#Breakout the matrix

[jaynasti69]

Rise Again Music Video

[jgroffdaily]

Jonathan Groff to Join ‘Doctor Who’ in Guest Role

The ‘Matrix Resurrections’ actor is jumping aboard the TARDIS as a key character.

Russell T Davies, showrunner of the popular British drama, in a statement said of landing Groff in the popular BBC and Disney+ series: “This is an incredible coup, and a great honor, to get such a huge star striding on to our set. So strap on your space boots; this is going to be a blast!”

Groff had a breakout role as Jesse in the comedy drama Glee. His credits since then have included Knock at the Cabin, the Mindhunter series and The Matrix Resurrections, in which he played Agent Smith.

“I am so thrilled to jump into the extraordinary mind of Russell T Davies and watch the incredible Ncuti Gatwa soar in this iconic role!” Groff said of his casting in his own statement. Gatwa will be replacing the outgoing Time Lord Jodie Whittaker as the 15th Doctor of the series, which was revived in 2005.

Groff’s stage credits include playing King George III in Hamilton. Doctor Who returns in November 2023 with three special episodes, with David Tennant as the 14th Doctor to coincide with the 60th anniversary of the series.

Gatwa’s first episode as the 15th Doctor will then air over the Christmas season later this year. Doctor Who will bow exclusively on the BBC for the U.K. and Ireland, while Disney+ will be the home for new seasons of Doctor Who outside of those markets

**

Doctor Who has added Jonathan Groff to its growing cast list.

The Frozen and Glee actor will join BBC and Disney+’s iconic sci-fi drama in a “mysterious guest” as filming continues in Wales.

The BBC declined to offer further detail, but did say that Groff would “jump aboard the TARDIS,” suggesting his character could become an ally of the Doctor.

Showrunner Russell T Davies said: “This is an incredible coup, and a great honour, to get such a huge star striding on to our set. So strap on your space boots, this is going to be a blast!”

Doctor Who is getting a major makeover for Season 14, with Ncuti Gatwa stepping into the shoes of the famous Time Lord. His first episode will land over the Christmas holidays.

Millie Gibson has been cast as the Doctor’s companion, while Heartstopper breakout Yasmin Finney has joined the show as Rose. RuPaul’s Drag Race star Jinkx Monsoon also has a major role.

[mysterycharacterflowers]

A bouquet of aloe, fern, blue iris and sage VS Blue Roses 2

First, let's talk about the bouquet of aloe, fern, blue iris and sage

Meaning and why these plants were chosen: Aloe represents affection, grief and bitterness, I chose this flower to represent their relationships. There are only very few characters they are affectionate with, and two of them die a tragic death, at the same time they usually approach everyone with a certain bitterness, even those they consider friends.

Fern represents magic, fascination and secrets. The character's most defining trait is their curiosity and fascination with the world around them, especially when it comes to topics such as magic and faith [...]Additionally their bitter attitude makes them seem as if they have a major secret to protect.

Iris represents trust, faith and hope, blue iris specifically wisdom and knowledge. The character is quite the genius, always eager to learn, and throughout their story dependent on their trust in their friends and within the dynamic one who provides information and strategical support. I also chose blue iris as one type of blue iris (stinking iris) is native to Britain, and the character takes great pride in their British heritage.

Lastly sage, which is most commonly known as a useful herb, and often mentioned within witchcraft rituals, and represents wisdom. I chose both fern and sage as plants within a bouquet that are not exactly flowers as the character has a primarily pragmatic view on life, but also included actual flowers as the character might at first appear harsh and practical but also cares deeply about the well being of others[...]

Description: The character is curious and intelligent, a social outlier by their belief in the supernatural, and yet a very rational personality. Despite their tough, and often insulting, attitude to the people around them they care deeply about everyone's wellbeing. They are an idealist [...] and tend to get impatient with people who do not share their urge to fight for social justice and global equality. Through their own outlook, but also unfortunate life events, they have a very narrow social circle and are predominantly introverted, and yet very attention demanding. [...] this character is immensely devoted to their few friends and even after years still deeply hurt by their loss. The character is well aware of their physical weaknesses and has no greater issue explicitly mentioning them, but they do repeatedly lie in order to cover up their struggle with social interaction and interpersonal relationships.

Check this character post here for the full description

Now, let's talk about the Blue Roses 2

Meaning and why this flower was chosen: – This flower can represent "a dream come true" or an "imposibility" -blue roses do not occur in the wild, and have to be artificially dyed through human effort.

This alludes to the fact that this character is transmasculine, but realizes over the course of their character arc that they'd be happier identifying as nonbinary. Though they thought they'd be happier as a boy, it turns out what suits them best is something that fits within the gender binary, something that has to be achieved through human effort.

– Ton of people are stuck in a matrix, and fighting to escape the escapist world lets you unlock superpowers that besides a weapon, gives you flowers.

There's this guy,[...] First guy to join the breakout gang. [...]They have a crossbow, and also a binder and heels. And Blue roses.[...]

This character's regret is he didn't get to transition publicly. But also now that they're here, they're not getting that expected gender euphoria. They discover theyre TRANSMASC NON-BINARY. SEXUALITY? YES. Dated both guys and girls. Canon. Discussed. [...]Blue Roses aren't natural, you need to make them yourself, just like how this character wants to transition irl. Just like the identity they forged for themself. It's all about self-realisation and ACTUALISATION Description: – The classic best friend character in an urban fantasy JRPG - a second in command who puts a voice to the team's plans that the silent protagonist cannot. Perceptive, good natured, and an all around nice guy, they're a memorable character even amongst the "best friend" archetype. [...] – Your best friend, ally and partner, because that's a role they've always wanted to play. Still figuring out their true self. Make sure not to leave them alone at a subway, they'll memorise every single timetable.

Check this character post here for the full description

[denimbex1986]

'In some ways, Oppenheimer, Christopher Nolan’s biggest non-superhero movie, was a product of the pandemic. Until the winter of 2020, the director had been loyal to Warner Bros., and their logo was to be found on every film that Nolan either wrote, directed or produced.

While he was never formally tethered to that studio, Nolan had been monogamous as its cornerstone tentpole filmmaker, ever since his 1999 breakout indie film Memento led him to create Insomnia there.

That year, however, everything changed. The usually mild-mannered director was outraged by the decision of former WarnerMedia CEO Jason Kilar to perpetrate a blindside dumping of the studio’s entire slate onto its HBO Max streaming service. This attempt to build subscribers for its streaming service at a time few were going to theaters incensed Nolan and many others. The filmmaker was still wounded by the studio’s decision to release Tenet while the world had yet to fully emerge from lockdown.

In fact, he didn’t even have a film in the bunch being dumped, but he was nevertheless upset to see films made for the big screen — like Dune, The Matrix Resurrections, Wonder Woman 1984 and future Oscar-winner King Richard — drop day and date. As much a warrior for the traditional theatrical experience as Martin Scorsese and Quentin Tarantino, Nolan decided he would look elsewhere; no idle threat when you consider that the movies he directed there grossed north of $6 billion (more when you consider the DC films he produced or godfathered).

