⁣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-

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

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

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

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

⁣Author and former research scientist Judy Mikovits, of TheRealDrJudy.com, spoke to Alex Jones Sunday about her experience being persecuted by the US government after she challenged the establishment’s HIV narrative and instead promoted plant-based medicine and natural immunity.
Mikovits detailed how she researched natural product therapies for viruses like HIV and discovered the virus doesn’t always lead to AIDS if a healthy immune system can be kept intact.


However, Dr. Anthony Fauci, head of the National Institutes of Allergy and Infectious Diseases at the time, buried the research, commandeered the isolated HIV virus, and used it to perform gain-of-function studies.
She also broke down the political persecution that led to her unlawful incarceration, what’s really behind the poison death shot Covid jabs, and revealed the actual way to heal naturally using remedies already provided by God.

RESOURCE: https://www.infowars.com/posts..../bombshell-dr-judy-m

⁣Peter Gabriel Secret World Live Full Concert - 1994 Italia
Songs list:
Come Talk To Me
Quiet Steam / Steam
Across The River
Slow Marimbas
Shaking The Tree
Blood Of Eden
San Jacinto
Kiss That Frog
Washing Of The Water
Solsbury Hill
Digging In The Dirt
Sledgehammer
Secret World
Don't Give Up
In Your Eyes

⁣Anthony Summers, the author of the book Goddess (1985), explains he began researching Marilyn Monroe after he learned that the Los Angeles County District Attorney was reopening the case of her death. Summers subsequently spent three years collecting 650 tape-recorded interviews with people who either knew Monroe in her lifetime or had knowledge concerning her death. The audio of the interviews is original, but actors perform lip-synced reenactments.

As Monroe began acting, she had affairs with multiple powerful men who helped advance her career. Fellow actor Jane Russell notes Monroe had a particularly strong work ethic. However, Monroe suffered from poor mental health stemming from a troubled childhood.

Monroe's third husband, writer Arthur Miller, was affiliated with communism. Both he and Monroe were observed by the FBI, and the couple was known to socialize with communist American ex-pats while abroad. As their marriage deteriorated, Monroe abused prescription drugs and she became increasingly difficult to work with. In 1961, she and Miller divorced.

In 1954, Arthur James, who knew Monroe from Charles Chaplin Jr. in the late 1940s, saw Kennedy with Monroe, walking on the shore, near the Malibu pier, and drinking at the hangout, Malibu Cottage. Monroe met the Kennedy family in the early 1950s, through Hollywood connections that likely evolved from the founding role of Joseph P. Kennedy Sr. at RKO Pictures during the 1920s. In the early 1960s, actor Peter Lawford and his wife, Patricia Kennedy Lawford, had a beach house in Malibu, California, where they hosted many social gatherings. Monroe had affairs with both President John F. Kennedy and United States Attorney General Robert F. Kennedy, often meeting them at the beach house.

Summers pieces together that Monroe was in a risky political position, as the Kennedy brothers would discuss with her current events including nuclear weapons testing. This was in 1962, during the height of the Cold War. Because of Monroe's leftist politics, the FBI worried she could pass along or make public anything the Kennedys told her. As a result, the Kennedy brothers eventually attempted to cut off all contact with her.

Monroe died on August 4, 1962, and it was ruled a probable suicide. The official timeline reports Monroe's housekeeper, Eunice Murray, checked on Monroe around 3am and found the bedroom door locked. Murray called Monroe's psychiatrist, Dr. Ralph Greenson, who arrived around 3:30am, broke in through a window, and discovered Monroe was dead. Paramedics and police arrived at 4:25am. Her death was ruled a probable suicide due to a drug overdose.

Summers discounts this timeline, as multiple interview subjects corroborate a rough sequence of events, although there are discrepancies. In this version, Monroe's medical emergency began earlier that night. Her public relations manager, Arthur Jacobs, arrived at Monroe's residence as early as 11pm. An ambulance was called, and Dr. Greenson rode with a comatose Monroe as she was transported to a hospital. She either died at the hospital or on the way. Her body was returned to her house, where she was placed in her bed and "discovered" in the early morning hours. Private investigator Fred Otash and surveillance expert Reed Wilson claim they were hired by Peter Lawford to clear Monroe's home of any evidence that connected her to the Kennedy family before police and reporters arrived.

