Creators of Netflix gay Jesus film suffer petrol bomb attacks – Davina Diaries

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The Rio de Janeiro headquarters of Porta dos Fundos, the creators of Netflix controversial gay Jesus movie was hit by a Molotov cocktail attack in the early hours of December 24.

Molotov cocktails were thrown at the headquarters of a comedy troupe behind Netflix’s ‘gay Jesus’ film on Christmas eve.

The First Temptation of Christ roused anger among Christian viewers for insinuating that Jesus was gay – returning home for his 30th birthday alongside a new ‘friend’ named Orlando.

More than 2million people have signed a petition for Netflix to take the show down and have threatened to boycott if they fail to do so. In the early hours of Christmas Eve, two masked men launched the petrol bombs at Porta Dos Fundos’ headquarters in Brazil.

In a statement released, Porta dos Fundos states that no one was injured in the attack but it ‘endangered several innocent lives in the company and on the street.’ The building had security footage which has now been handed over to the police.

The petrol bombs were lobbed at the door but thankfully no one was hurt.

‘Porta dos Fundos condemns any act of violence. We expect those responsible for the attacks to be found and punished,’ the statement read.

‘However, our priority right now is the safety of the entire team that works with us. ‘We will speak again once we have more details.

Meanwhile, Porta dos Fundos would like to reinforce our commitment to good humour and declare that we will move on stronger, more united, inspired, and confident that Brazil will survive this storm of hatred, and love will prevail along with freedom of speech.’

In the controversial 40-minute short, Jesus is seen being surprised with his birthday party after walking the desert, becoming embarrassed by the introduction of new friend Orlando.

The show never explicitly states that Jesus is gay, however, it’s been largely inferred by his interaction between Orlando, and his bashfulness about the friendship to his parents and family.

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Brazilian comedy group hit by Molotov cocktails after film on ‘gay Jesus’

Molotov cocktails were thrown at the headquarters of Brazilian comedy group Porta dos Fundos in Rio de Janeiro on Christmas Eve, weeks after the group launched a film on Netflix depicting Jesus as gay.

The group’s Christmas special, “The First Temptation of Christ,” a 46-minute comedy that portrays Jesus bringing home his presumed boyfriend Orlando to meet the Holy Family, prompted around 2 million people to sign a petition calling on the streaming service to remove the show because it offended Christians.

ALSO READ: Two US lawmakers react to Sowore’s release

The sketch group said a security guard managed to contain the fire at its headquarters and no one was hurt.

State police in Rio did not immediately respond to a request for comments. Netflix declined to comment.

“In the early morning of December 24, on Christmas Eve, the headquarters of Porta dos Fundos was the victim of an attack. Molotov cocktails were thrown at our building,” the comedy group, which won an International Emmy for its holiday special last year, said on Twitter.

“We will move on, more united, stronger, more inspired and confident that the country will survive this storm of hatred and love will prevail alongside freedom of speech,” the comedians said, adding that video footage from security cameras had been handed to the authorities.

ALSO READ: Digital marketing will drive growth in Nigeria’s non-oil sector

Brazil is home to the world’s largest Catholic community as well as a fast-expanding evangelical community with increasing political influence.

President Jair Bolsonaro, who has described himself as a “proud” homophobe, once told an interviewer he would rather have a dead son than a gay son. Earlier this year he suspended funding for a series of films, including a handful with LGBT+ themes. The decision was later struck down by a federal court.

His son, Eduardo Bolsonaro, recently called Porta dos Funds’ Christmas special “garbage” on his Twitter account, saying the filmmakers “do not represent Brazilian society.”

Source: Reuters

The post Brazilian comedy group hit by Molotov cocktails after film on ‘gay Jesus’ appeared first on Vanguard News.

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Gay Jesus Film: Brazil police probe attack on actors

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Gay Jesus Film. PHOTO: Web

Rio de Janeiro police said on Thursday they are investigating a video by a far-right group that claimed to have carried out an attack on a group of actors who had depicted Jesus as gay.

On Wednesday, a video circulating on social media showed three masked men claiming to have carried out the attack in retaliation for “an attack against the Brazilian people’s faith.”

The two-minute video included images of several people lighting Molotov cocktails before throwing them at a building.

The attack, in which no one was hurt, took place Tuesday night at the studio of a group of actors called Porta dos Fundos, whose 46-minute film “Christ’s First Temptation” began streaming on Netflix on December 3.

