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arpov-blog-blog · 5 months

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..."Lance Wallnau’s book, “God’s Chaos Candidate” played a significant role in solidifying evangelical support for Donald Trump in 2016, brushing aside concerns about his obvious lack of morality.

Paula White-Cain gave the invocation at Trump’s inauguration in 2017, at his re-election campaign kick-off in 2019 and his Jan. 6, 2021, pre-insurrection rally. On the second occasion, she gave what experts describe as a ‘spiritual warfare’ prayer: “Let every demonic network that is aligned itself against the purpose, against the calling of President Trump, let it be broken, let it be torn down in the name of Jesus.”

Dutch Sheets engaged in a swing-state “prayer and prophecy tour” after Joe Biden’s election in November 2020, playing a leading role in building religious support for the Jan. 6 insurrection, in coordination with Trump’s White House.

All three are prominent members of a rapidly-growing, anti-democratic religious movement known as the New Apostolic Reformation, which few Americans have heard of, except in passing or by way of heated denials. But a new book from Canadian scholar André Gagné, “American Evangelicals for Trump: Dominion, Spiritual Warfare, and the End Times,” could change that, as the NAR seems poised to play an even bigger political role in 2024.

“Too many of the larger public, and too many who report news, know little about this movement,” said John Dorhauer, recently retired general minister and president of the United Church of Christ, via email. “The trap one must avoid in writing about this subject and reporting on the movement is to do so in a way that comes across as credible without sounding like a conspiracy theorist. The truth is you are in fact writing about a conspiracy. Because of that, large swaths of the American public are just predisposed to dismiss this as too far-fetched to take seriously.”

Gagné’s book is significant, Dorhauer said, because he clarifies and differentiates “various ideologies, theologies and end-game scenarios” in ways particularly helpful to “those of us looking to think strategically about how to offset the damage to our democracy.”

NAR, Clarkson explained, is hard to understand because it is “constantly changing, [and] has factions in tension with one another. … They are wily because they are worried that the rest of society will figure out who they are and what they are up to.”

The "most radical change" since the Protestant Reformation

Arguably the greatest strength of Gagné’s book is its “focus on how [NAR] adherents speak of their beliefs and practices,” as he describes it, providing a coherent, objective record that can that’s not an outsider’s interpretation — thus evading an objection that religious conservatives have invoked for decades when subject to unwanted scrutiny. This is reflected both in the book’s origin and in its crucial explanation of the NAR, which C. Peter Wagner, who coined the term, described as “the most radical change in how churches operate since the Protestant Reformation.”

Dominion theology, "victorious eschatology" and the Seven Mountain Mandate

When it comes to theology, Gagné focuses on the “idea of wanting to establish the kingdom of God on earth, the notion of dominion,” a thread long present in evangelical Christianity, but largely more as an aspiration than a master plan, as it is for the NAR. “Wagner was clear on what had influenced him in terms of dominion theology,” Gagné said, and specifically referenced Calvinist philosopher and theologian R.J. Rushdoony, the founder of what is known as “Christian Reconstruction.” (See Julie Ingersoll’s book "Building God's Kingdom: Inside the World of Christian Reconstructionism,” and a Salon interview.)

Another important influence was onetime evangelical bishop Earl Paulk, who “popularized a teaching that is called ‘kingdom now,’” Gagné said, which claimed that “Christ in us must take dominion over the earth.... The next move of God cannot occur until Christ in us takes dominion.”

It’s worth noting here that the dominionist belief in dramatically expanding Christians’ power over the secular world is inherently in conflict with previously more popular evangelical beliefs that the sinful world should be left behind, as reflected in the popular “Left Behind” novel series. In contrast, Gagné said, “Wagner had a view which is called ‘victorious eschatology,” where he links that idea to dominion theology.” He quotes Wagner saying, “We no longer accept the idea that society will get worse and worse, because we now believe God’s mandate is to transform society, so it gets better and better.”

