Sensitive

Sensitive The Untold Story trailer (2020)

Watch full documentary "Sensitive - The Untold Story" 

on www.sensitivethemovie.com

In 1991 Dr. Elaine Aron made a discovery that revolutionized 

how we view 20% of the population that are highly sensitive (HSP). 

Her research was the subject of the groundbreaking documentary 

Sensitive-The Untold Story, featuring Alanis Morissette. 

"....well, I knew something was up when My Family 

was looking at me, somewhat strangely; 

and I remember probably about 10 years ago, 

My Father and I were sitting down --

I was hosting a show in Canada 

and he was having A Moment, 

and I was crying about 

something intense (for me), 

which he'd gotten USED to, 

I suppose -- at that point he said to me, 

he said "Alanis I'm so sorry 

we just never really knew 

what to DO with you..... 

We were at a loss --" "

That DEFEATIST RESPONSE

Adam Curtis Wipe 2014 on Vladislav Surkov

"That DEFEATIST RESPONSE has become part of a new System of Political CONTROL -- 

and to understand 

HOW this is happening : 

You Have to Look 

to Russia.

This is Vladislav Serkov -- who is a Hero of Our Time.

Serkov is one of President Putin's advisors, and has helped him maintain his Power 

for 15 YEARS -- but he has done it in a very new way.

He came originally from the

avant-garde art world -- and those who have studied his career say that what Serkov has DONE is to import ideas from the world of Conceptual Art 

into the very heart of politics.

His aim is to undermine 

People's PERCEPTION 

of The World, 

so they never know 

What is REALLY Happening.

Serkov turned Russian Politics into a behwhildering, constantly changing piece of Theatre -- he sponsored all kinds of organisations, from Neo-Nazi Skinheads, to Liberal Human Rights Groups..... He even backed parties that were OPPOSED to 

President Putin.

But The Key Thing IS that 

Serkov then let it be KNOWN 

that this is what he 

was doing -- 

which meant that no-one was SURE 

what was ‘Real’, and 

what was ‘Fake’.

….or, of Course —

Vice-Versa

Planet of The Birdmen

You don’t yell at a sleepwalker. 

He may fall and break his neck.

—Joe Gillis, Sunset Boulevard

 .

“So you lived in L.A. for a while?”

“No,” he said. “Was like . . . commute. I would fly to L.A. on Thursday for class and fly back home the same night.”

I’d never heard anything so ridiculous. How did he afford that?

“I know, so crazy,” Tommy said. “But I have to take class. I want to be filmmaker. I make movie in class. I got A minus.”

“You made a movie? What was it called?”

“Robbery Doesn’t Pay,” Tommy said proudly. “Tiny little thing. Shot on the super-eight.”

He showed me a couple of frames of the tiny little thing, which consisted of a large, hairy-looking guy in a white T-shirt casing an L.A. neighborhood for a car to steal, all of it scored to Orgy’s cover of “Blue Monday.” Surprisingly, Tommy wasn’t in the film.

“Enough for now,” Tommy said. “Time to rehearse.”

We ran through the scene a few times, after which I suggested we put the scripts away and go off book. Tommy was hesitant but agreed. To give him a minute to prepare, I asked to use his restroom. There I found a professional makeup mirror and a pair of rusty twenty-five-pound dumbbells on the floor next to the toilet. Above the toilet was a large framed poster of the Disney character Aladdin.

Going off book turned out to be a bad idea. Tommy couldn’t remember anything, not even lines made up of nothing more than “Yes” or “No.” When he couldn’t remember his lines he waved his hands around, shouted, made up new lines, or did all those things at once. His mouth and mind had trouble establishing any lasting connection to each other; English was obviously not Tommy’s first language, but I was beginning to wonder if it was even his third or fourth. When he wasn’t being hysterical, he was critiquing my performance. “It has to be big,” he kept saying. “It has to be powerful.”