The satirical comedy depicts Jesus returning home with his boyfriend Orlando after 40 days in the desert, as Mary and Joseph plan a surprise party for Jesus’s 30th birthday.

ALSO READ: Brazilian comedy group hit by Molotov cocktails after film on ‘gay Jesus’

It has angered many evangelicals and Catholics, and hundreds of thousands of people signed a petition to have it taken down.

Far-right President Jair Bolsonaro’s son Eduardo — a lawmaker — criticized the movie on Twitter.

“We believe in freedom of expression but is it really worth attacking the faith of 86 per cent of the population?” he wrote.

The masked men in the video held up a flag of the 19th-century Empire of Brazil and another sporting a symbol linked to the 1930s far-right political party Brazilian Integralist Action.

READ ALSO: Reno Omokri calls for Netflix boycott if it shows movie about gay Jesus

“All hypotheses are being investigated,” police commissioner Marco Aurelio Ribeiro told journalists.

Police have identified the registration numbers of a vehicle and motorcycle used by the attackers and said the masked group’s video “matches” the crime committed.

Actor Joao Vicente de Castro, a member of Porta dos Fundos, told journalists the incident was “an attack on freedom of expression.”

Porta dos Fundos, which was founded in 2012, won an International Emmy this year for their 2018 comedy Christmas special, “The Last Hangover,” also available on Netflix.

The post Gay Jesus Film: Brazil police probe attack on actors appeared first on Vanguard News.

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‘We’re not saying people shouldn’t believe in God’ — star of ‘gay Jesus’ film reacts to backlash – TheCable Lifestyle

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Fábio Porchat, one of the main actors in ‘The First Temptation of Christ,’ says the controversial movie depicting Jesus Christ as “gay” was not to discourage people from believing in God.

The 45-minute special, made available by Netflix, an American streaming service, on December 3, has since generated backlashes from several quarters, with many condemning the movie.

Porchat, who is the co-founder of Porta dos Fundos, a Brazil-based YouTube comedy group, told  that the movie was generally misconstrued.

“It doesn’t incite violence, we’re not saying people shouldn’t believe in God,” he said.

“They [Netflix] haven’t said anything to us like, ‘Maybe we should stop making the special available.’ They support freedom of speech.”

He also wondered why Christians have aimed attacks at them for producing the movie even when the gay community, which was the most affected in the movie, has been relatively quiet.

“We play at insinuating that Jesus has a new friend, and probably this new friend is gay, but they have just been having fun and a very good time in the desert for 40 days,” he said.

“If anybody should be angry with us, it should be the gay community because a gay character turns out to be the Devil. But the gay community loves us!

“The show is almost a Christian fairy tale: Jesus faces off bravely with the Devil and then chooses to follow God, accepting to be his son, Jesus Christ.

“A lot of people, when they see the show, say: “Oh that’s what they were talking about? Ok, that’s O.K., they’re just having fun, no problem at all.

“For some Catholics here in Brazil, it’s O.K. if Jesus is a bad guy, uses drugs: That’s no problem. The problem is he’s gay. No, he can’t be gay. And that’s interesting because Jesus is everything. God is black and white and gay and straight. God is everything. It’s more homophobic to be insulted by a gay Jesus than to make Jesus special.”

The actor went on to dismiss rumours that Porta dos Fundos only do satires about Christianity, stating the group covers Islam and other aspects.

“People say that we don’t make fun of Islam,” said Porchat.

“We do, we’ve satirized terrorists, for example. But they are trying to incite other people to violence, which for Catholics is a very un-Catholic thing to do.”

, general overseer of Omega Fire Ministries, had charged Christians to unsubscribe and delete their accounts on Netflix while nearly 2 million people , which calls for the special to be prohibited and pulled down from the streaming service.

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‘Delete Netflix app on your system’ ⁠— Apostle Suleman reacts to film about ‘gay Jesus’ – TheCable Lifestyle

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Johnson Suleman, general overseer of Omega Fire Ministries, has called on Christians to unsubscribe and delete their accounts on Netflix, an American streaming service, over its movie that depicted Jesus Christ as a closeted homosexual.

The movie, ‘The First Temptation Of Christ’ is a Netflix christmas special from Porta Dos Fundos, a Brazil-based YouTube comedy group.

In a series of tweets on Sunday, the cleric rallied all “true” Christians to delete their Netflix accounts in his condemnatory tirade.