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sportsgr8 · 8 months

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#AhmadHekmatAl #AngeloKouame #AsianGames #ChineseTaipei #CuiYongxi #FadiMustafa #FIBAWorldCup #HangzhouAsianGames #HuJinqiu #JohnBohannon #JustinBrownlee #OnJordan #RondaeJefferson #ScottieThompson #ThePhilippines #ZhaoJiwei #ZhaoRui

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jackalsinthekitchen · 9 months

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pop report #5: endless summer edition (9/16/23)

a sundazed glance at Billboard’s top 20 from two weeks ago – bitch, I said what I said

Summer’s over, the heat from the proverbial kitchen and literal sun still burning the other cheek I feebly turned to both. Per tradition, we’re bidding the season goodbye with a smattering of typical plaints that it wasn’t long enough, or felt like it didn’t happen. But here in Texas, it’s in full swing by early May, with not much mystery over what we’re in for beyond what degree (Fahrenheit) of punishing. So yeah – we’re pretty sure it happened. Yet again, we thought we were ready for it, and yet again, it went a little harder on us than it needed to. Whatever else went down, that lucky old sun made it cruel enough to justify a now-ancient Taylor chorus shooting up the pop charts. Like anything else that shoots up the pop charts these days, reasons why were imperfectly clear. One more testament to the inimitable inhabitability of the One True Pop Star’s catchy canon, perhaps? My summer wasn’t my fave; I can still feel it from here.

I’ve barely touched this new blog o’ mine, which I dreamt of putting up for years – the present you ogle at through the shop window for ages only to take it home and unwrap it, and see all that built-up desire instantly brown with oxidization. While Jackals! still doesn’t have a hook, for the first four weeks of 2023, at a rate of productivity that was ultimately to no one’s benefit, I looked at the pop charts and decided to think out loud about what they meant. But the thing is, in a year when people are thinking about it more out loud than usual, nobody seems to know exactly what they mean. There are analyses trenchant and muddled, and scattered rebuttals to both, strewn throughout comments sections we’ll never read. I’m too bored to even try to recap what I think I know about how these numbers are measured. Even my late best friend’s agitated analyses resisted my comprehension. Why dull the aesthetic with the statistical?

Suffice it to say, there are so many theories about “gaming the system” floating around, it feels a bit like last election year. Most of the people on my radar are in some way convinced that one Oliver Anthony Music’s “Rich Men North of Richmond” won its surprise Billboard victory through nefarious right-wing interference – comparable, you hear, to that Jim Caviezel movie about (fighting) child trafficking, where people bought out whole theatres just to stick it to Brandon. It’s not about the music, they say, it’s about waving a righteous-anger rag, and the rallying cry might as well be coming from any red-faced red-haired Bible-belt boy with a banjo who caught the Qanon virus at très-unmasked family get-togethers. A more neutral friend points out that “Rich Men North of Richmond” hung in at a basically ungameable top 3 place on Spotify for a bit. It was all great industry all around: for MAGAfolk, thinkpiecers, Billy Bragg.

Times change fast, though, so even if a few people are still reeling from them, the Billboard chart – much less Spotify’s Today’s Top Hits, where Anthony has vanished – has moved on to its latest single-star infiltration. That star is Queen Zillennial Olivia Rodrigo, whose guts are is filled with readymade hits, and who may portend a long-awaited pendulum swing back to a more rockist zeitgeist. But because it still literally does not matter what I do here, I wanna warm up these lazy fingers some by casting an eye back to two weeks ago, a whole world away, when the charts looked a bit more like they did in the middle of swelter season. At the ground floor of that top 20 was the indefatigable fatigue-pop of “Anti-Hero”, my most favorite song, which does not seem to have engendered a self-reflection revolution here on earth. But hey, maybe people are just keeping quiet about it. Even Taylor is going through some shit.

