I am trying to use a resource (.tres) file to save my game data.
Here is the script I am using for the resource:

extends Resource class_name LevelData u/export var pins : Dictionary ## Dict containing all pins in the level @export var gates : Dictionary ## Dict containing all gates in the level @export var wires : Array ## Array containing all wires in the level 

And here is my function for saving the file:

# Save the level func save_level(): var data = LevelData.new() data.pins = pins data.gates = gates data.wires = wires # LEVEL_DIR is a constant value "user://levels/" print(ResourceSaver.save(data, LEVEL_DIR + "test.tres")) 

When I try to run this code, I get the following error:

E 0:00:04:0110 level.gd:41 @ save_level(): Cannot save file 'user://levels/test.tres'.  Condition "err" is true. Returning: ERR_CANT_OPEN  scene/resources/resource_format_text.cpp:1966 @ save()  level.gd:41 @ save_level() playground.gd:22 @ _process() 

Printing out the output of ResourceSaver.save() gives this output (I assume this is an error code): 19
Anybody know what's going on here? If you need any extra information, feel free to ask :) Thanks in advance!
Edit: Things to note: -I am using macOS.
-I have verified the path does exist.
-I have given the user:// folder read & write permissions for all users.
-This is happening in the editor, and I haven't tried exporting and trying again.

Ballers: Ball or Nothing” is the riveting documentary that follows the journey of Scotland’s only professional basketball team, the Glasgow Rocks, as they strive to end a 20-year trophy drought. Here is your complete guide to watch Ballers: Ball Or Nothing on BBC iPlayer on September 19 via VPN in USA.
The Glasgow Rocks, a team characterized by a small yet dedicated group of players and coaches, have been striving for victory despite facing numerous challenges, including limited funding.
The documentary showcases the heartwarming camaraderie and the relentless spirit of the team as they juggle multiple jobs to sustain themselves while pursuing their basketball dreams.
Ballers: Ball or Nothing” is the riveting documentary that follows the journey of Scotland’s only professional basketball team, the Glasgow Rocks, as they strive to end a 20-year trophy drought. Here is your complete guide to watch Ballers: Ball Or Nothing on BBC iPlayer Ballers: Ball or Nothing” is the riveting documentary that follows the journey of Scotland’s only professional basketball team, the Glasgow Rocks, as they strive to end a 20-year trophy drought. Here is your complete guide to watch Ballers: Ball Or Nothing on BBC iPlayer on September 19 via VPN in USA.
The Glasgow Rocks, a team characterized by a small yet dedicated group of players and coaches, have been striving for victory despite facing numerous challenges, including limited funding.
The documentary showcases the heartwarming camaraderie and the relentless spirit of the team as they juggle multiple jobs to sustain themselves while pursuing their basketball dreams.

Quick Steps: Watch Ballers: Ball Or Nothing from anywhere

Follow these simple steps to watch Ballers: Ball Or Nothing

1. Download a reliable VPN [we recommend ExpressVPN OR PureVPN as it provides exceptional streaming experience globally]
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Using a VPN allows you to bypass geographical restrictions by changing your IP address, enabling you to access content available exclusively in the UK. It is a necessary tool for fans outside the UK eager to follow the Glasgow Rocks’ journey in “Ballers: Ball or Nothing”.

Where to Watch ‘Ballers: Ball Or Nothing Online For Free

If you are in the UK, tuning in is straightforward. You can watch “Ballers: Ball or Nothing” on BBC Three or stream it online via BBC iPlayer for free. All you need are your TV provider credentials to access the service. On the other hand, for viewers in the USA, watching the series is a bit more complex due to geographical restrictions on BBC iPlayer. However, there is a workaround: using a VPN.
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What is the Release Date of Ballers: Ball Or Nothing

The documentary premiered on BBC Scotland on September 18, 2023, and in the UK on BBC Three on September 19, 2023.

About the Documentary Ballers: Ball Or Nothing

The documentary offers an intimate look at the Glasgow Rocks, showcasing the challenges and triumphs of a small yet dedicated team striving for victory despite limited funding. The series portrays the heartfelt efforts of the team, including the management’s endeavour to provide the utmost care for its players, helping them overcome various hurdles such as homesickness.

Behind the Scenes with the Glasgow Rocks

Under the guidance of MD Sean Skelly and Head Coach Gareth Murray, the team has managed to assemble a formidable group of players, including both domestic UK talents and imports from Europe and America. The documentary offers an intimate look into the lives of these players, portraying their struggles with homesickness and the pressures of being part of a team with limited resources yet unlimited heart.

Ballers: Ball Or Nothing Episode Guide

Here is a sneak peek into the first four episodes of the series:

• Episode 1 (September 19, 2023): The club’s sale news puts everything into doubt for the staff both on and off the court.
• Episode 2 (September 19, 2023): The new owners announce a shocking new name for the team.
• Episode 3 (September 26, 2023): The team faces turmoil due to homesickness, injuries, and on-court selfishness.
• Episode 4 (September 26, 2023): A new signing might be the turning point the team needs as they reach mid-season.

How to Watch the documentary Ballers or Nothing?

For viewers in the UK, the series is available on BBC Three and can be streamed online on BBC iPlayer shortly after its broadcast. International fans, however, will need to use a VPN service to access BBC iPlayer and follow the Glasgow Rocks in their pursuit of glory.

How many episodes are there in the “Ballers: Ball or Nothing” series?

The series consists of 8 episodes, detailing the highs and lows of the Glasgow Rocks’ season.

Can I watch “Ballers: Ball or Nothing” for free?

Yes, viewers in the UK can watch the series for free on BBC iPlayer. However, you will need to have TV provider credentials to access the service.

In a Nutshell

Ballers: Ball or Nothing” promises to be a series filled with determination, heart, and the spirit of teamwork. Whether you are in the UK or elsewhere, this guide ensures you won’t miss a moment of this inspiring journey.on September 19 via VPN in USA.
The Glasgow Rocks, a team characterized by a small yet dedicated group of players and coaches, have been striving for victory despite facing numerous challenges, including limited funding.
The documentary showcases the heartwarming camaraderie and the relentless spirit of the team as they juggle multiple jobs to sustain themselves while pursuing their basketball dreams.

On July 8th 2015 in rural road in Hampton County South Carolina, a truck driver called 911 stating that there is a body lying on the road. When law enforcement showed up to the scene they confirmed that the body is deceased and the identity of the deceased man is 19 year old Stephen Smith. Rumors went around and eventually the rumors went back to Stephen’s family, saying the people who were responsible for Stephen’s death were “The Murdaugh boys”. Investigators wanted to get to the bottom of this rumor as they stated “there is always some truth behind every rumor.
When law enforcement showed up the the scene to find Stephen deceased body on in the middle of the road, they found it odd that their was no car debris, broken headlights, paint scraps, not anything to conclude it was a hit in run. They also stated the way Stephen way lying on the road was like if the scene was staged. When Stephen’s parents were trying to get confirmation that the deceased male was Stephen, Stephen’s father got a mysterious call from Randy Murdaugh saying he will give Stephen’s family his services to help them. Later that day Sandy, Stephen’s mother drove past the scene and seen Alex and Randy Murdaugh on opposites sides of the road. Randy made a statement saying that these claims are false that Stephen’s father contacted him & he only visited the scene after he met Stephen’s father and sister. Days before Stephen died he would tell his family he was worried about his safety but did provide any details.
Sandy and detectives started questioning if the Murdaugh boys had some sort of involvement in Stephen’s death. Sandy stated a week before Stephen died, he said told her that he was going deep sea fishing and did not say with whom, supposedly he was going with Buster Murdaugh and his family, that he and buster were romantically involved with each other, but again that’s only a rumor. A teenager at the time came forward to investigators with another rumor stating that 3 young men were in a truck and saw Stephen walking and stuck something out the window, he reluctantly says it was Buster Murdaugh. No other leads have came to any other conclusions to these rumors and by late 2016 the case went cold. After the death of Maggie and Paul Murdaugh the case came to light again and detectives stated they found new leads. In April of 2023 Stephen’s family gathered donations to hire their own private investigators and pathologists, the pathologist confirmed that Stephen was hit with one single blow to the forehead severely fracturing his skull , this cannot be done with a baseball bat. Sandy’s family still believes that Stephen’s death is a result of a hate crime due to him being part of the lgbtq community, and she is asking the public if they know anything to please come forward to bring justice for Stephen.
https://www.cbsnews.com/amp/news/stephen-smith-south-carolina-unsolved-death-48-hours-new-findings-revealed-in-case-linked-to-murdaughs/

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I accept PayPal FF, Zelle, Venmo, FB Pay and Cash App
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I just finished the anime in about 2 days after it being suggested it to me by a friend and I absolutely loved it.
Everything from the writing when it comes to character development or the plot twists, the animation, relationships between characters, music, the good vibes that the slower scenes pull off when the characters are eating and drinking, how funny Denji can be with some of his motives, and Makima… don’t get me started on Makima.
looking forward to the movie and more episodes in the future, and am already planning to rewatch but has anyone found anything similar to Chainsaw Man? Maybe by the same creator?
I’ve been in an anime lull lately so haven’t seen a lot of the series that have came out recently, but safe to say CM got me back into it. I know there is a lot more out there to get the same result, but I want a way to continue the feeling this show gave me.
Thank y’all in advance!