“Delete Netflix app on your system. Unfollow them if you are a true Christian. The movie ‘gay Jesus’ is an insult to Christianity and abuse to our sensibilities. We stand to condemn it and all it stands for. Mad people,” he wrote.

Delete Netflix app on your system..unfollow them if you are a true Christian..The movie ‘gay jesus’ is an insult to christianity and abuse to our sensibilities..we stand to condemn it and all it stands for…Mad people…

— Apst Johnson Suleman (@APOSTLESULEMAN) December 15, 2019

He also urged all “believers of Christ” on earth to boycott the movie-streaming giant if they go ahead with the “rubbish”.

“We have 2.5 billion Christians on earth, if Netflix goes ahead with this rubbish, we should boycott them.. that movie is evil, it’s not right and it will not stand,” he wrote.

We have 2.5billion Christians on earth,if Netflix goes ahead with this rubbish,we should boycott them.. that movie is evil,its not right and it will not stand.

— Apst Johnson Suleman (@APOSTLESULEMAN) December 15, 2019

The pastor also predicted the fall of Netflix by saying the release of the movie is the beginning of its end.

“The glory of present-day cinema is Netflix. But since they have decided to blaspheme, its crash is inevitable. You want to do a film ‘gay Jesus’? Its the beginning of your end. We are not cowards cause we are tolerant,” he added.

The glory of present day cinema is Netflix..but since they have decided to blaspheme,its crash is inevitable..you want to do a film ‘gay jesus’?…its the beginning of your end..we are not cowards cause we are tolerant..

— Apst Johnson Suleman (@APOSTLESULEMAN) December 15, 2019

Since it’s release on December 3, the movie has faced intense backlashes on social media platforms.

Last week, 1.34 million people signed a petition for the movie to be pulled down from the streaming service.

It is believed that the comedy group responsible for the film had first created a movie titled ‘The Last Hangover,’ which depicts Jesus’ disciples looking for him on the morning after the Last Supper.

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Netflix release film depicting Jesus as Gay – Millions sign petition against it

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Nigeria News | Laila’s Blog
Netflix release film depicting Jesus as Gay – Millions sign petition against it

Netflix released a comedy film that depicts Jesus as a gay man and Christians around the world would not have it.

The new Netflix Christmas edition titled “The First Temptation Of Christ”, shows Jesus Christ in a gay relationship with his male friend Orlando and Mary as a weed-smoker in the comedy film and this has angered millions of Christians especially, all over the world.

The First Temptation of Christ was made by a YouTube comedy group and was released by Netflix in Brazil on 3 December.

Netflix’s description of the show reads: “Jesus, who’s hitting the big 3-0, brings a surprise guest to meet the family. A Christmas special so wrong, it must be from comedians Porta dos Fundos.”

In the one-off show, it is implied that Jesus is in a sexual relationship which has led to millions signing a petition demanding its withdrawal.

At the time of this report, 1,701,233 people have signed a petition against the programme.

Reacting to the film, Apostle Suleman on Sunday took to his social media page to condemn the it and what it stands for said it is “an insult to Christianity and abuse to our sensibilities”. He called for Christians to delete the App on their device to join in condemning the film. He wrote;

We have 2.5billion Christians on earth,if Netflix goes ahead with this rubbish,we should boycott them.. that movie is evil,its not right and it will not stand.

Delete Netflix app on your system..unfollow them if you are a true Christian..The movie ‘gay jesus’ is an insult to christianity and abuse to our sensibilities..we stand to condemn it and all it stands for…Mad people…

We have 2.5billion Christians on earth,if Netflix goes ahead with this rubbish,we should boycott them.. that movie is evil,its not right and it will not stand.

— Apst Johnson Suleman (@APOSTLESULEMAN) December 15, 2019

Delete Netflix app on your system..unfollow them if you are a true Christian..The movie ‘gay jesus’ is an insult to christianity and abuse to our sensibilities..we stand to condemn it and all it stands for…Mad people…

— Apst Johnson Suleman (@APOSTLESULEMAN) December 15, 2019

Also reacting, a former aide to ex-President Goodluck Jonathan, Reno Omokri condemned the movie and wondered if they would try the same thing with Quran.

He warned that Christian’s style of tolerance should not be taken as weakness.

