you are on about.
By rolling over and waving its paws in this way, Horizon abolished critical distance from the global techno-oligarchy with 3.1 billion users and pretensions to ensnare the rest of us. (Facebook is building eight more data centres in the next few years with the aim of doubling storage to accommodate our data.) It put us on chummy terms with the outfit at a vexed moment. Can it change after last week’s $5bn (£4bn) fine for privacy violations in the Cambridge Analytica data breach?
In a meta sense, that was fitting: murdering distance and importuning strangers with simulations of friendliness is Facebook’s MO. It is why revenue exceeded $55bn last year. In another sense, though, this documentary almost amounted to an hour-long commercial for which Zuckerberg didn’t pay.
We witnessed how Facebook is ostensibly striving to use technical fixes to annihilate the human bugs out there – the scammers, hatemongers, sextortioners, e-groomers, Nazis, hackers and black marketeers. This was fascinating in its own right. Can artificial intelligence be used to detect other artificial intelligences posing as humans? How can hate speech by emoji be eliminated?
Fascinating, too, was the cult-like induction ceremony for incoming engineers, tens of thousands of whom are being hired, to ensure Facebook no longer has difficult years like 2018. Soon, they will join the Facebook faithful. Why are there so many balloons in Facebook offices? Because staff have two birthdays, the second celebrating when they joined this evangelising outfit.
“We’re not a company that is designed to make money,” Kyle, director of product, told a room of so-called Newbs in London. No one so much as rolled an eye. “That means every product we make is tuned for ‘does it do good in the world?’” he continued. But what is good? Maybe connecting the world to Facebook, monetising data and believing both are self-evidently good are the problems.
Facebook treats its difficulties as external ones and its task is to seal itself from them. But the corruption is inside, part of the very organisation’s ethos. It is Horror Movie 101. Everyone interviewed here was, as it were, wearing Clegg’s fig leaf to hide that unacceptable truth. “We’re a community that is designed to create communities and let those communities make a difference in the world,” Kyle added.
But Facebook is a business not a community, and when it creates communities they sometimes make a difference in a bad way. “We don’t tolerate dicks,” said Jonny, head of internal communications. Instead, Facebook enables them. Tommy Robinson was jailed earlier this month for live streaming, via Facebook, defendants arriving at court in a sexual grooming trial.
One critic complained about how Facebook had “destabled democracy”. Horizon needed more eloquent dissenters. Maybe she meant that if Facebook is a horse and democracy is a door, the former has bolted and the latter is coming off its hinges. It was hard to be sure.
Back to the commercial. Hema told how her father, who had liver cancer, lost a litre of blood an hour. If there had been an online facility matching blood supply to demand, he need not have died so quickly.
So she made it her mission to establish just that facility for 70 countries where blood transfusions don’t happen because of supply problems. Cut to her team, thrilled that 11 million users have signed up to its blood market. We learned later, though, this initiative enables a black market for blood in India. An unintentional consequence, perhaps, but given earlier online scams, a foreseeable one.
The Horizon team never met Hema’s opposite number, the director of social bad. Chet (no surname) works in a basement tasked with reversing what happened in Facebook’s difficult 2018. Not the data breaches or live-streamed mass murder in Christchurch, but the really unacceptable thing, namely how 20% was slashed from the value of Facebook shares on news that its ad revenue per user was declining and user growth slowing. Such things can never happen again, Chet realises.
Fake news. Facebook has no director of social bad. No Chet in a basement. Nobody in the social network is tasked with squeezing more money from its users. Facebook is all good.
REVIEW RESOURCE: https://www.theguardian.com/tv....-and-radio/2019/jul/

⁣Dr Jordan B Peterson and Dr. Dennis McKenna discuss the science behind psychedelics, the entities found through the looking glass, the current pharmaceutical approach to long life, and why it needs to change.
Dr. Dennis McKenna is an American ethnopharmacologist, lecturer and author. He is a founding board member and the director of ethnopharmacology at the Heffter Research Institute, a non-profit exploring the therapeutic uses of psychedelic medicines. McKenna received his masters in botany at the University of Hawaii in 1979, followed by his doctorate in the same field at the University of British Columbia in 1984. Dennis is the brother of Terrence McKenna, a cultural figure and proponent for the exploration of psychedelics.