I know a lot of work and planning goes in WEBTOONs and I realize that creators are likely to have other responsibilities and obligations, but I think consistently short episodes are a disservice to the story.
It drags scenes out and slows the character and plot development. For stories with a lot of characters and a complex world this also reduces the chance of getting more insights. And for people who pay to access episodes ahead it’s not entirely fair to them. I feel like Hand Jumper is one WEBTOON that has this issue.

Hello,
After searching through this subreddit, I saw a post from 5 days ago asking about the newest release of the FF benchmark for Dawntrail, which apparently promised to do out with the old lighting in the character creator and inject the new Dawntrail ones. The original letter said that the updated benchmark was due to release on May 23rd. A comment beneath that thread said that a recent live letter pushed its release to May 30th instead, allegedly, which is 2 days from now. However, I have been unable to locate or find that letter - would anyone have a link to it, so that I may read through its comments?
I'm very nervous about the upcoming changes. I play a Viera character, and only just installed the benchmark today. And, like the borderline-hundreds of other players on this 38-page long thread basically begging Square Enix not to go through with these """graphical improvements""" for Viera, my Veena Viera got absolutely evicerated by these changes visually. I know the new benchmark was promised to fill in the blanks with some of the high-texture resolution's, but I need to know if any other changes to the characters actual physical appearances were promised.
Honestly, It's probably just copium on my end, at this point. Going into the benchmark itself, outside of the character creator, my Viera still looks terrible in what I presume is the actual new lighting in all of the scenes. I may be cooked already. Not to mention, a view I see on this subreddit fairly frequently is that SE takes a grand total of zero feedback from the English forums when it comes to their game. If that actually is the case, then I just have to pray the thread of Viera changes in Japan is even longer than the one here.
Anyway, thanks for tolerating my rant. Here's to hoping this benchmark shows us an improvement to... Literally any race besides Hrothgar.

I just saw furiosa and loved it but one family had a kid like 2-3 years old in the theater on their phone the whole time.
Luckily I couldn’t see his screen where I sat and It could’ve been a lot worse since I could only hear him talk during really quiet scenes.
I don’t blame the kid if anything I’m sad he was too young to really enjoy the movie much less sit still and quite for its 2.5 hour runtime. I just think the second you become a parent you aren’t allowed to go to fun rated r movies lol hire a sitter.
Imo When you get knocked up you are sentenced to paw patrol and Mario movie until he/she is like 11-13.

The history of tarot is a fascinating journey that spans centuries and traverses various cultures. The origins of tarot cards can be traced back to 15th-century Italy, where they emerged as playing cards. The initial purpose of these decks was purely recreational, serving as a game known as "tarocchi" or "triumphi."

1. Early Playing Cards (15th Century):
   
   • Origin: Tarot cards likely originated in northern Italy in the early 15th century. The oldest surviving complete deck is the "Visconti-Sforza" deck, dating back to the 1440s.
   • Function: Originally used for games, tarot decks were adorned with symbolic imagery, including allegorical illustrations and trump cards.
2. Tarot in France (Late 15th Century):
   
   • Migration: Tarot cards crossed into France in the late 15th century, and the game evolved with the addition of the 22 trump cards, known as the Major Arcana.
   • Symbolism: The Major Arcana introduced iconic characters and archetypal symbols, enhancing the cards' allegorical significance.
3. Occult Associations (18th Century):
   
   • Esoteric Interest: In the 18th century, interest in the occult and mystical arts surged in Europe. Tarot cards gained esoteric significance, with scholars attributing hidden meanings to the cards beyond their gaming purpose.
   • Etteilla: The French occultist Etteilla published influential tarot interpretations, contributing to the transformation of tarot into a tool for divination and self-discovery.
4. The Rider-Waite-Smith Deck (Early 20th Century):
   
   • Revolutionary Design: In 1909, A.E. Waite and Pamela Colman Smith collaborated on the Rider-Waite-Smith deck, featuring vivid illustrations and intricate symbolism. This deck became immensely popular and served as the foundation for many modern tarot decks.
   • Divinatory Focus: The Rider-Waite-Smith deck emphasized the mystical and divinatory aspects of tarot, influencing the widespread adoption of tarot for spiritual and introspective purposes.
5. Tarot in the New Age Movement (20th Century Onward):
   
   • Popularization: The mid-20th century witnessed a surge in interest in mysticism, the occult, and alternative spiritual practices. Tarot cards gained popularity within the New Age movement, becoming a tool for self-reflection, divination, and personal growth.
   • Diverse Decks: The latter half of the 20th century saw the creation of diverse tarot decks, each with unique themes and interpretations, catering to different spiritual traditions and personal preferences.
6. Modern Tarot Practices (21st Century):
   
   • Global Appeal: Tarot has transcended cultural boundaries and gained a global following. The internet has played a significant role in disseminating tarot knowledge, making it accessible to a diverse audience.
   • Integration with Psychology: Many practitioners view tarot through a psychological lens, using the cards as a tool for introspection, therapy, and personal development.

The historical evolution of tarot reflects its transformation from a simple deck of playing cards to a versatile tool for divination, self-exploration, and spiritual guidance. Today, tarot continues to captivate individuals worldwide, offering a unique blend of ancient symbolism and contemporary relevance.

1. Diverse Tarot Systems and Cultural Influences:
   
   • Cultural Adaptations: Tarot has adapted to various cultural contexts, leading to the creation of decks that draw inspiration from different mythologies, traditions, and artistic styles.
   • Themed Decks: Modern tarot enthusiasts can explore decks inspired by Norse mythology, Celtic traditions, Eastern philosophies, and more, allowing for a rich diversity of interpretations and connections.
2. Tarot and Popular Culture:
   
   • Media Exposure: Tarot has found its way into mainstream media, with references in literature, movies, and television series. This exposure has contributed to its widespread recognition and acceptance.
   • Creative Interpretations: Popular culture has inspired artists and creators to produce tarot decks with themes ranging from fantasy and science fiction to contemporary pop culture references, showcasing the adaptability of tarot symbolism.
3. Tarot in Digital Age:
   
   • Online Platforms: The digital age has transformed tarot readings, making them accessible through online platforms and mobile apps. Virtual tarot readings and communities provide a global forum for discussion and learning.
   • Digital Decks: Tarot decks are now available in digital formats, enabling users to explore and engage with the cards through virtual platforms, expanding the reach of tarot practices.
4. Tarot as a Personalized Tool:
   
   • Self-Expression: Many individuals now create their own tarot decks, infusing personal symbols, experiences, and artistic styles into the cards. This personalized approach enhances the connection between the user and the cards.
   • Intuitive Reading: Modern tarot practices often emphasize intuitive reading, encouraging users to trust their instincts and personal interpretations rather than relying strictly on traditional meanings.
5. Scientific and Skeptical Perspectives:
   
   • Psychology and Tarot: Some psychologists view tarot as a projective tool that can tap into the unconscious mind, offering insights into one's thoughts and emotions.
   • Skepticism and Tarot: Skeptics often approach tarot from a psychological or statistical standpoint, exploring the phenomenon through the lens of cognitive biases and the placebo effect.
6. Tarot Communities and Education:
   
   • Learning Resources: The availability of books, online courses, and workshops has contributed to the education and skill development of tarot practitioners. This has empowered individuals to deepen their understanding of tarot symbolism and interpretation.
   • Community Engagement: Tarot communities, both online and offline, provide platforms for sharing experiences, seeking guidance, and fostering a sense of community among practitioners.