The other day, a misguided woman used Scripture as an ashtray. Now, @Netflix announces a film about a gay Jesus. Would they do that to the Quran? Do NOT take advantage of Christian’s tolerance. We choose non-violence. Not that we can’t be violent!#FreeLeahSharibu #RenosNuggets

The other day, a misguided woman used Scripture as an ashtray. Now, @Netflix announces a film about a gay Jesus. Would they do that to the Quran? Do NOT take advantage of Christian’s tolerance. We choose non-violence. Not that we can’t be violent!#FreeLeahSharibu #RenosNuggets

— Reno Omokri (@renoomokri) December 15, 2019

Follow us on Facebook – @Lailasnews; Twitter – @LailaIjeoma for updates

Netflix release film depicting Jesus as Gay – Millions sign petition against it
Damilola Ismail

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Join Millions Of Christians In Asking Netflix To Cancel Film Depicting Jesus As Homosexual

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This is an absolutely unacceptable provocation. No one has the right to attack the faith of millions of people around the world.

'Porta dos Fondos' - Netflix evil movie

The Brazilian group ‘Porta dos Fondos’ (Translates to “Back door”) has produced a film titled “The First Temptation of Christ” which depicts Jesus Christ as a homosexual in a clear attack to Christianity as Christmas approaches.

Over 1.5 million people have signed a petition asking streamer Netflix to take down the film that portrays Jesus in a gay relationship.

The 46-minute film premiered on Netflix Brazil on Dec. 3 and has since sparked a ton of controversy online for its politically incorrect satire that paints Jesus as a closeted homosexual on Christmas.

Using humor and art as an excuse, this group has attacked Christianity in an unprecedented manner. They supposedly produced this film as a “Christmas” film for their viewers!

In this film they present Christ as having relationships with a homosexual while the disciples are alcoholics and unruly . The Virgin Mary is presented as an adulterous woman who has sex with God the Father ..

“The First Temptation of Christ” sees Jesus and a friend named Orlando arrive at Mary and Joseph’s house where they’ve thrown a birthday party for their son, according to the New York Daily News. Jesus attempts to downplay his relationship with Orlando, who constantly hints that they’re more than just friends.

The outlet reports that the comedy group Porta dos Fundos is responsible for the special, which actually marks their second religious satire following “The Last Hangover,” which depicts Jesus’ disciples looking for him on the morning after the Last Supper. They recently earned an International Emmy Award for best comedy web television special for “The Last Hangover.”

The petition quickly formed and people continue to sign it in a push for the streaming service to take action against the group’s latest special for its alleged insensitivity toward Christians.

The petition which started on Change.org, has so far collected 1,529,504 signatures. It calls upon Netflix to remove the movie, made by comedy sketch group Porta dos Fundos (Backdoor in English).

This is an absolutely unacceptable provocation. No one has the right to attack the faith of millions of people around the world. This type of supposed ‘shows’ only cause one thing: numbing the population to attacks against Christians, according to .

That is why we are asking Netflix to remove this brutal attack on religious freedom.

By signing this campaign, you will be sending an email to the following Netflix executives expressing your disagreement with their film :

  • Reed Hastings, founder and CEO of Netflix
  • Jeff Hensien, Head of the Netflix Consumer Service Department
  • Ted Sarandos, Netflix Content Manager

The post Join Millions Of Christians In Asking Netflix To Cancel Film Depicting Jesus As Homosexual appeared first on Believers Portal.

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Collapses: The Venice Biennale and the End of History | Art Practical

Collapses: The Venice Biennale and the End of History

The 2019 Venice Biennale feels like the end of everything: the end of art tourism, the end of vacations, the end of the beach and the climate of pleasure. With bad news about the climate crisis worsening every day, the nationalistic turn of governments from the U.S. to Britain to Italy to India and Brazil, it’s unclear whether the liberal ideology that produces world-scale cultural events like the Biennale can hold much longer, or whether the economic or ecological structures of global tourism can continue to support it. The liberal democratic order of free markets and free will is undermined around the globe by violent nationalism and economic protectionism. The Biennale exhibition, May You Live in Interesting Times, offers little but a hollow scream in opposition. The whole thing feels a bit like buyer’s remorse, a magnum opus from a lapsed believer in Francis Fukuyama’s promise that we’d reached the End of History.1

Arthur Jafa

Joint Italy-EU military vessel with helicopter, Piraeus Port, Greece, August 2019. Photo: Anuradha Vikram

