look the magic they don't that they're young we know that but they've got names that people are interested in like bank arrow and bull bull they each had 24 points as far as the future and what they're trying to build their do we have confidence choms and what it is they're doing here I think they have pieces in the development of bull bull definitely like he's a guy that dealt with injuries his first couple seasons in Denver you didn't really know if he'd ever pan out would he have to spend time in the glee would he have to spend time abroad but they've really developed them so kudos to their organization palo ban caro is a flat out player we know what he's going to be in the league I think what this team probably really misses is a guy like marquel faults they need a lead guard so I don't know where that comes from is that scoot Henderson in the draft is that someone else but they need a guy who can really become that lead point guard and game management be dynamic maybe that guy is scoot Henderson if they get back up in the lottery yeah I think they're on the right path look they're still ways away but they have something with palo they have something with bull bull watching bull bull players he's got a lot of victor in him where he shouldn't be able to do the things he does at his size and I love to see him flourish like the magic of my team they've been my favorite team since I was a kid they have no guards I Jalen Suggs has not been very good co-anthony's been out they're two highest paid players faults and Isaac haven't played so I think they're do it all they can do but they need they need players they need more talent Jamal Mosley he's the man he's doing everything that he can do but they need to add a guard they need they need to you know maybe make a package where they get rid of one of these pick they have the Chicago Bulls pick this year too so they're gonna have two possibly top 10 picks I like what they're doing I just think they're still they need that guy they need they need to make a they need to make a splash need to sign a free agent they need to make a trade they do something to package with you know these young guys that are developing yeah one more name to add to the shuffle there is Franz Wagner he had a great game last night as well he was in foul trouble but he ended up with 21 points and he looks the part and if if palo is who you think he is and then you you get another top five pick this year and he can be your third guy even your fourth guy behind bowl ball they got a lot of talent they're adding a ton of length they're building on the front line they're building that more modern basketball right everybody's six eight and up and then they all can dribble but it was amazing watching those guys in person bowl is gigantic he is Victor right it when we saw him a few years back in high school he's finally becoming that player in the league he's had a tough goal of it he has a couple coaches didn't think he had it and people were thinking he was going overseas but watching him run around the court yesterday just being that nimble at that size and he's crossing people up he's making long threes he's earrowing in the lane and it's it's pretty insane I'm happy for him that he's able to finally become that player that a lot of people believe he could be and he's only gonna get better he's still really young yeah they got some stuff there and I think you guys are right they get that playmaker if they get that forward general somebody to keep it all in order they're building something nice over there in Orlando and also selfishly saying bowl bowl as many times as possible is what gives me life so we need more of that


Wrapping up the Easter celebrations of foundation as extended charity to traders at the Mawii Market in Ogunstate as a way of showing the essence of the season across penant poor George reports. The convener of the Funke Bada Foundation, Funke Bada, encouraged the market to mean not to lose hope in God as she shared some items ranging from cloves, noodles, seasoning and food This whole thing started in the year 2014 but as of then it was not officially inaugurated so I would just say it was inaugurated in February just two months ago in February at the Texans of February we did inauguration of this foundation. When asked why she decided to visit the market to mean this is what she had to say. We started two months ago and between then I mean between then and now we have been able to pay okay to restore back six children that were dropped out back into schools also we've been able to help some of the widows to stand back on their feet some of them we have been able to establish them with a small business that they are doing right now so today being the Easter Monday we decided to come out and reach out to the less privileged we know this period many people have been in their houses cooking eating chicken and rice but some don't have anything to eat. A pastor of the redeemed Christian church of God Gabriel Bakari who was also at the venue said the outreach was to consolidate on the let's go a fishing program designed by the church to reach out to the masses. A mandate of adding the Lord the general Vassia that during this time of the season we go out for what is called let's go a fishing and in the course of the let's go a fishing we preach the word of God we make sure that we reach out to people in form of welfare by giving out some items to them food items clothing and then we preach for them to accept Jesus Christ and tell them the importance of this season beneficiaries express their joy after receiving the gift thank you very much we love you i'm so happy i would really appreciate the person that provide this one more blessing more grace in Jesus i will thank god and god bless the other people that will be there that's it my prayer to them that's going large them and don't bless them okay so that they are able to help the poor masses god will bless you people i'm more blessing upon us poor george lost even you hello hope you enjoyed the news please do subscribe to our youtube channel and don't forget to hit the notification button so you get notified about fresh news updates


