⁣Rodney Ascher's wry and provocative Room 237 fuses fact and fiction through interviews with cultists and scholars, creating a kaleidoscopic deconstruction of Kubrick's still-controversial classic The Shining.


What is "Room 237" really about? On the surface, Rodney Ascher's documentary exhibits the theories a few obsessive fans have put forward to reveal what they think Stanley Kubrick's "The Shining" is really about. According to them, Kubrick stashed "hidden meanings" in the vacancies, hallways, ballrooms, bathrooms, walk-in storage areas and hedge-mazes of the Overlook Hotel in his 1980 horror film.


Trouble is, the "Room 237" conspirators — er, contributors — don't seem to realize that those meanings are either not hidden, not meanings or not remotely supported by the secret evidence they think they've uncovered. "Room 237" isn't film criticism, it isn't coherent analysis, but listening to fanatics go on and on about their fixations can be kind of fun. For a while, at least.
Five off-screen narrators pitch various interpretations of "The Shining," accompanied by stock footage, illustrative recreations and clips from Kubrick's filmography. For Bill Blakemore, the subject of Kubrick's "Masterpiece of Modern Horror" is the genocidal slaughter of Native Americans by white European settlers; for Geoffrey Cocks, it's about the Holocaust in Nazi-dominated Europe; for Juli Kearns, it's an exploration of an impossible, Escher-like maze called the Overlook Hotel.


John Fell Ryan has discovered some interesting juxtapositions that occur if you project two prints of "The Shining" on top of each other at the same time, with one running forward and the other running backward. Jay Weidner, who characterizes himself as a "conspiracy hunter," insists "The Shining" is Kubrick's belated, life-risking confession/apology for faking the television footage of the Apollo 11 moon landing on the sets for "2001: A Space Odyssey" at the behest of the U.S. government.
"Room 237" could easily be (mis)taken for a comedic satire of fervent movie-geekery if the theories it presents — some more cockeyed than others — hadn't appeared on the Internet years ago. That's where Ascher found the inspirations for his documentary.


It starts off with a visual trick: In a digitally modified clip from Kubrick's final film, "Eyes Wide Shut" (1999), Dr. Bill Harford (Tom Cruise) stands outside the Sonata Cafe in Greenwich Village, which is actually a set at Pinewood Studios near London (which is the source of a little in-joke: The location is identified as "EUROPE"). But instead of inspecting a display featuring his old friend, pianist Nick Nightingale, he's looking at promotional materials for "The Shining." You could say that "Room 237" is based on a similar illusion, getting us to see things in a movie that either aren't there or aren't what they appear to be.


Let's rewind: Back in 2010, Ascher made a notably similar short film called "The S From Hell," a parodic inquiry into the off-the-wall proposition that the Screen Gems logo, which appeared after episodes of popular TV series such as "Bewitched" and "The Partridge Family" from 1965 to 1974, was so frightening, it traumatized a generation of unsuspecting children. Maybe you don't recall being terrified by this or any other logo? Me, neither. But we could've repressed it.


The goofy premise of "The S from Hell" is no less unlikely than some of the blarney put forward in "Room 237." The movie doesn't judge the relative merits of its subjects' opinions, probably because that might be construed as favoritism. That's understandable. But as a result, the movie lacks examples of sound critical thinking. All we have here are do-it-yourself interactive fan games.
In "The Shining," the genial hotel manager (played by Barry Nelson) mentions that the Overlook was built on an ancient Indian burial ground — a familiar horror-movie trope. Sure enough, the hotel decor is inspired by Native American motifs, as we can plainly see. But what, then, is the movie supposedly saying about the genocide of Native Americans? That their vengeful spirits might come back and kill people at a hotel? As the saying goes, that's not subtext, it's text.


The proponents of the Holocaust and staged-moon-landing scenarios undermine their own hypotheses by backing into them. They start with extraneous information (Kubrick wanted to make a Holocaust movie but could never figure out how; nobody was in a better position than Kubrick to fake moon footage in 1969). Then they scour the nooks and crannies of "The Shining" for anything that could be construed to support, or at least reference, their chosen preconceptions.


