#but yeah not sure if it’s rooted in reality or just certain industry people calling him a poof bc he’s gotten more camp 😭

[franklyimissparis]

sorry to be another person asking about your dad omg but if you don’t mind answering i’m curious what he said when he brought up rumors about miles’ sexuality?

it really wasn’t v compelling as proper ‘evidence’ or anything 😭😭 i was playing change the show around the house ages ago and my dad asked who the artist was, i told him, and he said “hm i heard he swings the other way now” and i was like “oh?? where did you hear that?” and he said he didn’t remember 🧍🏻

[letterboxd]

How I Letterboxd #10: Chad Hartigan.

Filmmaker Chad Hartigan talks to Jack Moulton about his prescient new sci-fi romance, Little Fish, why radio silence is worse than a bad review, and his secret system of Letterboxd lists.

Chad Hartigan has won prizes at the Sundance Film Festival and the Film Independent Spirit Awards for his acclaimed films This is Martin Donner and Morris From America. He’s also been a Letterboxd member since way back, joining what he proclaims as “my favorite website” in 2013. Hartigan has always been an obsessive logger: he has transcribed all of his viewing data since 1998 and continues to work on filling in the gaps in his downtime.

Like many ardent Letterboxd members, Hartigan is a diligent list-maker, keeping tabs on his best first viewings of each year and assembling an all-time top 1,000 films over the summer (with an accompanying 26-minute supercut). Perhaps unusually for a member of the film industry on Letterboxd, he’s unafraid to hold back his opinions and regularly voices his critiques on even the most acclaimed films.

Hartigan’s newest film, Little Fish, is a sci-fi love story starring Olivia Cooke (Sound of Metal) and Jack O’Connell (Unbroken). Written by Mattson Tomlin, it’s set during an imagined pandemic—shot long before our own actual pandemic—wherein a disease causes people to lose their memories. It was set to premiere at the 2020 Tribeca Film Festival, and then postponed due to Covid-19. It’s now out in limited theaters and on demand, and we were delighted with the excuse to put Hartigan in the How I Letterboxd spotlight.

Olivia Cooke as Emma and Jack O’Connell as Jude in ‘Little Fish’.

You made a pandemic movie before the pandemic. How do you feel about accidentally hitting that unfortunate zeitgeist and now consequently being asked questions like this one? Yeah, strange. The questions are fine. If it wasn’t this one, it would be another that you would have to answer over and over again. One of the things that drew me to the project was that it felt like a fantasy that wasn’t necessarily rooted in reality in a way that my other [films] were. I liked that it’s old-fashioned in its attempts to purely take you somewhere and wasn’t intended to hold up a mirror to our times—but then in the end that’s exactly what it’s doing. I’m curious myself, and I’m checking Letterboxd to see the reactions from people because I really couldn’t guess what it would have been like [now].

Are there any prescient details you’re proud of getting right? I’m so grateful and happy that Jack [O’Connell] is wearing his mask correctly. That’s the number one thing that I’m glad we got right. I think it was very smart of Mattson to focus the movie on [the relationship] rather than the details of this global pandemic. I feel the reason it’s not in bad taste is because it dealt with those things as a backdrop and instead focused on people just trying to remember what’s important and clinging onto those that they love.

Onto our own favorite memory aid, Letterboxd. How did you discover us and how did you manage without us? I’ve been on since 2013, so I’m probably one of the earliest people to jump on it. I love the interface and the diary, just aesthetically it was really fun. I’ve been keeping track of what I see with analog [methods] for as long as I can remember. I have diaries and planners so I logged all that old information. If I was running for president, my platform would be that everybody is required to use Letterboxd comprehensively, because I just love to know what everybody is watching all the time.

Do you talk about Letterboxd in the real world with the other filmmaking people? Yes, and I’m often trying to convince them to join. Other filmmakers are more concerned about having their opinions on peers be public knowledge than I am, I guess. I’ve made four films now and each one’s been bigger and more widely seen than the last. The very first one was a total no-budget affair that couldn’t get into any festivals and I was very excited when I finally got it into the Hamptons Film Festival. It was about half-full and one or two people came up to me afterwards and said they liked it. This was pre-Twitter so I spent the whole next day Googling to see if anybody had written anything. I was so curious to see what people thought and there was nothing—not a review, not a blog—just total emptiness.

When the next film got into Sundance, there were people tweeting their reactions and actual reviews and I read everything. People were asking if the bad reviews hurt me. Absolutely not—nothing can be worse than the radio silence of nobody caring about the first film. The fact that people care enough to sit and write about this movie—good or bad—is a win, and I’ve carried that onward. I like to see what people think, it can be helpful in how you view the film as a success or failure. You learn and move on.

Jack O’Connell at least remembers how to wear a mask in ‘Little Fish’.

Some filmmakers have told us they’re kinder to films after making their own, but you’re not shy at all about being critical. How did making your own films change your perspective as a critic? I don’t consider myself a critic so that’s why I’d be less concerned with someone reading what I thought. Why should they put any stock into what I think? If they get hung up on it then that’s their own stuff because I’m not a critic. Like everyone else on Letterboxd, I just love watching movies. Obviously I can appreciate and understand some of the technical aspects maybe moreso than people who don’t make films, but at the end of the day, rarely that’s the thing that makes you love a movie or not. There’s a great bit in Francis Ford Coppola’s commentary track for Finian’s Rainbow where Fred Astaire’s doing a dance number and [Coppola admits] he totally messed it up because Astaire’s feet aren’t fully in frame. He’s very honest about his mistakes because it’s one of his earliest movies. Then he goes on to say that he thinks there’s the same number of mistakes in Finian’s Rainbow as there are in The Godfather, it’s just that he made mistakes on the things that don’t matter for The Godfather. No film is perfect, but if it can latch onto this one magical aspect that connects you to it, that’s what makes you love it or not.

You had a project where you chart the best films made by directors at certain ages as you reached that age. Tell us more about it. That was a great project. I got the idea when I was 26. This was back when I had a Netflix DVD subscription and it was just hard for me to randomly choose DVDs to throw in the queue. I needed a system. I decided to watch movies from directors when they were my age and see if there’s some common denominator, something I can learn. At that point, there weren’t many, there were films like Boogie Nights and Fassbinder films. Not many people had made stuff when they were 26 or 27, so it was very feasible. Every year there were more movies and more directors to add to the list and it became time-consuming. I did it all the way up until I was 34 and the reason I stopped was because I had a son and there was no way I could continue this level of viewing output.

My favorite part of your account is the fact that you log every viewing of your own films. You know for a fact that you’ve watched Morris From America 26 times and Little Fish fifteen times. Why do you log them? What counts as a viewing? I’ve clearly watched those movies many more times in little chunks but I’ll only log it if we’re sitting down and watching it from beginning to end. I have a ticket to see Little Fish in the drive-in on Saturday, so it’s going to be logged again. Why do I do it? Like I said, I wish everyone was required to use Letterboxd comprehensively. That’s what it’s there for for me, an accurate log of what I watch. This is psychotic behavior but I’m tempted to have a Letterboxd account for my son. I’ll do his views for him once he starts watching movies until he’s old enough to take over. It’ll just be, like, Frozen a thousand times but he’s not old enough to watch anything yet, so we’ll see.

