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athousandhorrors · 2 years

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Watched between 14/08/2020 and 14/08/2021

1. The Babysitter (2017) - dir. by McG

2. Jennifer’s Body (2009) - dir. by Karyn Kusama

3. Basic Instinct (1992) - dir. by Paul Verhoeven

4. Jaws (1975) - dir. by Steven Spielberg

5. The Babysitter: Killer Queen (2020) - dir. by McG

6. Anaconda (1997) - dir. by Luis Llosa

7. Il Legame (2020) - dir. by Domenico Emanuele de Feudis

8. The Invitation (2015) - dir. by Karyn Kusama

9. House of Wax (2005) - dir. by Jaume Collet-Serra

10. Urband Legend (1998) - dir. by Jamie Blanks

11. Gretel & Hansel (2020) - dir. by Oz Perkins

12. The Awakening (2011) - dir. by Nick Murphy

13. Annihilation (2018) - dir. by Alex Garland

14. Kadaver (2020) - dir. by Jarand Herdal

15. In the Tall Grass (2019) - dir. by Vincenzo Natali

16. Antebellum (2020) - dir. by Gerard Bush and Christopher Renz

17. Fantasy Island (2020) - dir. by Jeff Wadlow

18. The Evil Dead (1981) - dir. by Sam Raimi

19. Hostel (2005) - dir. by Eli Roth

20. ATM (2012) - dir. by David Brooks

21. The Owners (2020) - dir. by Julius Berg

22. Deadly Illusions (2021) - dir. by Elizabeth James

23. The Postcard Killings (2020) - dir. by Danis Tanović

24. The Super (2017) - dir. by Stephan Rick

25. The Woman in the Window (2021) - dir. by Joe Wright

26. Z (2019) - dir. by Brandon Christensen

27. Evil Dead II (1987) - dir. by Sam Raimi

28. Army of Darkness (1992) - dir. by Sam Raimi

29. Tremors (1990) - dir. by Ron Underwood

30. Things Heard & Seen (2021) - dir. by Shari Springer Berman and Robert Pulcini

31. Run (2020) - dir. by Aneesh Chaganty

32. The Platform (2019) - dir. by Galder Gaztelu-Urrutia

33. Night of the Living Dead (1968) - dir. by George A. Romero

34. Host (2020) - dir. by Rob Savage

35. I See You (2019) - dir. by Adam Randall

36. Unfriended (2014) - dir. by Levan Gabriadze

37. Deprivation (2019) - dir. by Chris Foster

38. 12 Hour Shift (2020) - dir. by Brea Grant

39. Unfriended: Dark Web (2018) - dir. by Stephen Susco

40. Midsommar (2019) - dir. by Ari Aster

41. The Witch (2015) - dir. by Robert Eggers

42. The Silence (2019) - dir. by John R. Leonetti

43. The Cabin in the Woods (2011) - dir. by Drew Goddard

44. The Block Island Sound (2020) - dir. by Kevin McManus and Matthew McManus

45. Mara (2018) - dir. by Clive Tonge

46. The Ape (1940) - dir. by William Nigh

47. Hagazussa: A Heathen’s Curse (2017) - dir. by Lukas Feigelfeld

48. The Call (2020) - dir. by Lee Chung-hyeon

49. The Conjuring (2013) - dir. by James Wan

50. The Conjuring 2 (2016) - dir. by James Wan

51. The Wolf Man (1941) - dir. by George Wagger

52. They’re Inside (2019) - dir. by John-Paul Panelli

53. Annabelle: Creation (2017) - dir. by David F. Sandberg

54. Ring 0: Birthday (2000) - dir. by Norio Tsuruta

55. The Unholy (2021) - dir. by Evan Spiliotopoulos

56. Ring (1998) - dir. by Hideo Nakata

57. El Orfanato (2007) - dir. by J. A. Bayona

58. Annabelle Comes Home (2019) - dir. by Gary Dauberman

59. The Banana Splits Movie (2019) - dir. by Danishka Esterhazy

60. Fear Street Part One: 1994 (2021) - dir. by Leigh Janiak

61. Fear Street Part Two: 1978 (2021) - dir. by Leigh Janiak

62. Fear Street Part Three: 1666 (2021) - dir. by Leigh Janiak

63. A Classic Horror Story (2021) - dir. by Roberto de Feo and Paolo Strippoli

64. Lifechanger (2018) - dir. by Justin McConnel

65. The Conjuring: The Devil Made Me Do It (2021) - dir. by Michael Chaves

66. Hush (2016) - dir. by Mike Flanagan

67. Eli (2019) - dir. by Ciaran Foy

68. Girl on the Third Floor (2019) - dir. by Travis Stevens

69. Wounds (2019) - dir. by Babak Anvari

70. The Guardian (1990) - dir. by William Friedkin

71. The Final Girls (2015) - dir. by Todd Strauss-Schulson

72. The Blair Witch Project (1999) - dir. by Eduardo Sánchez and Daniel Myrick

73. The Farm (2018) - dir. by Hans Stjernswärd

74. Aftermath (2021) - dir. by Peter Winther

75. The Open House (2018) - dir. by Suzanne Coote and Matt Angel

76. Suspiria (1977) - dir. by Dario Argento

77. Hellraiser (1987) - dir. by Clive Barker

78. Hellbound: Hellraiser II (1988) - dir. by Tony Randel

79. Suspiria (2018) - dir. by Luca Guadagnino

80. Saw (2004) - dir. by James Wan

81. Saw II (2005) - dir. by Darren Lynn Bousman

82. The Assent (2019) - dir. by Pearry Teo

83. Insidious (2010) - dir. by James Wan

84. Saw III (2006) - dir. by Darren Lynn Bousman

85. Nocturne (2020) - dir. by Zu Quirke

86. Frozen (2010) - dir. by Adam Green

87. Safer at Home (2021) - dir. by Will Wernick

88. Scream (1996) - dir. by Wes Craven

89. Scream 2 (1997) - dir. by Wes Craven

90. Scream 3 (2000) - dir. by Wes Craven

91. The Craft (1996) - dir. by Andrew Fleming

92. Open Water (2003) - dir. by Chris Kentis

93. Sinister (2012) - dir. by Scott Derrickson

94. Scream 4 (2011) - dir. by Wes Craven

95. Sinister 2 (2015) - dir. by Ciaran Foy

96. Hellraiser III: Hell on Earth (1992) - dir. by Anthony Hickox

97. The Old Ways (2020) - dir. by Christopher Alender

98. La Nuée: The Swarm (2020) - dir. by Just Philippot

99. Boogeyman (2015) - dir. by Stephen Kay

100. Halloween (1978) - dir. by John Carpenter

#first 100 movies #badges #2021 #fav

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genieforu · 3 years

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top 5 filmes de terror do gui

ASK ME MY “TOP 5” ANYTHING!: accepting.