#19 is “Thinkin’ Bout Me”, by Morgan Wallen, the, uh, hot-button country artist about whom many folks certainly have thoughts. I haven’t heard this song as of this point in this paragraph, and I suspect it’s not as good as Frank Ocean’s pillow-pop classic “Thinkin’ Bout You”, which is the next song you get when you type “thinkin bout” in the search bar. Mr. Wallen, a reformed butt-rocker, has a harder edge than many of his southern-pop peers, and an excellent article I linked to earlier in this piece, written by a (non-right-wing) writer who’s spent just a little more time with young Wallen’s proudly endless albums than I have, suggests his lyrics even bespeak hip-hop (gasp!) influences. Perhaps this explains some words he enjoys using. The beat of this one is ripped unaltered from hip-hop; the lyrics might pass too, if rapped, though not in what I perhaps unfairly call “truck nuts voice”. Wallen is feeling upset, and entitled, about a recent breakup in this enduring hit, not helping his case by singing the song like an asshole. (More on this later.)

Country really is in its butt-rock era, in a sense – the guitars are amped-up and grinding, the (male) vox are growly and real-ass proud about it. “Need a Favor”, by something called Jelly Roll that’s miles away from Morton, was cited recently in an AA meeting I attended by someone it caught unsuspecting on the radio. We’re a very talk-to-God crowd in AA, and contra Wallen, there’s a humility in this song that’s not matched at all by its sound, but which pushes its stridence into something resembling passion. I’ve just found out via Google/Wikipedia that Jelly Roll is apparently an “American rapper”. He looks like a heavier Post Malone – also an “American rapper” even though everything he puts out sounds just like a pop song – and has a narrative about being incarcerated many times, which also lends some poignant complexity to his hit’s hook. Verdict: annoying if you’re in the wrong mood, but not necessarily bad for your health.

Next in my discovery journey is finding out who the War & Treaty are – they’re a Black husband and wife who weave country and rock into more traditionally Black styles like soul and blues. It makes sense that they’d team up with Zach Bryan, one of the better and, dare I say it, more soulful heavy country hitters hanging out in the high end of these charts. “Hey Driver”, which doesn’t trouble you with electric guitars or even drums at the top, is really stirring. The juxtaposition of tW&T’s full-bodied harmonies against Bryan’s voice, which crumbles once it hits the air, is gorgeous, and the lyrics boast a complexity rarely troubled with on most of these hits. It’s all sincerity, but for the most part, I feel like it earns it. Though the Billboard charts continue to exhibit a kind of separate-but-equal mélange of genres, this sort of crossover still feels rare – even if so much pop, R&B and country takes production cues from hip-hop.

At #16 (we’re at #16 btw) is the ever-restless, currently-somewhat-exhausted Miley Cyrus, whose tired but empowered “Flowers” is already one of pop’s great breakup anthems and stands as one of the songs of last summer. I spent some time in Ms. Cyrus’ canon last spring for a piece I’m proud of, but it didn’t dispel the impression I’ve always had that behind that fabulous voice and insouciant demeanor is not a very clear artistic vision. Cyrus swings from new tack to new tack, and unless she’s put a truly fantastic single together – she does this every so often – there’s always a trace of “unconvincing” there for me. “Used to Be Young” is scarcely different. A piano ballad, something she seems to personally favor, it has an air of reflective weariness (cf. “Malibu”) and light penitence (perhaps for She is Coming?). The media was rarely kind to her, but the hurt only comes out in her songs. The hook is solid, if a little programmatic (“you say I used to be wild, I say I used to be young”), and the music narrowly avoids sappiness with an atmospheric, beaty arrangement. And the fact is, when she starts to belt, she thins out her competition.

“Religiously” by Bailey Zimmerman – I would’ve typed “Blake” based on his face and sound if I hadn’t looked twice – is another revved-up, growly country song about having been deserted, and unlike Mr. Wallen, Zimmy doesn’t wink at you that she was super wrong to leave. The chorus – “I ain’t got the only woman who was there for me/religiously” – skirts patriarchal discomfort, but the lucky among us have had a deeply patient, unwaveringly supportive partner, so the regret is broadly relatable. The religious content is also rather muted – not like this is worship music or anything, though I guess it could pass if it were cornier – weaving the spiritual and secular in a seemingly seamless way. But it’s not not corny. It’s not clear if BZ has a sense of humor, and while his voice has some nice gristle to it (a la ZB), like most of country’s current heavy hitters, the music sounds straight from the factory (a factory with mandolins).