Have you discovered any films thanks to Letterboxd discourse that influenced your approach to filmmaking? For sure, I can’t maybe say specifically, but once I dropped the directors my own age system I didn’t replace it with nothing. I’m a Virgo and I have a little bit of OCD, so I have to have some system. I’ve replaced it with a new complicated system where I pull from different lists and that’s now my main source of how I choose a movie to watch. I have like ten or twelve different lists, each about a thousand movies with a lot of overlap. One of them is my own list of every movie I’ve seen in a theater and I’ll go and look through that and if it’s something I want to revisit. Recently I rewatched Twister, which I hadn’t seen in a long time and is an old favorite from when I was in high school.

I have a bunch of private lists I cycle through; every movie nominated for a Spirit Award, every movie that’s won an Oscar, every movie that’s played in competition at Cannes, the top 1,000 films at the box office. There’s another great website that I use as a biblical resource which is They Shoot Pictures, Don’t They? and their lists of acclaimed films for all-time and the 21st century. I hit those up often. Something that I watched purely because of the very high Letterboxd rating and really loved is Funeral Parade of Roses. I try to see as many movies as I can that have a 4.0 rating or higher.

You respect the Letterboxd consensus. I do, but I don’t always agree with it.

‘Little Fish’ director Chad Hartigan.

Which is your most underrated or overlooked movie according to Letterboxd? I can say I was the very first person to log a movie called Witness in the City, which is an Italian noir movie I watched when I was doing my ‘directors my own age’ series. Literally nobody had logged it, so my review was like “whoa, I can’t believe I’m the first person to log this!”. It was very exciting for me because it’s great, but I’m the OG logger of that movie.

From your list of every film you’ve seen in a theater since you were twelve, which was your most memorable experience? The cheap answer is that it’s hard to top my own movies. The Sundance premiere of Morris From America at the Eccles Theater is maybe the best, but if I’m disqualifying my own films, seeing Scream 3 in a very packed theater in Virginia Beach was really fun, really rowdy. There was a trailer for a Jean-Claude Van Damme movie and I remember the climax was Van Damme going “you lied to me!!!” and everyone laughed. Someone did a George Costanza move later during Scream 3 and yelled out “you lied to me!!!” and everybody laughed again—so that’s a high. That’s the thing I miss the most about movie theaters, and the worry I have if theaters go away, is that so much of how we feel about a movie can be tied to the experience; who we saw it with, what we did before or after, what the crowd was like, or if anything strange happened. There are a lot of movies I have strong memories and affection for because of the experience of seeing them and I probably wouldn’t feel the same way about if I just watched it at home on my laptop.

I typically like to cap interviews off with what filmmakers thought was the best film of the past year, but we have your data to hand. For you, it’s Garrett Bradley’s documentary Time. Can you talk a bit about what makes the film stand out for you? One thing I learned about myself from the pandemic is that the motivation and desire to see new things is very closely tied to the theater-going experience for me. Once that was taken away and you could watch a new movie at home, it joins the pile of all the other movies. The fact that it’s new doesn’t really do anything for me. Why would I press play on Da 5 Bloods when I still haven’t seen Malcolm X? I gotta see Malcolm X! There wasn’t an urgency, so I saw far fewer films than in an ordinary year. But Time I found incredibly moving and important. Similar to what I liked about the Little Fish script, it’s so hyper-focused on one relationship and within that one story it has so much to say about larger issues and the world at large. It was an emotional and rich viewing experience.

‘Little Fish’ is on demand and playing in select theaters now. Images courtesy of IFC Films.

[melissawyatt]

Answering the Critics of Tarsem Singh’s The Fall

(Previously appeared on my old tumblr. Reposting revised version by request:) A couple of years ago, I fell head-over-heels in love. With a movie. Specifically visionary director Tarsem Singh’s 2006 labor of love, The Fall. The first time I watched it, I was swept away by the visuals but confused by the story itself. Was it good? I wasn’t sure. But I couldn’t stop thinking about it, so I sat down to watch it again and this time, I realized that it was a film told in the language of symbols. Once my brain unlocked that, the film absolutely blew me away. It rocketed to the top of my favorites list, which is saying something considering my top ten hasn’t changed in about twenty years and most of the films on it are more than sixty years old. I hadn’t been so transported by a modern film in years. 

Not only that, but it has changed the way I view my role as a writer and storyteller, a quantum shift. (I’ll write more about that in another post later.) Needing to connect with the opinions of others, I searched out reviews on-line and was staggered by how poorly this film had been received by mainstream industry critics. At the time, it had only a 59% aggregate rating on Rotten Tomatoes (the rating has since climbed to 61% but only because some negative reviews have been deleted,) ranking it significantly below such cinematic treasures as Talladega Nights and Jackass: Number Two.

So I began to carefully read the negative industry reviews in an effort to understand what it was that the people paid to professionally understand film did not, in fact, understand about this particular film. And what I discovered was this: they are Philistines. Yeah, I’m sorry, but they are. There’s something very wrong when people who make a living watching movies almost willfully misunderstand a film that is all about understanding, provided you have a basic grasp of the universal language of symbolism and metaphor and creative narrative structure. And you would think a film critic would have something of a nodding acquaintance with those things.

What follows is my defense of the film against the most often-cited issues raised in those reviews. If you haven’t seen the film, this won’t make much sense. If you have and didn’t like it, maybe it will inspire you to try again. In any case, spoilers abound.

What you have to understand about this film first and foremost is that it is a testament to the power of storytelling. You can’t go in expecting realism--even the sort of realism that often grounds fairy tales and fantasies. You know why? Because stories aren’t really real. They’re how we help ourselves understand reality by turning it on its head in a space removed from ourselves where we can safely examine it. 

So we know this is a story about stories. We also know that stories function through the language of symbolism and metaphor. This is how storytellers connect their own thoughts and feelings to those of their audience through shared experiences. I can tell you that a man is like an oak tree and you will understand that I don’t literally mean this man is an oak tree. But because, like me, you have also seen an oak tree, you will instantly have a feeling about this man that I want you to have. That is the language of story.

The best stories add to this a language of their own and require the audience to learn that language in order to participate in the story. This film is such a story and one of the criticisms stems from those who were either deaf to that language, weren’t aware that they were expected to pay attention to it, or were too impatient to do so. These are the critics who found the film to be “empty eye candy” when, in fact, it speaks a rich, symbolic language.

It’s not a difficult or obscure language and the storyteller (director Tarsem Singh) helps you to understand, if you are willing to participate. And because there is a theme here of shared storytelling, it is right that you should. The storyteller even tells you so with the defining lines of this film: “It’s my story,” the hero says. And the heroine counters “Mine, too.” It is a compliment he is paying you as well as a hearkening back to the very roots of story: the audience is part of the story.

In film, the storyteller makes use of images, visuals that help him connect the intent of his story with his audience. But that still requires willing participation. It still requires that you understand the language not just of words but of the things that he will show you.

So the director uses the camera in many different ways to direct you to see what he wants you to see and feel what he wants you to feel. In this film, our director/storyteller uses his camera as an open door into his vision. But he does not abandon you in this world of his. He stays with you, telling you what to notice. He even tells you he understands that you will not get all of it by making his heroine someone who barely understands the language around her. Like her, you will learn. But you have to listen to him and you have to remember.

Perhaps most importantly, you have to step away from the conventions of more realistic films and back into that language of story. Because in the real world and films that try so hard to ape it, randomness occurs regularly. But in symbolic story, nothing is random. Everything is important. And so it is, here.

Because we are in the hands of a virtuoso visualist, the wealth of symbolism contained in this film can be overwhelmed by the sheer beauty of the images. That is a valid criticism but it’s what we call a high-class problem with a simple solution: watch it again.

