Today, Jeff Dahmer turns 64. While we don't know where he is, we absolutely don't believe the phony prison murder story. Therefore, there's a good chance Jeff is out there, has found this sub, and can see this birthday greeting. If so...
Dear, Jeff...
You probably thought nobody would ever discover what really happened to you. Perhaps you thought you would never see the day people would spread the truth about you online instead of repeating the ridiculous lies. Well, that day has arrived, and you have our support. We will continue to spread the truth, and as we do, others will continue to join us. The people who did this to you may have had a good 30-year run, but their time is up and they're being exposed. This dumb story has reached its pull date.
May this birthday bring you strength, courage, and hope. Remember that you are not alone and that there are brighter days ahead. Justice will eventually prevail.
https://reddit.com/link/1cxan06/video/qwabq56pss1d1/player

I was on a trip to Japan. I was half-drunk and feeling adventurous so I walked into one of those sketchy massage places. I did the deed and paid a relatively large sum of money. Immediately after, I was filled with regrets for what I did and I couldn’t even dare to tell the truth to those I traveled with. I am now very scared of the consequences that may arise from this act. What should I do? How can I move on from this?

[To view the original post, click here]
If you’re a musician, then you’re a spiritual person.
You may call yourself an atheist…. or an agnostic…. or Frank, whatever you prefer.
But you’re a spiritual person nonetheless.
Because according to the definition that I just made up in my head as I typed this, spirituality is anything that aspires towards the truth.
Now, you may say this isn’t your goal. You may even be openly running away from problems in your own life. You may even believe that life is inherently meaningless or absurd.
But in music, I am certain you are seeking the truth.
Even you, my jaded friends, the very fact that you’re reading this post is because somewhere in you……….the ember of belief still burns.****
(***Just a heads up, if you aren’t resonating at this point, this will be a very uncomfortable read for you…)
“Now Michael, how do you know I’m seeking the truth? You’re just a man I don’t really know very well…”
I know because I feel the exact same way when I make music.
But the moment the recording light on my phone starts blinking (is that a thing?), whatever truth I aspire towards slips through my fingers.***
(****For those not picking up on this vibe, really appreciate you giving it a shot but this Substack is probably just gonna be more of this… so thanks for coming out!)
--------------------------------------------------------
The other day, I tried to film a YouTube video.
I was gonna talk about music business news and give my thoughts, and in my head, it was beautiful.
I was funny but serious. Authoritative, but also kinda in on the joke. Post-ironic and good spirited.
Me and Preston (who lived in the podcast studio for a brief period of time to get this label off the ground🫡) set up the cameras and got the set looking nice.
I was going to talk about the Universal Music and TikTok dispute. I had some hot takes I wanted to share, and I was ready to spit some facts.
I figured a series talking about music business would be a cool way to align my interest in business with my passion for music. Our parent company (long live the mothership, Mastering.com ⚔️) has a large following on YouTube, so they offered to help me launch the new series.
Preston (🫡 ) printed the earnings reports and had them on my sick looking executive desk (actually $40 on FB marketplace). I even bought those swinging clackers (or Newton’s cradle for chumps) to make my desk look extra slick.
I turned to Preston, and said “let’s rock and roll” or something like that.
Preston hit RECORD.
I took off at a casual but lively gate. I hit a well timed planned joke early and I was hand-gesturing at a steady clip.
I had prepared what I would say a few times in my head… but pretty quickly I started having a hard time stitching the ideas together.
A stumble, a recovery…….. a joke, a nervous laugh! ….a thought about the nervous laugh, a thought about the thought about the nervous laugh….blank…..blank……. darkness……
And before I knew it, whatever truth I was about to bear down on the world evaporated above me.
After about 5 minutes, like a car steaming from the hood, I pulled the show over to the side of the road and shut her down.
I turned to Preston (🫡) and said “oh my gosh this is boring as sh**”.
I was like Walter Cronkite without the believability, charm, or dashing good looks… I had all the pizzaz of an (unsalted) Saltine cracker.
Anyways it was very bad, and I knew it.
And not in the self-pity way… it just clearly wasn’t my thing. I have an interview podcast which felt pretty natural from Day 1, but for some reason when I’m talking to the camera I couldn’t relax.
I knew it would be very bad for a while until I improved.
Now…. I believed I could get good at it if I just put in the time and the effort. But “being good on camera” was never something I wanted to get good at.
I just wanted to be myself and share (what I hoped) was the truth.
I turned to Preston (🫡 )and I said:
“This was a failure, I must go home now.”
A man of my word, I went home and I told my wife what happened, to which she replied:
“yeah I could’ve told you that you would’ve hated filming a YouTube video.”
She was right. She’s always right. And I mean that sincerely.
--------------------------------------------------------
After the sharp sting of a failure wore off, I re-examined how I could promote Mad Records in a way that aligned my interest in business with my passion for music (my original goal with the YouTube video.)
And that night, I started this Substack.
I talked about the UMG / TikTok dispute, and it felt really natural. I was able to write freely, make edits, take breaks, and strive for the truth. I even got to hang out with my sweet 12-year old Maltese queen, Katie, while I wrote it. What a joy.
(You can check out that post here after you finish this!)
And unlike my crushed YouTube aspirations, my article turned out pretty ok - which was a good enough starting point for me.
SO WHAT’S THE POINT?
If you feel like your “content” isn’t capturing the deep, spiritual truth you’re aspiring for with your music, then you have two options:

1. Give yourself the time to improve. Be patient and expect no results in the meantime. If results happen, then congrats, you’re now good at that thing.
2. Give yourself grace for falling short of your vision, and find a different medium/method that captures it. Nurse your wounds with people who understand what you’re trying to accomplish.

There is always a way to share your creative vision in a way that aligns with your values.
You just have to build up a pain tolerance for failing publicly.
However, for the love of all things holy, please subscribe to this SubStack…. I can’t fail again I have plans this weekend.)
Long Live Mad Records ⚔️