Lil Durk (feat. J. Cole)’s “All My Life”, #14, is also corny, but not enough to drag it down. The slow unfurl of its polysyllabic ruminations (there’s an element of hip-hop the rest of pop would do well to absorb), the classic-Kanye style kids’-choir hook, the simple, gorgeous chord progression: this is a song that aims to make you cry, and more or less earns it. Cole’s climactic middle section about slain young rappers is the highlight, of course; never were more brilliant pop stars cut down too soon than in the modern rap era. But the whole thing has a humility and sense of dynamics that arrests you the whole way through, even the verses you’re not following perfectly between choruses. There is a problem here, though – the single’s sweet sugar was harvested and glazed over by none other than Dr. Luke, one of music’s accused whose charges seemed credible enough to strip him of his license to practice. Can’t Ke$ha count on us?

#13 is “Flowers”, and #12 one of three fantastic hits from the indisputable movie of the summer. Barbie was fainter for me than I wanted, though I’m not sure how much more subversive – it’s quite subversive! – it could’ve been while still nailing the something-for-everyone thing. And anyway, what do I know? I’m just a Ken (or perhaps an Allan). “Barbie World”, the #12 in question two weeks ago – remember, this is all two weeks ago, I make the rules here – is the weakest of the trio. It’s a trap-haze interpolation of the old Aqua hit, a great song which nevertheless felt so aggressively hyper back in the ‘90s, it could hit like a form of torture in the wrong mood. Nicki Minaj, my original 2010s hero, hasn’t helped herself personally for a bit, but her effortless, earth-scorching command, even at a low temperature, is a perfect vessel for the universal empowerment this theme and its film intend – “all of the Barbies is pretty” indeed. #6 on this chart is Dua Lipa’s mint-condition, made-to-order disco anthem “Dance the Night”, the sort of banger that feels like it’s been around forever. The last Barbie hit, Billie Eilish’s startlingly canny “What Was I Made For”, a ballad that astounds a little harder every time it languidly unfolds, hung in at #22.

Oliver Anthony Music had dropped just outside the top 10 at this time. Part of my picking an earlier chart is that I wanted to write about him; that said, I don’t know that a single song has had more written about it in the recent past, and all in one week. Much was made of Anthony(whose beard conceals his build)’s irritation with people who use taxpayer-funded welfare to buy cheap treats. In fact, his fatphobia is the clearest toxicity in the lyrics, though the reference to “minors on an island somewhere” – as if the U.S. government did a thing to keep Jeffrey Epstein from hurting people – codes conspiracy theorist. But all the carping about his fishy success belies the fact that the song sounds great. Mr. Music’s voice is searing and powerful, the stark banjo and the outdoor ambience a production coup, and if it wasn’t so clear he was coming at this from the wrong place (though to be fair, he’s abjured any party affiliation), it would speak to the great open secret of U.S. politics, which is that bullshit pay is everybody’s problem, and these wedge issues, however serious, are there to distract us from uniting against our oppressors. As Billy Bragg put it in his pitch-perfect rebuttal, “join a union”. We’ve just been reminded strikes still work.

Having already touched on #6, I’ll breeze through 10 to 7. 10 is Rema & Selena Gomez’s “Calm Down”, an Afrobeat-graced pop hit with a vibe much resemblant of Bad Bunny and other recent Latin pop. Gomez’s post-Waverly Place penchant for coming on like she’s absolutely done with everything and is too tired to be bothered anymore suits the single’s quiet storm perfectly. “Vampire” is Olivia’s current piano-kissoff coup, and you already know how much it doesn’t suck. Gunna’s “Fukumean” gets stuck in my head here and there – well, just the “Fukumean” part – and I always subsequently wonder what it sounds like on the radio, where you still can’t quite say exactly what the fukumean. The music feels generic if peppy; the lyrics are conventional hip-hop aggro-bravado. SZA’s “Snooze” is no snooze, but also no “Kill Bill”.

