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There’s this small thing called the Middle East war which is sucking up money. You think Americans would put up with billions being spent on a moon landing when it can’t even afford decent health care. The Chinese probe went nowhere near the landing sites. Moon disbelievers are so ready to say “prove we went to the moon”. How about you prove that one of the astronauts made that claim on their death bed. A few scientists say we can’t get through them but 99. % of scientists say we can. As stupid siting that as proof as siting the Onion. That’s why we haven’t gone back in the last 40 years. Unfortunate the moon landing is the biggest ever lie that NASA fabricated as a result of the cold war. The radiation belts are a problem but not insurmountable. Check multiple sources (not just the one that suits your purpose). Even van Allen revised his view of the dangers of the radiation belt. The second half of your comment is simply not true. Still, articles like this one are hugely important for preventing the spread of the delusion, and for helping curious people appreciate what a huge achievement the Apollo landings were. Why are the deniers so committed to this point of view. Why does it make them so happy to believe that one of the greatest achievements of the past century was a hoax. I wrote up some thoughts about the flat-Earth hoaxers, and much of the argument applies here as well. I sure don’t claim to be an Apollo historian by any means, but that doesn’t mean I’ll try to make an alternate version and pass that off as real.

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The movie then returns to the present day, just after Josh murdered the exorcist who had treated him as a child, and gives a horrorific, supernatural explanation of it all. Oh, yes: If I understood this right, the filmmakers are not the only ones who go back in time. Read The Rush Revere Series aka Time-Travel Adventures with Exceptional Americans by Rush Limbaugh and Kathryn Adams Limbaugh First book: Oct 2013 Twenty-first century history teacher Rush Revere visits key points in American history. Rush Revere and the Brave Pilgrims (Oct 2013) Rush Revere and the First Pilgrims (Mar 2014) Rush Revere and the American Revolution (Oct 2014) with K. . . Rush Revere and the Star-Spangled Banner (Oct 2015) The experience over the past several months is not something I want to repeat. They already have warrantless wiretaps and indefinite detention. Imagine if they could go back in time and spy on you in the past. What would you do? Naturally, you’d vow to become a great scientist in an artsy movie so you can go back in time to alter the tragic event. Stephen: I do n ’ t know: seconds, decades, an eternity. Guide Larsen’s first story appeared in this anthology. “Chronology of Heartbreak” by Rich Larson First publication: Daily Science Fiction, 10 Oct 2013 Jack heartlessly breaks up with Kristine in a restaurant. Read Free Birds by Jimmy Hayward and Scott Mosier (Hayward, director) First release: 1 Nov 2013 Reggie, the turkey who’s awarded the Thanksgiving presidential pardon, has it pretty cushy until he’s kidnapped by Jake for a mission (via time machine S. . . . .

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The Hawks came into Madison Square Garden with the second-best record in the Eastern Conference at 9-3. Playing against a physical center in Dwight Howard, the Knicks were without Joakim Noah (out with an illness) and had to start Kyle O’Quinn. The Knicks answered by beating the Hawks convincingly, 104-94. Against the league’s best defense, New York shot 48 percent from the field and was more or less even on the boards. There was a lot to like about the way the Knicks played, but it started with their defense. If the Knicks gave the type of defensive effort they did on Sunday every night, their record would be far better than 6-7. The Hawks shot only 40 percent from the field, despite shooting 48 percent on the season, which was the second-best number in the league after the Warriors. A special nod needs to be given to Derrick Rose, who held Dennis Schroder to just one point on 0-of-8 shooting. The Knicks’ big men (O’Quinn, Willy Hernangomez and Kristaps Porzingis ) also did a good job on Howard, despite his 12 offensive rebounds and 18 points. Porzingis managed to defend Paul Millsap pretty well, too. On offense, the Knicks took advantage of a hot game from Carmelo Anthony, who shot 12-of-22 and scored 31 points. His jump shot was working, and the Hawks never really found an answer for him. Rose’s numbers looked average (5-of-14, 14 points, seven assists), but he was active and got his teammates involved. The Hawks’ Kyle Korver goes up for a layup against the Knicks on Nov. 20, 2016, at Madison Square Garden. You know a player has taken the next step when he can put up those numbers in a game that seems quiet. More than any other Knicks team over the past decade, this year’s squad has been Jekyll and Hyde. In their previous game, the Knicks pulled a no-show and played like garbage against a bad Wizards team. But on Sunday, they beat a good team and played extremely well.