• mike

"The Castleton Affair: Book 3" by Benedict Brown is a fascinating mystery thriller that continues the narrative of Detective Inspector Nicholas Lowry as he investigates a difficult and twisted case in the charming town of Castleton.
In this part, Lowry finds himself engaged in a high-stakes investigation involving a series of interconnected crimes, including a horrible murder, a daring theft, and a web of deceit and betrayal. As he looks more into the case, Lowry uncovers stunning truths and hidden motivations, sending him down a hazardous path where nothing is as it seems.
Brown's storytelling skills emerges in "The Castleton Affair," weaving together several storyline lines with ease and precision. The narrative is loaded with dramatic twists and turns, keeping readers wondering until the very end. The author brilliantly creates tension and suspense, generating a sense of urgency that carries the plot forward at a quick speed.
One of the book's highlights is its well-drawn characters, each with their own agendas and secrets. Lowry is a compelling protagonist, with his acute mind and persistent persistence propelling the inquiry ahead. The supporting cast is similarly compelling, from the enigmatic femme fatale to the ethically dubious suspects, giving depth and complexity to the narrative.
The dramatic setting of Castleton provides richness and dimension to the plot, acting as a backdrop for the unfolding drama and intrigue. Brown's descriptive style brings the village to life, producing a feeling of place that immerses readers in its quaint charm and sinister underside.
While "The Castleton Affair" is a fascinating mystery novel, some readers may believe that the resolution of certain plot points appears rushed or unduly convenient. Additionally, newbies to the series may struggle to completely appreciate the complexities of the characters and their interactions without having read the prior works.
Overall, "The Castleton Affair: Book 3" is a riveting and atmospheric mystery story that will capture followers of the genre. Brown's brilliant storytelling, interesting characters, and evocative setting make this volume a great addition to the Detective Inspector Nicholas Lowry series.
Listen for free with a free trial of Audible at freeaudiobookstrial .com

I'm very picky with podcasts and for that reason I find it very hard to find some that i actually like, so here are some of the best (in my opinion) horror podcast that i've listened to so far:

• The Ghost on This Road - Linda Wojtowick : Using her own horror prose as an eerie foundation, writer Linda Wojtowick collaborated with fellow author Soren Narnia on this lo-fi blend of conversation and fiction. In the first volume of 25 episodes (2020-2022), they play anonymous paranormal researchers calling back and forth from the road to report on mysterious phenomena. In the second volume of 15 episodes (2023), they play very different unnamed characters: strangers attempting to piece together hazy shared memories of a faraway used bookstore that may never have existed. In both volumes, short and subtle tales of terror link hours of observations on fear, memory, obsession, and the wonder of things that cannot be explained.
• The Pale - Aeaea : Strange things are happening aboard a cruise ship in Antarctica. One reporter interviews passengers to learn the truth about these bizarre phenomena.
• In Another Room - Violet Hour Media : An amateur paranormal investigator gets trapped inside a notoriously haunted house, where every room she enters transports her to the last inhabitant’s grisly murder.
• The Storage Papers - Jeremy Enfinger : In July of 2019, Jeremy made the fortuitous decision to make the only bid on an abandoned storage unit. At first disappointed by no apparent treasure, what he discovered instead is a trove of the most extensive documentation of seemingly unexplainable events he’s ever seen. Join him on his journey of discovery through the horrific, paranormal, and downright unusual events of each podcast episode and sink into the frightening reality that lurks just beneath the skin of our everyday lives.
• Mabel - Becca De La Rose and Mabel Martin : Mabel is a podcast about ghosts, family secrets, strange houses, and missed connections.
• The Dead Letters Office of Somewhere, Ohio - Rat Grimes : A series of weird horror podcasts set in the midwest. The Dead Letter Office of Somewhere, Ohio is a horror-comedy fiction podcast set within one of the last remaining Dead Letter Offices in the country. Join Conway, Wren, and the rest as they archive strange, spooky, surreal pieces of lost mail. A solo project by a nonbinary creator inspired by Kentucky Route Zero, Twin Peaks, Edgar Allen Poe, and more. Each episode features 2 short stories connected in some way, either narratively or thematically. What begins as an anthology evolves into...something else.
• Gray Matter: an Acid Horror Anthology Podcast - Wyrdsyrch Media, Jonathan Inbody : Welcome to Gray Matter Video, the only video rental store where you can find tapes telling 'true' tales of horrific transformation, bodily destruction, and death from all across the dimensional spectrum. With a blend of original stories from author Jonathan Inbody in the proud tradition of Carpenter and Cronenberg, and modern adaptations of classic Weird Fiction tales from authors like H.P. Lovecraft and Edgar Allan Poe, this full-cast scifi-horror anthology explores the blurred line between psychology and biology alongside the flawed and fragile depths of human nature when faced with the hideous unknown. At Gray Matter, everything is horribly, brutally possible. Will you let it get under your skin?
• The Outside Tapes - Liam Brett and Evan Daly : An independent Irish horror audio drama following the investigations of journalist Alfie Greaves into a series of unusual events.
• The Magnus Archives - Rusty Quill : “Make your statement, face your fear.” A weekly horror fiction podcast examining what lurks in the archives of the Magnus Institute, an organisation dedicated to researching the esoteric and the weird. Join Jonathan Sims as he explores the archive, but be warned, as he looks into its depths something starts to look back…

Hope you enjoy them as much as I did :) and if you have any recommendations please let me know 'cause I'm in a desperate search for a new podcast to listen to…
( All of the podcast mentioned are available on spotify)

