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2020.06.20 16:35 anoceandrop Tamil college girls hidden

𝟭. 𝗥𝗼𝗷𝗮(𝟭𝟵𝟵𝟮)
On 28 June 1991, K. Doraiswamy, an executive of the Indian Oil Corporation, was kidnapped by Kashmiri militants and put in captivity for two months. This inspired Mani Ratnam to make the film Roja. Doraiswamy's wife was fighting for his release, and according to Ratnam, it was her plight that the film was based on.
Filmmaker Mani Ratnam, coming off of a successful collaboration with music director Ilaiyaraaja, chose to work with a young composer called AS Dileep Kumar for the first time. When Roja hit screens, audiences heard the gentle melody of ‘Choti si Asha’, the thundering chorus of ‘Bharat Humko Jaan se Pyara hai’, the beautiful visuals painted by 'Yeh Haseen Vaadiyan', the fun cult classic track 'Rukkumani' Dileep became AR Rahman and Roja went on to be listed in Time magazine’s 10 Best Soundtracks of all time.
Roja starts out as a simple love story but soon transforms into an abduction tale. Ratnam’s Roja is a sweet-faced country girl who loves her blissful life. Her name means Rose.
Roja(1992) is also a contemporary adaptation of the story Savitri and Satyavan from the Indian epic Mahabharat set in the backdrop of the Kashmir conflict. The tale of Satyavan and Savitri is recited in the Mahabharat as a story of conjugal love conquering death. Satyavan is the soul carrying the divine truth of being within itself but descended into the grip of death and ignorance; Savitri is the divine word, daughter of the Sun, Goddess of the supreme truth who comes down and is born to save while Yama is the Lord of Death & Justice being responsible for the dispensation of law and punishment of sinners in his abode, Yamlok. In that sense Roja is allegorical, the characters are personified qualities from mythology.
The film traces the story of a woman (Savitri)Roja who marries (Satyavan)Rishi, a cryptologist working with R.A.W and fights a tenacious battle to rescue him from (Yama)Liaqat played by Pankaj Kapur. From then on, even as we're shown Roja battling on the sidelines, pleading with authorities to enable the release of her husband, she essentially becomes an idea - one that keeps Rishi alive and fighting. It was by making the audience invest their emotions in this couple thrown into a kind of violence that they've only read about in the newspapers that Mani Ratnam succeeded in bringing home the Kashmir conflict.
One could argue that the director paints too simplistic a picture while depicting the conflict in Kashmir depicting univocal shades of good & evil. But counter this with the fact that depicting the conflict in itself was an unprecedented brave attempt at the time. We see him correct this mistake in Dil se by portraying the other perspective in a more transparent manner.
The film also had many firsts, this was probably one of the first instances in Indian cinema involving someone (Arvind Swamy’s boss) talking about crypto — a series of cryptographic codes that had to be protected. It was also the first time that Kashmir’s fight for azaadi was shown on screen and the issue of militancy was addressed. Till that time terrorists in Indian cinema were residents of some unknown foreign land, in films like Karma or Tehelka. The most realistic aspect of the movie, in the original Tamil version at least, is that the woman needs an interpreter to translate for her and the authorities. Roja is a rural girl, who doesn't know any other language except Tamil, is suddenly thrown into a situation where no one understands her. Thus you have Hindi, English and Tamil, all being spoken in the same movie. In other words a Tamil movie with Hindi dialogues.
Roja’s success also lay in the fact that there was a rush of Mani Rathnam films that were quickly dubbed into Hindi and found a willing audience in the North. For example, the films Anjali (1990) and then later Thalapati (1991) whose dubbed version was released around 1993 were successful. His other films, Thiruda Thiruda (1994) and Bombay (1995), both were dubbed and released simultaneously in Hindi and Tamil.
Roja was the first film for which Ratnam used a Steadicam, in the shot that introduces the militants hideout to the audiences. The film was made on a shoestring budget. The technicians worked for less money with the understanding that the film would also be sold for less money. It was not thought of as something that would work on a big scale. The film was composed mostly of newcomers, a new music director, and it was about Kashmir which, according to Ratnam, not much was known about at the time. He called the film "a bit of an experiment". According to Ratnam, it was not originally planned as a political film: "It was a phase India was going through and these things affected me and found their way into my work."
Tamil Actress Aishwarya was initially offered the female lead, but declined it due to date issues. The role went to Madhoo. Aishwarya later revealed that she deeply regretted that decision, which was made by her grandmother against her will, for a Telugu film which was later cancelled. Ratnam approached Karisma Kapoor to play a Kashmiri girl, but he considered her "far too expensive for a Tamil film". In an August 2016 interview with Filmfare, Rahman recalled that he chose not to pursue education at Berklee College of Music because he got to work on Roja
Roja stars Arvind Swamy, Madhubala (Madhoo to Hindi cinema), Nasser, Janakaraj and Pankaj Kapur. A.R.Rahman who stormed the music industry with his debut, won the National award for best Music Director & cinematography was by Santosh Sivan. The film won three National Film Awards, including Best Film on National Integration, catapulting Ratnam to national acclaim. The film also gained international acclaim with its nomination for Best Film at the 18th Moscow International Film Festival. The film was later re-released for international audiences in light of the growing fear of terrorist attacks across the world. It is the first in Ratnam's trilogy of films that depict human relationships against a background of Indian politics
𝟮. 𝗕𝗼𝗺𝗯𝗮𝘆(𝟭𝟵𝟵𝟱)
Story of an inter-religious family in Bombay before & during the Bombay riots, which took place after the demolition of the Babri Masjid & led to religious tensions between Hindu & Muslim communities.
The soundtrack of the film became one of the best-selling Indian music albums of all time, with sales of 15 million units. The soundtrack was included in The Guardian's "1000 Albums to Hear Before You Die" list, and the song "Kehna Hi Kya" ("Kannalanae") sung by K S Chitra was included in their "1000 Songs Everyone Must Hear" list. The song "Hamma" was later reused in Ok Jaanu (2017) as "The Humma Song". "Bombay Theme" has appeared in various international films and music compilations, while "Kehna Hi Kya" and "Bombay Theme" have been sampled by various international artists.The lyrics for the Hindi and Telugu versions were written by Mehboob. The Hindi version includes Urdu lyrics.
During the recording of the background score of Mani Ratnam's Thiruda Thiruda (1993), the Bombay riots broke out. Mani Ratnam planned on making a film in Malayalam about a boy who gets lost in the riots, and requested M. T. Vasudevan Nair to write the script. But since the idea did not materialise, he decided to make it in Tamil and the film that would later be titled Bombay & dubbed in Hindi.
Nassar, a Muslim in real life, was cast as the father of Arvind Swamy's character (a Hindu) while Kitty, a Hindu in real life, was cast as the father of Koirala's character (a Muslim). Ratnam deliberately cast them in those roles as a statement. The demolition of the Babri Masjid was shown onscreen through newspaper headlines and photographs, as the Censor Board did not want the makers to show the actual destruction. Mani Ratnam described Bombay as "a positive film about communal harmony". He said the Bombay riots were not the main focus of the film, but "a helpless, innocent man caught up in violence not of his own making" was.
