⁣BOMBSHELL: Dr. Clare Craig Exposes How Pfizer Twisted Their Clinical Trial Data for Young Children.

STORY AT-A-GLANCE
- The trial recruited 4,526 children aged six months to four years old. 3,000 of these children did not make it to the end of the trial. Why was there this drop off?
- There were six children aged two to four who had severe covid in the vaccine group but only one in the placebo group. So on that basis, the likelihood that this vaccine is actually causing severe covid is higher than the likelihood that it isn’t.
- The only child who was hospitalized in the trial for a fever and a seizure was vaccinated.
- In the three week period, after the first vaccine dose, thirty-four of the vaccinated children got covid and only thirteen in the placebo group which worked out as a 30% increased chance of catching covid in that three week period if you were vaccinated.
- They ignored that data and then there was an eight week gap between the second dose and the third dose where again, children were getting plenty of covid in the vaccine arm. They ignored that data.
- There was then several weeks after the third dose which they also ignored, which meant that in the end they had ignored 97% of the covid that occurred during the trial and they compared three children in the vaccine arm who had covid with seven in the placebo arm and they said that this showed the vaccine was effective.
- The children who would have been placebo, the control group, were followed up for an average of six weeks and then unblinded and given the vaccine. That’s your safety control gone forever.
- Emergency Use Authorization is meant for a situation where there’s a risk of serious injury or death. Children under five are not at risk of serious injury or death from covid.

MORE RESOURCES:
https://organicconsumers.org/b....ombshell-dr-clare-cr
https://telegra.ph/BOMBSHELL-D....r-Clare-Craig-Expose

⁣Rosa Koire explained The Truth Behind Agenda 21, i.e. the who, how and why of the New World Order in our last video.
Now Todd Callender explains the WHAT in this one! Although this is horrific, you NEED to hear it ALL as it is part of the preparation for the solution.

CLICK LINK TO DOWNLOAD A TRANSCRIPT:
https://docs-vajralab.s3.ap-so....utheast-1.amazonaws.

⁣This interview was broadcast on public television CNBC. Interview with Oxford University's Professor Sir John Bell and journalist Jon Snow on Friday, November 27th 2020.
Professor Sir John Bell said openly that "these vaccines are unlikely to completely sterilise a population".
What else do you have to experience to understand what a pandemic project really is?

⁣An instrumental cover of the Jimi Hendrix/Bob Dylan song.

Gear Used:
1960’s Harmony 1270
Fender Custom Shop 1960 Relic Stratocaster
1965 Fender XII
Fender Mustang Bass
Keeley Katana
Wampler Tumnus
Dunlop JH-1B Cry Baby Wah
Marshall 1962 Bluesbreaker

⁣⁣The official version of human history is a construct of lies. We are in a state of collective amnesia. Let's free ourselves from the artificial matrix that has been imposed on us. This part covers the World's Fairs and the time in which they took place.
Written by: dreamtime & Mosaic, https://stolenhistory.net
Narrated by: Sovereine & David Glenney
Post-production: Bart van der Zwaan https://youtube.com/bartingman

WATCH FULL SIERIES:
⁣Part 1: Nothing is as it seems => ⁣https://vajratube.com/v/MBtVx6
Part 2: The Destruction of the Old World => ⁣https://vajratube.com/v/4Kya4M
Part 3: The Mystery of the World's Fairs => ⁣https://vajratube.com/v/lmqIAN

⁣Hunter Biden’s business dealings in China served the “strategic interests” of the country’s communist government and military — and may have imperiled American national security, claims a new documentary exclusively previewed by The Post.
“Riding the Dragon: The Bidens’ Chinese Secrets” highlights several deals that Hunter Biden was involved in as a board member of the Beijing-based BHR Partners investment firm.
The film also alleges that Hunter was only able to get meetings with Chinese officials — and secure $1 billion in funding — “because of who his father was: vice president of the United States” and then-President Barack Obama’s “point person on US policy towards China.”
The 41-minute documentary is narrated by best-selling writer Peter Schweizer, who authored 2015’s “Clinton Cash: The Untold Story of How and Why Foreign Governments and Businesses Helped Make Bill and Hillary Rich” and has previously written about Hunter’s business dealings in China.

