#pinocchio — Public Fediverse posts

YouTube Tipp, ▶️
#Pinocchio I Finally Watched #PinocchioUnstrung #Horror
https://youtu.be/KfIPbdRgVmo?is=xlTsPUlFE_hBxSdI

Timber!
by Kevin Ahern

When it comes to lighting fires
Pinocchio has one rule
He doesn’t want to be involved
Cuz he’s nobody’s fuel

#funny #comedy #laugh #silly #humor #humour #verse #poetry #poem #timber #fire #Pinocchio #forest #fuel #fool

Movie TV Tech Geeks #Gaming #Pinocchio #DarkSouls #VideoGame 8 Essential Soulslike Video Games http://dlvr.it/TV5hYC

Movie TV Tech Geeks #Gaming #Pinocchio #DarkSouls #VideoGame 8 Essential Soulslike Video Games http://dlvr.it/TV5hYC

Movie TV Tech Geeks #Gaming #Pinocchio #DarkSouls #VideoGame 8 Essential Soulslike Video Games http://dlvr.it/TV5hYC

Movie TV Tech Geeks #Gaming #Pinocchio #DarkSouls #VideoGame 8 Essential Soulslike Video Games http://dlvr.it/TV5hYC

Movie TV Tech Geeks #Gaming #Pinocchio #DarkSouls #VideoGame 8 Essential Soulslike Video Games http://dlvr.it/TV5hYC

Türkiye’s 23rd Bodrum Ballet Festival closes with ‘Pinocchio.exe’

The 23rd International Bodrum Ballet Festival, held in southwestern Türkiye’s Muğla province, concluded with a performance of “Pinocchio.exe.”…
#EuropeSays #Turkiye #Türkiye #ballet #bodrumballetfestival #pinocchio.exe
https://www.europesays.com/turkiye/41214/

https://www.europesays.com/ie/637979/ Gallery: 55 illustrators bring Pinocchio to life for Tallinn show | News #art #Arts #ArtsAndDesign #ArtsAndDesign #ArtsDesign #Design #Éire #Entertainment #EstonianChildren'sLiteratureCenter #Exhibitions #Galleries #IE #Ireland #Pinocchio #Tallinn

https://www.europesays.com/dk/146021/ Gallery: 55 illustrators bring Pinocchio to life for Tallinn show | News #art #Estonia #EstonianChildren'sLiteratureCenter #exhibitions #galleries #pinocchio #Tallinn

https://www.europesays.com/dk/145849/ Gallery: 55 illustrators bring Pinocchio to life for Tallinn show | News #art #Estonia #EstonianChildren'sLiteratureCenter #exhibitions #galleries #pinocchio #Tallinn

“di là dal fiume”, nona edizione: festival a roma, dal 23 agosto al 14 settembre, a cura di teatroinscatola ets

Chi fa un viaggio rischia di arrivare,
è accaduto a Ulisse,
accade anche a Pinocchio.
Dopo fatiche e metamorfosi, egli è ammesso
alla definitiva iniziazione alla condizione umana.

Giorgio Manganelli

DI LÀ DAL FIUME – nona edizione

festival a cura di Teatroinscatola ETS

dal 23 agosto al 14 settembre  – ingresso gratuito

Dal 23 agosto al 14 settembre 2026 si svolge la nona edizione di DI LÀ DAL FIUME, con la direzione artistica di Lorenzo Ciccarelli, festival prodotto dall’associazione culturale Teatroinscatola ETS (associazione che non si avvale di nessun tipo di sovvenzione pubblica o privata).

Partendo dal bicentenario della nascita di Carlo Lorenzini (1826-2026) noto nel mondo come Carlo Collodi, Teatroinscatola mette al centro della nona edizione del festival DI LÀ DAL FIUME il rapporto tra Arte e Infanzia: undici eventi animeranno sei spazi con letture, proiezioni, concerti, installazioni, mostre e visite guidate.

Il legame tra Roma e i bambini affonda le sue radici nella leggenda fondativa della città: “le acque lasciarono in secco il cestello in cui i bambini erano stati deposti, e una lupa accorse ai loro vagiti…” (Tito Livio) e oggi Roma offre un’ampia selezione di spazi educativi, musei interattivi e parchi tematici progettati specificamente a misura di bambino.

Caratteristica del Festival è quella di coinvolgere contemporaneamente più luoghi, anche insoliti da scoprire o riscoprire. Questi gli spazi coinvolti nella nona edizione di DI LÀ DAL FIUME: il CAE presso l’ex Mattatoio di Testaccio, il Teatro La Comunità a Trastevere, la Sala Cinema del VI Municipio a Tor Bella Monaca, La Casa dei Bimbi (Biblioteca Comunale) situata al centro di un parco nel quartiere di Cinecittà Est, il cinquecentesco Palazzo Rospigliosi di Zagarolo, la Riserva Naturale della Marcigliana. 

qui il pdf completo del programma con tutte le informazioni:
https://slowforward.wordpress.com/wp-content/uploads/2026/08/cs-di-la-del-fiume-_-23-agosto-14-settembre-2026.pdf

Il festival si apre con la sezione cinema, presso il CAE, ex Mattatoio di Roma, grazie all’ospitalità di Testaccio Estate e della Città dell’Altra Economia. Il 23 agosto è in programma il film “I 400 colpi”, regia di François Truffaut (1959). Protagonista un ragazzino di dodici anni, i genitori non ne capiscono il bisogno affettivo e le inquietudini proprie della vicina adolescenza. Il 24 agosto “Il monello”, regia Charlie Chaplin (1921) un capolavoro del cinema muto del 1921, scritto, diretto e interpretato da Charlie Chaplin. È il suo primo lungometraggio e unisce comicità e dramma in modo unico.

Il 25 e 26 agosto con il patrocinio dell’Istituto Giapponese di Cultura verranno presentati: “Buon giorno”, regia di Yasujirō Ozu, 1959, commedia giapponese incentrata su due fratelli in sciopero del silenzio per ottenere una televisione (25 agosto, ore 22.30) e  “Il mio vicino Totoro“, regia di Hayao Miyazaki (1988, prodotto dallo Studio Ghibli), che racconta la storia delle sorelline Satsuki e Mei, le quali si trasferiscono in campagna con il padre per essere vicine alla madre malata. Qui scoprono spiriti magici, tra cui il grande custode della foresta chiamato Totoro (26 agosto, ore 21.00)

Il 26 agosto alle 19.00 sempre presso il CAE è previsto un laboratorio per bambini  a cura di Per fare un gioco, associazione culturale romana guidata dall’artista scenografo Roberto Capone, che qui fa interagire le bambine e i bambini e colorare installazioni di animali di grandi dimensioni.

Il festival prosegue con un omaggio ai maestri del cinema di animazione Emanuele Luzzati e Giulio Gianini, candidati per ben due volte all’oscar. La prima occasione sarà presso la sala cinema del municipio VI (Tor Bella Monaca) dal 24 al 28 agosto, la seconda presso la Casa dei Bimbi dal 4 al 14 settembre.

Il Museo del Giocattolo di Zagarolo accoglierà il festival con una visita guidata il 30 agosto, all’interno del cinquecentesco Palazzo Rospigliosi; è il più grande museo del giocattolo in Italia e uno dei maggiori in Europa.

Il 3 settembre, giornata dedicata a Carlo Collodi presso uno storico teatro off romano, La Comunità, fondato nel 1972 da Giancarlo Sepe: “Pinocchio dal cinema muto a Carmelo Bene”. Il compositore Gabriel Maldonado è l’autore della musica dal vivo che accompagnerà il film del 1911 “Pinocchio”, regia di Giulio Antamoro, primo adattamento delle Avventure di Pinocchio. Qui il personaggio principale è interpretato da Ferdinand Guillaume, noto con il nome di Polidor.