Hindi version of the film grossed ₹140 million as reported by Box Office India, making it one of the year's top ten highest-grossing Hindi films. It was screened at many international film festivals including the Philadelphia Film Festival in 1996 where it was an audience favourite. However, the film caused considerable controversy upon release in India and abroad for its depiction of inter-religious relations and religious riots. It was banned in Singapore and Malaysia upon release. It was ranked among the top 20 Indian films in the British Film Institute's rankings. It won the Gala Award at the 1996 Political Film Society Awards (United States), Special Award at the 2003 Jerusalem Film Festival (Israel), Wim Van Leer in Spirit for Freedom Award -Best Feature, 1995 Edinburgh International Film Festival (Scotland) & Nargis Dutt award for Best feature film on National integration.
In 1996, American critic James Berardinelli rated the film 3.5 out of 4 and said, "Largely because of their limited North American appeal and dubious quality, Indian movies are routinely ignored by distributors. Occasionally, however, a worthwhile picture causes enough people to take notice that it becomes a favorite on the international film festival circuit. One such movie is Bombay, the fourteenth feature from celebrated director Mani Rathnam." He concluded, "Director Rathnam has shown great courage in making this picture (bombs were thrown at his house after it opened in India), which speaks with a voice that many will not wish to hear. Bombay recalls how forceful a motion picture can be."
𝟯. 𝗗𝗶𝗹 𝗦𝗲 (𝟭𝟵𝟵𝟴)
Mani Ratnam had the inspiration for Dil Se from a Sufi song called 'Thayya Thayya' (the phrase is used as one of the songs) The two lovers are said to share the relation of God and devotee in the song. The film was first titled Ladakh - Ek Prem Kahani, but was later changed to Dil Se, as Mani Ratnam was of the opinion that a shorter title will have a stronger impact. The three protagonists are from the three corners of India, making a sort of a a literal cartographic triangle. While Meghna is from the north-east, Amar hails from Delhi. Preethi is from Kerala.
Dil se is Hindi language romantic thriller film set in the backdrop of the insurgency in Northeast India. Written by Ratnam and Tigmanshu Dhulia, the film is an example of parallel cinema & noted for its aspects of nonlinear storytelling, it was the final installment of Ratnam's thematic trilogy. It also marked Preity Zinta's film debut. Though the film was shot mainly in Hindi-language, director Mani Ratnam also dubbed and released the film in Tamil in the title Uyire.. ('Darling..')
Dil Se is said to be a journey through the seven shades of love that are defined in ancient Arabic literature. Those shades are defined as an Attraction, Infatuation, Love, Reverence, Worship, Obsession, and Death. The character played by Shahrukh Khan Radio broadcaster Aman Verma is attracted & infatuated by beguiling & mysterious Meghna, he passes through each shade during the course of the film.The film is a dramatization of the attraction between a character from the heart of India and another from a peripheral state and a representation of opposites in the eyes of the law and society.
One can also see shades of The Layla-Majnun theme in the film which is a story passed from Arabic to Persian, Turkish, and Indian languages. Majnun's story is that of a constant effort to woo Layla, wander the dessert surroundings upon facing rejection, consumed by her thoughts which turned to obsession, he ultimately faced a tragic end.
Amid moonlit desert dunes, there is a particularly stirring conversation between the leading pair; Amar reveals his love for Meghna's eyes – because of the world hidden behind them & hate for the same stunning eyes – because he can't see the world hidden behind them. Their unconventional and intense love flourishes amidst the political turmoil. Visually beautiful, passionate love that turns into obsession, soulful music, deft writing & direction, and artistic performances by the actors, help to bring the seven shades of love on celluloid quite convincingly. Dil Se is an unforgettable masterpiece.
Santosh Sivan's screenplay, Tigmanshu Dhulia's dialogues, Gulzar's lyrics and Rahman's music makes it a Contemporary Classic. Dil se is said to be one of Shahrukh Khan's best performances. As a love-lorn Amar, he convinces you to empathize and pray for a happy ending to his love story.
Mani, partnering with two other filmmakers – Shekhar Kapoor and RGV, came up with a new production house called India Talkies for Dil Se. Sadly, it was the first and last film produced by the company. Sameer Chanda (known for films like Guru, Omkara, Rang De Basanti and Raavan) and Wasiq Khan (known for his gritty realism in Anurag Kashyap films) were the production and art designers.Tigmanshu Dhulia was the casting director. Pia Benegal and Manish Malhotra were the costume designers.
Simran Bagga was Mani Rathnam's first choice for the role of Preeti Nair, Rani Mukherjee was then offered the role but she declined & Preity Zinta eventually accepted. The lead role of the militant was first offered to Kajol, who couldn't accept the offer due to date clashes. Manisha was subsequently signed.
The song "Chaiyya Chaiyya" was shot on top of the Nilgiri Express en route Ooty, Coonoor and Kotagiri, the train is particularly painted in brown for the song sequence. Mani, apparently did not have Malaika Arora in mind for the train dance, for which Shilpa Shirodkar was his first choice. After the team wasn't impressed with Shilpa's audition, they approached model Achala Sachdev, who could not adjust her dates. Malaika finally landed the part. Shah Rukh, who is usually prone to injuries, shot for the song without using any safety harness. Farah Khan had choreographed the song in 4 straight days. No camera tricks were used in the making.
Several action sequences in the film choreographed by Allan Amin were shot near Connaught Place, New Delhi, Rajpath and Old Delhi. Some of the parade scenes were shot during the celebrations of the 50th anniversary of India's independence. The film's shoot, which happened in Himachal Pradesh, Leh, Assam, New Delhi, Kerala, and Bhutan, was completed in 55 days as everything was thoroughly pre-planned.
The intense political references of the film with the trials of the Assamese on the India-China border, the love story and the fact that it coincided with the 50th Independence Anniversary celebrations became a major factor for its success overseas, particularly amongst the South Asian diaspora in the west. Even though Dil se performed poorly at the box office in India, the film today has achieved a cult following. It was a success overseas in the US and the UK becoming the first Indian film to enter the top 10 in the UK box office charts and it was also a hit in Japan. Even 2 months after its release in September 1998 the film was still screened on 5 screens, 5 times per day with an average of 3000 spectators across all screens in the Cineworld complex in Feltham, West London. The film won two National Film Awards while also receiving a special mention at the Netpac Awards. The film was included in Time Magazine's "Best of Bollywood" list in 2010.
Dil Se's soundtrack album, composed by ARR, became a huge hit for its era and sold six million units in India alone. The song "Chaiyya Chaiyya", based on Sufi music and Urdu poetry, became especially popular and the song has been featured in the film Inside Man, in the musical Bombay Dreams, and in the television shows Smith and CSI: Miami. The bass Guitar in Dil Se Re song was played by Guy Pratt, the Bass Guitarist of Pink Floyd post the Roger Waters era. For the song 'Jiya Jale, Jaan Chale' singer Lata Mangeshkar apparently had some problems reaching the higher octaves because of her age, and so ARR kept her voice as low as possible in the final track
After Iruvar (1997), Mani was all set to make Alaipayuthey with SRK and Kajol, and registered the title, Mast. But, after completing the recce, he dropped the film, as he was not happy with the script. After finishing Dil Se, he made the script of Alaipayuthey non-linear, and shot it as a Tamil film, which was remade in Hindi as Saathiya. SRK made up to this Hindi remake by appearing in a cameo.