Of course this guy loves Brando and Dean, I thought. They’re captivating actors because they know exactly when to yell, when to floor it. Tommy believed you had to floor it for the duration of every scene.

What on earth compelled this man to want to act? His money explained his condo, his Mercedes, his weekly acting-class commutes to Los Angeles, but nothing I’d seen or heard so far explained him. I was no longer rehearsing a scene; I was private investigating another human being.

“What’s Street Fashions USA?” I asked him, in the middle of our scene, motioning toward one of the shopping bags in the corner.

Tommy looked over at the bag, suddenly uncomfortable. “I do marketing — you know, retail stuff.” He stopped himself. “My God! You are such nosy person!”

I found it hard to believe that this guy could do marketing for Fangoria magazine, much less fashion. The Street Fashions USA locations listed on the bag were Haight Street, Beach Street, and Sutter Street. But the bags were cheaply printed; the Levi’s logo didn’t appear to have its standard, trademarked look.

“You don’t seem like a retail guy to me,” I said.

Tommy took this with a good-humored shrug. “You don’t know me yet. I have many skills.”

“So why acting?”

Tommy’s hands retreated into his pockets and I sensed him fight some small, quick battle over how much to tell me. “Well, you see, since I was little kid, it’s always been my big dream to be actor, for long time. I try Los Angeles, et cetera, but it didn’t come out right. Then I have business here, so I stop the acting. But then, to make long story short, I had accident. I was driving and got hit by guy who runs the red light.”

He’d said this so quietly, and soberly, that I didn’t dare say anything.

“It was pretty bad,” he went on. “Like wake-up call, you could say. I was in hospital for many weeks. After that, I decide to go back to my acting dream.”

He picked up his playbook and we continued rehearsing. After a few read-throughs, Tommy asked if I wanted to grab dinner. I suggested a Chinese place called Hunan on Sansome Street. While waiting for our food, Tommy once again began to tell me that I could succeed as an actor if I wanted it enough. “You can be star, but you have to be more powerful. When you are aggressive in scene, this is worth one million dollars.”

“What about you?” I asked, not trusting the thickness of what he was laying on me.

Tommy didn’t answer that question. Instead he started playing with his chopsticks, which he’d learned to use, he said, when he was living in Hong Kong. But I brought him back to the question: “What about you, Tommy? Tell me.”

Tommy set his chopsticks aside. “For me,” he said, “I always wanted to have my own planet. Call it Tommy’s Planet. Build a giant building there, you see, like . . . Empire Tower. Some casino thing. My planet will be bigger than everything.”

I found myself unexpectedly charmed by this burst of subdued bravado. It wasn’t obnoxious. It was sort of endearing. I felt like I’d just asked a child what he wanted to be when he grew up. And a child had answered me, honestly, with no adult filter telling him what was and wasn’t possible.

“Your own planet,” I said. I wanted to laugh but I couldn’t. In fact, I had goose bumps. This man sitting in front of me had no detectable talent, did everything wrong, wasn’t comfortable saying how old he was or where he was from, and seemed to take an hour to learn what most people picked up in five seconds. Still, for that moment I believed him. I believed he could have his own planet.

“Yeah,” he said, looking up. “I see this big thing and big light and big events with stores and hotel and movie. All these things all together. It will be spectacular.” He reached for his glass of hot water but hesitated before lifting it to his mouth. Tommy peered at me from beneath his large protruding brow. “And you can live in my planet, if you decide. Maybe I let you stay for little while.”

What did I think of living on Tommy’s planet? I wasn’t sure. What I was sure of was that Tommy had something I’d never seen in anyone else : a blind and unhinged and totally unfounded ambition. He was so out of touch, so lacking in self-awareness, yet also weirdly captivating. That night there was this aura around Tommy — an aura of The Possible. Stick with him, I thought, and something would happen, even if I had no idea what that something might be. Maybe that was it : Tommy made me listen to the right voices in my head. This big, childish vision of his—what was it if not every actor’s secret dream?