As tarot continues to evolve, its rich history merges with contemporary influences, shaping a dynamic and diverse landscape. Whether embraced for spiritual guidance, artistic expression, or personal insight, tarot remains a versatile and enduring tool that resonates with individuals on their unique journeys of self-discovery.

1. Tarot Ethics and Professionalization:
   
   • Code of Ethics: In modern tarot practices, professional readers often adhere to ethical guidelines. These guidelines emphasize confidentiality, client empowerment, and responsible use of divination tools.
   • Certification and Training: Some tarot practitioners pursue formal training and certification programs to enhance their skills and professionalism, contributing to the recognition of tarot reading as a legitimate and ethical practice.
2. Scientific Research on Tarot:
   
   • Psychological Studies: While scientific research on tarot is limited, some studies explore the psychological aspects of tarot reading. Research has investigated how individuals interpret symbols, engage in reflective thinking, and experience a sense of empowerment through tarot readings.
   • Cognitive Science Perspectives: Tarot's intersection with cognitive science has led to examinations of how the mind processes symbolic information and the impact of belief systems on perception.
3. Tarot and Intersectionality:
   
   • Inclusivity: Tarot communities increasingly emphasize inclusivity, recognizing the importance of diverse perspectives, cultures, and identities. Decks that reflect a broader range of experiences and backgrounds contribute to a more inclusive tarot landscape.
   • Intersectional Readings: Practitioners may integrate intersectionality into their readings, acknowledging the complexity of individual identities and experiences within a broader social context.
4. Tarot's Influence on Art and Literature:
   
   • Literary Works: Tarot symbolism has inspired numerous works of literature, poetry, and art. Authors and artists often incorporate tarot themes to explore psychological, spiritual, and philosophical concepts.
   • Tarot in Visual Arts: Tarot continues to be a muse for visual artists, with contemporary artworks reimagining and interpreting the traditional tarot archetypes in new and innovative ways.
5. Tarot and Holistic Wellness:
   
   • Mind-Body-Spirit Connection: Tarot is increasingly integrated into holistic wellness practices that emphasize the interconnectedness of mind, body, and spirit. It complements approaches like meditation, mindfulness, and energy healing.
   • Wellness Retreats and Workshops: Wellness retreats and workshops may incorporate tarot as a tool for self-reflection, personal growth, and stress reduction, aligning with the broader holistic wellness movement.
6. Tarot and Technology Integration:
   
   • Mobile Apps and Online Platforms: Technology has facilitated the accessibility of tarot through mobile apps and online platforms, offering virtual readings, digital decks, and interactive tarot experiences.
   • Augmented Reality and Virtual Reality: Emerging technologies like augmented reality (AR) and virtual reality (VR) have the potential to transform tarot experiences, providing immersive and interactive readings.

The ongoing evolution of tarot reflects its adaptability to societal changes, technological advancements, and a growing understanding of its psychological and symbolic dimensions. As it continues to weave through various aspects of contemporary life, tarot remains a dynamic and versatile tool with enduring relevance.

1. Tarot and Social Media:
   
   • Online Communities: Social media platforms, such as Instagram, TikTok, and YouTube, have become hubs for tarot enthusiasts. Tarot readers share daily card pulls, interpretations, and create educational content, fostering a vibrant online community.
   • Global Connections: Social media has facilitated global connections among tarot practitioners, allowing for the exchange of diverse perspectives, interpretations, and deck recommendations.
2. Tarot in Mental Health Practices:
   
   • Therapeutic Applications: Some mental health professionals incorporate tarot into therapeutic practices, using it as a tool for self-reflection, exploration of emotions, and promoting therapeutic dialogue.
   • Mindfulness and Coping: Tarot readings can be used as a mindfulness practice, helping individuals cultivate self-awareness and coping strategies for managing stress, anxiety, and mental health challenges.
3. Tarot's Evolving Symbolism:
   
   • Living Symbolism: Tarot symbolism is not static; it evolves over time. Modern tarot decks often reinterpret traditional symbols to reflect contemporary values, ensuring that the cards remain relevant and resonant with current cultural contexts.
   • Innovative Decks: Artists continue to create innovative tarot decks that explore diverse themes, introducing new symbols and archetypes that speak to a wide range of experiences.
4. Tarot and Ritual Practices:
   
   • Ritualistic Use: Tarot is incorporated into various ritual practices, from simple daily card pulls to more elaborate ceremonies. These rituals can serve as a form of meditation, intention-setting, or connection with spiritual energies.
   • Seasonal Celebrations: Some practitioners align tarot practices with seasonal changes, using specific spreads or decks to explore themes associated with the solstices, equinoxes, and other significant astrological events.
5. Tarot and Gender Representation:
   
   • Expanding Archetypes: Modern tarot decks often challenge traditional gender roles and expand archetypal representations. Decks may feature diverse gender identities and expressions, offering a more inclusive and fluid understanding of the archetypal energies within the cards.
   • Feminist Tarot: Some decks explicitly adopt feminist perspectives, reimagining traditional tarot symbolism to empower and celebrate the diverse experiences of individuals across the gender spectrum.
6. Tarot as Literary Inspiration:
   
   • Literary Works and Tarot: Tarot continues to inspire literary works, with novels, poems, and plays incorporating tarot themes and archetypes. Authors explore the psychological and symbolic depths of tarot, infusing their narratives with mystical and esoteric elements.
   • Narrative Exploration: Tarot's narrative potential serves as a source of inspiration for storytellers, offering a structure that mirrors the hero's journey or provides a framework for exploring characters' internal and external conflicts.

The dynamic interplay between tarot and contemporary culture reveals its enduring appeal and adaptability. From social media platforms to therapeutic practices, tarot remains a versatile tool that resonates with individuals seeking insight, connection, and personal growth in an ever-changing world.
In conclusion, the history and evolution of tarot reflect its remarkable journey from humble playing cards to a multifaceted tool deeply embedded in modern culture. As tarot continues to weave its way through diverse aspects of society, from online communities to therapeutic practices, its enduring relevance lies in its adaptability, symbolism, and capacity to inspire self-discovery.
From the mysterious origins of the 15th century to its current role as a global phenomenon, tarot has transcended cultural and historical boundaries. As it integrates with technology, influences art and literature, and finds new applications in mental health and wellness, tarot remains a dynamic force that resonates with those seeking spiritual insights, artistic expression, and personal transformation.
Whether approached through a psychological lens, as a form of self-reflection, or as part of broader cultural movements, tarot's journey reflects the human quest for meaning, connection, and the exploration of the inner self. Its rich tapestry of symbolism continues to captivate individuals across the globe, making tarot a timeless and ever-evolving companion on the diverse paths of human experience.

In 2010, when I was 19-years-old, I was in an acting class with “Kiko”; he was four years older than me. One day, I had booked a role in a film about a gay athlete in a closeted relationship, but as a cis man, felt I could use guidance to lend authenticity to my performance. Knowing that Kiko was gay (and friend from class), I asked him during break if he help run my scenes and give me feedback. Kiko welcomed my request and invited me to his apartment. Soon my life would never be the same.
While we were running a more intimate scene at his place, Kiko reached his hand up my leg. I stopped the scene and told him I was getting uncomfortable. He asked me, “How can you expect to be believable on set if you’re getting uncomfortable now?” Understanding how important this role was for my career and being emotionally raw (as the scene required vulnerability), I let him leave his hand there. As we went on, he placed his hand on my penis and began to molest me, despite my protests and re-assertions that I was straight (and at the time in a relationship with a longterm girlfriend). But he continued to manipulate me psychologically, justifying his behavior, exploiting my impressionable state of mind. At a certain point—I’m not sure exactly when—I dissociated from my body, floating up to the ceiling, seeing everything play out as if watching from above. It was Kiko molesting a stranger, not me. He began to perform fellatio on me. I was utterly paralyzed.
When it was over, I felt numb. Everything was clouded over with shame. I don’t even remember leaving his place, only suddenly being in the driver’s seat of my car, unable to even start the engine. Later on that day when I called to confront him, Kiko blew off the whole thing and expressed no remorse. In fact, my impression was that this was a routine of his and I was likely not the first, nor the last (more on that later).
Within a year of this event, I developed a sex addiction and substance abuse problem that I largely attribute to him, which led to my arrest and subsequent involuntarily hospitalization after a failed suicide attempt. Thousands of dollars in therapy bills later, being medicated for years, and working daily on my mental health, I’ve been able to stabilize my life. Depression is still a battle every day, as is managing my addiction, but it’s my cross to bear and I do so proudly. So you may be wondering, why am I choosing to come out now?
I recently decided to reach out to Kiko in an attempt to get closure and received no response. Upon looking him up on instagram, I saw in his profile that he mentioned being an “Ayahuasca Child,” and a horrifying image flashed in my mind: Kiko introducing a young man to ayahuasca under the pretense of a being a “shaman,” and during the psychedelic trip, molesting him like he did me. From my own (unrelated) experience with ayahuasca, I know the psychological damage that would cause would be irreversible.
As I said before, I worry there is a pattern here. To support that, some people who know Kiko have written things online anonymously that also paint him in a similarly negative light. If he is a repeat offender, as most are, I cannot sit by as he continues to sexually abuse innocent people. He must be stopped or lives are literally in jeopardy. I was lucky to survive thanks to resilience and a strong support system; others may not be so fortunate. That’s why I ask anyone who has any information or a similar experience to contact me. I hope this will be not only cathartic for us all, but more importantly, save future victims from a lifetime of trauma or worse.
Thank you for taking the time to listen to my story. I hope to hear from you.
**Though it goes without saying, this is a safe space; anonymity and discretion are my top priority for other victims. I will not judge and hope we can heal together.