𝙇𝙞𝙣𝙠: Decoding Mani Ratnam Scene Breakdown
Ref: Online articles
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2020.04.23 23:30 cooklanbrahh Tamil college girls hidden

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(2010) Die Another Day (2002) Die Ballade van Robbie de Wee (2013) Die Hard 4.0 (2007) Die Laaste Tango (2013) Die Ongelooflike Avonture van Hanna Hoekom (2010) Die Ontwaking (2016) Die Pro (2015) Die Rebellie van Lafras Verwey (2017) Die Seemeeu (2019) Die Sneeukoningin (3D) (2015) Die Sneeukoningin 2 (3D) (2016) Die Sneeukoningin 2 (2016) Die Sneeukoningin (2015) Die Spook van Uniondale (2014) Die Stropers (2018) Die Stropers (2019) Die Verhaal van Racheltjie de Beer (2019) Die Windpomp (2014) Die Wonderwerker (2012) Digimon (2001) Dil Bole Hadippa! (2009) Dil Chahte Hai (2001) Dil Dhadakne Do (2015) Dil Hai Tumhaara (2002) Dil Jo Bhi Kahey (2005) Dil Ka Rishta (2003) Dil Maange More (2005) Dil Ne Jise Apna Kaha (2004) Dil Toh Baccha Hai Ji (2011) Dilemma, The (2011) Dilwale Dulhania Le Jayenge (2005) Dilwale (2015) Dino Time (3D) (2013) Dino Time (2013) Dinosaurs Alive (2009) Dinosaurs: Giants of Patagonia (2007) Dinosaur (2000) Dirty Dancing: Havana Nights (2004) Dirty Grandpa (2016) Dirty Picture, The (2011) Dirty Pretty Things (2003) Dirty Shame, A (2005) Dirty Work (1999) Dis Ek, Anna (2015) Dis Koue Kos, Skat (2016) Disappearance of Eleanor Rigby: Them, The (2015) Disappointments Room, The (2017) Disaster Artist, The (2018) Disaster Movie (2008) Disconnect (2013) Discreet (2008) Disgrace (2009) Dishoom (2016) Dish, The (2001) District 13: Ultimatum (2010) District 9 (2009) Disturbia (2007) Disturbing Behavior (1999) Divergent Series: Allegiant (4DX), The (2016) Divergent Series: Allegiant (IMAX), The (2016) Divergent Series: Allegiant, The (2016) Divergent Series: Insurgent (3D)(IMAX), The (2015) Divergent Series: Insurgent (3D), The (2015) Divergent Series: Insurgent, The (2015) Divergent (2014) Divine Secrets of the Ya-Ya Sisterhood (2002) Diving Bell and the Butterfly, The (2008) Divorcing Jack (1999) Django Unchained (2013) Do Knot Disturb (2009) Do You Believe? (2015) Dobaara: See Your Evil (2017) Dobermann (1998) Doctor Sleep (2019) Doctor Strange (3D)(IMAX) (2016) Doctor Strange (3D) (2016) Doctor Strange (4DX) (2016) Doctor Strange (2016) Dodgeball: A True Underdog Story (2004) Dog's Journey, A (2019) Dog's Purpose, A (2017) Dog's Way Home, A (2019) Dogma (1999) Dogtown and Z-Boys (2002) Dogville (2004) Doing Time for Patsy Cline (1998) Dolittle (3D IMAX) (2020) Dolittle (3D) (2020) Dolittle (4DX) (2020) Dolittle (2020) Dolly ki Doli (2015) Dolphin Tale (3D) (2012) Dolphin Tale 2 (2014) Dolphin Tale (2012) Dolphins (2001) Domestic Disturbance (2002) Dominee Tienie (2019) Domino (2006) Don 2 (3D) (2011) Don 2 (2011) Don Jon (2014) Don't Be Afraid of the Dark (2011) Don't Breathe (2016) Don't Move (2005) Don't Say a Word (2002) Donnie Brasco (1997) Don (2006) Doomsday (2008) Doom (2005) Door in the Floor, The (2004) Dope (2015) Dora and the Lost City of Gold (4DX) (2019) Dora and the Lost City of Gold (2019) Dora's Peace (2016) Dorian Gray (2010) Dostana (2008) Dosti: Friends Forever (2005) Dot the I (2006) Double Dhamaal (2011) Double Jeopardy (2000) Double Take (2001) Double Team (1997) Doubt (2009) Doug's 1st Movie (1999) Down a Dark Hall (2018) Down in the Valley (2006) Down to Earth (2001) Down to You (2000) Down with Love (2003) Downfall, The (2005) Downsizing (2018) Downton Abbey (2019) Dr Agaki (1999) Dr Dolittle (1998) Dr T & the Women (2001) Dr. Cabbie (2014) Dr. Dolittle 2 (2001) Dr. Seuss' Horton Hears a Who! (2008) Dr. Seuss' The Lorax (3D) (2012) Dr. Seuss' The Lorax (2012) Dracula 2000 (2001) Dracula Untold (IMAX) (2014) Dracula Untold (2014) Dracula: Dead and Loving It (1997) Drag Me to Hell (2009) Dragonball: Evolution (2009) Dragonfly (2002) Dream Girl (2019) Dream House (2011) Dream Life of Angels, The (1999) Dreamcatcher (2003) Dreamer: Inspired by a True Story (2006) Dreamers, The (2004) Dreamgirls (2007) Dreaming of Joseph Lees (2000) Dredd 3D (2012) Dressmaker, The (2016) Dress, The (1997) Drillbit Taylor (2008) Drishyam (2015) Drive Angry 3D (2011) Drive Hard (2014) Drive Me Crazy (2000) Driven to Kill (2009) Driven (2001) Drive (1997) Drive (2011) Driving Lessons (2007) Drona (2008) Drop Dead Gorgeous (1999) Drop, The (2014) Drowning Mona (2001) Drumline (2003) Drum (2005) Duchess, The (2009) Duck Duck Goose (2018) Dude, Where's My Car (2001) Dudley Do-Right (1999) Due Date (2010) Duets (2001) Dukes of Hazzard, The (2005) Duke, The (2000) Dulha Mil Gaya (2010) Dum Maaro Dum (2011) Dumb and Dumber To (2014) Dumb and Dumberer: When Harry Met Lloyd (2003) Dumbo (3D IMAX) (2019) Dumbo (3D) (2019) Dumbo (2019) Dumplin' (2019) Dungeons & Dragons (2001) Dunkirk (IMAX) (2017) Dunkirk (2017) Duplex (2004) Duplicity (2009) Dus Kahaniyaan (2007) Dus (2005) Dying of the Light (2015)
submitted by cooklanbrahh to DigitalCodesFREE [link] [comments]


2020.04.23 23:14 cooklanbrahh Free Movies Digital Codes Giveaway Megathread #2 [VUDU, iTunes, Movies Anywhere 4K etc]

Generate codes at https://oppfiles.com/710511
B
B Monkey (1999)
B.A.P.S (1997)
BFG: Big Friendly Giant (3D), The (2016)
BFG: Big Friendly Giant, The (2016)
Baabul (2006)
Baadshaho (2017)
Baaghi 2 (2018)
Baaghi 3 (2020)
Baaghi: A Rebel for Love (2016)
Baahubali 2: The Conclusion (Hindi) (2017)