Supposedly it'd always been this way, stretching way back to when my Grandpa opened this place almost 97 years ago. I inherited it when he passed a decade or so ago given that my father didn't want anything to do with the place, and since then I've made sure to diligently follow his final wish.
He might've left me the theater, but there was one condition. Not that it'd be enforceable if I went against his wish - more about that later - but the condition was present nonetheless.
Never, ever let the film stop running in Screen 6.
Now, I'd practically grown up in that theater given it was a nice little hang-out spot after closing time - but I never knew anything about the existence of a sixth screen. It had always been five. Grandpa left that sentence and a little picture guide to find the controls for that screen as well as the security footage system for it. He also left a letter, only to be opened once I had been running the theatre for long enough to understand the importance of Screen 6. It baffled me at the time, but I kept that wish too and tucked the letter away. He never told me where to find the screen itself, either. The first thing I did was check the cameras, only to find they showed nothing of interest. No movie-goers were present in this secret little screen, nor were any employees. The black and white footage from the vantage point of a camera positioned above the screen of a silent, empty room filled with rows and rows and endless rows of dusty chairs stared back at me. Somehow it was larger than all of our other screens. After unlocking the neat little contraption he described, I realised the system for that screen was digital. "Huh, strange" I mumbled given the fact our theater was always quite proud of being the only film-only establishment in town.
I suppose digital files make running the screen endlessly an easier task. Something jumped out at me, though. The digital file being used to loop over and over was just that, a singular file. It wasn't cycling through a library of movies. The same one was playing over. And over. The file name?
"sacrifice.mxf"
I've always been a curious person, and part of me wanted to resist. Some instinct was screaming at me to stop. But I couldn't. I had to take a glimpse at the little outdated screen synced up to the projector. It was grainy and degraded, footage that looked like it had been shot in the mid-20th century or so. A group of men dressed in black and women dressed in white circled a tree with interlocked hands. They looked like they were speaking. Maybe singing. Regardless, there was no audio. They went round and round this great old tree for what felt like forever, before stopping in their tracks and just standing there for a minute or two. The footage cut an unspecified amount of time forward to reveal their black and white garments blowing in the wind as they hung from various branches of the tree. All of them. It didn't matter that there wasn't any audio, I could feel the silence seeping out of that screen.
Cut to black.
Part of me was horrified, and another part retained some morbid sense of fascination with what I'd seen. I wasn't planning on going against Grandpa's wishes anyway, but at least I'd seen something that spooked me enough to justify the strangeness of it all. Was that the entire film that had been playing over and over for god knows how long? How was such a massive auditorium just hidden away somewhere? What the fuck was that video?
I needed to find out. God, I wish I hadn't. But I did.
The next few weeks were spent meticulously researching everything I could possibly find about our little family-owned theater. My little theater. I spent hours on end in that projector room trying to make sense of what was being played. The footage described above wasn't alone but remained similar to the others I've since seen. All feature large groups of people in what looks like pre-war Europe. 1930 or so is my best guess. They start off peaceful enough, almost joyous, but I've learned by now to reject the faux happiness depicted. It grabs a hold of you before the violent sacrifices that soon follow rip your heart out. Sometimes I wonder about the people shown. There are so many of them across the different short films, probably more than I've known in my entire lifetime. All of them met such a gruesome end. It might sound easy to throw away their collective existence as mere pixels on a screen, but I can't.
The local newspaper allowed me access to their archive to find out a little more, and things began to tie themselves together. I had to sift through cardboard box after cardboard box to find what I'd been looking for, but I eventually did. Back in 1931, there had been an awful incident at our theater. At the time it was owned by Grandpa, and things were looking up given it was the only establishment of its kind in town - unfortunately something terrible was to happen soon. It was a cool October evening when local police were alerted to a disturbance down at the movie theater by terrified patrons. You see, back then there was a screen 6. Nestled right next to screen 5, it was the focal selling point as a state-of-the-art screen showing only the finest films. Those in screen 5 began to realise something was badly wrong when the sound of an incessantly crying and screaming child began to drown out the more pleasant sound of their film. "The Talkies", as films with spoken audio were known in their 1930s heyday, were a phenomenon and it took a lot to distract those in screen 5 from their entertainment. The child screamed for as long as it could until annoyance turned to worry and eventually fear.
By the time police swung open the double doors to Screen 6, the leather white seats were soaked in crimson red blood and the patrons inside had long since taken their last breaths.
Except one.
Still the child screamed.
I've always been open-minded when it comes to the unseen, not a believer per se, but not dismissive of the idea. Things began to come into a clearer focus. Hundreds of people had sacrificed themselves in that screen all those years ago, and now the screen is forever condemned to forever playing films of similar occurrences. The two had to be connected.
The letter.
It was time to open the letter. I was convinced I satisfied Grandpa's requirement for doing so, and it would fill in the parts of this deranged story I was missing. I slipped the letter out of its glum, off-white envelope and began to read.
"To my beloved Grandson,
By now you probably know much more about the story of our little theater than you did when I left it to you. I'm sorry it took until we were separated for you to learn the truth, but it was something that had to be done. Those people that are in the films playing on Screen 6 were part of an ancient cult. The Men of Mephistopheles they called themselves. They would live in communes and the peaceful images you've come to see are of their day-to-day lives, and as you have also come to see they would eventually offer themselves en masse in blood sacrifices. One of these sacrifices happened to take place in Screen 6 of our theater, and once again I'm sure you have come to learn of this given you are reading this letter.
The locations in which these sacrifices take place are forever bound to the souls lost there in some form or another. To illustrate, that great big tree in one of the films is now the site of countless suicides. Their crime? Daring to walk where the Men of Mephistopheles once walked, and where they left this Earth. Our particular curse happens to be that Screen 6 began to be the site of similar suicides, and so did our other screens. We could never figure out why they weren't contained to the immediate site of the original sacrifice, but needed to find a way to stop them. Times were tough, and the money the theater brought in was important to all of our lives. An occultist suggested the endless film screening as a way to stem the flow whilst we found a more permanent solution, but before long we realised it stopped the awful goings-on entirely. So we let the films play and then play some more. Screen 6 had originally been downstairs since the building only allowed for that kind of space down there, so we turned it into a tomb. Maybe the misguided souls lost there found some peace in the dusty catacomb of a theater left behind.
Now if you know the story of the sacrifice at our theater, you know there was a singular child who survived it all.
That child?
Your father.
I'm so sorry for keeping the truth locked away from you the way I did, you deserved to know whilst I was still there with you. Please know I only ever had your best interests at heart.
I love you always,
Poppy"
It's been a few weeks since I found out the truth about our small-town theater. Sleeping has been difficult because of the endless nightmares, as has bothering to keep up maintenance of the place.
Still, though, the film on Screen 6 plays.

In the annals of history, Blackwood Manor stands as a monument to the darker facets of human ambition and the unyielding allure of the unknown. Its story begins in a time when the land was still wild, and the forests whispered secrets known only to the ancient trees. Lord Nathaniel Blackwood, a figure cloaked in mystery and shadow, emerged from the depths of obscurity to carve his legacy upon the landscape.
Some whispered that Lord Blackwood was a sorcerer of unparalleled power, while others speculated that he had made a Faustian bargain with the very forces of darkness that lurked beyond the veil of mortal understanding. Regardless of the truth, one thing was certain: Lord Blackwood's ambitions knew no bounds, and he spared no expense in the construction of his grand estate.
Blackwood Manor rose from the earth like a specter of the night, its towering spires reaching towards the heavens and casting ominous shadows across the surrounding countryside. Its walls, adorned with intricate carvings and mysterious symbols, seemed to pulse with a malevolent energy that sent shivers down the spines of those who dared to approach.
As the years passed, tales of Blackwood Manor spread like wildfire through the nearby villages, each whispered rumor adding another layer of fear and superstition to its already ominous reputation. Stories of strange lights flickering in the windows at night, of eerie chants echoing through the forest, and of travelers who vanished without a trace after daring to approach its gates became the stuff of legend, woven into the very fabric of the region's folklore.
But perhaps the most chilling legend of all was that of the curse said to haunt Blackwood Manor and all who dared to set foot within its walls. It was said that those who entered the mansion were doomed to never leave, their souls forever bound to its twisted corridors and shadowy chambers, forced to wander its halls for all eternity.
Despite the passage of centuries, Blackwood Manor remained standing, a silent sentinel in the heart of the wilderness, its secrets hidden behind locked doors and shuttered windows, waiting for the brave or foolhardy soul who dared to uncover them.
And so, the legend of Blackwood Manor endured, a dark reminder of the dangers that lurked in the shadows and the allure of the unknown. For as long as the mansion stood, so too would the whispers of its haunted history echo through the ages, drawing adventurers and thrill-seekers alike into its depths, where mysteries waited to be unraveled and darkness lay in wait around every corner.

^{In this episode of Q&Q with Cybersurf we take a look at another empty platitude folks will throw around under the guise of wisdom, awakening or - dare I say it - Truth Realization.}

"Stop hating yourself for guilt blaming others!"

