K e t c h u p M a x x e r

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K e t c h u p M a x x e r

K e t c h u p M a x x e r

@ketchupkonsumer

Ketchup exists.

1600 Pennsylvania Ave Katılım Mayıs 2017
798 Takip Edilen718 Takipçiler
K e t c h u p M a x x e r
K e t c h u p M a x x e r@ketchupkonsumer·
The irony of calling Republicans "goyball watchers" while your idea of a political solution is watching podcasters tell you "here's what your sports team... I mean America First needs to do to win."
pixel@PixelPaddock88

@TheRoyalSerf only people that dislike this group look like this, and trannies

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Faith Merrill
Faith Merrill@itsFaithMerrill·
I stand with Nick Fuentes I stand with Tucker Carlson I stand with Candace Owens I stand with Alex Jones I stand with Thomas Massie I stand with Megyn Kelly AMERICA FIRST
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K e t c h u p M a x x e r
K e t c h u p M a x x e r@ketchupkonsumer·
Real movie buffs know that this is unimpressive. If this was 7 or 8 minutes long, then it might have pushed this movie to the bottom of the top 2000 movies of all time. Shoulda, woulda, coulda.
The Sting@TheStingisBack

All the President’s Men turns 50 today. This famous “six‑minute shot” is a masterclass in phone acting and pure technical nerve. Director Alan J. Pakula and cinematographer Gordon Willis pull off a single, unbroken slow zoom: from a wide, humming newsroom to a tight close-up on Redford. No cuts. No safety net. Tension builds in real time. Redford carries it with typical quiet confidence. Six minutes of note-taking and talking into a phone, no flashy “Oscar clip.” He even flubs a name (“McGregor” for “Dahlberg”), corrects himself naturally, and Pakula keeps it because it feels authentic. The background is part of the story. As Woodward hones in on his phone call, everyone behind him huddles around a TV watching Senator Tom Eagleton resign. The contrast is deliberate: they chase the “obvious” headline, while the camera drifts past them to Woodward, and the real story. To hold Redford and the busy background in focus early on, they used a split‑diopter lens, then had to ease it out as the camera moves in. A technical tightrope. The timing of both actor and cinematographer is spot on. As Woodward closes in on the truth, the world literally falls away: the newsroom blurs, the noise fades, and we lock into his obsession. It’s one of cinema’s great moments: Redford doing almost nothing—and somehow everything at the same time. What makes this shot brilliant is the contrast it carves between Redford and the newsroom around him. The visual language does the talking: he’s locked in, disciplined, driven, all focus and fire. He stands apart because the work matters more than anything else.

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Will Sexton
Will Sexton@vrilliumlive·
Not only is @captive_dreamer part of a dying cottage industry He’s not even gonna get his based white-utopia. Trump isn’t gonna help him and the vast majority of people disagree with him completely. Devastating
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Toby Turner
Toby Turner@TobyTurner·
simpler times
Toby Turner tweet media
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Sovey
Sovey@SoveyX·
Proof that not everyone’s grandma can cook.
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