Baahubali 2: The Conclusion (Tamil) (2017)
Baahubali 2: The Conclusion (Telugu) (2017)
Baar Baar Dekho (2016)
Baarìa (2010)
Baazaar (2018)
Babalas (2013)
Babe: Pig in the City (1998)
Babel (2007)
Baby Boy (2001)
Baby Driver (4DX) (2017)
Baby Driver (2017)
Baby Geniuses (1999)
Baby Mamas (2018)
Babylon A.D. (2008)
Bachelor, The (1999)
Bachelor, The (2000)
Bachke Rehna Re Baba (2005)
Bachna Ae Haseeno (2008)
Back in Business (1997)
Back of the Moon (2019)
Back to Burgundy (2018)
Back to Gaya (2007)
Back-up Plan, The (2010)
Backtrace (2019)
Bad Boys II (2003)
Bad Boys for Life (4DX) (2020)
Bad Boys for Life (IMAX) (2020)
Bad Boys for Life (2020)
Bad Company (2002)
Bad Day on the Block (1998)
Bad Education (2005)
Bad Lieutenant: Port of Call - New Orleans, The (2010)
Bad Moms Christmas, A (2017)
Bad Moms (2016)
Bad Neighbours 2 (2016)
Bad Neighbours (2014)
Bad News Bears (2005)
Bad Santa (2004)
Bad Teacher (2011)
Bad Times at the El Royale (2018)
Badhaai Ho (2018)
Badlapur (2015)
Badla (2019)
Badmaash Company (2010)
Badrinath Ki Dulhania (2017)
Baggage Claim (2013)
Baghban (2003)
Bairavaa (2017)
Baise-Moi (2002)
Bait (2001)
Bajirao Mastani (2015)
Bajrangi Bhaijaan (2015)
Bakgat 2 (2010)
Bakgat! 3 (2013)
Bakgat! (2008)
Bala (2019)
Ballad of Jack and Rose, The (2005)
Ballade vir 'n Enkeling (2015)
Ballerina (3D) (2017)
Ballerina (2017)
Ballistic: Ecks vs. Sever (2002)
Balls of Fury (2007)
Balu — ABCDEFG (2005)
Balu Mahi (2017)
Bamboozled (2001)
Band Baaja Baaraat (2010)
Band's Visit, The (2008)
Bandits (2002)
Bandslam (2009)
Bang Bang Club, The (2011)
Bang Bang (2014)
Banger Sisters, The (2002)
Bangistan (2015)
Bangkok Dangerous (2008)
Banjo (2016)
Bank Job, The (2008)
Baran (2003)
Barbarian Invasions, The (2004)
Barber of Siberia, The (2004)
Barbershop 2: Back in Business (2004)
Barbershop: The Next Cut (2016)
Barbershop (2002)
Barbie in Princess Power (2015)
Barbie: Dolphin Magic (2017)
Bareilly Ki Barfi (2017)
Barely Lethal (2015)
Barfi! (2012)
Barney's Great Adventure (1998)
Barney's Version (2011)
Barnyard (2007)
Barrio (2000)
Barsaat (2005)
Bas Ek Pal (2006)
Based on a True Story (2018)
Basic Instinct 2 (2006)
Basic (2003)
Basquiat (1997)
Bastille Day (2016)
Batla House (2019)
Batman Begins (2005)
Batman and Robin (1997)
Batman v Superman: Dawn of Justice (3D)(IMAX) (2016)
Batman v Superman: Dawn of Justice (3D) (2016)
Batman v Superman: Dawn of Justice (4DX) (2016)
Batman v Superman: Dawn of Justice (2016)
Bats (2000)
Batti Gul Meter Chalu (2018)
Battle for Terra 3D (2010)
Battle of the Sexes (2017)
Battle of the Year (3D) (2013)
Battle of the Year (2013)
Battle: Los Angeles (2011)
Battlefield Earth (2000)
Battleship (2012)
Baywatch (2017)
Bbuddah... Hoga Terra Baap (2011)
Be Cool (2005)
Be Kind Rewind (2008)
Beach, The (2000)
Bean (1997)
BearCity (2010)
Beastly (2011)
Beasts of the Southern Wild (2012)
Beat the Drum (2006)
Beatriz at Dinner (2017)
Beaumarchais (1998)
Beautician and the Beast, The (1997)
Beautiful Boy (2011)
Beautiful Boy (2019)
Beautiful Country, The (2005)
Beautiful Creatures (2013)
Beautiful Day in the Neighborhood, A (2020)
Beautiful Joe (2002)
Beautiful Mind, A (2002)
Beautiful Planet (IMAX), A (2017)
Beautiful Thing (1997)
Beautiful (2001)
Beauty Shop (2005)
Beauty and the Beast (3D)(IMAX) (2017)
Beauty and the Beast (3D) (2017)
Beauty and the Beast (4DX) (2017)
Beauty and the Beast (2001)
Beauty and the Beast (2017)
Beauty and the Dogs (2017)
Beaver, The (2011)
Beavis and Butthead do America (1997)
Because I Said So (2007)
Because of Winn-Dixie (2005)
Becoming Jane (2007)
Bedazzled (2001)
Bedrooms and Hallways (1999)
Bedtime Stories (2009)
Bee Movie (2007)
Bee Season (2006)
Beefcake (1999)
Befikre (2016)
Before I Fall (2017)
Before I Go to Sleep (2014)
Before I Wake (2016)
Before Midnight (2013)
Before Night Falls (2001)
Before Sunset (2004)
Before We Go (2015)
Before the Devil Knows You're Dead (2007)
Before the Rains (2008)
Begin Again (2014)
Beginners (2011)
Behaving Badly (2014)
Behind Enemy Lines (1997)
Behind Enemy Lines (2002)
Behind the Candelabra (2013)
Behind the Rainbow (2008)
Behind the Sun (2003)
Being Cyrus (2006)
Being Flynn (2012)
Being John Malkovich (2000)
Being Julia (2005)
Beirut (2018)
Bel Ami (2012)
Believer, The (2002)
Bella (2008)
Belle Maman (1999)
Belle (2014)
Belly (1999)
Beloved (1999)
Below Her Mouth (2017)
Below (2003)
Ben 10: Alien Swarm (2010)
Ben Is Back (2018)
Ben-Hur (3D) (2016)
Ben-Hur (4DX) (2016)
Ben-Hur (2016)
Benchwarmers, The (2006)
Bend It Like Beckham (2002)
Beneath the Blue (2011)
Beneficiary, The (1997)
Bent (1998)
Beowulf (2007)
Bernie (2013)
Besharam (2013)
Besieged (1999)
Best Exotic Marigold Hotel, The (2012)
Best Laid Plans (1999)
Best Man Holiday, The (2014)
Best Man, The (2000)
Best Men (1998)
Best of Enemies, The (2019)
Best of Me, The (2014)
Better Life, A (2011)
Better Luck Tomorrow (2004)
Between Friends (2014)
Between Kings & Queens (2011)
Between Strangers (2004)
Beverly Hills Chihuahua (2008)
Beverly Hills Ninja (1997)
Bewafaa (2005)
Bewakoofiyaan (2014)
Bewitched (2005)
Beyoncé: Life is but a Dream (2013)
Beyond Borders (2004)
Beyond Silence (1999)
Beyond the Clouds (2018)
Beyond the Clounds (1997)
Beyond the Mat (2000)
Beyond the Reach (2015)
Beyond the River (2017)
Bhaag Milkha Bhaag (2013)
Bhagam Bhag (2006)
Bhai's Café (2020)
Bharat (2019)
Bhavesh Joshi Superhero (2018)
Bheema (2008)
Bhool Bhulaiyaa (2007)