Together they co-authored The Invisible Landscape. Much later McKenna would write a memoir, Brotherhood of the Screaming Abyss, detailing he and his brothers exploits in the field. Today, Dennis tours and lectures, while also running the McKenna Academy of Natural Philosophy, which seeks to uncover the mysteries of consciousness held within the realm of botany and pharmacology.


Dr Peterson's extensive catalog is available now on DailyWire+: https://utm.io/ueSXh
McKenna Academy: https://mckenna.academy
The Experiment at La Chorrera https://mckenna.academy/events?id=32
ESPD55 Livestream Symposium ESPD55.com Those interested in donations may contact connect@mckenna.academy

⁣Phil Schneider died in 1996. Previous to his death he had been on tour across the United States speaking out about various subjects including his involvement with building a secret underground base in Dulce, New Mexico for the military.

During this time, he was said to have had an encounter with a violent E.T race in the late 1970's which would change his whole life immediately after. This documentary explores some of the information Phil Schneider spoke about to the public in the 1990's by examining each claim in detail with expert opinions from Richard Dolan, Richard Sauder, and Cynthia Drayer (Phil's Ex-Wife).

In this documentary you will find never before published photo's of Phil's Autopsy, documents about the Philadelphia Experiment from Oscar Schneider's files (Phil's father) and a very well explained background about Underground Bases. Written by Darcy Weir

⁣Kampania nakłaniająca do wzięcia udziału w eksperymencie medycznym.
⁣Reportaż dotyczy kampanii reklamowej przeprowadzonej w szeroko dostępnych publicznych mediach związanej z presją społeczną, polityczną oraz koncernów farmaceutycznych przekonującą polskie społeczeństwo do wzięcia udziału w globalnym eksperymencie medycznym polegającym na przyjęciu zastrzyku zawierającego substancję o nieznanym składzie oraz nieznanych negatywnych skutkach zdrowotnych.

Publikuję ten film gdyż jestem zwolennikiem szczepień i ich pozytywnego wpływu na ochronę populacji przed zagrożeniami związanymi z wszelkimi wirusami.

Film tylko w języku polskim.

Proszę o rozpowszechnianie tego filmu gdzie tylko jest to możliwe.

============================================================
The report concerns an advertising campaign conducted in widely available public media related to social and political pressure and pharmaceutical companies convincing Polish society to take part in a global medical experiment consisting in receiving an injection containing a substance of unknown composition and unknown negative health effects.

I am publishing this video because I am a supporter of vaccination and its positive impact on the protection of the population against the risks associated with all viruses.

Only Polish version - sorry.

Feel free to distribute and share this video wherever possible.
Let me know your thoughts in the comments?

⁣Marek Piotrowski (ur. 14 sierpnia 1964 r. w Dębe Wielkim koło Mińska Mazowieckiego) -- polski kick-bokser i bokser, zawodowy mistrz świata.
Kariera amatorska -- swoją karierę sportową rozpoczynał jako bardzo młody adept jujutsu, z czasem zainteresował się Karate Kyokushin. W 1984 r. zdobył w tej dyscyplinie mistrzostwo Polski juniorów. W 1985 r. powtórzył ten sukces w kategorii seniorów. W karate stoczył 13 oficjalnych pojedynków, wszystkie wygrał. W Lipcu 1993 r. stał się posiadaczem czarnego pasa (1 dan). Z początkiem 1987 r. rozpoczął uprawiać kick-boxing w formule full contact, mimo że dyscyplina ta była wówczas w Polsce zakazana.
11 października 1987 r. zdobył w Monachium amatorskie mistrzostwo świata w kategorii wagowej do 81 kg. Tego samego roku wygrał również mistrzostwo Polski, a na Węgrzech Puchar Świata, zostając uznanym za najlepszego zawodnika turnieju.
Kariera zawodowa -- w 1988 r. zdecydował się na wyjazd do USA, aby rozpocząć karierę zawodową. W październiku stoczył swoją pierwszą walkę. W Rockford znokautował Boba Handegana w 4. rundzie.