At heart, this is a love story, but it is also a passionate love letter to storytelling. We are told this right up front, when our heroine Alexandria writes a love note. But love does not always lead us where we intend and like a butterfly, her note flutters through an open window and into unexpected hands.

Alexandria’s love note will appear again throughout the film, a reminder of its strength and power. And we will see her take up her crayons again later, as she literally tries to draw the hero out of his unhappiness. There is power in her creative expressions as there is power in story.

But back to those opening scenes. Everything is important and a potential symbol, and that includes Alexandria’s seemingly uninteresting costume. Notice that she wears a gray sweater and because her left arm is in a cast, one arm of her sweater hangs down. What does that remind you of? Maybe nothing just yet but keep paying attention.

When she meets Roy, the accidental recipient of her love note, she shows him her box of treasures and the first thing he draws out of the box is a small elephant. While elephants are universal symbols of good luck (you knew this, I hope), they are particularly so in India, where they are identified with water, of the greatest importance in a hot, dry climate. Water is the stuff of life. The Hindu god Ganesha is represented with the head of an elephant. He is the remover of obstacles.

As Roy begins to tell Alexandria his “epic tale of love and revenge,” he has stranded his characters on a desert island, a hot, dry place surrounded by water. (Deserts figure largely in this movie. The first shot we see in color after the black and white title sequence is a palm tree, indicating an oasis in a desert.) But the hero of Roy’s story, the Masked Bandit cannot swim and must be rescued by an elephant.

And so we have Alexandria, the baby elephant with her gray sweater sleeve trunk and her stubbornness, which we will see later. Obstacles do not get in her way. Alexandria arrives to save Roy from his desert island of despair.

See how easy this is once you think about it for a minute? And it’s all there, presented to you like the treasure box Alexandria carries. You only have to care enough to root through it and see what’s inside. 

Let’s try another one: butterflies. Because they change from their earthbound caterpillar form to winged creatures of the air, butterflies are symbols of the soul. In the classical myth of Cupid and Psyche, Psyche is often symbolically connected with butterflies and her name is the Greek word for soul.

And this film is full of butterflies. One of the most often mentioned sequences is the transition from the iridescent blue butterfly to the Butterfly Reef where the bandits are stranded. But that is so much more than merely a cleverly beautiful camera trick. It’s deeply symbolic. Butterflies everywhere. Souls everywhere. Souls in peril.

Because that is what’s at stake here. Later on, it will be said outright, but for now, the storyteller is building intricate layers of symbolism so that when he comes out and tells you “Here is a soul in need of saving,” it will have the added depth of meaning and connection that art brings to life. By asking you to participate in “collecting” these symbols, the storyteller places his story into your hands through your shared understanding. You and the storyteller are collaborating. At that moment, it becomes yours as well as his.

But we’re not done with the butterflies. When the villain of the piece, Governor Odious, presents a rare butterfly to Darwin (one of the company of bandits), the butterfly is stabbed through the heart, and we learn that Roy’s heart has been stabbed through in much the same way.

Darwin himself wears an outrageous fur coat. Considered more carefully, the pattern of “eyes” on his coat mimics the defense mechanisms of certain butterflies.Later on, when Nurse Evelyn appears in the epic, she wears a gasp-worthy costume that again, can overwhelm with its artistry so that you might miss its symbolic importance. The fan-like screen of her headdress resembles a butterfly, and Darwin even gives voice to this. “Just like a butterfly,” he says. 

But she is only “like” a butterfly. She is faithless, without a soul. Even in the “real world” hospital sequences, her caring is only superficial. The clue to this is when she can’t be bothered to retrieve Alexandria’s note when it goes astray.

When Alexandria stands before the bathroom mirror, she draws a butterfly on her belly rather than putting the lipstick on her cheeks as Nurse Evelyn did earlier, identifying with the soul rather than transient human vanity. (That scene is framed to perfectly reference the vanitas motif in classical paintings.) 

Oranges are another heavily used symbol. Oranges are loaded with vitamin C. Vitamin C promotes healing. Oranges are delivered by the crate-load to the hospital, this place of healing, surrounded by orange groves, where Roy and Alexandria have come to recover from their falls. Other patients are seen consuming the oranges but never Roy because Roy is not healing. Alexandria, already associated with bright and hopeful things like butterflies and elephants, is such an exuberant messenger of healing that she throws oranges about. She has herself emerged from the very groves where oranges grow. 

Let’s move on to another problem some critics had with the film.Other films have employed the conceit of having a real world frame story where one character tells another a story that takes place in a fantasy world. If you go into this movie thinking “Oh, this is going to be like The Princess Bride (or some similar film),” you will be confused. You might think that the epic sequences don’t make sense. That the epic doesn’t stand alone as its own story. That the epic, in fact, is not a very good epic.And you’d be right. But you would also be missing the point. The epic isn’t meant to be its own story. It isn’t meant to make sense. It isn’t meant to be—well—an epic. At first, it is just a bunch of nonsense this unhappy man is pulling out of the air to entertain this little girl. From Roy’s perspective, it begins as an idle diversion, develops into a manipulative tool and ends as a warped and dangerous weapon.

What you need to remember is that Roy is not a storyteller. He is a broken, desperate man. Physically and psychologically wounded, in pain and clouded by morphine, he strings together seemingly random elements from his “college man” background. His words grow into the vivid, sweeping images, colored by Alexandria’s imagination and her own experiences. The inside lid of her treasure box is the handbill of her imagination.That is what sets the structure of this film apart from those with which it is most often compared. The real world story and the epic are inextricably linked. They inform on each other. The epic reflects what is going on in Roy’s battered mind. As he falls apart, so does the epic.

Another frequent criticism is the five bandits and their lack of development as individual characters. This is an outgrowth of not understanding the role of the epic in the larger story and that the five bandits are not individual characters but instead represent different aspects of Roy’s fractured psyche.

Without realizing he is doing it, Roy reveals a great deal about himself through them.First, there is the Masked Bandit, who is of course the dashing hero Roy wishes he could be, who he tried to be. It’s a fantasy he can’t sustain when later in the epic and in the real world, Alexandria puts him too firmly in the position of hero and the Masked Bandit crumbles.

Then we have the Indian who has lost the only woman he has ever loved and has vowed never to look at another woman again. The Indian represents Roy’s broken heart.

Next is Luigi, the explosives expert, who represents Roy’s suicidal tendencies, which ultimately prove to be impotent. Note that Luigi’s bombs never go off until the end, when he still does not achieve the release Roy sought through suicide.

Otta Benga, the escaped slave, is Roy’s desire to escape the physical bondage of his disability. He loses his brother, his other half, in the way that Roy considers himself, as a paraplegic, half a man.

And then there’s Darwin. Darwin is Roy’s calmer intellect, his kindness and ironically, his spirituality. Among the bandits, he is the only one without a weapon. He stops Luigi from blowing open the door of the castle with a more thoughtful solution. He is the one to invoke God when the Masked Bandit attempts to execute Evelyn. And he is the one, through the Mystic (who represents Alexandria), to warn that swallowing the morphine tablets was a mistake. He is Roy’s voice of reason and he is the first to go when Roy starts killing off the bandits. In his final desperation, Roy must silence that voice. Darwin is the side of Roy we care about, the Roy we hope will win in the end.

So no, the bandits are not developed as individual characters because they are not individual characters. Like the epic itself, their function is to help you understand Roy.

