A few weeks ago, Donald Trump, Jr. announced that he was going to go out on the campaign
trail this year and help to save the Republican Party from the potential blue wave coming
in this year's mid-term elections.
Well, apparently that hasn't gone too well.
So, Republicans instead are turning to a different Trump progeny and that is Ivanka Trump.
Ivanka Trump is now scheduled to headline two fundraisers for Republican House Majority
Leader Kevin McCarthy in California in the next month.
I guess Republicans at this point understand that Don, Jr., with his brashness and his
father's ego and his overall, you know, grossness, is a lot less appealing to voters than somebody
like Ivanka, who is capable of speaking in complete sentences, who is capable of giving
a speech without offending anybody, but at the end of the day, just like the rest of
the Trump family, people don't really trust Ivanka Trump.
I don't think Republicans understand that.
To be honest, I don't want them to understand it.
Ivanka Trump has been hammered since the start of this Administration as being complicit
with everything that her father has done, as being incompetent in terms of being the
voice of reason within the Trump Administration, and she even admitted that it's pointless
for her to try to change her father's mind on issues and to soften on horrible things
that he wants to do because there's just no way around it.
What are these Republicans expecting Ivanka Trump to do?
More importantly, what are they expecting the voters who come and see her, what are
they expecting them to forget?
These people remember before Donald Trump was inaugurated, Ivanka Trump was hoisted
up as the alleged voice of reason.
Perhaps, even a liberal voice within the Trump Administration.
She was going to soften him on climate change.
Get him to understand that better.
She was going to get him to be really good on women's issues and LGBTQ issues and none
of that happened.
He's been horrible for the environment.
He's been horrible for women, both professionally as President and personally throughout his
entire life, and he's been God awful on LGBTQ issues.
So, what is Ivanka bringing to the campaigns?
Why do people even want her around?
She is seen as an abject failure by almost everyone who has been paying attention.
Again, hoping the Republicans don't notice that because if they think that bringing on
a member of the Trump family is going to help them in this year's mid-terms, then that blue
wave might actually be bigger than we're already expecting it to be.
For more infomation >> Republicans Think Ivanka Trump Can Save Them In Midterm Elections - Duration: 2:41.-------------------------------------------
Emilia Clarke Says Filming Daenerys' Final Scenes 'F*cked' Her Up - Duration: 1:10.
For Complex News, I'm Natasha Martinez.
While Emilia Clarke has been on the road promoting her role in Solo: A Star Wars Story, let's
keep it real: everyone wants to know where her Game of Thrones character Daenerys ends
up.
The show doesn't return to HBO until some time in 2019, but in her recent Vanity Fair
cover story, Clarke revealed that she has filmed her final scene for the final season
of the series, and she feels some kind of way.
"It fucked me up.
Knowing that is going to be a lasting flavor in someone's mouth of what Daenerys is."
Clarke also spoke on how hard it's been to distance herself from the role she's
embodied since 2011.
"It becomes harder to separate you from the role when you've been with it so long."
One thing Clarke didn't do is reveal Daenerys' fate.
Does she end up becoming the ruler of the Seven Kingdoms?
That's for her to know and us to find out.
She did reveal that she has no plans on appearing in any of the Game of Thrones spin-offs, at
least as of yet.
We do know that you can see her enter the Star Wars universe in Solo, playing Qi'ra.
Catch that in theaters now.
For Complex News, I'm Natasha Martinez.
For more stories like these, keep it locked right here to Complex on YouTube.
-------------------------------------------
Iskra Lawrence - I Am Beautiful | Episode 10 | Cosmopolitan - Duration: 4:19.
You're a fat pig.
Why are you even famous?
You have zero talent.
You're so disgusting.
You don't deserve to wear underwear.
You're the reason the healthcare system is f**ked up.
What's wrong with her stomach?
Does she have a disease?
You look like an elephant.
You're legs are huge, and you have cankles.
Put some clothes on, slut.
I was at all girl's schools until I was thirteen, fourteen.
And at the same time I used to read loads of different magazines.
And Elle Girl had Search for a Supermodel, and I entered that.
And I didn't win, but I got scouted by an agency while I was there.
Then I started doing some test shoots and little fashion shows, and I had a taste
for this fashion industry that I loved and wanted to be part of.
Even though I was super slim, I just wasn't skinny enough.
They would constantly measure my hips, like every six months, and I saw these other models,
who I aspired to be, and I was like, well, clearly I have to try and change my body
to be able to be successful.
My body was my enemy, and everyday I was going into battle and trying to change my measurements.
I would pick it apart, every single day, measure it.
Obsession with exercise, obsession with calorie restriction,
and it was a complete consumption of my life.
It was awful.
I wasn't fitting into samples, I just wasn't slim enough.
So, unfortunately I got dropped.
I tried eight different agencies, and they all said no for, like, varying reasons.
If it was "Too curvy" "Too womanly" "Too mature" You were always "too" something.
About four or five years of this battle, I found out about plus size modeling.
They saw, and then said I was going to be "too small", and that I had to put on
two dress sizes to be considered for plus sized modeling.
Which, to me, was just like, the nail in the coffin.
I was like, are you kidding me?
I just spent five, six years sacrificing so much, trying to fit into that one ideal,
that one small standard, and I was never good enough.
And it just was, a frustration, which turned then, into motivation.
Rather than change myself, I wanted to change the industry.