Of course what this particular Patronizing Saint does not realize is that he is talking to (and at, and from) the very Self he is pretending to have transcended. It get's worse with gems like "Be compassionate to yourself. It is ok." but I digress. The gist of it is of course promoting self-healing and not self-transcendence under the guise of Awakening.
It cannot be done. It really pains me to keep repeating the same words but your skulls are literally that thick by this point in the whole self erected self perpetuated 'community driven' circus act of false awakening talk.
What folks hate (and fear) the most while dreaming their lives away is some real Truth Talk. On top of that they love to play these semantic games never realizing that 'Truth Talk' is all that is possible from within the dreamstate. That even as I speak/write/pontificate I am rubbing these throat noise together we have all agreed upon should mean this or that or the other thing.
The reading in between the line is actually where all the magic happens. Or - in the case of this sub - where it never seems to be happening at all. For the fast majority of non-so-serious seekers holding themselves and others down in a two dimensional graphite-like bond. Imagine trying to rip a piece of Graphite with your supposed bare hands. Good luck! ;;)

"letting go of this hate of other people is hard!"

It sure is, but nor for the reasons you might believe. Who is there letting go of what exactly? How many of you are in there. What is the mechanism behind this split identity talking to itself, holding shit tight.. with what!? hands? What? It is simply impossible to 'let go' of something you are not holding with hands it does not even have. You are investing everything in a case of mistaken identity and the Patronizing Saint is going to cater to it with his own case of mistaken identity he crowned 'wise'... or compassionate.. or 'understanding'. It's a self perpetuating circus act of tear jerking nonsense.
Well it is if your aim is to awaken. If you are actually discussing these things with the intent implied in the very words. To actually make an honest effort to get on top of Self not underneath it for a lifetime. What a waste. No really. To stop looking for crutches or that next pat on the back on account of your crocodile tear jerker.
THIS IS LITERALLY THE VERY BEDROCK OF NON-DUALITY YOU CHOSE TO IGNORE.
I'm not even trying to sell you about some proprietary version of Truth or Truth Realization or self inquiry here at all.. It is 'YOU' who are whipping up one. Acting all enlightened and claiming nonsense about the whole damn thing. You let ego run the show and so of course it will do you like that. With great fervor as well it will go about knitting that rug of illusion and pull it from under you 365 times a day. With giddy delight! It's not even evil as such. Just the way this reality works. It will go as far as feeling sorry for itself too if that is needed 'while doing it' ....this is the podium where the 'teacher-student' monkey dance of epic proportion is carried out actually... where one dreamer will tell the other to "chill out.." ;;)
HOW DO YOU NOT SEE WHAT IT IS YOU ARE ALL PRETENDING SO HARD NOT TO KNOW?
Just drop the fucking charade already. ;;)

"Be compassionate to yourself. It is ok!"

There it is; incessant patronizing. But are you even awaken yourself friend? No. Still you want to dole out these Mickey Mouse tips? I don't get it.
Keep patting everyone on the back with some soothing narrative of "it's okay buddy' this is exactly what Maya WANTS you to be doing.
There is no one there to hate another. Even when you manage to turn the Hate Ship around; that would still be the you that is not you at all. But now you have some virtues ...or so you believe. Now you are 'healed' or so you believe. Now you are ...A GOOD PERSON (as opposed to no-person at all).
Now you have another notch on the very belt that was already choking the life out of you.
It is no use. In the context of awakening we don't prop up the dream nor the dreamer.. Not before and certainly not 'after'. I'm looking at you 'Buddhists' ;;)
You don't prop up the dream nor the dreamer: we SLAY IT!
Then life will stand explained. Whatever is left there is simply the natural functioning and rhythm.. and 'righteousness' of the organism. It does not need 'you'. A name will do. A place 'to belong' will do. Food, clothing and shelter is all it ever needs. Anything beyond that is where the organism ends its sphere of influence and is actually the beginning of Self delusion. The birth of tumors on the ego. Outgrowths that WANT all kinds of nonsense. Believe all kinds of BS... NEEDS all kinds of things that are not needed at all. EVER.
It is ego that loves virtue, to preach to talk morals, ethics and whatnot. It is ego that exalts the guru and declares some teaching sacred. ALWAYS. You have no idea of how it is intertwined with Maya's power.
Her favorite puppets of them all is these spiritual puppets. Because they have 'the power' to drag other's down to their sub-level and beat them with 'spiritual experience' ..there. Collective 'Sue Icide' sold as a virtue. Lemmings headed for the cliff. In droves.
I don't understand how the gist of you are still talking the same nonsense in the context of awakening year after year in here. Why are you so stagnant? How come there is not a even a shoe lace dropping.. How many left turns do you have to make to see that you are lost in a maze of Self?
Just take the biggest L of them all on your so supposed chin and you may start to awaken for real.
Cheers

^{In this episode of Q&Q with Cybersurf we take a look at another empty platitude folks will throw around under the guise of wisdom, awakening or - dare I say it - Truth Realization.}

"Stop hating yourself for guilt blaming others"

Of course what this particular Patronizing Saint does not realize is that he is talking to (and at, and from) the very Self he is pretending to have transcended. It get's worse with gems like "Be compassionate to yourself. It is ok." but I digress. The gist of it is of course promoting self-healing and not self-transcendence under the guise of Awakening.
It cannot be done. It really pains me to keep repeating the same words but your skulls are literally that thick by this point in the whole self erected self perpetuated 'community driven' circus act of false awakening talk.
What folks hate (and fear) the most while dreaming their lives away is some real Truth Talk. On top of that they love to play these semantic games never realizing that 'Truth Talk' is all that is possible from within the dreamstate. That even as I speak/write/pontificate I am rubbing these throat noise together we have all agreed upon should mean this or that or the other thing.
The reading in between the line is actually where all the magic happens. Or - in the case of this sub - where it never seems to be happening at all. For the fast majority of non-so-serious seekers holding themselves and others down in a two dimensional graphite-like bond. Imagine trying to rip a piece of Graphite with your supposed bare hands. Good luck! ;;)

"letting go of this hate of other people is hard!"