Al termine della proiezione è previsto l’incontro con Luisa Viglietti, costumista per lo spettacolo “Pinocchio ovvero Lo spettacolo della provvidenza”, di Carmelo Bene, 1999. Luisa Viglietti ha collaborato per otto anni con Bene, e nel suo libro “Cominciò che era finita” (Edizioni Dell’Asino, casa editrice fondata da Goffredo Fofi) descrive gli anni trascorsi assieme a Carmelo Bene. Chiude la serata Giorgia Gabriele presidente della Associazione il Borgo di Pinocchio con sede a Farnese (luogo che ospitò le riprese di alcune scene dello sceneggiato televisivo del 1972 diretto da Luigi Comencini)

L’11 settembre è previsto un incontro da non perdere presso il CAE (ex Mattatoio) con Raffaella Milano, Direttrice dei programmi Italia-Europa di Save the Children. È autrice del libro “I figli dei nemici. Eglantyne Jebb. Storia della rivoluzionaria che fondò Save the Children” (Rizzoli). La sede di Save the Children Italia a Roma è presso Palazzo Cesarini Borgia, situato in Piazza San Francesco di Paola nel rione Monti, edificato nel XV secolo. Dal 1939 al 2010 il complesso è stato la storica sede dell’Istituto Centrale del Restauro (ICR), fondato da Cesare Brandi e Giulio Carlo Argan.

“Non posso avere nemici con meno di sette anni”: così George Bernard Shaw sintetizza il suo sostegno ad Eglantyne Jebb, alla quale dobbiamo la stesura della prima Dichiarazione dei diritti del fanciullo. L’incontro, che prevede letture di brani del libro, a cura dell’attrice Paola Rinaldi, si avvarrà inoltre della proiezione di fotografie di Pino Bertelli “L’infanzia insanguinata”. Pino Bertelli è fotografo, cineasta e scrittore, i suoi lavori affrontano le tematiche della diversità, dell’emarginazione, dell’accoglienza, della migrazione e della libertà.

Sempre presso il CAE (ex Mattatoio), l’11 settembre alle 18.45 lo storico dell’arte Giuseppe Garrera, ci parlerà della sua ultima mostra presso il museo di arte contemporanea di Ginevra “Enfantillages et bizarreries: vertige d’une collection” – 180 oggetti minuscoli in mostra, firmati da artisti come Andy Warhol, Keith Haring, Bruno Munari e molti altri.

Come nasce questa mostra? Spiega il collezionista: “Riguarda una particolarità della mia collezione: la mia ossessione infantile, legata al recuperare manufatti d’artista minuti, giocattolini, aggeggi che appartengono al mondo dell’infanzia. E pian piano ho raccolto un bottino di cose assurde, che può essere contenuto in una scatola – un po’ come la famosa Scatola in una valigia (Boîte-en-valise) di Duchamp”.

Chiude il festival il 13 settembre una visita sulle tracce dell’ex Orfanotrofio della Riserva Naturale della Marcigliana (costruito nel 1933 all’interno della Colonia Agricola Romana della Bufalotta) grazie alla disponibilità di Ente Natura, e che vede la partecipazione dell’architetto Katia Longo. L’ex Orfanotrofio è stato anche location cinematografica (I nuovi mostri, 1977, regia di Dino Risi, Mario Monicelli e Ettore Scola).

Di là dal fiume è realizzato con il patrocinio della Presidenza del Municipio Roma I Centro, della Presidenza del VI Municipio, dell’Istituto Giapponese di Cultura e della Fondazione Nazionale Carlo Collodi, in collaborazione con CAE e Testaccio Estate,

INFORMAZIONI : (+39) 347.6808868 – TEATROINSCATOLA ROMA

ufficio stampa: Carla Romana Antolini
[email protected]
393 9929813

Programma

CINEMA

23/08 ore 21.00

I 400 colpi

regia di François Truffaut (1959)

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

CINEMA

24/08 ore 21.00

Il monello

regia Charlie Chaplin (1921)

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

CINEMA

dal 24 al 28/08 sala cinema Municipio VI, via Fernando Conti, ore 17.00- 20.00

dal 4 al 14/09 Casa dei Bimbi, via Libero Leonardi 153, orario biblioteca

Omaggio a Emanuele Luzzati e Giulio Gianini

*

CINEMA

25/08 ore 22.30

Buon giorno

regia di Yasujirō Ozu (1959)

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

LABORATORI

26/08 ore 19.00

Cartoni Animali

laboratorio pittorico per bambini a cura di Perfareungioco

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

CINEMA

26/08 ore 21.00

Il mio vicino Totoro

regia di Hayao Miyazaki (1988)

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

ARTE

30/08 ore 10.30

Museo del Giocattolo

visita guidata al museo con prenotazione obbligatoria

Palazzo Rospigliosi, piazza dell’indipendenza 6, Zagarolo

*

CINEMA

3/09 ore 20.30

Pinocchio: dal cinema muto a Carmelo Bene

musica dal vivo di Gabriel Maldonado

A seguire incontro con Luisa Viglietti e Giorgia Gabriele

Teatro La Comunità, Via Zanazzo Giggi, 1

*

LIBRI

11/09 ore 18.00

I figli dei nemici

incontro con Raffaela Milano (Save the Children Italia)

fotografie di Pino Bertelli (Ritratti dall’infanzia insanguinata)

letture di Paola Rinaldi

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

ARTE

11/09 ore 18.45

Enfantillages et bizarreries: vertige d’une collection

incontro con Giuseppe Garrera

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

ARCHITETTURA

13/09 ore 11.00

Riserva Naturale della Marcigliana

visita guidata in collaborazione con Ente Natura,

incontro con l’arch. Katia Longo: ex Orfanotrofio della Marcigliana

prenotazione obbligatoria

“di là dal fiume”, nona edizione: festival a roma, dal 23 agosto al 14 settembre, a cura di teatroinscatola ets

Chi fa un viaggio rischia di arrivare,
è accaduto a Ulisse,
accade anche a Pinocchio.
Dopo fatiche e metamorfosi, egli è ammesso
alla definitiva iniziazione alla condizione umana.

Giorgio Manganelli

DI LÀ DAL FIUME – nona edizione

festival a cura di Teatroinscatola ETS

dal 23 agosto al 14 settembre  – ingresso gratuito

Dal 23 agosto al 14 settembre 2026 si svolge la nona edizione di DI LÀ DAL FIUME, con la direzione artistica di Lorenzo Ciccarelli, festival prodotto dall’associazione culturale Teatroinscatola ETS (associazione che non si avvale di nessun tipo di sovvenzione pubblica o privata).

Partendo dal bicentenario della nascita di Carlo Lorenzini (1826-2026) noto nel mondo come Carlo Collodi, Teatroinscatola mette al centro della nona edizione del festival DI LÀ DAL FIUME il rapporto tra Arte e Infanzia: undici eventi animeranno sei spazi con letture, proiezioni, concerti, installazioni, mostre e visite guidate.

Il legame tra Roma e i bambini affonda le sue radici nella leggenda fondativa della città: “le acque lasciarono in secco il cestello in cui i bambini erano stati deposti, e una lupa accorse ai loro vagiti…” (Tito Livio) e oggi Roma offre un’ampia selezione di spazi educativi, musei interattivi e parchi tematici progettati specificamente a misura di bambino.