A Guide To Quranic Contradictions - surah 40- surah 49 - By Abul Kasem
Sura 40: Al‑Mumin (The Believer) or Gafir (He who Forgives)
40:25 Pharaoh ordered that all the newborn sons of the believers of Moses killed, but to spare their daughters. Contradiction: 20:37‑39 says Pharaoh ordered the killing of infants when Moses was born, and not when Moses turned into an adult.
40:62 He is Allah, the creator and the sustainer of everything, worship none but Allah. Contradiction: 12:100 says Allah allowed Joseph’s brothers and his parents to worship Joseph by prostrating before him. Contradiction: 23:14, 37:125 say there are other creators besides Allah, but Allah is the best creator.
40:65 Allah is eternal; worship none except Him; all praise belongs to Allah. Contradiction: 12:100 says Allah allowed Joseph’s brothers and his parents to worship Joseph by prostrating before him.
Sura 41: Ha‑Mim or Ha‑Mim‑Sajda or Fussilat (Revelation well‑expounded)
41:9 Allah created the earth (first) in two days (means Sunday and Monday—ibn Kathir) and He is the Lord of all worlds.
Contradiction: 79:27‑30 says Allah created the heavens first. Contradiction: 7:54, 10:3, 11:7, 25:59 say six days of creation. Contradiction: 41:12 says Allah created the seven heavens in two days.
41:11 Allah designed the sky as a smoke; He rose towards the smoke, asked the smoke and the earth (i.e. earth was already created) whether they would come together willingly or unwillingly (the smoke is the steam of water—ibn Abbas). Contradiction: 21:30 says heavens and the earth were joined together as one solid mass, then Allah separated them.
41:12 Allah completed in two days (Thursday and Friday—ibn Kathir) the creation of heavens in seven firmaments (first) and (then) earth (that is; the total creation time for the earth and the seven heavens were two days); assigned duties and commands to each heaven, and adorned the lower heaven with lights. Contradiction: 7:54, 10:3, 11:7, 25:59 say Allah created the heavens and earth in six days. Contradiction: 2:117 says Allah creates instantly.
41:16
Ad people were unappreciative of Allah’s revelations, so Allah destroyed them through a violent wind for several days and warned that penalty for them in the hereafter would be more humiliating. Contradiction: 54:19 says Allah destroyed Ad people in one day. Contradiction: 69:6‑7 says Allah destroyed Ad people in seven nights and eight days.
41:31 The angels are our protectors in this life and in the life hereafter. Contradiction: 2:107, 29:22, and 42:28 say Allah is our only protector. Contradiction: 5:55 and 9:71 say messengers and the believers are our protectors and helpers.
41:37 The sun and the moon are the signs of Allah, but do not worship them; prostrate only to Allah who has created them. Contradiction: 12:100 says Allah allowed Joseph’s brethren and his parents to prostrate before Joseph.
Sura 42: As‑Shura (Consultation, Counsel)
42:51 Allah speaks from behind a veil, or through sending a messenger; Allah never speaks directly. Contradiction: 53:11 says Muhammad saw Allah with his own eyes. Contradiction: 2:259 says Allah spoke directly to an ordinary person. Contradiction: 2:36 says Allah spoke directly to Adam. Contradiction: 4:164 says Allah spoke directly to Moses.
Sura 43: Az‑Zukhruf (Gold Adornments)
43:55 Pharaoh’s insolence greatly annoyed Allah, so He drowned Pharaoh. Contradiction: 10:92 says Allah saved Pharaoh.
Sura 44: Ad‑Dukhan (Smoke or Mist)
44:4 On this night (that is, on the night of Laylatul Qadr), Allah decides on all matters. Contradiction: 20:52 and 57:22 says Allah has predetermined our fate even before He created us; everything is predetermined in the preserved tablet.
Sura 45: Jathiya (Bowing the Knees, Kneeling)
45:14 The believers are to forgive the unbelievers; Allah will decide on their punishment and/or reward. Contradiction: 9:5, 9:29 say kill the unbelievers if they do not accept Islam or pay jizya tax.
Sura 47: Muhammad (Prophet Muhammad)
47:15 Believers will be in gardens with rivers of incorruptible water, rivers of milk, rivers of wine, rivers of honey, all kinds of fruits, and grace from Allah. Unbelievers will dwell in fire; they will drink boiling water which will tear their intestines. Contradiction: 5:90, 2:219 say wine is Satan’s handiwork.