I went through a breakup this summer, right around the time Morgan Wallen’s “Last Night” blew up. His music is insistently catchy and melodically brawny, so for a short time “no way it was our last night” was sort of a pet chorus in my head. But this deteriorated quickly, paying attention to the rest of the lyrics – said night was booze-fueled, not the most relatable or charming thing for a grateful recovering alcoholic, and once again, Wallen’s greasy cockiness is an automatic turn-off. There’s very little indication that his ex wants to stick around, much less that Wallen, whose cultural function is primarily as a “cancelled” superstar half of the country is propping up in retaliation, has done a lot of self-interrogation about it. The song really does sound great, and its hook is invincible, but once again, it isn’t exactly good for you.

The late-breaking triumph of Taylor’s “Cruel Summer” would also leave a bad taste if the song weren’t one of her best. I say this because of the recent scenario in which our new pop hero Olivia Rodrigo had to pay Swift, whose business acumen seems genuinely frightening, for a touch of inspiration from this song (a chanted section…?) that could be ungenerously interpreted as some sort of theft for which some sort of repayment is in order. Their lawyers worked it out, but bad blood feels inevitable; Swift famously supported Rodrigo in a deliberately maternal way when “Drivers License” (sorry, “drivers license”) hit, but it’s not impossible to imagine that zillionaire cipher feeling a twinge of jealousy from which a few petty things might result. Rodrigo’s evasive responses in interviews seem to give credit to this suspicion.

Into the top #3, and here sits one of my favorite curios, Luke Combs’ musically beefed-up but lyrically unaltered cover of Tracy Chapman’s “Fast Car”. Combs absolutely has truck nuts voice, and I’m still not clear what people who prefer that voice above all others do when he drops the line about his time as a checkout girl. It’s hard to pinpoint anything nefarious here; Combs has just sent an influx of money into the bank account of a more-or-less forgotten Black female singer-songwriter – though that song endures, and is now living in the high reaches of the charts, because it’s fucking fantastic. But then, I haven’t read any thinkpieces about it, and I’m getting about as tired of writing as you are of reading, so we’ll move on.

My boy Zach Bryan and our girl Kacey Musgraves are (well, were) at #2 with their gently broken collab “I Remember Everything”. With its soft bass-drum pound, quiet strumming, slowly sawn violins and swaths of echo, it sounds a bit like mists floating grimly over fields (antebellum, perhaps? Nah, not for Kacey). Here are two of our deftest, most openhearted country stars, and, finally, a country breakup hit with not a kernel of corn, setting its scene through pure suggestion instead of beating you over the head with a big new cliché in a sack full of old ones. Its magic dispels a little the closer you look, but it really works. So does the unflappable Doja Cat’s “Paint the Town Red”, noted by chartwatchers as the first rap hit atop the hot 100 in a hot minute. As with “Dance the Night”, once DC rolls in over the music, the song feels classic and eternal. Not unlike Dionne Warwick’s “Walk on By”, the source of its sample – a 60-year-old hit of such intense and incongruous fragility, it’s astonishing how well they worked it in. In the Spotify age, all pop is eternal. To that end, any summer whose soundtrack is woven into your soul is endless.

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storytimewithnova · 10 months

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5 FEET APART

"5 Feet Apart: A Volleyball Love Story"

Synopsis:

"5 Feet Apart" revolves around the lives of Hinata Shona and Miya Atsumu, two passionate young athletes who are at the top of their volleyball game. Hinata, a talented but short-tempered spiker, dreams of becoming a nationally recognized player. Miya, a charismatic and skilled setter, is determined to lead his team to victory in all competitions. Both players are destined to cross paths, leading to a seemingly impossible connection on and off the court.