Despite Summers having accumulated information that was previously unknown about Monroe's death, he doesn't believe she was murdered. Rather, he maintains Monroe died by suicide or an accidental drug overdose. He suspects any type of cover-up was due to her connection with the Kennedy brothers. In 1982, the Los Angeles district attorney ended its review of the case and upheld the original recorded cause of death.

⁣Kevin Macdonald's three fictional movies have taken him to Idi Amin's Uganda, Washington DC and the northern reaches of Roman Britain. They're all thrillers of various kinds, as are Touching the Void and One Day in September, the tightly focused, feature-length documentaries that preceded them. Touching the Void centres on a dangerous expedition by two British climbers in the Peruvian Andes in 1985 and uses interviews with the real participants and simulated scenes played by actors. One Day in September is about the massacre of Israeli athletes by Arab terrorists at the 1972 Olympics and, in addition to interviews and archive footage, employs computer graphics to explain the course of events.
His new film, a cinebiography of Bob Marley is a bigger, baggier and simpler thing. It's the story of a man who lived an extraordinarily full yet oddly mysterious life and died a world figure 30 years ago, shortly after reaching the age of 36. It is, however, told without any reconstructions or impersonations and neither Sidney Poitier nor Morgan Freeman was called in to deliver a rousing commentary explaining the man's contradictions, achievements and significance.
The picture begins in West Africa at an old fortress on the Gold Coast (now Ghana). Through its "Door of No Return" leading to the sea passed many of the millions of shackled slaves who were shipped across the Atlantic. This was the journey made by his ancestors that shaped Marley's life, identity and music and the belief system that drew them together.
He was born in the remote Jamaican village of Nine Mile in 1945 and Macdonald takes us there in a lyrical aerial shot across the steep, wooded hill country. His mother, Cedella, was black and 16. His father, Norval Marley, a white man aged 65, was employed by the forestry commission to prevent the theft of timber. He rode around the countryside like a seigneurial Cossack and styled himself Captain, though there's no evidence he'd held any commissioned rank or served in any war. In the only known photo of Norval, he's on horseback attempting to look authoritative and his family refused to recognise Bob when he once called on them for help.
Macdonald sees Bob as a man who felt rejected by both the black and the white communities, an outsider who was to find a symbolic home in Africa through embracing Rastafarianism, a style of personal independence and social defiance, and a mission to bring people together in a grand international, inter-racial brotherhood.
Marley grew up in extreme poverty, first in the countryside, then in the slums of Kingston's Trenchtown, where the first photograph of him was taken at the age of 12. The documentation of the early life is thin, but Macdonald is able throughout to draw on the colourful testimony of his formidable mother, his friends, fellow musicians, a variety of female companions (Marley had nine or 10 children by six or seven different women) and later some businessmen, politicians and gangsters.
There are splendid anecdotes about survival, about Bob and his band, the Wailers, developing a new kind of music that fused local and international forms into a distinctive form of reggae, and the zig-zagging of a career that took Marley to the United States, where his mother had relocated, to Europe and to Africa. Much of what we hear from Jamaican witnesses is spoken in a beguiling, if sometimes obscure, patois and there are the kind of contradictions in the individual assessments of his character and the accounts of the fraught progress of the Wailers that one would expect. This is Rashomon territory.
But there are compromises and concessions of a different kind that have come about through the need to secure interviews, musical rights and other necessary forms of co-operation. These are reflected in the names of several family members and various close business associates listed in the credits as producers. Some of these people provide the finest testimony.
Among them are Bob's Cuban-born wife Rita, who worked in his backing group and recalls seeing stigmata on Haile Selassie's hand during his triumphant visit to Jamaica; Bob's three children by her (Cedella, Ziggy and Stephen); the beautiful, spirited Cindy Breakspeare, his trophy companion and former Miss World who bore him a child but refused to embrace Rastafarianism; and the laidback British impresario Chris Blackwell of Island Records.
If Marley ultimately remains something of a mystery (he gave few interviews and in none was particularly forthcoming), we nevertheless get a vivid impression of a career that included a brief stint on a Chrysler production line in Delaware, a long period of apprenticeship as a composer (initially working with homemade instruments) and a rise to local and international stardom. Gradually, the dreadlocks, the music and the cloud of ganja smoke come together to form as recognisable an image as that of the equally short-lived Che Guevara.
He was, however, altogether less militant than Che, virtually apolitical, which did not prevent competing forces seeking his allegiance or seeing him as a valuable symbol for their causes. In 1976, an assassination attempt in Jamaica drove him into exile. It wasn't, however, a bullet that did for him but the stud of a boot during a game of his beloved football in a London park, triggering the melanoma in his foot that eventually consumed his body.
We hear of a beautiful moment in a wintry Bavarian clinic where Bob's mother read the Book of Job to the emaciated singer, his dreadlocks lost to chemotherapy, shortly before he flew across the Atlantic to die in Miami in May 1981.
Perhaps this impressive, thoughtful portrait should have ended there. Instead, it concludes with a succession of Marley's hits being sung in a various languages by cheerful young people on every continent. That's all a little too "I'd Like to Teach the World to Sing" Coca-Cola-ish for my tastes.