19 sierpnia 1989 r. w swej piątej walce za Oceanem zwyciężył jednogłośnie na punkty dotychczas niepokonanego Ricka „The Jet" Roufusa i zdobył zawodowe mistrzostwo Stanów Zjednoczonych organizacji PKC. Do jego nazwiska przyległ również ringowy przydomek Punisher.
4 listopada 1989 r. w Chicago pokonał Dona „The Dragon" Wilsona i został zawodowym mistrzem świata organizacji ISKA, PKC i FFKA.
Do 1991 r. stoczył sześć pojedynków, pokonując między innymi Boba „The Thunder" Thurmana oraz renomowanego Marka Longo. Był do tego momentu niepokonanym zawodnikiem na zawodowym ringu, legitymującym się bilansem 29-0-0 (19 KO). 22 czerwca 1991 r., pomimo problemów osobistych, stoczył rewanżowy pojedynek z Rickiem Roufusem, który przegrał w drugiej rundzie przez nokaut. Po tej porażce rozpoczął w lutym karierę w boksie zawodowym, wygrywając pierwszą walkę przed czasem w 4. rundzie. Następnie do 1992 r., chcąc odzyskać utracony tytuł MŚ, stoczył kilka walk w kickboxingu, wszystkie wygrywając.

W lipcu 1992 r. zdobył tytuł mistrza Ameryki Północnej wygrywając z Kanadyjczykiem Conradem Pla.
22 listpada 1992 r. stanął w Paryżu do pojedynku z wielokrotnym mistrzem Holendrem Robem Kamanem (zwanym także „Mr. Low-Kick"; 98 wygranych walk, 78 KO.) w formule low-kick. Przegrał przez TKO w siódmej rundzie po niezwykle dramatycznym boju. Po tej porażce raz jeszcze stanął do walki o utracone tytuły. Przez następne lata szukał szansy na rewanż z Kamanem i Roufusem, ale nigdy jej nie dostał.

22 czerwca 1993 r. pokonał w Montrealu przez TKO Michaela McDonalda. W tym samym roku zwyciężył Mike'a Winklejohna, zdobywając tytuł mistrz świata ISKA w formule oriental rules (odmiana dopuszczająca low-kick i uderzenia kolanem). W grudniu 1995 r. stoczył swoje ostatnie starcie w kickboxingu. W Krakowie pokonał Włocha Stefano Tomiazzo, zdobywając pas mistrza świata organizacji WKA i unifikując wszystkie światowe tytuły w full-contact. Tym samym stał się posiadaczem wszystkich najważniejszych pasów mistrzowskich: ISKA, KICK, PKC, WAKO-PRO, FFKA, WKA i TBC.

Równolegle ze startami w kickboxingu Piotrowski kontynuował karierę zawodowego boksera, staczając od 1992 do 1996 r. w sumie 21 pojedynków w wadze półciężkiej. Wygrał wszystkie.
Zawodową karierę zakończył 13 grudnia 1996 r. w Hanowerze wygraną walką bokserską. W 1997 r. dostał propozycję walki o zawodowe mistrzostwo świata w boksie organizacji IBF z Reggie Johnsonem, lecz ze względu na kłopoty zdrowotne musiał zrezygnować. W 2002 r. powrócił do Polski.

Wyróżnienia
W 1987 r. dostał nagrodę „Syrenki" od miesięcznika Sportowiec za największą niespodziankę sportową roku. Trzykrotnie wybierany do pierwszej dziesiątki najlepszych sportowców w Polsce w plebiscycie Przeglądu Sportowego (1987, 1989, 1990), dwukrotnie zajmując 2 pozycję. Prestiżowy magazyn Fighter klasyfikując największych kickboxerów lat 80., umieścił Piotrowskiego w wadze do 172 funtów (tj. 78 kg) na drugim miejscu. Dwukrotnie, w latach 1989 i 1994 został uznany przez amerykańskich fachowców kickbokserem roku. Został także wybrany przez amerykańską prasę na jednego z dwóch najlepszych fighterów lat 90. W 1991 r. Aleksander Bilik wydał książkę Kickbokser, opisującą karierę Piotrowskiego do roku 1990. W 2005 r. telewizja TVN24 nakręciła reportaż o Marku Piotrowskim zatytułowany „Wojownik" W 2005 r. powstał o nim nawet komiks pt. Kickbokser (zamieszczony w dodatku do Gazety Wyborczej). 2006 r. -- Marek Piotrowski otrzymał statuetkę Stanley Honorowy -- KICK BOXING