So is the recurrence of the number 42 (on Danny's jersey; in the movie "Summer of '42" on TV) an allusion to 1942, the year of the Wannsee Conference when Nazi officials met to plan the Final Solution? What about that German typewriter? And is Danny's hand-knit Apollo 11 sweater linked to the ultra-scary Room 237 because the average distance between the Earth and the moon is 237,000 miles? Even though it isn't 237,000 miles, but let's not allow facts and a few extra zeroes to spoil a juicy conspiracy plot. What if the first word in the famous typewritten "All work and no play makes Jack a dull boy" manuscript could be read as "A11" — as in "Apollo 11"?! What if, indeed.
The double-projection trick isn't a theory at all, just a nifty experiment in randomness somewhat less remarkable than the discovery that Pink Floyd's "Dark Side of the Moon" produces some striking juxtapositions when played along with "The Wizard of Oz." Likewise, it's sorta neat that the Outlook does not have an intelligible floor plan, as it fits with the movie's "lost in the maze" motif. But there's nothing unusual about it. That's the way movie sets are usually built — in disconnected bits and pieces, not as integral units.


Kubrick's longtime assistant and collaborator Leon Vitali (who played Lord Bullingdon in "Barry Lyndon") recently said that "Room 237" had him "falling about laughing most of the time" because he knows these ideas are "absolute balderdash." The Adler typewriter, for example, belonged to Kubrick himself, and that particular model was once as commonplace as late-model iPhones.
Any movie is the product of forethought, accident and improvisation. In the end, once the film is released, the filmmakers' intentions don't really matter anymore because it belongs to the audience. At that point, if something's there, it's there. "Room 237," regrettably, isn't all there.

⁣Dr. Vladimir Zelenko before a Rabbinical Court (6th August 2021)


⁣An extensive excerpts from the hearing of Dr. Władimir Zelenko on August 6, 2021 before the Israeli rabbinical court (Ma'aleh Adumim Bet Din) regarding COVID vaccines.


Dr. Zelenko developed the famous "Zelenka Protocol" for early outpatient COVID treatment, with which he successfully cured 6,000 patients. hydroxychloroquine and zinc.


Dr. Zelenko ruthlessly explains why vaccination against COVID is perhaps the most dangerous scientific heresy in human history, and warns of potential genocide on the planet.

⁣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.”

⁣Anti Gravity technology found in nature I Viktor Grebennikov LEVITATING technology
In summer 1988, an
entomologist from Novosibirsk city, Viktor Stepanovich Grebennikov, examined a microstructure of the lower surface of beetles’ wing case by a microscope and became interested in “an unusually rhythmic, extremely
ordered, incomparable honeycomb, solid multidimensional composition, which looked as if it was pressed by some complicated automatic machine”.


Studying this amazing micropattern allowed Grebennikov to design a platform of a new kind called “Gravity plane”. Let’s talk about it. Hey guys and welcome back to the channel. For this video, we will talk about the Anti Gravity Technology discovered from Nature II Viktor Grebennikov LEVITATING technology”.

⁣Under Justin Trudeau, Canada has sought to position itself as the global bastion of progressive politics. In my latest Telegraph documentary, seen above, I went to the former British colony to find out how Canadians are dealing with Trudeau’s radical reforms; from the promotion of gender ideology in schools and the mass legalisation of drugs, to his extreme new suicide laws and clamp downs on freedom of speech.

I began my investigation in one of the country’s most liberal cities, Vancouver. Possession of up to 2.5 grams of hard drugs, including heroin, cocaine and fentanyl, has been legalised in the city as part of a three year experiment which began in January of this year. If the aim was to combat the opioid crisis that already beset the city then it appears there is still much to be done as vast tent sites line the streets, patrolled by roaming zombie-like drug addicts.

As we filmed on Hastings Street, infamous as the epicentre of Vancouver’s homelessness crisis, I witnessed a topless man shoot a needle into his arm five feet from me. Though it wasn’t quite as bad as San Francisco, where my cameraman and I came under attack from angry vagrants, the scenes were still shocking.