episode of Latin American Directions. My name is Nicolas Sussman, and today we have two star guests, Maria Jose Melina and Francisco Torres, to speak about an exciting and very interesting topic of social entrepreneurship and their very interesting project, Lucha. Maria Jose Francisco, welcome to Latin American Directions. It's a pleasure to have you here with us. Thank you very much for having us. We're really excited to be here. Great. So let's get started. Social entrepreneurship, right? It's a good concept. It sounds interesting. But it really doesn't tell what it entails, right? So I don't know, Maria Jose, could you tell us what social entrepreneurship is? Of course. Well, how we understand it, I think it's a pretty broad concept, but how Francisco and I and a lot of people that we've been talking with here in Latin America, we understand it as this concept of people just putting all their efforts into a type of business model or entrepreneurship in that sense, with a social cause. So basically what we do is kind of, you know, organize a whole enterprise or organization that works for us, but also has a social cause behind. And that's its main motor. We don't make money off of our causes. Let's say that the results that we seek are our earnings at the end of the day. So that's how I would define it, basically. Right. And then how would we differentiate this from concepts such as charities, nonprofit work, and so on? What's the key about entrepreneurship? Social entrepreneurship, Francisco?  What we want to do is create a positive social instance that is based on the understanding that we are all equal and there's no one who needs our help in, you know, this colonial and paternalistic way of, you know, analyzing charity. Right. Right. That's really interesting. So basically, it gives a whole turn to the social component of, I don't know if this is the right way to call it, but about helping people instead of helping keep people, I would say it's about empowering people, right? I'm working together and put efforts together, which I think is really interesting. Now, let's talk a bit about lucha. What is lucha, Maria Jose? Well, sorry. I would define lucha as a project that seeks to provide a service to young girls in Colombia, especially in lucha, a very vulnerable community that it has been touched a lot by violence and poverty throughout many years. And we seek to provide services of education for preparation for state exams and basically school admission exams for girls that are in their final age of high school education so that they can enter these institutions without any issues and actually achieve a sustainable future in education. Right. Well, that's really great. But I also know that lucha has a bit of history behind. So Francisco, can you tell us a bit about that history? I know you were very involved with the idea and then, I don't know, Maho jumped on it and you built something really great together. So could you tell us about the origin of lucha, the backstory? How you thought this is the thing they want to do? This is the communities they think we need to empower? So lucha, burn, you know, it starts to exist from an already existing NGO that is called Niñas en Miedo. Niñas en Miedo works in la Comuna Cuatro of Swacha, which Swacha is one of Colombia's biggest slums. It is, you know, a part of our geography that has a lot of social issues. It has cycles of poverty. And one of the main issues that concerned this NGO Niñas en Miedo is that la Comuna Cuatro of Swacha has one of the highest rates of teenage pregnancy. So they wanted to address this issue by empowering girls through sexual education programs and teaching them how to ride their bikes as a way of empowering them and teaching them that they can buy their own ways, you know, reach anywhere they want in life. And I've been a volunteer of Niñas en Miedo for over two years.  So for a very long time, I have created this strong emotional connections with members of the community, and have come to realize something that should have been very clear to me a long time ago, and is how systematic our social issues are, you know, poverty is not a choice. And these cycles of poverty need to be addressed in a way that empowers the community and makes them know that we coexist in a system that is unfair. And, you know, poverty is in not a way, in any way, their fault. And lucha, it was born from a conversation I had with one of these girls. And I came to realize, you know, how privileged I was as entering university from someone who is privileged in Bogota, Colombia's capital city is pretty easy. But for these girls, and in Swacha, it is, you know, a miracle to get into a university because of the systematic discrimination they suffer, you know, because of class, gender, and also in some cases race. So lucha is a way by which we wanted to give the privilege that we as, you know, privileged people from Bogota had, give them to these girls in Swacha, which is the preparation to excel in the exams that assure you to, you know, enter the university of your choice. Right. But and why did he choose to focus on that aspect, right? You were speaking about menacing me, just for audience, it's the translation of girls without fear. They decided to go for the riding bikes approach, right, as a sign of empowerment. And that was their thing, right? And if you can tell us a bit about that one, as you were also part of that and understand the correlation about something that seems that simple as riding a bike and well, significant and impactful issues such as being pregnant see that, as you said, say contributes to inequality contributes to marginalization and then if that model had something to do with the focus you chose for lucha, right? Because you chose one specific aspect of the many aspects involved, right? So I would like to know one, the logic perhaps behind the bike example in menacing me and then if this was a reference for you and why you chose to go for education and admission into university specifically the the standardized test which for reference is similar to the SAT for some degree in the US. So yeah, if you choose whoever wants to tell us about that or you take turns that that is fine. It's just very interesting the story behind all this, right? Yeah, Francis, if you want, you can start telling about the bikes, I feel like that's more of your expertise and then we'll talk about the exams and how that correlates. Okay. So actually, I'm a volunteer in Nines and we have two big groups of volunteering. There's the bicycle group, and there's the education group. And you know, I think it's kind of funny, but I am a volunteer at the bicycle, at the bicycle part of the NGO. And we are called VC Mentores, which is kind of like bike tutors. And I feel that, you know, the reasons why Nines and you have such an important emphasis on bicycles is because of the of the message it has regarding how when we teach a young girl how to ride their bike, we are not just teaching her, you know, a new way of transportation, we're teaching her that by her own means, she can get anywhere she wants in life, you know, knowing how to ride a bike means a girl can go anywhere she wants to, by herself. And that from Nines in Nero, we believe, well, within the institution, it is believed that that is synonym of empowering. And we worked with girls last Saturday, I was in the group of little girls, and we have girls from seven to 12 years old. And this Saturday, we will be working with girls from 13 to 17 years old. And I feel that this is an already proven methodology. I know that Nines Nero follows the example of already existing NGOs in the Dominican Republic and the US. And we know that bicycles are a way to empower young women, but also bicycles, I believe are crucial within this organization. Because they are a way to make sure that the girls stay within this organization. So a weekend, we have bicycles. And the next weekend, we have the education programs where, you know, teachers discuss with girls a broad range of topics from menstruation to consent, which are really important, but a way that we assure that girls stay in the organization if we have the bike program, you know, because they like it, they have fun with their friends. So they stay in the organization.  