That became my ammunition.
All the people who told me I couldn't.
Even myself, who told me that I wasn't good enough.
I just really wanted to prove that there was a different way to do this.
So I then invested in looking after myself.
Mentally, physically, emotionally.
I found out that working out could be for so many more reasons than just being skinny.
It was for empowerment.
It was to feel good.
And the same with food.
Food wasn't my enemy.
Food was pleasure, food was enjoyment, food was cooking and having time with friends.
When I became happier and more confident and accepting of my body, I started booking clients
because there wasn't any other models at my size.
I started working quite a lot.
All you have to do is be yourself.
I had a boyfriend from the ages of fifteen and a half, until twenty one.
And that was like, the majority of the time when I was struggling.
He definitely didn't treat me very well.
I wasn't able to see that I deserved better.
And until I really came full circle, it took me a long time to build up the confidence
to break up with him and move on.
If you're not at ease and in love with yourself here, it transitions to everything.
I was able to use all the struggles that I had to help other people who felt the same
way as I did growing up.
I hope today, that I can encourage you all, if you haven't already started,
to start that journey of self love.
This body is our home.
It's an outer package and we can't place value and worth in the size of it.
Please celebrate this body, and stop talking to yourself in a negative way.
If you start talking to yourself in a loving way, you're going to feel so much better,
and your life is going to be so much happier.
I'm Iskra Lawrence.
I'm twenty seven.
And I am beautiful.
-------------------------------------------
What Makes A Game Punk? - Duration: 15:37.
Hey, I'm Hamish and this is Writing on Games.
When I made my last video on Thumper, one thought went through my head the entire time.
Between the abstracted visuals and unsettling atmosphere, the small team wrestling their
way out of a constrictive corporate structure to pursue a purer vision of music, as well
as said team's experience in pushing boundaries in other media, that game is punk as hell.
But what does that sentiment actually mean?
Punk is seemingly one of those words that, when someone says it, you know exactly what
they're getting at and yet it's difficult to quantify.
Partly, this is because it's not a specific genre applied to a specific medium; we perhaps
most commonly associate it with aggressive music, but it has roots in all aspects of
culture from films to books, visual art and fashion.
Even then it's more than just the content of a piece of art, but how the context of
its production affects said content.
Who made it, who funded it (if there was any funding to begin with), what was the impulse
that drove its creation?
More often than not that impulse, as I see it, is one of disruption; of confronting the
way media is typically produced.
It's about realising that if you want something done right, you've got to do it yourself,
then proving to everyone that you can do it yourself – regardless of wealth, resources
or even technical ability in a lot of cases; coming up with creative workarounds to whatever
problems might arise from these issues.
In doing so, you create something that might not be perfect or polished, but something
more important for the humanity or new perspective it might bring to the table.
In this regard, however, games find themselves in a weird spot.
They're maybe the most complicated artform of all; on some level, anyone can produce
a sound from a guitar, most people can write words on a page; it takes a certain degree
of technical knowhow to get even the most basic software functioning.
They incorporate visual art, music, literature as well as their own artistic language, and
so usually require teams of specialists in each field.
As such, perhaps moreso than music, games often find themselves placed firmly within
a corporate culture where production costs are inevitably higher than other art and profits
matter even more.
And given its inherently technical nature, we often view the success of a piece of software
as its ease of use and functionality, when the very nature of punk suggests some form
of lo-fi abrasiveness; of removing people from their comfort zone to get them examining
the context of a piece of art more closely.
The production framework is different for games, so where does the confrontation lie?
What makes a game punk?
Well, to begin exploring this, we can examine the works actively posited as such.
Take, for instance, the games of Suda51 – a man lauded by many (including himself) to
be the "punk" of the industry as we currently know it.
As he would explain it, making punk video games seemingly amounts to thinking outside
of the box.
As his early work shows, however, this isn't merely a catchy slogan, embracing the borderline
postmodern deconstruction of meaning some would argue lies at the heart of punk as an
attitude.
Killer7, for example, is a game I rushed out to buy having seen it advertised as some kind
of frenetic, fast-paced shooter, only to stick it in my PS2 and find a comparatively slow
adventure game where its arguably clunky combat became a strange puzzle of prioritising slow-moving
targets before sniping their weak points, all with an utterly incomprehensible narrative.
It's far from perfect, but there's also nothing like it; it's greater than the sum of its
parts and as a result also remains one of my favourite games ever made.
It all stems from Suda's team actively breaking down what he called "standardized control
schemes" in things like camera and movement and building them back up to something that
bore surface level similarities to other styles yet was utterly unique in its execution (for
example, instead of running and shooting freely like you would in most games of this style,
here movement is on rails and shooting can only happen when you stand still).
At first it might feel jarring and restrictive; but then you realise the layer of tension
added to combat scenarios as the Heaven's Smiles march creepily towards you.
Is it an adventure game?
Puzzle?
Horror?
Comedy?
You could make a valid argument for any one of them.
We typically categorise games based on their systems, camera perspective, etc.
It's something we know, something we're comfortable with.
Suda and his team clearly wanted to disrupt that on a mechanical level.
But it's not just mechanics either.
With its near-nonsensical plot, some might say Killer7 is style over substance, but even
in that one can link it to punk's more deconstructionist sensibilities.