Caratteristica del Festival è quella di coinvolgere contemporaneamente più luoghi, anche insoliti da scoprire o riscoprire. Questi gli spazi coinvolti nella nona edizione di DI LÀ DAL FIUME: il CAE presso l’ex Mattatoio di Testaccio, il Teatro La Comunità a Trastevere, la Sala Cinema del VI Municipio a Tor Bella Monaca, La Casa dei Bimbi (Biblioteca Comunale) situata al centro di un parco nel quartiere di Cinecittà Est, il cinquecentesco Palazzo Rospigliosi di Zagarolo, la Riserva Naturale della Marcigliana. 

qui il pdf completo del programma con tutte le informazioni:
https://slowforward.net/wp-content/uploads/2026/08/cs-di-la-del-fiume-_-23-agosto-14-settembre-2026.pdf

Il festival si apre con la sezione cinema, presso il CAE, ex Mattatoio di Roma, grazie all’ospitalità di Testaccio Estate e della Città dell’Altra Economia. Il 23 agosto è in programma il film “I 400 colpi”, regia di François Truffaut (1959). Protagonista un ragazzino di dodici anni, i genitori non ne capiscono il bisogno affettivo e le inquietudini proprie della vicina adolescenza. Il 24 agosto “Il monello”, regia Charlie Chaplin (1921) un capolavoro del cinema muto del 1921, scritto, diretto e interpretato da Charlie Chaplin. È il suo primo lungometraggio e unisce comicità e dramma in modo unico.

Il 25 e 26 agosto con il patrocinio dell’Istituto Giapponese di Cultura verranno presentati: “Buon giorno”, regia di Yasujirō Ozu, 1959, commedia giapponese incentrata su due fratelli in sciopero del silenzio per ottenere una televisione (25 agosto, ore 22.30) e  “Il mio vicino Totoro“, regia di Hayao Miyazaki (1988, prodotto dallo Studio Ghibli), che racconta la storia delle sorelline Satsuki e Mei, le quali si trasferiscono in campagna con il padre per essere vicine alla madre malata. Qui scoprono spiriti magici, tra cui il grande custode della foresta chiamato Totoro (26 agosto, ore 21.00)

Il 26 agosto alle 19.00 sempre presso il CAE è previsto un laboratorio per bambini  a cura di Per fare un gioco, associazione culturale romana guidata dall’artista scenografo Roberto Capone, che qui fa interagire le bambine e i bambini e colorare installazioni di animali di grandi dimensioni.

Il festival prosegue con un omaggio ai maestri del cinema di animazione Emanuele Luzzati e Giulio Gianini, candidati per ben due volte all’oscar. La prima occasione sarà presso la sala cinema del municipio VI (Tor Bella Monaca) dal 24 al 28 agosto, la seconda presso la Casa dei Bimbi dal 4 al 14 settembre.

Il Museo del Giocattolo di Zagarolo accoglierà il festival con una visita guidata il 30 agosto, all’interno del cinquecentesco Palazzo Rospigliosi; è il più grande museo del giocattolo in Italia e uno dei maggiori in Europa.

Il 3 settembre, giornata dedicata a Carlo Collodi presso uno storico teatro off romano, La Comunità, fondato nel 1972 da Giancarlo Sepe: “Pinocchio dal cinema muto a Carmelo Bene”. Il compositore Gabriel Maldonado è l’autore della musica dal vivo che accompagnerà il film del 1911 “Pinocchio”, regia di Giulio Antamoro, primo adattamento delle Avventure di Pinocchio. Qui il personaggio principale è interpretato da Ferdinand Guillaume, noto con il nome di Polidor.

Al termine della proiezione è previsto l’incontro con Luisa Viglietti, costumista per lo spettacolo “Pinocchio ovvero Lo spettacolo della provvidenza”, di Carmelo Bene, 1999. Luisa Viglietti ha collaborato per otto anni con Bene, e nel suo libro “Cominciò che era finita” (Edizioni Dell’Asino, casa editrice fondata da Goffredo Fofi) descrive gli anni trascorsi assieme a Carmelo Bene. Chiude la serata Giorgia Gabriele presidente della Associazione il Borgo di Pinocchio con sede a Farnese (luogo che ospitò le riprese di alcune scene dello sceneggiato televisivo del 1972 diretto da Luigi Comencini)

L’11 settembre è previsto un incontro da non perdere presso il CAE (ex Mattatoio) con Raffaella Milano, Direttrice dei programmi Italia-Europa di Save the Children. È autrice del libro “I figli dei nemici. Eglantyne Jebb. Storia della rivoluzionaria che fondò Save the Children” (Rizzoli). La sede di Save the Children Italia a Roma è presso Palazzo Cesarini Borgia, situato in Piazza San Francesco di Paola nel rione Monti, edificato nel XV secolo. Dal 1939 al 2010 il complesso è stato la storica sede dell’Istituto Centrale del Restauro (ICR), fondato da Cesare Brandi e Giulio Carlo Argan.

“Non posso avere nemici con meno di sette anni”: così George Bernard Shaw sintetizza il suo sostegno ad Eglantyne Jebb, alla quale dobbiamo la stesura della prima Dichiarazione dei diritti del fanciullo. L’incontro, che prevede letture di brani del libro, a cura dell’attrice Paola Rinaldi, si avvarrà inoltre della proiezione di fotografie di Pino Bertelli “L’infanzia insanguinata”. Pino Bertelli è fotografo, cineasta e scrittore, i suoi lavori affrontano le tematiche della diversità, dell’emarginazione, dell’accoglienza, della migrazione e della libertà.

Sempre presso il CAE (ex Mattatoio), l’11 settembre alle 18.45 lo storico dell’arte Giuseppe Garrera, ci parlerà della sua ultima mostra presso il museo di arte contemporanea di Ginevra “Enfantillages et bizarreries: vertige d’une collection” – 180 oggetti minuscoli in mostra, firmati da artisti come Andy Warhol, Keith Haring, Bruno Munari e molti altri.

Come nasce questa mostra? Spiega il collezionista: “Riguarda una particolarità della mia collezione: la mia ossessione infantile, legata al recuperare manufatti d’artista minuti, giocattolini, aggeggi che appartengono al mondo dell’infanzia. E pian piano ho raccolto un bottino di cose assurde, che può essere contenuto in una scatola – un po’ come la famosa Scatola in una valigia (Boîte-en-valise) di Duchamp”.

Chiude il festival il 13 settembre una visita sulle tracce dell’ex Orfanotrofio della Riserva Naturale della Marcigliana (costruito nel 1933 all’interno della Colonia Agricola Romana della Bufalotta) grazie alla disponibilità di Ente Natura, e che vede la partecipazione dell’architetto Katia Longo. L’ex Orfanotrofio è stato anche location cinematografica (I nuovi mostri, 1977, regia di Dino Risi, Mario Monicelli e Ettore Scola).