When Deadline revealed that Nolan would make Oppenheimer, and that Cillian Murphy — still riding high on the success of showrunner Steven Knight’s period gangster series Peaky Blinders — would likely play the title role, the news landed like a bombshell. Every studio responded by chasing it, and there were rumors that Warner Bros. might not even get a meeting. The lucky winner was Donna Langley, NBCUniversal Studio Group Chairman, who, like several other studios, agreed to Nolan’s ask for $100 million to make his movie, along with creative control and a massive global theatrical release.

“I’d wanted to be in business with Chris for a long time,” she says, “and he was always near the top of my blue-sky wishlist of directors. Just as movie fans, whose movies do we love? Chris’s name was always close to the top of that. And from a strategic standpoint, as we were coming out of the pandemic, it was very clear to us that the cinematic experience needed to be undeniable in order to get people back into movie theaters. Chris’s work is undeniably cinematic. He makes films for the audience to see in the movie theater. And so that became a strategic imperative for us.”

Her determination to land the project increased when she read the script. Juggling multiple timeframes, Oppenheimer explains how the work done by scientist J. Robert Oppenheimer in the early 1940s — the top-secret Manhattan Project, based in Los Alamos — led to the creation of the atomic bomb and the end of the Second World War. It also deals with Oppenheimer’s guilt, and how the American establishment turned on him once he’d served his purpose.

In there were two career roles, one for Irish actor Murphy as Oppenheimer, and another for Robert Downey Jr. as Lewis Strauss, the bureaucrat nominated to be Eisenhower’s Secretary of Commerce. Strauss was so insecure about being snubbed by Oppenheimer, Einstein and other geniuses while a member of the U.S. Atomic Energy Commission that he would try to play silent assassin to Oppenheimer’s reputation by staging a controversial hearing to revoke his security clearance and render him a pariah.

“I was just transported by it,” Langley says. “I was so relieved that it wasn’t a mind-bending, twisty-turny, science fiction extravaganza that I needed an encyclopedia to understand. This was a story about a living person and a moment of time and history. It’s one of the best screenplays I’ve read in my career.”

It was a script with all the trappings of a Christopher Nolan movie — shifting timeframes, complex characters — and it had an emotional core that struck Langley deeply. “It’s very intimate on the one hand, but it also has a giant scope,” she notes. “The world is on the point of collapse, there’s technology and innovation being chased after by multiple countries, and America has to be first in the race to get there. At the time, being deep into the Ukraine war, I was really struck by how resonant and relevant the story was. And as Chris put it to me, ‘This is the greatest American story never told in cinema.’”

Kilar is long gone now, and Warner Bros. is a more theatrical-friendly place, as theatrical has become the priority for event films once again. Nolan won’t say whether this was a one-time fling, but it is hard to deny he saved his best film for Universal. Unusually for a three-hour, non-franchise film released in July, it has made a near-billion-dollar gross, won seven awards at the BAFTAs (including Best Film and Best Director), and is widely believed to be the Oscar favorite, receiving 13 Oscar nominations that put the film in the frame for the same key categories, while recognizing Murphy, Downey Jr. and Emily Blunt for their work in the acting categories.

Nolan vividly remembers the time first he ever saw Murphy: it was a photograph in a newspaper, probably the San Francisco Chronicle. The director was staying in a hotel in the Bay Area, writing and rewriting the script for Batman Begins, while at the same time scheduling screen tests for the lead role. At the time, he didn’t know who was going to play Batman. He was, he says, “just looking to see who was out there.”

What caught his eye was an image from Danny Boyle’s apocalyptic zombie thriller 28 Days Later: though Murphy was covered in blood, the actor’s bright blue eyes provided stark contrast to the bleakness of a new reality spent eluding flesh-eaters. “It was a cool photo,” says Nolan, turning to Murphy. “You could see your eyes, and your presence. I was just very struck by it.”

“Had you seen the movie then?” asks Murphy.

“No,” says Nolan. “I literally just saw a picture. I then watched the movie, but the truth is, I already was interested. These things are very instinctive, and that’s the relationship that an audience has with an actor as well. It’s an instinctive and instant connection. So, yeah, love at first sight. I see the picture and I’m like, ‘Man, that guy’s got something.’”

Nolan invited him to LA for a meeting. They met, connected, and suddenly Murphy was on the Caped Crusader shortlist of actors Nolan tested for the role that ultimately went to Christian Bale. “But I think at the time you were quite a bit… more slight than you are now,” recalls Nolan. “You walked in, and I remember thinking, ‘Are you really going to be able to be Batman?’”

Still, Nolan was interested to see what Murphy was capable of, shooting a screentest with the actor reading some of Bruce Wayne’s scenes. He shot them in 35mm on a Warners soundstage with full, professional lighting — “Because I really wanted the studio to really be able to see what this was going to be” — and the results surprised him. “I just remember a sort of ripple of excitement going through the crew,” he says. “Hollywood crews, particularly, they’re very professional, but quite jaded. They’ve seen a lot of stuff, so you don’t often get that kind of thing where you feel everyone is paying attention.”

Murphy wasn’t expecting to get the part. “I remember knowing it was a test,” he says. “From my point of view, I was already a fan of Chris’s work and I just wanted to get in the room and audition. That would have been enough. I was totally content at that stage of my career just to say, ‘Oh man, I was in a room with Christopher Nolan, and we worked on some scenes.’ And then he called me out of the blue. I did not expect him to say, ‘Well, how about this other part?’”

That other part was the film’s main villain, the Scarecrow, which marked a significant shift in the Batman franchise. “I don’t remember having any resistance whatsoever to having a relative unknown take on a big part like that,” Nolan says. “And previously all those villains were played by actors like Arnold Schwarzenegger or Jack Nicholson. They were the biggest stars in the films. But no, [the studio] got it. They were all blown away by the test.”

So, what made him right for the villain but not Batman? “I don’t think he had the physicality at the time,” says Nolan. “We tested everyone as Bruce Wayne and we tested them as Batman, and the thing that Christian had that was so striking was that he understood that so much of acting is about reality. So much of acting is about emotional truth. And when you put on a costume like the Batsuit, you have to become this icon. Christian had this crazy energy that he just directed. He’d figured out how that worked and what that would be — the way Bruce Wayne does in the film. He adopts this persona. It’s a very specific thing. And he tore a hole on the screen as Batman. It was like, there was no question.”

Nolan turns to Murphy. “But it was interesting watching Peaky Blinders years later and seeing you play Tommy Shelby,” he says. “Whatever it is we’re talking about here, you’d figured it out. That’s an iconic character with an oppressive presence, where he walks into the room, and everything goes quiet, and he owns that space. In the way Batman does, or an iconic character of that kind. There’s a physicality that’s extremely confident and strong in everything he does, in every gesture.” He pauses. “Is that a conscious thing you’ve developed over the years, or was it just looking at that part and thinking, ‘How do I do that?’”

“I think it was both,” says Murphy. “But I also think I felt, back then, that that was a part I hadn’t really explored before, that kind of physically imposing character. I’d never been offered those parts. But I always think, Chris, that one of your underrated strengths is casting. Everyone knows all of your amazing strengths, but you cast things exquisitely. And I think the Scarecrow was the right part for me to be in at that time in my career.”

So, what makes an actor right for the type of role he was wrong for earlier? “I’ll tell you a story,” says Nolan. “I was talking to one of the crew, Nathan Crowley, who designed the Batman films. He told me he had seen Peaky Blinders. I hadn’t. And he said to me, ‘Yeah, Cillian put on all this weight for the part. He’s big.’ I watch it, and I’m like, ‘That’s not what it is, it’s not that.’ I mean, maybe he did put some bulk on, maybe he’s just getting older and more filled out. But that’s not what I saw. I was like, ‘No, this is physically the same guy, but he is using his gift, his instrument, to project scale in a way that I hadn’t seen before.’”