It takes disparate chunks of anime, wrestling, Saturday morning cartoons, slasher horror,
50s greasers, etc., inelegantly slams it all together and bombards you with it all to such
an extent as to make it genuinely artful: to get you pontificating over meaning, trying
to find the throughline of this style as if it were high art, when its constituent parts
are generally deemed as lowly.
It's similar to what writer Elizabeth Wilson described in punk fashion as "trash culture
gone avant-garde;" like punk's slapdash look constructed from whatever fabric one could
find acted as a message to the fashion world's elitism, Killer7's trashy style could have
been a response to anything; the gritty, serious tone you were starting to see emerge in games
releasing at the time, the absurdity inherent to playing games, the idea that you couldn't
just slam all this stuff together because you liked it.
In a way, Killer7 pokes fun at everything around it merely by existing.
You could say the same thing about the way The Silver Case's text adventure would sometimes
cut to anime or full motion video seemingly out of the blue.
Maybe Suda just likes this stuff, and in an industry where things need to be streamlined
in order to maximise efficiency, this approach is confrontational in and of itself.
That game was produced when Grasshopper was staffed by five people, its unique windowed
style a direct result of limited resources and having team members fulfil multiple roles;
to paraphrase Penny Rimbaud of the band Crass, a bunch of people saying what they wanted
with whatever they could find.
Far from the garage band-esque roots of The Silver Case, however, Killer7 was published
by none other than Capcom as part of the infamous Capcom 5; a venture between themselves and
Nintendo to champion third-party support for the then-failing Gamecube.
The fact that, in this case, two giant companies took a chance on a small developer to ostensibly
boost sales of a console, only for said developer to produce something so aggressively weird
within this corporate framework, only serves to highlight how defiant a game Killer7 is.
Suda also suggests there was something inherently punk about Japanese games in particular, proclaiming
them the progenitors of a lot of the concepts we see in games worldwide today.
He doesn't specify what exactly made Japanese games punk outside of that, but when you consider
the canon of industry auteurs (your Hideo Kojimas, Yoko Taros and the like), it's
a statement that begins to make a bit more sense.
These people make also make games within larger corporate structures, their budgets are big,
but arguably revolutionised the way games tell their stories; whether it be through
careful cinematography or exploring player culpability through something as trivial as
the way the game handles save data, these are often aggressive statements on the nature
of player control; taking you out of your comfort zone in the same way all punk or experimental
media strives to.
In all, some might say that while punk in other artforms may have proved to be accidental
or a matter of necessity or circumstance, in games, thanks to their more expensive and
complex nature, a developer has to more deliberately examine standards of control and style, the
way other games look and feel, and use that knowledge to subvert people's expectations.
Despite Suda's work post-Killer7 in particular losing that defiant magic due to an abundance
of functional-but-disappointingly standard hack-and-slashers, it's clear that just because
games have higher costs with a higher drive for profit, doesn't stop them from occupying
the same disruptive space as punk works found in other artforms.
But that's clearly not where this discussion ends.
Outside of Japan, the obvious answer to the question "what makes a game punk" would be
the indie games scene that, while always present in some form or other, has exploded in the
last decade or so; with developers finding the means to build their own studios and,
in some cases, make some money doing it.
As I stated before, one of the key goals of punk as I see it is proving that you can do
it yourself in direct opposition to people or a system telling you you can't.
So who was it who empowered these developers to pursue their own development goals?
Who democratised the tools?
Who proved that you could?
To find out more, we have to go further back.
Take something like DOOM, one time referred to as "gaming's punk rock moment".
Now when you think of what got people talking about the game, you might imagine its time
as the poster child of controversy and moral panic in the video game industry.
When I think of what makes DOOM punk, however, I don't necessarily picture the bombast of
its violence or its bestial Satanic imagery (which, as controversial as they originally
were, read as little more than goofy fun now), it's the disruptive attitude behind its development.
Indeed, as the press release penned by the then four-person team at id Software prior
to a single line of code being written, proclaiming that it would be the best game ever would
seem to suggest, there's a distinctly punk swagger to the game's production.
They decided to release the game as a shareware title, encouraging people to copy it and share
it freely.
They made the bold move of allowing stores to sell their own boxed copies of the game
without needing to pay a cut to the team in an attempt to get people talking about it.
They released the files to the public allowing for the first real modding community.
It was true democratisation of the process, the same kind of comradery you see in all
DIY punk communities, where creators and audience on a more equal playing field; handling their
own packaging, distribution and promotion through posters and zines, bootlegging recordings
and the like, all for the sake of having people experience something they may not get through
traditional media channels, financial incentives be damned.
And given that at one point more people had DOOM installed on their computers than Windows
95, the message was clear - "if us four can do it, so can you, and here's everything you
need."
That's about as typically punk an outlook as you can get.
But the idea of video games as punk goes back even further than that, it's less typical
than that; coming not from in your face bravado and wailing guitars; instead, maybe it's a
desolate, geometric hellscape.
Maybe it's a repetitive, incessant beeping.
Indeed, the advent of British home development in the 80s was characterised by games that
are, by modern standards, rudimentary and often inscrutable.
They often saw you repeating mundane tasks like mowing the lawn or tidying up after a
party so you can get past your mum, but in order to do so would have you navigating these
surreal, stark black and grey environments littered with downright Freudian imagery of
your mother and the church and household objects floating around this indeterminate space seemingly
at random but all coming to kill you, all topped off with that specifically British
self-deprecatory humour.
What's that?