Bhoomi (2017)
Bhoot Returns (3D) (2012)
Bhoot: Part One - The Haunted Ship (2020)
Bhoothnath Returns (2014)
Bhoothnath (2008)
Bhoot (2003)
Bicentennial Man (2000)
Big Daddy (1999)
Big Eyes (2015)
Big Fat Liar (2002)
Big Fellas (2007)
Big Fish (2004)
Big Game (2015)
Big Hero 6 (3D) (2014)
Big Hero 6 (2014)
Big Hit, The (1998)
Big Kahuna, The (2000)
Big Lebowski, The (1998)
Big Momma's House 2 (2006)
Big Momma's House (2000)
Big Mommas: Like Father, Like Son (2011)
Big Night (1997)
Big Nothing (2008)
Big Short, The (2016)
Big Sick, The (2017)
Big Stone Gap (2015)
Big Trip (3D), The (2019)
Big Trip, The (2019)
Big Trouble (2002)
Big Wedding, The (2013)
Big Year, The (2012)
Bigger Splash, A (2016)
Bigger (2020)
Bigil (2019)
Biker Boyz (2003)
Billa 2 (2012)
Billionaire Boys Club (2018)
Billu Barber (2009)
Billy Elliot (2001)
Billy Lynn's Long Halftime Walk (2017)
Bin Roye (2015)
Birdman (2015)
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (4DX) (2020)
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (IMAX) (2020)
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn (2020)
Birth of a Nation, The (2017)
Birthday Girl (2002)
Birth (2005)
Biutiful (2011)
BlacKkKlansman (2018)
Black & White (2008)
Black Book (2007)
Black Butterflies (2011)
Black Cat, White Cat (1999)
Black Dahlia, The (2006)
Black Dog (1998)
Black Friday (2007)
Black Hawk Down (2002)
Black Knight (2002)
Black Mass (2015)
Black Nativity (2013)
Black Panther (3D IMAX) (2018)
Black Panther (3D) (2018)
Black Panther (4DX) (2018)
Black Panther (2018)
Black Sea (2015)
Black Snake Moan (2007)
Black Swan (2011)
Black and Blue (2019)
Black and White (2000)
Black or White (2015)
Blackhat (2015)
Blackmail (2018)
Black (2005)
Blade II (2002)
Blade Runner 2049 (3D IMAX) (2017)
Blade Runner 2049 (3D) (2017)
Blade Runner 2049 (4DX) (2017)
Blade Runner 2049 (2017)
Blade: Trinity (2005)
Blades of Glory (2007)
Blade (1998)
Blair Witch Project, The (1999)
Blair Witch (2016)
Blank (2019)
Blast From the Past (1999)
Blast (1997)
Bleed for This (2017)
Blended (2014)
Bless the Child (2000)
Blessers (2019)
Blind Dating (2007)
Blind Side, The (2010)
Blinded by the Light (2019)
Blindness (2009)
Blindspotting (2019)
Bling Ring, The (2013)
Blinky Bill the Movie (2015)
Blitz Patrollie (2013)
Blockers (2018)
Blood Diamond (2007)
Blood Father (2016)
Blood Sport III (1997)
Blood Ties (2014)
Blood Work (2002)
Blood and Wine (1997)
Blood: The Last Vampire (2009)
Bloodmoon (1998)
Bloodshot (4DX) (2020)
Bloodshot (IMAX) (2020)
Bloodshot (2020)
Bloody Sunday (2003)
Blow (2001)
Blue Car (2003)
Blue Crush (2002)
Blue Jasmine (2013)
Blue Planet (2001)
Blue Story (2020)
Blue Streak (2000)
Blue Valentine (2011)
Blues Brothers 2000 (1998)
Blue (2009)
Bluff Master (2006)
Bobby Jasoos (2014)
Bobby Jones: Stroke of Genius (2005)
Body Shots (2000)
Body of Lies (2008)
Bodyguard (2011)
Body, The (2001)
Body, The (2019)
Boesman & Lena (2001)
Bogus (1997)
Bohemian Rhapsody (IMAX) (2018)
Bohemian Rhapsody (2018)
Boiler Room (2000)
Bol Bachchan (2012)
Bollywood Hollywood (2003)
Bollywood Queen (2003)
Bolt (2D) (2008)
Bolt (3D) (2008)
Bol (2011)
Bombay Velvet (2015)
Bombshell (2020)
Bone Collector, The (2000)
Bones (2002)
Boo! A Madea Halloween (2016)
Boogeyman (2005)
Boogie Nights (1998)
Book Club (2018)
Book Thief, The (2014)
Book of Eli, The (2010)
Book of Life (3D), The (2015)
Book of Life, The (2015)
Book of Shadows: Blair Witch 2 (2000)
Bookshop, The (2019)
Booksmart (2019)
Boondock Saints, The (2000)
Bootmen (2001)
Booty Call (1998)
Borat!: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006)
Bordertown (2008)
Born into Struggle (2005)
Born to Be Wild (IMAX) (2017)
Born to Win (2014)
Borrowers, The (1998)
Boss 'n Up (2006)
Boss Baby (3D), The (2017)
Boss Baby, The (2017)
Bossa Nova (2000)
Boss, The (2016)
Boss (2013)
Bottom of the 9th (2019)
Bounce Back, The (2017)
Bounce (2001)
Bound (1997)
Bounty Hunter, The (2010)
Bourne Identity, The (2002)
Bourne Legacy, The (2012)
Bourne Supremacy, The (2004)
Bourne Ultimatum, The (2007)
Bowfinger (1999)
Bowling for Columbine (2003)
Box of Moonlight (1997)
Boxer, The (1998)
Boxtrolls (3D), The (2014)
Boxtrolls, The (2014)
Box, The (2010)
Boy A (2008)
Boy Called Twist (2005)
Boy Next Door, The (2015)
Boy in the Striped Pyjamas, The (2008)
Boychoir (2015)
Boyhood (2014)
Boys Don't Cry (2000)
Boys From County Clare, The (2004)
Boys and Girls (2001)
Boys are Back, The (2010)
Boy, The (2016)
Brüno (2009)
Brad's Status (2018)
Brahmanda Nayagan (2018)
Brahms: The Boy II (2020)
Brassed Off (1997)
Bratz: The Movie (2007)
Brave (3D) (2012)
Brave One, The (2007)
Braven (2018)
Brave (2012)
Breach (2007)
Bread & Roses (2000)
Bread & Tulips (2001)
Break ke Baad (2010)
Break-Up, The (2006)
Breakaway (2011)
Breakdown (1997)
Breakfast on Pluto (2006)
Breakin' All the Rules (2004)
Breaking In (2018)
Breaking The Waves (1997)
Breaking Through (2015)
Breaking and Entering (2007)
Breakthrough (2019)
Breathe (2018)
Breed, The (2007)
Brick Lane (2008)
Brick Mansions (2014)
Brick (2006)
Bride & Prejudice (2004)
Bride Wars (2009)
Bride of Chucky (1999)
Bride of the Wind (2002)
Brideshead Revisited (2008)
Bridesmaids (2011)
Brides (2005)
Bridge of Spies (2015)
Bridge to Terabithia (2007)
Bridget Jones's Baby (2016)
Bridget Jones's Diary (2001)
Bridget Jones: The Edge of Reason (2004)
Bridge, The (2000)
Bright Star (2010)
Bright Young Things (2004)
Brightburn (2019)