And I feel that it is really connected to lucha, because as the bike, we want to teach girls that they can reach anywhere they want in their lives. We feel that education is kind of like a bicycle. A girl can get whatever she can get anywhere she wants in life with a bike geographically, but with education, she can also do that, but in a way more, you know, transcendental and higher scale aspect. Right. Right. And now let's speak about this, this standardized test, the state tests, and why they're an obstacle, right? Because I think that's not just the problem of the Colombian system, but I would say of many systems, right? These exams for many people from a privileged background, I'm speaking now about the Colombian case are seen as the exams to some degree, you can get high scores without much effort, there's not a lot of preparation and going. And as you start moving from very privileged schools to less privileged schools to marginalized and public schools, well, you start seeing that the tests becomes a challenge, right? So I would like to know your experience on that. Why did you decide to focus on that? And I don't know that choose other issues of education that you could have to also support this community. So Maria, who said if you can tell us about it, please? Yeah, of course. So when we started thinking about Lucha and what we wanted to do, we wanted, we knew that we wanted to do something that was very simple, but that was very on target to the problem. So we started talking and this conversation that came up with between Francisco and Mariana, which is our inspiration, basically. We also realized that many of these girls, no matter what they do, no matter how many initiatives are involved in, how many NGOs are helping them, they still don't have the preparation to take these sort of exams. And as we know, many of us who have taken either SATs or exams in Colombia or the equivalent in any other country know that the main thing you need to know is how to take the exam, even more than the contents of it. It's more about how to answer and how to know how to read the questions. So we know that many of these girls don't have the access to preparation for these exams because the access that public schools give is not even half as good as the one that a kid could reach in a private institution. So we wanted to kind of erase that gap between kids in private schools and in public schools and give them a proper service that is funded, that is completely free for them, and that is actually given by people who know how to take this test and know how to work the system, let's say, and actually get them into school. So we thought it was a barrier that many educational institutions in Colombia overlook, but it's actually a really big issue. And it makes a lot of sense to actually work that specific exam and then see the results in a very short term of time. Right. Right. And just as a follow up question, have you already seen a difference of what you've done through Lucha or do we remain to see the results as I know that you're a rather new organization, right? Yeah, we're going to start with our pilot program just this semester. We're actually still in preparation. We have currently our group of volunteers and we're still in the whole, let's say, institutional process of funding a social venture project. So we have to get all our papers in check and work some tax issues with our funders up in New York. But yeah, we're still in process of beginning this semester. It's going to be our pilot program. So we're planning to have results by next semester. Fortunately, for us, I'm a government student. So I basically focus on studying if these programs work or not. And we've been deciding a way of kind of seeing if there's a way for us to make a impact, a study and see if these actually have results in the short term. Right. So and as part of this preparation, Francisco, I would like to know if you have already engaged with with the groups you're going to work on, you already told them that this is coming and what's their expectation, their reaction, how is that part of the people preparation side, not just the admin side? Something that I feel we are absolutely proud about Lucha is that Lucha is not a creation that comes uniquely from privileged students because that is what we are. That's what we in Maho are. We can visit this community. But at the end of the day, we are never going to truly and fully understand the life situation of the people in the community of Swacha. And that's why we believe it is so fundamental and so crucial to actively involve the community within, you know, every process that takes place within Lucha. So I've found a really great support within one of the leaders of this community. Her name is Luz and Luz, she helps in Minas y Miel and she is someone that I absolutely admire and from the community. She is someone that throughout the years I've come to form a special relationship with and she is a mother. She actually is the mother of Mariana, one of the girls of Minas y Miel and she has helped us, you know, to tell the community to tell other moms about this opportunity of having a free preparation for the state exams. And now we have 12 girls already signed up to be part of, you know, this project. And in fact, the 24th of September, we're going to have our first Lucha session where what we want to do is present the girls with our teachers, the volunteers and, you know, have this space where girls can tell us what they expect, you know, what they want out of Lucha, because we don't want to, you know, create this social entrepreneurship idea as something that has a hierarchy as something that we impose to the community. We want something, we want Lucha to be a space where girls actively participate and, you know, create among with us something that can beneficiate the community. Right. Right. Well, that's that's amazing. Now let's speak about your journey of success, right? And let's speak about the resolution project support of that. So for our audience, Francisco and Maria Jose met in the model unit, model United Nations team at the New York City Los Angeles that competes in the Harvard National Model United Nations, which is, I would say, the biggest, if not one of the biggest conferences of model United Nations worldwide. But they decided not only to go and do the competition, simulating that they were delegates from different countries, but they decided to put their energy, their preparation and their effort into creating social venture projects that is funded by, I believe this is a non-profit, a philanthropist organization called the Resolution Project. And they won, actually, they won. So I just want to give you this space. Maria Jose and Francisco, tell us about your experience, what the Resolution Project is and how you came with this idea to you decided to participate and while you decided to to start with Lucha as your Resolution Project. Yeah, of course. Well, first, I would like to say that it started all very fast. It was kind of very, very quickly how we came up with Lucha and how we decided to take the leap into participating into such a big, I don't know, challenge for both of us, because neither