Patterns of Evidence: The Red Sea Miracle キno registrationサ

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Publisher - Jenelle Hovde
Biography: Ancient history fan. Writer. Mother. Believer. #historicalromance #biblicalfiction Represented by @Tamela_Murray /Steve Laube Agency #ACFW

runtime - 150 M
genres - Documentary
0:09 - 0:12 is a UFO at the top of the screen. He is in error! Archeology has proven everything just as the bible exactly said! I think he should stop speculating and actually use the bible. And as far as anything on the history channel goes usually rubbish.
Amen Amen Amen. 1956: Moses: Behold His mighty hands! 1998: God. With this staff, you shall do my wonders. Brilliant Documentary. I can now breathe a sigh of relief, but my research must continue. This is beautiful thank you for your show. May God always bless all and may we all cherish this holy land. Thankful that this is being protected and preserved. I love God his words say such in bible and he is truthful. May God bless all of us in this world.
This should be solid evidence for the world that everything in the Bible is factual and true. Amazing video. When can we see this in Europe. That gives me goosebumps. I will keep moving until the last breath because God is with me thanks God for the life we have and free Oxgyen we breath. Non c'è nulla di nascosto che non sarà svelato, né di segreto che non sarà conosciuto. (Lu 12,2. 0:33 Me when take a bath. Jun 11, 2019 31 Min read time Image: Dr. Strangelove / Columbia Pictures The Doomsday Clock is set to two minutes to midnight?the same position it held in 1953, when the United States and USSR detonated their first hydrogen bombs. So why don't we make movies about nuclear war anymore? A coward may die a thousand times before his death?and a morbid kid can be killed over and over by phantom Soviet warheads. That was me in the mid-1980s, between the ages of seven and twelve. I spent, or lost, that much of my youth priming for nuclear holocaust, projecting scenarios onto the Republic of Ireland. Multi-megaton payloads bursting above my bright green Roman Catholic parish in the foothills of the Dublin mountains. Neutron bombs leaving my house, school, and church intact while turning my body to a pillar of fire, then a pile of red dust. A single ballistic missile homing in on me with evil animus, its shrieking arc over continental Europe ending on contact with the top of my skull. Would I be crushed by the weight of the device itself, or was the firing mechanism so hair-trigger that I’d be atomized by the blast before it could bear down further? “For a split second, you’d have to feel the very point, with the terrible mass above, ” wrote Thomas Pynchon in Gravity’s Rainbow (1973), as the quasi-clairvoyant British secret agent Pirate Prentice contemplates taking a direct hit to the head from an incoming German V-2 rocket. When I read that novel many years later, I recognized my own terror in it, as if my boyhood nightmares had been intercepted by psychic, subterranean war planners. When the Soviet Union collapsed, a vital nervous tension seemed to leave the body politic.?But thousands of missiles remain?each one practically fizzing and forever ready to pop, like a can of Coke in a paint shaker. It wasn’t really paranoid or fanciful to think of yourself as a target back then, to take the prospect of extinction so personally. Another key text of the Cold War, Jonathan Schell’s nonfiction rumination The Fate Of The Earth (1982), crunched the available data to outline a conjectural Soviet attack on the United States and Western Europe. Schell envisioned a Russian missile commander overseeing enough ordnance to take out every major population center, blanketing the map in “zones of universal death. ” With 97 percent of his cache still left to deploy, what should he do with the rest? “Above several thousand megatons, ” suggested Schell, “it would almost become a matter of trying to hunt down individual people with nuclear warheads. ” What a thought, what an image. I first came across it in a compendium volume, The Jonathan Schell Reader (2004), only after the author died in 2014, and it struck me like a recovered memory. That great writer-campaigner had done as much as anyone to advance the moral philosophy of non-proliferation? The Fate Of The Earth was a secular Book of Revelation for the Nuclear Freeze movement in the United States. When the Soviet Union collapsed, a vital nervous tension seemed to leave the body politic, while Schell continued to warn that the cause for alarm had barely abated. Even after massive reductions on the terms of arms control agreements, thousands of missiles remained in their silos under the Ural Mountains and Wyoming grasslands?each one practically fizzing and forever ready to pop, like a can of Coke in a paint shaker. But the surface world was already forgetting, and the young in particular seemed unaware?and unafraid. “The post-Cold War generation knows less about nuclear danger than any other, ” Schell told the New York Times in 2000. He drew on the contemporary blockbuster Armageddon (1998) to make his point, a movie that reversed the “normal iconic imagery of nuclear weapons” to repurpose them as drilling equipment, essential tools for saving humanity from the arbitrary hazard of an incoming asteroid. Twenty years on, we have yet to find a good use for all these homemade planet-killers, even as the United States and Russia modernize their arsenals with newfangled hypersonic boost-glide systems, uranium-tipped torpedo drones, and low-yield “tactical” gravity bombs. And yet we don’t make movies about nuclear war any more. ??? In early 2018, just days before that false ballistic missile alert in Hawaii, the Bulletin of the Atomic Scientists published an essay to that effect by an eighth-grader named Cassandra Williams. Agitated by a class on the subject at her middle school in Dubuque, Iowa, Williams searched out old films she’d never seen or heard of and found herself “completely stunned” by The Day After, the 1983 television feature that dramatized the results of Russian missiles raining on Middle America. Citing “the unpredictable behavior of North Korea and our current U. S. president”, she identified an urgent need for updated equivalents with upgraded special effects?the better to show her peer group what might yet actually happen. “You can read about it, and you can hear about it, but actually seeing it is a different story, ” she wrote. “Thousands of people vaporized in less than a second, buildings toppling on people faster than they can react... If you want to get a millennial’s attention, make a movie about it. There are plenty of dystopian movies today, but far too few about nuclear war. ” Generations Y and Z have their own future to fear, as wildfires and glacier melt herald a slower-boil apocalypse than the flash-bang ending their elders waited for. I’ve got a stockpile of vintage VHS tapes and DVDs that Cassandra and her classmates could borrow while they wait for Hollywood studios to show them a thoroughly contemporary omnicide. Much of my collection dates from before my own time?to cheap, bleak sci-fi B-movies and Red Scare freakouts such as Invasion USA (1952) and The Day The World Ended (1955). Just after the Cuban Missile Crisis, Fail Safe (1964) made sober melodrama out of borderline hysteria, while rival production Dr. Strangelove (1964) went the other way, isolating the demon core of hollow laughter in the doctrine of mutually assured destruction. Adapting Peter George’s novel Red Alert (1958), Dr. Strangelove director Stanley Kubrick turned his fabled pedantry on nuclear command-and-control protocols, to study them as closely as he was able without top secret clearance. His genius was to find them essentially comedic in premise and construction and to follow their absurd internal logic to an all-destroying punchline?our ultimate weapon blows up in our stupid faces like a joke cigar. Professionals in the field weren’t laughing. In his memoir The Doomsday Machine: Confessions Of A Nuclear War Planner (2017), Daniel Ellsberg recalls leaving the Pentagon one afternoon in the winter of 1964 to see Dr. Strangelove. A consultant for the RAND Corporation with inside knowledge of strategic thinking, Ellsberg was “dumbstruck by the realism” of certain plot-points. It was, to him, “a documentary. ” He titled his memoir after the world-ending device invented by Strangelove himself and which had its real-life counterpart in the USSR’s Perimeter defense system, also known as Dead Hand. The system was designed to set off the whole Soviet missile array, instantly and automatically, if an incoming strike was detected. (Ellsberg and others believe it is still the operative reflex-action of the present day Russian Federation. ) By the jittery late peak of the Cold War?marked by scary military maneuvers at the edge of Europe and crazy talk of Star Wars particle beams that would zap enemy warheads in Earth orbit?frosty spells in superpower relations gave rise to rashes of movies that would often seem uncannily sensitive to prevailing anxiety levels. My own youth was a fertile period for this stuff, and the fall of 1983 saw a peculiar cluster of films, released like a salvo. WarGames, The Dead Zone, and Testament all appeared in U. theaters through October and November of that year. Respectively, they showed: a teenage hacker almost trigger World War III by accident, with early, eerie computer graphics representing missile vectors and impact sites on the giant strategic display board at NORAD’s command bunker; a malignant idiot of a president launch a preemptive strike on the Soviet Union to fulfill his demented sense of destiny (“The missiles are flying, hallelujah! ”); and a California suburb in the twilight of civilization, its residents dying one by one from postwar radiation fallout. The Day After was broadcast by NBC on November 20 and drew one of the largest audience shares in television history. More than 100 million watched warheads hit home in color-filtered blasts, intercut with archival bomb-test footage. Civilians were turned to skeletons with spooky X-Ray effects, and scenes of a razed Kansas City were superimposed over LIFE magazine photos from post-atomic Hiroshima. Director Nicholas Meyer admitted that his priority was not so much to make “a good movie” as a “gigantic public service announcement. ” On those terms he blew out the windows of living rooms across America. He rattled the bulletproof glass at Camp David too, where the film was screened for President Ronald Reagan about a month earlier, on Columbus Day. Reagan wrote in his diary that it left him “greatly depressed, ” and all the more determined to avoid a nuclear conflict, though no less assured that deterrence was the best way to do
Ron Wyatt and his sons with a team had already established evidence of the events in the 80s. Thank you for sharing. I have followed Ron's work since I stumbled across it a few years back. Such an amazing story of faith. And so amazing that god decided to reveal so much to Ron just as technology was becoming available to share the informaiton globally. 5:21 sayid jarrah. Everything is easy for God thanks To u. Wow. i couldn't of said it better! lol! god bless you my friend.