Di là dal fiume è realizzato con il patrocinio della Presidenza del Municipio Roma I Centro, della Presidenza del VI Municipio, dell’Istituto Giapponese di Cultura e della Fondazione Nazionale Carlo Collodi, in collaborazione con CAE e Testaccio Estate,

INFORMAZIONI : (+39) 347.6808868 – TEATROINSCATOLA ROMA

ufficio stampa: Carla Romana Antolini
[email protected]
393 9929813

Programma

CINEMA

23/08 ore 21.00

I 400 colpi

regia di François Truffaut (1959)

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

CINEMA

24/08 ore 21.00

Il monello

regia Charlie Chaplin (1921)

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

CINEMA

dal 24 al 28/08 sala cinema Municipio VI, via Fernando Conti, ore 17.00- 20.00

dal 4 al 14/09 Casa dei Bimbi, via Libero Leonardi 153, orario biblioteca

Omaggio a Emanuele Luzzati e Giulio Gianini

*

CINEMA

25/08 ore 22.30

Buon giorno

regia di Yasujirō Ozu (1959)

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

LABORATORI

26/08 ore 19.00

Cartoni Animali

laboratorio pittorico per bambini a cura di Perfareungioco

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

CINEMA

26/08 ore 21.00

Il mio vicino Totoro

regia di Hayao Miyazaki (1988)

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

ARTE

30/08 ore 10.30

Museo del Giocattolo

visita guidata al museo con prenotazione obbligatoria

Palazzo Rospigliosi, piazza dell’indipendenza 6, Zagarolo

*

CINEMA

3/09 ore 20.30

Pinocchio: dal cinema muto a Carmelo Bene

musica dal vivo di Gabriel Maldonado

A seguire incontro con Luisa Viglietti e Giorgia Gabriele

Teatro La Comunità, Via Zanazzo Giggi, 1

*

LIBRI

11/09 ore 18.00

I figli dei nemici

incontro con Raffaela Milano (Save the Children Italia)

fotografie di Pino Bertelli (Ritratti dall’infanzia insanguinata)

letture di Paola Rinaldi

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

ARTE

11/09 ore 18.45

Enfantillages et bizarreries: vertige d’une collection

incontro con Giuseppe Garrera

CAE- Città dell’Altra Economia – Largo Dino Frisullo snc

*

ARCHITETTURA

13/09 ore 11.00

Riserva Naturale della Marcigliana

visita guidata in collaborazione con Ente Natura,

incontro con l’arch. Katia Longo: ex Orfanotrofio della Marcigliana

prenotazione obbligatoria

https://www.europesays.com/ee/251162/ Pildid: lastekirjanduse keskuse rahvusvahelise näituse keskmes on Pinocchio | Kunst #EE #Eesti #EestiKeel #Entertainment #Estonia #Estonian #LastekirjanduseKeskus #meelelahutus #pinocchio

Robert Englund Pulls the Strings in Pinocchio: Unstrung, Coming to DVD and Digital This September
The Nightmare...
https://comiccrusaders.com/comics/comic-book-previews/pinocchio-unstrung-robert-englund-dvd-digital-release/
#Pinocchio #Robert Englund #Richard Brake #Rhys Frake-Waterfield #Scott Chambers #Twisted Childhood Universe #Winnie-the-Pooh Blood and Honey #Horror Movies #Slasher Movies #Horror News #Altitude Films #Raindance Film Festival #DVD Releases #Digital Releases #Comic Crusaders

Robert Englund Pulls the Strings in Pinocchio: Unstrung, Coming to DVD and Digital This September
The Nightmare...
https://comiccrusaders.com/comics/comic-book-previews/pinocchio-unstrung-robert-englund-dvd-digital-release/
#Pinocchio #Robert Englund #Richard Brake #Rhys Frake-Waterfield #Scott Chambers #Twisted Childhood Universe #Winnie-the-Pooh Blood and Honey #Horror Movies #Slasher Movies #Horror News #Altitude Films #Raindance Film Festival #DVD Releases #Digital Releases #Comic Crusaders

Kevin's Limerick of the Day

He’s Board

Of Pinocchio he said “It’s true
“I can make kids out of wood for you”
Now don’t get delirious
Gepetto is serious
I’m sure that he wooden kid you

#funny #comedy #laugh #silly #humor #humour #verse #poetry #poem #limerick #Pinocchio #Gepetto #wood #kid

Kevin's Limerick of the Day

He’s Board

Of Pinocchio he said “It’s true
“I can make kids out of wood for you”
Now don’t get delirious
Gepetto is serious
I’m sure that he wooden kid you

#funny #comedy #laugh #silly #humor #humour #verse #poetry #poem #limerick #Pinocchio #Gepetto #wood #kid

“Never trust people who promise to make you rich in a day. They are generally crazy swindlers”*…

Scheduling note: as a consequence of visitors and attendant obligations, (R)D will be off tomorrow and Sunday. Regular service will resume on Monday.

Last month we lost Om Malick. The journalist, investor, and blogger who chronicled Silicon Valley was a collector of fine pens. In one of his final posts, he mused on one of his last acquisitions and on its inspiration…

I have always wanted to own a Montblanc Writers Edition dedicated to Carlo Collodi, the Italian author whose real name was Carlo Lorenzini. He took his pen name from the Tuscan village where his mother was born, and then spent his career writing under a false name about a character who could not sustain one. I grew up reading the tales of Pinocchio, but only read the non-Disneyfied version as a grown-up. The book left an indelible impression on me. It is a great parable for modern times.

In case you were wondering, I did get the pen. It is one of the most beautiful and underrated pens in the Montblanc Writers Series. I have been mildly obsessed with it for a long time.It is not overwhelming, gaudy, or over the top. It tells the full story, not just of the pen but the story behind it. And it starts with the clip, that subtly hints at Pinocchio’s nose.

The cap is where Montblanc’s craftsmen did their most serious work. It is cylindrical, dark resin, topped by the Montblanc snowflake, wrapped in a silver and platinum skeletal overlay, a filigree of characters and scenes from the story, the dark resin visible beneath through the cutouts. The effect is like looking at a shadow puppet theater contained in your hand. The barrel is restrained by comparison, dark resin with horizontal platinum ring banding, letting the cap hold the eye. The nib carries its own engraving tied to the story.

Holding it in my hands recently, I found myself thinking about the story of Pinocchio, and how it throws the names that dominate our headlines into sharp relief — the ones who shape our zeitgeist of half-truths…

… The Adventures of Pinocchio was published in serial form in 1881, aimed at Italian children in the way the 19th century aimed things at children, full of suffering, consequence, and moral instruction delivered through catastrophe. The puppet is hanged. He is swallowed by a giant fish. He watches companions degrade into beasts of burden. The world he moves through is predatory at every level, and the institutions that should protect him are either absent, corrupted, or actively hostile to his interests.

I can only imagine the outrage and horror over this story should it have been published today. I am old enough to have been smacked for my stupid mistakes as a kid. So this was actually not a bad story to read. Still, I can understand how much anxiety it might cause today’s parents.

Most people remember Pinocchio as a story about lying. The nose grows. You get caught. Lesson learned. But that reading misses almost everything Collodi was actually doing. The book is a close study of a society where deception has gone ambient, woven into every institution, every transaction. Courts punish victims. Authority figures perform competence without exercising it. Experts are decorative. Society holds together through spectacle and habit rather than accountability. Into this environment, a naive creature is released, constitutionally unable to resist a good story about easy reward.

The nose is the least interesting lie in the book. The interesting lies are the ones that work.

The Fox and the Cat are the novel’s most modern characters. They persuade Pinocchio to bury his coins in the Field of Miracles on the promise that they will multiply overnight. Exploit impatience, exploit greed, frame skepticism as a failure of imagination, and dismiss skeptics as lacking vision. Remind you of someone? Space Cowboy for example?

That structure is so familiar I barely need to name it. But let me name it anyway.

Everyone from Jensen Huang to Sam Altman to Elon Musk spent a decade accumulating what I have called symbolic capital, the reputation, the prestige, the weight of being seen as someone who understands the future better than the rest of us. Now each of them seems to be running some version of the Field of Miracles, with promises that keep not arriving, timelines that dissolve, products that exist primarily as announcements, and platforms run as machines for generating more reputation regardless of what they actually do. They don’t need to be right. They need to be believed. Velocity is the new authority, and no one has weaponized that more effectively.

We are living, as I wrote years ago, in the golden age of half-truths.

Your average influencer flogging a supplement, a course, a skin cream, or a crypto token on TikTok and Instagram is running the same operation, just cheaper. The confidence is the product. The audience wants to believe. The Field of Miracles is open for business everywhere you look.

Collodi in 1881 was writing about all this at a point of major societal inflection. So perhaps now you understand why I am drawn to this story. Pinocchio is a story about a society organized around deception.