Brighton Rock (2011)
Brimstone (2017)
Bring it On (2000)
Bringing Down the House (2003)
Bringing Out the Dead (2000)
Brokeback Mountain (2006)
Brokedown Palace (1999)
Broken Circle Breakdown, The (2014)
Broken City (2013)
Broken Embraces (2010)
Broken Flowers (2005)
Broken Hearts Club: A Romantic Comedy, The (2001)
Broken Promises 3: The Final Insult (2011)
Broken Promises 4-Ever (2018)
Broken Wings (2004)
Brooklyn's Finest (2010)
Brooklyn (2015)
Brother Bear (2004)
Brotherhood (2011)
Brothers Bloom, The (2009)
Brothers Grimm, The (2006)
Brothers, The (2001)
Brothers (2010)
Brothers (2015)
Brother (2002)
Brown Bunny, The (2004)
Brown Sugar (2003)
Bruce Almighty (2003)
Brylcreem Boys (1997)
Bubble Boy (2001)
Bucket List, The (2008)
Buddha Mar Gaya (2007)
Buena Vista Social Club (2000)
Buffalo 66 (1999)
Buffalo Soldiers (2004)
Bug's Life, A (1999)
Bugs! (2009)
Bullet to the Head (2013)
Bulletproof Monk (2003)
Bulletproof (1997)
Bullett Raja (2013)
Bullhead (2012)
Bully (2012)
Bulworth (1999)
Bumblebee (3D) (2018)
Bumblebee (4DX) (2018)
Bumblebee (2018)
Bunny Chow: Know Thyself (2007)
Bunty Aur Babli (2005)
Burlesque (2011)
Burn After Reading (2009)
Burning Plain, The (2009)
Burnt (2015)
Bus 657 (2015)
Business for Pleasure (1997)
Bustin' Chops: The Movie (2013)
Bustin' Down the Door (2008)
Butler, The (2013)
Butterfly Effect, The (2004)
Butterfly's Tongue (2000)
Butter (2013)
Bye Bye Man, The (2017)
Bypass (2017)
C
CHIPS (2017)
Cabin Fever (2004)
Cabin in the Woods, The (2012)
Cadillac Records (2009)
Café Society (2016)
Café de los Maestros (2009)
Cake (2007)
Cake (2015)
Cake (2018)
Calcutta Mail (2003)
Calendar Girls (2003)
Call Me by Your Name (2018)
Call of the Wild, The (2020)
Callas Forever (2004)
Call, The (2013)
Calvary (2014)
Camouflage (1999)
Campaign, The (2012)
Camp (2004)
Can You Ever Forgive Me? (2019)
Can You Keep a Secret? (2020)
Can't Hardly Wait (1998)
Candy (2006)
Canyons, The (2014)
Capernaum (2019)
Capote (2006)
Caprice's D'un Fleuve (1998)
Captain America: Civil War (3D)(IMAX) (2016)
Captain America: Civil War (3D) (2016)
Captain America: Civil War (4DX) (2016)
Captain America: Civil War (2016)
Captain America: The First Avenger (3D) (2011)
Captain America: The First Avenger (2011)
Captain America: The Winter Soldier (3D)(IMAX) (2014)
Captain America: The Winter Soldier (3D) (2014)
Captain America: The Winter Soldier (2014)
Captain Conan (1998)
Captain Corelli's Mandolin (2001)
Captain Fantastic (2016)
Captain Marvel (3D IMAX) (2019)
Captain Marvel (3D) (2019)
Captain Marvel (4DX) (2019)
Captain Marvel (2019)
Captain Phillips (2013)
Captain Underpants: The First Epic Movie (3D) (2017)
Captain Underpants: The First Epic Movie (2017)
Captive State (2019)
Captivity (2007)
Capturing the Friedmans (2005)
Caramel (2008)
Career Girls (1997)
Carmen in Khayelitsha (2005)
Carnage (2012)
Carol (2015)
Carpool (1997)
Carrie (2014)
Cars 2 (3D) (2011)
Cars 2 (2011)
Cars 3 (3D) (2017)
Cars 3 (2017)
Cars (2006)
Casanova (2006)
Case for Christ, The (2017)
Cash (2007)
Casino Royale (2006)
Cast Away (2001)
Castle, The (1998)
Cat in the Hat, The (2004)
Cat's Meow, The (2003)
Catch .44 (2012)
Catch Me If You Can (2003)
Catch That Kid (2004)
Catch a Fire (2007)
Catch and Release (2007)
Catching Feelings (2018)
Cats & Dogs: The Revenge of Kitty Galore (3D) (2010)
Cats & Dogs: The Revenge of Kitty Galore (2010)
Cats & Dogs (2001)
Cats (2019)
Catwoman (2004)
Caught Up (1999)
Caveman's Valentine, The (2001)
Cave, The (2006)
Celebration, The (2000)
Celebrity (1999)
Celeste and Jesse Forever (2012)
Cellular (2005)
Cell, The (2000)
Cell (2016)
Center of the World, The (2001)
Central Intelligence (2016)
Central Station (1999)
Centre Stage (2000)
Centurion (2010)
Ceremony (2011)
Chéri (2009)
Chaar Sahibzaade (2016)
Chak De India (2007)
Chakravyuh (2012)
Chalet Girl (2011)
Chalte Chalte (2003)
Chamber, The (1997)
Chameleon (2011)
Chameli (2004)
Chance Pe Dance (2010)
Chandni Chowk to China (2009)
Chandramukhi (2005)
Change-Up, The (2011)
Changeling (2009)
Changing Lanes (2002)
Chaos Factor (2000)
Chappaquiddick (2018)
Chappie (IMAX) (2015)
Chappie (2015)
Charlie Bartlett (2008)
Charlie St. Cloud (2010)
Charlie Wilson's War (2008)
Charlie and the Chocolate Factory (2005)
Charlie's Angels (4DX) (2019)
Charlie's Angels (IMAX) (2019)
Charlie's Angels: Full Throttle (2003)
Charlie's Angels (2000)
Charlie's Angels (2019)
Charlotte Gray (2002)
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Every weekday evening at around 9pm, in the Daily Mail’s headquarters in Kensington, west London, the slightly stooping, six-foot three-inch figure of Paul Dacre emerges into the main open-plan office where editors, sub-editors and designers are in the final stages of preparing pages for the next day’s paper. The atmosphere changes instantly; everyone becomes tense, as though waiting for a thunderstorm. Dacre begins with a low growl, like an angry tiger. His voice rises as several pages are denounced, along with those responsible. Imprecations reverberate across the office, sometimes punctuated by the strangely anomalous command to a senior colleague, “Don’t resist me, darling.” Pages must be replaced or redesigned, their order changed, headlines altered. New pictures are required with new captions. Dacre waves his long arms, hammers the air with his hands, shouts even louder and, if particularly agita­ted, scratches himself.