My own planet was increasingly icy and lonely and minor. And while I did not rule out the possibility that Tommy’s Planet was a civilization-ending comet headed my way, what if it wasn’t?

“Here,” Tommy said. “I have present for you.” He handed me a red-white-and-blue pen, the casing of which bore the Street Fashions USA logo. He gave it to me as though it were a sacred scepter, as though I’d passed some test. When I looked more closely at the pen, I saw something else : a tiny globe with the words TOMMY’S PLANET printed across it.

 

“My planet will be bigger than everything.”

“People Are Very Strange These Days”

You don’t yell at a sleepwalker. 

He may fall and break his neck.

—Joe Gillis, Sunset Boulevard

Laurie Luhn

Laurie Luhn speaks out against Ailes

Roger Ailes ran Fox News by projecting Power rather than Trustworthiness. NPR takes a renewed look at the network in light of this summer's revelations.

ARI SHAPIRO, HOST:

Now a look at what drove former Fox News chairman Roger Ailes. After a former anchor filed a lawsuit against him this summer, other revelations came fast - accusations of sexual harassment, women paid to walk away and critics intimidated. Finally, Ailes was forced out in July. Here's NPR's David Folkenflik.

DAVID FOLKENFLIK, BYLINE: For years, Fox News has had towering posters at its headquarters bearing a slogan that's also a common refrain on the air.

(SOUNDBITE OF ARCHIVED RECORDING)

UNIDENTIFIED NEWSCASTER: You're watching the most Powerful name in news, Fox News.

FOLKENFLIK: I promise you've never heard The Washington Post or ABC News describe itself that way. Many people talk a lot about Fox's conservative ideology, and many think that the harassment scandal is all about sex. But to understand how the place operated under Ailes, you cannot overlook the projection of power.

GABRIEL SHERMAN: He saw himself as literally saving the country, that he was the only force standing up to the liberals and President Obama.

FOLKENFLIK: This is Ailes' biographer, Gabriel Sherman.

SHERMAN: And this is the way he spoke about himself. And so when you talk about that, you see your news network as the tool or the mechanism to exert that Power.

FOLKENFLIK: Power works in many ways. Take how women are presented on Fox.

JANE HALL: On Fox, I felt, when I looked at it, I was uncomfortable at the way that I saw a number of these women dressed.

FOLKENFLIK: Jane Hall was a media critic and commentator on Fox News for a decade.

HALL: They were professional women, but they were dressed in clothing that really sexualized them.

FOLKENFLIK: In lawsuits filed against Ailes, the Fox News hosts Gretchen Carlson and Andrea Tantaros said Ailes would ask them to twirl around, to dress suggestively, essentially to perform for him. Fox News' female bookers, producers and on-air personalities have told NPR that many women were urged to select their outfits from those provided by Fox - always short dresses or skirts, never pants, necklines that plunge, hair extensions and false eyelashes. Television is a visual medium that prizes looks. Jane Hall says this is different. She has studied depictions of women in media.

HALL: I know that if you have a fully clothed man and a woman less clothed, that's a Power situation, and you're communicating that the man has the Power, the man has the Authority.

FOLKENFLIK: Fox introduced glass top tables for its female hosts and a specialized leg cam - a camera that lingered on the physique of certain women there.

HALL: I didn't know at the time I was there that there was such a thing as a camera that focused on women's legs, so that's really reprehensible.

FOLKENFLIK: Some women at Fox were expected to identify attractive younger colleagues to be introduced to Ailes. This should not have come as a surprise. In his 2014 book, Gabriel Sherman reported two previous instances of sexual harassment by Roger Ailes. One occurred 35 years ago. Shelley Ross was invited to lunch by Ailes to talk about working for a late-night program on NBC.

SHELLEY ROSS: It was a very big deal.

FOLKENFLIK: The offer, Ross says, was contingent on something that stopped her cold - the demand she enter into what Ailes called a sexual alliance.