It sure is, but nor for the reasons you might believe. Who is there letting go of what exactly? How many of you are in there. What is the mechanism behind this split identity talking to itself, holding shit tight.. with what!? hands? What? It is simply impossible to 'let go' of something you are not holding with hands it does not even have. You are investing everything in a case of mistaken identity and the Patronizing Saint is going to cater to it with his own case of mistaken identity he crowned 'wise'... or compassionate.. or 'understanding'. It's a self perpetuating circus act of tear jerking nonsense.
Well it is if your aim is to awaken. If you are actually discussing these things with the intent implied in the very words. To actually make an honest effort to get on top of Self not underneath it for a lifetime. What a waste. No really. To stop looking for crutches or that next pat on the back on account of your crocodile tear jerker.
THIS IS LITERALLY THE VERY BEDROCK OF NON-DUALITY YOU CHOSE TO IGNORE.
I'm not even trying to sell you about some proprietary version of Truth or Truth Realization or self inquiry here at all.. It is 'YOU' who are whipping up one. Acting all enlightened and claiming nonsense about the whole damn thing. You let ego run the show and so of course it will do you like that. With great fervor as well it will go about knitting that rug of illusion and pull it from under you 365 times a day. With giddy delight! It's not even evil as such. Just the way this reality works. It will go as far as feeling sorry for itself too if that is needed 'while doing it' ....this is the podium where the 'teacher-student' monkey dance of epic proportion is carried out actually... where one dreamer will tell the other to "chill out.." ;;)
HOW DO YOU NOT SEE WHAT IT IS YOU ARE ALL PRETENDING SO HARD NOT TO KNOW?
Just drop the fucking charade already. ;;)

"Be compassionate to yourself. It is ok!"

There it is again; incessant patronizing. But are you even awaken yourself friend? No. Still you want to dole out these Mickey Mouse tips? I don't get it.
Keep patting everyone on the back with some soothing narrative of "it's okay buddy' this is exactly what Maya WANTS you to be doing.
There is no one there to hate another. Even when you manage to turn the Hate Ship around; that would still be the you that is not you at all. But now you have some virtues ...or so you believe. Now you are 'healed' or so you believe. Now you are ...A GOOD PERSON (as opposed to no-person at all).
Now you have another notch on the very belt that was already choking the life out of you.
It is no use. In the context of awakening we don't prop up the dream nor the dreamer.. Not before and certainly not 'after'. I'm looking at you 'Buddhists' ;;)
You don't prop up the dream nor the dreamer: we SLAY IT!
Then life will stand explained. Whatever is left there is simply the natural functioning and rhythm.. and 'righteousness' of the organism. It does not need 'you'. A name will do. A place 'to belong' will do. Food, clothing and shelter is all it ever needs. Anything beyond that is where the organism ends its sphere of influence and is actually the beginning of Self delusion. The birth of tumors on the ego. Outgrowths that WANT all kinds of nonsense. Believe all kinds of BS... NEEDS all kinds of things that are not needed at all. EVER.
It is ego that loves virtue, to preach to talk morals, ethics and whatnot. It is ego that exalts the guru and declares some teaching sacred. ALWAYS. You have no idea of how it is intertwined with Maya's power.
Her favorite puppets of them all is these spiritual puppets. Because they have 'the power' to drag other's down to their sub-level and beat them with 'spiritual experience' ..there. Collective 'Sue Icide' sold as a virtue. Lemmings headed for the cliff. In droves.
I don't understand how the gist of you are still talking the same nonsense in the context of awakening year after year in here. Why are you so stagnant? How come there is not a even a shoe lace dropping.. How many left turns do you have to make to see that you are lost in a maze of Self?
Just take the biggest L of them all on your so supposed chin and you may start to awaken for real.
Cheers

Announced via Big Ghost's IG

5/31/24💥
BAZUKO
Raps by @crimeapple
Produced by #BigGhostLtd
Back in 2017 I came across a video of a dude who had one the illest names I ever heard kickin a freestyle on a radio show…spittin pure liquid fire. Some dots got connected n eventually we had the opportunity to build.. it just seemed like a no brainer… Long story short we cooked up a little album by the name of Aguardiente. This set a lot of things into motion for what was to come from all parties involved. For over half a decade MFs been begging n pleading for a sequel. But a sequel ain’t always a) necessary or b) possible. When your primary focus is artistic growth…ain’t a lot of time for reminiscing n revisiting the past. So lets fast fwd to 2024... As far as resources n exported goods…Colombia is known for a few things. Mainly coffee. Before Starbucks…we had Juan Valdez. Truthfully coffee ranks like 3rd or 4th after petroleum n charcoal… but of course we also got the black sheep of the family…cocaína. When c0cain3 is produced.. the filth left behind at the bottom of the barrel (aka coca paste) is often sold for mad cheap to the locals. This is the inspiration for this album…but not literally of course. We don’t think of yall as degenerate bazuko heads fiending for another hit of cheap addictive illicit drugs. But you get the idea…
More details to come

Taken from: https://www.theringer.com/movies/2024/5/21/24161120/greatest-movie-car-chase-scenes-ranked-furiosa-mad-max-saga
In honor of the imminent ‘Furiosa: A Mad Max Saga,’ we’re shifting into high gear to determine the best chase scene in cinema history
By Miles Surrey May 21, 2024, 6:30am EDTGetty Images/Ringer illustration
After wowing audiences with Mad Max: Fury Road, director George Miller returns to the franchise’s post-apocalyptic wastelands for Furiosa, the epic origin story of the eponymous heroine (now played by Anya Taylor-Joy), premiering on Friday. As the follow-up to one of the greatest action films ever made, it’s hard to overstate the hype for Furiosa, and that was before word got out about a showstopping 15-minute sequence that required nearly 200 stuntpeople and took 78 days to shoot. While Furiosa will have its own distinct flavor, as is true of every Mad Max movie, there’s one thing that unites these projects: intense, jaw-dropping scenes of vehicular mayhem. And what better way to honor the franchise than by celebrating what it does best?
Ahead of Furiosa’s release, we’ve put together our definitive ranking of the best car chases in cinema. There weren’t any strict rules in place, other than capping the list at 20—mostly for my own sanity—and limiting every franchise to one entry. (Apologies to Fury Road’s kickass predecessor The Road Warrior.) We also won’t discriminate against scenes that feature motorbikes, so long as cars (and/or trucks) remain part of the equation. As for what, exactly, constitutes a good car chase? Like list making, it’s bound to be subjective, but I tend to gravitate toward two key elements: the skill of the stuntwork on display and the ways in which a filmmaker conveys the action in relation to the story. (Also, the less CGI, the better.) Buckle up, ’cause we’re not wasting any time shifting into high gear.

20. Quantum of Solace (2008)

There have been some memorable car chases in the James Bond franchise: the first sequence featuring the iconic Aston Martin DB5 in Goldfinger, the corkscrew jump in The Man With the Golden Gun, the Lotus Esprit submarine in The Spy Who Loved Me. But I’m going with a somewhat controversial pick here: Quantum of Solace. There are many issues with Quantum of Solace—namely, it was one of the most high-profile blockbusters affected by the 2007-08 writers strike—but its opening scene isn’t one of them. Picking up right where Casino Royale left off, we find Bond (Daniel Craig) evading henchmen through the narrow roads around Italy’s Lake Garda. The frenetic, furious chase mirrors Bond’s sense of anguish after losing Vesper Lynd (Eva Green), the woman he opened his heart to, and his relentless quest for answers. It’s a thrilling tone-setter for Quantum of Solace and one that doesn’t overstay its welcome, capped off by Bond sending his final pursuers flying off a cliff:
If we’re being honest, though, it feels like James Bond has yet to create a franchise-defining car chase. Perhaps that’s a mission the newest 007, whoever it ends up being, can undertake.