PLAYBOY Interview With Conan O'Brien Interview by Kevin Cook For Playboy Magazine February 1998
A candid conversation with the preppie prince of "Late Night" about his rocky start, his show's secret one-day cancellation and how David Letterman saved the day.
He was polite. He was funny. He gave us a communicable disease.
At 34 Conan O'Brien is hotter than the fever he was running when we met in his private domain above the "Late Night" sound stage. A gangly freckle-faced ex-high school geek he is "one of TV's hottest properties" according to "People" magazine. The host of "Late Night With Conan O'Brien" has become his generation's king of comedy.
Uneasy lies the head that wears a crown. Congested too, but O'Brien has far more to worry about than his head cold. A perfectionist who broods over one bad minute in an otherwise perfect hour of TV, he worries he might be anhedonic, "I have trouble with success," he says, "I was raised to believe that if something good happens something bad is coming." Sure things look good now "Rolling Stone" calls "Late Night" "the hottest comedy show on TV." Ratings are better than ever, particularly among 18- to 34-year-olds, the viewers advertisers crave.
But O'Brien only works harder. Despite his illness he taped two shows in 26 hours on three hours' sleep. He smoothly interviewed Elton John then burst into coughing fits during commercials. Later in his crammed corner office overlooking Manhattan traffic Conan the Cool gulped Dayquil gel caps. He coughed spewing microbes.
"Sorry, sorry," he said. Of course O'Brien can't complain. He came seriously close to falling to being banished behind the scenes as just another failed talk show host.
At his first "Late Night" press conference he corrected a reporter who called him a relative unknown, "Sir I am a complete unknown," he said. That line got a laugh, but soon O'Brien looked doomed. His September 13, 1993 debut began with O'Brien in his dressing room preparing to hang himself only to be interrupted by the start of his show. Before long his career was hanging by a thread. Ratings were terrible. Critics hated the show. Tom Shales of "The Washington Post" called it as "lifeless and messy as roadkill." Shales said O'Brien should quit.
Network officials held urgent meetings discussing the Conan O'Brien debacle. Should they fire him? How should they explain their mistake?
In the end of course he turned it around. The network hung with him long enough for the ratings to improve and the host of the cooler-than-ever "Late Night" now defines comedy's cutting edge just as Letterman did ten years ago.
Even Shales loves "Late Night" these days. He calls O'Brien's turnaround "one of the most amazing transformations in television history."
O'Brien was born on April 18, 1963 in Brookline, Massachusetts. His father, a doctor, is a professor at Harvard Medical School. His mother, a lawyer, is a partner at an elite Boston Law firm. Conan, the third of six children became a lector at church and a misfit at school. Tall and goofy, bedeviled with acne, he tried to impress girls with jokes. That plan usually bombed, but O'Brien eventually found his niche at Harvard where he won the presidency of the "Harvard Lampoon" in 1983 and again in 1984 - the first two-time "Lampoon" president since humorist Robert Benchley held the honor 85 years ago.
After graduating magna cum laude with a double major in literature and American history he turned pro. Writing for HBO's "Not Necessarily The News." O'Brien was earning $100,000 a year before his 24th birthday. But writing was never enough.
He honed his performance skills with the Groundlings, a Los Angeles improv group. There he worked with his onetime girlfriend Lisa Kudrow, now starring on "Friends." But Conan was not such a standout. In 1988 he landed a job at "Saturday Night Live" - but as a writer, not as on-air talent. In almost four years on the show O'Brien made only fleeting appearances, usually as a crowd member or security guard. His writing was more memorable. He wrote (or co-wrote) Tom hanks' "Mr Short-Term Memory" skits as well as the "pump you up" infosatire of Hanz and Franz and the nude beach sketch in which Matthew Broderick and "SNL" members played nudists admiring one another's penises. With dozens of mentions of the word that hit was the most penis-heavy moment in TV history. It helped O'Brien win an Emmy for comedy writing.
In 1991 he quit "SNL" and moved on to "The Simpsons" where he worked for two years. His urge to perform came out in wall-bouncing antics in writers' meetings. "Conan makes you fall out of your chair" said "Simpsons" creator Matt Groening. O'Brien's yen to act out was so strong that he spurned Fox's reported seven-figure offer to continue as a writer. He was driving for the spotlight.
By then David Letterman had announced he was turning shin - leaving NBC taking his ton-rated act to CBS. Suddenly NBC was up a creek without a host. The network turned to Lorne Michaels, O'Brien's "Saturday Night Live" boss. Michaels enlisted Conan's help in the host search planning to use him in a behind-the-scenes job. But when Garry Shandling, Dana Carvey and almost every other star turned down the chore of following Letterman, Michaels finally listened to Conan's crazy suggestion, "Let me do it!" Michaels persuaded the network to entrust it's 12:30 slot which Letterman had turned into a gold mine to an untested wiseass from Harvard.
O'Brien was working on one of his last "Simpsons" episodes when he got the news. He turned "paler than usual," Groening recalled. The Conan moseyed back to where the other writers were working, "I'll come back with the Homer Simspon joke later. I have to go replace Letterman," he said.
NBC executives now get credit for their foresight during those dark days of 1993 and 1994. They snared the axe and now reap the multimillion-dollar spoils of that decision. In fact, the story is not so simple. We sent Contributing Editor Kevin Cook to unravel the tale of O'Brien's survival, which he tells here for the first time. Cook reports:
"His office is chock-full of significa. There's a three-foot plastic pickle the Letterman staff left behind in 1993 - perhaps to suggest what a predicament he was in. There's a copy of Jack Paar's 'I Kid You Not' and a coffee-table book called 'Saturday Night Live: The First 20 Years.' His bulletin board features letters from fans such as John Watters and Bob Dole and an 8" x 10" glossy of Andy Richter with the inscription: "To Conan - Your bitter jealousy warms my black heart. Love and Kisses Andy."
"Of course it's all for show. From the photos of kitch icons Adam West and Robert Stack to the framed Stan Laurel autograph, from the deathbed painting of Abraham Lincoln, to the ironic star taped to Conan's door - they're all clever signals that tell a visitor how to view the star. Lincoln was his collegiate preoccupation: stardom is his occupation. Somewhere between the two I hoped to find the real O'Brien.
"As a Playboy reader he wanted to give me a better-than-average interview. I wanted something more - a definitive look at the guy who may end up being the Johnny Carson of his generation."
"Here's hoping we succeeded. If not I carried his germs 3000 miles and infected dozens of Californians for no good reason.
O'Brien: Yes, this is how to do a Playboy Interview -- completely tanked on cold medicine. I'll pick it up and read, "Yes, I'm gay."
Playboy: We could talk another time. O'Brien: (coughing) No, it's OK. I memorized Dennis Rodman's answers. Can I use them?
Playboy: You sound really sick. Do you ever take a day off? O'Brien: No. The age of talk show hosts taking days off is over. Johnny Carson could go to Africa when he was the only game in town -- "See you in two weeks!" But nobody does that now. I will give you a million dollars on the first day Jay takes off for illness.
Playboy: Do you ever slow down and enjoy your success? O'Brien: If anything, the pace is picking up. Restaurateurs insist on giving me a table even if I'm only passing by, so I'm eating nine meals a night. Women stop me on the street and hand me their phone numbers.
Playboy: So you have groupies? O'Brien: Oh yes. And other fans. Drifters. Prisoners. Insomniacs. Cab Drivers, who must watch a lot of late night TV, seem to love me lately. They keep saying, "You will not pay, you will not pay, you make me happy!"
Playboy: How happy did your new contract make you? O'Brien: Terrified. The network said, "We're all set for five years." I said, "Shut up, shut up! I can't think that far ahead." Tonight, for instance, I do my jokes, then interview Elton John and Tim Meadows. We finished taping about 6:30. By 6:45 my memory was erased and my only thought was, Tomorrow: John Tesh. And I started to obsess about John Tesh. Sad, don't you think?
Playboy: Not too sad. You got off to a rocky start but now you're so hot that People magazine recently said, "that was then, this is wow." O'Brien: I try not to pay much attention. Since I ignored the critics who said I should shoot myself in the head with a German Luger, it would be cheating to tear out nice reviews now and rub them all over my body, giggling. Though I have thought about it.
Playboy: Tell us about your trademark gag. You interview a photo of Bill Clinton or some other celeb, and a pair of superimposed lips provide outrageous answers. O'Brien: We call it the Clutch Cargo bit, after that terrible old cartoon series. They saved money on animation by superimposing real lips on the cartoons. I wanted to do topical jokes in a cartoony way -- not just Conan doing quips at a desk. TV is visual; I want things to look funny. But we're not Saturday Night Live; we couldn't spend $100,000 on it. Hence, the cheap, cheesy lips, You'd be surprised how many people we fool.
Playboy: Viewers believe that's really the president yelling, "Yee-haw! Who's got a joint?" O'Brien: It's strange. You may know intellectually that Clinton doesn't talk like Foghorn Leghorn. Ninety-eight percent of your brain knows the president wouldn't say, "Whoa Conan get a load of that girl!" But there are a few brain cells that aren't sure. When Bob Dole was running for president we had him doing a past-life regression: "My cave, get away." And then back further, "Must form flippers to crawl on to rocky soil," he says. There may be people out there who believe that Bob Dole was the first amphibian.
Playboy: Do you ever go too far? O'Brien: The fun is in going too far. It's a nice device because you get Bill Clinton to do the nastiest Bill Clinton jokes. We'll have Clinton making fart noises while I say "Sir! Please!"
Playboy: Are you enjoying your job now, with your new success? O'Brien: Well, there are surprises. I hate surprises. Like most comics, I'm a control freak. But I am learning that the show works best when things are out of control. Tonight I ask Elton John if he likes being neighbors with Joan Collins. He says he isn't neighbors with Joan Collins. He lives next door to Tina Turner. So I panic -- huge mistake! But Elton saves the day. "Joan Collins, Tina Turner, it doesn't matter. Either way I could borrow a wig," he says. Huge laugh, all because I fucked up. Later he surprised me by blurting out that he's hung like a horse. The camera cuts to me shaking my head: That crazy Elton. What can I do? Of course, I'm delighted that he went too far.
Playboy: That "What can I do?" look resembles a classic take of Jack Benny's. O'Brien: There's an old saying in literature: "Good poets borrow; great poets steal." I think T.S. Eliot stole it from Ezra Pound. Comics steal, too. Constantly. When I watched Johnny Carson, I noticed that he got a few takes from Benny and Bob Hope. When a comedy writer told me how much Woody Allen had borrowed from Hope, I thought, What? They're nothing alike. Then I went back and watched Son of Paleface, and there's Hope, the nervous city guy backing up on his heels, wringing his hands and saying, "Sorry, I'll just be moving along." Now look at early Woody Allen. You see big authority figures and Woody nervously saying, "Look, I'll just be on my way." Of course Woody made it his own, but he must have watched and loved Bob Hope.
Playboy: Who are your role models? O'Brien: Carson. Woody Allen. SCTV. Peter Sellers. When Peter Sellers died I felt such a loss, thinking, There won't be anymore of that. There's some Steve Martin in my false bravado with female guests: "Why, hel-lo there!" And I won't deny having some Letterman in my bones.
Playboy: You were surprise as Letterman's successor. At first you seemed like the wrong choice. O'Brien: I didn't get ratings. That doesn't mean I didn't get laughs. Yes, I had a giant pompadour and I looked like a rockabilly freak. I was too excited, pushed too hard, and people said, "That guy isn't a polished performer." Fine! But it isn't my goal to be Joe Handsomehead cool, smooth talk show host. Late Night with Conan O'Brien is supposed to be a work in progress, and now that we've had some success there's a danger of our getting too polished and morphing into something smoothly professional. Which would suck.
Do you know why I wanted this show? Because Late Night with David Letterman played with the rules and it looked like fun. Here was a place where people did risky comedy every night for millions of people. We had to keep this thing alive. There should be a place on a big network where people are still messing around.
Playboy: How bad were your early days on the show? O'Brien: Bad. Dave left here under a cloud: his fans and the media were angry with NBC. Then NBC picks a guy with crazy hair and a weird name. And the world says, "Harvard? Those guys are assholes." I sincerely hope that the winter of December 1993, our first winter, was the worst time I will ever have. I'd go out to do the warm up and the back two rows of seats would be empty. That's hard to look at. I would tell a joke and then hear someone whisper, "Who's he? Where's Dave?"
Playboy: You had trouble getting guests. O'Brien: Bob Denver canceled on us. We shot a test show with Al Lewis of The Munsters. We did the clutch cargo thing with a photo of Herman Munster. Unfortunately, Fred Gwynne, who played Herman, had recently died, and Al Lewis kept pointing at the screen, saying, "You're dead! I was at your funeral!"
Playboy: For months you got worried notes from network executives. What did they say? O'Brien: They were worried. The fact that Lorne Michaels was involved bought me some time. But Lorne had turned to me at the start and said, "OK, Conan. What do you want to do?" Now television critics were after me and the network was starting to realize what a risk I was. Suggestions came fast and furious. I kept the note that said, "Why don't you just die?"
Playboy: Did they suggest ways to be funnier? O'Brien: They were more specific and tactical. The network gets very specific data. Say there was a drop in ratings between 12:44 and 12:48 when I was talking to Jon Bon Jovi. I'll be told, "Don't ever talk to him again" Or they'll want me to tease viewers into staying with us: "You should tease that -- say, 'We'll have nudity coming up next!'"