The Land of Toys is the sequence that haunts me most, especially now. Children abandon school and responsibility for a place of permanent amusement. They play. And then, gradually, they begin to change. They grow ears. They grow tails. They become donkeys, beasts of labor and exploitation, stripped of language, used until they break.

This is a parable of who we have become, a BNPL-fueled spectacle in itself.

Collodi was writing during rapid industrialization and the early emergence of mass entertainment. He understood, earlier than most, that distraction offered as pleasure can be a leash. The children who choose the Land of Toys over school are not liberated. They are owned more completely than any schoolroom could manage.

The algorithmic feed is the Land of Toys. It is built to keep you there past the point of nourishment, past the point where you are even enjoying it. Outrage travels faster than understanding. Spectacle beats judgment. The algorithm doesn’t care whether something is true. It cares whether it moves. And it keeps you scrolling, reacting, and returning in ways that benefit the platform, not you.

The political system has learned the same lesson. Governance is slow and grinding and unsatisfying. Performance is fast and shareable. We have built media and political economies that reward entertainers over administrators, and the clean story over the complicated truth.

Collodi refuses to assign blame only upward. That is what keeps the novel from collapsing into moralism. Pinocchio is deceived because he wants to be deceived. He chooses shortcuts over work, belonging over truth, spectacle over judgment, every time, until the costs become too steep to ignore. The Fox and the Cat succeed because he hands them what they need. His credulity is not innocent. It is participation.

The grifters and the hucksters and the influencers selling impossible things succeed because audiences reward certainty and punish doubt. They honor confidence and resist complication. A clean story about a genius who will fix everything travels faster than a difficult story about tradeoffs. The Field of Miracles stays open because people keep wanting to bury their coins there.

The Fox and the Cat is how the whole thing works.

Pinocchio becomes real, becomes human, only after he accepts obligation. Collodi is saying that it is important to have self-governance. It is necessary to choose the difficult truth over the easy satisfying one. That doesn’t jibe with everything the attention economy is selling, dopamine hits delivered so frequently that it becomes hard to distinguish stimulation from autonomy.

There is an obvious irony in a luxury pen commemorating a story about the seductions of wanting things you have not earned. The Montblanc Collodi is made to be admired, displayed, collected. And it honors a puppet who had to lose everything, friends, coins, his own body, before he understood what was actually worth having.

I am not sure Collodi would find that irony disqualifying. A beautiful object that makes you think seriously about the spectacle we are living in. It makes you think about what is the cost of being real. It is a more interesting pen to own than one that simply confirms your taste.

The clip is shaped like Pinocchio’s nose because the nose is the one honest thing in a world built on performance. It grows because the body keeps the score even when the mouth doesn’t.

When I hold this pen, I try to remember what that means…

A story for our times: “We Are Living in Pinocchio’s World.”

* Carlo Collodi, The Adventures of Pinocchio

###

As we know that the nose knows, we might remark that today Rhys Frake-Waterfield‘s horror film reimagining of Collodi’s tale, Pinocchio: Unstrung— featuring Robert “Freddy Krueger” Englund as the voice of “Cricket” (Jiminy!)– opens in theaters around the U.S.

The trailer is here.

source

“Never trust people who promise to make you rich in a day. They are generally crazy swindlers”*…

Scheduling note: as a consequence of visitors and attendant obligations, (R)D will be off tomorrow and Sunday. Regular service will resume on Monday.

Last month we lost Om Malick. The journalist, investor, and blogger who chronicled Silicon Valley was a collector of fine pens. In one of his final posts, he mused on one of his last acquisitions and on its inspiration…

I have always wanted to own a Montblanc Writers Edition dedicated to Carlo Collodi, the Italian author whose real name was Carlo Lorenzini. He took his pen name from the Tuscan village where his mother was born, and then spent his career writing under a false name about a character who could not sustain one. I grew up reading the tales of Pinocchio, but only read the non-Disneyfied version as a grown-up. The book left an indelible impression on me. It is a great parable for modern times.

In case you were wondering, I did get the pen. It is one of the most beautiful and underrated pens in the Montblanc Writers Series. I have been mildly obsessed with it for a long time.It is not overwhelming, gaudy, or over the top. It tells the full story, not just of the pen but the story behind it. And it starts with the clip, that subtly hints at Pinocchio’s nose.

The cap is where Montblanc’s craftsmen did their most serious work. It is cylindrical, dark resin, topped by the Montblanc snowflake, wrapped in a silver and platinum skeletal overlay, a filigree of characters and scenes from the story, the dark resin visible beneath through the cutouts. The effect is like looking at a shadow puppet theater contained in your hand. The barrel is restrained by comparison, dark resin with horizontal platinum ring banding, letting the cap hold the eye. The nib carries its own engraving tied to the story.

Holding it in my hands recently, I found myself thinking about the story of Pinocchio, and how it throws the names that dominate our headlines into sharp relief — the ones who shape our zeitgeist of half-truths…

… The Adventures of Pinocchio was published in serial form in 1881, aimed at Italian children in the way the 19th century aimed things at children, full of suffering, consequence, and moral instruction delivered through catastrophe. The puppet is hanged. He is swallowed by a giant fish. He watches companions degrade into beasts of burden. The world he moves through is predatory at every level, and the institutions that should protect him are either absent, corrupted, or actively hostile to his interests.

I can only imagine the outrage and horror over this story should it have been published today. I am old enough to have been smacked for my stupid mistakes as a kid. So this was actually not a bad story to read. Still, I can understand how much anxiety it might cause today’s parents.

Most people remember Pinocchio as a story about lying. The nose grows. You get caught. Lesson learned. But that reading misses almost everything Collodi was actually doing. The book is a close study of a society where deception has gone ambient, woven into every institution, every transaction. Courts punish victims. Authority figures perform competence without exercising it. Experts are decorative. Society holds together through spectacle and habit rather than accountability. Into this environment, a naive creature is released, constitutionally unable to resist a good story about easy reward.

The nose is the least interesting lie in the book. The interesting lies are the ones that work.

The Fox and the Cat are the novel’s most modern characters. They persuade Pinocchio to bury his coins in the Field of Miracles on the promise that they will multiply overnight. Exploit impatience, exploit greed, frame skepticism as a failure of imagination, and dismiss skeptics as lacking vision. Remind you of someone? Space Cowboy for example?

That structure is so familiar I barely need to name it. But let me name it anyway.

Everyone from Jensen Huang to Sam Altman to Elon Musk spent a decade accumulating what I have called symbolic capital, the reputation, the prestige, the weight of being seen as someone who understands the future better than the rest of us. Now each of them seems to be running some version of the Field of Miracles, with promises that keep not arriving, timelines that dissolve, products that exist primarily as announcements, and platforms run as machines for generating more reputation regardless of what they actually do. They don’t need to be right. They need to be believed. Velocity is the new authority, and no one has weaponized that more effectively.

We are living, as I wrote years ago, in the golden age of half-truths.

Your average influencer flogging a supplement, a course, a skin cream, or a crypto token on TikTok and Instagram is running the same operation, just cheaper. The confidence is the product. The audience wants to believe. The Field of Miracles is open for business everywhere you look.

Collodi in 1881 was writing about all this at a point of major societal inflection. So perhaps now you understand why I am drawn to this story. Pinocchio is a story about a society organized around deception.

The Land of Toys is the sequence that haunts me most, especially now. Children abandon school and responsibility for a place of permanent amusement. They play. And then, gradually, they begin to change. They grow ears. They grow tails. They become donkeys, beasts of labor and exploitation, stripped of language, used until they break.

This is a parable of who we have become, a BNPL-fueled spectacle in itself.