of us have had the experience of, you know, starting a social venture before or even funding our own organization or enterprise. So I actually met Francisco last year. We've been friends now for over a year and we're really close. And I met him because I was actually coordinating the team that was going to participate in Harvard UN. I was going to be the leader of the team and kind of training them throughout the entire year. And then Francisco and I got to talking. We got really close and we got to know each other and see what we were interested in. We're both interested in topics really related to social ventures and topology, government, seeing how we can improve our communities and the problems that we have here in our country, especially in our city. So we got to talking and I presented him with this opportunity with for the Resolution Project. And they asked him if he knew of any issues that he wanted to solve and that I could help him with. And he said, of course, I'm actually working with Nia Simeo. I met Mariana. This is what's going on here. We need to help these girls and it's actually not very hard if you really think about it. So we decided to take on the challenge and then in a matter of weeks, we put it we put it together. We talked to everyone and we managed to win in the social venture challenge. That's how they call it at the Resolution Project. We had over, I don't know, Francisco, like over 20 participants of different ventures. And we won. We were one of the many winners of that day and we got the grant, which is more than $4,000 in money for us to start our venture. So it was a really great opportunity. We got a lot of visibility and also, you know, it was a great way to start the venture. Not a lot of NGOs or social ventures can say that they started with this amount of money to begin with. So we're really great for the opportunity and it was actually really fun. It was in a matter of days. The competition was really hard. We had a lot of sleepless nights, but we did it and we're really happy to like have done it because now we're here and we're actually gonna see how this impacts the lives of girls, which is what really matters to us. Right, and I think now I'm gonna ask perhaps the hardest question of a show and it's what do you think made you win? What was the key to your success? And I would say what's the key to the success of Glucha, right? Why they chose you over other projects and then why should other investors choose you over other ventures? Or at least just see the value in yours, right? Yeah. I feel that something that really differentiated us from other ventures is that we constructed a program along the community. I feel that that's something that sounds so easy, but it's so hard to have the confidence, the trust from a vulnerable community, to have this real connections that are just emotional and that is a plus that makes sure that a venture will last through time. And also a point that I believe was crucial to our success is that we built Glucha not only with the community, but also we had a really strong interest on incorporating academic conclusions within our project. We investigated a lot, especially on studies published by the National University of Columbia regarding how those access to higher education in Columbia work. And there's this data analysis of this long period of time that came to the conclusion that in Columbia, access to university has a discrimination based on class, gender and race. It is absolutely more likely to access a university in Columbia if you have money, if you are a man, and if you are not a member of a racialized community. And you know, Swacha is a community, it's a slum that has been built upon the internal displacement of people and the Colombian armed conflict. So we have this community where you can find a lot of people who are racialized in Swacha. There's a high percentage of people who are Afro-Columbian citizens. And you know, we work with impoverished girls. So we have the subjects who have been recognized by academic studies as the most vulnerable individuals within our educational system. So you know, after starting this conclusions and having this personal connection with the community, we came with the idea of building Lucha as a way of having the community and building this project with them and also gathering the academic conclusions in order to build this program that wants, you know, to be a way by which we denormalize how unfair the system we exist in is. Right. So you think, well, I could take my hat to you because this is a serious and well-thought and a project that caused all of this. Maria Jose, we're in the last minute of our show and I would just like to give you the opportunity to speak to our audience, to speak to potential donors and to use this space to gather support for Lucha in supporting you. But I would like to give you the chance to do your elevator pitch, your fundraising pitch for audience out there because this is worth supporting as well as other Latin American social ventures, right? Solutions from Latin America to Latin America that have an impact. So yeah, the floor is yours for this last minute. Thank you. Yeah, so I just wanted to say, first of all, thank you for having us, we're really excited and thank you for giving us especially the opportunity to come forward and tell how important it is for girls to be educated, especially in Latin America. As everyone knows, for now we are a very new venture so we're starting a new crowdfunding for the funding for the next semester that are coming up and for many expenses that we're gonna have to cover. The link is gonna be in the description of the talk show so please, even if it's just a small donation, it's gonna help us a lot and it's gonna be reflected directly on the lives of these girls that are gonna be educated by us. And yeah, let's just keep on working and see what happens. And of course, follow us as well on social media. We're gonna be posting our first sessions, how the classes are going, you guys are gonna get to meet the girls and kind of see very closely how this process is gonna impact the community. And hopefully we can gain more and more traction and see how other ventures wanna join together and create a bigger impact here in Colombia and hopefully in Latin America. So yeah, that would be my final invitation. Get to know us, donate if you can, whatever you can and also try to support your local social ventures even if it's just around the corner. There's always someone trying to help the community. So just keep an eye out for that because it's really important for us and we're really happy to be here as well. Thank you very much for hosting us. Of course. Thank you, Francisco. Thank you, Maria Jose, to our audience. Thank you for your attention. Keep an eye out on this people because they're gonna make a difference and we'll see each other in two weeks. This was Latin American Directions. Thank you. Thank you so much for watching Think Tech Hawaii. If you like what we do, please like us and click the subscribe button on YouTube and the follow button on Vimeo. You can also follow us on Facebook, Instagram, Twitter and LinkedIn and donate to us at thinktechhawaii.com. Mahalo.