1. BLACK CHRISTMAS (1974) dir. Bob Clark.

esse foi o filme que fez guilherme se apaixonar por terror, mesmo que depois viesse a descobrir que não é o seu subgênero favorito (slasher). foi o primeiro que ele viu, sem estar na idade certa para isso e gostou por não fazer sentido algum. o filme tem um final aberto, um vilão misterioso, sem mencionar em todas as teorias na internet sobre todos os diálogos esquisitos e sem pé nem cabeça.

2. THE EXORCIST (1974) dir. William Friedkin.

um clássico, e sendo um morador de uma cidade pequena do interior do nordeste é CLARO que o guilherme cresceu ouvindo falar sobre a “maldição” desse filme, que mesmo depois que ele descobriu que era apenas lenda urbana, ainda assim fez com que ele achasse tudo sobre ele extremamente interessante. and there’s demons!

3. ROSEMARY’S BABY (1968) dir. Roman Polanski.

o bebê de rosemary foi o primeiro, e único, filme que realmente fez o garoto sentir medo. porque era extremamente realista? filmes slasher deveriam dar essa sensação, principalmente aqueles que eram baseados em fatos reais, mas guilherme sempre se considerou inteligente demais para ser vitima de um assassino com arma branca (uma faca vai fazer o que contra um cano de ferro? pff), mas o bebê de rosemary era realista em outro sentido e realmente o deixava apavorado que isso realmente poderia acontecer com garotas por ai.

4. SUSPIRIA (1977) dir. Dario Argento.

peak cinema! esse filme é o que fez o menino se sentir realmente um cultzinho de merda, por conta da forma que ele foi feito e toda a fotografia do filme. a cor vermelha em evidência, e o plot também foi incrível, mesmo que um tico previsível. e nem ousem colocar o remake perto dele, de certa forma agradeceu que estava muito do sequestrado quando essa bomba saiu.

5. THE BLAIR WITCH PROJECT (1999) dir. Daniel Myrick & Eduardo Sánchez .

hoje em dia é uma espécie de trigger warning, considerando tudo que rolou consigo, mas crescendo guilherme sempre teve fascinação por história de bruxas, até mesmo por conta das lendas da cidade, e a forma como esse filme foi feito, nesse estilo documentário que fazia tudo parecer tão real, não teve como não ficar encantado.

menção honrosa para the conjuring (2013), nosferatu (1922), hereditary (2018) e carrie (1976). não era exatamente seu estilo, mas também curtia bastante filmes de assombração, porém bruxas, culto e coisas assim sempre chamavam sua atenção, então depois de todo o seu tempo fora no pior retiro espiritual possível, descobriu gostar bastante de hereditário.

#char; guilherme sassaki moraes.#extra; answered.

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lovelyballetandmore · 4 years

Photo

Solieh Samudio | Yosibell Sánchez | Photo by Dario Moreno

#solieh samudio #yosibell sánchez #ballet slippers #ballet slipper

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losvolumenes · 5 years

Video

youtube

Everyday, from the album Titanic Rising (2019) by Weyes Blood

Natalie Mering dirige el videoclip que ilustra el primer single de su último trabajo, una canción que habla de la necesidad de ser amado cada día en la era de Tinder. Un curioso homenaje al cine de terror y en concreto al slasher, desarrollado en una casa de campo decorada como el Great Northern Hotel que alojaba al agente Cooper, repleta de mozos y mozas ya talluditos haciéndose pasar por adolescentes donde encontramos ecos de Viernes 13 (Friday the 13th, Sean S. Cunnngham, 1980) o Posesión infernal (The Evil Dead, Sam Raimi, 1981), pero también a algunas cintas de Mario Bava o Dario Argento, los grafismos remiten al cine de terror de los sesenta y setenta, y está salpicado con todos los tópicos del género: los protagonistas muriendo uno a uno y a solas, teléfonos que no funcionan, gente que es asesinada justo al descubrir uno de los cadáveres... y con unas gotitas de hemoglobina, cómo no. Algo más actual es una secuencia de exteriores que se acerca a El proyecto de la bruja de Blair (The Blair Witch Project, Eduardo Sánchez, Daniel Myrick) y el desenlace es también un clásico, aquí inconcluso, así que no sabemos si terminará como La matanza de Texas (The Texas Chain Saw Massacre, Tobe Hooper, 1974) o como La casa de los mil cadáveres (House of 1000 Corpses, Rob Zombie, 2003). Más o menos como una cita de Tinder.

Wake up, baby It's getting late now Fell so hard like I always do I'm so scared of being alone It's true, it's true I see you everyday But that's not enough I got this seeker running along a lonely line Always trying to make my keeper mine It gets me every time Then again, I might be falling down Sailing off on the ships to nowhere Got a lot of things to clear away Got a lot of years of bad love to make okay It gets me every day Then again, it might just be me Then again, love's not easy I need a love everyday I need True love is making a comeback For only half of us, the rest just feel bad Doomed to wander in the world's first rodeo You never let it show The other night, I was at a party And someone sincerely looked at me And said, "Is this the end of all monogamy?" And I said, "Not today Then again, you might be right Then again, sleep the night" I need a love everyday I need Lay down, my guy For a short time I cannot see (I cannot see) My love is right Lay down, my guy

#weyes blood #natalie mering #videoclip #music #musica #slasher #horror #terror #titanic rising #everyday #love #popland

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fred-ott · 5 years

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Años 50 y 60

Si se habla de cine de terror, no se puede pasar por alto a la productora británica Hammer (ver Hammer Productions), que a lo largo de los años 50, 60 y 70 desencadenó una avalancha de películas del género, algunas de gran calidad, como La maldición de Frankenstein (1957), Drácula (1958) y La Momia (1959). Su director estrella fue el inglés Terence Fisher.