Act One:

Hinata Shona is a rising star on her high school volleyball team. Her fiery determination and natural talent make her an indispensable asset to her team. Meanwhile, Miya Atsumu, a widely renowned setter and captain of his school's team, considers himself the best player in Japan. When their paths intertwine during a highly anticipated tournament, sparks fly, and a heated rivalry begins to form between the two.

Act Two:

Despite their constant clashes on the court, Hinata and Miya are forced to work together when they are chosen to represent Japan in an international tournament. At first, their egos create obstacles in their partnership, but as time goes on, they learn to respect each other's skills. As they train and compete side by side, they start to discover a deeper connection that goes beyond their shared love for volleyball.

Act Three:

Just as Hinata and Miya are beginning to explore their budding relationship, tragedy strikes. Hinata is diagnosed with a medical condition that requires her to maintain a strict five-feet distance from others to prevent the spread of infection. Their dreams of playing together on the national stage are shattered, and the young couple must come to terms with the difficult reality of their situation.

Act Four:

Determined to stay connected, Hinata and Miya come up with a plan to continue their volleyball journey. They find solace in training separately but watching each other's games through technology, creating a unique bond that transcends physical distance. As they navigate their challenges, they discover the true meaning of love, sacrifice, and the importance of cherishing every moment.

Act Five:

With perseverance and unwavering determination, Hinata and Miya find a way to overcome their physical limitations and make a triumphant return to the game they love. In a heart-pounding final match, they lead their respective teams to victory, proving that love, passion, and an unbreakable spirit can conquer even the most impossible odds.

"5 Feet Apart: A Volleyball Love Story" is an inspiring tale of resilience, friendship, and the unbreakable bond that can be formed between two individuals who refuse to let circumstances define their lives. It serves as a reminder that even when life throws challenges our way, love and passion can light the path to our dreams.

Act Six:

Hinata and Miya's incredible journey captures the attention of volleyball enthusiasts across Japan. Their story inspires countless others to pursue their dreams against all odds, and they become role models for young athletes facing similar challenges. The media takes notice and their love for the sport, combined with their inspiring relationship, becomes a national sensation.

As Hinata's medical condition becomes more widely known, the public rallies behind her, advocating for more research and awareness. The 5 Feet Apart Foundation is created, aiming to support individuals living with similar conditions and raise funds for medical advancements. Hinata and Miya, touched by the overwhelming support, become ambassadors for the foundation, using their platform to make a lasting impact and create positive change in the world.

The couple's dedication to their sport and their relationship takes them on a whirlwind journey of international tournaments and championships. Despite the physical limitations they face, Hinata and Miya continue to break barriers, proving that passion, skill, and love can transcend any obstacle.

But their journey is not without its challenges. As their popularity grows, so does the pressure from the media and fans. The couple must navigate the balance between their personal and professional lives, learning how to shield their love from unwanted scrutiny. Their relationship is tested, but through open communication and unwavering support, they emerge stronger than ever.

In a climactic final showdown, Hinata and Miya find themselves facing each other on opposite sides of the net, both determined to win. The match becomes a symbol of their resilience, showcasing their individual growth as players and the unbreakable bond they share. In the end, however, their love for each other prevails, and they choose to celebrate each other's victories no matter the outcome.

Act Seven:

Years pass, and Hinata and Miya continue to excel in their volleyball careers. They accomplish their dreams of representing Japan in the Olympics, where they stand side by side on the world stage, united by their love for the sport and each other. They inspire a new generation of athletes, proving that true love and a relentless spirit can overcome even the most daunting challenges.

As their playing careers wind down, Hinata and Miya shift their focus to coaching and mentoring young volleyball talents. Their desire to give back and share their knowledge stems from their deep appreciation for the opportunities the sport has given them. They become legendary figures in the volleyball community, leaving an indelible mark on the sport they hold so dearly.

In the final scene, Hinata and Miya stand together, looking out at the next generation of volleyball players on the court. Their love, resilience, and unwavering support serve as a beacon of hope and inspiration, encouraging others to never give up on their dreams. They walk off into the sunset hand in hand, proud of the impact they have made and excited for the future they have built together.