Collodi was writing during rapid industrialization and the early emergence of mass entertainment. He understood, earlier than most, that distraction offered as pleasure can be a leash. The children who choose the Land of Toys over school are not liberated. They are owned more completely than any schoolroom could manage.

The algorithmic feed is the Land of Toys. It is built to keep you there past the point of nourishment, past the point where you are even enjoying it. Outrage travels faster than understanding. Spectacle beats judgment. The algorithm doesn’t care whether something is true. It cares whether it moves. And it keeps you scrolling, reacting, and returning in ways that benefit the platform, not you.

The political system has learned the same lesson. Governance is slow and grinding and unsatisfying. Performance is fast and shareable. We have built media and political economies that reward entertainers over administrators, and the clean story over the complicated truth.

Collodi refuses to assign blame only upward. That is what keeps the novel from collapsing into moralism. Pinocchio is deceived because he wants to be deceived. He chooses shortcuts over work, belonging over truth, spectacle over judgment, every time, until the costs become too steep to ignore. The Fox and the Cat succeed because he hands them what they need. His credulity is not innocent. It is participation.

The grifters and the hucksters and the influencers selling impossible things succeed because audiences reward certainty and punish doubt. They honor confidence and resist complication. A clean story about a genius who will fix everything travels faster than a difficult story about tradeoffs. The Field of Miracles stays open because people keep wanting to bury their coins there.

The Fox and the Cat is how the whole thing works.

Pinocchio becomes real, becomes human, only after he accepts obligation. Collodi is saying that it is important to have self-governance. It is necessary to choose the difficult truth over the easy satisfying one. That doesn’t jibe with everything the attention economy is selling, dopamine hits delivered so frequently that it becomes hard to distinguish stimulation from autonomy.

There is an obvious irony in a luxury pen commemorating a story about the seductions of wanting things you have not earned. The Montblanc Collodi is made to be admired, displayed, collected. And it honors a puppet who had to lose everything, friends, coins, his own body, before he understood what was actually worth having.

I am not sure Collodi would find that irony disqualifying. A beautiful object that makes you think seriously about the spectacle we are living in. It makes you think about what is the cost of being real. It is a more interesting pen to own than one that simply confirms your taste.

The clip is shaped like Pinocchio’s nose because the nose is the one honest thing in a world built on performance. It grows because the body keeps the score even when the mouth doesn’t.

When I hold this pen, I try to remember what that means…

A story for our times: “We Are Living in Pinocchio’s World.”

* Carlo Collodi, The Adventures of Pinocchio

###

As we know that the nose knows, we might remark that today Rhys Frake-Waterfield‘s horror film reimagining of Collodi’s tale, Pinocchio: Unstrung— featuring Robert “Freddy Krueger” Englund as the voice of “Cricket” (Jiminy!)– opens in theaters around the U.S.

The trailer is here.

source

“Never trust people who promise to make you rich in a day. They are generally crazy swindlers”*…

Scheduling note: as a consequence of visitors and attendant obligations, (R)D will be off tomorrow and Sunday. Regular service will resume on Monday.

Last month we lost Om Malick. The journalist, investor, and blogger who chronicled Silicon Valley was a collector of fine pens. In one of his final posts, he mused on one of his last acquisitions and on its inspiration…

I have always wanted to own a Montblanc Writers Edition dedicated to Carlo Collodi, the Italian author whose real name was Carlo Lorenzini. He took his pen name from the Tuscan village where his mother was born, and then spent his career writing under a false name about a character who could not sustain one. I grew up reading the tales of Pinocchio, but only read the non-Disneyfied version as a grown-up. The book left an indelible impression on me. It is a great parable for modern times.

In case you were wondering, I did get the pen. It is one of the most beautiful and underrated pens in the Montblanc Writers Series. I have been mildly obsessed with it for a long time.It is not overwhelming, gaudy, or over the top. It tells the full story, not just of the pen but the story behind it. And it starts with the clip, that subtly hints at Pinocchio’s nose.

The cap is where Montblanc’s craftsmen did their most serious work. It is cylindrical, dark resin, topped by the Montblanc snowflake, wrapped in a silver and platinum skeletal overlay, a filigree of characters and scenes from the story, the dark resin visible beneath through the cutouts. The effect is like looking at a shadow puppet theater contained in your hand. The barrel is restrained by comparison, dark resin with horizontal platinum ring banding, letting the cap hold the eye. The nib carries its own engraving tied to the story.

Holding it in my hands recently, I found myself thinking about the story of Pinocchio, and how it throws the names that dominate our headlines into sharp relief — the ones who shape our zeitgeist of half-truths…

… The Adventures of Pinocchio was published in serial form in 1881, aimed at Italian children in the way the 19th century aimed things at children, full of suffering, consequence, and moral instruction delivered through catastrophe. The puppet is hanged. He is swallowed by a giant fish. He watches companions degrade into beasts of burden. The world he moves through is predatory at every level, and the institutions that should protect him are either absent, corrupted, or actively hostile to his interests.

I can only imagine the outrage and horror over this story should it have been published today. I am old enough to have been smacked for my stupid mistakes as a kid. So this was actually not a bad story to read. Still, I can understand how much anxiety it might cause today’s parents.

Most people remember Pinocchio as a story about lying. The nose grows. You get caught. Lesson learned. But that reading misses almost everything Collodi was actually doing. The book is a close study of a society where deception has gone ambient, woven into every institution, every transaction. Courts punish victims. Authority figures perform competence without exercising it. Experts are decorative. Society holds together through spectacle and habit rather than accountability. Into this environment, a naive creature is released, constitutionally unable to resist a good story about easy reward.

The nose is the least interesting lie in the book. The interesting lies are the ones that work.

The Fox and the Cat are the novel’s most modern characters. They persuade Pinocchio to bury his coins in the Field of Miracles on the promise that they will multiply overnight. Exploit impatience, exploit greed, frame skepticism as a failure of imagination, and dismiss skeptics as lacking vision. Remind you of someone? Space Cowboy for example?

That structure is so familiar I barely need to name it. But let me name it anyway.

Everyone from Jensen Huang to Sam Altman to Elon Musk spent a decade accumulating what I have called symbolic capital, the reputation, the prestige, the weight of being seen as someone who understands the future better than the rest of us. Now each of them seems to be running some version of the Field of Miracles, with promises that keep not arriving, timelines that dissolve, products that exist primarily as announcements, and platforms run as machines for generating more reputation regardless of what they actually do. They don’t need to be right. They need to be believed. Velocity is the new authority, and no one has weaponized that more effectively.

We are living, as I wrote years ago, in the golden age of half-truths.

Your average influencer flogging a supplement, a course, a skin cream, or a crypto token on TikTok and Instagram is running the same operation, just cheaper. The confidence is the product. The audience wants to believe. The Field of Miracles is open for business everywhere you look.

Collodi in 1881 was writing about all this at a point of major societal inflection. So perhaps now you understand why I am drawn to this story. Pinocchio is a story about a society organized around deception.

The Land of Toys is the sequence that haunts me most, especially now. Children abandon school and responsibility for a place of permanent amusement. They play. And then, gradually, they begin to change. They grow ears. They grow tails. They become donkeys, beasts of labor and exploitation, stripped of language, used until they break.

This is a parable of who we have become, a BNPL-fueled spectacle in itself.

Collodi was writing during rapid industrialization and the early emergence of mass entertainment. He understood, earlier than most, that distraction offered as pleasure can be a leash. The children who choose the Land of Toys over school are not liberated. They are owned more completely than any schoolroom could manage.

The algorithmic feed is the Land of Toys. It is built to keep you there past the point of nourishment, past the point where you are even enjoying it. Outrage travels faster than understanding. Spectacle beats judgment. The algorithm doesn’t care whether something is true. It cares whether it moves. And it keeps you scrolling, reacting, and returning in ways that benefit the platform, not you.