While it took him time to summon that presence, Murphy agrees that it had more to do with craft than physical bulk. “When I was a kid, about 16, I had the great privilege of seeing Jonathan Pryce play Macbeth at the National Theatre in London,” he says. “I had only seen him in films like Brazil, and he was a fairly slight guy. I watched him in real life play this huge role and he just seemed like this enormous force. It was about projecting.”

“I don’t know how you do that,” says Nolan. “And it’s probably something you don’t like to be too self-conscious about, but what I saw you do, what Tommy showed me, that’s what I saw, was an ability to transcend your own physicality, your body, and work beyond that and make people see this character in a different way. I mean, that’s the gift of great actors. And I don’t know how it works, but I’ve seen it.”

“I don’t know what it is either,” says Murphy.

Whatever that elusive quality was, Nolan knew he needed it to tell the story of Robert Oppenheimer. From his feature-length debut, the sleight-of-hand thriller Memento, to the Dark Knight Trilogy, and the boundary-bending likes of Inception, Interstellar and Tenet, Nolan has always been unafraid to tackle ambitious and complex narratives. But framing Oppenheimer’s story was to be the biggest challenge of his career.

Nolan grew up in the U.K. in the 1980s, during the Cold War and the continued concern over the danger of the arms race between the U.S. and the Soviet Union. His curiosity about Oppenheimer began with a lyric in Sting’s 1985 song “Russians”, in the which the singer asks, “How can I save my little boy from Oppenheimer’s deadly toy?”

“I’m a little older than Cillian here, but he probably remembers growing up in the U.K. in the ’80s,” says Nolan. “It was a time of great fear of nuclear weapons. I talked to Steven Spielberg about this. It was like growing up in the ’60s, with the Cuban missile crisis. The ’80s were a very similar thing. There were protests, and there was a lot in the pop culture about nuclear weapons. But it was Sting’s song ‘Russians’ where I first heard Oppenheimer’s name, and there was this very palpable fear of nuclear Armageddon.”

The 2005 book American Prometheus, by Kai Bird and Martin J Sherwin, captured Nolan’s interest further (in Greek mythology, Prometheus defied the Olympian gods by giving man the gift of fire). “It was after reading American Prometheus that I started to see a way in which you could tell this as a story, by taking on Oppenheimer and seeing it really from his point of view. And everything else followed after that. With something like the fear of nuclear weapons, you have to have a human way into that, and, for me, that was Oppenheimer.”

What struck Nolan in reading the book was hearing that Oppenheimer and his brother would go to Los Alamos as children to camp. “The connection between Los Alamos and the nuclear weapon he was developing, that comes from Oppenheimer’s childhood,” he notes. “He wanted to combine his interest in New Mexico — playing cowboy like he did, that love of the outdoors — with physics, and that’s what he did with the Manhattan Project.”

More so than the propulsive elements of the story, that the Americans were in a race against time to beat the Nazis, it was that element that convinced Nolan he, indeed, had a movie. “Once I’d read that, that’s where I started to see a personal connection,” he says. “And once you have the personal, then you start looking at the events, this thriller aspect to it that just kept coming in with everything that happened to Oppenheimer after 1945. It was a bunch of different things coming together.”

Indeed, Oppenheimer was later subjected to a politically charged tribunal that stripped his security clearance and rendered him a pariah, adding to his burden of having unleashed a weapon that, in the wrong hands, could destroy the world and had already cost over 100,000 lives when the bombs were dropped on Hiroshima and Nagasaki to end WWII.

“American Prometheus is such a remarkable book,” Nolan muses. “Martin Sherwin worked on it for 20 years before Kai Bird joined. They did another five years. It’s a quarter of a century of research and interviews. I got the benefit of that, which was wonderful.”

Key to the story’s attraction was Oppenheimer himself, and Nolan was determined to unravel the scientist’s enigma. We’ve seen depictions of the fragility of genius in films like Shine, A Beautiful Mind, even Good Will Hunting, and how the brightest intellects can come unstuck. But Oppenheimer seemed to enjoy his post-WWII fame on the covers on Time and Life magazines, and in speeches. Was he a narcissist or a hero?

“I think he was definitely a hero, definitely a narcissist,” Nolan concludes. “He was a lot of different things. Very theatrical. What I got from American Prometheus, and what I started to get interested in is, he was someone who had a lot of neurosis and a lot of trouble very early in life, as he came of age at the same time that he was wrestling with these incredibly abstract concepts. We tried to fuse those things, show this kind of energy inside him and show how he masters that. And all the imagery of atoms and splitting atoms to me, they’re very related to his internal state, as a young man in particular. There’s a lot of dangerous tension inside this guy. A lot of dangerous mental energy.”

Murphy proved to be a strong physical match for Robert Oppenheimer; his handsome looks lent themselves to the theoretical physicist’s status as a womanizer, and those blue eyes were an ideal cipher for the wildness of those early scholarly years, when Oppenheimer was trying to harness his genius. All this came as a surprise to Murphy, back when Deadline revealed that Oppenheimer was Nolan’s next secret project and that he wanted Murphy to be number one on his call sheet, after five other movies with the director.

“I tried to ignore your story because I hadn’t heard from Chris or Emma [Thomas, Nolan’s partner and producer],” Murphy says. “It came out, everyone was texting me, and I said, ‘No, there must be some sort of mistake,’ or, ‘It’s just a rumor,’ because I hadn’t heard from those guys. A day or two later, Chris called me. This was out of the blue. Because Chris doesn’t write the script with actors in mind, which, when you think about it, is really, really smart because he doesn’t put any limitation on himself as a writer, or on the actor. So, it came out of the blue, and in the best way possible because I was unemployed. I hadn’t any work lined up.”

“It was perfect timing,” says Nolan. “He could have easily said, ‘Well, I’ve got a thing…’”

Murphy remembers that he had just finished up work on Peaky Blinders. “Bear in mind I said yes before I read the script,” he says, “because I always do that with Chris.”

Then it was Nolan’s turn to sweat, when he showed Murphy the script. “I said, ‘How about it?’ After Cillian said he was in, I flew to Dublin, and he came to my hotel and sat and read the script. I went off to the Hugh Lane Gallery and looked at Francis Bacon’s Studio, which I’d always wanted to see. And then we came back, and we had a chat about it. I remember doing this with Heath [Ledger] on The Dark Knight. He’d signed up for it, and then I showed him the script. There’s that moment of, like, ‘Are you going to feel good about that commitment?’”

He turns to Murphy. “But you seemed very into the script. You seemed very… I wouldn’t say relieved, I’d say you seemed excited.”

At this, Murphy breaks into a big smile. “It was one of the greatest scripts I’d ever read,” he says. “It was just astounding. But I knew it was huge. I knew this wasn’t just a part you could turn up at next week and get going. I was immediately going, ‘All right, f*ck, f*ck, f*ck. I’ve got to do all of this. This is huge.’ And, in fact, I was already working, getting going before I read the script. I knew I just had to go at it meticulously and make a strategy to go at it because there was just so much to do, emotionally, physically and intellectually.”