The film takes the storytelling conceit to another level by allowing Alexandria to alter the epic. She is no passive listener or static receiver of story. She participates. She exerts her own influence over the story, at first in small ways and without understanding the significance, such as stating that she doesn’t like pirate stories and so Roy turns it into a story about bandits (inadvertently supplying him with a term and concept he uses later for his own purposes. “Be a good bandit.” Steal for me.) Or when she pushes for romance and kissing when Roy, heartbroken and betrayed, doesn’t want them. And going so far as to change the main character from her father (who she informs Roy—in the poignantly matter-of-fact way of children—is dead) to Roy, with whom she has fallen in love. Roy becomes her hero, though he is so wrapped up in his own misery, he misses the significance of this moment until it is too late.

Later on, when the story takes a turn that is too dark for her, Alexandria alters it in the most dramatic way, by inserting herself into it. At first, she makes a heroic effort—even so far as dressing herself in her imagination in the same costume as her hero—and it seems as though she might succeed. But even this stubborn little Ganesha is powerless when Roy succumbs to the three real morphine tablets he has swallowed (along with the placebos.) She can’t waken him and she must walk away.

This is where the epic shifts from the idea of shared storytelling to a battleground where the two of them fight for control of the ending. After her second fall, when Alexandria pushes Roy to finish the epic, he turns it into a weapon, using it to strike out at her and make her understand why he feels he needs to die, to kill the hero image of him he has unwittingly helped build in her mind. Her influence has become so strong, he is aware that she can alter not only the story he has been spinning for her but his own choices. He tries to silence her. In the epic, she is gagged and in the hospital, he speaks over the things she tries to tell him. But she has also become aware of the true nature of the epic and what is really at stake and she will not give up. Note here that the tables have been turned and it is Alexandria in the bed and Roy in a chair by her side, the storyteller roles reversed.

And that is what this film is telling you. We connect with each other through story and story can be more powerful than we can guess. There is a great responsibility we take on when we invite people into our stories, regardless of our agenda. Roy did not begin his epic believing or even hoping that Alexandria would save him by changing the course of his own story. But that was the unpredictable risk he took by letting her in.

Is it a perfect film? Of course not. There is no such thing as any perfect work of art. But you don’t look at the Mona Lisa and say “The perspective of the background on the left does not match the perspective of the background on the right. This thing is crap!” No. Why? Because you are transported by the creative power of the rest of it. And maybe you are even a little touched by its flaws. Perfection is achieved by machines. Flaws are human. Humanity is who we are, and that is beautiful.

So some of the writing is clunky, some of the supporting performances awkward, and something is a bit off in the climactic sequence. The most troubling problem is that of Roy’s motivation. The reason for his great despair is not established well enough to support the ultimate resolution. But I believe these flaws are born out of the creative passion of the storyteller, and I will take flawed, risk-taking passion over carefully calculated flatness or a string of polished CGI tropes any day. Beyond the justly celebrated dazzling imagery of this film, what it gets right is loving, generous, and human. It is a rare and unusual combination of flamboyance and bombast alongside tender intimacy. It is a love note in astoundingly beautiful gibberish that will reward you over and over if you take the time to learn its language.

[toonstarterz]

BECAUSE I’M NOT POPULAR, I’LL READ WATAMOTE: CHAPTER #163

Ah, summer. The season of no school, bright skies, pools, barbeques, and brief teenage romance.

Okay, so it’s not quite summer vacation yet. But nonetheless, the new season gives way for all sorts of fun shenanigans. None of it ever really enters “drama” territory (as dramatic as this series can be, that is), but as Tomoko’s last year of high school nears the halfway point, we discover that there’s still quite a bit we don’t know about our cast of knuckleheads.  

Chapter 163: Because I’m Not Popular, It’s Summer

I think it can be inferred that Tomoko is not a morning person, is she?

I think it can also be inferred that the once-aspiring NEET Tomoko is not a fan of hot weather. Better soak up that Vitamin D, girl.

Parasol Lady Asuka would like to battle!

Are parasols more prominent in Eastern culture? They’re not too terribly common where I’m from, but I imagine that may be a result of Japan having more of an aversion towards anything that would result in darker skin. Though I can also see it as a sort of fashion opportunity as well.

I believe those were umbrellas you used, Tomoko. But semantics aside, It’s pretty neat to see that Tomoko has finally reached that stage in her life where she can recognize her cringy chuunibyou phase. Long live those days of failing miserably at being a cool anime character.

Remember when Tomoko used to slut-shame the girls in her class? I detect a hint of hypocrisy there...

Gyaru!Asuka has already exploded on the imageboards, I guarantee it.

A part of me wonders why Tomoko grouped Kii-chan and Yuri specifically. They don’t have similar personalities or anything, but I see two possible reasons for it. One, Kii-chan and Yuri both got that mild-mannered, “exotic” look going on. But also, it may who Tomoko subconsciously believes she’ll see the most of over the summer.

We’ll, I mean...yeah. They would. It probably doesn’t help that Tomoko, with her lion’s mane, gives the impression of someone too physically active to care much about grooming. But as much as Tomoko derides the possibility of looking like a “sweaty day laborer”, I can’t deny that it’s not a bad look on her.  

The reason for that should be dead obvious by now.

The thing that amuses me is that Tomoko had no basis to start insinuating that Yuri’s a pervert. She just did, and has latched on to the idea ever since. While no doubt annoying for Yuri (even if it’s true), it’s kind of sweet if you see it as Tomoko wanting to have a shared interest with her.

I’m sure that compared to your freckled, “crazy lesbo” best friend, it isn’t. 

It’s funny how Nemo used to give off an air of someone who’s sexually acknowledgeable (at least to me) by virtue of being semi-popular. Now that we know’s she’s relatively pure, Tomoko will never let her live it down.  

Komiyama really is the most two-dimensional character in the series. And you know what?

It works.

In the education industry, we call it the “Perv Curve”.

Komiyama: Self-explanatory.

Hatsushiba: Anatomically-correct BDSM art must have originated from somewhere.

Katou: Yet even more evidence for the almost-openly perverted girl who casually says “vagina”.

Mako: ...wait, what?  

I’m so used to perfect scores being a badge of honor in Japanese media that it through me for a loop to see it suggested as anything else. Perhaps it’s an issue similar to Home Ec in that it’s not seen as educationally significant and only those really invested in the subject would master it. Either way, how lewd. 

Going back to Mako, I am genuinely shocked. Could Yuri’s oh-so-sweet bestie actually have a dirty side? Just when you think you know a gal! Naturally, she has just enough to shame to be embarrassed when its brought up, and I’m not ready to call out Mako as a pervert just yet. At least she has Yoshida to pat her on the back (ironic given the delinquent is now officially the purest one of the Kyoto Group).  

My Pokémon-obsessed mind can only see them as the Haramaku Elite Four, which, given the segment’s title, is highly unoriginal of me.

I’m 97% sure that Kawagoe’s that old geezer teacher we saw during Tomoko’s suspension. We even got that “strict about textbooks” continuity from way back when Tomoko forgot hers. 

All signs point to Minami’s-Faceless-“Friend”-#1 recognizing someone, most likely Yuri, during this little intersection. Curse you, Nico Tanigawa and your wonderful vagueness.

Nope. It’s not gonna work. Nuh-uh. Absolutely not. You aren’t going to make me feel sympathetic for Minami.

...

...

drat.

All that speculation has finally paid off cause we now have confirmation that Minami did(does?) in fact backbite Tomoko and Yuri. Thank goodness for Tomoko’s mental health that she never knew. But Minami’s got some nerve teasing Yuri when she’s actively Mako’s friend. Even more disturbing if Mako doesn’t realize it...