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

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

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

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

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

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

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

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

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

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

⁣Directed by William Arntz, Betsy Chasse, and Mark Vicente, the film is an initially intriguing—and then gradually more outlandish—examination of quantum physics (“the physics of possibilities”), the theoretical brand of science that supposedly helps us understand life’s most fundamental question: What is reality? Unfortunately, the film’s answer isn’t half as interesting as those posited by The Matrix, Fight Club, or Waking Life.

A collection of talking-head physicists, philosophers, religious scholars, and mystics (all of whom are deliberately unidentified until the end credits to obscure their dubious authority) casually toss about terms like “epistemic” and “gifts of intentionality” in arguing that reality—rather than being an external force—is something we shape internally, thus meaning that what’s happening within us determines what happens around us. The ensuing, rambling discussion of quantum physics’ impact on notions of love, addiction, and Jesus is clumsily interspersed with scenes involving a fictional photographer named Amanda (Marlee Matlin) who, still smarting over her husband’s infidelity, embarks on a journey of self-discovery by learning to transcend humanity’s current perception of reality.

Engaging theories are sporadically contemplated (such as the idea that an object can exist in two places at the same time), yet by the film’s conclusion, it’s clear that the real modus operandi of these “experts” is promoting a new-agey version of spiritual enlightenment intended to replace traditional monotheism. Society’s “superstitious, backwater concept of God” is the filmmakers’ ultimate target, since it interferes with their belief that everyone is God and that all of us are “co-creating our future.” If people are truly able to construct their own destinies, then I can only hope that What the Bleep Do We Know?, with its hokey and derivative CGI, John Tesh-influenced score, and screeching electronic sound effects, will beget a future devoid of these filmmakers’ creepily cultish work.

REVIEW RESOURCE : https://www.slantmagazine.com/....film/what-the-bleep-

⁣Director John Dullaghan's biographical documentary about infamous poet Charles Bukowski, Bukowski: Born Into This, is as much a touching portrait of the author as it is an exposé of his sordid lifestyle.

Interspersed between ample vintage footage of Bukowski's poetry readings are interviews with the poet's fans including such legendary figures such as Lawrence Ferlinghetti, Joyce Fante (wife of John), Bono, and Harry Dean Stanton.

Filmed in grainy black and white by Bukowski's friend, Taylor Hackford, due to lack of funding, the old films edited into this movie paint Bukowski's life of boozing and brawling romantically, securing Bukowski's legendary status. Born Into This relies on interviews with Bukowski for biographical information instead of cheesy voiceovers, bringing the viewer even closer to the author.

For example, in one amazing sequence, Bukowski rides the viewer around in the backseat of his car, telling us through his rear-view mirror of his stint as a post office worker which inspired the novel, Post Office.
Scenes splicing interviews with Bukowski's ex-wife, Linda Lee, and R. Crumb's comic strip panels portraying Bukowski as a sex-crazed maniac, set the tone for bawdier parts of the film.

Occasionally the film displays lines of Bukowski's poetry on the screen, as reminders that he was not only a raging alcoholic with a fierce sense of humor but also a talented and beloved writer. With so much hilariously shocking footage of "Hank," Bukowski: Born Into This presents Bukowski as a troubled but classic genius.

The mystery of Ancient Egyptian stone cutting on Old Kingdom sites, into incredibly hard stone like basalt, and granite - a full documentary length deep dive into the evidence for ancient advanced technology.
Only on Old Kingdom sites do we find the presence of large basalt pavements - made up of remarkably flat and machined blocks. On and around these pavements, as well as inside the pyramids, we can find evidence for advanced methods of stone cutting, including powered circular saws.


Far beyond the capability of the Dynastic Ancient Egyptians - how were these cuts made? Were they created by the dynastic civilization? Or is it possible these structures and objects were inherited?
We also investigate the evidence for a strange, functional feature of these Old Kingdom sites - the installation of channeled 'u-shaped' blocks, beneath the stone of pavements and causeways. What was the function of these mysterious blocks?