Murphy did more than just try on Oppenheimer’s signature hat. “I immediately started reducing calories,” he says, “which was a stupid thing to do, like, six months away from shooting. But I wanted to start feeling like him. I watched all the historical materials. I read the book, obviously. I started looking at all his lectures online. Any other stuff that was around. All the accounts from people that knew him were really, really interesting to me. Talking to [physicist] Kip Thorne, who was the scientific advisor on it. He had been lectured by Oppenheimer, which was really, really useful.”

Nolan interrupts. “That was a good thing,” he says, “because I’ve done a couple films with Kip; Interstellar was Kip’s original idea. I’d called him because I needed his help on the whole quantum physics thing. And in the course of the conversation, I realized that when he was at Princeton, he’d attended Oppenheimer’s lectures at the IAS. So immediately I was like, ‘Well, will you get on the phone with Cillian and talk to him about how he taught?’

Those testimonials helped Oppenheimer capture gestures and mannerisms that most of the audience for the film wouldn’t register.”

Says Murphy, “Kip talked about how Oppenheimer held his pipe on stage, and how he had the cigarette in one hand and the chalk in the other hand; We talked about how he was very aware of his presence, his legend, and his theatricality, all of that stuff.”

“I remember you telling me after you spoke to Kip, and we incorporated it into the staging as well,” says Nolan, “that Oppenheimer would let people talk. He was very good at summarizing a discussion. Which I think became absolutely key to the whole, to all of the Manhattan Project scenes.”

“He was an excellent synthesizer and manager,” Murphy agrees. “He didn’t seem the obvious choice for it, but he was.”

Together, Nolan and Murphy found the physical style for the lanky Oppenheimer, and one of the style influences was David Bowie, circa 1976. “Everything about him was constructed,” says Nolan. “Oppenheimer constructed his entire persona, his entire self. That’s why I threw the David Bowie photographs at you, Cillian. This was the Thin White Duke era. David Bowie has these crazy high-waisted trousers that were very, very similar in proportion to what Oppenheimer would wear at the end of Los Alamos. Bowie was always the ultimate self-constructed pop icon, and I think Oppenheimer was similar, in his own way. Obviously, it’s a completely different world, but he used his persona to achieve a mass of things.”

Murphy, who started out with the intention of a music career until he turned down a record deal and chose the acting life, sparked to the influence. “When Chris sent me that, I printed that picture out and I put it on my script,” Murphy says. “He sent it to me with no context, and I knew exactly what he meant, because I’m a music nerd and I could see the crossover. So, it was there in the back of my script for the whole shoot.”

More important, however, was getting Murphy ready for the emotional toll that playing Oppenheimer would bring, particularly after his triumph in Los Alamos. History hasn’t been kind to war heroes, as was seen when British mathematician/computer scientist Alan Turing cracked the Nazi enigma machine code — a breakthrough that shortened the Second World War — only to be punished for his homosexuality, which was illegal at the time. Similarly, Oppenheimer became a punching bag in a politically charged kangaroo court.

“I’m plagued by a line from The Dark Knight, and I’m plagued by it because I didn’t write it,” says Nolan. “My brother [Jonathan] wrote it. It kills me, because it’s the line that most resonates. And at the time, I didn’t even understand it. He says, ‘You either die a hero or you live long enough to become the villain.’ I read it in his draft, and I was like, ‘All right, I’ll keep it in there, but I don’t really know what it means. Is that really a thing?’ And then, over the years since that film’s come out, it just seems truer and truer. In this story, it’s absolutely that. Build them up, tear them down. It’s the way we treat people.”

Murphy believes that the security of 20 years working together emboldened him. “If you don’t have that history, or that level of trust, with a filmmaker,” he says, “I don’t know if you can be as brave or can dive in like I was able to on this one.”

Nolan has his own theory. “Maybe I’m wrong,” he says to Murphy, “but I feel like, after finishing Peaky Blinders, you were in a peculiar place in your career, because you’d been playing the same character for a lot of years. Very, very well with massive success, creative success and artistic success, and also people recognizing the success. You must have felt very comfortable in that character. Steven Knight’s writing is beautiful, and is always challenging the character, but it’s still a second skin that you’d developed that you were slipping into. But then you’re moving to an arena where all that’s gone. This was a true ‘out of the hot tub and into the cold plunge’ moment.”

Nolan appreciated the effort it took. “For me, particularly with such a big cast, Cillian was the element I was able to completely take for granted,” he says, “to the point where on Downey’s last day, he came up to me and said, ‘Do you understand how hard this guy is working for you?’ It was towards the end of the shoot. He was like, ‘He’s exhausted.’

And I said, ‘Thanks, Robert, he’ll be fine.’ And he was fine. But the point was taken that, yeah, I was able to take what he was doing on set for granted because I knew how great the work was. But the reality is, I didn’t realize the magnitude of the performance until I put it together in the edit suite. This is true, I think, of all great performances; you see what you see on set. But then, in the edit, you actually see it the way the actor has performed it. Even though you have been shooting in a crazy order, he’s figured out how all these pieces go together, and then you start to see it come together. It’s a really pretty magical thing.”

One of the first filmmakers Nolan showed the film to said something that really stuck with him. “There’s never that moment where you see the actor realize how great the part is,” he recalls this director telling him. Nolan knew exactly what he was talking about. “Because that’s the thing,” he says. “Particularly with serious movies, or when an actor has a great opportunity, you see them enjoying the taste of it a little too much. There’s always that moment. And that is not in this performance. This performance is totally pure. To me, this performance is much more about the real world, the way people are flawed, continuously flawed. There’s not one little thing they do wrong — we’re all good and bad, and there are layers of that. Oppenheimer is the absolute essence of that. The performance embraces that and carries the audience. But if the performance didn’t unselfconsciously embrace that, it wouldn’t work at all.”

Murphy is flattered. “It’s the nicest thing you could say,” he smiles. “But for me, I remember when I was doing it, if at any point I ever felt, I don’t know, anxious or insecure, I would always think, ‘No, Chris has seen something in me, and he’s drawing something in me out that I didn’t know was there really before.’ And I remember saying to him before we started shooting — because he’s always really pushed me in the best way, and he pushes all his performers in the best way — ‘Push me as hard as you possibly can on this one,’ because I knew we had to do that.”

The payoff comes in the ending, when the audience learns what Albert Einstein (Tom Conti) actually says to Oppenheimer. Strauss looks on, but Einstein walks past and ignores him. That Strauss was insecure and petty enough to believe their chat was about him, instead of being an intimate moment between geniuses who each bore the burden of creating weapons of mass destruction that pulled the world into a dangerous new age, is… Well, let Murphy describe it.

“I’m all about third acts and endings,” he says, “and when I read the script, that time in Dublin, knowing that’s one thing Chris always nails, I remember thinking, ‘What a f*cking ending.’ It’s extraordinary. And that’s from Chris’s imagination. It’s not from history, but it’s just genius. You can write an extraordinary script, but you can write yourself into a corner and the audience feels shortchanged if you don’t nail the f*cking ending.”

Says Nolan: “We talked very carefully about the moment where Kitty [Emily Blunt] says, ‘Did you think if you let them tar and feather you the world would forgive you? It won’t.’ I love the way Cillian performs in that moment, it was so important to me that it hit this exact note. And I didn’t know what that exact note was. I just knew that I’d know it when we hit it, because it needed to be sort of self-conscious in a slightly more open way.