Between that tiny smile in the last panel and her wanting to tease, it’s pretty much certain that Minami’s-Faceless-“Friend”-#1 is not a pleasant person.

Birds of the same feather truly do flock together.

Okay, I cracked. Minami’s too adorable (and pitiful) right here.

I find it telling that even Minami’s “friends” know she’s a jerk. But if what goes around comes around, then Minami’s-Faceless-“Friend”-#1 might not realize she’s a jerk, too. Are most terrible people aware of their own terribleness? 

I don’t want to correlate jerkiness with irresponsibility but...here we are.

Man, that’s playing dirty. Suzuki is more than likely not that close to Minami, but any decent person wouldn’t just outright say “no” to a request like that. Of course, playing up her own supposed likeability through other’s basic kindness is Minami’s M.O.     

In manga and anime, that sort of haughtiness from cute, snaggletoothed girls is adorable in that “sigh, there she goes again” way.

In reality, it’s just annoying as shit. 

At first glance, Kayo’s just making an off-handed question, but my nit-picking mind says otherwise. I’m not sure how insistently heterosexual/romantic Japanese culture is towards male-female relationships, but would most teens show interest in a friend’s opposite gendered sibling? If say, Miyazaki had a little brother, would Kayo even ask Ucchi a question like that?

My theory is that Kayo is subtly trying to ascertain Ucchi’s sexuality. If the idea of Ucchi being gay for Tomoko is already planted in her head, then Kayo is using Tomoki as a “male version” for comparison. Ucchi’s already admitted to the Kuroki siblings being physically similar, so supposedly if she feels nothing towards Tomoki, then it’s Tomoko’s “femaleness” that attracts her.

This wouldn’t even be half as funny if Ucchi didn’t have an emoji face.

If only Komiyama could see this now...

Or, you know what? Maybe gender is irrelevant and Ucchi just has an indiscriminate gross fetish. 

Nemo’s ultra-realistic thoughts behind her cheery demeanor are always welcome.

For all those times that Tomoko pokes fun at Nemo for wanting to live out a slice-of-life school anime, she’s not exactly innocent either. More and more we see Tomoko trying to invoke those cliche moments, usually with little fear. It’s a rather far cry from when she’d try to pull anime tropes as a means to an end. Now she tries them out just for the sake of having fun, which is much more endearing.

In this particular trope, however, normally you’d have a guy and girl stuck inside, where they’d ultimately become more attracted to each other through the suspension bridge effect.

Of course, that’s assuming the boy and girl aren’t already together. If they are, then storage rooms are usually used as a hiding place to make out, but that obviously would never hap–

Oh.

FUCK.

If memory serves, this is the same couple who were flirting(?) back in the head patting chapter. A whole lot must of went down since then, eh?

Murphy’s Law.

It’s been quite a long time since we’ve had one of Tomoko’s infamous freakouts. And they say this series lost its roots.

A part of me wants to think that Nemo hears Tomoko but is pretending not to just to screw with her, but I don’t think she’d be that cruel. Even if it would be hilarious.

Just how far is your “it”, Tomoko. Making out? Groping? HANDHOLDING!?

What am I saying–she’s totally thinking sex.

It’s interesting to note that Tomoko just assumes that Yuri and Mako have never had a boyfriend. Sure, it may be implied given we’ve never seen them have this discussion before (that we know of), but it’s still pretty presumptuous on Tomoko’s part. My only reasoning is that Tomoko is trying to ally themselves over supposed “undesirability” like many self-deprecating friends do.

First off, I am not at all surprised given Mako’s personality.

What does surprise me is how totally betrayed Mako sounds. I can only assume that it’s a part of Mako’s past that she’d rather not reveal. While I don’t think Yuri meant any harm bringing it up, that kind of miscommunication goes to show that even though they’re best friends, Yuri and Mako don’t always see eye to eye.

Sounds like dating to me. Or rather, sounds like dating between high schoolers. At the risk of sounding like an old-ass millennial, dating between high schoolers rarely last, despite what shoujo manga suggests. Casual dating is exactly that–casual. They’re attracted to the novelty of dating, but once that initial thrill wears off, cue the breakup. 

Side note, I just realized that Yuri loosens up her tie. I love small details like that.

Perhaps I’m reading too much into it, but Mako seems to be suggesting that girls, on the other hand, aren’t as desperate to get boyfriends. While that isn’t necessarily true, I do see that answer as mostly a convenient excuse for Mako, who may simply just not want to be in a relationship right now.

I can see the “Mako is straight/Mako is lesbian(for Yoshida)” War right now...   

Boy, it’s been a while since Tomoko has contemplated her own popularity, let alone try to be more popular. I guess it goes to show that even though Tomoko is more or less satisfied with her current status, she still sees herself below the bar of what constitutes “popular”. She does perpetuate feminine “purity” as an indicator of her societal value, but I’ll let it be–reality is not so kind, after all. 

One of the more prominent questions that Yuri’s fanboys have is “How come someone as pretty as Yuri isn’t more popular with the boys?”

Well, there you go.

In terms of looks, I never thought Yuri was that unattractive in-universe. She’s in that small niche of “plain and generic, but just cute enough that fans feel they could feasibly ask out a girl like her in real life”. So while it's reasonable to think that at least one person would show interest in her, it's Yuri’s personality that ends up putting them off. She probably isn’t ready to commit to the effort of dating and being someone’s girlfriend. nor does Yuri seem that interested to begin with if her texting habits are anything to go by.

I can’t for the life of me remember the name for it, but I believe that there’s this belief in Japan that says everybody (mostly boys) has that brief period in their life where they’re suddenly attractive and people want to date them. I imagine that Tomoko may actually reach that time in life sooner than she thinks.

PTSD TRIGGERED!! For the readers, I mean.

For real, though. What a comeback. Who would have thought that Kosaka, that guy who was introduced in Chapter FIVE would make his grand return? Normally, making a reappearance this late in the game would feel like an asspull, but it works because he was never meant to drastically affect Tomoko’s growth. He was just the spark, the first hint to show that people could actually befriend her. And for that, we salute you, Umbrella Dude.

It’s been, what? About two years since they last spoke, and he still remembers her? Impressive! Then again, I don’t think you're about to forget the girl who gave you a dogeza.

Because I’m Not Popular, I’ll Tell Lies.

These moments where Tomoko is unabashedly a blushing schoolgirl are really precious because she isn’t “perfectly ditzy in that moe sort of way” about it. She gets riled up, sweaty, and unpleasant to watch. Which, ironically, is even more adorable just for how genuine it is.

Yeah, I’m sure the original said “dogeza”, but since there isn’t really a good English equivalent for it, I think “genuflect”...is still an odd choice.

Yuri, who always has her “Tomoko’s BS” meter on high, knows that Tomoko is screwing around when she calls it her “first”. Poor Mako, a now confirmed pervert who still thinks Tomoko is so amazing, thought the girl had popped the guy’s cherry. 

Friendly reminder that eventful summers are not necessarily pleasant summers. Though they could be with the right perspective...

So...Yuri vs. Kii-chan Death Battle when?

The most beautiful part about this ending is that there’s no second-guessing. No “maybe I won’t be lonely” or “I wonder if I’ll be lonely”. Just a very affirmative “I won’t be lonely”. Tomoko fully expects that she’ll be spending time with her friends this summer, and that confidence is more than I ever would’ve expected from Tomoko in previous years.

With summer vacation just over the horizon (don’t want to jump the gun), a medley of both happy, unhappy and delightfully awkward moments are sure to transpire. Just about the only thing Tomoko can plan is the unplanned, and I’ll be sure to get a front-row seat to watch it all.