"5 Feet Apart: A Volleyball Love Story" is a tale of love, perseverance, and the power of the human spirit. It reminds us that even when faced with seemingly insurmountable challenges, there is always hope. And through the power of love and determination, anything is possible.

Act Eight:

Hinata and Miya's lives continue to be filled with joy and success, but fate has a cruel twist in store for them. During one of their coaching trips abroad, Hinata falls seriously ill. After endless tests and consultations, the doctors deliver devastating news - her condition has worsened, and she is in need of a lung transplant.

The couple is devastated by this news, facing the thought of being separated and the uncertainty of Hinata's future. Miya refuses to let go of hope and dedicates himself to finding a miracle for his beloved. He tirelessly searches for potential donors, reaching out to their fans and the wider community in a desperate plea for help.

As time passes, Hinata's condition deteriorates further, and the likelihood of finding a suitable donor diminishes. The once vibrant and energetic Hinata now spends her days confined to a hospital bed, her spirit dampened by the heaviness of her illness. Miya refuses to leave her side and becomes her anchor, vowing to support her until the very end.

In a heartbreaking turn of events, an anonymous donor comes forward, offering their lungs to save Hinata's life. There is a glimmer of hope as the transplant surgery is scheduled. However, fate has other plans. On the day of the surgery, a sudden complication arises, and the transplant cannot proceed.

Miya watches helplessly as the love of his life slowly slips away, her once radiant smile fading with each passing day. All the dreams they had built together, the future they had envisioned, now seem like distant memories. The pain of losing Hinata becomes unbearable, and Miya's heart shatters into a million pieces.

In their final moments together, Hinata takes Miya's hand, weakly whispering, "Promise me... promise me you'll keep going. Live... live for both of us." Tears streaming down his face, Miya nods, holding onto her hand tightly. He promises to carry their love and dreams forward, never forgetting the precious time they shared.

As Hinata takes her last breath, Miya is left alone, his heart shattered and his soul engulfed in grief. But true to his promise, he finds the strength to keep going. Miya pours his love for Hinata into his coaching, guiding countless young athletes towards their own achievements.

In every victory and every success, Miya sees a glimmer of Hinata's spirit, a reminder that their love transcends time and space. Live, learn, and love become his mantras as he dedicates his life to honoring Hinata's memory.

Years pass, and Miya's legacy as a coach becomes legendary. He becomes known as the man who turned loss into inspiration, guiding generations of athletes towards their dreams. The love he shared with Hinata becomes a beacon of hope for others, teaching them to treasure every moment and to never take love for granted.

In a poignant final scene, the camera pans to a photograph of Hinata and Miya. Miya stares at it, a mixture of sadness and gratitude in his eyes. He whispers, "Thank you for the love we shared. You're always with me, Hinata." As the screen fades to black, Miya's dedication to their love lives on, his heart forever tied to the memory of their extraordinary journey.

The captivating and tear-jerker ending of "5 Feet Apart: A Volleyball Love Story" reminds us of the fragility of life and the power of everlasting love. It showcases the depths of grief and the strength of the human spirit to carry on, even when faced with unimaginable heartbreak. And in the midst of the tears, it leaves us with a bittersweet reminder to cherish every single moment we have with the ones we love.

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mirecalemoments01 · 10 months

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#ComebackKings #DramaticMatch #HeartPoundingAction #MessiMagic #SoccerThrills

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laocommunity · 1 year

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Unstoppable Stan Wawrinka Dominates Roland Garros with Epic Five-Set Victory - Tennis Fans Go Wild!