Playboy: You did come close to being cancelled. O'Brien: We were cancelled.
Playboy: Really? You have never admitted that. O'Brien: This is the first time I've talked about it. When I had been on for about a year, there was a meeting at the network. They decided to cancel my show. They said, "It's cancelled." Next day they realized they had nothing to put in the 12:30 slot, so we got a reprieve.
Playboy: Were you worried sick? O'Brien: I went into denial. I tried hard not to think, Yes, I'm bad on the air and my show has none of the things a TV show needs to survive. We had no ratings. No critics in our corner. Advertisers didn't like us. Affiliates wanted to drop us. Sometimes I'd meet a programming director from a local station where we had no rating at all. The guy would show me a printout with no number for Late Night's rating, just a hash mark or pound sign. I didn't dare think about that when I went out to do the show.
Playboy: Are you defending denial? O'Brien: How else does anyone get through a terrible experience? The odds were against me. Rationally, I didn't have much chance. Denial was my only friend. When I look back on the first year, it's like a scene from an old war movie: Ordinary guy gets thrown into combat, somehow beats impossible odds, staggers to safety. His buddy say, "You could have been killed!" The guy stops and thinks. "Could have been killed?" he says. His eyes cross and he faints.
Playboy: How did you dodge the bullet? O'Brien: There were people at NBC who stood up for me. I will always be indebted to Don Ohlmeyer, who stuck to his guns. Don said, "We chose this guy. We should stick with him unless we get a better plan." He was brutally honest. He came to me and said, "Give me about a 15 percent bump in the ratings and you'll stay on the air. If not, we're going to move on."
Playboy: Ohlmeyer started his career in the sports division. O'Brien: Exactly, his take was, "You're on our team." Of course, it wasn't exactly rational of Don to hope I'd be 15 percent funnier. It was like telling a farmer, "It better rain this week or we'll take your farm away."
Playboy: What did you say to Ohlmeyer? O'Brien: There wasn't time. I had to go out and do a monologue. But I will always be indebted to Don because he told me the truth. Wait a minute -- you have tricked me into talking lovingly about an NBC executive. Let me say that there were others who were beneath contempt -- executives who wouldn't know a good show if it swam up their asses and lit a campfire.
Playboy: Finally the ratings went your way. Hard work rewarded? O'Brien: Well, I also paid off the Nielsen people. That was $140,000 well spent.
Playboy: Ohlmeyer plus bribery saved you? O'Brien: There was something else. Just when everyone was kicking the crap out of the show, Letterman defended me.
Playboy: Letterman had signed off on NBC saying, "I don't really know Conan O'Brien, but I heard he killed someone." O'Brien: Then I pick up the paper and he's saying he thinks I am going to make it. "They do some interesting, innovative stuff over there," he says. "I think Conan will prevail." And then he came on as a guest. Remember, this was when we were at our nadir. There was no Machiavellian reason for David Letterman, who at the time was the biggest thing in show business, to be on my show.
Playboy: Why did he do it? O'Brien: I'm still not sure. Maybe out of a sense of honor. Fair play. And it woke me up. It made me think. Hey, we have a real fucking television show here.
Of six or seven pivotal points in my short history here, that was the first and maybe the biggest. I wouldn't be sitting here -- I probably wouldn't even exist today -- if he hadn't done our show.
Playboy: The Late Night wars were hardly noted for friendly gestures. O'Brien: How little you understand. Jay, Dave and I pal around all the time. We often ride a bicycle built for three up to the country. "Nice job with Fran Drescher!" "Thanks, pal. You weren't so bad with John Tesh." We sleep in triple-decker bunk beds and snore in unison like the Three Stooges.
Playboy: You talk more about Letterman than your NBC teammate Leno. O'Brien: I hate the "Leno or Letterman, who's better?" question. I can tell you that Jay has been great to me. He calls me occasionally.
Playboy: To say what? O'Brien: (Doing Leno's voice) "Hey, liked that bit you did last night." Or he'll say he saw we got a good rating. I call him at work, too. It can be a strange conversation because we're so different. Jay, for instance, really loves cars. He's got antique cars with kerosene lanterns, cars that run on peat moss. He'll be telling me about some classic car he has, made entirely of brass and leather, and I'll say, "Yeah, man, I got the Taurus with the vinyl." One thing we have in common is bad guests. There are certain actors, celebrities with nothing to say, who move through the talk show world wreaking havoc. They lay waste to Dave's town and Jay's town, then head my way.
Playboy: You must be getting some good guests. Your ratings have shown a marked improvement. O'Brien: Remember, when you're on at 12:30 the Nielsens are based on 80 people. My ratings drop if one person has a head cold and goes to bed early.
Playboy: Actually, you're seen by about 3 million people a night. Your ratings would be even higher if college dorms weren't excluded from the Nielsens. How many points does that cost you? O'Brien: I told you I'm an idiot. Now I have to do math too?
Playboy: Do you still get suggestions from NBC executives? O'Brien: Not as many. The number of notes you get is inversely proportional to your ratings.
Playboy: What keeps you motivated? O'Brien: Superstition. We have a stagehand, Bobby Bowman, who holds up the curtain when I run out for the monologue. He is the last person I see before the show starts, and I have to make him laugh before I go out. It started with mild jabs: "Bobby, you're drunk again." Bobby laughs, "Heehee."" Then it was, "Still having trouble with the wife, Bobby?" But after hundreds of shows, you find yourself running out of lines. It's gotten to where I do crass things at the last second. I'll put his hand on my ass and yell, "You fucking pervert!" Or drop to my knees and say, "Come on, Bobby, I'll give you a blow job!"
"Ha-ha. Conan, you're crazy," he says. But even that stuff wears off. Soon, I'll be making the writers work late to give me new jokes for Bobby.
Playboy: Did you plan to be a talk show host or did you fall into the job? O'Brien: I was an Irish Catholic kid from St. Ignatius parish in Brookline, outside of Boston. And that meant: Don't call attention to yourself. Don't ask for too much when the pie comes around. Don't get a girl pregnant and fuck up your life.
Playboy: Were you an alter boy? O'Brien: I wanted to be an alter boy, but the priest at St. Ignatius said, "No, no. You're good on your feet, kid," and made me a lector. A scripture reader at Mass. He was the one who spotted my talent.
Playboy: What did you think of sex in those days? O'Brien: I was sexually repressed. At 16 I still thought human reproduction was by mitosis.
Playboy: How did you get over your sexual repression? O'Brien: Who says I got over it? My leg has been jiggling this whole time.
Playboy: What were you like in high school? O'Brien: Like a crane galumphing down the hall. A crane with weird hair, bad skin and Clearasil. Big enough for basketball but lousy at it. My older brothers were better. I would compensate by running around the court doing comedy, saying, "Look out, this player has a drug addiction. He's incredibly egotistical."
I was an asshole at home, too. My little brother Justin loved playing cops and robbers, but I kept tying him up with bureaucratic bullshit. When he'd catch me, I'd say, "I get to call my lawyer." Then it was, "OK, Justin, we're at trial and you've been charged with illegal arrest. Fill out these forms in triplicate." Justin was eight; he hated all the lawsuits and countersuits. He just cried.
Playboy: Were you a class clown? O'Brien: Never. I was never someone who walked into a room full of strangers and started telling jokes. You had to get to know me before I could make you laugh. The same thing happened with Late Night. I needed to get the right rhythm with Andy and Max and the audience.
Playboy: So how did you finally learn about sex? O'Brien: My parents gave me a book, but it was useless. At the crucial moment, all it showed was a man and a woman with the bed covers pulled up to their chins. I tried to find out more from friends, but it didn't help. One childhood friend told me it was like parking a car in a garage. I kept worrying about poisonous fumes. What if the fumes build up? Should you shut off the engine?
Playboy: For all your talk about being repressed, you can be rowdy on the air. O'Brien: The show is my escape valve. When I tear off my shirt and gyrate my pelvis like Robert Plant, feigning orgasm into the microphone, that shows how repressed I am -- a guy who wants to push his sex at the lens but can only do it as a joke.
Playboy: Aren't you tempted to live it up? O'Brien: I always imagined that if I were a TV star I would live the way I pictured Johnny Carson living. Carousing, stepping out of a limo wearing a velvet ascot with a model on my arm. Now that I have the TV show, I drive up to Connecticut on the weekends and tool around in my car. I could probably join a free-sex cult, smoke crack between orgies and drive sports cars into swimming pools, and my Catholic guilt would still be there, throbbing like a toothache. Be careful. If something good happens, something bad is on the way.
Playboy: Yet you don't mind licking the supermodels. O'Brien: At one point a few of them lived in my building, women who are so beautiful they almost look weird, like aliens. To me, a woman who has a certain approachable amount of beauty becomes almost funny. It's the same with male supermodels. They look like big puppets. So while I admire their beauty I probably won't be "romantically linked" with a model. I'd catch my reflection in a ballroom mirror and break up laughing.
Playboy: The horny Roy Orbison growl you use on gorgeous guests sounds real enough -- O'Brien: Oh, I've been doing that shit since high school. It just never worked before.
Playboy: Your father is a doctor, your mother an attorney. What do they think of their son the comedian? O'Brien: My dad was the one who told me denial was a virtue. "Denial is how people get through horrible things," he said. He also cut out a newspaper article in which I said I was making money off something for which I should probably be treated. So true, he thought. But when I got an Emmy for helping write Saturday Night Live, my parents put it on the mantel next to the crucifix. Here's Jesus looking over, saying, "Wow, I saved mankind from sin, but I wish I had an Emmy."
Playboy: Ever been in therapy? O'Brien: Yes. I don't trust it. I have told therapists that I don't particularly want to feel good. "Repression and fear, that's my fuel." But the therapists said that I had nothing to worry about. "Don't worry Conan you will always be plenty fucked up."
Playboy: When a female guest comes out, how do you know whether to shake her hand or kiss her? Is that rehearsed O'Brien: No, and it's awkward. If you go to shake her hand and her head starts coming right at you, you have to change strategy fast. I have thought about using the show to make women kiss me, but that would probably creep out the people at home. I decided not to kiss Elton John.
Playboy: Do you get all fired up if Cindy Crawford or Rebecca Romijn does the show? O'Brien: I like making women laugh. Always have, ever since I discovered you can get girls' attention by acting like an ass. That's one of the joys of the show -- I'm working my eyebrows and going grrr and she's laughing, the audience is laughing. It's all a big put-on and I'm thinking. This is great. Here is a beautiful woman who has no choice but to put up with this shit.
But it's not always put on. Sometimes they flirt back. Sometimes there's a bit of chemistry. That happened with Jennifer Connelly of The Rocketeer.
Playboy: One guest, Jill Hennessy, took off her pants for you. Then you removed yours. Even Penn and Teller took off their pants. O'Brien: Something comes over me. It happened with Rebecca Romijn -- I was practically climbing her. Those are the times when Andy and the audience seem to disappear and it's just me and this lovely woman sitting there flirting. I keep expecting a waiter to say, "More wine, Monsieur?"
Playboy: Would you lick the wine bottle? O'Brien: It's true, there's a lot of licking on the show. I have licked guests. I have licked Andy. Comedy professionals will read this and say, "Great work, Conan. Impressive." But I have learned that if you lick a guest, people laugh. If I pick this shoe off the floor, examine it, Hmmm, and then lick it, people laugh. I learned this lesson on The Simpsons, where I was the writer who was forever trying to entertain the other writers. I still try desperately to make our writers laugh, which is probably a sign of sickness since they work for me now. Licking is one of those things that look funny.
Playboy: Johnny Carson never licked Ed McMahon. O'Brien: We are much more physical and more stupid than the old Tonight Show. Even in our offices before the show there's always some writer acting out a scene crashing his head through my door. A behind-the-scenes look at our show might frighten people.
Playboy: One night you showed a doctored photo of Craig T. Nelson having sex with Jerry Van Dyke. Did they complain about it? O'Brien: I haven't heard from them. Of course I'm blessed not to be a part of the celebrity pond. I have a television show in New York, an NBC outpost. I don't run with or even run into many Hollywood people.
Playboy: You also announced that Tori Spelling has a penis. O'Brien: I did not. Polly the Peacock said that.
Playboy: Another character you use to say the outrageous stuff. O'Brien: Polly is not popular with the network.
Playboy: You mock Fabio, too. O'Brien: If he sues me, it'll be the best thing that ever happened. A publicity bonanza: Courtroom sketches of Fabio with his man-boobs quivering, shaking his fist, and me shouting at him across the courtroom. I'm not afraid of Fabio. He knows where to find me. I'm saying it right here for the record: Fabio, let's get it on.
Playboy: Ever have a run-in with an angry celeb? O'Brien: I did a Kelsey Grammar joke a few years ago, something about his interesting lifestyle, then heard through the network that he was upset. He had appeared on my show and expected some support. At this point my intellect says, "Kelsey Grammar is a public figure. I was in the right." Then I saw him in an airport. Kelsey didn't see me at first: I could have kept walking. But there he was, eating a cruller in the airport lounge. I thought I should go over. I said hello and then said, "Kelsey, I'm sorry if I upset you." And he was glad. He looked relieved. He said, "Oh, that's OK." We both felt better.
....See my other post with the last third of the interview