[doomedandstoned]

The Doom Doc Traces Metal’s Heaviest Genre To Its Roots

~Review by Shawn Gibson, with Billy Goate~

The story of doom begins two generations ago in the UK with a band called Black Sabbath. An important new film, titled The Doom Doc, seeks to connect the dots from those early days to the present, just one city away from Ozzy, Tony, Geezer, and Bill’s Birmingham roots. Directed by Connor Matheson, the Sheffield documentary was released the same year as Black Sabbath played their last.

DOOM /do͞om/

noun

      death, destruction, or some other terrible fate

verb

      condemn to certain death or destruction

The Doom Doc made its timely appearance in 2017; the year Birmingham legends Black Sabbath decided this was (really) The End. Roughly an hour-and-a-half north, we’re met by the hustle and bustle of Sheffield, England. Traffic is awash in a glowing red hue. Pedestrians going to and fro in crowded movements reminiscent of a group of ants.

Sheffield is home of Def Leppard, Human League, and Pulp for the mainstream. For the underground, it’s home to Kurokuma, Regulus, Ba'al, ARAE, and a steady swell of others who are making sure the UK doom scene stays on the map right where Black Sabbath left it.

We hear the voice of Craig Bagshaw, who lives in Sheffield and also fronts Holy Spider Promotions. He tells a tale of going to a party and one of his mates answering the door with a screwdriver in hand and a wild look in his eyes. Upon entry, Craig's friend tells him that he's got some MDMA and he's already toasted. There is an argument about quality of said MDMA. Craig's friend then takes his belt off and starts whipping his mate’s asses as if he was their dad! He screams some twisted gibberish about the Holy Order of the Spider.

Most everyone reading this understands how DIY metal is and even more so with doom and sludge. Jack Newnham of Slabdragger argues, "You’ve just got to make your own scene. You've got to make it happen! If you don't, there isn't a scene." Not surprisingly, heavy music for these folks has become a lifestyle. "It goes beyond hobby to a lifestyle," insists Slabdragger’s Sam Thredder.

Doom may mean different things to different people, but to George Ionita of Kurokuma and ARAE, "Doom’s like fucking apocalypse! It's like when it rains down on you, like when it's so heavy...When we come out with a heavy riff, we'll take off our plugs and stuff and just fucking mosh. That's what doom is! It's the pleasure inside, when I close my eyes playing the song and I see visuals.” George has an example in mind for us, too. “We've got this song about a fucking volcano. I close my eyes and I think about the volcano. I see the volcano overflowing, exploding. It's boss! It's all I've got to say."

Bandmate Joe E. Allen chimes in: “You don't go to doom-sludge shows to hear nice melodies and to hear someone singing nice songs. You go because you want feel like something heavy hitting you in the chest and that's the kind of shows we put on with Holy Spider. We don't want something that feels like a normal metal gig. We want to do something that feels like you’re on some other plane of existence. It's just mashed together into this experience of really loud, really. Really extreme heavy, affecting music."

Sheffield-based writer Rachel Genn serves as narrator of The Doom Doc, tracing doom metal all the way back to the almighty Black Sabbath.   Sabbath changed everything and influenced everybody. They’re the first band to tune down, she recounts, because Tony Iommi had to in an attempt to play guitar after an unfortunate industrial accident clipped several of his fingertips. The incident is recounted in Tony’s own memoir, Iron Man: My Journey Through Heaven and Hell with Black Sabbath (2011).

"That started the whole thing," affirms drummer Vinny Appice of Black Sabbath, Dio, and Heavy & Hell fame. "Tony plays in the pocket, playing these chords. You wanna hear doomy chords? Just let Tony riff for a little bit. It's amazing! That's why we call him Mr. Riff -- The Riff Doctor!"

"Yeah it's all about Sabbath really, isn't it, to be honest?” turning back to Slabdragger’s Sam. “Like, they just smoke weed all the time -- so did all the bands in the ‘60's -- and they make the music we pretty much make."

Rachel sums it up nicely for us all: "Doom metal is a subgenre of metal and involves very slow tempos, extremely loud volumes, repetitive, sometimes psychedelic, riffs, and long compositions. Lyrics dealing with evil negativity, spirituality or fantasy. It’s the musical equivalent of wading through black treacle."

I’ve not had an experience with black treacle, but it sounds tantalizing.

"I think like one of the main things with like the Conan guitar sound is, in general, that the fact that the guitar is tuned to drop F, which is totally, ridiculously low,” Says Chris Fielding of Conan and Skyhammer Studio with a chuckle.

Breaking down doom even further, the documentary tells us where the subgenres of sludge metal and stoner rock fit into the equation. "Sludge is like a wilder, greased-up version of doom,” we’re told. “It was Melvins from Washington who first begun the sound." The Seattle band, of course, famous for its punked-up doom tendencies. Other bands like as Eyehategod, Sourvein, Thou, and Crowbar would go on to define the genre even more distinctively.

Speaking of which, the great Kirk Windstein now makes an entrance to tells us about the sludgey roots of the venerated NOLA band Crowbar. "We had come from thrash backgrounds and all that kind of shit. We were like, We just want to do something completely different. We're burned out on it. We kinda just did the opposite of what everybody else was doing. Everybody else was tuned to E standard, playing 1000 miles an hour [so we] tuned it down to fucking B and drop A, playing super slow. We felt it made it a lot heavier.”

It appears that Kirk has been caught up in the Spirit at this moment in the interview, as he then exclaims: “God it's so fucking heavy! There's no way to describe it. I love heavy music!"

Cheers to Kirk Windstein and his earth-shakingly heavy riffs.

In the '90s there was another scene that must be mentioned to understand the evolution of doom metal. Several states down from Washington, another important development in heavy music was taking place in the much sunnier terrain of the southwest. Most famously, bands like Kyuss and Fu Manchu dabbled in fuzzy, tuned-down rock ‘n’ roll, which we simply call stoner rock. Stoner bands began appearing not only in California, Arizona, and Texas, but all around the freaking world.

Rob Graham of the Sheffield-based Wet Nuns and Drenge mentions being a little irked by the term stoner rock. “I think it's sad when any form of expression becomes just about the drugs that the people are into,” he says, while also noting: “It's pretty cool to smoke weed and listen to heavy music.” A better word to focus on? Blues. “To begin with we were sorta just a blues band. Like we were this thrashy kinda garage blues band. Bored, creative people that wanted to really [make] fuckingly stupid loud music.”

As the conversation goes along, we stumble upon a familiar theme: “Somewhere along the way we stumbled across this like kinda thing heavy, so heavy!” Rob says, notably enthused. “That's what we're about we were trying to be as heavy as we could be. It's like trying to run in a swimming pool! It's like being stuck in a tar pit and melting. That's what it conjures to me, anyway."

Anyone up for little skinny dip in a lake of treacle?

While “stoner” may be used in a derogatory sense, there’s no denying that marijuana has been a huge influence for doom metal and stoner rock bands alike, leading to the advent of stoner-doom. If Black Sabbath started doom’s love affair with their ‘71 single “Sweet Leaf,” bands like Electric Wizard and Sleep (with their monumental opus, Dopesmoker) forever married Mary Jane to The Riff. Others, such as Weedeater, Weedpecker, Bongzilla, BelzebonG, Dopelord, Dopethrone, have become important mile markers for the scene.