More info at: https://www.ancient-origins.ne....t/artifacts-ancient-

⁣A senior Pfizer executive has admitted that the drug company did not know whether its Covid vaccine prevented transmission of the virus when it began rolling out the shots globally.
Janine Small, Pfizer’s president of international developed markets, was testifying before the European Union Parliament on Monday when she was asked the question by Dutch MEP Rob Roos.
“Was the Pfizer Covid vaccine tested on stopping the transmission of the virus before it entered the market?” Mr Roos asked.


“If not, please say it clearly. If yes, are you willing to share the data with this committee? And I really want a straight answer, yes or no, and I’m looking forward to it.”


Ms Small — appearing in the place of Pfizer chief executive Albert Bourla, who had been called to testify but pulled out of the hearing earlier this month — replied that the company had to “move at the speed of science”.
“Regarding the question around, um, did we know about stopping the immunisation [sic] before it entered the market? No, heh,” she said.


“Uh, these, um, you know, we had to really move at the speed of science to really understand what is taking place in the market, and from that point of view we had to do everything at risk. I think Dr Bourla, even though he’s not here, would turn around and say to you himself, ‘If not us then who?’”


Ms Small said Dr Bourla “actually felt the importance of what was going on in the world, and therefore as a result of that, we actually, um, spent $US2 billion, at risk, of self-funded money from Pfizer, to be able to research, develop and manufacture at risk, to be able to make sure that we were in a position to be able to help with the pandemic”.


Mr Roos shared a brief clip of Ms Small’s response on Twitter, describing the answer as “scandalous”.
“Millions of people worldwide felt forced to get vaccinated because of the myth that ‘you do it for others’,” he said in the video, which has been viewed more than five million times.
“Now this turned out to be a cheap lie. This should be exposed.”

⁣"He's an outsider. He's a maverick." Vision Films is about to release this documentary, called Banksy & The Rise of Outlaw Art, this week - available on VOD. We missed this trailer when it first debuted a few months ago, but happy to catch up with it now. Elio Espana's doc Banksy & The Rise of Outlaw Art is a look at the modern street art / graffiti culture that Banksy elevated. "Banksy, the world's most infamous street artist, whose political art, criminal stunts, and daring invasions outraged the establishment and created a revolutionary new movement while his identity remained shrouded in mystery.

[This film] finally reveals Banksy's story, from his roots in a criminal subculture to his rise as the leader of an art revolution." Don't expect Banksy's identity to actually be revealed. Not only was there Banksy's own doc Exit Through the Gift Shop (from 2010), but we also had the Banksy Does New York doc a few years ago, too.
As the world’s most infamous street artist, Banksy’s political art, criminal stunts and daring invasions have outraged the establishment for over two decades, but despite being one of the most important figures of our times, Banksy has remained an enigma, with little known about the circumstances of his life and work.

His rise coincided with the emergence of Street Art, a form of illegal, public art that evolved from the graffiti scene to change the face of cities across the world. Banksy became the leading figure in this revolutionary new movement, assembling a multi-million dollar empire and changing the way that we think about art. Through it all, however, his identity has remained shrouded in mystery… Banksy & The Rise of Outlaw Art is directed by documentary producer / filmmaker Elio Espana, director of the films Dawn of the Dead: The Grateful Dead & the Rise of the San Francisco Underground, CSNY: Fifty by Four, Feats First: The Life & Music of Lowell George, and Hamilton: One Shot to Broadway previously.

⁣How did we get here? What happened to us? What’s really going on?
These are a few of the questions I asked myself, which led to the creation of my latest movie, The Great Awakening.

Those who believe they are in charge have hijacked our human nature on both ends: Our survival-based fear response AND our compassion for our fellow man.

Who are the puppet masters? Plenty of people ask me this, and the honest answer is – we may never know. What I do know is that most of the people forwarding the new anti-human ideologies and policies, as Mattias Desmet shares in this clip, are hypnotized themselves.

“Mass formation” is a condition akin to mass hypnosis. Much of the human population is literally under a spell. Breaking that spell is the first step to an awakening. What is your best method for waking up friends and family?