Nobody tries to argue. For all the fear and exasperation – “He never thinks of logistics and he has no idea of what’s an unreasonable request,” says one former sub-editor – there is also admiration. Dacre, Fleet Street’s best-paid editor, who earned almost £1.8m in 2012, has been in charge of the Mail since 1992 and, by general consent, is the most successful editor of his generation. The paper sells an average of 1.5 million copies on weekdays, 2.4 million on Saturdays. Only the Sun sells more but, on Saturdays, the Mail has just moved ahead. Its 4.3 million daily readers include more from the top three social classes (A, B and C1) than the Times, Guardian, Independent and Financial Times combined. Its long-standing middle-market rival, the Daily Express, slightly ahead when Dacre took over, now sells less than a third as many copies.
Under Dacre, the Mail has won Newspaper of the Year six times in the annual British Press Awards – twice as many prizes as any other paper. If anything, its authority and clout have grown in the past two years as Rupert Murdoch’s Sun has struggled with the fallout from the hacking scandal. Politicians no longer fear Murdoch as they once did. They still fear Dacre. The opposition from Murdoch’s papers to the government’s proposals that a royal charter should regulate the press is muted. Dacre’s Mail is loud and clear about the threat to “our free press”. Summoned twice before the Leveson inquiry – the second time because he had accused the actor Hugh Grant of lying in his evidence – he didn’t give an inch.
Everyone who has ever worked for Dacre, who has just passed his 65th birthday, praises his almost uncanny instinct for the issues and stories that will hold the attention of “Middle England”. No other editor so deftly balances the mix of subjects and moods that holds readers’ attention: serious and frivolous, celebrities and ordinary people, urban, suburban and rural, some stories provoking anger, others tears. No other editor chooses, with such unerring and lethal precision, the issues, often half forgotten, that will create panic and fear among politicians. “He’s the most consummate newspaperman I’ve ever met,” says Charles Burgess, a former features editor who also occupied high-level roles at the Guardian and Independent. “He balances the flow of each day’s paper in his head.”
“He articulates the dreams, fears and hopes of socially insecure members of the suburban middle class,” says Peter Oborne, the Mail’s former political columnist now at the Daily Telegraph. “It’s a daily performance of genius.”
But Murdoch’s decline leaves the Mail under more scrutiny than ever. Is Dacre at last running out of road? Rumours circulate in the national newspaper industry that members of the Rothermere family, owners of the Daily Mail, are increasingly nervous of the controversy that Dacre stirs up, notably this year with its attack on Ralph Miliband, father of the Labour leader, as “the man who hated Britain”. More than any other editor since Kelvin MacKenzie ruled at the Sun – and, among other outrages, alleged that drunkenness among Liverpool football fans led to the Hillsborough disaster of 1989 – Dacre attracts visceral loathing. His enemies see the Mail, to quote the Huffington Post writer and NS columnist Mehdi Hasan (who was duly monstered in the Mail’s pages), as “immigrant-bashing, woman-hating, Muslim-smearing, NHS-undermining, gay-baiting”.
The loathing is returned, with interest. In Dacre’s mind, the country is run, in effect, by affluent metropolitan liberals who dominate Whitehall, the leadership of the main political parties, the universities, the BBC and most public-sector professions. As he once said, “. . . no day is too busy or too short not to find time to tweak the noses of the liberal­ocracy”. The Mail, in his view, speaks for ordinary people, working hard and struggling with their bills, conventional in their views, ambitious for their children, loyal to their country, proud of owning their home, determined to stand on their own feet. These people, Dacre believes, are not given a fair hearing in the national media and the Mail alone fights for them. It is incomprehensible to him – a gross category error – that critics should be obsessed by the Mail’s power and influence when the BBC, funded by a compulsory poll tax, dominates the news market. It uses this position, he argues, to push a dogmatically liberal agenda, hidden behind supposed neutrality. Scarcely an issue of the Mail passes without a snipe and sometimes a full barrage in the news pages, leaders or signed opinion columns at BBC “bias”.
To its critics, however, the Mail is as biased as it’s possible to be, and none too fussy about the facts. In the files of the Press Complaints Commission, you will find records of 687 complaints against the Mail which led either to a PCC adjudication or to a resolution negotiated, at least partially, after the PCC’s intervention. The number far exceeds that for any other British newspaper: the files show 394 complaints against the Sun, 221 against the Daily Telegraph, 115 against the Guardian. The complaints will serve as a charge sheet against the Mail and its editor.
This year, the Mail reported that disabled people are exempt from the bedroom tax; that asylum-seekers had “targeted” Scotland; that disabled babies were being euthanised under the Liverpool Care Pathway; that a Kenyan asylum-seeker had committed murders in his home country; that 878,000 recipients of Employment Support Allowance had stopped claiming “rather than face a fresh medical”; that a Portsmouth primary school had denied pupils water on the hottest day of the year because it was Ramadan; that wolves would soon return to Britain; that nearly half the electricity produced by windfarms was discarded. All these reports were false.
Mail executives argue that it gets more complaints than its rivals because it reaches more readers (particularly online, where the paper’s stories are repeated and others originate), prints more pages and tackles more serious and politically challenging issues. They point out that only six complaints were upheld after going through all the PCC’s stages and that the Sun and Telegraph, despite fewer complaints, had more upheld. But the PCC list, though it contains some of the Mail’s favourite targets such as asylum-seekers and “scroungers”, merely scratches the surface. Other complainants turned to the law. In the past ten years, the Mail has reported that the dean of RAF College Cranwell showed undue favouritism to Muslim students (false); the film producer Steve Bing hired a private investigator to destroy the reputation of his former lover Liz Hurley (false); the actress Sharon Stone left her four-year-old child alone in a car while she dined at a restaurant (false); the actor Rowan Atkinson needed five weeks’ treatment at a clinic for depression (false); a Tamil refugee, on hunger strike in Parliament Square, was secretly eating McDonald’s burgers (false); the actor Kate Winslet lied over her exercise regime (false); the singer Elton John ordered guests at his Aids charity ball to speak to him only if spoken to (false); Amama Mbabazi, the prime minister of Uganda, benefited personally from the theft of £10m in foreign aid (false). In all these cases, the Mail paid damages.
Then there are the subjects that the Mail and other right-wing papers will never drop. One is the EU, which, the Mail reported last year, proposed to ban books such as Enid Blyton’s Famous Five series that portray “traditional” families. Another is local authorities, forever plotting to expel Christmas from public life and replace it with the secular festival of Winterval. It does not matter how often these reports are denied and their flimsy provenance exposed; the Mail keeps on running them and its columnists cite them as though they were accepted wisdom.
