#revenge — Public Fediverse posts

Wrong picture. Try the guy in the White House.

People with narcissistic traits generate more original and malicious ideas for revenge, study finds

https://www.psypost.org/people-with-narcissistic-traits-generate-more-original-and-malicious-ideas-for-revenge-study-finds/?preview=true

#MAGA #revenge #Christianity #Romans_12_19

https://www.sinotheater.com/123255/ 【盲盒 Serendipity】EP01-EP24｜Revealing Hidden Hearts and the Drama of Redemption #AnthologySeries #BuGuanjin #DissociativeIdentityDisorder #PersonalGrowth #Revenge #SchoolViolence #Serendipity #SocialIssues #SunTianyu #TencentVideo #WeTv #WeTvChineseDrama #WeTvChineseDramaEngSub #WeTvDrama #wetv #WetvApp #WetvChina #WetvEnglish #YuWen #于雯 #人格分裂 #单元剧 #卜冠今 #复仇 #孙天宇 #心灵成长 #校园暴力 #盲盒 #社会话题 #騰訊視頻

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

Since getting started in 1989, Finland’s Archgoat have more than earned their place on the Mt. Rushmore of bestial blackened death metal (or “war metal,” for those like-minded fukks who spend too much time on Metal Archives and wear camo shorts to Best Buy). Helmed by twin brothers “Lord Angelslayer” (bass/vocals) and “Ritual Butcherer” (guitars), the group’s formula is simple yet effective: take rushing black metal riffs, add uber-deep growls, downtune the fukk out of the guitars, and throw in a lot of ritualistic, marching breaks that whip live audiences into a godless frenzy. For those who’ve never listened to them, imagine Beherit’s Drawing Down the Moon but more bludgeoning and blasphemous. Since returning from a decade-plus hiatus and releasing their long-awaited debut Whore of Bethlehem in 2006, the band’s albums have shown them honing that core sound while offering minor variations of it, with 2009’s The Light-Devouring Darkness veering closer to the more chaotic side of war metal and 2018’s The Luciferian Crown serving as a career high with its excellent variety and commanding production. Their last album, 2021’s Worship the Eternal Darkness, unfortunately felt a bit like the band was treading water after The Luciferian Crown, making me worried about how their sixth album, Nightbringer, Lightbringer, would fare.

Turns out those worries were for naught, as Nightbringer, Lightbringer shows Archgoat continuing to trample Christianity beneath their hooves with as much conviction as ever. After the requisite ambient intro, the title track blasts forth like a firestorm, scorching your pathetic little ears with stampeding double-bass runs, guttural pigfuck vocals, and pounding mid-paced riffs that force heads to be banged. With lots of pauses and tempo shifts, the track at times feels like it was blown up by a grenade and hastily reassembled, though the grunts of the track title (with dramatic pauses between each word) serve as a catchy anchor that holds everything together. Other than this song, the late-album track, “Reaper of Christianity,” comes the closest to the “classic” Archgoat formula, aside from the pianos that embellish that track’s marching riffs.

Those pianos, it turns out, aren’t the only experimental touches here, as this record shows Archgoat trying more new things than perhaps any other album in the band’s catalog. Several songs feature novel vocal approaches: the relentless assault of “Iconoclasm the Nazarene” has moments of higher-pitched screams that recall Revenge, while “Blood of Jesus Spilling Upon the Earth” employs bits of deep spoken word that might even be pitch-shifted. The latter song also uses passages of spacey, ringing chords that aren’t as powerful as the band’s trademark marching riffs, but are at least different. Perhaps the most notable moment, however, is in “Keys of Hell and Death,” whose epic conclusion is probably the most melodic minute of music the group has ever performed.

Overall, these new touches are welcome, though given how goddamn effective the band’s core sound is, I do wish the record offered a few more “traditional” Archgoat songs. The average tempos also feel slower than usual and, when combined with the heavy use of keyboards, create a sinister, ritualistic feel that may displease those looking for something with more raw bloodthirst. The only real misstep, however, is second proper track, “The Dawn to Armageddon.” The track itself is actually great, with hypnotic mid-paced riffing and keyboard embellishments that together make it sound a bit like old Samael. The problem is that its placement on the tracklist saps the album’s momentum early. Fortunately, songs like “The Light Behind the Horns” and the closing track, “Obsidian Reflection of Anti-Light,” are the perfect antidote, with punky energy and rampaging riffs that make it easy to bang your fukkin head (for the master in hell). Tracks like these are all the more powerful given the clear, full production that lets every layer shine through the darkness while retaining plenty of raw grit.