You got viciously devoured by a bunch of ants?
Well, better go back in and do better, it's not like there's anything else to do.
There's something positively bleak about it all.
It perhaps makes it difficult reading it from a modern context not to view it as some kind
of satirical representation of the cultural malaise felt by teenagers trying to both escape
from and make the best of it in Thatcher's grey, industrial Britain; dealing with the
same crisis of identity you were starting to see in the weirder, more insular lyrics
of the anarcho-punk bands of the time like Rudimentary Peni, framing the system they
were angrily fighting against as some kind of Lovecraftian beast, trying and failing
to stave off mental anguish and apathy.
But in reality, the disruptive impetus behind these games and their developers was probably
far more simple and optimistic.
With the release of home computers such as the ZX Spectrum and the Electron, companies
like Sinclair and Acorn had shifted the image of the computer from something purely technical,
industrial and inaccessible to a tool for creation and play by lowering the cost of
admission and giving aspiring developers what was at the time a comparatively high amount
of memory to work with.
Through this accessibility, there was no boundary or limit other than the imaginations of this
new groundswell of bedroom developers.
Reading stories of this style of development, a common theme you'll find is physicality.
People had to get their hands dirty almost literally building these games.
There is a struggle, a lack of automated tools to get them through it.
Sandy White, developer of Ant Attack, speaks of a heightened focus on electronics rather
than programming, of wires and written mathematics over assemblers and compilers you'd find in
later programming environments.
Matthew Smith, one of the legends of the early British software scene with his games Jet
Set Willy and Manic Miner, talks about the resourcefulness required due to system limitations
and the fear of burning images into CRT screens at the time: "you either set it underground,
where it was black, or up in space, where it was black."
And it's here we see the notion of a few dweebs starting a band with whatever they could find
being directly paralleled with the lone programmer soldering circuitry and learning the ins and
outs of the hardware as they went along.
And while sophisticated for the time, many of these games were clunky and, shall we say,
heavily influenced by what came before.
But that's what's great about them; the context of their production imbues the games with
humour and charm that goes beyond what you're actually interacting with.
All in, it's this style of development that proved you didn't need a massive studio or
wads of cash in order to create something meaningful, that resonated with people.
And if that doesn't fit some weird, arbitrary definition of what punk is, then I don't know
what does.
So I hope you enjoyed my piece on punk in games - it's impossible to cover everything
in a format like this and I apologise for missing stuff out but feel free to discuss
what you think makes a game punk in the comments.
As always, these videos are made possible by your unbelievably generous support over
on Patreon, so if you want to see more of this kind larger scope video, maybe consider
donating – every pledge helps more than you can possibly know.
Special thanks go to Mark B. Writing, Nico Bleackley, Rob, Michael Wolf, Artjom Vitsjuk,
Spike Jones, TheNamelessGuy, Chris Wright, Dr. Motorcycle, Harry Fuertes, Ham Migas,
Travis Bennett, Zach Casserly, Samuel Pickens, Tom Nash, Shardfire, Filip Lange, Ana Pimentel,
Jessie Rine, Brandon Robinson, Justins Holderness, Biggy Smith, Peter, Christian Konemann, Cameltraffic,
Nicolas Ross and Charlie Yang.
And with that, I've been Hamish and this has been Writing on Games.
Thank you very much for watching and I'll see you next time.
-------------------------------------------
Liberals Outraged Over Photo of Illegals in Cages. There's Only One Problem - Duration: 4:43.
Liberals Outraged Over Photo of Illegals in Cages.
There's Only One Problem.
Photos of detained illegal immigrants in cage-like cells went viral this weekend.
Liberals were all too quick to spread this shocking photograph, as proof of President
Donald Trump's cruelty.But their incredible blunder just backfired.
Now, they're screwed.
Is there nothing the left won't do to slander President Donald Trump?
The answer, of course, is a resounding no.
Democrats will do anything to undermine the president's work.
That includes being as underhanded, manipulative, and cruel as possible.
Also, being as dishonest as a snake.
Over the course of Trump's time in office, we've seen liberals do some shockingly terrible
things.
They've insulted his wife by criticizing her intelligence, country of origin, and even
her accent, proving who the real racists and sexists are.
They've attacked Trump's family, including his young son.
Liberals didn't hesitate to question his children's mental health, even calling Barron
handicapped.
That's not even mentioning the numerous times that left-wing outlets edited videos
or photos to make Trump look like a bad guy.
But what they did this weekend really takes the cake.
A photo went viral across Twitter.
The ugly picture depicted detained illegal immigrants.
These people arrested by our government were forced to stay in cages resembling dog kennels.
Liberals, as you can imagine, were beside themselves, attacking Trump for an obvious
act of cruelty and evil.
It's too bad that these liberals didn't bother to check the date on the picture.
Ex-Obama staffer Jon Favreau, in a now-deleted tweet, linked to an AZCentral.com article
titled, "First glimpse of immigrant children at holding facility" and said "This is
happening right now, and the only debate that matter is how we force our government to get
these kids back to their families as fast as humanly possible."
His obvious intent was to slam the Trump administration for its treatment of unaccompanied minors
taken into custody at the border.
[Source: Twitchy]
Jon Favreau was one of many liberals who attacked Trump over this injustice.
The famed Hollywood actor and director once worked for Obama as his speechwriter.
So I guess he knew how better things were under the last administration, right?