REVIEW RESOURCE: https://www.theguardian.com/fi....lm/2012/apr/22/bob-m

⁣This film exposes the climate alarm as an invented scare without any basis in science. It shows that mainstream studies and official data do not support the claim that we are witnessing an increase in extreme weather events – hurricanes, droughts, heatwaves, wildfires, and all the rest. It emphatically counters the claim that current temperatures and levels of atmospheric CO2 are unusually and worryingly high. On the contrary, compared to the last half billion years of earth’s history, both current temperatures and CO2 levels are extremely and unusually low. We are currently in an ice age. It also shows that there is no evidence that changing levels of CO2 (it has changed many times) have ever ‘driven’ climate change in the past.

Why then, are we told, again and again, that ‘catastrophic man-made climate change’ is an irrefutable fact? Why are we told that there is no evidence that contradicts it? Why are we told that anyone who questions ‘climate chaos’ is a ‘flat-earther’ and a ‘science-denier’?

The film explores the nature of the consensus behind climate change. It describes the origins of the climate funding bandwagon and the rise of the trillion-dollar climate industry. It describes the hundreds of thousands of jobs that depend on the climate crisis. It explains the enormous pressure on scientists and others not to question the climate alarm: the withdrawal of funds, rejection by science journals, and social ostracism.

But the climate alarm is much more than a funding and jobs bandwagon. The film explores the politics of climate. From the beginning, the climate scare was political. The culprit was free-market industrial capitalism. The solution was higher taxes and more regulation. From the start, the climate alarm appealed to and has been adopted and promoted by, those groups who favour bigger government.

This is the unspoken political divide behind the climate alarm. The climate scare appeals especially to all those in the sprawling publicly-funded establishment. This includes the largely publicly-funded Western intelligentsia, for whom climate has become a moral cause. In these circles, to criticize or question the climate alarm has become a breach of social etiquette.

The film includes interviews with many very prominent scientists, including Professor Steven Koonin (author of ‘Unsettled’, a former provost and vice-president of Caltech), Professor Dick Lindzen (formerly professor of meteorology at Harvard and MIT), Professor Will Happer (professor of physics at Princeton), Dr. John Clauser (winner of the Nobel prize in Physics in 2022), Professor Nir Shaviv (Racah Institute of Physics), professor Ross McKitrick (University of Guelph), Willie Soon and several others.

The film was written and directed by the British filmmaker Martin Durkin and is the sequel to his excellent 2007 documentary The Great Global Warming Swindle. Tom Nelson, a podcaster who has been deeply examining climate debate issues for the better part of two decades, was the producer of the film.

⁣The Creepy Line reveals the stunning degree to which society is manipulated by Google and Facebook and blows the lid off the remarkably subtle – hence powerful – manner in which they do it.
Offering first-hand accounts, scientific experiments and detailed analysis, the film examines what is at risk when these tech titans have free reign to utilise the public’s most private and personal data.