It’s not just the homeless who patrol the streets of Vancouver. Chris Elston, better known online as Billboard Chris, campaigns against the imposition of gender ideology on children, whether through Canada’s education system or via dangerous operations to “transition” young adults. As his nickname suggests, Chris walks around Vancouver wearing signs protesting gender ideology, encouraging lively debates with passers-by which he puts on YouTube.

Chris kindly allowed our crew to join him on a walkabout, where we found many Canadians horrified by the use of puberty blockers in children and the promotion of biological men in women’s sports.

We did encounter some opposition of course, mostly through the odd shout or flicking of the finger. So much for Canadian politeness.

One aggressive gentleman, tall, ageing and angry, began a tirade against Chris with the rather bizarre singular message that he is “queer”.

Part of Canada’s social revolution can also be witnessed in its extreme new euthanasia laws. In 2016, the ruling Liberal Party passed legislation enabling assisted suicide for terminally ill Canadians. Next year the legislation will be expanded to include those with mental health problems. As Christianity declines across Canada, and the liberal obsession with “bodily autonomy” and “personal freedom” reaches its logical conclusion, a new dystopia is forming. As Dr Konia Trouton, a euthanasia advocate, told me, “we are an organised society but within that organisation we have to allow some freedoms and opportunities, this is not a communist system where we can try and reign that in”. The campaign group Euthanasia Prevention Coalition estimates that 13,500 people chose state-assisted suicide last year.

To prevent wokeism from spreading it is important to have a strong opposition party. Canada’s Conservatives have been historically weak in pushing back against Trudeau, however, their recently elected leader, Pierre Poilievre, has injected fresh energy into the party. Whilst there are some who still question Poillievre’s conservative credentials, his strategy seems to be working; one recent poll gave his party a twelve point lead over Trudeau’s Liberals.

However, the most successful opponents to Canada’s social revolution have so far not been politicians but members of the public. Our film highlights some of these brave individuals, including Dr Jordan Peterson, perhaps the most high-profile Canadian in the world other than the country’s leader.

During my travels I found ordinary people appalled at Canada’s surrender to drug dealers, its contempt for freedom of speech, its enforcement of gender ideology on children and a breezy willingness to terminate the lives of its own citizens. However, for all the depressing stories of people losing their jobs, or being hounded by the government, these cases were equally inspirational. Whilst Canada is a warning to the West, there are also individual messages of hope from those brave individuals fighting for their freedom.

⁣Kurt Cobain: Montage of Heck is a 2015 American documentary film about Nirvana lead singer Kurt Cobain. The film was directed by Brett Morgen and premiered at the 2015 Sundance Film Festival.
It received a limited theatrical release worldwide and premiered on television in the United States on HBO on May 4, 2015. The documentary chronicles the life of Kurt Cobain from his birth in Aberdeen, Washington in 1967, through his troubled early family life and teenage years and rise to fame as front man of Nirvana, up to his suicide in April 1994 in Seattle at the age of 27.
The film includes artwork by Cobain as well as music and sound collages composed by him. Much of music and sound collages were released on the film's soundtrack, Montage of Heck: The Home Recordings. A companion book was also released containing animation stills from the film as well as transcripts of interviews, photographs, and Cobain's artwork that were not featured in the film.

⁣"Rolling Thunder Revue: A Bob Dylan Story" is one of the most frustrating Martin Scorsese films as well as one of the most out-of-character. Decades in the making, in a way, this is an engaging but disorganized and long-winded (two hours, twenty minutes) account of the time in 1975 that Bob Dylan, nine years on from his motorcycle accident, convened a vagabond caravan of musicians, poets, reporters, photographers, money men, and hangers-on to tour the United States in the lead-up to the country's Bicentennial celebration. The tour was a bust, financially and in terms of cultural impact—or at least that's how Dylan, 78 at the time of this film's streaming premiere, remembers it, while cautioning Scorsese and the viewer that he barely remembers anything at all. Nevertheless, the Rolling Thunder Revue rejuvenated Dylan as a musician, in the manner of Elvis Presley's 1968 "comeback" special. And it generated enormous amounts of tour footage, some of which is reproduced here, within a highly conceptual framework, by Scorsese.