También debe recordarse al norteamericano Roger Corman (n. 1926), director de serie B (películas de bajo presupuesto) especializado en la adaptación, quizá en exceso libre y colorista, de relatos de Edgar Allan Poe: House of Usher ('La caída de la casa Usher', 1960), The Pit and the Pendulum ('El pozo y el péndulo', 1961), Premature Burial ('El entierro prematuro', 1962), Tales of Terror ('Cuentos de terror', 1962) The Raven ('El cuervo', 1963), The Masque of the Red Death ('La máscara de la Muerte Roja', 1964) The Tomb of Ligeia ('La tumba de Ligeia', 1964), entre otras. Todos estos filmes, salvo Premature burial, fueron protagonizados por el especialista en el género Vincent Price (1911-1993).

Otros actores legendarios del género: Béla Lugosi (1882-1956), Boris Karloff (1887–1969), Lon Chaney Jr. (1906–1973), Peter Cushing (1913–1994) y Christopher Lee (1922), éste aún en activo.

El actor español Paul Naschy (Jacinto Molina Álvarez, n. 1934, Medalla de Oro al mérito en las Bellas Artes de 2001) es considerado internacionalmente gran especialista, habiendo participado, ya sea como actor, director o guionista, en un centenar de películas aproximadamente. Otros autores europeos muy valorados del género: el español Jess Franco y los italianos Mario Bava y Dario Argento, entre otros.

Alfred Hitchcock, llamado el mago del suspense, es autor de por lo menos dos cumbres del terror moderno: la película de terror psicológico Psicosis (1960) y la de terror naturalista Los pájaros (1962).

Cine de la Guerra Fría

Fenómeno digno de estudio es la filmografía catastrofista y apocalíptica, tanto japonesa como norteamericana, que surgió en los años 50, 60 y 70 con motivo de la llamada Guerra Fría: Gojira/Godzilla (1954), de Ishiro Honda, Vinieron de dentro de..., (1975), del muy apreciable director especialista del género David Cronenberg, La invasión de los ultracuerpos (1978), de Philip Kaufman. Años antes, en 1968, George Andrew Romero había estrenado La noche de los muertos vivientes, película con la que aportó otro tópico: el de los "zombis" o "zombies". Estos, al igual que el hombre lobo, dentro de la categoría de los no-muertos, como los vampiros, forman parte de la tradición folklórica y las leyendas populares más antiguas, pero no fueron demasiado frecuentados por los autores románticos. El terror contemporáneo, en cambio, tanto en literatura como en cine, aborda a los zombis sin el menor matiz romanticista, procurando lograr en el lector o espectador, a través de la cruda expresión de su monstruosidad exangüe y caníbal, un efecto de terror puro, ancestral (véase Cine de zombis).

Años 70

A principios de los años setenta encontramos dos ejemplos muy notables: El exorcista (William Friedkin, 1973), considerada por muchos críticos la película más terrorífica de la historia del cine, y la técnicamente magistral Tiburón (1975), de Steven Spielberg. Una nueva veta explotada por el terror en esta década fue la de los poderes paranormales. El gran precedente en dicho terreno fue Carrie (1976), basado en la novela del mismo título de Stephen King; la cinta fue dirigida por Brian De Palma, quien posteriormente incursionó en el terror psicológico con Vestida para matar (1980). Suspiria (1977), de Dario Argento, es considerada una obra maestra del cine italiano de terror, muy activo en esta década.

La mixtura de terror y ciencia ficción transitada en literatura por Lovecraft, reaparece con la excelente Alien (1979), de Ridley Scott, que narra la terrorífica lucha contra un monstruo extraterrestre indestructible a bordo de un carguero espacial. El filme dio origen a varias secuelas.

Años 80

Los años 80 estuvieron acaparados por seriales de "terror adolescente", cintas sin grandes pretensiones artísticas aunque sí económicas, dirigidas a un público muy determinado. Esta modalidad sigue abarrotando salas en nuestros días. En 1980, se estrenaría Friday the 13th (en España y países hispanohablantes traducido como Viernes 13), de Sean S. Cunningham, arranque de una saga de películas en las que el gestor terrorífico es un salvaje asesino que actúa en la oscuridad. De 1984 es la primera entrega de Pesadilla en Elm Street, firmada por otro especialista, Wes Craven. Aunque la precursora de la modalidad había sido Halloween (1978), de John Carpenter, director igualmente muy proclive al género. La serie Creepshow, de Stephen King y George A. Romero, pertenece también a esta época.

Otros filmes destacados de la década: El resplandor (1980), de Stanley Kubrick; El ente (1981), de Sidney Furie; La cosa (1982), de John Carpenter; Poltergeist, de Tobe Hooper; Re-animator (1985), de Stuart Gordon; Hellraiser (1987), de Clive Barker. El canadiense David Cronenberg acertó nuevamente de lleno con La mosca (1986, remake de una gran cinta de los años 50), y con Inseparables (1988). Visualmente muy poderosa, la película de zombis Terroríficamente muertos (1987), de Sam Raimi. Cerraría esta década una de las mejores adaptaciones sobre la obra del novelista Stephen King: El cementerio viviente, de Mary Lambert (1989).

Hitos 1968-1999

No deben olvidarse otros grandes hitos del cine de terror de calidad surgidos en el último tercio del pasado siglo: La semilla del diablo (1968), de Roman Polanski, La matanza de Texas (1974), de Tobe Hooper, La profecía (1976), de Richard Donner, El resplandor (1980), de Stanley Kubrick, Poltergeist (Tobe Hooper, 1982), Videodrome (David Cronenberg, 1983), la controvertida Nekromantik (del alemán Jörg Buttgereit, 1987), It (película), película basada en la novela de Stephen King, filme que provocó grandes traumas entre la juventud de ese tiempo, El silencio de los corderos (1991), de Jonathan Demme, y más recientemente, lanzada con astucia a través de Internet, El proyecto de la bruja de Blair (1999), de los jóvenes Daniel Myrick y Eduardo Sánchez.

Últimas tendencias

De los años 90: Entrevista con el vampiro (Neil Jordan, 1994); la producción de ciencia-ficción canadiense Cube (1997), impactante e innovadora; el ya mencionado Drácula de Francis Ford Coppola (1992), y han tenido gran éxito entre el público adolescente las producciones de Wes Craven Scream (1996) y secuelas, y Sé lo que hicisteis el último verano (1997). El neozelandés Peter Jackson (trilogía de El Señor de los Anillos) se había estrenado con la espectacular aunque estomagante parodia titulada Braindead (1992). Del director de origen indio M. Night Shyamalan, la original fantasmagoría El sexto sentido (1999), que ha sido comparada con la también escalofriante Los otros, de Alejandro Amenábar.