Both the main exhibitions and the various national pavilions feature more women and artists of color this year than any previous. Diversity is manifest with respect to types of work, interests, materials, biographies, and ages of the artists on view. Curator Ralph Rugoff states that “[the artists’] work grows out of a practice of entertaining multiple perspectives: of holding in mind seemingly contradictory notions, and juggling diverse ways of making sense of the world.”2 Diversity and multiplicity appear here to be set up as counternarratives to universalism, the ideology that has historically governed the international contemporary art discourse. But is this in fact the case? Fukuyama says, “The spectacular abundance of advanced liberal economies and the infinitely diverse consumer culture made possible by them seem to both foster and preserve liberalism in the political sphere.” If, as Fukuyama suggests, there are  “fundamental ‘contradictions’ of human life that cannot be resolved in the context of modern liberalism, that would be resolvable by an alternative political-economic structure,”3 diversity is not one of those contradictions. Rather, pluralism reinforces the “common ideological heritage of mankind,”4 while fascism’s resurgence around the globe and the popular embrace of nationalist identity are more of a contradiction in light of the realities of international markets. This is the turn of events that market utopians like Fukuyama failed to anticipate.

Rugoff never comes off as a utopian, given his pervasive air of weary detachment. Rather, the exhibition transmits how it feels to watch the ascent of Donald Trump and the unfolding catastrophe of Brexit from the “all-knowing,” cool remove of the contemporary art insider—omniscient, yet impotent, and unable to divest from toxic habits. George Condo, Sun Yuan and Peng Yu, Christian Marclay, and Arthur Jafa channel an anxiety bordering on panic. Construction, shipping, air travel, commerce, monuments, the body, gender—all once fixed as concepts in the Western imagination, with clearly associated positive values, are now invoked by artists such as Yin Xiuzhen, Nicole Eisenman, Slavs and Tatars, and Martine Gutierrez as hazardous, unstable, and volatile. Nowhere is this instability more evident than in the work of Mari Katayama, a Japanese artist whose self-portraiture tableaus tease the boundary between agency and objectification. These artists, more than the comparably straightforward representation advanced by artists like Zanele Muholi, Njideka Akunyili Crosby, or Gauri Gill, capture the zeitgeist of not just the show but the present time. Our historical moment is monumentally catastrophic, and the usual serious response to extremism doesn’t seem to be working. Instead, the images range from abject to absurd.

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Indios antropófagos: A Butterfly Garden in the (Urban) Jungle. Peru Pavilion, Venice Biennale 2019. Photo: Anuradha Vikram

Especially relevant are the artists who toy with the fetishization of Indigenous bodies and cultures for Western consumption. Within the main exhibition curated by Rugoff, Gutierrez situates her U.S.-born Latinx, trans body within a series of photographic landscapes, Body in Thrall, that challenge touristic notions of indigeneity, cultural authenticity, and romanticized poverty around non-white people. She occupies diverse personas, from a film noir femme fatale to the terrifying Aztec deity Tlazolteotl, “Eater of Filth,” always negotiating the high fashion aesthetics of desire with a subversive decolonial aggression. Similar themes and tactics appear in Indios antropófagos in the Peruvian Pavilion, curated by Gustavo Buntinx, in which historical artifacts from the Spanish colonial era and large mosaic tile works by Christian Bendayán depicting frolicking Indigenous youth come together in a scathing critique of cultural tourism. In the French Pavilion, curated by Martha Kirszenbaum, artist Laure Prouvost references the oceans and the sea life projected to die out by 2048, only 29 years into the future, with a number of glass animals seemingly cast into the sea floor, strewn across a landscape of refuse and discarded technologies.