"Yeah the two seem to go hand in hand," says Kez Whelan of Terrorizer Magazine and Nottingham doom-grind act Shrykull. “Even though it's associated, that sweet leaf is the influence it isn't for everybody in the doom scene.”

Not everyone is down with the dope, however. Craig and Joe’s counterpart in Holy Spider Promotions, Terry Larkin, is introduced to us next. A UK doom fan, he is quite; a marijuana fan, not so much. "I was never really into the whole listening to music and smoking weed. It doesn't affect me nicely at all!” He does seem to contend that we can get high on the music composed by a musician under the influence. “They can actually channel it into the music effectively giving the listener that same feeling, too." Music makes you high? That’s a thesis we can get behind.

Kirk Windstein returns, because you know he has stories to tell from all those years hanging with Phil Anselmo, Pepper Keenan, Jimmy Bower, and the rest. "A lot of the guys did smoke weed,” he recalls, “so we were very creative sitting in a circle together with a good buzz, you know, coming up with shit that ended up being great. Down was much more of a collaboration and a jam session type thing. So we jammed from fuckin’ in the afternoon until whenever -- fuckin’ two o’clock in the morning. By then, everybody was tanked or high or whatever might be. We were able to come up with some great music doing it that way!"

By this point in The Doom Doc, we’re clear on at least one thing: doom, whatever the flavor, is about keeping it real. You’ll never be short of songs about the despair, depravity, and greed in this dog eat dog, eye for an eye world of ours. Doom metal bands are straight shooters. Whether it concerns religion, politics, or human nature, they call it like they see it.

"Bands like us and in our genre and the whole nine yards, we write and speak about reality," Kirk says. "A lot of people are scared of reality. The truth hurts. A lot of people try to sugarcoat it [and] sweep it under the rug. I think it's important. People always ask me, you know, ‘Can we talk about this, can we talk about that?’ I’m like, you can ask me anything you want. I might not answer, [but] chances are I'm gonna.” What he says next really resonated with me, as I’m sure it will with many of our readers: “I think it’s really for people struggling, you know, with depression -- or its alcohol and drugs. It's very important for them to realize they’re not alone and other people have been there."

Ethan McCarthy of Primitive Man chimes in: "We're writing about real life stuff, you know, so it's like a way to release bad feelings about life's shit, if that makes sense." It makes good sense to me.

"I don't know what we're into, but I fucking like it!" proclaims the great Bill Ward, adding: “You know, for me, playing in a loud, aggressive band, which is what Black Sabbath was, it’s the most comfortable, sonic, and heartfelt place one could be.”

Doomed & Stoned’s Elizabeth Gore and Hugo Guzman were fortunate enough to contribute to this portion of The Doom Doc, visiting the Black Sabbath drummer at his studio in Los Angeles.

This scene we invest in. We choose to nourish this garden.

"Doing a live gig,” Bill Ward says, “I need to thrash and to play and get everything out of me and reach that place of satisfaction inside. I like to come off the stage wasted...It’s very sexual. It’s like, you know, it’s the same thing we have to do when we get together and have sex!" Oh, Bill. You do have a way of leaving us speechless.

“Playing live on stage gives me that same feeling," Bill continues. "That's what music is supposed to do! It's supposed to go wherever it's supposed to. It’s pretty simple. I find no faults, no judgement, you know. Leave that to someone who’s more righteous. As far as I'm concerned, metal's fucking metal!"

Returning now to Joe E Allen from Kurokuma: “I remember Conan being extremely atmospheric, extremely heavy, extremely loud -- and that was only amplified by the way we were feeling. It was almost a transcendental experience. I was touched by the finger of doom that night!"

As a vested fan of the genre, this was pretty much my “Hell, yeah!” moment of the documentary. From start to finish, The Doom Doc is an evident work of passion. For fans of doom, it should be required watching. I’m not sure how newcomers to the genre will take it -- it’s hard to be objective when you listen to it, write about it, play it, and live it. Nonetheless, this 90-minute film is a welcome entry into a fairly small collection of documentaries on the heavy underground. Hopefully viewers will be inspired by it to dig into their own local scenes and do a little riff-mining of their own.

Upcoming Screenings of The Doom Doc

International Film Festival Rotterdam (Holland), January 2018

Desertfest London (UK), May 2018

Bristol (UK), May/June 2018

Brutal Assault (Czech Republic), August 2018

Look for The Doom Doc on DVD by this summer at www.theDoomDoc.com

UPDATE!

The Doom Doc DVD is now available pre-order, with worldwide shipping and streaming options availalbe.   Visit: thedoomdoc.bigcartel.com

[mayorgalvan]