“In the rest of the film, everything Oppenheimer does that’s a little bit vain or a little bit self-conscious, it’s almost as if he’s unaware of it,” Nolan says. “And I feel like in that moment, he opens up to the audience just a hair more, and says, ‘We’ll see.’ Because he puts the question to the audience, in a way. ‘Do you think the world will forgive you?’ ‘We’ll see.’ And I think the jury’s still out very much, but I think he’s definitely better thought of than he would be if he hadn’t been made to suffer.”

To Nolan, putting Oppenheimer, and Murphy, through the wringer in the latter part of the film evoked many higher themes. “When I showed it to Kai Bird for the first time, I said, ‘Look, this is my idea of who he is. This is who I feel he is. I feel that he’s ahead of those people in that room who are torturing him. I feel like he does have a vision to the world beyond that. And it’s partly a vision of fear, and a vision of the idea of the chain reaction. But it’s also partly how history will judge him. And if he fights too hard, or even if he won that fight…’

“It’s a bit Christ-like really, isn’t it?” he suggests. “It’s sort of knowing that the way to win is actually to lose. That was what I felt was inside him, and then the way you played it, Cillian. But there’s also great suffering. And I thought, I mean, Jason Clarke does such a wonderful job in the scene. And what nobody knows, because they weren’t there, but when we were filming your side, he just went nuts.”

Murphy interrupts. “Well, you f*cking made him go nuts! I thought at one point he was actually going to punch me out. It was like this big push in on me, each one, and I said to Chris, ‘I don’t know what you said to him, but he was like a f*cking animal, man.’ And then you used that take.”

Nolan lights up at the memory: “He was throwing stuff, and that’s mostly the take we used. It’s a combination of different takes, but that one was absolutely key. I just thought it was wonderful, but he hadn’t shot his side yet, and I worried he was going to lose his voice. But we came back the next day to do his side.”

“This is a case in point,” says Murphy, “where we were doing that big push. I remember going, ‘Do you think we got it, Chris?’ And you were like, ‘Eh. Let’s go again.’ I love that. You could say, ‘We can all go home now,’ but instead, you said, ‘Let’s just go again.’ Sometimes it doesn’t work, but that time it did.”

When the atomic bomb test succeeds, Oppenheimer is carried on the shoulders of others like a football coach who’s just won the Super Bowl. There’s even a scene in which Harry Truman (Gary Oldman), the president who dropped Oppenheimer’s bombs on Japan, is shown to be disgusted by the physicist’s remorse. But his role in the destruction and massive loss of life in Hiroshima and Nagasaki must have left Nolan with a real balancing act.

“As you put a script together,” he says, “you try and focus in on things like, what’s the key idea that has to work here? What are the key shifts that you need the audience to be struck by? And in the case of Oppenheimer, it was very clear to me that the whole purpose of the screenplay is to go from the absolute highest high of triumph, with Trinity, to the sheer lowest low of the realization of Hiroshima, in as short a time as possible.

“That was always going to be just a crazy shift,” he continues. “We talked about this a lot, in the moment where, earlier in the film, the atom is split. And then when Luis Alvarez [Alex Wolff] reproduces the experiment, in the script Oppenheimer immediately, as he did in real life, jumped to the idea that, you could make a bomb from this. The way in which Cillian performed that, it was very precise because it couldn’t be portentous. Obviously, he’s playing an intelligent man and he’s talking about bombs, but we couldn’t signal to the audience the negativity of where that was going to go, in terms of his frankly existential dilemma, the burden he’s going to carry later. You don’t want to foreshadow that in the performance. It was very important that the performance not foreshadow that, that it’d just be part of his journey that he’s interested in. To him, it’s actually exciting.”

In Nolan’s mind, the job is to paint a picture to help the audience form its own opinion about nukes, rather than betray his own morals and have it amount to feeding the audience cinematic spinach. “For me,” he says, “cinema can never be didactic, because as soon as it tells you what to think, you reject the art, you reject the storytelling. You see that a lot, particularly this time of year. It’s like people want movies to be able to send messages. But the truth is, I’m with whichever mogul who said, ‘Call Western Union if you want to send a message.’ In taking on Oppenheimer’s story, I don’t think there’s anyone who thinks that nuclear weapons are a good thing, so there’s not much point in telling the audience that.”

He pauses. “I’m sorry I’m going on a bit about this, but it’s a really interesting question. I had to explain this to everybody very early on: I’m not interested in making a story about how naive scientists accidentally created something that’s terrible for the world and then felt bad about it. Oppenheimer was one of the smartest people who ever lived. He knew exactly where this was going. The point is, they had to do it. They were put in a position where they believed that if the Nazis got the bomb, it would be the worst thing imaginable for the world. And so, they had to do what they had to do. But they did it knowing that the consequences would be potentially awful.

“That’s what makes the story so compelling from a human point of view. It’s not that they didn’t realize where this was going. It was that they felt they had no choice.”'

[c-cracks]

Matrix Breakout: 2 Morpheus

Hello everyone, it's been a while. :)

Haven't been posting much recently as I haven't really done anything noteworthy- I've just been working on methodologies for different types of penetration tests, nothing interesting enough to write about!

However, I have my methodologies largely covered now and so I'll have the time to do things again. There are a few things I want to look into, particularly binary exploit development and OS level security vulnerabilities, but as a bit of a breather I decided to root Morpheus from VulnHub.

It is rated as medium to hard, however I don't feel there's any real difficulty to it at all.

Initial Foothold

Run the standard nmap scans and 3 open ports will be discovered:

Port 22: SSH

Port 80: HTTP

Port 31337: Elite

I began with the web server listening at port 80.

The landing page is the only page offered- directory enumeration isn't possible as requests to pages just time out. However, there is the hint to "Follow the White Rabbit", along with an image of a rabbit on the page. Inspecting the image of the rabbit led to a hint in the image name- p0rt_31337.png. Would never have rooted this machine if I'd known how unrealistic and CTF-like it was. *sigh*

The above is the landing page of the web server listening at port 31337, along with the page's source code. There's a commented out paragraph with a base64 encoded string inside.

The string as it is cannot be decoded, however the part beyond the plus sign can be- it decodes to 'Cypher.matrix'.

This is a file on the web server at port 31337 and visiting it triggers a download. Open the file in a text editor and see this voodoo:

Upon seeing the ciphertext, I was immediately reminded of JSFuck. However, it seemed to include additional characters. It took me a little while of looking around before I came across this cipher identifier.

I'd never heard of Brainfuck, but I was confident this was going to be the in-use encryption cipher due to the similarity in name to JSFuck. So, I brainfucked the cipher and voila, plaintext. :P

Here, we are given a username and a majority of the password for accessing SSH apart from the last two character that were 'forgotten'.

I used this as an excuse to use some Python- it's been a while and it was a simple script to create. I used the itertools and string modules.

The script generates a password file with the base password 'k1ll0r' along with every possible 2-character combination appended. I simply piped the output into a text file and then ran hydra.

The password is eventually revealed to be 'k1ll0r7n'. Surely enough this grants access to SSH; we are put into an rbash shell with no other shells immediately available. It didn't take me long to discover how to bypass this- I searched 'rbash escape' and came across this helpful cheatsheet from PSJoshi. Surely enough, the first suggested command worked:

The t flag is used to force tty allocation, needed for programs that require user input. The "bash --noprofile" argument will cause bash to be run; it will be in the exec channel rather than the shell channel, thus the need to force tty allocation.