⁣Karen Kingston joins Maria Zeee to explain the way humans have now been connected to the demonic realm through the nanotech in COVID-19 injections and the quantum field - but there's more.
The patents show that nanotechnology is embedded into everyday products and every single human has been exposed.

For more info on Karen's Substack visit:
https://karenkingston.substack.....com/p/part-1-disman

Visit https://link.goldco.com/Maria or call 855-913-0814 TODAY to protect your retirement! (US only)

Visit Gold Stackers today to secure your wealth with Australia's leading supplier of gold and silver bullion (Australia only):
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To prepare you and your family for incoming food shortages, head to Heaven's Harvest on the link below (available only in the United States) and use promo code 'ZEEE' (with 3 e's!) for 5% off your order:
https://heavensharvest.com/

If you're in Australia, head to Survival Supplies Australia to prepare with long-life food, survival supplies and more:
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Detox your system NOW with Dr. Zelenko's Z-DTox and use promo code 'MARIAZEEE' for 5% off your order:
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⁣Dr Judy Wilyman will blow your mind about the truth about Covid. Share this with everyone.
Dr. Wilyman has a Master of Science degree (Population Health) and a PhD in the History of the Control of Infectious Diseases in Australia. Judy was a science teacher for 20 years before completing her PhD in this public health issue.

More info about Dr. Judy Wilyman you will find here:
https://www.vaccinationdecisions.net/about-us/

The mentioned book by Dr. Judy Wilyman's title Vaccination: Australia's Loss of Health Freedom is available here:
https://www.goodreads.com/book..../show/56483908-vacci
https://thesoundtemple.com.au/....shop/vaccination-aus

Book description here:
https://www.vaccinationdecisio....ns.net/my-book-austr

⁣A documentary exposing the evil Satanists plans to create a New World Order.
Soon after World War I and in connection with the formation of the League of Nations the American president Woodrow Wilson used the term ‘new world order’, hoping that it would finally become possible to create a system for maintaining international peace and security; meanwhile, the political order had already existed in the Western world for several centuries. In historical terms it would be more precise to speak about the international order when the European order transformed into the global one. Moreover, prior to the European order the inchoate international order could be found in other regions of the World System (the most famous here being the Pax Romania).
Thus, with respect to globalization, the search for the origins of the world order leads back to the ancient times. Yet, in historical terms the notion of the world order seems rather amorphous. The humanity has passed a long and perilous way to the establishment of certain international rules and foundations of co-existence. It is worth analyzing them just in terms of the formation (and development) of the world order and the way in which the obtained experience can be employed for making predictions on the forthcoming transformations.

The notions of globalization and world order have become rather closely connected today. The countries' mutual influence as well as the impact of global processes on nations and states are evident today (Ilyin and Leonova 2015). Within the political realm globalization considerably affects the transformation of the states' sovereign prerogatives since it contributes to the change and reduction of the scope of the states' sovereign powers.

It is obvious that the unfolding globalization cannot but complete with some institutionalizing of the relations in the foreign policy sphere although this path is difficult and ambiguous.

⁣Welcome to Futureunity, where we explore the fascinating world of science, technology, and the universe! From the inner workings of the human body to the outer reaches of space, we delve into the latest and most interesting discoveries that are shaping our world. Whether you're a science buff or just looking for some mind-blowing facts, we've got you covered. Join us as we uncover the mysteries of the world around us and discover new frontiers in the fields of science and technology. Get ready for a journey that's both educational and entertaining!

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⁣The first installment of Plandemic, a 26 minute documentary featuring veteran virologist Judy Mikovits, has been seen by over one billion people worldwide. The premiere of Plandemic: Indoctornation, featuring white collar crime investigator, Dr. David Martin, set a world record with 2 million viewers attending the global livestream.