This liberal celebrity is probably horrified every day over what he sees coming from the
White House.
I mean, who could allow something as evil as this:
Liberals across the spectrum of stupid chimed in with their condemnations of President Donald
Trump.
How terrible!
What vicious, vile cruelty against innocent illegals.
Surely the man responsible for this is a total racist, who hates brown people.
Liberals have every right to spread this photograph to as many people as possible.
But wait, let's look at the original article.
It was from ACCentral.com.
According to the date, this was written in 2014.
That's right, liberals.
This photograph you're all so outraged over was taken during Obama's administration.
This "bombshell" story came out four years ago.
Yet, for some reason, nobody was outraged.
Liberals weren't storming Twitter with demands for change.
They weren't calling Obama racist for treating children like this.
Why weren't the overlords within the mainstream media demanding answers from his administration?
Seems like liberals didn't really care when Obama mistreated illegals.
Yet they daily accuse Trump of racism, based on nothing.
All Trump wants to do is protect our border from crime and terrorism.
He's not treating illegals like animals.
But while Trump calls vile MS-13 members "animals," Obama was treating children like animals.
Really makes you think.
Liberals, in their feverish hatred for Trump, unwittingly outed one of Obama's many sins.
And their own.
You see, they don't give a damn about illegal immigrants.
They pretend to care, as a response to Trump's stance on immigration.
Before Trump proposed the wall, liberals didn't think twice about illegals.
We know that for a fact because this article has been around for FOUR YEARS, and they've
said nothing.
They dishonestly tried to pass this off as current, only for it to blow up in their faces.
Any response liberals?
Are you going to denounce the absolute evil committed under Obama's watch?
What do you think about this?
Please share this news and scroll down to Comment below and don't forget to subscribe
top stories today.
-------------------------------------------
April Ryan Faces INSTANT BACKLASH After Accusing Trump of Running a 'Child Trafficking Ring' - Duration: 3:43.
April Ryan Faces INSTANT BACKLASH After Accusing Trump of Running a 'Child Trafficking Ring'.
TDS, or "Trump Derangement Syndrome" is real, folks and it's devouring the brains
of liberals all over the globe.
Nowhere is TDS more acute and dangerous than over at CNN, where reporters, analysts, and
hosts are clueless, and seem to have absolutely no common sense whatsoever.
That's the only excuse for why CNN "analyst" and White House "reporter" April Ryan
retweeted an outrageously FAKE NEWS article suggesting President Trump is running a "child
trafficking ring."
How on earth can a cable news network expect to be taken seriously, when they employ people
like Ms. Ryan, who push garbage like that?
Needless to say, Ryan was shredded beyond recognition for retweeting the obviously fake
news story.
From Fox News
CNN contributor April Ryan is being criticized for alerting her 336,000 Twitter followers
to a story in The Root that asks if the Trump administration is involved in child sex-trafficking.
Among those condemning Ryan for the tweet is first lady Melania Trump's spokeswoman.
"If you're a journalist w many followers & a @CNNPolitics contributor…is it ok to
retweet any headline you want, regardless of if it's true?"
Stephanie Grisham asked on Twitter.
"Remember: 'The core purpose of a journalist is to research, document, write, & present
the news in an honest, ethical, & unbiased way.'"
Grisham may have been most disturbed by the headline of The Root article: "Is the Trump
administration running a child-trafficking ring or nah?
Follow me down the rabbit hole."
Ryan responded later Sunday in a tweet: "So apparently fox just wants to slam me for clicks.
and never read the article I retweeted either.
Lol!
So sad!
Hello it said the conspiracies were unfounded.
You just need me to hate.
Thank you!!"
She also tweeted a link to her book.
Ryan, who is also the White House correspondent for American Urban Radio Networks, initially
tweeted the article without comment.
The Root is an online magazine of African-American culture.
White House correspondent April Ryan has accused the President of the United States of running
a child sex ring.
As low as she is that is low for her.
So why should "alt-righters" have all the fun peddling disproven and unfounded conspiracy
theories, writes The Root political editor Jason Johnson, who goes on to suggest one
of his own.
April Ryan has gone pizzagate on Trump.
"Now it turns out that the Trump administration may have an equally implausible conspiracy
on its hands: Is the administration involved in child sex trafficking or just white nationalism?
Follow me down the rabbit hole and see for yourself," Johnson says in the article,
published Friday.
Many of those who bashed Ryan on Twitter questioned how a professional journalist could associate
herself with such a story.
"April Ryan has gone pizzagate on Trump," tweeted Steve Robinson, who produces the Howie
Carr radio talk show.
Case solved.
"This is a horrid excuse for journalism," Carmine Sabia tweeted.
"To quasi accuse the president of the United States of running a child trafficking ring
is low even for her."
"Case solved," Michael Sheridan tweeted.
He pointed out that The Root is owned by Univision, whose president and CEO criticized Trump during
the presidential campaign.
What do you think about this?
Please share this news and scroll down to Comment below and don't forget to subscribe
USA FACTS Today
-------------------------------------------
The New Loki Theory That's Making Us Think About Infinity War - Duration: 4:28.
Long before it hit theaters, Avengers: Infinity War had Marvel fans guessing who would live,
who would die, and what would happen if, and when, Thanos got his hands on the Infinity
Stones.
Now that the movie's out, though, the speculation hasn't stopped, and some fans have a new
theory that might change everything… in the unlikely event that it's actually true.