Today, we're not gonna be watching a movie, but we will be talking about them. Today, we are going to be talking about the harm and obsession of biopics. This is a video essay by Trin Lovell. Before we talk about biopics, we need to know what they are. And a side note, I will be calling them biopics through this entire video. I will not be saying biopics, and that's a personal choice, and you're gonna have to deal with it. A biographical film or biopic is a film that dramatizes the life of a non-fictional person or historical-based person or people. The first-ever biopic on record is George Melly's Joan of Arc, which was released in 1900 in France. This comes from a 2012 book written by Kun A, which was released in 2012, and I found this from the Dictionary of Film Studies Oxford University. That's where I found all the biopic books, which you guys should look into. Now, if you're having a hard time, remembering what films are classified as biopics, I'll give you a short little list of some very famous biopics. Raging Bull, Malcolm X, The Social Network, I, Tonya, Bohemia Rhapsody, Rocket Man, The King's Speech, Elvis, King Richard, Extremely Wicked and Shockingly Evil, Selena, The Eyes of Tammy Faye, The Wolf of Wall Street, Dallas Buyer's Club, Snowden, Kill Your Darlings, and many, many more. There are so many biopics released within every single year that just they pop them out like they are easy or something, which they should be the hardest films to make, in my opinion. Biopics lead the scene in today's culture with every new biopic gaming tons and tons of attention, specifically by award shows. Biopics show us the win-win scenario for studios, where it doesn't really matter if it's good, just if people watch it. And when you're banking off of famous people's stories, you're guaranteed to at least make your money back by telling their story. What I've realized when writing this video is that everyone is a sucker for the sentence based on a true story. And if you have anything to do with marketing, you know this and you thrive when you get to add that to whatever marketing spiel you're doing. For example, take any food commercial and you hear the phrase made with a real fruit. Our minds associate that with it being better. Now that also has a whole other aspect of it, where we're dealing with stuff we're putting into our bodies. But this also has an effect on how we view other things as well, specifically media and based on a true story. Made with real fruit is the true story and artificial is fiction. And if you think the general audience that is buying tickets at the box office is the only one getting fooled by this narrative, then you are completely wrong because award season is when biopics shine the brightest. And the Oscars loves nothing more than awarding biopics. In contrast to that, in contrast to the Oscars loving biopics and award season loving biopics, something has changed with original series. Original series from streaming sites have all taken on biopic stories. They want to tell true stories within their original series. And this shows within just the year of 2022. Now with talking about the recent popularity, it's important to know that biopics have been popular since the dawn of time, since they were being made. Most films that were made at the very beginning of time, a lot of them were based off of historical figures. And there's so many different reasons why biopics are popular, why they were popular back then and why they're popular now. And in short, my theory is this is not a fact. My theory is that depicting fictional characters is cool and the performances are cool, but depicting real people is difficult. And people, the audience, the academy, everyone wants to see something difficult to do achieved. The viewers want to know it's hard. They don't want this to be a creative outlet. They want to see something difficult to do. Like when you're watching the Olympics, a part of it is watching something that is cool, but it's also something super difficult to do that you cannot imagine doing. And part of this seeps into us watching films. And something that biopics do is actually give you a scale to judge films on, which you can judge any film, but this gives you a direct comparison of this is a real-life person, you are playing them, I can compare these two people. And now it's game time, bitches. Now I am judging you harder than I ever was before, and now this is a very fun game. And this only gets worse with time because the further we go on, the more footage we have of these characters that actors are portraying. Back in the day, you're depicting a fictional character, a historical figure. Okay, we don't know that much about them and we can't really hear their voice, so it doesn't really matter what you do. But with stories about Elizabeth Holmes where her whole trial is like documented, Amanda Seyfried can study her movements, but so can the audience. And I think that's a very interesting point to point out because this is no longer like I went hunting for footage. Like they, that's public. Elizabeth Holmes tapes is like very public. So this adds a whole new level and a whole new interest within the movies being released now. Because no one cares to see a biopic on Mary Queen of Scots, no offense. They would like to see Princess Diana being played and someone perfectly matching her delicate speech pattern because that's difficult. And whether intended to or not, this becomes an interactive media. This is the audience having a full hand within your performance. It's not, this is my interpretation of the character. This is a real person and we all have access to them because they were in the spotlight. So the obsession with biopics not only lies within this need for a true story, it also lies within the obsession of praising difficulty. And I think that's a very big part that not a lot of us figure out until award season comes along and every single best actor is cause they're playing a real person. And something interesting is that the rise in performances of real life people actually started after Robin De Niro's huge win at the 1981 Oscars for his performance in Raging Bull as Jake Lomota. This is what's kind of deemed as the start and the biggest win for a biopic. It kind of changed award season and it kind of changed movies forever. And after 1981, biopics were basically taking every single big category of the Oscars, including best picture, best actor and best actress. All of these films since 1981 have been leading in wins from biographical films. So with all of that being said, what I'm gathering is that biopics deliver the audience what they want and it makes profit for the creators. I'm not seeing anything harmful about this and I don't think you are either. So let's dive into the next section. For lack of better words, the harm comes in a much more subtle way. In the act of telling someone's life story to serve a certain narrative of the time it was released. This can stir tons of controversy no matter who you're depicting, but especially with criminals. True crime has been at an all-time high in popularity, which in my opinion, I think is for the worst, but I digress. And studios are taking note of that rise in popularity and we are getting new true crime biopics every month. And it's scary how fast they're pumping them out. It really is. Now some insight for writing anything that is based off of a convicted felon or true crime case is the son of Sam Law. In simple terms, the son of Sam Law is just to prevent criminals from gaining any profit from selling the rights to their stories to publishers, writers, any of the sort. I will leave a link to all this I'm reading from in the description box down below. It is from theMTSU.edu. And it goes into the first amendment and this goes into executive law section 632A, commonly known as the son of Sam Law. It was enacted in 1977 after serial killer David Berkowitz, also known as son of Sam, sold his exclusive story rights. This whole article was posted in 2009 written by Sandra Thomas and she's the director of the library at Southeastern Oklahoma State University. And with that being said, there are eight states that do not enact the son of Sam Law.  