El inicio del siglo XXI ha conocido una verdadera explosión de cine de terror asiático, con cintas nada desdeñables como la japonesa The ring (1998, de Hideo Nakata), que muy pronto ha conocido diversas versiones y secuelas. Aquí podría incluirse también la serie Ju-on, del también japonés Takashi Shimizu.

En Hispanoamérica y España la filmografía de terror ha experimentado igualmente un auge inusitado en tiempos recientes. Autores ya consolidados de este movimiento como Guillermo del Toro (Cronos (película), 1992; El espinazo del diablo, 2001), Jaume Balagueró (Los sin nombre, 2001) y el oscarizado Alejandro Amenábar (Abre los ojos, 1997; Los otros, 2001), han sido secundados por directores noveles de gran éxito, como Juan Carlos Fresnadillo (28 semanas después, 2007) y Juan Antonio Bayona (El orfanato, 2007).

#cinema cine audiencias filmes film peliculas septimoarte hollywood video a audiovisual thoughts moviepromotion fredotts otts

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possiblydistasteful · 6 years

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I just stayed up all night making a list of 100 Movies I Wish Everyone Would Watch because this is what I do with my life now. If anyone is curious I’m putting them below the cut. I have very good taste. That last part is a lie.

DISCLAIMER: This is not a list of 100 movies that I think are the best examples of the craft (although some of them certainly are). This is a list of 100 personal favourites that have moved me personally, deeply influenced me, or I just plain wish more people would see them (for good or for ill). Sorry for including 1 Roman Polanski film, rest assured I’m praying he dies a horrible and painful death asap (and he can take Woody Allen with him).

The Cabinet of Dr Caligari - Robert Wiene (1920)

M - Fritz Lang (1931)

Frankenstein - James Whale (1931)

Double Indemnity - Billy Wilder (1944)

It’s a Wonderful Life - Frank Capra (1946)

Rope - Alfred Hitchcock (1948)

Un Chant D’Amour - Jean Genet (1950)

The Night of the Hunter - Charles Laughton (1955)

Throne of Blood - Akira Kurosawa (1957)

Touch of Evil - Orson Welles (1958)

Some Like it Hot - Billy Wilder (1959)

La Jetee - Chris Marker (1962)

Lawrence of Arabia - David Lean (1962)

Lord of the Flies - Peter Brook (1963)

Rosemary’s Baby - Roman Polanski (1968)

Midnight Cowboy - John Schlesinger (1969)

Cabaret - Bob Fosse (1972)

Jesus Christ Superstar - Norman Jewison (1973)

The Exorcist - William Friedkin (1973)

Phantom of the Paradise - Brian de Palma (1974)

The Omen - Richard Donner (1976)

Logan’s Run - Michael Anderson (1976)

Carrie - Brian de Palma (1976)

Suspiria - Dario Argentino (1977)

Watership Down - Martin Rosen (1978)

Possession - Andrzej Żuławski (1981)

An American Werewolf in London - John Landis (1981)

The Thing - John Carpenter (1982)

First Blood - Ted Kotcheff (1982)

The Dark Crystal - Jim Henson, Frank Oz (1982)

A Nightmare on Elm Street - Wes Craven (1984)

Fright Night - Tom Holland (1985)

Re-Animator - Stuart Gordon (1985)

A Nightmare on Elm Street Part 2: Freddy’s Revenge - Jack Sholder (1985)

The Fly - David Cronenberg (1986)

Night of the Creeps - Fred Dekker (1986)

Withnail & I - Bruce Robinson (1987)

I’ve Heard the Mermaids Singing - Patricia Rozema (1987)

The Lost Boys - Joel Schumacher (1987)

Maurice - James Ivory (1987)

Hellraiser - Clive Barker (1987)

Willow - Ron Howard (1988)

Who Framed Roger Rabbit - Robert Zemeckis (1988)

Akira - Katsuhiro Otomo (1988)

The Adventures of Baron Munchausen - Terry Gilliam (1988)

Archangel - Guy Maddin (1990)

Misery - Rob Reiner (1990)

Thelma & Louise - Ridley Scott (1991)

Terminator 2: Judgement Day - James Cameron (1991)

Fried Green Tomatoes - Jon Avnet (1991)

The Crying Game - Neil Jordan (1992)

The Adventures of Priscilla, Queen of the Desert - Stephan Elliott (1994)

Interview With the Vampire - Neil Jordan (1994)

In the Mouth of Madness - John Carpenter (1994)

Cold Comfort Farm - John Schlesinger (1995)

Sense and Sensibility - Ang Lee (1995)

Matilda - Danny DeVito (1996)

Lilies - John Greyson (1996)

Romeo + Juliet - Baz Luhrmann (1996)

The Hanging Garden - Thom Fitzgerald (1997)

Dark City - Alex Proyas (1998)

EverAfter - Andy Tennat (1998)

The Prince of Egypt - Brenda Chapman Steve Hickner Simon Wells (1998)

Following - Christopher Nolan (1998)

The Blair Witch Project - Daniel Myrick, Eduardo Sánchez (1999)

The Talented Mr. Ripley - Anthony Minghella (1999)

American Psycho - Mary Harron (2000)

Crouching Tiger, Hidden Dragon - Ang Lee (2000)

But I’m a Cheerleader - Jamie Babbit (2000)

Ginger Snaps - John Fawcett (2000)

O Brother, Where Art Thou? - Joel Coen (2000)

Battle Royale - Kinji Fukasaku (2000)

The Devil’s Backbone - Guillermo Del Toro (2001)

Bend it like Beckham - Gurinder Chadha (2002)

Far From Heaven - Todd Haynes (2002)

Hero - Zang Yimou (2002)

Holes - Andrew Davis (2003)

American Splendor - Shari Springer Berman, Robert Pulcini (2003)

Master and Commander: the Far Side of the World - Peter Weir (2003)

Mysterious Skin - Gregg Araki (2004)

Hard Candy - David Slade (2005)

Brick - Rian Johnson (2005)

Little Miss Sunshine - Jonathan Dayton, Valerie Faris (2006)

The Orphanage - Juan Antonio Bayona (2007)

There Will Be Blood - Paul Thomas Anderson (2007)

Pontypool - Bruce McDonald (2008)

Doubt - John Patrick Shanley (2008)

The Loved Ones - Sean Byrne (2009)