Back in the real world, there’s no way to excise or sequester the beautiful parts into a future that can outlast the very real catastrophes happening now. The overwhelmingly urgent need for a complete lifestyle change played in my head over the week following my visit to the Biennale, as I recuperated from a difficult personal and professional year on a seven-day Greek Islands cruise with my young children, partner, and parents. Looking over the waters where thousands of migrants have drowned, from the top deck of a massive, yet outdated, luxury vessel, I considered how the looming climate crisis creates a condition of simultaneous enjoyment of the modern world that is all around us, and a mourning for its obvious and inevitable loss. Is this the end of curating? The traditional role of the curator as guardian of the world’s collected treasures seems as irrelevant as the contemporary job of mounting resource-heavy exhibitions for an international crowd of jet-setters. Conceptualism has begun to rot from the head, as when Rugoff controversially chose to include Christoph Büchel’s installation of a salvaged boat that, in 2015, sank in the Mediterranean with more than 800 people aboard. I reflected on this watery tomb, recommissioned as a tourist attraction, while looking out across Piraeus port. In the distance, a military troop (jointly operated by Italy and the European Union) performed exercises atop a warship in a city where anti-immigrant attacks are on the rise. In the seventeenth century, the Venetians gained and lost control of Athens in a rivalry with the Ottomans. Today, it seems the EU’s primary objective in the Mediterranean is to sever thousands of years of interconnection between these three regions. Two years ago, the regenerative promise of art as a universal cultural good was undermined when documenta 14 recreated the financial dynamics of German austerity policies in Athens, Greece afresh. Debts went unpaid, workers uncompensated, all in the name of “fiscal responsibility” that nearly shuttered the sixty-year-old event for good. What better outcome ought we to expect this year from an art event born out of universal nationalism?

Christine Wertheim

Halil Altindere, Space Refugee, 2016. May You Live in Interesting Times, Venice Biennale 2019. Photo: Anuradha Vikram

An explicitly utopian impulse is fugitive in May You Live in Interesting Times, but it manifests in the intersection of art, science, and technology. Margaret and Christine Wertheim’s Crochet Coral Reef raises awareness about preservation of the oceans through a crowdsourcing practice that combines mathematical learning with environmentalism and craft. Tavares Strachan’s meditation on African American astronaut Robert Henry Lawrence, Jr., locates metaphysical discourse about the afterlife within a scientific conversation about space travel—where elsewhere Halil Altindere complicates this view with the tale of Syrian cosmonaut Muhammed Ahmed Faris and his persecution by the state. Ryoji Ikeda bathes us in cleansing white light and describes a massive, thunderous universe of data that takes breathtaking shape before our eyes. Hito Steyerl’s This is the Future is a post-internet pastorale in which computer vision is applied to the Venetian landscape to depict a state of perpetual, dreamlike futurity in which the present persistently refuses to resolve into view. The protagonist of Steyerl’s installation seeks out a garden that she had previously hidden in the future in order to protect it from the ravages of the present.

The song of the Lithuanian Pavilion Sun & Sea (Marina) still rings in my ears:

“When my body dies, I will remain,
In an empty planet without birds, animals and corals.
Yet with the press of a single button,
I will remake this world again”

The finale of Sun & Sea (Marina) details the 3D printing of facsimiles of species in widespread collapse, taking comfort in their simulated resurrection as one would in the cold rays of a dying sun.

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Sun & Sea (Marina), Lithuanian Pavilion, Venice Biennale 2019. Photo: Anuradha Vikram

The gentle tenor of the apocalyptic visions in Sun & Sea (Marina) perfectly encapsulates the feeling of living at the outside edge of the story of the human species on planet Earth, with the knowledge that history as we know it may well be about to end because our species is one of millions undergoing collapse. The emptiness of our endeavors is invoked by Shilpa Gupta, whose wildly swinging metal gate hammers an effigy of national borders into a gallery wall. Otobong Nkanga’s drawings in acrylic on crayon reference the mechanical, industrialized nature of exploitation in the 21st century. Unlike the bees, whose society is organized around abundance, we humans have engineered systems to maximize our suffering. If humankind can truly lay claim to a common ideological heritage, as Fukuyama once argued, we have only ourselves to blame for our impending end.

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Gang members In Brazil Escape Death By Turning To Jesus Christ

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As the sound of gunshots grew closer, Janderson Viera knew that the rival gang that had taken over his neighborhood was coming for him.

Running to his bedroom, he called the only lifeline he had left: the Rev. Arnaldo Barros.

“I want to convert,” he said.

As gang wars drive Brazil’s homicide rate to historic highs, evangelical pastors — long revered in the nation’s slums and prisons — have come up with a new way to protect members looking for a way out.

Gang leaders say the only way to leave the business alive is to convert to Christianity. So Barros, a televangelist popular here in western Brazil, memorializes a gang member’s embrace of the ancient articles of faith using the most modern of tools: He records the conversion on his smartphone and posts the videos on YouTube, Facebook and WhatsApp. The converts gain immunity against retribution by rival gangs and their own.