So in my opinion, this is where we dive into a blurred line morally. I'm not moral king, high ground. I am a 20 year old girl. I'm just doing a little essay. I don't want to tell you what your moral should be. But in short, with a small sum of cash, the right state and a convicted felon story at your hands or just the story becoming public domain, you can turn them into anybody you want. A perfect example of this is inventing Anna and Adelve sold her story to a publisher and then had inventing Anna made on Netflix. In talking about the harms of true crime biopics, we now enter with Dahmer. Dahmer was a limited series released on Netflix in the year of 2022 in September. It starred Evan Peters and was produced by Ryan Murphy. It was quickly a very popular show. In all honesty, I never watched it. And there was a big reason for that. This was a manufactured success. Every single like Dahmer story, like no matter how many times we have heard Jeffrey Dahmer story, the people will watch something and they knew by casting Evan Peters that was a shoo-in to get people to watch it. Cause even though my friend Dahmer had just come out, Ross Lynch really wasn't that popular enough to gain such attention. People really knew him from Disney stuff and this was a big switch. But Evan Peters is known for playing villains and for playing very scary characters with his work on American Horror Story. So in my opinion, I think it was like very manufactured success and I wasn't surprised that everyone still watched it. The victim's family said, how many more movies do we need? Being as there's so much footage of Jeffrey Dahmer, there are tapes from when he was in prison being interviewed. There are many movies, many books. I don't know how many more times we have to hear this story. And this begs the question for all biopics. But specifically for true crime biopics, are we using these films to tell stories and to tell real stories? Or are we using these shocking horrific events to show how scary an actor can perform? But it is something very scary to see such horrific crimes be looked at upon as opportunities for awards and profit. So when it comes to telling these stories, aside from drawing our own line morally, one of the biggest questions ever asked about biopics is, is it accurate? Did it actually happen like that? Is this true? Did Freddie Mercury really leave Queen that soon to do a solo career? Did Mark Zuckerberg actually steal from the Winklevoss twins? Was Tonya Harding actually innocent? And did Marilyn Monroe even sleep with John F. Kennedy? In short, they're not accurate, but we all knew that. Giving your story to a mastermind screenwriter and expecting them not to embellish your story, even if it is completely outrageously true, is just to be naive. I mean, you're not giving your work to Aaron Sorkin and expecting him to just let it be that, right? Screenwriters know one thing and that's to make the words come to life. And that can be at basically any cost. The social network is one of Aaron Sorkin's best screenplays to this day, but almost half of the story isn't even real. It creates a motive and arc to Zuckerberg's wrongdoings, portraying a girl who rejected him as the sole factor in creating Facebook when the truth is much more detailed than that. I'm gonna leave a screenwriters article in the description box down below, going over the changes that the social network made to the actual events that happened. Blonde branded itself as a biopic, showing the real Marilyn and no matter how much the makers of the film deny that, it's clear that the marketing of this movie was to be an honest biopic based off of a fictional book of her life and giving her the most tragic story they could conjure up. And even most recently with The Fableman's, a story about Steven Spielberg's upbringing made by Steven Spielberg himself is not true. Now, many of the things happened within the film, but there were so many additions to the story that never happened, Steven Spielberg even admitting that himself. He revealed that he didn't even have a girlfriend, but that was one of the parts of the movie that made Sam's arc so much more compelling and emotional to the audience. And I wanted to share that example because not all changes to real life is this evil negative thing, but that is a very specific instance where that was Steven Spielberg and that was also his story that he was telling himself and he decided to add a positive thing to change the story. Whereas in other cases with the other examples, all of them were to shine a horrible light on the people that they were depicting. Now this is all a blurred line of ethics and a moral code, but in my opinion, the audience mistake is believing that these false narratives are only present within drama biopics. In terms of a viewer based on a true story is most believable on biopics of bad people, AKA murderers or criminals, AKA murderers or people of horrific crimes, people doubt the accuracy a surprisingly low amount in comparison to a legal drama biopic such as the social network. And it makes sense because who would want to doubt the accuracy of real life crimes that have happened and real life victim stories? In my opinion, I think we give too much credit to the writers if we believe such that they would never depict victims in a bad narrative, that they would never change the story of true crime to fit a better story. And I do that too. In this whole video, I say a lot of the times the audience, but I am the audience. I am not innocent from this. I fall for the same things that any other audience member would fall for because I am an audience member. No biopic is 100% accurate because real life doesn't move in three part acts. And not everyone gets a redemption arc even if the writers try their best to do so. Now here we are with the harm displayed and the obsession displayed. So what's the conclusion at the end of this? What are we saying? What are we even saying at the end of this? The appeal of this genre is the truth factor. When branded as such, we are more likely to buy it, AKA the made with real fruit effect, as I call it. Do biopics actually accomplish their goal in telling honest, accurate, real stories? Majority of the time, no. 100% of the time, the story is fabricated in smaller, major ways. And a lot of the time, it's not a small way. Now my biggest takeaway from this video and the biggest takeaway that I want you guys to take from this video is why critical watching is so important. This goes for all media. Critical consumption of media is always important, regardless of the media. When you're watching this video, critically watching it is important. There is no mindless watching things. Everything should be critically watched with, in a small or major way. But to make sure you take a step back to analyze what you're watching when digesting biopics is even more important due to truth-based media being a primary factor in our everyday beliefs. Whether you like to admit it or not, we all fall for everyday propaganda. Biopics is a very easy way to trick our minds and to change the narrative of certain times. Biopics depicting historical events can change the way we see them. Changing the narrative of historical events is not only prevalent within biopics or film or art, by the way, it's also very prevalent within actual historical books that are supposed to be 100% truthful and honest, whatever. That's