The issue of authorship is nearly as central to this movie as the story of Dylan roaming the United States, driving his own tour bus and performing in small- and medium-sized halls, accompanied by the likes of Joan Baez, Ramblin' Jack Elliot, Roger McGuinn, Scarlet Rivera, Joni Mitchell, Ronnie Hawkins, and (in one of his final filmed appearances) Sam Shepard. Scorsese, who over the course of his long career has essentially stamped certain American rock acts, including Dylan, The Rolling Stones, and The Band with "Property of Martin Scorsese," is the credited director, naturally. And as edited by Damian Rodriguez and David Tedeschi, the film bears many Scorsesean hallmarks, including surprising transitions from one idea to the next, and sequences that have been cross-cut in order to provoke questions and create sensations rather than serve up fixed meanings or answers.

But once you look at what the thing actually is, what it's made of, and how the pieces have been arranged, things get curiouser and curiouser. The film is woven around footage shot during the tour by real-life Chicago cameraman Howard Alk (1930-1982), who was hired by Dylan to make a project that somehow never got turned into an actual feature film. The footage has been re-contextualized by Scorsese and presented as the work of European filmmaker Stefan Van Dorp, a nonexistent person played by Argentinean performance artist Martin von Haselberg (husband of Bette Midler, briefly glimpsed in 1975 footage). In interviews, Van Dorp talks in the cliched "high culture" cadences of a mid-20th century moneyed WASP, and speaks on camera of his subjects and collaborators (excluding Dylan and a few others) in an exasperated, withering manner.

Other fictional or questionably involved characters enter the narrative as well, including Paramount Pictures CEO James Gianopulos as the tour promoter; actor Michael Murphy as nonexistent Congressman Jack Tanner (whom he played in two projects for the late Robert Altman); and Sharon Stone, costar of Scorsese's "Casino," as herself, telling the story of how she attended one of the Rolling Thunder Revue concerts as a 17-year-old in the company of her mother and was invited to join the caravan.

Is Scorsese trying to create his own, epically scaled answer to "This is Spinal Tap" or "Zelig"—a mock documentary integrating the real with the fictional, prompting audiences to question the distinctions between them? Maybe. "The Rolling Thunder Revue" starts with a snippet of a silent-era George Melies film of a magic trick and returns to it later, as if to signal that an aspect of illusion is built into the project. The collision of verified events and never-before-discussed anecdotes (some of which, like Congressman Tanner's friendship with President Jimmy Carter, are obviously fabricated) undermines the veracity of everything in the story, like the anecdote about Rivera supposedly taking Dylan to see KISS and inspiring him to don Kabuki-inspired facepaint.

And to what end? What you're seeing, for the most part, are real events that happened in real places to real people, and which therefore have archival value. Even if one were to thread up unedited footage at random, the images and sounds would still tell us a lot about the culture and emotional temperature of the U.S. circa 1975. The concert footage (much of which concentrates exclusively on Dylan, regardless of assurances that the tour was a democratic endeavor) is riveting, showcasing inventive re-arrangements of many Dylan classics, including "Simple Twist of Fate," "A Hard Rain's Gonna Fall," and "The Lonesome Death of Hattie Carroll."

In comparison to the material that stands on its own, the absurd touches feel glommed-on and pointless, and much of the time, they don't work. When the Van Dorp character prattles about how he wanted to show "the contrast between the excesses of the people on the tour and the dissolution of society [in] the land of pet rocks and Slurpees from 7-Eleven," it's like being forced to listen to a reading of a satirical short story by a fiction writer who understands the dictionary definition of satire but never figured out what, exactly, he intended to make fun of. The culture itself? The popular art form that tries to respond to the culture? The mentality of the artist mocking other artists trying to respond to the culture?