This is more specific than the last post I made, but here is why I believe Jesus to be God: Jesus forgives sins Jesus is rebuked for making Himself God and making Himself equal with God in the Gospel of John Jesus refers to Himself as "I AM", the name of God in the old testament Jesus was in the beginning with God, and existed before the world began God is the creator, and Jesus is the creator of all things Jesus is the image of the invisible God, the exact imprint of His nature, and in Him the fullness of deity dwells bodily (Colossians 1:15, Hebrews 1:3, Colossians 2:9) Jesus demonstrated power and authority over sickness, nature, and demons Jesus demonstrated power over death, bringing four people back to life: Lazarus, Jairus' daughter, a widow's son, and Himself In Romans 8:9, the Spirit of God is also called the Spirit of Christ In Zechariah 12:10, God speaks of a future time where people will look on God, the one who they pierced- which is fulfilled in John 19:37, where they look on Jesus In Isaiah 40:3 and Malachi 3:1, God speaks of a messenger who would prepare the way for Him (God) and make His paths straight. These are fulfilled in John the Baptist being the messenger going before Jesus (Matthew 3:3, Matthew 11:7-10, Mark 1:2-4, Luke 3:1-6, Luke 7:24-27, John 1:23). God made the sabbath, and Jesus refers to Himself as the Lord of the Sabbath Jesus is called God by Thomas after His resurrection (John 20:26-28) Jesus refers to Himself as the Son of God, and in Matthew 28 He commands the apostles to make disciples, and to baptize them in "The name of the Father and of the Son and of the Holy Spirit", showing that He shares a name with the Father (God), and the Holy Spirit (also God).