19. Mission: Impossible—Rogue Nation (2015)

The Mission: Impossible franchise is no stranger to electrifying chase scenes, the best of which find Tom Cruise’s Ethan Hunt working up his heart rate. When it comes to action behind the wheel, though, Fallout tends to dominate the discussion—even on this very website. But I think the vehicular chase in Rogue Nation is being slept on. What we have is effectively two sequences for the price of one: The first finds Hunt pursuing Ilsa Faust (Rebecca Ferguson) by car through the narrow streets of Casablanca alongside some nefarious henchmen; the second sees him continue the chase outside the city on motorbike. (Adding to the chaos: Hunt had only just been resuscitated, and he’s clearly not all there.) In terms of death-defying stunts for the audience’s entertainment, a helmetless Cruise taking corners like a MotoGP racer is child’s play compared to his other exploits, but the actor’s authentic reaction to scraping his knee on the road underlines that there’s no one else in Hollywood doing it like him:
We’ll be sure to update this ranking if and when Cruise does something even more dangerous down the road, pun unintended.

18. Vanishing Point (1971)

A movie that counts the likes of Steven Spielberg and Quentin Tarantino among its biggest fans, Vanishing Point is the first of a few entries on this ranking that’s essentially one extended car chase. The film stars Barry Newman as Kowalski, a man tasked with delivering a Dodge Challenger T 440 Magnum from Colorado to California while eluding police across four states. One of Kowalski’s most memorable run-ins comes when a guy driving a Jaguar E-Type convertible challenges him to an impromptu race. Incredibly, we’re expected to believe the man in the Jag comes out of this crash in one piece:
Vanishing Point might not boast the impressive production values of other movies on this list, but considering Tarantino would go on to feature a white Challenger in Death Proof, its influence in the car cinema canon is undeniable.

17. Fast Five (2011)

Let’s face it, Fast & Furious has seen better days. Some believe the franchise’s dip in quality coincided with the death of Paul Walker; others are dismayed by the pivot from street racing to absurd feats of superherodom—emphasis on the Dom. Perhaps it’s a bit of both, but the very best movie in the series, Fast Five, manages to strike the perfect balance: It’s a relatively grounded heist thriller that nevertheless takes the franchise to ridiculous new heights. After Dominic Toretto (Vin Diesel) and his crew steal $100 million from a Brazilian kingpin, they drag the entire bank vault holding the money through the streets of Rio de Janeiro, all while being pursued by authorities. It’s a delightfully destructive sequence that does untold damage to Rio’s infrastructure and features some of the most bone-crunching crashes committed to film:
If the Fast franchise is going to break out of its recent slump, it would do well to remember that there’s nothing better than letting its heroes live their lives a quarter mile at a time—no detours to outer space required.

16. The Blues Brothers (1980)

A good car chase isn’t reserved just for action flicks: Comedies can get in on the act, too. In The Blues Brothers, starring the recurring Saturday Night Live characters played by John Belushi and Dan Aykroyd, the beloved bandmates must prevent the foreclosure of the orphanage where they were raised by scrounging together $5,000. Naturally, that’s easier said than done: Along the way, the Blues Brothers draw the attention of neo-Nazis, a country-and-western band, and local police. While The Blues Brothers has amusing gags and musical numbers, its chase sequences with the Brothers behind the wheel of a 1974 Dodge Monaco are what really steal the show—and none are better than a climactic pursuit across Chicago. More than 60 old police cars were used in the film, some of which are wrecked in a comically over-the-top pileup:
The sheer scale of The Blues Brothers’ final set piece is commendable in and of itself—as is the movie’s commitment to treating real-life cars like a bunch of Hot Wheels.

15. Baby Driver (2017)

For good and for ill, Edgar Wright’s movies exude an abundance of style, and Baby Driver is no exception. Baby Driver is centered on a clever gimmick: The action works in tandem with its soundtrack because the film’s protagonist, Baby (Ansel Elgort), suffers from tinnitus and constantly plays music to drown out the ringing. When everything’s clicking into place, Baby Driver feels like a supersized series of music videos, and nothing hits quite like its opening sequence. Baby acts as the getaway driver for a bank robbery while listening to the Jon Spencer Blues Explosion’s “Bellbottoms.” The ensuing chase works around rhythms of the song, as if Baby’s Subaru WRX were the star of its own dance number. Take nothing away from the actual driving, either, which puts the rally car to good use:
Baby Driver’s gimmick stretches a little thin by the end, but it’s hard to deny the crowd-pleasing power of Wright’s film when it’s firing on all cylinders.

14. The Raid 2 (2014)

With a trio of kickass Indonesian martial arts films under his belt, Gareth Evans has established himself as one of the most exciting action directors on the planet—someone who seems most in his element staging positively brutal hand-to-hand combat. In The Raid 2, however, Evans also brought his signature brand of carnage to the road. While there’s some cleverly executed close-quarters fighting within the confines of an SUV, courtesy of Iko Uwais’s hard-hitting protagonist, what really cements this sequence’s greatness are the moments when Evans turns the cars into an extension of the characters’ fists:
This belongs in an entirely new category of combat: car fights. There are so many action scenes in The Raid 2 worth writing home about—the kitchen showdown is an all-timer—but the fact that Evans casually tossed in an unforgettable car chase shows why he’s one of one.

13. The Driver (1978)

I’ll say this for Walter Hill’s The Driver: It sure lives up to its title. In this stripped-down thriller—one where none of the characters have a name—we follow the Driver (Ryan O’Neal), a getaway driver who has become a thorn in the side of the LAPD. In the film’s best scene, we see its taciturn protagonist living up to his reputation. With the Driver behind the wheel of a 1974 Ford Galaxie, a cat-and-mouse game unfolds when a handful of police cars are hot on his tail. What I love about this sequence is the pared-down nature of it all: The Driver outwits the cops as much as he outraces them. (Though, ironically, that wasn’t entirely by design: As Hill later explained, an accident on the last night of shooting meant they had to cobble together what had already been filmed.) Frankly, you’d never know the difference from the finished article:
If the general vibes of The Driver seem familiar, that’s because it was a major inspiration for Nicolas Winding Refn’s Drive, which just so happened to feature an unnamed protagonist (Ryan Gosling) evading police through the streets of Los Angeles.