Precious - Lee Daniels (2009)

Attack the Block - Joe Cornish (2011)

Stoker - Park Chan-Wook (2013)

Coherence - James Ward Byrkit (2013)

The Babadook - Jennifer Kent (2014)

The Invitation - Karyn Kusama (2015)

10 Cloverfield Lane - Dan Trachtenberg (2016)

Train to Busan - Yeon Sang-Ho (2016)

Get Out - Jordan Peele (2017)

Disobedience - Sebastian Lelio (2017)

Hereditary - Ari Aster (2018)

A Quiet Place - John Krasinski (2018)

#I had to shave off so many good movie’s yall #like adaptation #and catch me if you can #gone girl...#things you can tell about me from this list #I’m gay #I’m a horror nerd #and I’m a Gay Horror Nerd

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luzbel2811 · 3 years

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Ganadores del certamen

Fecha 23 de diciembre del 2020

En el día de hoy, los miembros del jurado del I certamen Literario Cocinando entre mares se reunieron para acordar el ganador y las cinco menciones honoríficas.

Los miembros del jurado son: Leticia Da Silva; Andoni Sánchez; Rogelio Perez; Xosé Manuel Pazos y como vocal Lucía Rodas.

El resultado fue:

Para las menciones:

-Mónica Alfaya Malvido por el relato “Negra Sombra”

- Montserrat Souto Taboada por el relato “Non me gusta”

-Dario Rodríguez Gonzalez por el relato “Pepita Langosta”

- Francisco Borja Soliño Bastón por los relatos “El gato y el mejillón” y “La vergüenza del gallego”

Y el Ganador es:

José Antonio Penido Pereiros por el relato “Eu son Ti”

El veredicto es inapelable.

#https://invencionesdelavida.blogspot.com/2020/12/acta-del-certamen.html

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chentegraterol-blog · 4 years

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Trabajo Recopilado por Chente Graterol

Historia Médica del Estado Falcon, Sus Médicos.

Comenzamos Hoy esta publicación con el Dr. ANTONIO SMITH MONZON "El del Hospital" ( 1878 - 1935 )

Este Famoso Medico desde el Punto de vista literario, perteneció a la época más brillante de la poesía Falconiana, junto a José David y Elias Curiel, Polita De Lima Del Castillo, Esteban Smith Monzon su ilustre hermano; Nicolás Curiel, Carlos Díez del Ciervo y otras figuras estelares de aquella época romántica en que la poesía era una manifestación del espíritu y brotaba espontánea y generosamente del Alma. Al Doctor Antonio Smith no le agradaba la política, en varias oportunidades el General León Jurado le ofreció el cargo de Secretario General peto se negó siempre a ello. Y por presión de aquel y otros amigos, fue designado Senador por el Edo. Falcón por dos años.

Oriundo de la Ciudad de Coro desde el 2 de Diciembre de 1878, fueron sus padres don Antonio Smith y Doña Trinidad Monzon Carrillo. Tuvo tres hermanos: Juan de Dios Monzon, Esteban Smith Monzon y Eva Isabel. Contrajo Matrimonio con la prestante Dama Sebastiana Madrid.

Cursó estudios de Primaria, Bachillerato y Primeros de Medicina en Coro, su Patria Chica. Obtuvo el grado de bachiller en filosofía (1896) ,concluidos aquellos se trasladó a la capital de la República, con el fin de terminar los universitarios . En la Universidad Central de Venezuela se destacó como un estudiante aplicado, serio, reflexivo y de brillante talento. Se doctoró en Ciencias Médicas en el mes de Junio de 1904 y su tesis sobre "Mortalidad infantil en Caracas y manera de disminuirla". Obtenido su titulo se trasladó a Coro. Cuando inicio su ejercicio profesional en Coro no había allí hospital, Comprendiendo que un pueblo que carece de un refugio adecuado para albergar el dolor de sus hijos, se halla en los umbrales de la indigencia, consagrando desde ese momento todas sus energías a la construcción de un Nosocomio (Hospital) Moderno para su ciudad. Durante muchos años trabajó sin desmayos en esa intención. En el proceso de construcción del hospital recibió apoyo de su extraordinario amigo y compadre General Leon Jurado, que entendió la transcendencia de la iniciativa. El Doctor Antonio Smith se ingenió para recabar fondos para ese noble destino, en tal forma que llegó hasta "pedir limosna" entre las personas pudientes, entre la Clase Media y el simple pueblo. Por otra parte, no había reunión, conferencia o simple aglomeración pública, en donde no apareciera el Doctor Smith con su estampa imponente en solicitud de ayuda para el hospital. Se presentaba en las casas comerciales de sus amigos exigiendo su contribución, de igual manera se presentaba en los almacenes de su compadre el General Laclé y solicitaba materiales de construcción fingiendo tener una orden para ello. El General Lacle jamás protestó.

Finalmente se logró culminar el Hospital de Coro, al ser inaugurado en el año de 1924 fue designado como su Director y sirvió en su cargo durante once años, hasta el día de su sentida desaparición, el 22 de Enero de 1935.

Como es Natural, durante los actos relacionados con la construcción del Hospital le correspondió pronunciar el Discurso de Orden , al cual dio culminación con estas palabras, que fueron fiel trasunto de su amor por esa obra de humanidad y civilización: *"Si alguna vez merezco los honores del bronce, quiero que me representen con el sombrero en la mano, pidiendo una limosna para el Hospital de Coro"* Después de su muerte sus paisanos agradecidos le dieron el Nombre de Doctor Antonio Smith Monzon al Hospital de Coro, como un homenaje postumo a quien consagró gran parte de su vida a la fundación de esta Obra. Estamos en deuda, queda pendiente, cumplir su anhelo de ser representado como el mendigo del bien, con el sombrero extendido pidiendo una dádiva para levantar el hospital de Coro.

Por otra parte, Era tanta la confianza que le tenían sus clientes y sus familias que poco tiempo antes de morir estaba atendiendo a la esposa de su compadre y fraternal amigo Don Lorenzo Navarro, quien sufría una fiebre paratífica. Se hallaba éste desayunandose el 22 de Enero de 1935 cuando irrumpió en el comedor una persona de la casa y dijo con acento desgarrador: "Acaba de fallecer de repente el Doctor Antonio Smith Monzon"... Don Lorenzo, Sobrecogido por la tremenda noticia exclamó con desesperación ¡Dios mío! ¡Entonces se morirá mi mujer!