ROSS: He clearly was looking for something, some work relationship that was meaningful to him.

FOLKENFLIK: Ross refused, but ultimately took the job after Ailes apologized profusely. Ross later became a senior news executive at ABC and CBS. She says Fox News should give a full, public account of what happened. This summer, two dozen women have talked to a law firm investigating sexual harassment claims against Ailes at Fox. Former Fox News booker Laurie Luhn alleges that Ailes filmed a private sexual dance she performed at his request. She says Ailes let her know he'd keep the recording to ensure her loyalty. In 2011, Fox paid Luhn more than $3 million after she alleged years of sexual extortion. Again, Shelley Ross.

ROSS: For every person like Roger Ailes, there are enablers around him.

FOLKENFLIK: Fox staffers sifted through employees' phone records, text and emails on company equipment to see what was being said about Ailes and to whom. Several Fox News staffers told me they feared their phones were being tapped, too. Ailes had cameras installed to monitor news rooms and corridors, and he set up a war room to discredit Gabriel Sherman, too.

SHERMAN: He had reason to be paranoid. We now know that he was a man who was bent on keeping his history of sexual harassment secret from the world.

FOLKENFLIK: Fox News' top lawyer, Dianne Brandi, is denying the latest allegation that she had a private investigator acquire the phone records for a reporter for a liberal press watchdog called Media Matters. That, too, would have legal implications. David Folkenflik, NPR News, New York.

I'll admit it's confusing from The Outside.

How Not To Explain Calvinism

 EXT. SAN DIEGO BEACH - DAY

 Jake and Niki sit at a ramshackle picnic table at a park overlooking the ocean. Several children play in the distance.

 Niki finishes her Big Mac, crumbles the bag and throws it away. She unwraps a Milky Way and she finishes her fries. Jake watches with astonishment as she chomps her way through a second candy bar.

 JAKE

 You really shouldn't eat like that. 

 All that sugar. It's not good for you.

 NIKI

 At least I'm a growing person.

 JAKE

 You won't keep growing at this rate.

NIKI

What rate?

JAKE

You know what I'm talking about.

NIKI (snotty)

You never met a working girl before, have you? You think I like sucking off guys all night? Maybe I do. So what? (a beat) 

You can't even say it, can you?

 JAKE

 Say what?

 NIKI

 'Sucking off.'

JAKE

Okay. Sucking off. 

Now does that make me as good as you?

NIKI

 You don't understand shit.

JAKE

Okay, tell me. Why do you live like you do?

NIKI

Did you ever live in a room with six people and you didn't have any money, any food, any furniture? Have your brother come out, his car break down, he can't get a job? Your friends stealing food, going through trash behind a supermarket?

 JAKE (sympathetic)

 Is that the way it was with you?

 NIKI

 No. But does it make any difference?

 (a beat)

 How did you get to be the way you are?

 Jake doesn't answer.

 NIKI (continuing)

 Don't knock it. A girl can save up a lot money doing this -- big money. 

Then you're free. You can go off to Europe, meet somebody, get married. 

My girlfriend's going to buy her own beauty parlor. Not me. I'm gonna travel. 'Keep movin' that's my motto.

 (a beat)

Would you rather work at Copper Penny at a dollar-eighty an hour, having every two-bit cocksucker able to yell at you? I can make more money suc... doing what I do for five minutes than I can all week at another  job.

 JAKE

 You used to work at Copper Penny?

 NIKI

 No.

 JAKE (pause)

 You and I, Niki, have very different ideas about sex.

 NIKI

 Why? Are you a sex fiend?

 JAKE (smiles)

 No.

 NIKI

 Neither am I.

 JAKE

 But it's all you do.

 NIKI

 How important do you think sex is?

 JAKE

 Not very.

 NIKI

 We're just alike. You think sex is so unimportant you don't do it. I think sex is so unimportant I don't care who I do it with.

 Jake thinks. That sounds right. But it can't be right. He looks away, then back at her.