12. The Bourne Supremacy (2004)

The shaky-cam style of the Bourne franchise isn’t for everyone—just ask John Woo—but credit where it’s due: These movies know how to deliver a good chase scene. (A friendly reminder that The Bourne Legacy is an underrated gem with an awesome motorbike sequence to boot.) But there’s one Bourne chase that stands above the rest: the Moscow getaway in The Bourne Supremacy. After being wounded by the Russian assassin Kirill (Karl Urban), Jason Bourne (Matt Damon) hijacks a taxi, with both the police and Kirill in hot pursuit. This isn’t the kind of sequence that lingers on any one shot; instead, what makes it work is the frenetic nature of the editing, which allows the viewer to feel like they’re in Bourne’s fight-or-flight headspace:
If I’m being honest, I’m usually one of those people who doesn’t like the Bourne movies’ shaky-cam style, but when it’s executed with such craftsmanship, you can’t help but get caught up in its adrenaline-pumping power.

11. The Seven-Ups (1973)

Philip D’Antoni was the producer of two movies featuring Hall of Fame car chases, Bullitt and The French Connection, the latter of which won him an Oscar for Best Picture. And with his lone directorial feature, The Seven-Ups, D’Antoni sought to craft an iconic sequence of his own. The film stars Roy Scheider as NYPD detective Buddy Mannuci (elite Italian American name; I can practically smell the gabagool), who commands a unit handling major felony cases that lead to seven-plus-year prison sentences; that’s why they’re known as the Seven-Ups. Midway through the movie, when one of the team members is killed by two shooters who flee the scene, Buddy chases after them. The 10-minute sequence, which starts in the Upper West Side before moving out of the city, is thrillingly immersive, alternating between close-ups of the characters and wider shots of all the damage they’ve caused. But the chase’s defining moment comes right at the end, when Buddy narrowly avoids a grisly death:
The sequence isn’t quite at the level of Bullitt or The French Connection—very few are—but D’Antoni still manages to leave an unmistakable imprint on the car chase canon.

10. Death Proof (2007)

If you ask Quentin Tarantino, Death Proof, his knowingly trashy tribute to exploitation cinema, is the worst movie he’s ever made. But that doesn’t mean there isn’t a lot to admire about the film, which honors the unsung heroes of Hollywood: stunt performers. The first half of Death Proof follows three female friends who cross paths with Stuntman Mike (Kurt Russell), a misogynistic serial killer who takes them out in his “death-proof” Chevy Nova. Fourteen months later, a group that includes stuntwoman Zoë Bell, playing herself, also lands on Mike’s radar. As Bell and her friends test out a ’70s Challenger, she performs a “ship’s mast” stunt, clinging onto the hood of the car with fastening belts. Unfortunately, when Mike pursues the women, it puts Bell in a precarious situation. Most of the entries on this list celebrate some next-level driving skills, but Death Proof’s inclusion is all about Bell pulling off one of the wildest stunts you’ll ever see. She’s quite literally hanging on for dear life:
If the Academy handed out Oscars to stunt performers—and let’s hope it does happen one day—Bell would’ve won in a landslide.

9. To Live and Die in L.A. (1985)

William Friedkin was already responsible for an all-time great car chase in The French Connection (more on that later), but the filmmaker made a commendable bid to outdo himself with To Live and Die in L.A. In this neo-noir thriller, Secret Service agent Richard Chance (William L. Petersen) is hell-bent on arresting an expert counterfeiter, Rick Masters (Willem Dafoe), who kills Chance’s partner days before his retirement. To capture Masters, Chance and his new partner, John Vukovich (John Pankow), attempt to steal $50,000 from a jewelry buyer for an undercover operation. The sting goes bad when the buyer, who is later revealed to be an undercover FBI agent, is killed and a group of gunmen goes after Chance and Vukovich. It’s a clever inversion of the usual car chase formula—this time, it’s the lawmen running away from the criminals. The outside-the-box thinking extends to the film’s most astonishing stretch, in which Chance evades the gunmen by driving into oncoming traffic:
The fact that Friedkin shot the chase at the end of filming—in case anything disastrous happened to the actors—underscores just how risky the endeavor was. The pulse-pounding results speak for themselves.

8. The Matrix Reloaded (2003)

The Matrix sequels have never been held in high esteem, but I’m ready to live my truth: The Matrix Reloaded fucking rules. (If anyone’s got a problem with this take, file your complaints with the Architect.) What’s more, the film happens to boast the finest action set piece of the franchise: the highway chase. After Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) free the Keymaker (Randall Duk Kim), a program capable of creating shortcuts within the Matrix, they’re pursued by the Twins (Neil and Adrian Rayment). Morpheus once warned that going on the freeway was “suicide,” and it doesn’t take long to see why: The chase draws the attention of several Agents, who repeatedly take over the bodies of other drivers on the road. The scene is the best of both worlds: There’s some incredible stuntwork on display, including when Moss weaves around on a Ducati, and CGI augments some feats of superhuman strength. But the most jaw-dropping aspect of the sequence is how it came together, as the production spent $2.5 million to construct its own highway (!) on California’s Alameda Island. If that weren’t unique enough, I’m pretty sure Reloaded is also the only movie in existence in which a katana takes out an SUV:
The Matrix remains the Wachowskis’ masterpiece, but don’t get it twisted: The filmmakers were still cooking with gas in the sequel.

7. Gone in 60 Seconds (1974)

Size isn’t everything, but for H. B. Halicki, who produced, wrote, directed, and starred in Gone in 60 Seconds, it’s certainly part of the package. The indie action flick follows Maindrian Pace (Halicki), a Los Angeles insurance investigator who has a lucrative side hustle jacking high-end cars. The plot kicks into motion when a South American drug lord enlists Pace to nab 48 cars within five days in exchange for $400,000. Of course, Gone in 60 Seconds is best known for what happens after Pace is caught stealing a 1973 Ford Mustang Mach 1, when he leads police on a chase that lasts a whopping 40 minutes. (More than 90 cars were destroyed in the process.) Halicki, for his part, did all the driving himself, including a spectacular jump off a makeshift ramp of crashed cars:
While Halicki wound up making a few more indies after Gone in 60 Seconds, he died in an accident on the set of its sequel. His legacy as a do-it-all daredevil, however, lives on.

6. Terminator 2: Judgment Day (1991)

Long before James Cameron immersed himself in the world of Pandora, he was a pioneer of state-of-the-art visual effects. Case in point: Terminator 2: Judgment Day is credited for having the first CGI character in a blockbuster, the T-1000 (Robert Patrick), a killing machine composed of a futuristic liquid metal. But Cameron also understood that the CGI of that era shouldn’t be the main attraction: It worked best as a complement to the practical effects, as seen in Judgment Day’s epic viaduct chase. When the T-1000 tracks down a young John Connor (Edward Furlong) in a shopping mall, he’s saved at the last minute by the Terminator (Arnold Schwarzenegger), giving John a chance to escape on his dirt bike. As the T-1000 gives chase, the David and Goliath vibes between man and machine are further epitomized by the T-1000’s commandeering of a truck. The sequence already has a terrifying sense of urgency, but it hits another level when the T-1000 crashes through the viaduct like the Kool-Aid Man:
Big Jim is still revolutionizing what can be achieved with visual effects in the Avatar franchise, and while I cherish those movies, nothing beats his old-school showmanship.

