https://www.youtube.com/watch?v=i6KtnIAQQBY
https://www.youtube.com/watch?v=DOqkLJQexFE
The K–Pg boundary is associated with the Cretaceous–Paleogene extinction event, a mass extinction which destroyed a majority of the world's Mesozoic species, including all dinosaurs except for birds.[4]
Strong evidence exists that the extinction coincided with a large meteorite impact at the Chicxulub crater and the generally accepted scientific theory is that this impact triggered the extinction event.
The word "Cretaceous" is derived from the Latin "creta" (chalk). It is abbreviated K (as in "K-Pg boundary") for its German translation "Kreide" (chalk).[5]
A film essay (or "cinematic essay") consists of the evolution of a theme or an idea rather than a plot per se, or the film literally being a cinematic accompaniment to a narrator reading an essay.[25] From another perspective, an essay film could be defined as a documentary film visual basis combined with a form of commentary that contains elements of self-portrait (rather than autobiography), where the signature (rather than the life story) of the filmmaker is apparent. The cinematic essay often blends documentary, fiction, and experimental film making using tones and editing styles.[26]
The genre is not well-defined but might include propaganda works of early Soviet parliamentarians like Dziga Vertov, present-day filmmakers including Chris Marker,[27] Michael Moore (Roger & Me, Bowling for Columbine and Fahrenheit 9/11), Errol Morris (The Thin Blue Line), Morgan Spurlock (Supersize Me) and Agnès Varda. Jean-Luc Godard describes his recent work as "film-essays".[28] Two filmmakers whose work was the antecedent to the cinematic essay include Georges Méliès and Bertolt Brecht. Méliès made a short film (The Coronation of Edward VII (1902)) about the 1902 coronation of King Edward VII, which mixes actual footage with shots of a recreation of the event. Brecht was a playwright who experimented with film and incorporated film projections into some of his plays.[26] Orson Welles made an essay film in his own pioneering style, released in 1974, called F for Fake, which dealt specifically with art forger Elmyr de Hory and with the themes of deception, "fakery," and authenticity in general. These are often published online on video hosting services.[29][30]
David Winks Gray's article "The essay film in action" states that the "essay film became an identifiable form of filmmaking in the 1950s and '60s". He states that since that time, essay films have tended to be "on the margins" of the filmmaking the world. Essay films have a "peculiar searching, questioning tone ... between documentary and fiction" but without "fitting comfortably" into either genre. Gray notes that just like written essays, essay films "tend to marry the personal voice of a guiding narrator (often the director) with a wide swath of other voices".[31] The University of Wisconsin Cinematheque website echoes some of Gray's comments; it calls a film essay an "intimate and allusive" genre that "catches filmmakers in a pensive mood, ruminating on the margins between fiction and documentary" in a manner that is "refreshingly inventive, playful, and idiosyncratic".[32]
https://en.wikipedia.org/wiki/Essay
https://www.spytalk.co/p/feds-we-dont-have-chinese-defector
https://www.youtube.com/watch?v=I27jBSkQCQI
https://filmmakermagazine.com/98248-what-is-a-video-essay-creators-grapple-with-a-definition/#.YNPL4OgzZPY
Gilles Deleuze qualified Spinoza as the "prince of philosophers" for his theory of immanence, which Spinoza resumed by "Deus sive Natura" ("God or Nature"). Such a theory considers that there is no transcendent principle or external cause to the world, and that the process of life production is contained in life itself.[14] When compounded with Idealism, the immanence theory qualifies itself away from "the world" to there being no external cause to one's mind.