Apparently, Nightbringer, Lightbringer is about the end of Christianity and the beginning of a new Satanic dawn. The band supports this theme with as much conviction as ever while offering plenty of new embellishments, yet remaining wholly recognizable as the one and only Archgoat. In some ways, Lightbringer, Nightbringer is the epitome of the late-career dilemma: should a band continue doing the same thing or actually try new shit? For Archgoat, the answer is apparently a little bit of both, and the result is yet another Satanic stampede that’s sure to please war metal fans and anyone else looking for a blasphemous good time.

Rating: 3.5/5.0
DR: 9 | Format Reviewed: 320 kbps
Label: Debemur Morti Productions
Websites: archgoat666.bandcamp.com | facebook.com/archgoat.official
Releases Worldwide: September 11th, 2026

A quotation from Shakespeare

FOOL:             And thus the whirligig of time brings in
   his revenges.

William Shakespeare (1564–1616) English dramatist and poet
Twelfth Night, Act 5, sc. 1, l. 399ff (5.1.399-400) (1601)

More about this quote: wist.info/shakespeare-william/…

#quote #quotes #quotation #qotd #shakespeare #williamshakespeare #twelfthnight #karma #outcomes #passageoftime #revenge #time #vengeance

Buff Beaver

https://web.brid.gy/r/https://warandpeas.com/2026/08/16/buff-beaver-sweet-payback/

🔥【Multi SUB】少女穿越玄灵大陆解锁百倍增幅和存档系统，开局觉醒顶级灵根极速修炼，她靠双系统避开宿命劫难，走出自己的修仙逆袭之路！#ai #anime #animation https://www.vivizine.com/1282203/ #3D #AI #AI动漫 #AI漫剧 #ai短剧 #ai视频 #animate #animation #AnimationChannel #AnimeAmv #beastanimation #best #ChineseAnime #CloudTen #comedy #donghua #MIX #multi #ParentingLife #re: #ReBorn #revenge #system #Xianxia #仙侠 #兽人 #兽娘 #动漫 #动漫合集 #动画 #動漫 #動畫 #古风 #后宫 #国产动漫 #国漫 #大结局 #小说 #恋爱 #搞笑 #末世 #末世生存 #末日 #武侠 #漫剧 #漫画 #漫画解说 #玄幻 #生存 #短剧 #短劇 #科幻 #穿越 #舩水健佑 #荒野 #莫欺少年穷 #萌系 #部落 #部落冲突 #重生

https://www.sinotheater.com/121765/ 😭😭😭| HEART OF STONE | YOUKU #cdrama #ChineseDrama #ChineseDrama2025 #ChineseMiniDrama #ChineseShortMovie #ChineseSweetDrama #HEARTOFSTONE #LoveDrama #Revenge #SweetRomanceDrama #youku #YoukuChineseDrama #代高政 #优酷 #刘笑卉 #剧情 #剧情片 #复仇 #徐慧雯 #恋爱 #爱情 #爱情片 #王柄翔 #甜宠 #甜宠剧 #电视剧 #电视剧2025 #短剧 #网剧 #肖辉 #言情 #都市剧 #金子璇

https://www.sinotheater.com/121719/ Embracing in the darkness🥰| HEART OF STONE | YOUKU #cdrama #ChineseDrama #ChineseDrama2025 #ChineseMiniDrama #ChineseShortMovie #ChineseSweetDrama #HEARTOFSTONE #LoveDrama #Revenge #SweetRomanceDrama #youku #YoukuChineseDrama #代高政 #优酷 #刘笑卉 #剧情 #剧情片 #复仇 #徐慧雯 #恋爱 #爱情 #爱情片 #王柄翔 #甜宠 #甜宠剧 #电视剧 #电视剧2025 #短剧 #网剧 #肖辉 #言情 #都市剧 #金子璇

https://www.sinotheater.com/121683/ The former lovers finally reunite!😭🥰| HEART OF STONE | YOUKU #cdrama #ChineseDrama #ChineseDrama2025 #ChineseMiniDrama #ChineseShortMovie #ChineseSweetDrama #HEARTOFSTONE #LoveDrama #Revenge #SweetRomanceDrama #youku #YoukuChineseDrama #代高政 #优酷 #刘笑卉 #剧情 #剧情片 #复仇 #徐慧雯 #恋爱 #爱情 #爱情片 #王柄翔 #甜宠 #甜宠剧 #电视剧 #电视剧2025 #短剧 #网剧 #肖辉 #言情 #都市剧 #金子璇

https://www.wacoca.com/videos/3322597/model/ He chose his ex on wedding day and killed her. Reborn, she marries lord; his apology is too late. ##betrayal #CEO #chinesedrama #Chineseskits #Cinderella #engsub #FemaleDrama #HiddenIdentity #LoveTriangle #marriage #Revenge #shortdrama #shortfilms #tvseries #tvshow #ViralPlotTwist #下山碧夢