Finalmente, Además del ejercicio de su profesión ejerció el cargo de Médico de Sanidad. Siendo otra de sus facetas elocuentes y maravillosas su formidable obra de educador que dejó una estela de Gloria para su nombre. En 1904 fue designado Subdirector del Colegio Federal de Coro siendo Director su amigo José Curiel Abenatar, En 1910, al fallecer este es nombrado su Director. Entre sus innumerables discípulos recordaremos a los doctores Dario y Rolando Curiel, Pedro Manuel Iturbe, Gabriel Trompuz, Alfredo Van Grieken, Virgilio Penso de León, Ernesto Silva Telleria y Gabriel Bruceño Perozo.

La muerte del Doctor Antonio Smith Monzon se produjo subitamente, en plena Madures creadora a los 57 años de Edad a consecuencia de un edema Pulmonar. Su desaparición fue motivo de verdadero duelo nacional. En Coro, gente de todas las esferas y condiciones lloraron este luctuoso acontecimiento y acompañaron sus despojos en medio de impresionante silencio y de profunda aflicción.

Antonio Smith Monzon un héroe, un ilustre de la Historia Médica del Estado Falcon .

#Nota: Información recopilada del Libro "El Estado Falcon y sus Médicos Nativos hasta 1950" de Gabriel Briceño Romero

#Fotografía Libro "Curiana" de Rafael Sánchez López

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roger930 · 4 years

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Omar Dario Boo Sánchez # 9 Posiciónes: centro, receptor, córner, rush Mis inicios de juego de tocho fueron en el 2018, por medio de invitación de amigos de la preparatoria, para entrar al liga de caña hueca en el equipo de jabalíes, tuve la suerte de aprender. Jugar muy bien este deporte y he tenido la oportunidad de ir a varios eventos como algunos nacionales gracias a la oportunidad y confianza que me otorgan otros equipos, hoy en día continuo jugando en el equipo de jabalíes entre otros y le agradezco mucho a mi amigo Alan hidalgo Aguirre por invitarme y hoy en día ser parte de este hermoso deporte, en el cual he conocido a demasiadas personas, y lo principal que disfruto mucho #LMTB #FLAGFOOTBALL #TOCHITOBANDERA #TOCHOISLIFE #SLMV #EstrellasDelTocho #QuedateEnCasa #ProntoRegresaremos 💪❤ 🏈 https://www.instagram.com/p/CDZYg8xJrJk/?igshid=1pkbqt1momd5o

#lmtb #flagfootball #tochitobandera #tochoislife #slmv #estrellasdeltocho #quedateencasa #prontoregresaremos

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ladystylestores · 4 years

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The mystery behind the data aggregation site Worldometer

MADRID — On April 28, Spanish Prime Minister Pedro Sánchez stood alone on the stage of a bright but empty briefing room. As a CNN reporter asked a question via video link, the prime minister looked deep in concentration, scribbling notes and pausing to look at the monitor only once. As he launched into his answer, he looked directly into the camera to boast about Spain’s Covid-19 testing volume.

“We are one of the countries with the highest number of tests carried out,” Sánchez said.

Initially, the prime minister cited data from a recent Organization for Economic Cooperation and Development (OECD) ranking that had placed Spain eighth in Covid-19 testing among its members.

Spanish Prime Minister Pedro Sánchez takes reporters’ questions during a press teleconference on April 28, 2020. Credit: Palace of Moncloa

“Today,” he added, “we have found out about another study, from the Johns Hopkins University, that […] ranks us fifth in the world in total tests carried out.”

There were just two problems: The OECD data had been wrong. And while some sources had ranked Spain fifth in total testing volume, Johns Hopkins was not one of them; the study Sánchez cited does not exist.

Yet two weeks later, the Spanish government is standing by the substance of its prime minister’s claim. Instead of citing Johns Hopkins, Spanish officials are now pointing to testing rankings from a data aggregation website called Worldometer — one of the sources behind the university’s widely cited coronavirus dashboard — and prompting questions about why some governments and respected institutions have chosen to trust a source about which little is known.

The Covid-19 pandemic has boosted Worldometer’s popularity. In the past six months, its pages have been shared about 2.5 million times — up from just 65 shares in the first six months of 2019, according to statistics from BuzzSumo. Credit: Worldometer

What is Worldometer?

Before the pandemic, Worldometer was best known for its “counters,” which provided live estimates of numbers like the world’s population or the number of cars produced this year. Its website indicates that revenue comes from advertising and licensing its counters. The Covid-19 crisis has undoubtedly boosted the website’s popularity. It’s one of the top-ranking Google search results for coronavirus stats. In the past six months, Worldometer’s pages have been shared about 2.5 million times — up from just 65 shares in the first six months of 2019, according to statistics provided by BuzzSumo, a company that tracks social media engagement and provides insights into content.

Accessible icon title Questioning the reliability of this coronavirus statistics site 03:36

The website claims to be “run by an international team of developers, researchers, and volunteers” and “published by a small and independent digital media company based in the United States.”

But public records show little evidence of a company that employs a multilingual team of analysts and researchers. It’s not clear whether the company has paid staff vetting its data for accuracy or whether it relies solely on automation and crowdsourcing. The site does have at least one job posting, from October, seeking a volunteer web developer.

Once known as Worldometers, the website was originally created in 2004 by Andrey Alimetov, then a 20-year-old recent immigrant from Russia who had just gotten his first IT job in New York.

“It’s a super simple website, there is nothing crazy about it,” he recently told CNN.

Within about a year, Alimetov said, the site was getting 20,000 or 30,000 visits every day but costing him too much money in web-hosting fees.

“There was no immediate fast way to cash out,” he said, so he listed the site on eBay and sold it for $2,000 sometime in 2005 or 2006.

Changing hands

When Reddit’s homepage featured Worldometer in 2013, its founder emailed the new owner, a man named Dario, to congratulate him. Dario said he bought the site to drive traffic to his other websites.

Source: Andrey Alimetov

When Reddit’s homepage featured his old site in 2013, Alimetov emailed the buyer, a man named Dario, to congratulate him.

In his reply, Dario said he bought the site to drive traffic to his other websites.

As those businesses “started to decline, I decided to invest on Worldometers, bringing in resources and people until eventually it took a course of its own,” Dario wrote.

Worldometer no longer bears its trailing “s” except in its URL. Beyond that, not much has changed.

Today, the Worldometer website is owned by a company called Dadax LLC.