Privilege Escalation

With access to Bash commands now, it is revealed that we have sudo access to everything, making privilege escalation trivial- the same rbash shell is created, but this time bash is directly available.

Thoughts

I did enjoy working on Morpheus- the CTF element of it was fun, and I've never came across rbash before so that was new.

However, it certainly did not live up to the given rating of medium to hard. I'm honestly not sure why it was given such a high rating as the decoding and decryption elements are trivial to overcome if you have a foundational knowledge of hacking and there is alot of information on bypassing rbash.

It also wasn't realistic in any way, really, and the skills required are not going to be quite as relevant in real-world penetration testing (except from the decoding element!)

[sinceileftyoublog]

Viagra Boys Live Show Review: 2/24, The Salt Shed, Chicago

BY JORDAN MAINZER

Growing up in California, people told Sebastian Murphy he was too much of a freak. When he moved to Sweden, there they told him he was too normal. That’s how the Viagra Boys frontman introduced “Punk Rock Loser”, a self-aware standout from the band’s third album Cave World (YEAR0001), Friday night at The Salt Shed. The song showcases a drug-addicted, reckless, overconfident man, one that Murphy admits he perhaps used to be, not even five years ago. It’s this mixture of self-hatred and idealization where Murphy, and Viagra Boys as a whole, lies, a presence truly reflected in their live show.

The very makeup of Viagra Boys is a microcosm for the contrasts they demonstrate. As a frontman, Murphy exaggeratedly emulates the toxic males Viagra Boys chide. Swilling beer, sunglasses on, his words barked, Murphy shouted and slurred his way through “Big Boy”, the very sight of a heavily tattooed, beer bellied man gravel-throating the words, “Well I’m a big boy, baby,” seemingly designed to send shudders down the spine of a normie. On the flipside, there’s saxophonist Oscar Carls, the only member of the band to match Murphy’s level of sheer performance. Also donning Matrix-era sunglasses, equally drunk (on wine he kept filling up), the short-shorted, slender player vogued his way through “Ain’t Nice” and “Big Boy” when he wasn’t impressively skronking on his instrument. On the instrumental ‘Cold Play”, his swirling solo dabbled in free jazz improvisation, the type of artistic headiness that’s on the opposite end of the spectrum of Murphy’s hilarious blathering.

The funniest thing about Viagra Boys, though, is how good of a live band they are. From Elias Jungqvist’s scratchy keyboard breakdown on “Big Boy” to Tor Sjödén‘s crashing drums on “Sports”, they’re simultaneously tight and adventurous. They’re also surprising. Sjödén sang in beautiful falsetto harmony with Murphy’s slow drawl on “The Cognitive Trade-Off Hypothesis”. Jungqvist added a wavering synth line to “Sports”. Murphy picked up a guitar on freakout jam “Shrimp Shack”. The band established a stage presence and immediately supplanted it.

Viagra Boys are satirists, their very name referencing a sense of false virility that pervades the hyper-aggressive men and conspiracy theorists they make fun of. In a sense, it’s a genius formula: As long as there are idiots, there will be Viagra Boys songs, like “Creepy Crawlers”, which saw Murphy writhing on the floor, imitating the desperation of a particularly brainwashed anti-vaxxer: “They're putting little creepy crawlers in the vaccine!” Yet, part of Murphy’s imitation is putting himself in the shoes of his subject, as he’s fascinated by them without thinking of himself as above them. On stage, he contrasted an early song like “Liquids” with Cave World’s anti-gun diatribe “Troglodyte”, stating he, “Now writes about political turmoil and the state of the world.” But the next song the band played in the set was “Sports”, their breakout single, the very song that makes fun of men who unnecessarily wear sunglasses. You know, like the Viagra Boys themselves.

And then there’s “Worms”. It’s a stylistic outlier in Viagra Boys’ catalog, a little bit country, featuring a subdued bassline, Murphy adopting a twang. “The same worms that eat me will someday eat you, too,” is like a John Prine punchline turned into a whole song, but one that’s an appropriate reminder that whether you’re right or wrong, an asshole or a nice person, death is the great equalizer.

[synthient]

was the matrix Neo's first game, or just his big breakout hit? was there an in-universe analogue to Bound? actually, the "Corky's massage" sign in his modal kind of implies that he just straight up made Mafia Lesbians For The PS1 (1996)

[bentevviolet]

i have a theory:

since birth, most of us are beautiful. everyone has beauty. even the people that are not the current societal standard. beauty is a matter of being alive, perspective, and lighting. however, as time goes on - we become molded to certain patterns. good and bad alike - and we trade certain aspects of our physical form for experience. for example, we might trade a wonderful night out of drinking for a breakout the next day (generally speaking). however for me, beauty is an action. it is a way of being. ugly behaviors will define your looks faster than smoking, eating fast food, or never moisturizing. but this is common knowledge. my theory is that from ages 0-27 we are beautiful because we are young, we are used to bouncing back, we are also used to being somewhat reckless. the ugliness inside we've been tallying up finally begins to show. suddenly that smoking habit has caught up with you. suddenly the messy room becomes a biohazard. suddenly you cant move like you used to because you've been stationary, busy. these are physical examples of stagnation - not internal ugliness. internal ugliness is victim complex, heightened sense of ego, comparison olympics, etc. i look around me and i see beautiful people who have never really gotten to know the ugliness inside. they assume they're better than the homeless person on the street covered in the city, trying to survive. they assume they're better than the current media spectacle. i've assumed. i assume. until recently. recently i've been thinking about death so much that it slingshotted me back into the land of the living. i forgave my stagnation and unidentified with it. i am not perfect, i simply found a new way to want to be alive. ugliness. in a world that is so obsessed with beauty, and not a stitch of sexuality - be ugly. stand out. love your flaws, your humanity. the standard of beauty is to spend your entire bank account, your entire career, and your entire free time being beautiful. a new desire pops up everyday, along with a new flaw. you can now file your toe-nails while driving because that boy isn't going to love you more than the other girl born with perfect toe nails. but ugliness? whoever can stand naked in their human condition wins. fear will drain your life faster than the cigarettes. anyway, my theory is that everything is porn now. porn is walmart. walmart is basic. basic is brain rot. brain rot is lobotomy. lobotomy is purgatory. worse than death.

be the glitch in the matrix. accept your humanity. you're no better than the people you spend your life speculating about. you're no different. there is liberty in this statement. you can be free knowing that you are everything you see. be not afraid of yourself or the depths that lie within you.

amen.

[consult2architect]

KEYESTUDIO Super Starter Kit for Raspberry Pi 4 3 3B/3B/B+, Tutorials C Language Python Java Code STEM Education Kit, Electronic Components GPIO Breakout Solderless Breadboard LCD Relay 5v Dot Matrix

Price: (as of – Details) From the brand Keyestudio products are involved in Arduino boards, shields, sensor modules, Raspberry Pi, Microbit boards, Starter kits and Robot car. We have our own factory and professional team with more than 10 years of experience. All of our products comply with quality standards and are greatly appreciated by our customers all over the world. We keep striving our…

[jaynasti69]

Rebuild Your Temples Music Video

[theultimatefan]

FAN EXPO Philadelphia Returns May 3-5, With Lopez, Gunn, Day, McKenzie Among First Stars

Fans of all things pop culture have marked their calendars for the return of FAN EXPO Philadelphia, set for May 3-5 at the Pennsylvania Convention Center. With the show fewer than four months away, the guest roster for the pop culture extravaganza gets off to a huge start with the first nine standouts in what will be a star-studded lineup.