why I say critical watching is always important within every media, regardless. Everyone thinks they can escape this mindset. Viewers, academy members, everyone thinks that they can avoid falling for based on a true story, glory. Cause that's what it is. Based on a true story is the most enticing title ever. It is like a black hole that we are falling down into. Wow, everything is just so much better if it's based on a true story. For Christ's sake, the Blair Witch Project was a major hit just for the sole fact of people not being able to tell whether it was actually real footage or not. Biopics tell the stories of real people. And depending on who's making it, you can change the way an entire generation views a single event. And if you're not careful enough, you could be falling for the wrong hero of the story. It's no longer about a fictional idea of what could happen. It's changing the narrative of someone's entire life within one script, while making the audience believe every second of it. Filmmakers know this and profit off of the need to know truth-based stories. And the further we go on feeding the monster that is audience cravings and creator's profit, the further we get from telling truth-based stories, which is the whole reason why we started making biopics to begin with. There are tons of amazing biopics. And this video is not to deem them as evil. This is not me to say stop watching biopics. This is not a PSA to stop watching biopics. Biopics for a long time were some of my favorite movies ever. I used to say to everyone, my favorite genre is biopics. I don't know why I would say that. That's literally the most boring thing I could possibly ever say, actually. This video is not to insinuate that the act of creating them or watching them is evil or wrong or morally wrong. I know I said the word moral line a lot, but that goes into a little bit more of true crime biopic specifically. This is only to think about the simultaneous harm and obsession that the genre feeds. And it's also about how understanding the impacts of a film telling someone's true story is much larger than you probably believe it to be. Biographical films are wonderful. Some of the best movies I've watched have been biographical films. One of my favorite movies ever is the social network. I love biographical films. But at the end of this whole discussion, it's up to you as a viewer to decide what narrative you choose to believe. Media is powerful. All media we consume is powerful, small or big. Media is a powerful thing, but our media consumption is just as powerful if we let it be. The harm and obsession of biopics goes hand in hand. One cannot survive without the other. You can't tell half fiction and half truth without that being harmful, but you also can't market something as based on a true story and not have people fall at its feet with obsession. Cause that's just too enticing. But my final question for you, is this even a problem to you? Is this so-called harm and obsession that I am describing even a problem to you? And if so, why? If not, why? This video is not for me to tell you that this is wrong and someone should stop it. It's supposed to be an open discussion about this phenomenon that we're kind of living in. Art strikes controversial topics within conversations and pushes you to think. Where your line rest is completely up to you, but in my opinion, the most important thing is that you just draw it to have your own opinion, to have your own line that you draw for yourself when consuming media is the most important part to me. I hope this video will strike a conversation for you guys with your own friend group or maybe even online. Thank you guys for watching this video. It was very different from videos I normally make and I spent a lot of time writing this video and researching. This is probably the most fun I've had making a video in so long. And at the end of the day, I am not trying to force you to have an opinion or to force that this statement of harm and obsession within biopics is correct. It's just an essay. It's just a thought. And I hope you continue to have thoughts with me because I would love to discuss more and more with you guys. Thank you for joining me as I talk about the harm and obsession within biopics. I will see you guys next time. Bye.


You've reached Frightfully Forgotten. Please leave your horror movie request after the beep. Hi, Frightfully Forgotten. I just ordered one of your t-shirts and it came and it was crawling with bedbugs.  What? That intro. That's the new intro. That? Yeah, you said you wanted to do a new intro just like that one. I was kidding. Kidding? Yeah. That took a lot of time to put together. What can I tell you, man? It's garbage. Just play the real one next time, alright? Welcome back to Season 4 of Frightfully Forgotten. And to kick things off, we're gonna be having some Part 4 horror movie. What's wrong with you? Nothing. What are we drinking? Today, we're drinking an Earl Grey IPA. Nice. Today, we're talking about Hellraiser 4. 4. Bloodline. It is written by Peter Atkins and he wrote Hellraiser's 2 and 3 and he also wrote, like, all the Wishmaster movies. Directed by Kevin Yeager and this is the only feature film he's ever directed. He's mostly an effects artist and he did the effects in Nightmare on Elm Streets 2, 3 and 4, 1 of the Friday the 13th, and just tons of stuff. Bruce Ramsey is in this and he plays the main character, Mershawn. He's also in pin and he's just in a lot of TV, Canadian TV. Canadian boy. Yeah. Valentina Vargas is in this and she was in The Name of the Rose, The Peasant Girl. Kim Myers is also in this and she was in Nightmare on Elm Streets 2. Our favorite Nightmare on Elm Streets. That's right. The movie starts in 2127, so way off in the future. It starts off on a space station and this man is using a robot and he's controlling the robot with these kind of gloves shows and opening and then it opens and the robot, like, blows up and then Pinhead comes onto the screen and kind of looks and then all these guards burst in and they capture this guy. He's being interrogated by the leader of this squad. Her name is Rimmer. For him to explain exactly what he's up to, he's got to go way back. I'm not sure they really have a whole lot of time. Yeah, yeah, yeah. It's now the Pinheads in the picture, but... The story starts in 1796.  Yeah, yeah. He goes to deliver the box. He's got this buddy with him, this young boy, and he also has a girl with him. They strangle the girl and they skin her perfectly. Find out that he's like a Satanist, like devil worship reason to black magic and stuff like that.  He then begins opening up the box. Skin starts filling up into like a real body. Summons forth this demon named Angelique. Mershawn has been watching this happen through the window. He tries designing a box to counteract the effects of the first box.  And then meanwhile, the Angelique demon is like bowing in his buddy there, the young boy, and this poor guy is just thrown aside.  She's carrying their unborn boy. The story fast forwards to 1996. The current Mershawn, so I guess he's merchant now, is an architect and he designed this building unwittingly like the Lament configuration. But he doesn't really know it. Angelique sees Merchant's picture on the cover of a magazine, so she goes to New York to end the bloodline. Sort of seduces this kind of pot guy. Bumps into woman. Yeah, drops her purse and oh, I'm sorry. Let me make it up to you. Oh, lures him down the stairs into like the basement and everything. He's all just thought a room would be good enough. Yeah, not with this woman. The box is there.  I like how you need your shirt off to open up the box like in all these movies. They always have their shirt off. Yeah, they're all sweating.  