Mikki Willis
Father / Filmmaker

See the Plandemic series and download the Plandemic book for FREE at: www.PlandemicSeries.com

⁣Creep - Vintage Postmodern Jukebox Radiohead Cover ft. Haley Reinhart
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One of the highlights of our 2015 European tour was Haley Reinhart's masterful interpretation of our vintage arrangement of Radiohead's "Creep" (originally performed on this channel by the amazing Karen Marie). I enjoyed it so much that I brought Haley into a studio in Zurich on our day off to record it. If you haven't heard Haley sing this before, get ready for a truly remarkable performance. Oh yeah- and this was the very first take.

⁣14 Peaks: Nothing Is Impossible’ - Climbing at a Breakneck Pace
A documentary follows the Nepalese mountaineer Nirmal Purja as he tries to add cultural depth to the sport’s highs.
As the mountaineering genre continues its ascent into the mainstream, there’s a thesis awaiting a graduate student about male climbers and their mothers, wives or partners. Touched on in the Oscar winner “Free Solo” and summer’s “The Alpinist,” those relationships get screen time in “14 Peaks: Nothing Is Impossible,” about the Nepalese climber Nirmal Purja, known as Nimsdai, and his attempt to summit the world’s 14 highest peaks in seven months. (The previous record was seven years.)


While his wife, Suchi Purja, charmingly attempts to explain her husband’s embrace of risk to civilians, it’s his ailing mother who underscores more tender lessons about her son’s drive but also about the mortality we all face.
As a young man, Purja enlisted in his country’s legendary armed forces, the Gurkhas, and later joined the United Kingdom Special Forces. He seized on the climbing endeavor, which he called “Project Possible,” as a way to highlight the contributions of Nepalese mountaineers, who are more than the Sherpas to Western expeditions.


Early on, the project’s four other climbers — Mingma David Sherpa, Geljen Sherpa, Lakpa Dendi Sherpa and Gesman Tamang — get introduced as vital characters. They are as devoted to Purja’s seemingly mad mission as he is.
Much of the documentary’s climbing footage was taken by Purja and his team. The director Torquil Jones uses those images, as well as fresh interviews (the alpine legend Reinhold Messner waxing beautifully existential) and some vivid animation to craft a documentary exploring themes of generosity, danger, drive and national character.
In widening its aperture — from the ascents to visits to Purja’s childhood home as well as brief dives into Nepal’s history — “14 Peaks” expands a genre often focused on the feats of individuals to celebrate lessons about vast dreams and communal bonds.


REVIEW RESOURCE: https://www.nytimes.com/2021/1....2/01/movies/14-peaks

⁣Man Spends 30 Years Turning Degraded Land into Massive Forest
The incredible story of how degraded gorse-infested farmland has been regenerated back into beautiful New Zealand native forest over the course of 30 years..
Fools & Dreamers: Regenerating a Native Forest is a 30-minute documentary about Hinewai Nature Reserve, on New Zealand’s Banks Peninsula, and its kaitiaki/manager of 30 years, botanist Hugh Wilson. When, in 1987, Hugh let the local community know of his plans to allow the introduced ‘weed’ gorse to grow as a nurse canopy to regenerate farmland into native forest, people were not only skeptical but outright angry – the plan was the sort to be expected only of “fools and dreamers”.

Now considered a hero locally and across the country, Hugh oversees 1500 hectares resplendent in native forest, where birds and other wildlife are abundant and 47 known waterfalls are in permanent flow. He has proven without doubt that nature knows best – and that he is no fool.
Host a screening of the film:
While we've made this film free to watch on YouTube, if you're holding a public screening you'll need a license. We've made the fees very low to be accessible to all communities and we'll be splitting the income with Hinewai Reserve. Check out http://foolsanddreamers.com to learn more about the film and screening licenses. Thank you for your support!

More about Hinewai Reserve
https://www.hinewai.org.nz
https://www.facebook.com/hinewai.org.nz/
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Film credits
Directed by Jordan Osmond & Antoinette Wilson Written by Antoinette Wilson, Jordan Osmond, and Nick Tucker Producer: Antoinette Wilson Executive producer: Quatro Trust Cinematography: Jordan Osmond & Jason Hosking Editing: Jordan Osmond Sound recording: Anna Veale Original score: Karl Steven and Ariana Tikao Sound mixing: James Henderson Color grade: Mike Kelland
We love that so many people have translated for our films here on YouTube. If you’d like to be part of that community you can contribute by clicking the "..." below the video and selecting "Add translations" from the dropdown menu.