First to the post are headliners Mario Lopez (“Saved by the Bell,” “Access Hollywood”), Sean Gunn (Guardians of the Galaxy, “Gilmore Girls”), Felicia Day (“The Guild,” “Dragon Age: Redemption”), Ben McKenzie (“Gotham,” “The O.C.”), Holly Marie Combs (“Charmed,” “Picket Fences”), Adam Savage (“MythBusters,” “Unchained Reaction”), Michelle Hurd (“Star Trek: Picard,” “Law & Order: SVU”), Sofia Boutella (Rebel Moon, The Mummy) and Jason Lee (“My Name is Earl,” The Incredibles).

Lopez first gained attention for his role as “A.C. Slater” on “Saved by the Bell” from 1989-1993 and its reboot in 2020-21. He also served as host for the syndicated entertainment newsmagazine shows “Extra” and “Access Hollywood.” He also starred in the police drama “Pacific Blue” and had a recurring role on the daytime drama “The Bold and the Beautiful.”

Gunn played "Kraglin" in Guardians of the Galaxy (2014) and its sequels in 2017 and 2023, as well as providing the physical performance via motion capture for "Rocket Raccoon" in the films plus Avengers: Infinity War, Endgame and Thor: Love and Thunder. He also portrayed "Kirk Gleason" throughout the seven-year run of "Gilmore Girls" among his 60+ acting credits.

Day has more than 100 credits, from films to TV series to voice work, with many highlights including a 66-episode run on “The Guild” and recurring spots on “Supernatural” and “Eureka.” She teamed with original series host Joel Hodgson for a five-year run on the recent iteration of “Mystery Science Theater 3000” and had her first big fandom exposure in a recurring role as “Vi” on “Buffy the Vampire Slayer.”

McKenzie, who portrayed the lead character “James Gordon” in the hit Fox TV show “Gotham,” was born in Austin, Texas, appearing in theater productions and a few TV shows including “The District,” “JAG” and “Mad TV” before the success of “The O.C.” launched him into stardom. His film roles have included Junebug opposite Amy Adams and 88 Minutes with Al Pacino. The University of Virginia graduate’s starring role in “Gotham,” which regularly hit nearly seven million weekly viewers, followed the Commissioner’s life before Batman came onto the scene.

Combs starred in "Charmed," which ran for eight seasons and has adopted a huge, loyal following since, as "Piper Halliwell," one of three witch sisters fighting evil in modern day San Francisco. That followed her breakout role in 88 episodes of the hit series "Picket Fences" and later led to appearances in more than 30 series and movies and a long run as "Ella Montgomery" on "Pretty Little Liars."

Savage, best known for his work as the co-host of the Discovery Channel series “MythBusters” and “Unchained Reaction,” has made his mark in the entertainment world as a special effects designer and fabricator, actor, educator, television personality and producer. His special effects work on such films as Space Cowboys (2000), Galaxy Quest (1999), Star Wars: Episode I - The Phantom Menace (1999), Star Wars: Episode II - Attack of the Clones (2002), The Matrix Reloaded (2003) and others earned him acclaim that led to the “MythBusters” gig and front-facing success.

Hurd has appeared in a wide variety of projects, notably in regular roles in “Star Trek: Picard,” “Blindspot,” “Hawaii Five-0,” “The Glades” and “Law & Order: SVU.” She had her first extended exposure as “Dana Kramer” on the daytime drama “Another World,” and last year co-starred opposite Jonathan Bennett and Cedric the Entertainer in the feature film The Plus One.

Boutella played the lead character in last year’s Netflix action-adventure feature Rebel Moon: Part One: A Child of Fire, a follow up to her role in “Rogue Heroes” a year earlier. She co-starred opposite Tom Cruise in the fantasy-adventure film The Mummy in 2017 and was also top billed in the science fiction drama Settlers and Prisoners of the Ghostland alongside Nicolas Cage and Nick Cassavetes in 2001 and the horror film Climax in 2018.

A native of Southern California, Lee is a photographer, producer, director, and actor. Having established a successful career as a professional skateboarder during the sport's pivotal late 80s and early 90s period, Lee would go on to pursue acting, which would lead to working in film, television, and voiceover, and with such directors as Kevin Smith, Lawrence Kasdan, Cameron Crowe and Rebecca Miller.

Single-Day Tickets, Three-Day Passes, Ultimate Fan and VIP Packages for FAN EXPO Philadelphia are available now. Advance pricing is available until April 18. More guest news will be released in the following weeks, including line-up reveals for additional headline celebrities, comic creator guests, voice actors and cosplayers.

Philadelphia is the eighth event on the 2024 FAN EXPO HQ calendar; the full schedule is available at fanexpohq.com/home/events/.

[mysterycharacterflowers]

Blue Roses 2

Meaning and why this flower was chosen:

– This flower can represent "a dream come true" or an "imposibility" -blue roses do not occur in the wild, and have to be artificially dyed through human effort.

This alludes to the fact that this character is transmasculine, but realizes over the course of their character arc that they'd be happier identifying as nonbinary. Though they thought they'd be happier as a boy, it turns out what suits them best is something that fits within the gender binary, something that has to be achieved through human effort.

– Ton of people are stuck in a matrix, and fighting to escape the escapist world lets you unlock superpowers that besides a weapon, gives you flowers

There's this guy, they're your bro, your buddy.

First guy to join the breakout gang. they likes Trains and trying to do all the guy things. Catharsis effect? They have a crossbow, and also a binder and heels. And Blue roses.

Transgender.

This character's regret is he didn't get to transition publicly. But also now that they're here, they're not getting that expected gender euphoria. They discover theyre TRANSMASC NON-BINARY. SEXUALITY? YES. Dated both guys and girls. Canon. Discussed. Did you know non-binary is also a jp loanword? so cool. Anyway. Blue Roses aren't natural, you need to make them yourself, just like how this character wants to transition irl. Just like the identity they forged for themself. It's all about self-realisation and ACTUALISATION

Description:

– The classic best friend character in an urban fantasy JRPG - a second in command who puts a voice to the team's plans that the silent protagonist cannot. Perceptive, good natured, and an all around nice guy, they're a memorable character even amongst the "best friend" archetype.

Also transgender.

– Your best friend, ally and partner, because that's a role they've always wanted to play. Still figuring out their true self.

Make sure not to leave them alone at a subway, they'll memorise every single timetable.

(The picture was taken from this site!)

[tastebuds1]

The Department of Truth March 2, 2021 by James Tynion IV (Author), Martin Simmonds (Artist) THE X-FILES meets SOMETHING IS KILLING THE CHILDREN and for fans of THE BLACK MONDAY MURDERS

"A wonderfully dizzy mixture of Men in Black, John Carpenter, Stephen King, The Matrix, and 1970s conspiracy thrillers."- Forbes

“A story for our zeitgeist. SIMMONDS' art invokes Bill Sienkiewicz.”- Entertainment Weekly

"It is FANTASTIC. Can't wait to read the whole series!"- Patton Oswalt

COLE TURNER has studied conspiracy theories all his life, but he isn't prepared for what happens when he discovers that all of them are true, from the JFK Assassination to Flat Earth Theory and Reptilian Shapeshifters. One organization has been covering them up for generations. What is the deep, dark secret behind the Department of Truth?