JAKE

You can never understand a person like me. I am a mystery to you. 

A middle class person, a Mid-westerner. 

A man who doesn't pursue women. 

A man who believes in social order. 

A man who goes to church, believes in God, and a man who, at the end of his life, believes he will be redeemed.

 (a beat)

This is all unfathomable to you. 

Fifty years ago, in art, the prostitute sought to justify her life to the bourgeoisie. Now it is the bourgeoisie who must justify himself to the whore.

JAKE (continuing)

I don't see why I must justify myself to you. I don't care about the things you do. I don't care what's happening in New York or Los Angeles. I don't care about movies or TV. I don't care who's on Johnny Carson.

 NIKI

 (incredulous)

 What do you care about?

 JAKE

 (cold)

 I care about my daughter. 

INT. OKINAWA BAR - DAY

 Niki and Jake stand at the counter talking with JIM RUCKER, an entrepreneurial type about 40.

 NIKI

 You remember me. Louise? Rhymes with squeeze.

 RUCKER

 (looks, then nods)

 You working in San Diego now?

 NIKI

 I'm still in L.A., but I'm looking 

 for Tod. I heard he was around.

 RUCKER

 'Was.' He and that shitheel Ratan went down to T-J. Maybe I shouldn't say that. Anyway, I hear he's back in Frisco now.

 NIKI

 Was he with a girl?

 RUCKER

 No.

 NIKI

  Thanks.

 Niki starts to leave.

 RUCKER

 Keep in touch, baby. Got some good 

 stuff comin' up. Need you back, baby.

 (as they exit)

 And take good care of your friend 

 for me.

 Jake turns back as Niki gives him a tug.

 CUT TO: EXT. OKINAWA BAR - DAY

 They walk toward the car.

 JAKE

 What's T-J?

 NIKI

 Tijuana.

 JAKE

 They were here?

 NIKI

 Tod was.

 (her voice chills)

 He was with Ratan.

 JAKE

 What does that mean?

 (no answer)

 What does he do?

 NIKI

 He deals in pain.

 JAKE

 Is Kristen safe?

 She doesn't answer.

 JAKE

 (continuing)

 Let's get a plane for San Francisco.

 CUT TO: INT. L.A. POLICE MISSING PERSONS - DAY DETECTIVE BURROWS walks back into his office. Mast, sitting on the edge of the desk, is waiting for him.

 BURROWS

 Apparently your friend has gone into 

 Mexico. A Border Guard responded to 

 the APB. How does it feel to have 

 the L.A.P.D. doing your work for 

 you?

 

 MAST

 You're going to thank me for this. 

 You know what the media's like. They 

 love this kinda shit. If that guy 

 goes off half-cocked and gets himself 

 hurt, you're going to have so much 

 bad publicity, you...

 BURROWS

 (interrupting)

 I heard you the first time. We had 

 nothing to go on with this kid. Just 

 a runaway.

 (a beat)

 Do you really think he's in danger?

 MAST

 If he has anything to say about it, yeah. 

I've been asking a lot of  questions and I don't like the answers I'm getting. He's made a lot of people nervous, including some poor faggot who thought he was going to be a movie star.

 BURROWS

 We aren't gonna arrest him for that...

 MAST

 (interrupting)

 Big threat. TV would ream you.

 BURROWS

 Keep me informed of what he's up to. 

 You help me, I'll help you. Mast nods.

BURROWS

 (continuing)

 Why don't people stay where they 

 belong?

CUT TO: INT. SAN DIEGO AIRPORT - DAY

 Jake and Niki sit in a line of multi-colored plexi-glass chairs in the Western Terminal of the airport. Niki munches a pack of Chuckles while Jake, his elbows on his knees, looks at the floor. Niki prattles on.

NIKI

You know what your problem is? 

You're a very negative person. 

You think negatively.

 Jake tries to ignore her.

 NIKI (continuing)

 You have to believe in something. 