Unstoppable Stan Wawrinka Dominates Roland Garros with Epic Five-Set Victory - Tennis Fans Go Wild! Unstoppable Stan Wawrinka Dominates Roland Garros with Epic Five-Set Victory - Tennis Fans Go Wild! It was an incredible match that kept the tennis fans on the edge of their seats. The match between Stan Wawrinka and Stefanos Tsitsipas was one for the books. After a grueling battle, Stan Wawrinka emerged victorious, winning the match in five sets. The epic win was made even more special by the fact that it took place at the prestigious French Open tournament, also known as Roland Garros. In this article, we will delve into the details of the match, the extraordinary performance of Stan Wawrinka and how he managed to dominate the court against the talented Stefanos Tsitsipas. Dominating the Court - Stan Wawrinka's Epic Victory Stan Wawrinka is no stranger to Roland Garros. He has reached the finals twice in the past and managed to clinch the title in 2015. However, this year's tournament saw him coming back from a knee injury and struggling to regain his form. Nonetheless, he managed to power through every round, defeating some of the toughest opponents in the men's singles bracket. His opponent in the quarterfinals, Stefanos Tsitsipas, was no exception. The 21-year-old had been making waves in the tennis world, impressing everyone with his skill and dominance on the court. However, he was up against a formidable opponent in Wawrinka, who played some of his best tennis in the match that followed. Both players gave it their all - the match lasted for over five hours, and each set was more intense than the last. The first set was fairly even, with both players exchanging games. However, Wawrinka managed to break Tsitsipas' serve and take the set 7-6 in a tiebreak. The second set saw Tsitsipas come back hard, taking the set 6-4 with some impressive shots. Wawrinka seemed to struggle in this set, with errors creeping into his game. However, he was not one to be deterred. He came back strong in the third set, breaking Tsitsipas' serve multiple times and taking the set 6-3. Tsitsipas managed to regain some momentum in the fourth set, which went to another tiebreak. However, Wawrinka managed to pull ahead and take the set 7-6. The fifth and final set saw some of the most thrilling moments of the match. Both players were visibly tired, but continued to fight with all their might. Wawrinka managed to break early in the set and was serving for the match at 5-4. Tsitsipas fought back hard, breaking Wawrinka's serve and tying the set at 5-5. However, Wawrinka refused to let victory slip through his fingers. He broke Tsitsipas' serve yet again and was serving for the match at 6-5. Tsitsipas managed to save three match points, but Wawrinka finally sealed the deal with a stunning backhand winner. It was an incredible victory for Stan Wawrinka, and the tennis world could not help but be impressed by his display of power and determination. An Epic Battle on Clay The French Open is known for its clay courts, which present a unique challenge for players. Clay court tennis requires players to have a certain level of stamina and flexibility, as the slow surface demands longer rallies and precision shots. Wawrinka has always been known for his prowess on clay, and this tournament was no exception. He managed to dominate some of the strongest players on the surface, including Grigor Dimitrov and Stefanos Tsitsipas. His aggressive backhand and deft touch at the net were on full display in the quarterfinals, and undoubtedly contributed to his victory. Tsitsipas also played some impressive tennis, demonstrating his skill and mental fortitude in the face of Wawrinka's unrelenting attack. However, he was unable to capitalize on his chances and make a dent in Wawrinka's lead. The match was not without controversy, with the two players trading heated words at the end of the fourth set. However, they managed to put their differences aside and finish the match in a spirit of fair play and sportsmanship. Tennis Fans Go Wild It was not just the players who were caught up in the intensity of the match - the tennis fans all over the world were watching with bated breath. Social media was abuzz with posts and comments about the epic battle on clay, with many hailing Wawrinka's victory as one of the greatest moments in tennis history. The Swiss player received an outpouring of support and appreciation, with fans and fellow players congratulating him on his remarkable performance. Conclusion In conclusion, Stan Wawrinka's victory over Stefanos Tsitsipas at Roland Garros was a testament to his skill, determination and resilience. The match was an epic battle that had the world of tennis on the edge of its seat, and Wawrinka emerged as a worthy victor. With this win, Wawrinka is now one step closer to his second Roland Garros title. Tennis fans all over the world are eagerly anticipating his next match, and are excited to see what he has in store. #SPORT Read the full article

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