Switzerland`s Nazi Templar Banks 1:09:33 / 1:31:48Switzerland`s Nazi Templar Banks chatzefratzSubscribe9,637Add to Share More39,614 views283 39ShareEmbedEmail Start at: Published on Apr 19, 2013SWITZERLAND THE HEART OF FASCISMCategoryLicenseCreated usingSource videosNews & PoliticsStandard YouTube LicenseYouTube Video EditorView attributionsSHOW LESSCOMMENTS • 180 Add a public comment...Top comments Dannunaki3 years agoYou should look up Brown Brothers, Prescott Bush, Union Banking Corporation, Harrimans, Silesian Steel Company, I.G. Farben, The Du Ponts, and the Rockefellers, Max and Paul Warburg, The Rothschilds, and The Crown Corporation of London. There is a whole lot of shady business going on there.Reply 7   jleetxgirl1 year agoDude, what the heck kind of camera is that?  That zooooommmm is fantastic!Reply 4   show us yr PAPERS shnel1 year agoyeah it isReply   Johnny Draco6 months agoFor a guy with no job and money he sure has the best camera. Are you thinking???Reply   Hans Muller2 years agoVery few realize that Rome is secretly United with the Illuminati, Masonry, Communism, Zionism and their subsidiaries to control Banking and world Commerce. They also use the media to manipulate almost everyone on earth. The net result, One church and One world government. Both historically and prophetically, the Whore of Revelation 17.5-6 is our enemy. Satan uses the Vatican to orchestrate our destruction. (Rev. 18.2-3.) Wake up people!!! You have been warned!!! The only hope is Jesus Christ. (John 14.6.)Reply 3  View all 7 replies Hans Muller1 year agoTrue believers in Christ Must wake up, sound the alarm to other Christians about the Ecumenical take-over.... God bless!!!Reply   Hans Muller1 year agoThe Great Whore of Revelation 17:5(The satanic Vatican) Rules the world.But Jesus will destroy very soon this evil and wicked organization.(Rev.19:2.) Her days are numbered!!!( Rev.20:10.) He that hath ears to hear,let him hear.Reply   Mykey Hexadelic1 year ago#Zionist, NOT Nazi. There is a major difference.Reply 2  View all 3 replies Tetractys Merkaba5 months agoYes. Unlike Nazism, Zionism is a peaceful philosophy.Reply 1   Oz5 months agoSUREReply   Michael Aebi1 year agoTHE CRIMINAL FASCIST SWISS NAZI PIG REGIME-NATION - PEOPLE COMMIT TILL TODAY 2015 THE PSYCHO - HORROR OF DR. MENGELE -NAZI CRIME AND  CRIME AGAINST HUMANITY-HUMAN RIGHTS.....THEY ARROGANTLY IGNORE ALL NATIONAL AND INTERNATIONAL LAWS  (GENEVER CONVENTION-NUERNBERG CODE - UNITED NATION CARTA)  THEY RUN A SILENT PSYCHO HOLOCAUST - CLEANSING - EUGENICS - ZERSETZUNG - GENOCIDE ON AN INDUSTRIAL SCALE AND COVER IT UP WITH THERE VIGILANTY-SELECTIVE JUSTICE SYSTEM.....THIS IS THE BIGGEST  "GULAG " THE WORLD HAS EVER SEEN..........THEY LOST REALITY......THEY HAVE LOST CREDIBILITY  IN THE EYES OF THE CITIZENS OF THIS WORLD.......THEY HAVE SURPAST THE CRUELTY-CRIMES OF THE NAZI-SS-GESTAPO-STASI REGIMES.......THIS SWISS-SUISSE-SVIZZERA IS THE MOST DANGEROS TOTALITAERIAN  "SCHURKENSTAAT " THE WORLD HAS EVER SEEN........READ MY WEBSITE: www.thehuntedhuntthehunter.wordpress.com.....AND MY TIMELINE ON FACEBOOK.....!!!!!!!!!!!!!!!!!!!!!!!!Read moreReply 2   Michael Aebi1 year ago+Michael Aebi THIS CRIMINAL COUNTRY CALL FAKE ILLEGAL   "SWITZERLAND  " COMMIT SINCE 60 YEARS A NAZI-GESTAPO-SS-STASI " SILENT HOLOCAUST.....THEY MURDERED MY FATHER....THEY USE MY FAMILY  TO COMMIT THERE   "PSYCHIATRIC RESEARCH" DR. MENGELE CRIMES ......CLEANSING-EUGENICS FANATIC NAZI CRIMES AND GENOCIDE ON AN INDUSTRIAL SCALE......THIS IS THE WORST CRIME AGAINST HUMANITY-HUMAN RIGHTS ...THIS IS MURDER OF INNOCENT CITIZENS........THIS IS THE REALITY OF THE   "MIGHTY" SWITZERLAND....THIS IS THE ACHIEVEMENT OF A TOTALITAERIAN REGIME.IDEOLOGY-DOCTRINE...........CRIMINAL SWISS REGIME.......I WILL TEAR DOWN YOUR DIRTY  "VEIL".......!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Read moreReply 2   Michael Aebi1 year ago+BlueSwimmer I LIKE YOUR OUTBURST.....INFORM YOURSELF....EDUCATE YOURSELF...Reply   America Owns The Internet1 year agoand THE LESSON TODAY IS,... CONSPIRACY NUTS ARE ACTUALLY nuts. LOL Haven't laughed like this for agesReply 2   Bad times1 year agoDefenitly lol but the footage is great and the Swiss are great! Love looking at historyReply   hexum71 year ago+Ergnat Huamtsif Oh, you'll be laughing when those sneaky lederhosen wearing reptiles yodel you to deathReply 1   phaedris2 years agoLOL @49:10'Usama Banc Switzer-laden"Reply 2   j195272 years agoWasnt it the jews that created the swiss banking system after they put all of their money into swedish accounts during and after the war? If thats the case, you need to change the word nazi, to jew!!! I win! You lose! God, this jewish propaganda if i have ever seen others like it!Reply 2  View all 10 replies John Doe2 years ago+j19527 i lost? lost what?Reply   show us yr PAPERS shnel1 year agoHitler couldn't have done it without you my friend. YOUR THE part of the equation sean leaves out. Aside from the cops and corporate court of the pharaohs they need stupid and ignorant PEOPLE to help them pull it OFF. ah, IDIOT, JEWISH BANKING existed a long TIME in Europe. LIKELY THEY actually MADE a giant business of it, their roots go far far back, and were in other parts of the world and Europe That didn't have swiss Nazis. JEWS are successful in many things. normalized FOR POPULATION they are 4x as smart based on Nobel prizes, SAME in many area and seriously they are among the very lowest in criminal involvement.. But its your hypothesis THAT every problem is due to the Jews. So, THANKS FOR watching Sean but you DONT get a word of what he says. Ignorant fucks LIKE you are THE problem, just LIKE sean says, everything is turned around. Maybe you Nazis know your deficient and your best bet is to kill everyone so you won't have to worry THAT THEY will find out and kill you?Read moreReply   dereckvon2 years agoEye opening.Reply 4   dehertogvanbrabant2 years ago (edited)1:05:02 Soviet officers and officials were all jewish ashkenazis. and about the ``strict orders not to touch any women or girls`` to the soviet soldiers, here is what Ilya Ehrenburg, jewish soviet minister of propaganda told the entire Red army: ``kill,kill,kill brave soldiers of the red army, kill all German men, women and children, even in the womb because they are all guilty (nazis), and to take for spoil the German women and break with violence their racial pride``. This SOB was a jew.Reply 2   Cadyn Murphy2 years agohitler, winston,rosevelt stalin all controlled by vatican jesuit's. Hitler was funded by the west hugo boss, henry ford, bayer and bayer, ibm the bush family the list is long its the set up we all payed for with the blood of our brother's sister's mother's father's.Reply 2   Pedro Zulu1 year agoDont look Bull Shit !!!!!Reply 1   Edie Simmons2 years agoHitler did warn the Jewish to leave for 1 year they refused out of stubbornness, I had a cousin who said his  grand father said the men had high unemployment around  30% because the Jews had bought all the factories and stores and refused to hire only Jews The starving Germans blamed losing work on all the Jewish buying  out Germany He  said talk about a group of racist, the Jews only stayed with the JewsReply 6  View all 4 replies Paul Tasker2 years ago+Joe E "every jewish person living in germany deserved to be killed in a horrific manner." how silly,its not just those jews that are parasites,its all of them!Reply   vortex1622 years ago+Joe E To state a fact is not a defense but simply a truth. Jews to this day can't handle the truth and suppress it! The truth hurts and is portrayed as toxic! So, is the deaths of Zionist murders in Iraq and other countries supported by america, portrayed every day on TV news media! And they justify it with hideous reasons! That is fact! At no point is in the statement of Edie that he/she supports it!Reply   Konan Igan1 year agoTHEY also include and are co-joined by the Jesuits...both the Scottish Rite and York Rite and all of their secret societies from antiquity thru Egypt and Babylon.Reply 1   Colleen Wasner1 year agoslimy swissy reptilesReply 1   Kerry Mckeon1 year agoFantastic work. Thank you Reply 1   killy7312 years ago (edited)37:37 "Three kings which is the number three.  Four obelisk which is the number four.  Three plus four is seven, this is very important...... for the pharaoh's" Right...... well here is my hypothesis...... you are just filming a hotel. http://de.wikipedia.org/wiki/Hotel_Les_Trois_RoisRead moreReply 1   BelleoftheBall2night2 years agodammmm you blew my mind especially at 1 hour 15 minReply 1   SomeUser97532 years agoIt's cult to the dragon, the sanke same  they have in those pro Nazi tribes like maya etc. Dragons and balls :), I used to paiant one at the age of 6. Some nephilim seed, probably lemurian or something, who cares. This is shit, and it's evil. Because those ancient civilizations they were less than humanity in spiritual evolution and were science based not witchcraft based.  It's amazing how those jesuite Satanists did communism and Nazism and WWII. But it's all about being a Christian and evolving technologically. IT's known that symbols have certain energetic representation, its a result of the way metaphysics work in the universe, and they use those things and demonic spirits to do magic, but it's science that overruns all. Those reptilians are really Satanists so anything connected to them is a failure,having dumb communist ruining their countries representing Switzerland to me, it's a failed system obviously. Those pyramids look to be fake to me, hollow you know :). The fact that you build pyramids doesn't mean you know science. And the egregor they can stick up their ass. They have no style. 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