The political system has learned the same lesson. Governance is slow and grinding and unsatisfying. Performance is fast and shareable. We have built media and political economies that reward entertainers over administrators, and the clean story over the complicated truth.

Collodi refuses to assign blame only upward. That is what keeps the novel from collapsing into moralism. Pinocchio is deceived because he wants to be deceived. He chooses shortcuts over work, belonging over truth, spectacle over judgment, every time, until the costs become too steep to ignore. The Fox and the Cat succeed because he hands them what they need. His credulity is not innocent. It is participation.

The grifters and the hucksters and the influencers selling impossible things succeed because audiences reward certainty and punish doubt. They honor confidence and resist complication. A clean story about a genius who will fix everything travels faster than a difficult story about tradeoffs. The Field of Miracles stays open because people keep wanting to bury their coins there.

The Fox and the Cat is how the whole thing works.

Pinocchio becomes real, becomes human, only after he accepts obligation. Collodi is saying that it is important to have self-governance. It is necessary to choose the difficult truth over the easy satisfying one. That doesn’t jibe with everything the attention economy is selling, dopamine hits delivered so frequently that it becomes hard to distinguish stimulation from autonomy.

There is an obvious irony in a luxury pen commemorating a story about the seductions of wanting things you have not earned. The Montblanc Collodi is made to be admired, displayed, collected. And it honors a puppet who had to lose everything, friends, coins, his own body, before he understood what was actually worth having.

I am not sure Collodi would find that irony disqualifying. A beautiful object that makes you think seriously about the spectacle we are living in. It makes you think about what is the cost of being real. It is a more interesting pen to own than one that simply confirms your taste.

The clip is shaped like Pinocchio’s nose because the nose is the one honest thing in a world built on performance. It grows because the body keeps the score even when the mouth doesn’t.

When I hold this pen, I try to remember what that means…

A story for our times: “We Are Living in Pinocchio’s World.”

* Carlo Collodi, The Adventures of Pinocchio

###

As we know that the nose knows, we might remark that today Rhys Frake-Waterfield‘s horror film reimagining of Collodi’s tale, Pinocchio: Unstrung— featuring Robert “Freddy Krueger” Englund as the voice of “Cricket” (Jiminy!)– opens in theaters around the U.S.

The trailer is here.

source

@sventetzlaff Sagt #Pinocchio…

@sventetzlaff Sagt #Pinocchio…

@sventetzlaff Sagt #Pinocchio…

@sventetzlaff Sagt #Pinocchio…

@sventetzlaff Sagt #Pinocchio…

Merz so zum Spahnrücktritt: "Glaubwürdigkeit ist in der Politik das höchste Gut."

Und ich bin der Kaiser von China.

#pinocchio

Merz so zum Spahnrücktritt: "Glaubwürdigkeit ist in der Politik das höchste Gut."

Und ich bin der Kaiser von China.

#pinocchio

#PINOCCHIO-MIMESIS ...

#PINOCCHIO-MIMESIS ...

#Hörspiel am Sonntagmorgen 🗣️
#HolyKlassike - #Pinocchio
#komplettesHörspiel #CarloCollodi
https://youtu.be/UhdlOFipeJs?is=sYHUb5DgKyOr53Lz

YouTube Tipp ▶️
#Cricket Introduces Himself - #Pinocchio Unstrung (2026)
https://youtu.be/vUJxnJv9zmQ?is=4DjNZJcr_q_IU2ND

RE: https://digitalcourage.social/@BlumeEvolution/116799510744396061

Ich hätte ja soo gern unter den WhatsApp-Kanal der #bundesregierung heute einen #Pinocchio zu ihrem Rentenpost getan... 🤥

RE: https://digitalcourage.social/@BlumeEvolution/116799510744396061

Ich hätte ja soo gern unter den WhatsApp-Kanal der #bundesregierung heute einen #Pinocchio zu ihrem Rentenpost getan... 🤥

RE: https://digitalcourage.social/@BlumeEvolution/116799510744396061

Ich hätte ja soo gern unter den WhatsApp-Kanal der #bundesregierung heute einen #Pinocchio zu ihrem Rentenpost getan... 🤥

RE: https://digitalcourage.social/@BlumeEvolution/116799510744396061

Ich hätte ja soo gern unter den WhatsApp-Kanal der #bundesregierung heute einen #Pinocchio zu ihrem Rentenpost getan... 🤥

RE: https://digitalcourage.social/@BlumeEvolution/116799510744396061

Ich hätte ja soo gern unter den WhatsApp-Kanal der #bundesregierung heute einen #Pinocchio zu ihrem Rentenpost getan... 🤥

7 memorable films to watch with your dad on Father’s Day

https://fed.brid.gy/r/https://interaksyon.philstar.com/hobbies-interests/2026/06/19/315237/7-memorable-films-to-watch-with-your-dad-on-fathers-day/

7 memorable films to watch with your dad on Father’s Day

https://fed.brid.gy/r/https://interaksyon.philstar.com/hobbies-interests/2026/06/19/315237/7-memorable-films-to-watch-with-your-dad-on-fathers-day/

https://www.europesays.com/ie/527272/ Horror Movie Inspired by an 86-Year-Old Disney Classic Just Got a Gory New Trailer #Éire #Entertainment #IE #Ireland #Movies #Pinocchio:Unstrung #RegularNews

@SheDrivesMobility @bpb

Ich bin kein Freund der Heilbronner Staatsanwaltschaft, die Personen unnachgiebig verfolgt, weil sie die Ansicht vertritt, Bundeskanzler Merz würde beleidigt ('Lügenfritz', 'Pinocchio', 'Lackaffe'), aber das Engagement in der Provinz dokumentiert zugleich, dass wenn Polizei und Staatsanwaltschaft nur wollen, dann sind sie in der Lage viele Ressourcen, zu Gunsten eines Politikers, zu bewirken.

#merz #heilbronn #staatsanwaltschaft #lackaffe #lugenfritz #pinocchio

@SheDrivesMobility @bpb

Ich bin kein Freund der Heilbronner Staatsanwaltschaft, die Personen unnachgiebig verfolgt, weil sie die Ansicht vertritt, Bundeskanzler Merz würde beleidigt ('Lügenfritz', 'Pinocchio', 'Lackaffe'), aber das Engagement in der Provinz dokumentiert zugleich, dass wenn Polizei und Staatsanwaltschaft nur wollen, dann sind sie in der Lage viele Ressourcen, zu Gunsten eines Politikers, zu bewirken.

#merz #heilbronn #staatsanwaltschaft #lackaffe #lugenfritz #pinocchio

@SheDrivesMobility @bpb

Ich bin kein Freund der Heilbronner Staatsanwaltschaft, die Personen unnachgiebig verfolgt, weil sie die Ansicht vertritt, Bundeskanzler Merz würde beleidigt ('Lügenfritz', 'Pinocchio', 'Lackaffe'), aber das Engagement in der Provinz dokumentiert zugleich, dass wenn Polizei und Staatsanwaltschaft nur wollen, dann sind sie in der Lage viele Ressourcen, zu Gunsten eines Politikers, zu bewirken.

#merz #heilbronn #staatsanwaltschaft #lackaffe #lugenfritz #pinocchio

@SheDrivesMobility @bpb

Ich bin kein Freund der Heilbronner Staatsanwaltschaft, die Personen unnachgiebig verfolgt, weil sie die Ansicht vertritt, Bundeskanzler Merz würde beleidigt ('Lügenfritz', 'Pinocchio', 'Lackaffe'), aber das Engagement in der Provinz dokumentiert zugleich, dass wenn Polizei und Staatsanwaltschaft nur wollen, dann sind sie in der Lage viele Ressourcen, zu Gunsten eines Politikers, zu bewirken.