The French 20th-century philosopher Gilles Deleuze used the term immanence to refer to his "empiricist philosophy", which was obliged to create action and results rather than establish transcendents. His final text was titled Immanence: a life... and spoke of a plane of immanence.[18]
https://en.wikipedia.org/wiki/Immanence
http://cpc.people.com.cn/BIG5/64156/65682/4442302.html
https://www.secretchina.com/news/b5/2021/06/19/975555.html
https://www.amazon.com/gp/product/0367631016/ref=ox_sc_act_title_2?smid=ATVPDKIKX0DER&psc=1
https://www.youtube.com/watch?v=tdmbe2dqKiE
https://redstate.com/jenvanlaar/2021/06/17/breaking-chinese-defector-confirmed-as-top-counterintelligence-official-n398374
https://www.youtube.com/watch?v=yoma1MCOoZ8
In addition, Dong has provided DIA with the following information:
https://en.wikipedia.org/wiki/China_Cry
https://www.youtube.com/watch?v=Kja6nd2-F3c
now, this cry is not crying enough
实际上，美国所谓的“新冠索赔”并非最近才出现，自2020年美国新冠疫情爆发之后，时任美国总统特朗普就不断发表要求他国为美国疫情负责的言论，并号召全球一起进行索赔，妄图以此向他国施加压力。对此，部分国家及官员进行了响应，如2020年4月份，美国密苏里州检察总长施米特要求赔偿疫情期间该州导致的经济损失，累计费用高达数十亿美元；同月密西西比州检察总长费奇提出了指控，要求赔偿6万亿美元！
除此之外，英国智囊亨利·杰克逊协会索赔6.5万亿美元；意大利成立了所谓的集体诉讼索偿网站，要求索赔1080亿美元，而德国媒体则要求索赔1602亿美元。埃及和印度更狠，前者要求赔偿10万亿美元，后者要求索赔20万亿美元，随着不断有国家叫嚣索赔，当前累计的索赔金额高达上百万亿美元！
耐人寻味的是，这些所谓的索赔声明中，绝大多数属于民间组织以及一些低级官员，例如媒体、智囊机构以及一些所谓的律师机构等等，似乎所谓的索赔已经成为这些人员的博得名利的重要途径。反观一些国家的政要部门，在对疫情方面以及索赔方面的发声比较谨慎，这主要是因为在疫情溯源方面，相当一部分国家已经取得了一定的成果。例如意大利、西班牙等国在病毒溯源方面显示，其病毒毒株与美国的病毒毒株在基因测序方面更接近，医学方面的证据已经证明了欧洲扩散的新冠病毒和在亚洲传播的新冠病毒关联度不大，此外和各国急需医疗防护物资也有一定的关联。
因此，在特朗普角逐2020年总统大选，并无暇关注所谓的新冠疫情索赔之后，国际上所谓的索赔热度也大幅减小。然而此次新冠疫情给西方国家的经济造成极为惨痛的打击，并且在未来相当长一段时间里，疫情可能会常态化，对西方国家的经济影响将会持续相当长一段时间。对此，美国又开始了所谓的“索赔”心思，一方面为了撇清美国当局疫情应对严重失职的责任，另一方面也是为了嫁祸他国。
当前，随着后疫情时代的来临，相当一部分国家的疫情已逐渐开始好转，这意味着在不远的将来可能会建立全球病毒溯源工作。美国屡次拒绝世卫组织进入美国进行溯源调查，并且拒绝公布德特里克堡陆军生物实验室的详细信息，当前美国已成为头号嫌疑国家。在这种情况下，美国迫不及待试图将疫情责任嫁祸于他国，其目的就是在可能的调查出现之前，转移国际焦点，并试图坐实他国疫情传播。因为一旦病毒真的从美国传播，并且是从德特里克堡基地传播，对于美国的打击将是毁灭性的。
https://zh.wikipedia.org/wiki/%E5%B9%BB%E8%A1%93_(%E9%9B%BB%E5%BD%B1)
https://www.youtube.com/watch?v=05T6GIwz1GM
https://youtu.be/vSh8_SkahJc
https://www.youtube.com/watch?v=7U3-apcQN_o
高福寫給福奇的第三百九十六封信說「我寄給你的五千個蘋果收到了嗎等美國人死五十萬的時候我再寄五千個給你當 bonus」按一個蘋果一萬美金
第六百五十四封信說「老譚那邊你幫我跟他說皇上說的很清楚收了皇上的錢就要舔皇上的屁眼『屁眼在哪裡你知道罷』跟老譚說如果他找不到皇上的屁眼就把已經吃下去的兩萬個蘋果吐出來這就叫做『吃多少吐多少』」
按共匪寫信給台灣匪諜的代號是「書」因為台灣人『喜歡讀書不喜歡吃蘋果』比如說「剛出版的五百本書你讀完了嗎」台灣匪諜比較便宜一本書是一萬台幣的意思
"Counterintuitively, we found that maximally intense emotions are not the easiest to infer meaning from. In fact, they are the most ambiguous of all.”