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Raymond Williams, a Marxist cultural critic, must have turned in his grave at this piece of conceptual hijacking. Now something springs from the earth like the hand at the end of Carrie. Added Value’s Sam Barton has sent a preview of his fascinating Masters thesis in Material Culture, on the business of brand semiotics. One of Sam’s many inspiring insights comes from going back to what Raymond Williams actually wrote. In context. the dominant culture “selects and organises” information that comes from outside itself in such a way that it remains current, making it difficult for anyone to think outside its parameters. And, one might add in support of public reason, a beautiful and symmetrical example of an ideological appropriation springing around to bite itself in the backside. For Bosnian rape survivors, the symbolic blockage is double. First, they can’t talk about their experiences as their trauma lies at the limit of representable human experience. And second, even when they do try to tell their story, no-one, in Bosnia’s patriarchal society, will listen. When Jolie, as a personification of Hollywood power, decided to delve into this subject, she did two things. Firstly, she shed an important spotlight on one of the most traumatic events in European history since the Second World War. But secondly, she disregarded the experiences of thousands of raped women. Predictably enough, Jolie brand power won over the Bosnian cultural elites who were completely smitten by her unexpected appearance at the Sarajevo Film Festival in August this year. Another award was bestowed, while the controversies around the film didn’t even get a mention. In my performance, I naively pray to the Goddess to take our shattered pasts and futures and make a good film out of those. I don’t believe the prayer will be fulfilled anytime soon. Do look at him in context but please don’t tell me the answer. Don’t worry, we say idiomatically in England, it may never happen.

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According to Smith, part of the training involved going to the movies as a group and watching lms with science ction or psychic themes. Aside from providing a welcome diversion from the rigors of training, Swann felt some movies contributed to the overall atmosphere of our training, especially if they dealt with out-ofthe-ordinary-world themes such as science ction or the paranormal. Though such lms might be considered escapist, it was the ambience Ingo was after. The future psi-spies went to see movies about ctional psychic espionage such as Firestarter and Dreamscape, and also viewed other excursions into science ction, including Star Trek III, Brainstorm and The Terminator. One of our favorites, though, Smith intimates, was Ghostbusters. We identied with the down-and-out parapsychologists who in the end had to save the day. This illuminating anecdote illustrates a functional relationship between psi and movie-making. Like remote viewing, lmmaking is primarily a visionary process in which the image-producing right hemisphere of the brain is engaged in the creative activity of seeking to render a desired target visible. Because cinema is a visual art form, both lm directors and remote viewers must think in pictures in order to invoke the desired result. Viewers sometimes describe their exploits in cinematic terms, their psychic eye acting like a camera that records long shots and closeups, moves through space, fades and dissolves and goes backward and forward in time. Like a lm director, the viewer visualizes scenes from afar with the inner eye. Thus, creativity and psychic functioning employ similar visionary methods. Even after science has been brought to bear upon the mysteries of the psychic realm, the paranormal continues to be shrouded in mystery and the trappings of the supernatural. Throughout its existence, the RV program had to contend not only with scientic skeptics but also with a Judeo-Christian reli206 Conclusion 207 gious bias that saw psi as something ungodly. This prejudice also extends into the world of entertainment. After the release of the 2007 psychic thriller Next, articles on Christian web sites protested that the lm violated tenets of their faith involving predestination and free will. As the Nicholas Cage character intimates in Next, the perception that psi is real is impossible for others to live with. In their 1984 book The Mind Race: Understanding and Using Psychic Abilities, SRI researcher Russell Targ and remote viewer Keith Harary decry the generally negative attitudes about the paranormal that are routinely promoted and exploited by the lm industry. They write: The images of psychic functioning that are depicted in mass-media ction quickly lead you to believe that only very strange people have psychic experiences and abilities, or that psi is experienced by normal people only under the most bizarre circumstances.

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Resistance to antibiotics is climbing to dangerous levels just as the Zika virus furthers its reach. A man walked into a nightclub and killed many innocent people, either in the name of religion or because he was, sadly, unable to connect with his sexual identity. There seems to be a sense of things unraveling across the globe. We have allowed ourselves to get to this point. Us. You and me. Certainly not always by choice but we have allowed a system to continue that relentlessly sabotages us over and over. Time after time we let in those we know deep down will do us no good. Certainly the system seems rigged and that we are, in essence, voting for the lesser of how ever many participating evils there are. It’s not hard to understand why Russell Brand pushed the notion of not voting. The campaign to leave the EU has had no left-wing voices in it, despite the hopes of lapsed Lexiter Aaron Bastani (who has flipped, and will now vote to Remain). Yet some activists, and a handful of Labour MPs, continue to push the narrative that an exit from the EU will be a triumph for progressive politics. I don’t want to pretend that I find it incomprehensible, or that it’s without any rational basis. The European Union is an institution weighted towards transnational capital, its decisions are made in backroom committees far from public scrutiny or understanding, and the only directly elected institution — the European Parliament — lacks the formal powers of a proper Parliament. The left-wing critiques of the European Union are not without foundation. Like many, I have been exhausted by the fearmongering, unconvincing and generally depressing arguments churned out by the mainstream campaigns on both sides. So when The Norwich Radical asked me to interview Natalie Bennett, leader of the Green Party, about the positive Green case for staying in the EU, I was excited to hear some refreshing ideas on the topic. I also got the chance to speak to David Raby, a Green Party City Councillor in Norwich. There is a particularly poignant scene where Frances (Greta Gerwig) awakes to find that her best friend, Sophie, (Mickey Sumner) has left without saying goodbye after spending the night sleeping over when they haven’t seen each other in a long time.