Nosso destino em queda

Nosso destino em queda

Olhe esta geração da vingança.
Leia os sinais que vêm do mundo.
Mostre os delírios.
Assusta-me saber que acham normal
ver os delírios.
Observe: nada disso é normal.

Carlos de Campos 

Avalie isto:

🔥【Multi SUB】穷小子穿越玄幻大陆绑定召唤系统，开局召远古大帝镇山门收纳绝世天骄，强势崛起撼动整片天地格局！#漫剧 #anime #animation https://www.vivizine.com/1251401/ ##ai动画 #3D #AI #AI动漫 #AI漫剧 #ai漫画 #ai短剧 #animate #animation #AnimationChannel #AnimeAmv #beastanimation #ChineseAnime #CloudTen #comedy #donghua #MIX #multi #ParentingLife #re: #ReBorn #revenge #system #Xianxia #Xuanhuan #仙侠 #动漫 #动漫合集 #动画 #動漫 #動畫 #古风 #后宫 #国产动漫 #国漫 #大结局 #女频 #小说 #微尘漫剧 #恋爱 #搞笑 #末世 #末世生存 #末日 #末日生存 #武侠 #漫剧 #漫画 #漫画解说 #玄幻 #生存 #男频 #短剧 #短劇 #科幻 #穿越 #舩水健佑 #莫欺少年穷 #萌系 #重生

An eye for an eye will make the whole world blind.
-- Mahatma Gandhi

⬆ #Wisdom #Quotes #MahatmaGandhi #NonViolence #Revenge #Violence

⬇ #Photography #Panorama #Guangxi #China #LiRiver #LiJiang #TowerKarst #Geology

https://www.sinotheater.com/119383/ Hero saves the beauty!😍😍| YOUKU #cdrama #ChineseDrama #ChineseDrama2025 #ChineseMiniDrama #ChineseShortMovie #ChineseSweetDrama #HEARTOFSTONE #LoveDrama #Revenge #SweetRomanceDrama #youku #YoukuChineseDrama #代高政 #优酷 #刘笑卉 #剧情 #剧情片 #复仇 #徐慧雯 #恋爱 #爱情 #爱情片 #王柄翔 #甜宠 #甜宠剧 #电视剧 #电视剧2025 #短剧 #网剧 #肖辉 #言情 #都市剧 #金子璇

https://www.sinotheater.com/119379/ Cinderella’s life hangs by a thread! The prince appears like a ray of light and saves her! #cdrama #ChineseDrama #ChineseDrama2025 #ChineseMiniDrama #ChineseShortMovie #ChineseSweetDrama #HEARTOFSTONE #LoveDrama #Revenge #SweetRomanceDrama #youku #YoukuChineseDrama #代高政 #优酷 #刘笑卉 #剧情 #剧情片 #复仇 #徐慧雯 #恋爱 #爱情 #爱情片 #王柄翔 #甜宠 #甜宠剧 #电视剧 #电视剧2025 #短剧 #网剧 #肖辉 #言情 #都市剧 #金子璇

https://www.sinotheater.com/119371/ Battlefield of Rivalry🤣🥰| HEART OF STONE | YOUKU #cdrama #ChineseDrama #ChineseDrama2025 #ChineseMiniDrama #ChineseShortMovie #ChineseSweetDrama #HEARTOFSTONE #LoveDrama #Revenge #SweetRomanceDrama #youku #YoukuChineseDrama #代高政 #优酷 #刘笑卉 #剧情 #剧情片 #复仇 #徐慧雯 #恋爱 #爱情 #爱情片 #王柄翔 #甜宠 #甜宠剧 #电视剧 #电视剧2025 #短剧 #网剧 #肖辉 #言情 #都市剧 #金子璇