If you haven't seen Infinity War yet, be careful: we're about to get into some deep
spoiler territory.
One of the most shocking moments of the film comes right at the start, when Thanos kills
Loki, Thor's occasionally supervillainous brother.
It certainly seems like a definitive end to Tom Hiddleston's fan-favorite character,
but since we've seen Loki die before and return through trickery and illusions, a few
moviegoers are wondering if there might be something more than meets the eye going on
here.
A new theory brought up by journalist Josh L. Dickey, mapped out in detail by ScreenRant's
Thomas Bacon, suggests that Loki didn't actually die.
Instead, he's alive and well, and masquerading as Bruce Banner.
Dickey notes that "Loki's dagger sneak attack on Thanos was feeble.
He knew it wouldn't work," suggesting that the whole thing was a ruse to allow Loki to
sneak back onto Earth.
Further evidence comes from the view that aside from not being able to turn into the
Hulk, there was something a little bit off about Banner in the rest of the movie.
"I don't know.
Maybe the fact that I was trapped for two years inside of a monster made me a little
weird!"
According to the theory, he's particularly odd in his passion-less interactions with
Black Widow It's been a few years since their romance was teased in Avengers: Age
of Ultron, but since Banner doesn't remember the years he spent as the Hulk, those memories
should be pretty fresh in his mind.
The theory also posits that Banner's inner struggle with Hulk may actually be down to
Loki disguising himself as the super-smart scientist but being unwilling to impersonate
the not-so-jolly giant, thanks to their somewhat contentious history with each other.
Dickey also suggests that this might be the reason why Banner landed directly in Doctor
Strange's Sanctum Sanctorum when he returned to Earth.
Loki has encountered the Master of the Mystic Arts before, so it's possible that he may
have directed his path from outer space towards Doctor Strange, knowing he'd be a quality
choice to spearhead the fight against Thanos.
If all this is true, it could mean that the Hulk wasn't even on the Asgardian refugee
ship at the start of Infinity War, escaping with Valkyrie, the breakout character of Thor:
Ragnarok who's expected to return in a future MCU film.
The only problem is that, well, it's probably not true at all.
If you take Occam's Razor to the Loki-As-Banner theory, you'll find there's a much simpler
explanation for all of its points.
For starters, by the time Thanos shows up on the Asgardian ship, he's already dealt
with Loki before, and knows how he operates.
He'd be prepared for and expecting deceptive tactics like illusions and shapeshifting.
Second, and probably most importantly, Banner's struggles with the Hulk make a lot more sense
as Banner actually struggling with the Hulk rather than Loki working a long con on the
Avengers.
The Hulk's encounter with Thanos marks the first time that the Green Goliath has been
so easily defeated in a fight, which would shatter his confidence and explain why he's
so unwilling to make a return.
Also, there are several scenes in Infinity War where Banner attempts to turn into the
Hulk when no one is around to see it.
That would only make sense for Loki if he suddenly had Deadpool levels of fourth wall-breaking
self-awareness.
Banner's arrival at the Sanctum Sanctorum is pretty easy to explain away with magic,
but probably happened because that scene is lifted from the original comics.
The only difference is that there, it's the Silver Surfer who ruins Strange's staircase,
but since he doesn't currently exist in the MCU, Banner makes a fitting substitute.
As for Banner's encounter with Black Widow, there actually is some tension there, but
it's certainly not the focus.
That, however, is easily explained by the fact that the romance teased in Age of Ultron
wasn't exactly the best part of that movie.
Some viewers felt like it came out of nowhere, and didn't really serve either character
well, so it makes sense that the next film might downplay it.
Or maybe Bruce Banner just doesn't prefer blondes.
Thanks for watching!
Click the Looper icon to subscribe to our YouTube channel.
Plus check out all this cool stuff we know you'll love, too!
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Football Champions Pro 2018 🌟 New Android Game 2018 - Duration: 5:31.
Football Champions Pro 2018 New Android Game 2018
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Pasos para descargar la app de www.bitcoin.com en tu teléfono - Duration: 1:40.
For more infomation >> Pasos para descargar la app de www.bitcoin.com en tu teléfono - Duration: 1:40. -------------------------------------------