The two part series was smeared by critics as “dangerous conspiracy theory.” US media took unprecedented measures to make the masses look away. When Dr. Mikovits made the bold claim that COVID-19 was manipulated in a lab, she was smeared as “crazy”. When Dr. Martin exposed the patents and paper trail proving that that Dr. Fauci was covertly funding dangerous gain of function research at the Wuhan Lab, critics laughed.


One year later, they were no longer laughing.
Through various independent investigations and accredited studies, every major claim made within the Plandemic series has been validated as accurate. The tide is turning. Truth is emerging. Plandemic is now being acknowledged for being among the first to warn the world of the agenda to reduce the liberties of citizens through medical tyranny.


Watch Part Two here: https://rumble.com/vkw8fe-plan....demic-part-2-indocto
RESOURCE: https://plandemicseries.com

⁣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

⁣The story of activist group Act Up and its struggle with authority in the early years of Aids makes for a compelling and often moving documentary

"Plague!" howls screenwriter/playwright Larry Kramer like some Old Testament prophet in one of the many arresting moments from this urgent, heartbreaking, and ultimately empowering account of how Aids activists took control of their own destiny in the late 1980s when the US government and health services failed to do so. Kramer is addressing an increasingly heated Act Up (Aids Coalition to Unleash Power) meeting, silencing those who have fallen into factional bickering with a voice which conjures up rage, anger and defiance.

Kramer's outburst is extraordinary, captured in grainy footage along with 700 hours of archive material (TV interviews, news broadcasts, reportage), through which director David France sifts to put us right there in the middle of the emerging struggle. What's even more remarkable is just how effectively the disparate group Kramer calls to order manage to put aside their differences to become a dynamic and wide-ranging force for change, saving lives even as they look death in the face.

Like David Weissman and Bill Weber's equally powerful We Were Here, which movingly documented the response to the outbreak of Aids in San Francisco, How to Survive a Plague offers an enlightening portrait of community action in the face of appalling government negligence and barely concealed anti-gay prejudice. Footage of George Bush blithely advocating a "change of lifestyle" as the only cure for HIV sits alongside riotous film of Act Up members staging peaceful occupations that rattle the cages of both the government and the pharmaceutical industry.

In one gut-wrenching sequence, the ashes of lost loved ones are scattered on the lawns of the White House as baton-wielding policemen on horses attempt to prevent the protesters from making their stand (we think of Joe Hill's call to arms, "Don't mourn, organise!"). Yet even in the midst of such clashes, the authorities came to realise that, in the words of one federal official, "they know more than we do". Gradually, members of Act Up (who included scientists, chemists, and researchers) were accepted onto the boards of those struggling to oversee the crisis, their literate, informed and practical responses to floundering drug development becoming a key part of the search for a cure.

With its intimate footage of activists, several of whom fall by the wayside before the final credits, How to Survive a Plague is a compellingly watchable portrait of a battle fought under that most memorable rallying cry: "Silence = Death". Bravo.

... as 2023 gathers pace, we have a small favour to ask. A new year means new opportunities, and we're hoping this year gives rise to some much-needed stability and progress. Whatever happens, the Guardian will be there, providing clarity and fearless, independent reporting from around the world, 24/7.

Times are tough, and we know not everyone is in a position to pay for news. But as we’re reader-funded, we rely on the ongoing generosity of those who can afford it. This vital support means millions can continue to read reliable reporting on the events shaping our world. Will you invest in the Guardian this year?
Unlike many others, we have no billionaire owner, meaning we can fearlessly chase the truth and report it with integrity. 2023 will be no different; we will work with trademark determination and passion to bring you journalism that’s always free from commercial or political interference. No one edits our editor or diverts our attention from what’s most important.

With your support, we’ll continue to keep Guardian journalism open and free for everyone to read. When access to information is made equal, greater numbers of people can understand global events and their impact on people and communities. Together, we can demand better from the powerful and fight for democracy.


REVIEW RESOURCE: https://www.theguardian.com/fi....lm/2013/nov/10/how-t

⁣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