#Profanity is a hallmark of #Trump second term, a Post analysis finds. The analysis of President Trump's #speeches and #socialmedia posts shows a sharp increase in his use of vulgarities, #insults and bombastic #rhetoric since his first term. #racism #hatred #discrimination #gop #maga #republicans #congress #leadership #politics #government #political #opponents #retribution #revenge #threats https://www.washingtonpost.com/politics/2026/05/21/profanity-is-hallmark-trumps-more-combative-second-term/

“McDonnell claims Streeting leadership run is Mandelson-McSweeney’s revenge on Starmer”

by Skwawkbox with The Canary

@thecanaryuk
@uk_politics
@UKLabour

“Former [UK Labour Party] shadow chancellor John McDonnell has said publicly that Wes Streeting’s bid to topple Keir Starmer – expected any minute – is ‘revenge’. He’s alleged revenge by Starmer’s former handlers Morgan McSweeney and his mentor and child-rapist fan Peter Mandelson”

https://www.thecanary.co/skwawkbox/2026/05/14/starmer-revenge/

#Press #SocialMedia #UK #Labour #Starmer #Streeting #McSweeney #Mandelson #Epstein #LabourTogether #Revenge #EpsteinClass #Israel #IsraelLobby #Iran #PrivateHealth #NHS

I'm currently binging Revenge, which I highly recommend btw if you like nighttime soaps this is a very good one if you can overlook the nonsensical computer talk.I can overlook anything if Emily VanCamp is in, though!

This is a particularly egregious example: " I build an interactive avatar based on their social media profile and my interactive logarithms..."

And then some advice on improving some code: "your problem is that you're using C++. I could do this in seconds in binary."

#Revenge #RevengeTV #Soaps #TV #EmilyVanCamp #ComputerGibberish #TVHackers

Live roundup #39

We are back with another live roundup showing you some of the best gigs and festivals coming up in the near future! Buying in advance both supports bands and festivals helping to make sure shows go ahead! So what are you waiting for, go and grabs some tickets!

What your gig featured?

If you would like to have your gig featured here please drop us a message on our socials or email [email protected]!

#1 Haunt

More info: https://www.facebook.com/hauntthenation

#2 2 Minutes To Tulsa 2026

More info: https://www.facebook.com/profile.php?id=100091898229431

#3 Speed Queen

More info: https://fb.me/e/88lj0eOFj

#4 Enforcer

More info: https://www.instagram.com/enforcerofficial

#5 Hëiligen

More info: https://www.instagram.com/heiligenheavymetal/

#6 Rock Hard Festival 2026

More info: https://www.rockhard.de/rhfestival

#7 FullMetal Osthessen 

More info: https://www.facebook.com/FullMetalOsthessen

#8 Tyrannt

More info: https://www.instagram.com/tyrannband/

#9 High Voltage La Ceja

More info: https://www.instagram.com/revenge.speedmetal/

#10 Messiah + Amethyst & Klaw

More info: http://www.Eisenwerk.ch

#1 #10 #2 #2MinutesToTulsa2026 #3 #4 #5 #6 #7 #8 #9 #amethyst #angelWitch #enforcer #haunt #heiligen #heavyMetal #lucifer #megaColossus #messiah #nwothm #picture #revenge #sacredWarrior #scavenger #snowblind #speedQueen #thenwothm #thenwothmCom #tyrannt #wytchHazel

#映画 #映画解説 #名シーン解説 #映画考察 #映画雑談 #movie #shorts https://drama.io/781638/ ##loveaftermarriage ##shortfilm ##新劇首發 ##灰姑娘霸總短劇 ##迷你劇 ##追妻火葬場 #cdrama #chinesedrama #ChineseDramaEngSub #contract #DramaShorts #fullversion #kdrama #koreanDrama #marriage #minidrama #movie #rebirth #ReBorn #Revenge #romantic #romanticshortchinesedrama #Shortdramas #shortfilms #tvseries #TVSHOW #中國電視劇 #倫理 #優質小說改編 #先婚後愛 #出色中國電影 #大女主逆襲 #大陸短劇 #女頻爽劇 #映画 #映画解説 #最新短劇全集 #熱播短劇 #甜寵 #甜寵愛情 #短劇 #短劇全集 #短劇推薦 #精彩短劇 #精彩短劇推薦 #萌娃 #霸道總裁

Capitolo 410: La Strana Voglia di Film

Dopo un mese di giugno piuttosto misero dal punto di vista cinematografico (già vi avevo spiegato il motivo nel precedente capitolo), ora che mi sono momentaneamente spostato nella mia umile residenza estiva in quel di Monopoli, ho ripreso ad avere un buon ritmo, tra un panzerotto e l’altro. A questi sette film ci sarebbe da aggiungere anche un rewatch di Ritorno al Futuro, ma siccome non c’è molto da dire su un capolavoro visto e amato da tutti, ho preferito ometterlo dalla lista degli ultimi film visti (che invece trovate completa su Letterboxd). Voi invece che avete visto ultimamente?

