sensual young man

I apologize for being a genius

[sensual young man @b82202]

@ericweinstein never had sex with an indian woman, i should work on that

[sensual young man @b82202]

@ericweinstein @grok did she have nice feet?

[sensual young man @b82202]

@RobotPerson78 nice dildo

[Eve Keneinan 𝛗☦️ن @EveKeneinan]

Marxism likes to present history as a series of quasi-logical inevitabilities, but this is far off.

The birth of the Soviet Union was essentially a clown show, a crisis clusterfuck situation where a group of extremely driven, extremely murderous, extremely evil men were able to seize total state power.

It was literally a case of the wrong men at the wrong time.

People don't seem to realize how FRAGILE things like states can be.

To be sure, the Russian people with all their history still existed under the USSR, but as Aristotle says, the polity changes when the politeia changes, that is, the constitutional-political make up. Revolutions give birth to a new thing.

Sometimes they can fail and return to something like what they were before.

England survived a Revolution.

Today Russia is Russia again, and the Russian Revolution more of an episode in the history of that sad, grumpy people.

America is never, of course, returning to being English Colonies. Ours was a true birth.

[Angelika @dfgdsfgxcf]

https://t.co/w7XBltgyLt

Pageau’s main thesis is that Nolan’s film is itself a “Trojan horse” — a deliberate meta-trick.

On the surface it looks like it’s doing the typical modern Hollywood thing (diverse casting, some gender-swapped or expanded roles that critics had been complaining about beforehand, etc.), but underneath it delivers a powerful, traditional mythic story about the return of the father/king, homecoming, restoration of order, and proper succession.

He calls it a “reverse Trojan horse” or “trick on a trick.” While a lot of recent movies use superficial “woke” elements as bait to push a subversive message, Nolan does the opposite: he appears to give in to those surface expectations so he can smuggle in something much deeper and older — the real story of Odysseus coming home, reclaiming his household, and passing on legitimate authority to his son Telemachus without it being a story of revolution or rebellion.

Key points he makes:

Odysseus as trickster: Pageau highlights how the film leans into Odysseus’s core identity as a clever deceiver. The Trojan Horse (which Nolan brings in more prominently) and Odysseus disguising himself as a beggar to deal with the suitors are central. The movie treats trickery not as mere cleverness but as a kind of strategic vulnerability — inviting attack in order to overcome it.

The return home (third act): He says the final part of the film, when Odysseus actually gets back to Ithaca, is the strongest section. It feels epic and almost horror-like in its intensity (he compares the power of it to Unforgiven). This is where the “return of the father” theme really lands.

Telemachus and succession: One of the things Pageau likes most is how the film ends. It gives Telemachus a proper path to kingship through connection to his father rather than through overthrowing or rebelling against authority. Pageau sees this as a direct counter to the dominant post-WWII storytelling pattern he often criticizes (stories that glorify revolution and the undermining of fathers/kings).

Casting and “postmodern veneer”: He directly addresses the pre-release controversy around casting (including Elliot Page in an expanded role originally from the Aeneid). Instead of seeing it as subversion, he argues that Nolan uses these surface-level modern choices as part of the trick — they’re the wooden horse on the outside, while the real story inside remains traditional and mythic.

Overall verdict: Pageau is very positive. He went in somewhat worried because of all the online noise, but came out feeling that Nolan had pulled off something clever and satisfying. He tells viewers: when you watch it, remember that this is a trick — and to be among the people who can see through the surface deception to what’s actually being said underneath.

[sensual young man @b82202]

@teodorio > wifeguy material

[sensual young man @b82202]

@teodorio kek

[sensual young man @b82202]

grok said something interesting in an unrelated convo:

The one who detects the pathogen—the lie, the decay, the repressed shadow—and mounts a response. This often looks ugly, inflammatory, even self-destructive. The genius doesn't just think; they digest the toxins everyone else avoids. They become the fever, the rash, the auto-immune flare that forces the body to confront what's rotting inside

[sensual young man @b82202]

be the "cancer" that fights the rot

[Covfefe Anon @CovfefeAnon]

Courage is the single most important virtue and without it no other virtue has meaning

[sensual young man @b82202]

@SkyeSharkie @teodorio if only

[sensual young man @b82202]

@bronzeagemantis "Florida fitness influencer faces 5 felonies for running over cop and fleeing"

i knew bap would eventually just lose it and go wild

[sensual young man @b82202]

@BartokianN @grok galen said what?

[sensual young man @b82202]

@frogandabog @zeta_globin > when a woman says your heart is safe with her

[sensual young man @b82202]

@zeta_globin this vagina looks weird

[sensual young man @b82202]

@Baizebub the siddhis, they are returning...

[sensual young man @b82202]

@MDCampbell2 @eigenrobot it's just canada, don't worry about it

[sensual young man @b82202]

@greekrespecter @RobotPerson78 you mean in his book the fetishization of breeding and the birth of aesthetics

[sensual young man @b82202]

@RobotPerson78 @CaseyJaytheBae tfw slave but not sex slave

[sensual young man @b82202]

@raahtoronto @Bitcoin_Teddy the "war" continues

[sensual young man @b82202]

@wurd_rotator @oecolamp sadly on this planet there are more schizos than geniuses i think (but maybe they had potential and were broken, who knows)