⁣Urgent address by Egon Cholakian to all people following his recent participation in a joint session of the Nobel Committee and the National Academy of Sciences in Washington.

In his address, Egon Cholakian reveals the true and shocking reasons behind global climate change, climatic anomalies, and catastrophes that are escalating worldwide. Egon Cholakian explains the pattern of recurring climate catastrophes that we are currently experiencing. This pattern is reflected in a unique mathematical model indicating a geometric progression in the growth of climate catastrophes, which could lead to the demise of humanity in the coming years. As Egon Cholakian stated, "Our planet is on the brink of self-destruction, and humanity has only a few years left to prevent the impending catastrophe."

Egon Cholakian proposes the only viable and scientifically substantiated solution available today that can save us from a global climate catastrophe. Action must be taken soon while we can still change the situation. This information is being revealed for the first time.
Egon Cholakian, is a qualified Particle Physicist, affiliated with the preeminent CERN particle physics laboratory as a Future Circular Collider technology developer. Collaborates in the arrangement of NASA’s NISAR mission. A member of the International Association of Intelligence Educators and an international tax Law professional. Served as a Legislative Tax Analyst attached to the President's Commission on International Trade and Investment Policy under President Nixon and President Ford. Worked with the Reagan Kitchen Cabinet, and Reagan White House within President Reagan’s Strategic Defense Initiative project. In total, Egon Cholakian worked with four U.S. Presidents. Currently serves as a federal lobbyist at The U.S. Congress and White House. Egon Cholakian has emerged as a prominent voice on climate change and national security-related matters.

For more detailed information about the project for establishing a unified scientific center, you can visit the website http://earthsavesciencecollaborative.com
For inquiries: egoncholakian@earthsavesciencecollaborative.com

Reproduction, distribution, and utilization of this video in part or in full are permitted through any means without distorting the information, provided that proper attribution is given to the source:
http://earthsavesciencecollaborative.com

⁣This statement was released by Austrian independent journalist Jane Burgermeister - June 25, 2012
I would like to present some historical material related to earlier - unsuccessful vaccine projects. It seems that the New World Order has drawn conclusions and improved the depopulation of our planet's citizens.
This material has been meticulously and effectively removed from all online sources so that there is no mosaicism to recognize an analogy between a simulated-planned avian influenza pandemic and a Covid-19 pandemic that was planned and implemented on the same basis.
Experience has shown that no panedia or disease from existing viruses has had as many negative effects as mass vaccination of the population.


Jane Burgermeister is an Austrian science journalist who filed a criminal complaint with the Federal Bureau of Investigation (FBI) against the World Health Organization (WHO), the United Nations (UN), the American government and several other organizations public health authorities such as the FDA , as well as several medical and pharmaceutical laboratories under the accusation of creating false flu pandemics to later administer dangerous vaccines in bulk. [ 1 ] The complaint accuses these organizations and their representatives of committing several serious crimes in relation to bioterrorism , with the attempted genocide,mass murder , coercion of constitutional bodies, high treason, among other charges.
Do you see any connotations to the present times? I leave the conclusions to you.

⁣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.

⁣The Revelation of the Pyramids, narrated by Brian Box, takes an extensive look into the Great Pyramid of Giza, which is widely believed to have been built as a tomb for the country’s pharaohs during ancient times. Based on the works of Jacques Grimault who has studied pyramids for over 40 years, it presents an alternative theory on its origins. It questions the traditional viewpoints of Egyptology, asserting that they rely on unverified assumptions such as the lack of machines, its twenty-year construction period, and its ‘coincidental’ equinox-orientation.


The Revelation of the Pyramids then goes into comparisons between Giza’s pyramids and those of other regions like China, Easter Island and the various native cultures of the Americas. The film posits that Giza’s construction implies that Egyptians would have to have been incredibly advanced mathematicians, using equations centuries before they were discovered by the rest of the world. It therefore draws the conclusion that the pyramids were not built by Egyptians, but by a significantly older civilisation that has long-since faded away into the mists of time.