Diciannove (2024): Aspettavo da molto il film d’esordio di Giovanni Tortorici e ammetto di aver avuto forse qualche aspettativa di troppo (il trailer era davvero molto allettante): è la storia di un ragazzo siciliano di 19 anni che parte per fare l’università a Siena. Fino a qui tutto bene, se non fosse che il film prende delle direzioni decisamente pretenziose, illogiche, che trasformano il protagonista in un asociale e allontanano lo spettatore da ciò che poteva essere l’ottimo spunto iniziale: raccontare il disagio di un adolescente di oggi alle prese con la società e il mondo fuori dal liceo (e dal nido materno). Non ci siamo proprio, ma se siete curiosi di sapere di che si tratta lo trovate su Mubi.
••

I Love Radio Rock (2009): Uno dei miei comfort movie per eccellenza. Uno dei motivi per cui nel giugno 2009 tornai a Roma da un viaggio di circa un mese in giro per l’Europa è stato perché era uscito questo film di Richard Curtis in sala e non potevo perdermelo (ma questa storia nel libro non l’ho scritta, forse non sarebbe stata credibile!). La vicenda è ispirata alla storia delle radio pirata che imperversavano nel Regno Unito negli anni 60: radio libere, che trasmettevano il “diabolico” rock a ogni ora da navi situate in acque non controllate dal governo. Se su queste navi ci mettete Philip Seymour Hoffman, Bill Nighy o Rhys Ifans, tra gli altri, oltre a una colonna sonora clamorosa, il risultato rasenta il capolavoro: non lo è, sia chiaro, ma per quello che sono i miei gusti ci si avvicina parecchio.
•••••

La Città Proibita (2025): Ho sentito parlare davvero molto bene di questo nuovo lavoro di Gabriele Mainetti, che già mi aveva conquistato con Lo Chiamavano Jeeg Robot. Poi però Freaks Out mi aveva lasciato freddino e per questo motivo ho forse sottovalutato l’arrivo di questo nuovo film, che arriva ora su Netflix e merita davvero tutti gli elogi che ha avuto. Una ragazza cinese, esperta di kung fu, arriva a Roma per cercare sua sorella, ma ciò che trova sono soprattutto criminali e brutte notizie. Dovrà cercare aiuto in un cuoco romano per scoprire la verità. Innanzitutto le scene di combattimento sono davvero eccezionali, il film è coreografato benissimo e, da un film italiano, non è qualcosa che ti aspetti sempre. Inoltre ho trovato molto interessante il sottotesto su come Roma sta cambiando, sui tanti volti del rione Esquilino, a tratti più interessante del film stesso. Mainetti svolge il lavoro come si deve: il film è intrattenimento puro, ti fa trascorrere una serata piacevole, racconta un angolo di Roma lontano dalle cartoline e dai cliché (più o meno, su qualcuno ci marcia un po’, ma non in maniera fastidiosa). Benissimo Sabrina Ferilli e Marco Giallini.
•••½

Memento (2000): Come si fa a concepire un film in cui il montaggio avviene all’inverso? Ovvero: ogni scena inizia dalla fine della scena successiva e, nonostante questa confusione, funziona perfettamente. Guy Pierce è un assicuratore che, in seguito a un incidente in cui sua moglie è stata violentata e uccisa, perde la capacità di assimilare nuovi ricordi: per questo gira con una polaroid dove fotografa volti e luoghi, prendendo appunti su ciò che gli succede. Lo scopo è trovare l’assassino di sua moglie e ucciderlo. Un film totalmente geniale, in cui il montaggio all’inverso pone lo spettatore nella stessa condizione del protagonista, incapace di sapere cos’è successo prima, se non attraverso gli appunti segnati dietro ogni polaroid. Non lo vedevo da oltre dieci anni e non è invecchiato di un giorno: stupendo.
•••••