Out of the portal comes Pinhead. And he sees that this building can be used to open a bigger portal to hell. Before they do this, though, they have to kill Merchant, because Merchant is in the process of creating an anti-configuration box called the Elysium configuration box.  So Angelique seems to be kind of stalling on their plan here.  Just kidnaps Merchant's family. Poor bastard Merchant ends up dying in a pretty gruesome way. A chain goes right through his throat.  It's pretty wicked. When he dies, though, his wife ends up actually opening that box. Sort of sends them all back. Now we fast-forward again to the future.  So why are we talking about Hellraiser Bloodline? It's one of the more underrated Part 4s for sure. Yeah. It's a bit of a confusing movie, but the idea and the premise is pretty cool. There seems to be a general theme about Part 4s, too. There's a backstory, then there's the movie, and then there's the end that kind of just wraps everything up. Yeah, it's supposed to be the last one. Yeah. And it's very cool how you get to finally see how the box is originally made, why it's made, and what it actually does. It's kind of neat because it's almost like an anthology movie as well, because you got three different little stories that all tie into each other and make one big store. Pinhead in this is, I think, probably the coolest since the first one. He's very poignant. His dialogue is very strong in this, too. Yeah. They're poetic. And he's very polite. He's like, gentlemen. That's the way people should talk to each other. Nice and courteous. He wants to inflict pain, but he's very nice about it. Exactly. That's how you should be humble. Yeah, people should learn from Pinhead. This is how you conduct yourself in society.  Hell's a very polite place. Believe it or not. The kills in this movie are great. There's not many of them. No, which is actually kind of good, too. Don't make me put some pain on you, man. Pain. I am pain. You want to be together forever, don't you? And he all rigs up some machine things. And twists them all together. That part's awesome, though. We should have done the whole episode all twisted together, so we have faces that are all mashed up. And at the end, in space, what we didn't really cover, because you have to watch that if you haven't seen the movie yet, there's some good kills there, too. Yeah, for sure. Yeah, the effects are very good. This is still the days of mostly practical effects. Right, with just a little bit of CGI. A little bit of CGI. And the CGI that is in this is pretty poor, because it's 1996. But the practical effects are very good. This movie did suffer a lot from production problems, and it shows in the final product. Because it's a little spotty, and there are little holes, little plot holes, and stuff that you can tell. The original cut was 110 minutes. The studio saw it. They didn't like it. They wanted Pinhead to be in it more. They wanted Pinhead to be in it earlier. The director did not like this.   I'm not coming back for any reshoots. I'm taking my name off of it. It's been kind of a little bit mangled by the studio. And I think that's where the movie suffers, because you can see kind of where that's happening. And some things aren't explained as much as they could be. Really, really bad reviews. People shittle over it. It was also the last Hellraiser to ever be released in theaters. That's it. If you haven't seen Hellraiser Bloodline, please check it out. And so we're the number four. And until next time, keep drinking. And hell, the coin of the realm is pain. I like pain. Damn, we forgot to do that.


And you thought the narcissist was over you this is the discussion video You thought they were over you Towards the end of the relationship They devalued you it seemed like they just forgot about you and then they moved on to someone else Like you never existed Like you never meant anything to them.  It was just an act They just saw you as an object Something to meet their needs But they were never really serious about you They were never about any of that And any good things they did with you That was just to manipulate you They weren't really serious about building anything with you They only did that because It was a part of the manipulation But yeah, it will seem like They're interested in you again They will idealize you But it has nothing to do with you as a person They're just using you Like an object They use you to get what they want But this is a discussion video Check out the premiere for more information on this But in this video, let's discuss Let's discuss this topic And you thought the narcissist was over you I'd like to hear from you Please leave your thoughts below And I will read out the comments G. Marie behind the mask Says the new supply came to me crying And wanting revenge on the knock Now she told me she's engaged to him That's right, that does happen They can move on and marry someone else They can have children with them But that doesn't stop them from Re-idealizing you again Even if you've moved on Even if you're in another relationship That doesn't mean that they won't try to come back That doesn't mean that they won't Pop up in your life again Preparation says mind what move on He's a real obsessive demon That's it, you know, they have difficulty just moving on and letting go They're addicted They need you A narcissist is not going to be around anyone That they don't need for something Angie Green says this knock is showering me with gifts That's what they'll do when they re-idealize you They'll come back with the love bombing The compliments, the gifts The fake apologies Accident so they've realized what they did wrong And they'll just focus more on the gifts and the compliments La Mulata says They will never be over good supply And I think that's true They don't just forget about the good supply The gray day supply Stop them from trying to find a replacement But you know, you know how good you were to them And how they were never happy With anything you did for them So what makes anyone think they're going to be happy with someone else? These people are never happy They're always chasing after something That they're never going to find Well, that's just it You thought the narcissist was over you They made you believe that they were But whether it's a few weeks Months Or even a few years They always have some excuse to come back Anyway I would like to thank you all for joining this Live discussion I appreciate you all Thank you all for being here I put a new blog post on the website A few hours ago It's a really good post. I highly recommend it So check out the website www.knocksurvivor.co.uk And You can also book coaching sessions on there And join the support forum And I also have an instagram as well It's knock survivor youtube I've got new pictures and videos From my recent travels every day on there and I also Post a lot about narcissistic abuse There's some really good quotes on there. So I highly recommend checking out the instagram as well and of course Plenty more videos on the way Some really good topics coming up As the channel keeps growing More and more subscribers every day More and more views Spreading the awareness We're changing people's lives Of course, I haven't done it all on my own We all Work together To make this change in the world To make people aware And that's why I would like everyone to do their parts Please share these videos If they've helped you If you can't give a donation Please at the very least Just share this information So it can help other people as well Who are also going through this Every share makes a difference Together we can support people's lives People who are going through this right now Anyway, I'd just like to thank you all for joining Thank you all for being on this live today I appreciate you all And you all have a good day