5. Duel (1971)

The feature-length debut of Steven Spielberg—perhaps you’ve heard of him—the TV movie Duel is essentially one extended chase sequence between salesman David Mann (Dennis Weaver) and a sinister trucker determined to drive him off the road. I’ve attached a clip from the ending of the film, but that doesn’t do Duel justice. What cements this movie’s greatness is how it sustains an unbearable level of tension across its 90-minute running time—with a budget under $500,000, no less. Spielberg’s masterstroke is never once showing us the other driver, anthropomorphizing the truck itself as a monster. (You can see a lot of similarities with how he would build suspense in Jaws.) When Mann finally gets the upper hand, tricking his adversary into driving off a cliff, it feels like you can breathe again:
Spielberg would move on to bigger and better things after Duel, but considering how much the director accomplished with so little, you can’t help but wonder what else he could conjure up with limited resources.

4. Mad Max: Fury Road (2015)

Like Duel, Fury Road is basically one long car chase—the difference is Miller got to work with a blockbuster budget, and made every cent of it count. It’s hard to pick a single standout sequence in Fury Road, but if I had to choose, I’d go with the first attack on the War Rig after Furiosa (Charlize Theron) flees with the wives of Immortan Joe (Hugh Keays-Byrne). Here’s why: Think back to when you saw Fury Road for the first time, before you fully grasped the vehicular carnage that was in store. And then stuff like this kept happening:
To quote Steven Soderbergh’s thoughts on Fury Road: “I don’t understand how they’re not still shooting that film and I don’t understand how hundreds of people aren’t dead.” Whether or not Miller manages to one-up the action in Furiosa, the director is already in the pantheon.

3. The French Connection (1971)

We return to the Friedkin-verse for what may be his best film, The French Connection, the crime thriller based on Robin Moore’s 1969 nonfiction book of the same name. The story concerns two NYPD detectives, Jimmy “Popeye” Doyle (Gene Hackman) and Buddy “Cloudy” Russo (Roy Scheider), and their tireless pursuit of a French heroin smuggler. But while there’s plenty to admire about how The French Connection illustrates the thin line between police and criminals, its greatest claim to fame is its car chase. After Popeye narrowly survives a sniper attack, he goes after the shooter, who escapes on an elevated train. The ensuing sequence is true daredevil filmmaking that Friedkin shot without permits, leading to real crashes with New Yorkers that made the final cut. But Friedkin’s finest touch was mounting a camera to the front of the car, making the audience feel like they’re part of the action:
My Ringer colleague Justin Sayles believes The French Connection’s chase should’ve landed at no. 1, and I’m sure many folks will agree with him. Being the only film on this list to win Best Picture, however, is a solid consolation prize.

2. Bullitt (1968)

When it comes to modern car chases, all roads lead back to Bullitt. A Dad Cinema classic, the film stars Steve McQueen as Frank Bullitt, a San Francisco detective who pursues a group of mobsters after a key witness is killed in protective custody. In his search for answers, Bullitt realizes he’s being tailed by a couple of hitmen, and then turns the tables on them. From there, the chase is on. Aside from McQueen doing most of his own stunts behind the wheel of a Ford Mustang GT 390 Fastback, what’s so impressive about the sequence is how timeless it is. Even the little imperfections, like hubcaps repeatedly coming off the wheels, work to the film’s advantage, stressing just how much these drivers are living on a razor’s edge. It’s been more than 50 years since Bullitt revolutionized the car chase, and yet few movies since have felt like they’re pushing the envelope to such an exhilarating degree:
That the car driven by McQueen was recently sold at auction for $3.74 million, a then-record price for a Mustang, underlines Bullitt’s enduring legacy.

1. Ronin (1998)

“If I’m going to do a car chase,” filmmaker John Frankenheimer said in an interview with the American Society of Cinematographers, “I’m going to do a car chase that’s going to make somebody think about whether or not they want to do another one!” Boy, did he ever. In Frankenheimer’s late-career masterpiece, Ronin, the director actually incorporated several chases, but it’s the climactic sequence that stands alone as the greatest ever filmed. The movie concerns an international group of mercenaries who are hired to steal a mysterious briefcase; a series of double-crosses and double-bluffs ensue. But for the final chase, all you need to know is that Sam (Robert De Niro), a mercenary with ties to the CIA, is in pursuit of Deirdre (Natascha McElhone), an IRA operative in possession of the case. Winding through the streets and tunnels of Paris, what’s most striking is just how fluid it all feels. You’re completely engrossed in the chase’s forward momentum, captured from every conceivable angle; a symphony of controlled chaos. The driving styles even reflect the characters: Deirdre is reckless and impulsive, while Sam remains calm and controlled.
There are many worthy car chases in this ranking, but in my view, Ronin takes pole position. And while I can’t imagine a movie ever topping what Frankenheimer achieved, I’d love nothing more than to be proved wrong.

I met this guy online and we started talking but I’ve discovered he’s lied about a lot of things, like his location
I can’t figure out if the photos he’s sent me are real. He did this to a girl before (who I spoke to yesterday) and he admitted to her he catfished and then sent a “real” photo of someone completely different, but I called him out on it yesterday and he got defensive and sent another photo of the original guy. Our situations with him line up identically- he love bombed instantly, lied about things, manipulated us both in similar ways.
He refuses to turn on his camera or send more photos.
He has faked nudes as well, he has sent at least 3 different penises. When called out on it he “admitted” to some of them being fake. Whenever he’s called out he “admits” to half truths.
I found his Instagram where there is videos of a larger persons thighs (the original person he claims to be is super skinny) along with a voice that is exactly like the one I’ve called with.
I think he is a Reddit user so I feel like someone may recognise the fake photo of him here. Or be able to help me find the real him, so he doesn't keep doing this to people.
EDIT: to add to this, he does have explicit photos of me. so blocking may not be the best solution, I would like to find out who this person is.
https://cdn.discordapp.com/attachments/1150160357378236590/1242477131292868868/SPOILER_R6F07HV-2.jpg?ex=664dfa80&is=664ca900&hm=93a614989af888aba366fa3c35425dbf6cff63c972dae7c456bac095aa36ff8f&
https://cdn.discordapp.com/attachments/1150160357378236590/1242477130697150614/SPOILER_RKAQCZ9-2.jpg?ex=664dfa80&is=664ca900&hm=81fcc54e41bea3b319bfbfcd35d26c669cb6adc653aa56e871458896c8bf0e69&