Representatives for Worldometer and Dadax did not respond to CNN’s requests for interviews, but state business filings show Dadax was first formed in Delaware, in 2002. The filing lists a PO box as the company’s address. From 2003 to 2015, business filings in Connecticut and New Jersey listed Dadax’s president as Dario Pasqualino. Addresses on the filings tied the company and Pasqualino to homes in Princeton, New Jersey, and Greenwich, Connecticut. The company is still actively registered in Delaware and has been in good standing since 2010.

The company shares the Dadax name with a Shanghai-based software firm. In March, both companies issued statements denying a connection. The Chinese Dadax said it issued its statement after receiving “many calls and emails” about the stats site. Worldometer, in a tweet, said it’s never had “any type of affiliation with any entity based in China.”

IDs in the source code for Worldometer and the US Dadax’s websites link them to at least two dozen other websites that appear to share ownership. Some appear to be defunct. Others, such as usalivestats.com, italiaora.org and stopthehunger.com, share the same premise: live stats counters. Most of the sites have a rudimentary aesthetic, reminiscent of a 1990s or early 2000s internet. Some seem quite random. One Italian site displays Christmas poems and gift suggestions, like a bonsai plant (for her), or a plot of land on the moon (for him). Another site is dedicated to Sicilian puppet shows.

A person with Pasqualino’s name and birthday is also registered as a sole proprietor in Italy. That business manages and sells “advertising space,” according to an Italian registration document filed last year. Its address leads to a tidy, three-story apartment building on a leafy street in an upscale neighborhood in Bologna.

A person named Dario Pasqualino is registered as a sole proprietor in Italy. The listed address leads to a tidy, three-story apartment building on a leafy street in an upscale neighborhood in Bologna. Credit: Google

CNN was unable to reach Pasqualino through contact information listed on Worldometer and in public records.

According to Worldometer’s website, its Covid-19 data comes from a multilingual team that “monitors press briefings’ live streams throughout the day” and through crowdsourcing.

Visitors can report new Covid-19 numbers and data sources to the website – no name or email address required. A “team of analysts and researchers” validate the data, the website says. It may, at first, sound like the Wikipedia of the data world, but some Wikipedia editors have decided to avoid Worldometer as a source for Covid-19 data.

“Several updates lack a source, do not match their cited source or contain errors,” one editor, posting under the username MarioGom, wrote on a discussion page for Wikipedia editors working on Covid-19-related content last month. “Some errors are small and temporary, but some are relatively big and never corrected.”

The editor, whose real name is Mario Gómez, told CNN in an email, “Instead of trying to use a consistent criteria, [Worldometer] seems to be going for the highest figure. They have a system for users to report higher figures, but so far I failed to use it to report that some figure is erroneous and should be lower.”

Edouard Mathieu, the data manager for Our World in Data (OWID), an independent statistics website headquartered at Oxford University, has seen a similar trend.

“Their main focus seems to be having the latest number wherever it comes from, whether it’s reliable or not, whether it’s well-sourced or not,” he said. “We think people should be wary, especially media, policy-makers and decision-makers. This data is not as accurate as they think it is.”

Virginia Pitzer, a Yale University epidemiologist focused on modeling Covid-19’s spread in the United States, said she’d never heard of Worldometer. CNN asked her to assess the website’s reliability.

“I think the Worldometer site is legitimate,” she wrote via email, explaining that many of its sources appear to be credible government websites. But she also found flaws, inconsistencies and an apparent lack of expert curation. “The interpretation of the data is lacking,” she wrote, explaining that she found the data on active cases “particularly problematic” because data on recoveries is not consistently reported.

Pitzer also found few detailed explanations of data reporting issues or discrepancies. For Spain, it’s a single sentence. For many other countries, there are no explanations at all.

She also found errors. In the Spanish data, for instance, Worldometer reports more than 18,000 recoveries on April 24. The Spanish government reported 3,105 recoveries that day.

Spanish Prime Minister Pedro Sánchez delivers a speech during question time at the Lower House in Madrid on May 13, 2020. Credit: Andres Ballesteros/AFP/Pool/Getty Images

Accuracy, fairness and apples-to-apples comparisons

When Spanish Prime Minister Pedro Sánchez boasted of Spain’s high rankings, he didn’t pull his numbers out of thin air. On April 27, the OECD wrongly ranked Spain eighth in testing per capita. Initially, the OECD had used data from OWID to compile its statistics. But it sourced the Spanish numbers independently because OWID’s data was incomplete. The mixed sourcing skewed Spain’s position in the ranking because it counted a broader category of tests than the other countries’ numbers. The organization corrected itself the next day, two hours before Sánchez’s press conference, bumping Spain to 17th place.

In its statement, the OECD said “we regret the confusion created on a sensitive issue by any debate on methodological issues” and stressed that increasing the availability of testing in general is more important than knowing where any particular country ranks.

Sánchez’s later reference to a Johns Hopkins study, in which he said Spain ranked fifth for testing worldwide, appears to have been a case of mixed-up attribution by the prime minister. JHU has not published international testing figures. Jill Rosen, a spokeswoman for the school, told CNN the university couldn’t identify a report that matched Sánchez’s description.

At a press conference on May 9, Sánchez evaded a CNN question pressing him on the JHU study’s existence and listed the government’s numbers on testing totals instead. In comments made to a Spanish reporter the next day, health minister Salvador Illa continued to insist the testing data had been released by JHU, though he pointed to Worldometer as the underlying source. Since Johns Hopkins gets its data from Worldometer, he argued, it’s just as good.

“It is data given by the John Hopkins University […] taken from as a fundamental source of information, the website Worldometer,” Illa said. “You can check it.”

It is true that on April 28, Worldometer’s data had ranked Spain fifth when it came to total testing volume. At the time, OWID data also ranked Spain fifth, but as more countries began reporting larger testing volumes, it became clear how Worldometer’s data is flawed. Its Spain figure includes both polymerase chain reaction (PCR) tests, which show if patients are currently infected, and antibody tests, which indicate if patients were ever infected. For most countries besides Spain, Worldometer’s data appears to only count PCR tests.

Because so few countries report antibodies testing data and to ensure an apples-to-apples comparison, OWID says it only tracks PCR tests. By that measure, as of May 17, Spain ranks sixth, behind the US, Russia, Germany, Italy and India. Worldometer ranked Spain fourth.

But relying on the ranking by the raw number of tests performed is still misleading because it doesn’t account for population differences between countries.