This Bible-affirming investigation is so large that two films were required. It’s one of the greatest miracles in the Bible; Moses and the Israelites trapped at the sea by Pharaoh’s army when God miraculously parts the waters, rescuing the Israelites and destroying Pharaoh and his chariots. But is there any evidence that it really happened and if so, where? That’s what investigative filmmaker Timothy Mahoney set out to discover 18 years ago and now he is ready to share what’s been uncovered; a controversy between two dramatically different approaches in reading the biblical text. One approach is Egyptian, the other is Hebrew. Both will lead to two very different conclusions on the location of the Exodus crossing site and the cause of the miraculous parting of the sea. What do these different approaches tell us about miracles ? and what do they tell us about God? Run Time: 2 hours 30 minutes #PatternsOfEvidence #RedSeaMiracle Categories: Inspirational.
Better to die in battle with a god than live in shame. One of the best quotes ever. Thank You for your effort and risky documentary to share the truth that everybody should know. God bless you. I think the Lord picked this increasingly narrow mountain route very carefully to illustrate the point He was making in scripture: For small is the gate and narrow the way leading to life, and few are those finding it. -Matthew 7:14.
1:47 Duck gets ran over by carriage. ?The good old days.
Mad respect to the Saudi government for protecting these sites. Yahweh means Jehovah. Gods name is Jehovah. Glory to abba father and lord jesus. Amen.
Wonderful GOD. Amen Amen hallelujah.









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