Gang leaders and law enforcement officials say it works.

“We aren’t going to go against the will of God,” a local leader of the powerful Comando Vermelho, the gang that was pursuing Viera, told The Washington Post. “God comes first, above everything.”

“It’s become a nonviolent escape route,” agreed Lucas Gomes, the head of prisons here in Acre state. “A way to publicize, justify and explain the exit.”

Barros, meanwhile, keeps close watch on each new Christian to make sure the conversion sticks.

If it doesn’t, he lets the gangs know.

Gang violence has made Brazil one of the most dangerous countries in Latin America — killings nationwide reached a record 64,000 in 2017, and the death toll remains high.

The carnage, and the sense that the government wasn’t doing enough to stop it, helped right-wing populist Jair Bolsonaro get elected as president last year. The former military officer campaigned on promises to loosen gun ownership laws for private citizens and to give police more authority to shoot suspects.

That pitch resonated in Acre, where Bolsonaro won 77 percent of the vote, more than in any other state. The sparsely populated western state, wedged between Peru and Bolivia, is so often neglected by the federal government that Brazilians joke it doesn’t exist. But for the narcotrafficking gangs battling for control of Brazil’s profitable cocaine route, it has become hotly disputed turf.

The carnage, and the sense that the government wasn’t doing enough to stop it, helped right-wing populist Jair Bolsonaro get elected as president last year. The former military officer campaigned on promises to loosen gun ownership laws for private citizens and to give police more authority to shoot suspects.

That pitch resonated in Acre, where Bolsonaro won 77 percent of the vote, more than in any other state. The sparsely populated western state, wedged between Peru and Bolivia, is so often neglected by the federal government that Brazilians joke it doesn’t exist. But for the narcotrafficking gangs battling for control of Brazil’s profitable cocaine route, it has become hotly disputed turf.

The gang wars have transformed sleepy Rio Branco, a ­jungle-covered town of ramshackle houses and polluted canals, into one of Brazil’s most violent cities. The homicide rate in Acre’s capital rose to 64 per 100,000 in 2017, double that of the rest of the country.

Read The Rest f This Post On Washington Post

The post Gang members In Brazil Escape Death By Turning To Jesus Christ appeared first on Believers Portal.

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Girl, 13, bludgeons pregnant sister to death, rips baby from womb

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…on the orders of a woman, 35, who wanted the child for herself

…says she was sexually abused by sister’s husband

A 13-year-old girl has murdered her pregnant sister and her son before tearing the unborn baby from the womb on the orders of a 35-year-old woman who wanted to keep the baby for herself.

Fabiana Santana, 23, was eight months pregnant when the girl attacked her, Dailymail reports.

Santana’s seven-year-old son Gustavo was then drowned when he tried to save her in Porto Velho, Brazil.

READ ALSO: Mentally deranged man allegedly smashes 1yr old baby to death

The pregnant sister was bludgeoned around the head with an iron bar, leaving her face disfigured and stabbed to death.

Police say the 13-year-old girl carried out the attack with a 15-year-old boy on the orders of Catia Rabelo who masterminded the plan.

She was arrested on Wednesday after going on the run and has allegedly confessed to inciting the teenagers to commit the brutal killings.

It is believed Rabelo intended to trick her boyfriend, a gold prospector, into believing she had given birth to his child.

Remarkably, police found the baby alive in the care of the 15-year-old accomplice at his family’s home.

The 15-year-old’s mother, who was not present at the murders, had fled from the home.

The child, weighing 3.9lbs, is under observation at Porto Base Old Hospital and is in good health despite his horrifically violent birth.

The expectant mother and her son were reported missing by relatives after they failed to return from an evening out on October 18 with the teenage suspects.

READ ALSO: Doctor suspended after baby was born without a face

Mrs Santana body was found buried in a shallow grave on a vacant plot of land in Porto Velho three days later.

An autopsy report released on Friday suggests she may have been alive when her baby was cut from her womb with a knife.

Her young son was found floating in a man-made lake, less than 100 metres from where his mother was buried.

Investigators are also trying to substantiate allegations made by the adolescent girl against her deceased sister and a family member.

Police chief, Leisaloma Carvalho told FocusOn News: ‘The girl made a separate claim that she committed the crimes out of revenge because she was sexually abused by her sister’s husband and ill-treated by Fabiana who didn’t believe her stories.’ (Dailymail)

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