I found elsewhere a reupload someone did solely the Wendigoon part of the video, I am currently going through it and will update this thread to basically sum up what is being said. Below I'll start by just copy pasting the comment I started to track this. This won't be refined at all; it's just my blind reaction here cause this is just insane stuff.
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This is the video people are upset he removed? I'm barely a minute in and already IPOS is coming across as incredibly condescending and completely unreasonable.
Like I have a degree in English literature, IPOS is just being snobbish from the off complaining that people who are in their twenties shouldn't be discussing classic literature.
Edit: Also just checked there and Wendigoon is currently 24, and was 23 at the release of the Blood Meridian video. So the opening statement is just blatnatly factually wrong. Context: IPOS claims Wendigoon is currently 21 years old.
Edit 2: WTF, he is now claiming that Wendigoon is part of a family ran crime organization. He provides no evidence for this bar a quote he claims came from Wendigoon. But he plays no clip of him making such a statement. According to IPOS Wendigoon's entire father's side of the family was part of a multi-million crime organisation that was busted by the FBI. IPOS brings this up to claim that Wendigoon has always been a millionaire his entire life.
Edit 3: He now is claiming Wendigoon can't make horror content cause his believes are contrary to what IPOS believes horror is about; the believes in question being "Gun usage" and "using his religion as a shield." I don't see how any of this is contrary to horror as a genre.
Edit 4: He has now went on to discuss the old Rittenhouse screenshots showing Wendigoon following him and tweeting about the trail. IPOS however claims these are only some in a series of tweets made by Wendigoon supporting far right individuals, he provides no screenshots of these tweets existence. He is now going on about the Boogaloo boy's thing while pointing to Wendigoon's reddit comment on the issue as evidence that he founded them as a hate group.
He is claiming that Wendigoon must secretly support the Boogaloo boys and be a racist cause he wears haiwan shirts and that's what some Boogaloo boys also wear. IPOS themselves is wearing a haiwan shirt the whole video. He also is claiming that Wendigoon must secretly be a member cause he became a horror youtuber afterwards.
Edit 5: Forwarded most of the next part, it's just him reading Wendigoon's comment and now analysing it. The "analyse" claims that Wendigoon is wrong about the term Boogaloo coming from Che Guavara (despite Wendigoon never saying that) and therefore is secretly racist. They also claim that the term Boogaloo only started being used online from 2010-2012 exlcusively among racists on the internet, as such Wendigoon is racist cause he can't possible be a founder of the movement. (Despite him never saying that.) Apparently because Wendigoon lied about founding the organisation he must be lying about other things too.
Edit 6: Now Wendigoon is secretly racist cause he used the term "Antifa members" rather than just "Antifa" and supposedly only the alt right do such a thing. Now he's addressing that Wendigoon couldn't possible have invented the term Boogaloo (despite Wendigoon never saying that, and just coming off a tangent of claiming that Wendigoon said they got the term from Che Guavara.)
Edit 7: He's now getting into Wendigoon's "Other far right" connections, listing among them Internt Historian. Again he provides no evidence whatsoever to show Wendigoon's "close friendships" with these people or what they supposedly had done. On the list he also mentions Nick Crowley and says that Wendigoon follows him and the Crowley is sick in the head for making true crime content and is suspicious cause he follows some of the same people Wendigoon does. WTAF! That's called a social circle! How tf is that suspicious!? (Also IPOS is a horror youtuber as well, why tf are they throwing shade at Crowley for doing true crime topics then?)
Edit 8: The next few minutes is just more stream of the above bizarre tangents. He just keeps listing people and for the most part fails to explain who they are and what they did, and provides no evidence for any statement he's making. If there is evidence it's like one tweet, and sometimes doesn't even seem related to his claim in anyway. The few names I recognised I know IPOS had to apologise too after getting the info wrong. I have to share one gem though where he says he can't find any evidence of a connection between Wendigoon and one youtuber, but people say they are and therefore they must be. WTF!
Edit 9: He references some controversy about the Faith video using fan art without permission and claims Wendigoon never took responsibility for it, while literally showing a tweet of Wendigoon taking responsibility for the mistake.
Edit 10: He's now going on about the Wendigo being mentioned by Wendigoon. He is claiming that Wendigoon is not of native American descent and that he's lying about that cause Wendigoon is racist and apparently racisits are known to lie about being Native Americans.
Edit 11: He now claims to know where Wendigoon lives, down to the exact town. But also states Wendigoon is in a completely different state and that they have multiple towns in between them plus a reservation. He claims everyone in the region is racist, and therefore Wendigoon is himself. (But IPOS isn't for some reason, depsite saying they live close enough for them to have intimate knowledge of Wendigoon's home town.)
Edit 12: Now Wendigoon is lying about his grandfather telling him local stories cause he wasn't raised on the reservation. Thus he can't have been told these stories as they aren't shared outside the reservation. Also he claims the nearest reservation doesn't have the Wendigo myth in them and therefore Wendigoon is lying cause his grandfather can't possible have moved; because Wendigoon never said he moved.
Edit 13: Now IPOS is going on a rant about how Wendigoon is lying about developing an interest in Cryptids in horror by being told such stories as a kid. IPOs says this must be a lie because he never had that experience, he is now saying Wendigoon is a bad person cause IPOS grew up in a poor town.
Edit 14: The above edit also means Wendigoon is racist now. Also we're a cult cause he's nicknamed "Dad." Then there's an anonymous conversation from 2 native Americans about Wendigoon; but no reference is given as to where this conversation came from or whose saying what. It's literally just IPOS talking to themselves.
Edit 15: He literally has a tweet pulled of Wendigoon saying he is not right wing or bigoted, and is claiming that is evidence that he is a racist cause why else would he say that. (Also he's racist for following less than 500 people on Twitter.)
Edit 16: So he just went on a long tangent saying he tweeted to Wendigoon once a while back complainging to him about all the above, and got people critiquing him on twitter for the next week as a result. He then proclaims the people critiquing him are also racist and homophobic for doing so, and that Wendigoon must also be so because he never acknowledged it.
Also Wendigoon followed IPOS on twitter after all this; and as a result must be racist and trying to intimidate IPOS. Apparently this entire video was made because of this one follow.
Edit 17: In order to demonstrate Wendigoon is a transphobe IPOS points to Wendigoon commenting support to a trans youtuber called Nyx Fears. This proves Wendi is a transphobe cause it means he's "watching her" and he did it to "undermine her channel." The screenshot he shows literally has the youtuber in question comment back happy for the boost. What world is this? Since when was supporting trans creators transphobic????
Edit 18: Now he's homophobic cause he once said he doesn't care for peoples sexualities. And cause someone put him in a meme once saying he supported gay rights???
He now concludes the video saying nothing of the above should be welcomed in horror as a result.
I have finished the entire video and genuinely all of it was unhinged and made 0 sense. Like most of it was just crazy logic or statements thrown at such speed to make schizo posters blush. It was actually wild, how did anyone see this and somehow think it looks good?
Edit 19: Okay In just going to finish on a note to say that genuinely I don't think there's any point to engage with the video or IPOS in general. Or8ginally I was going ti share the link I found for those that wanted it but won't now, (though it's still easy enough to find.)
After thinking a bit I genuinely believe that IPOS must be having some sort of breakdown. It's the only way any of this video makes any amount of sense to me. Like the way he's talking and discussing points genuinely come across as unhinged at points, I can only presume that somehow during a breakdown he wrote, recorded, and then shared this without realising how nuts it sounded.
Just don't bother, this thread here I think gives enough context as to what's in the video and I think should hopefully serve as enough testament that something is going on mental health wise here.