This is a documentary, and at the same time, it's also a prank or a joke. But it's not particularly funny when it's plainly trying to be. Why? Maybe because it's lumpy and unfocused, meandering from absurdism to poker-faced sincerity (as in self-contained sections about the plight of Native Americans and the fate of one of Dylan's real-life subjects, wrongly imprisoned boxer Rubin "Hurricane" Carter). Or maybe it's because when you think of Scorsese, one of the great living American filmmakers, a lot of different words and phrases spring to mind, but "goofy" and "wry" and "light touch" aren't among them.

The unsung hero in all this is Alk, whose footage gives the movie its artistic and historical nucleus. He was friends with Dylan from 1963 on, and worked with him on several movies, including "Eat the Document," "Hard Rain" (also about the Rolling Thunder tour) and Dylan's semi-improvised, self-directed "Renaldo and Clara" (where a lot of the footage comes from). Aficionados of analog-era, fly-on-the-wall nonfiction camerawork will admire the intelligence that Alk brings to every composition and camera move—assuming it's Alk's work that we're mostly seeing here, and it's impossible to know for sure, since Scorsese never identifies the footage that way, and lets us believe that "Van Dorp" shot all of it, because that's the joke. There are instances where he even seems to have dubbed Dylan and other real-life personages addressing Alk as "Van Dorp."

Meanwhile, Alk's unobtrusive artistry shines through anyway—as in a lovely moment where Dylan and Ginsberg visit the cemetery where Jack Kerouac is buried, and the camera briefly sneaks away from the two men swapping Kerouac quotes to wander over to the writer's grave site, perfectly framing the rectangular headstone to create a frame-within-a-frame.

At one point, Van Dorp gripes about an obsequious Rolling Stone reporter, real-life journalist and gadfly Larry "Ratso" Sloman, stating that "he didn't want anyone else with vision around." This feels like a self-deprecating joke on Scorsese's own status as an auteur who puts his name on nonfiction projects partly comprised of archival footage created by others. But erasing credit for another artist's work—even an obscure one, even inadvertently, and even in the service of satire and conceptual art—is a dicey business. It backfires here, contributing to the current national malaise wherein facts are provisional and nothing can be trusted anymore, and making the project feel insensitive to the hard-won achievements of real people without whom it would not exist. Buried beneath layers of metafictional tomfoolery is a moving film about an anonymous artist whose achievements remain unrecognized, even by people ideally positioned to throw a spotlight on them.

REVIEW RESOURCE: https://www.rogerebert.com/rev....iews/rolling-thunder

⁣Wim Hof is a Dutch world record holder, adventurer and daredevil, commonly nicknamed the Iceman for his ability to withstand extreme cold.
Undoubtedly one of the most fascinating guests ever to have appeared on the JRE, Wim Hof is a Dutch extreme athlete nicknamed The Iceman for his incredible ability to thrive in completely inhospitable temperatures.


Hof espouses the benefits of learning to control your breathing through a meditative system he refers to as the Wim Hof Method, in which he denotes just how important one's mental state is in influencing physical performance.
Like many of the other athletes featured on this list, listening to Hof isn't just motivational for the things that he has achieved, but rather the perspectives he offers to help you or me to achieve feats that we didn't believe possible.


Joe has shown repeatedly throughout the years that the quality of the podcast significantly improves the more he appears to respect the guest which is particularly evident here. If anyone is looking for a way to better endure physical pain, while also becoming more in tune with their thoughts this podcast is a must-watch.

RESOURCE: Joe Rogan Experience #712

⁣his piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labour of the writers and actors currently on strike, the movie being reviewed here wouldn’t exist.
As a child, I would often hear my grandfather say that with the creation of the atomic bomb, there wouldn’t be any world wars anymore. There would only be smaller wars. So far, he’s been right, although the prospect of a country using an atomic weapon on another has never left us. Even the threat of a so-called “dirty bomb” being used by a rogue organisation is a very real possibility that many governments fear and presumably have developed contingency plans for.