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“The film is not technically sophisticated; how could it be, with one camera, no lights, freezing cold, and everyone equally at the mercy of nature. But it has an authenticity that prevails over any complaints that some of the sequences were staged,” wrote Roger Ebert, who also called its subject, the titular Nanook, “one of the most vital and unforgettable human beings ever recorded on film. Night and Fog (1956) Released 10 years after the liberation of the Nazi concentration camps, Alain Resnais’s 32-minute Night and Fog is as much a documentary as it is a treatise on the impossibility of true documentation. The result is both one of the most profound meditations on the Holocaust and on documentary filmmaking as a whole. O. . Made in America (2016) Ezra Edelman’s five-part docuseries for ESPN’s 30 for 30 offers a thorough exploration of the sociological and historical context that made O. . Simpson’s not-guilty verdict—though a painful, blatant miscarriage of justice—nonetheless a civil rights victory for black Angelenos long terrorized by both the police and the courts. The film takes its subject seriously, and the result is a tender, in-depth look at a subculture that is structured as a series of contrasts between dreams and reality, pretending and being—and which continues to resonate today. The film “is a filming of dance more so than it is a unified documentary about it,” Antonina Jedrzejczak wrote in Vogue, “evocative in its elegant use of 3-D, Pina has no plot, chronology, or narration to speak of. What it does have is movement. As Wenders told Vogue, “I was never really much into dance, but the first time I saw Pina onstage, I found myself weeping like a baby, at the edge of my seat. When Pina and I planned the film together, we had a couple of ground rules: no explanations, no interviews, no biographies. The result is a topsy-turvy and surprisingly sympathetic (if not without a sense of schadenfreude) take on the American Dream, boom and bust. That collaboration yielded a sensitive, impressionistic look at Williams’s meteoric rise to fame: Zenovich uses video footage of Williams’s manic stage persona (including plenty of B-roll from his various TV and film projects) alongside found audio interviews that reveal the superstar comedian’s quieter side. “A portrait coalesces of a man far more complex and less cuddly than those of us in the Mrs. Doubtfire generation may have imagined” Julia Felsenthal wrote in her review for Vogue. The film is primarily made up of archival footage, which effectively puts the viewer in the passenger seat as it demonstrates the thrills and dangers of the sport: Senna witnesses the chilling death of a fellow driver only the day before his own fatal crash, and lobbies heartbreakingly for better driver safety.

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Ouija: Origin Of Evil (2016) menggunakan setting tahun 1967, dengan baju-baju rapi dan rambut bob keluar yang ikonik. Film kali ini masih menggunakan rumah yang sama seperti di film sebelumnya. Menceritakan tentang seorang janda Alice Zander (Elizabeth Reaser) yang melakukan praktik penipuan meramal nasib. Seiring berjalannya waktu, kesan mengerikan dari sosok vampir berangsur pudar, digantikan tampilan stylish dan fashionable dengan busana serbahitam. Sosok tersebut dilengkapi ekspresi wajah datar penuh misteri yang hampir selalu diceritakan menarik perhatian banyak wanita. Perubahan tersebut terasa semakin nyata pada saat franchise Twilight memenetrasi industri perfilman. Vampir bahkan tidak lagi digambarkan terbakar dengan cara yang mengerikan di bawah pancaran sinar matahari, melainkan kulit putih pucatnya berkilau layaknya batu permata. Kalo di tahun 90an, semua film horor pengen jadi kayak Scream. Terus kemudian pada ngikutin pake found-footage, lalu gantian hantu-hantu jepang berambut panjang yang jadi hits. Yang monsternya adalah simbol dari ketakutan terdasar manusia. Momok perwujudan sesuatu yang abstrak, seperti komitmen. Atau perasaan yang lahir dari dalam diri sendiri, kayak rasa berkabung. Buktinya belakangan kita dapat 10 Cloverfield Lane dan dari genre thriller yang masih sodaraan ama horor, kita dapat Hush. Keduanya enggak bergantung kepada jump scare, mereka betul-betul bermain di rasa ngeri yang sebenarnya. Salah satunya adalah film yang sekarang sedang diputar di bioskop, The Divergent Series: Allegiant. Cerita yang diangkat pada ketiga franchise ini memang cukup mirip, yaitu trransisi remaja menuju kedewasaan, sekelompok manusia yang bertahan hidup pascakehancuran dunia, dan adanya otoritas yang kejam. Tahun 2015 lumayan adem ayem dalam hal nonton film bagi saya. Emang sih di Februari kemaren orang pada heboh nonton film yang ngga diputer di Indonesia ( you know what movie that I mean ), tapi saya mah baca bukunya aja ga suka ngapain pula nonton filmnya, hahaha. Saking butanya saya dengan perkembangan film Holiwud dan cuma ngeh kalau ntar Avengers baru bakal tayang di bulan Mei, saya sampai lupa kalau lanjutan dari film Divergent, yaitu Insurgent tayang bulan ini.