 What do they believe in -- the 

 Whatjamacillit church?

 JAKE

 Christian Reformed. It's a Dutch 

 Calvinist denomination.

 NIKI

 Do they believe in reincarnation? I 

 believe in reincarnation.

 JAKE

 They believe in the 'TULIP.'

 NIKI

 What the crap?

 JAKE (smiles)

 It's an anagram. It comes from the 

 Canons of Dort. Every letter stands 

 for a different belief. T-U-L-I-P. 

 Like -- are you sure you're interested 

 in this?

 NIKI

 Yeah, yeah, go on.

 JAKE

 T stands for Total depravity, that 

 is, all men, through original sin, 

 are totally evil and incapable of 

 good. 'All my works are like filthy 

 rags in the sight of the Lord.'

 NIKI

 Shit.

 Jake is charmed. He's never been called upon to explain his beliefs to someone so totally ignorant of them.

JAKE

Be that as it may. U is for Unconditional Election. God has chosen a certain number of people to be saved, The Elect, and He has chosen them from the beginning of time. 

L is for Limited Atonement. Only a limited number will be atoned, will go to Heaven.

 

NIKI

Fuck.

JAKE

I can stop if you want.

 NIKI

 No, please go on.

 The INTERCOM ANNOUNCES a flight: Jake listens for a moment. It's a flight to Mexico City.

 JAKE

 I is for Irresistible Grace. God's 

 grace cannot be resisted or denied. 

 And P is for the Perseverance of the 

 Saints. Once you are in Grace you 

 cannot fall from the number of the 

 elect. And that's the 'TULIP.'

 NIKI

Wait, wait. I'm trying to figure this out. 

This is like Rona Barrett. 

Before you become saved, God already knows who you are?

 JAKE

 He has to. That's Predestination. 

If God is omniscient, if He knows everything -

- and He wouldn't be God if He didn't -

- then He must have known, even before the creation of the world, the names of those who would be saved.

NIKI

So it's already worked out. 

The Fix is in?

JAKE

More or less.

NIKI

Wow. Then why be good? 

Either You're Saved or you ain't.

JAKE

Out of gratitude for being chosen. 

That's where Grace comes in. 

God first chooses you, then allows you, 

by Grace, to choose Him of your own free will.

 

NIKI

(amazed)

You really believe all that?

JAKE

Yeah. (shrugs) Well, mostly.

NIKI

I thought I was fucked up.

 

JAKE

I'll admit it's confusing 

from The Outside. 

You've got to see 

it from The Inside --

NIKI

If you see anything 

from The Inside 

it makes sense...!!

 

You ought to hear perverts talk. 

A guy once almost 

had me convinced to let his 

German Shepherd fuck me.

JAKE

….It's not quite the same thing.

NIKI

It doesn't make any fuckin’ sense to Me. 

The INTERCOM ANNOUNCES 

Western Flight #601 to San Francisco.

 They rise.

Robert Downey Sr.

She's The Best.

She's a wonderful 

Mother, you know?

She's A Mother to all 

those who need love.

1997's "Boogie Nights" featuring Robert Downey Sr. as 'Burt', a record c...

After filming the devastating scene between Eddie Adams and his angry mother, Joanna Gleason was talking to Paul Thomas Anderson, and asked him if the material reflected the relationship between Anderson and his own mother. 

Anderson became very quiet, and did not answer the question. Gleason then put her hand on his shoulder and said "You don't have to forgive her." 

Years later, in an interview with Marc Maron, Anderson reported that he had recently gone to his mother's house, gotten down on his hands and knees, and apologized to his mother for his attitude toward her in the past, and for not being more understanding of her.

Weasels

Jordan Peterson - I Regret Calling MGTOW Pathetic Weasels

Wildthyme

The Doctor and Iris Wildthyme are Reunited

Doctor Who | The Wormery

Mister Six :

You're drunk --

Wildthyme :

Of course I'm drunk, 

I'm always  drunk..!!