5 Facts Of BMW E60 M5 V10 S85 You MUST Know - BUYER BEWARE ! - Duration: 7:04.
today we're gonna talk about five of the things I bet you probably didn't know
about the m5 the e60 m5 so let's take a look the first number number one thing
we're gonna look at of course is the dipstick first thing is this car has no
dipstick let's open this up so start the car this is actually how you check your
oil you start the car
and you'll notice the oil level right there in this case it says I'm at 1.1
liters which is okay what you gotta be careful of is not over filling it too
much I know this is marginally over I know it's not grossly overfilled
if you grossly overfill the oil in a high-performance motor like this that's
probably one of your quick ways to reckon engine if you want to get rid of
an engine in a hurry fill it up with oil right to the top but anyway in this case
that's the only way you can check the oil so I'm just gonna turn the car off
so I'll show you real quickly here where most cars we actually have a dipstick
see if I can open this shit up look around you got your oil filler but you
don't have a dipstick spot there's no place to actually check oil on this car
the only way to do it is electronically which really sucks because when you're
filling it up for after an oil change it's a little bit more finicky and
trying to make sure that you've got the level right you definitely don't
overfill it and if you do overfill it how do you know you've overfilled it
beyond that one point one that I showed you on the dash so it's kind of awkward
but that's one thing yeah it keeps your oil your hands-free of oil but the
downside of course is it's a little more finicky especially if you get to the top
end of that in which case you shouldn't be filling it to the top it should be
somewhere behalf way anyway enough about that so the second thing I bet you
probably didn't know unless you happen to be an owner or you're one of those
long-term form subscribers is that unfortunately as you know it is a
high-performance car the e60 m5 is truly a high-performance car but because of
that there's a lot of parts that can be finicky no let me just open this up and
I think we're going to be limited what we can actually see here a ninety-degree
v10 which actually increases the the balance of the engine so it feels very
low-key when you're idling around town it feels very refined the reality is
this is truly a high-performance monster of an engine and things that have been
known to go on this car rod bearings that's a problem fifty to eighty
thousand miles in that range you can expect problems with your rod bearings
vanos system part of the intake that's a problem the SMG transmission have been
known to fail there's also been failures known on the rear differentials either
just outright failing or leaks or other related issues there
so the car is not short on its faults of course it's a high-performance car but
it definitely does have its share of issues that you can contend with that
being said I wouldn't recommend you driving putting tons of miles this is
truly it's no different than driving a Ferrari taking it out on a nice Sunday
afternoon for a drive same kind of thing this is really a high performance car
borderline race car treat it that way but you can't expect those things so the
third thing that I bet you probably didn't know is this engine actually uses
what they call or BMW calls a quasi sump arrangement most high-performance cars
and you'll find in Ferraris and Lamborghinis even Corvette today uses a
dry sump but dry sump really is a system that has a separate oil tank and a
better scavenge a dedicated scavenge and supply oil system to provide oil in big
corners when you're pulling G's and the oil is pulling out of the pan to ensure
that you always have good oiling to the bottom of the motor and distribution
through the engine that's what the when a dry sump system really does for you
this system here of course is a quasi dry sump and it's really a cheater
system it's a pan at the bottom feeds into another pad and it's a bit
convoluted it's not truly a dry sump and I think they do that because of the room
and the engine engine compartment here so it actually does not use a tried ruse
true dry sump which many many other high-performance engines do use so the
fourth thing you may or may not have noticed or known about the BMW e60 m5 is
it's likely going to be the last large engine normally aspirated motor that BMW
will put in their performance cars yeah today they're using the v8 with twin
turbos and it goes like stink but it does really lack the true
high-performance race engine technology that they had in this because it's
normally aspirated it's a great technology it does really rely on the
proper amount of tuning turbos really do a lot of pickup a lot of slack for
sloppy engineering put turbos to anything that gives you a big lumpy
torque curve normally aspirated engines if you get high output usually becomes a
result of really top-shelf engineering and top quality parts so an engine like
this v10 motor is the largest BMW is ever
used as well it's probably largest they will ever use this engine was actually
derived from the Formula one cars back in the early 2000s and so they basically
took that technology and transferred it here and created a car that is very very
much based on the Formula one cars one side the car here these e60 m5 s you
look at the speedometer it says 330 km/h oh that's probably around 200 and some
miles per hour that's around 205 maybe somewhere in that range these cars if
you chip them it removes the governor which is a factory governed at 155 miles
per hour which is about 240 kilometers 245 it is factory governed to stop there
if you get the chip installed like dining or one of those other chips you
can actually get it removes the governor this car has been known not mine but
similar East 60 m5 has been known to run over 330 kilometers an hour in other
words a car similar to this was clocked at 205 miles per hour just by removing
the governor why because this has 500 and almost 10 horsepower v-10 and the
gearing is just right it's all suited very nicely for this car and this thing
does rock it's it's truly a supercar now that's all I have today folks I hope you
enjoyed this video really at the end of the day it's not perfect no car is
there's always compromises and because this is a supercar as far as that goes
it's a wolf in sheep's clothing I would consider the fact that there are
compromises you'd have to consider but at the end of the day there's five key
things that you should know so please like that's very important comment and
more importantly subscribe to my channel like
many more of these videos to come thank you bye-bye
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Introducing Amazon Brat!!! (turn captions on) | Daniela Bodoh - Duration: 3:34.
PAID ACTOR: When it first arrived from Amazon, I didn't know what it was.
What is it?
You'll see...
Is it for me?
It's for everyone.
It's called Amazon Brat.
How's it going?
Uh, I'm just finishing up right now.
Is it on?
Oh, it's always on.
Can it hear me right now?
Nope, it only hears you when you use the wake word we chose.
Ursla.
Well, what does it do?
Ursla, what do you do?
AMAZON BRAT: Today, I am going to be taking over Daniela's video.
Awesome.
Ursla, play rock music.
AMAZON BRAT: When Ursla wants something, Ursla gets it!!!! Ya--
Ursla, stop.
Wait, I want to try.
Ursla, what time is it?
WILLIAM: iTs nInE tHiRtY fOuR iN tHe MoRnInG!!!!!!!!!!
You actually don't have to yell at it.
It uses far-field technology so it can hear you from anywhere in the room.
So it can just hear you anywhere?
Yeah, well everyone can hear you anyway.
Oh... so is that where we're going to put it?
I was thinking of putting it there, but it works anywhere.
PAID ACTOR: Brat is pretty neat, because it knows all sorts of things.
All you have to do is ask.
Ursla, how tall is Mount Everest?