OWID’s data manager, Edouard Mathieu, says a much fairer way to compare testing data is to account for population size. As of May 10, OWID placed Spain 19th in testing per 1,000 people. Worldometer placed Spain 15th by a similar measure.

Tale of two rankings

Worldometer’s data does rank Spain fifth in terms of total testing volume. But relying on raw numbers is misleading because it doesn’t account for differences between countries. When adjusted for population, Spain’s ranking falls to 16th. Experts say this data, from Worldometer, is further flawed beacuse its Spain figure counts a broader category of tests than most other countries’.

Top 20 countries by…

Tests performed per 1 million residents

Data as of May 18, 2020 Source: Worldometer

Roberto Rodríguez Aramayo, a research professor at the Spanish National Research Council (CSIC)’s Institute of Philosophy and a former president of a Spanish ethics association, said Spain is reporting data from both the most and least reliable types of tests.

“Unfortunately, there seems to be certain [political] interests in the readings that are given of these data, when they are shown,” he said.

What does Worldometer have to do with Johns Hopkins University?

Johns Hopkins has not published international data on Covid-19 testing, but it does list Worldometer as one of several sources for its widely-cited coronavirus dashboard.

The university has declined to say what specific data points it relies on Worldometer for, but issues with the counter site’s data have caused at least one notable error.

On April 8, JHU’s global tally of confirmed Covid-19 cases briefly crossed 1.5 million before dropping by more than 30,000. Johns Hopkins later posted an explanation for the incident on its GitHub page. At the time, JHU told CNN the error appeared to come from a double counting of French nursing home cases. But French officials told CNN there had been no revision, not even to nursing home data. Johns Hopkins’ data appeared to come directly from Worldometer. The website listed no source for its figure.

One Wikipedia editor, James Heilman, a clinical assistant professor of emergency medicine at the University of British Columbia, said Wikipedia volunteers have noticed persistent errors with Worldometer, but also with “a more reputable name with a longer history of accuracy,” referring to Johns Hopkins. “We hope they also double check the numbers.”

Johns Hopkins’ response

Read Johns Hopkins University’s full response to CNN’s questions for this story.

Source: Johns Hopkins University

In an article published in February, JHU said it began manually tracking Covid-19 data for its dashboard in January. When that became unsustainable, the university began scraping data from primary sources and aggregation websites. Lauren Gardner, the associate engineering professor who runs the university’s Covid-19 dashboard, told CNN in a statement that the university uses a “two-stage anomaly detection system” to catch potential data problems. “Moderate” changes are automatically added to the dashboard but flagged so staff can double-check them in real time. Changes beyond a certain threshold require “a human to manually check and approve the values before publication to the dashboard,” Gardner said.

The university’s reliance on Worldometer has surprised some academics.

Phil Beaver, a data scientist at the University of Denver, seemed at a loss for words when he was asked what he thought of JHU citing Worldometer.

“I am not sure, that is a great question, I kind of got the impression that Worldometer was relying on [Johns] Hopkins,” he told CNN after a lengthy pause.

Mathieu also seemed taken aback.

“I think JHU has been under a lot of pressure to update their numbers,” he said. “Because of this pressure they have been forced to or incentivized to get data from places that they shouldn’t have, but in general I would expect JHU to be a fairly reliable source.”

Johns Hopkins has not published international data on Covid-19 testing, but it does list Worldometer as one of several sources for its widely cited coronavirus dashboard. Credit: Johns Hopkins University

In the university’s response to CNN, Gardner said Worldometer was one of “dozens” of sources and that “before incorporating any new source, we validate their data by comparing it against other references.”

“We try not to use a single source for any of our data,” Gardner added. “We use reporting from public health agencies and sources of aggregation to cross-validate numbers.”

The Spanish government and Johns Hopkins are not alone in citing Worldometer. The website has been cited by Financial Times, The New York Times, The Washington Post, Fox News and CNN.

The British government cited Worldometer data on Covid-19 deaths during its daily press conferences for much of April, before switching to Johns Hopkins data.

“Both Worldometers and John Hopkins provided comprehensive and well-respected data. As the situation developed, we transferred from Worldometers to John Hopkins as John Hopkins relies more on official sources,” read a statement from a UK government spokesperson.

‘Contaminating public opinion’

In Spain, Sánchez’s apparent Johns Hopkins misattribution has become a major controversy. In parliament on Wednesday, center-right People’s Party MP Cayetana Alvarez de Toledo called the government the party “of the lies to CNN and the Spanish people.”

On May 10, a spokeswoman for Spain’s embassy in London complained to CNN about its coverage of the matter.

“Back in April Mr. Sánchez mentioned analysis of statistical data carried out by Johns Hopkins University that are based upon data published by Worldometer,” the spokeswoman wrote in an email sent to the network’s diplomatic editor just after 4 a.m.

“Even if Mr. Sánchez did not mention Worldometer as a primary source in his remarks, [CNN] could have known that most of the comparisons and analysis on Covid-19 in the world use [Worldometer’s] tables.”

In remarks to CNN, a spokesperson for the prime minister’s office acknowledged that Worldometer counts PCR tests and antibodies tests together and rejected critics’ call to adjust testing numbers for population, calling it a “trap that the OECD and the Spanish press […] has fallen into” and arguing that Spain should not be compared with small countries like Malta, Luxembourg or Bahrain.

It’s not clear, though, why the Spanish government continues to insist that the testing data published by Worldometer was put out by Johns Hopkins University.

Its refusal to acknowledge its attribution error comes just a month after Spain’s Justice Minister Juan Carlos Campo said the government was considering changes to the law, seeking to crack down on those peddling misinformation.

“I believe, it is more than justified — with the calm, tranquility needed for any legal changes — that we review what our legal instruments are to stop those contaminating public opinion in a serious and unjustified way,” Campo said.

At the time, Human Rights Watch executive director Kenneth Roth told CNN in an email, “If the justice minister is suggesting penalizing speech that contaminates public opinion, that would be very dangerous.”

“Turning the government into a censor would undermine that public accountability precisely at the moment when it is most needed,” Roth warned.

In her letter to CNN, the embassy spokeswoman was emphatic that Spain was — and still is — fifth in the world in Covid-19 testing, attaching screenshots of Worldometer tables as proof.

“Figures speak louder than words,” she wrote. “And not willing to acknowledge the truth of reality […] is very worrying, to say the least.”

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