When University of California, Berkeley physicist J. Robert Oppenheimer was recruited to head up the Manhattan Project, America’s program to design and build the world’s first atomic bomb, he, like many others, had visions of war being a thing of the past. That view changed, however, when he saw how destructive his creation turned out to be. The two atomic bombs that were dropped over Hiroshima and Nagasaki incinerated both cities and killed between 150,000 and 225,000 people, with about half of those deaths occurring on the first day. Think about that. It means that about 100,000 people died of radiation burns and cancers in the days, months and years after the bombings took place. One can argue that the bombings hastened the end of the war with Japan but at what cost?
Coinciding with the release of Christopher Nolan’s new film, OPPENHEIMER, NBC in the US has released a feature-length documentary entitled TO END ALL WAR: OPPENHEIMER & THE ATOMIC BOMB. It follows Oppenheimer’s rise to the pinnacle of heroism in the eyes of most Americans and his subsequent fall.

Little known to most people these days, Oppenheimer was a tragic figure. Historians agree that his contributions to theoretical physics should have earned him a Nobel Prize if not for two things: the destructive nature of the bomb — the antithesis of why Alfred Nobel created the prize in the first place — and his outspoken opposition to America continuing its development of other weapons of mass destruction, the latter of which put him solidly in the crosshairs of Senator Joe McCarthy’s House Un-American Activities Committee (HUAC).
Prime Time Emmy Award-winning director Christopher Cassel (ROME) examines Oppenheimer’s early years as well as the legacy he left behind with a mix of archival footage, soundbites, animated scenes, heartbreaking footage of the blasts’ survivors, and interviews from Bill Nye (the Science Guy), Hiroshima survivor Hideko Tamura, grandson Charles Oppenheimer and Christopher Nolan among others. (If you’re wondering why Nolan would appear in this documentary, Universal Pictures, which is distributing his film worldwide, is the sister company of NBC.)

I now seen OPPENHEIMER and TO END ALL WAR complements the film rather than takes away from it. It’s a fascinating look at a complicated and tormented man at a time when his country wanted a hero more than it wanted a moral compass.

REVIEW RESOURCE: https://howardforfilm.com/2023..../07/18/movie-review-

⁣This documentary about Sgt Pepper’s Lonely Hearts Club Band picks up where Ron Howard left off – without any of the band’s music or even images
It’s not easy to make a documentary about the greatest album in history when you don’t have access to a single note of the music, but this documentary forges on and cashes in regardless, perhaps assuming its target audience already knows the band’s back catalogue (or won’t realise there’s no Beatles music in it). It cannily picks up the story where last year’s “official” doc – Ron Howard’s Eight Days a Week – left off: the pivotal year of 1967, when the band gave up touring, recorded Sgt Pepper and met the Maharishi.
This history is raked over by greying, second-tier talking heads in granular detail, right down to the design of the “get well soon” card John Lennon drew for George Harrison’s sister-in-law. But without the supporting music, or even images, there’s a dancing-about-architecture feel to the whole exercise. A good 10 minutes is devoted to the album’s iconic sleeve design, for example, without ever showing the sleeve itself.
... 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/2017/may/26/it-wa

⁣Demons are real, demon possessed people walk among us. For those that may not know what Nihilism is, it is a philosophy, or family of views within philosophy, that rejects generally accepted or fundamental aspects of human existence, such as knowledge, morality, or meaning.

⁣We need to have a heart-to-heart about a little something called the New World Order agenda.


You see, for decades, conspiracy theorists have been warning us about this globalist plan to create a one-world government, but it seems like too many of us are still in the dark about what's really going on. So, why are we being kept ignorant?


Let's dive in and find out.

⁣With unfettered access to the Zappa family trust and all archival footage, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time.


Alex Winter’s assembly features appearances by Frank’s widow Gail Zappa and several of Frank’s musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others.
Directed by Alex Winter
http://www.thezappamovie.com/

For more great titles, check out Magnolia Selects:
https://www.magnoliaselects.com

'Frank didn't adhere to any movements': behind the Zappa documentary (The Guardian)

⁣"2000 Mules," a documentary film created by Dinesh D'Souza, exposes widespread, coordinated voter fraud in the 2020 election, sufficient to change the overall outcome. Drawing on research provided by the election integrity group True the Vote, "2000 Mules" offers two types of evidence: geotracking and video.