AMAZON BRAT: I'm as tall as Daniela is.
How does it know so much?
It's so smol.
It updates using the Cloud.
That's also how it gets its answers.
Just read that off the box top.
PAID ACTOR: Dad really likes that Brat just plugs in, so we never have to charge it.
Plus, Brat is really good at keeping track of things like shopping and procrastination lists.
Ursla, add wrapping paper to the shopping list.
AMAZON BRAT: When Ursla wants something, URSLA GETS IT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Ursla, how many teaspoons are in a tablespoon?
AMAZON BRAT: I weigh as much as Daniela.
Ursla, set a timer for eight minutes.
I'm six and a half!!!!!!
PAID ACTOR: Dad's not a morning person, but Brat definitely helps him wake up.
[DEFAULT AMAZON BRAT ALARM GOES OFF]
Alarm off.
You gotta get up.
Ursla, what day is it?
AMAZON BRAT: It's 520 bruhhhhh!!!!!!!!!!!!!!!!!!!!!!!
Ursla, give me my flash news barfing.
[AMAZON BRAT LOSES BARF STREAK]
Look, Mom.
What did the dog say after a long day of work?
What?
Today was "ruff."
Get it?
-Get it? -Yeah, I get it.
Another one.
Ursla, tell me another joke.
AMAZON BRAT: Daniela knows what her stupid sign is!!!!!
[LAUGHTER]
PAID ACTOR: Sometimes, Brat helps out when you least expect it.
Uh, hey Dad, how do you spell can'teloupe?
Uh, can'teloupe.
C-A-N-T...
Ursla, how do you spell CANeloupe?
AMAZON BRAT: Y-O-U-R!!!!!!!!!!!!!!
Good job.
PAID ACTOR: Brat loves to play music, and knows a lot of songs.
And they always sound great. (sarcasm)
Ursla, play my bratty playlist.
AMAZON BRAT: I don't wanna go to bed right now!!!!
Ursla, stop.
Ursla, define annoying.
AMAZON BRAT: My STOOPID babbisitter DanYELLa!!!!!
She YELLS at me!!!!!!!!!!!!!
PAID ACTOR: And with the Stoopid app, you can access Brat from anywhere.
PAID ACTOR: With everything Brat can do, it's really become part of the family.
PAID ACTOR: To experience Brat, go to amazon.com/brat (not real link btw)!!!!
-------------------------------------------
CREA Market Stats Response May 2018 - Duration: 2:20.
- Hey guys and welcome back to By the Numbers.
I'm Chris Cucoch and today I'm gonna tell you
about the numbers that the Canadian Real Estate Association
released last week.
This report's gotten a lot of play in the media
over the last little while and I want to put it
into perspective a little bit and also explain
how it applies to us here in Toronto and Mississauga.
First off, it's important to keep in mind the statistics
that we're reporting on our national statistics.
So the price of a condo in PEI really has nothing to do
with the price of a townhouse in Toronto
but they're all being rolled together
to come up with these numbers.
CREA's Chief Economist Gregory Klump said
that the stress test that they brought in this year
has really destabilized the markets
in provinces like Alberta, Sasketchewan,
Newfoundland and Labrador.
This is exactly the type of collateral damage that CREA
warned the government about when they asked them about this
before they did it.
What he's speaking to is while the stress test may have
worked as intended in the busy markets like Toronto
and Vancouver, in the less robust markets it's really
thrown them out of balance and it's brought down
these national averages.
On a national basis there were 5.6 months of inventory
at the end of April.
In Toronto and Mississauga we had 1.6 and 1.9 months
of inventory respectively
well into seller's market territory.
In the GTA our year over year numbers are down
but last year's crazy rapid price gains are masking the good
month over month sales price increases
that we're experiencing right now.
The national average price is heavily skewed
by the greater Toronto area and greater Vancouver area.
If we remove these two markets from the calculations
it will bring the national average down by over 100,000
to $386,000.
I'll leave you with a few numbers to consider.
The average price in Toronto of 805,000 is down about 12%
from last year.
However, year to date it's up nine and a half percent.
Over the last three years it's up 27%
and over the last five years it's up 53%.
Not bad when you think about it.
If you like this video or have any questions
let me know in the comments.
Don't forget to share it with a friend
that might find this useful.
Thanks for watching By the Numbers and I'll see you next time
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Uefa champions league real Madrid Poster Design II Rolando Sports Poster Design - Duration: 16:31.
Click The Gradient Tool
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Tosi helppo Sin City tyylinen intro!!!! (Foreigners use cc) - Duration: 8:59.
Hi! Today we do this sin city style intro!
I have 5K 24p project here.
I changed video aspect into anamorphic and gave it some color grading.
First we add text.
I want some robocop style so I use this cgf locust resistance font. Theres a link in description if you want to use this font.
Change color to red.
Add some glow or outer shine if you want.
Here I have this smoke effect. You can download these online or do them in motion5 or ae.
Adjust the smoke screen horizontally if needed.
Change the blend mode into stencil alpha.
Choose video track, press alt/option and drag it to the top.
Change its blend mode to screen or add or soft light... What suits you best.
Add some music that fits in.
Good, eh??!!!
So as you can see this is very cool and very easy to do.
It necessary doesn't have to be just like this. You can film large crowds or lake or something.
If you shoot footage like this, be sure to use tripod. A minute without tripod gives a very shaky picture.
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