Revenge (2017): Esordio cinematografico di Coralie Fargeat, qualche anno prima di girare il cult The Substance. Un uomo sposato porta una ragazza molto avvenente in una lussuosa villa nel mezzo del deserto. Qui viene raggiunto da due amici e, senza entrare troppo nei dettagli, la ragazza si ritroverà a passare qualche brutto quarto d’ora. Dopo essere sopravvissuta a un tentativo di omicidio (in quanto una sua denuncia avrebbe potuto distruggere la vita dei tre uomini), da preda diventa predatrice e, come da titolo, cerca vendetta. Visivamente è un film bellissimo, ci sono delle idee che già anticipano alcune scene disgustose per cui è stato acclamato The Substance. Certo, la storia è totalmente inverosimile (se lo vedrete capirete perché), ma dal punto di vista dell’intrattenimento è davvero un’opera appetitosa. Il più classico dei revenge movie (e, come dicevo, il titolo è davvero poco equivocabile): lo trovate su Mubi.
•••½

Scarecrow – Lo Spaventapasseri (1973): Quanto era bello il cinema degli anni 70? Non so come sia possibile che, non solo non avessi mai visto questo filmone di Jerry Schatzberg, ma prima di qualche mese fa non l’avevo neanche mai sentito nominare. Eppure è un film che ha vinto la Palma d’Oro a Cannes, con Gene Hackman e Al Pacino! Voi lo conoscete? Ditemi di no, vi prego, e in tal caso: recuperatelo al più presto. Hackman e Pacino sono due vagabondi intenzionati a diventare soci e a mettere in piedi un autolavaggio a Pittsburgh, dove il più anziano dei due ha una piccola fortuna da parte in banca. Per questo si mettono in viaggio per gli States, tra lavoretti, bar, risse, prigioni e tanti bellissimi dialoghi, in un road movie scapestrato e irresistibile (Al Pacino, sopra le righe, è straordinario). Per tutto il film c’è un’atmosfera bellissima, nonostante qualche dramma, è l’atmosfera di un cinema che non c’è più, con le sue imperfezioni, con la grana della pellicola, la macchina da presa che ogni tanto perde il fuoco: quanta anima però. Filmone, filmone, filmone.
••••

La Strana Voglia di Jean (1969): Una sorpresa, di una bellezza totalmente inaspettata. Si tratta del film con cui Maggie Smith, ai tempi splendida trentacinquenne, ha vinto il suo primo Oscar (su due): tratto da un romanzo e poi da una piece teatrale, il film di Ronald Neame (in seguito regista de L’Avventura del Poseidon) racconta la storia di un’insegnante di storia in un collegio femminile di Edinburgo, negli anni 30. Durante il primo atto pensi continuamente “ah, ok, sarà tipo L’Attimo Fuggente“, poi però il punto di vista cambia e restiamo completamente spiazzati dal modo in cui si sviluppa la vicenda. Un film di cui si parla pochissimo, quasi nulla, ma che invece merita decisamente il nostro tempo, cercatelo. Sorvoliamo sull’insensato titolo italiano, che fa pensare a un film con Lino Banfi, quando il titolo originale era The Prime of Miss Jean Brodie, che riprende una linea di dialogo che torna spesso durante la visione. Bellissimo.
••••

SERIE TV: Ho finito la quarta stagione di The Bear e, come anticipavo nel capitolo precedente (dopo che avevo visto solo un paio di episodi), l’ho trovata molto bella. Sì, è vero che è un po’ ripetitiva, ma è come se le vicende facessero un passetto in avanti. Soprattutto, più che della storia ci si lega molto ai personaggi: dopo un paio di settimane senza nuovi episodi (la quinta stagione è attualmente in lavorazione) ciò che mi manca non è sapere il destino del ristorante, di cui mi interessa poco, ma i singoli personaggi. Da sottolineare il bellissimo episodio del matrimonio, che fa da contrappunto a quello, straordinario, della cena di Natale.

#Cinema #commenti #daVedere #diciannove #film #laCittàProibita #laStranaVogliaDiJean #memento #recensione #revenge #scarecrow

Care homes in England using ‘revenge evictions’ to stifle complaints from residents | Social care | The Guardian
#CareHomes
#RevengeEvictions
#Revenge
#KingsCollege
#RelativesAndResidentsAssociation
#RAndRA
#CareQualityCommission
#Crisis
#LegalRightsForCareHomeResidents
#CQC
https://www.theguardian.com/society/2023/apr/22/care-homes-in-england-using-revenge-evictions-to-stifle-complaints-from-residents