“2000 Mules” is not as much the hard-hitting expose of the 2020 election that viewers might expect from its marketing. The movie is actually a great overview of election fraud that has been taking place for the past decade. And the research it features leaves a big question wide open.
Still, “2000 Mules” is a major, real bombshell.
The documentary comes from political pundit Dinesh D’Souza and familiar collaborators, including director Bruce Schooley, and D’Souza’s wife, Debbie, who has also produced his other movies, most recently “Trump Card” in 2018. It features research conducted by election integrity watchdog True the Vote.
Much criticism has been leveled at the use of cellphone data in “2000 Mules” to track “mules,” or ballot traffickers, and estimate the number of fraudulent votes in the 2020 election that gave Joe Biden the win over Donald Trump. This writer finds the cellphone data to be credible. The data is what makes “2000 Mules” a bombshell, the kind that comes along once in a century. It is the research methodology that is flawed. (More on this later.)
First, the findings that D’Souza presents to viewers are shocking. He asks incisive questions of True the Vote’s founder Catherine Engelbrecht and top researcher Glenn Phillips, leading the viewer through the complex data. Here is what they tell us:
Atlanta: 242 mules that went to an average of 24 ballot dropboxes and eight organizations in a two-week period.
Phoenix, 200+ mules
Milwaukee, 100 mules
Michigan, 500 mules
Philadelphia, 1,100 mules going to 50 dropboxes each. People driving to New Jersey possibly to pick up ballots.
The movie estimates that calculating for the ballot trafficking, Trump would have won with 305 electoral votes.
The movement of the mules shows that the fraud was deliberate.
“To get to some of these dropboxes, it had to be intentional. You had to get off the highway, go on some street, you had to turn in somewhere in order to get to those dropboxes,” Phillips said.
And Engelbrecht remarks on the gaslighting by the media in the aftermath.
“Now the narrative needs to be that this is the most secure election, this is the most fabulous election we have ever had. Pay no mind to the millions of Americans that are saying something is not right,” Engelbrecht said.
The movie also takes the audience through other kinds of ballot harvesting and ballot trafficking, including the exploitation of the disabled and the elderly, and the bullying of vulnerable populations, immigrants and the homeless.
It also mentions the well-known case in North Carolina of the Mark Harris campaign in 2018 as a prime example of ballot trafficking.
All of this information makes “2000 Mules” a great overview on election fraud. But the methodology of the research into the 2020 presidential election has one glaring flaw.
True the Vote seems to make assumptions on the nonprofits, or the “stash houses” where the fraudulent ballots are kept, as one of the starting point of its research along with the ballot dropboxes, for pinpointing the movements of the mules. Additionally, D’Souza never explains or even gives a hint of who these nonprofits are. So the viewer is left in the dark. This begs the question: Did True the Vote have a preset list of nonprofits they knew were stash houses from previous research, instead of determining who the stash houses are from the mules? Is the research completely nonpartisan?
D’Souza has answered a similar question from a viewer here, but has not addressed this concern. In journalism, you can provide hints for who the nonprofits are. For example, are they big nonprofits with obvious political leanings or small nonprofits doing unrelated work, like animal rescue? D’Souza and his producers not giving any hints at all leaves a big piece of the puzzle off the table.