#merz #heilbronn #staatsanwaltschaft #lackaffe #lugenfritz #pinocchio

@SheDrivesMobility @bpb

Ich bin kein Freund der Heilbronner Staatsanwaltschaft, die Personen unnachgiebig verfolgt, weil sie die Ansicht vertritt, Bundeskanzler Merz würde beleidigt ('Lügenfritz', 'Pinocchio', 'Lackaffe'), aber das Engagement in der Provinz dokumentiert zugleich, dass wenn Polizei und Staatsanwaltschaft nur wollen, dann sind sie in der Lage viele Ressourcen, zu Gunsten eines Politikers, zu bewirken.

#merz #heilbronn #staatsanwaltschaft #lackaffe #lugenfritz #pinocchio

63 Most-Rated K-Dramas Of All Time On Viki

https://fed.brid.gy/r/https://www.soompi.com/article/1544313wpp/most-rated-k-dramas-of-all-time-on-viki

No lie. The Smartest Thing I’ve Read In A Long Time. From @Onmyom

We Are Living In Pinocchio’s World
#Pinocchio #Tech #Politics #writing

https://warnercrocker.com/2026/06/02/the-smartest-thing-ive-read-in-a-long-time/

No lie. The Smartest Thing I’ve Read In A Long Time. From @Onmyom

We Are Living In Pinocchio’s World
#Pinocchio #Tech #Politics #writing

https://warnercrocker.com/2026/06/02/the-smartest-thing-ive-read-in-a-long-time/

No lie. The Smartest Thing I’ve Read In A Long Time. From @Onmyom

We Are Living In Pinocchio’s World
#Pinocchio #Tech #Politics #writing

https://warnercrocker.com/2026/06/02/the-smartest-thing-ive-read-in-a-long-time/

No lie. The Smartest Thing I’ve Read In A Long Time. From @Onmyom

We Are Living In Pinocchio’s World
#Pinocchio #Tech #Politics #writing

https://warnercrocker.com/2026/06/02/the-smartest-thing-ive-read-in-a-long-time/

No lie. The Smartest Thing I’ve Read In A Long Time. From @Onmyom

We Are Living In Pinocchio’s World
#Pinocchio #Tech #Politics #writing

https://warnercrocker.com/2026/06/02/the-smartest-thing-ive-read-in-a-long-time/

RE: https://chaos.social/@Zwiebeltuete/116659308500651626

Mensch weiß doch wirklich nicht, ob mensch lachen oder weinen soll, wenn einer der mächtigsten Männer Deutschlands, der aktuell die Lebensbedingungen Zehntausender versaut, Menschen in den Tod abschiebt, an den Grenzen (oder weit davor) krepieren lässt und die Klimakatastrophe mit Panzern und Wehrpflicht würzt einen narzistischen Beakdown kriegt, wenn ihn jemand Lackaffe oder Pinocchio nennt. Weiter kann eins die Arroganz der Macht wohl nicht treiben, als den Erniedrigten und Unterdrückten auch noch den Spott zu verbieten.

Dazu auch ein ausführlicher, hörenswerter Kommentar hier: https://www.youtube.com/watch?v=kT7S9HD6OWI

#Lackaffe #Merz #Pinocchio #CDU #Sozialabbau #GKV #ALGII #Wehrpflicht #Klimakatastrophe #Pflegeversicherung #Schulbegleitung #Psychotherapie #Justiz

RE: https://chaos.social/@Zwiebeltuete/116659308500651626

Mensch weiß doch wirklich nicht, ob mensch lachen oder weinen soll, wenn einer der mächtigsten Männer Deutschlands, der aktuell die Lebensbedingungen Zehntausender versaut, Menschen in den Tod abschiebt, an den Grenzen (oder weit davor) krepieren lässt und die Klimakatastrophe mit Panzern und Wehrpflicht würzt einen narzistischen Beakdown kriegt, wenn ihn jemand Lackaffe oder Pinocchio nennt. Weiter kann eins die Arroganz der Macht wohl nicht treiben, als den Erniedrigten und Unterdrückten auch noch den Spott zu verbieten.

Dazu auch ein ausführlicher, hörenswerter Kommentar hier: https://www.youtube.com/watch?v=kT7S9HD6OWI

#Lackaffe #Merz #Pinocchio #CDU #Sozialabbau #GKV #ALGII #Wehrpflicht #Klimakatastrophe #Pflegeversicherung #Schulbegleitung #Psychotherapie #Justiz

RE: https://chaos.social/@Zwiebeltuete/116659308500651626

Mensch weiß doch wirklich nicht, ob mensch lachen oder weinen soll, wenn einer der mächtigsten Männer Deutschlands, der aktuell die Lebensbedingungen Zehntausender versaut, Menschen in den Tod abschiebt, an den Grenzen (oder weit davor) krepieren lässt und die Klimakatastrophe mit Panzern und Wehrpflicht würzt einen narzistischen Beakdown kriegt, wenn ihn jemand Lackaffe oder Pinocchio nennt. Weiter kann eins die Arroganz der Macht wohl nicht treiben, als den Erniedrigten und Unterdrückten auch noch den Spott zu verbieten.

Dazu auch ein ausführlicher, hörenswerter Kommentar hier: https://www.youtube.com/watch?v=kT7S9HD6OWI

#Lackaffe #Merz #Pinocchio #CDU #Sozialabbau #GKV #ALGII #Wehrpflicht #Klimakatastrophe #Pflegeversicherung #Schulbegleitung #Psychotherapie #Justiz

RE: https://chaos.social/@Zwiebeltuete/116659308500651626

Mensch weiß doch wirklich nicht, ob mensch lachen oder weinen soll, wenn einer der mächtigsten Männer Deutschlands, der aktuell die Lebensbedingungen Zehntausender versaut, Menschen in den Tod abschiebt, an den Grenzen (oder weit davor) krepieren lässt und die Klimakatastrophe mit Panzern und Wehrpflicht würzt einen narzistischen Beakdown kriegt, wenn ihn jemand Lackaffe oder Pinocchio nennt. Weiter kann eins die Arroganz der Macht wohl nicht treiben, als den Erniedrigten und Unterdrückten auch noch den Spott zu verbieten.

Dazu auch ein ausführlicher, hörenswerter Kommentar hier: https://www.youtube.com/watch?v=kT7S9HD6OWI

#Lackaffe #Merz #Pinocchio #CDU #Sozialabbau #GKV #ALGII #Wehrpflicht #Klimakatastrophe #Pflegeversicherung #Schulbegleitung #Psychotherapie #Justiz

RE: https://chaos.social/@Zwiebeltuete/116659308500651626

Mensch weiß doch wirklich nicht, ob mensch lachen oder weinen soll, wenn einer der mächtigsten Männer Deutschlands, der aktuell die Lebensbedingungen Zehntausender versaut, Menschen in den Tod abschiebt, an den Grenzen (oder weit davor) krepieren lässt und die Klimakatastrophe mit Panzern und Wehrpflicht würzt einen narzistischen Beakdown kriegt, wenn ihn jemand Lackaffe oder Pinocchio nennt. Weiter kann eins die Arroganz der Macht wohl nicht treiben, als den Erniedrigten und Unterdrückten auch noch den Spott zu verbieten.

Dazu auch ein ausführlicher, hörenswerter Kommentar hier: https://www.youtube.com/watch?v=kT7S9HD6OWI

#Lackaffe #Merz #Pinocchio #CDU #Sozialabbau #GKV #ALGII #Wehrpflicht #Klimakatastrophe #Pflegeversicherung #Schulbegleitung #Psychotherapie #Justiz