From bestselling writer JAMES TYNION IV (BATMAN, SOMETHING IS KILLING THE CHILDREN) and breakout artist MARTIN SIMMONDS (DYING IS EASY)!

[ailtrahq]

The predicaments of BTC price trajectories envelop both the thrill of potential gains and the peril of unexpected downturns. While the aforementioned numbers and projections have been meticulously calculated, it is imperative to underscore the unpredictable and speculative nature of cryptocurrency investments. BTC Price Target Today The cryptocurrency realm offers its regular dose of volatility, and today, the 9th of October 2023, the spotlight is fervently shining on BTC Coin. With a present valuation pinned at $27,937.8, traders, investors, and crypto enthusiasts alike are keen to decipher the matrix that might unveil the coin’s forthcoming journey. Peering through the looking glass, we discern that the last bullish target looms at an intriguing $28,295.7 while, on the flip side, the last bearish dive could plummet to a discerning $27,473.7. The divergence between the current price and the pivot point sends us on an exploration to gauge the prospects and potentials wrapped around the financial anatomy of BTC. This chart is generated from Tradingview.com: https://in.tradingview.com/chart/?symbol=BINANCE%3ABTCUSDT.P BTC Price Prediction Today BTC coin, with its massive influence and dominant market cap, invariably paints the larger crypto narrative. Today, being perched slightly above the pivot price of $27,884.7, indicates an inherent bullish inclination. Should the uptrend manifest, traders might want to eye up these targets: 1st: $28,041.7, 2nd: $28,138.7, and an ambitious 3rd: $28,295.7. However, the ever-present shadow of volatility casts doubts and injects caution into these predictions. A downward spiral could see the BTC Coin teetering towards the following bearish targets: 1st: $27,727.7, 2nd: $27,630.7, and an unsettling 3rd: $27,473.7. BTC Price Prediction 9th Oct 2023 Navigating the treacherous waters of cryptocurrency demands an amalgamation of technical analysis, market sentiment, and an appreciation for abrupt anomalies. While the aforementioned targets offer a numerical lens to envisage potential price pathways, the overarching theme remains: employ discernment and safeguard your investments with prudence and a pinch of skepticism. In today's context, albeit the numbers seemingly nudge towards a bullish disposition, the latent possibility of retracement or a bearish reversal perennially lingers. The BTC coin has exhibited robustness and resilience in the historical frame, yet the future, masked with opacity, defies absolute predictions. XRP/USDT Daily Chart for Yesterday Diverging momentarily to the XRP/USDT pair and glancing at yesterday’s spectrum, we witness a high that danced to the tune of 28082.0 and a low whispering the number 27671.0. Intriguingly, the high surpasses our 3rd resistance level, crafting it as our 4th bullish target today, ushering in a zephyr of optimism for XRP traders. It is crucial to diligently observe the chart (to be added) for nuanced insights into potential trend patterns and discerning breakout or breakdown possibilities. Disclaimer: The predictions and analysis provided herein are based on technical data and should not be construed as financial advice. They are offered for educational and informational purposes, intending to assist traders and investors in making informed decisions. Always conduct thorough research or consult a professional financial advisor before engaging in cryptocurrency trading.

[health-is-wealth-le]

Are you interested in trying out Skin Sorcery's Trauma Gel with Revolutionary Skin Repair Matrix?

This amazing gel is designed to get rid of blemishes and red spots while repairing breakouts and controlling swelling or redness. It works by targeting inflammation and its triggers and goes deep into your skin to repair problems.

Right now, you can get this product for a discounted price of $59.85 instead of its original price of $89.00. Let me know if you want to give this product a try!

Order here: https://www.life-enthusiast.com/shop/skin-sorcery-trauma-gel

#lifeenthusiast #healthylifestyle #wellness #nutritionist #TraumaGel

[molianno]

Four Types of Enlarged Pores‼️ Understand the Pore Types for Proper Skincare ‼️Types of Enlarged Pores

‼️Types of Enlarged Pores

✔️Characteristics: U-shaped pores, blackheads, breakouts, excessive oiliness, dull skin. ✔️Causes: Excessive sebum production leads to accumulation of dirt in the pores, causing them to enlarge. ✔️Improvement approach: Oil control, cleansing, toning.

✔️Characteristics: Oval-shaped, enlarged pores concentrated near the cheeks. ✔️Causes: Skin dehydration, thinning of the stratum corneum at the pore openings. ✔️Improvement approach: Moisture locking, hydration, repair. ✔️Recommended ingredients: Glycerin, squalane, ceramides, panthenol.

✔️Characteristics: Pores appearing elongated or droplet-shaped, collagen loss, skin indentation. ✔️Causes: Aging, cellular senescence. ✔️Improvement approach: Antioxidation, anti-aging, sun protection. ✔️Recommended ingredients: Coenzyme Q10, retinol, peptides, astaxanthin, etc.

✔️Characteristics: Visible blackheads, oily T-zone, pore congestion due to thickened stratum corneum. ✔️Causes: Thickened stratum corneum, pore blockage at the openings, long-term sebum and dirt residue. ✔️Improvement approach: Exfoliation, proper cleansing. ✔️Recommended ingredients: Salicylic acid, fruit acids.

‼️Causes of Enlarged Pores ✔️Excessive sebum secretion. ✔️Aging and skin deterioration. ✔️Skin dehydration. ✔️Pore congestion.

‼️Recommended Ingredients for Minimizing Pores ✔️Fruit acids - Improve enlarged pores. Fruit acids can remove excessive keratinized skin cells and damaged outer skin layers, stimulate new cell growth, and improve enlarged pores and rough skin. ✔️Olive leaf - Pore tightening. Skin oiliness forms an oily film on the skin surface, leading to reduced water loss. Olive leaf can inhibit excessive sebum secretion, thereby tightening pores. ✔️Salicylic acid - Pore cleansing. The lipophilic nature of salicylic acid allows it to blend with lipids, penetrating the stratum corneum and deep into the pores, thoroughly cleansing accumulated sebum and keratin. ✔️Kaolin clay - Pore cleansing. Kaolin clay has deep cleansing properties, opening up the skin pores, absorbing dirt and excess oil, and maintaining the balance of skin moisture and oil. ✔️Pentapeptides - Firming the skin. They can fill the intercellular matrix, repair and promote cell regeneration, making the skin firm and elastic. ✔️Lactobionic acid - Pore unclogging. It prevents excessive keratinization that blocks pores, purifies and unclogs the pores, controls sebum production, and makes the skin smooth and delicate. ✔️Boswellia serrata extract - Pore tightening. As pores develop an elliptical shape, boswellia serrata extract helps promote the denser arrangement of skin surface cells, tightening loose pores. ✔️Vitamin A - Pore tightening. It stimulates cell renewal and collagen production, prevents skin aging, and makes the skin around the pores tighter and smoother.

‼️Common Misconceptions About Enlarged Pores Improper cleansing. Excessive use of oil-absorbing sheets. Improper use of facial masks. Lack of sun protection.