⁣A provocative look at what it takes to hide a multi-trillion dollar Secret Space Program from the public and the implications this has for humanity.
Featuring: David Wilcock, Corey Goode, John Desouza, Niara Isley, Jordan Sather, and more.
On September 10th 2001 Secretary of Defense Donald Rumsfeld announced that $2.3 trillion dollars could not be accounted for within Department of Defense expenditures. The very next day the Pentagon’s budget analyst’s office was destroyed in the 9/11 attack. The mystery remains: Where are the missing trillions Above Majestic is a shocking and provocative look at what it would take to hide a multi-trillion-dollar Secret Space Program (a clandestine group of elite military and corporate figureheads charged with reverse-engineering extraterrestrial technology also known as “Majestic 12”) from the public and the implications this would have for humanity.
Viewers will be guided through a deep dive into the origins, technologies, history, cover ups, conspiracies, testimony and research that goes beyond and Above Majestic. Featuring some the most prominent and prolific authors, researchers, whistle-blowers and disseminators in the movement for Truth and Full Disclosure. This includes David Wilcock, Corey Goode, John Desouza, William Tompkins, David Adair, Laura Eisenhower, Niara Isley, and Jordan Sather.

⁣See how the US media has little to do with news, and a lot to do with dividing the people and controlling our minds.

RESOURCE: ⁣https://plandemicseries.com/the-media/

⁣I Know What I Saw is a documentary guaranteed to change the way we see the universe. Director James Fox assembled the most credible UFO witnesses from around the world to testify at The National Press Club in Washington D.C. including Air Force generals, astronauts, military and commercial pilots, government and FAA officials from seven countries who tell stories that, as Governor Fife Symington from Arizona stated, "will challenge your reality".
Their accounts reveal a behind-the-scenes U.S. operation whose policy is to confiscate and hoard substantiating evidence from close encounters to the extent that even Presidents have failed to get straight answers. 'I KNOW WHAT I SAW' exposes reasons behind government secrecy from those involved at the highest level. James Fox has won the support of several key media, government and military personnel, and has made numerous television and radio appearances.
Additionally, because of the strength of his ratings and the high level of interest from his audience, Larry King has indicated to James Fox an interest in promoting I Know What I Saw. With the worldwide unrelenting UFO fascination and the phenomenal success of fictional UFO films, it is high time for an up-to-date documentary about UFOs for worldwide release.
REVIEW RESOURCE: https://topdocumentaryfilms.com/i-know-what-i-saw

⁣A documentary alleging that the CDC, the government agency charged with protecting the health of American citizens, destroyed data on their 2004 study that allegedly showed a link between the MMR vaccine and autism.

In 2013, biologist Dr. Brian Hooker received a call from a Senior Scientist at the U.S. Centers for Disease Control and Prevention (CDC) who led the agency's 2004 study on the Measles-Mumps-Rubella (MMR) vaccine and its link to autism.

The scientist, Dr. William Thompson, confessed that the CDC had omitted crucial data in their final report that revealed a causal relationship between the MMR vaccine and autism. Over several months, Dr. Hooker records the phone calls made to him by Dr. Thompson who provides the confidential data destroyed by his colleagues at the CDC. Dr. Hooker enlists the help of Andrew Wakefield, the British gastroenterologist falsely accused of starting the anti-vax movement when he first reported in 1998 that the MMR vaccine may cause autism.

In his ongoing effort to advocate for children's health, Wakefield directs this documentary examining the evidence behind an appalling cover-up committed by the government agency charged with protecting the health of American citizens. Interviews with pharmaceutical insiders, doctors, politicians, and parents of vaccine-injured children reveal an alarming deception that has contributed to the skyrocketing increase of autism and potentially the most catastrophic epidemic of our lifetime.

⁣Dr. Robert Malone is the controversial inventor of the mRNA gene therapy technology that is now being utilized in the Covid-19 vaccinations. He is an outspoken critic of regulatory capture and industry influence over regulators. He comes from the heart of the vaccine industry and was kind enough to sit down with us to discuss and answer a variety of questions we had about his thoughts and perspectives on what we are currently experiencing.


Watch more full interviews and educate yourself!
https://planetlockdownfilm.com/full-interviews/

⁣The simulated riots in DC was a powder-keg long in the making. The evidence for preplanning and setting up a situation for disaster is overwhelming. In this episode, we're going to show you how a little stage direction and fake blood became an instrumental role in furthering the division of the nation. Strap yourselves in- it's going to be a bumpy ride... down the Rabbit hole.