The paper gets away with publishing libels and falsehoods and with invasions of privacy because the penalties are insignificant. Often the victims can’t afford to sue and, if they can, the Mail group, with £282m annual profits even in these straitened times, can live with the costs. The PCC, even when its rules allow it to admit a complaint, has no powers to impose fines or to stipulate the prominence of corrections.
Besides, many victims don’t pursue complaints because they fear the stress of going to war with a powerful newspaper. They included the late writer Siân Busby who, the paper wrote in 2008, had received “the all-clear from lung cancer” after “a gruelling year”. In fact, the diagnosis had come less than six months earlier and she hadn’t received the “all-clear”. More important, as her husband, the BBC journalist Robert Peston, explained in the James Cameron Memorial Lecture in November this year, she wanted to keep the news out of the public domain to protect her children.
“The Mail got away with it,” Peston said. “As it often does.” (The Mail, in a statement after the lecture, said the information had been obtained from Busby herself and that the reporter had identified himself as a Mail writer.) In his 2008 book Flat Earth News, the Guardian journalist Nick Davies compared the paper to a footballer who, to protect his goal, will deliberately bring down an opponent. “Brilliant and corrupt,” Davies wrote, “the Daily Mail is the professional foul of contemporary Fleet Street.”
Even a list of official complaints and court cases doesn’t quite capture why the Mail attracts such fear and loathing. It has a unique capacity for targeting individuals and twisting the knife day after day, without necessarily lapsing into inaccuracies that could lead either to libel writs or censure by the PCC. For instance, as publication of the Leveson report on press regulation approached, the Mail devoted 12 pages of one issue – and several more pages of subsequent issues – to an “exposure” of Sir David Bell, a name then almost entirely unknown even to well-informed members of the public. A Leveson assessor and former Financial Times chairman, Bell was allegedly at the centre of a “quasi-masonic” network of “elitist liberals”, bent on gagging the press and preventing freedom of expression. This network, based on the “leadership” training organisation Common Purpose, had spawned the Media Standards Trust, of which Bell was a co-founder, which in turn had spawned the lobby group Hacked Off, an important influence on Leveson. To the Mail, this was a perfect illustration of how well-connected liberals, through networks of apparently innocuous organisations, conspire to undermine national traditions and values.
The paper also targets groups, often the weak and vulnerable. The Federation of Poles in Great Britain complained to the PCC that the Mail ran 80 headlines between 2006 and 2008 linking Poles to problems in the NHS and schools, unemployment among Britons, drug smuggling, rape and so on. Most of the stories, as the federation acknowledged, were newsworthy and largely accurate. The objection was to the way they were presented and to the drip, drip effect of continually highlighting the Polish connection so that, as the federation’s spokesman put it, the average reader’s heart “skips a beat . . . with either indignation or alarm”. The PCC eventually brokered a settlement that led to publication of a letter from the federation.

Yet there is something magnificent about the Mail’s confidence and single-mindedness. Other papers, trimming to focus groups, muffle their message, but the Mail projects its world-view relentlessly, with supreme technical skill, from almost every page. It is a paper led by its opinions, not by news. It is not noted for big exclusives, nor even for rapid reaction. “We were often known as the day-late paper,” a former reporter recalls. “Dacre wouldn’t really be interested in a story until he’d seen it somewhere else. We would sometimes give our exclusives to other journalists. Dacre surveys all the other papers, selects the right lines for the next day and follows them.”
Although Dacre has little enthusiasm for new technology – he still doesn’t have a computer on his desk – his paper is perfectly primed for the age of instant 24-hour news, when the challenge is not so much to find and report news as to select, interpret and elaborate on it. Long before other papers recognised the merits of a features-led or views-led approach, the Mail under Dacre was doing it.
The Mail gives its readers a sense of belonging in an increasingly complex and unsettling world. Part of the trick is to make the world seem more threatening than it is: crime is rising, migrants flooding the country, benefit scroungers swindling the taxpayer, standards of education falling, wind turbines taking over the countryside. Almost anything you eat or drink could give you cancer. Above all, the family – “the greatest institution on God’s green earth”, Dacre told a writer for the New Yorker last year – is under continuous assault. The Mail assures readers they are not alone in their anxieties about this changing world. It is a paper to be read, not on trains or buses or in offices, but in the peace and quiet of your home, preferably with an old-fashioned coal fire blazing in the hearth.
“Readers like certainty,” says a former Mail reporter. “Newspapers that have a wavering grip on their ideology are the ones that struggle. The Mail is like Coke. It’s consistent, reliable. Dacre is one of the best brand managers in the business. He lives the brand.”
Dacre lives mostly in the shadows. His two appearances before the Leveson inquiry gave the wider public a rare glimpse; apart from Desert Island Discs in 2004, he never appears on television or speaks on radio. If the Mail needs to defend itself (and it deigns to do so only in the most desperate circumstances), the job is assigned to an underling. Requests for on-the-record interviews are invariably refused, as they were for this article. A rare exception was made for the British Journalism Review, whose then editor, Bill Hagerty (a former editor of the People), in­terviewed Dacre in the tenth year of his editorship. There was also that audience with the New Yorker last year. Public lectures are equally unusual for him, though he gave the Cudlipp Lecture (in memory of Hugh Cudlipp, a Daily Mirror editor who was an early hero of his) in 2007, and addressed the Society of Editors in 2008.
Even former staff members mostly prefer not to be quoted when talking about Dacre. If they agree to be quoted, they wish the quotations to be checked with them before publication. BBC Radio 4 used actors for several contributions to a recent profile. The journalists’ fear is not only that they may be cut off from future employment or freelance work – “The Mail pays far better than anybody else and you don’t want to jeopardise the £2,000 cheque that might drop through the letter box,” said one writer – but also that the Mail may hit back. These concerns are shared by many politicians, who are equally reluctant to be quoted.
Dacre has few social graces and even less small talk. His body language is awkward, his manner prickly. He seldom smiles and, according to one ex-columnist, “He doesn’t laugh, he just says, ‘That’s a funny remark.’” He treats women with old-fashioned courtliness, opening doors and helping them with coats, but is otherwise uncomfortable with them, perhaps because he was one of five brothers, went to an all-male school and has no daughters. He speaks gruffly, with a slight north London accent and an even fainter trace of his father’s native Yorkshire. He sometimes buries his rather florid face deep in his hands, as though exasperated with the world’s inability to share his simple, common-sense values. He became notorious for the ripeness of his language – so frequent was his use of the C-word, almost entirely directed at men, that his staff referred to “the vagina monologues” – but when Charles Burgess told him women didn’t like hearing it he was profusely apologetic. On Desert Island Discs, he confessed to shouting at staff. “Shouting creates energy,” he said. “Energy creates great headlines.”
He still shouts, but in recent years, as an insider reported, “He’s no longer the expletive volcano he once was; his barbs these days tend to concern the brainpower of his target and their supposed laziness.”
He owns three properties: a home with a mile-long drive in West Sussex (known to Mail staff as Dacre Towers), a more modest weekday residence in the central London district of Belgravia and a seven-bedroom house in Scotland with a 17,000-acre shooting estate. He is a member of the Garrick Club, and sometimes takes columnists to lunch at Mark’s Club in Mayfair, which one recipient of his hospitality described as “very decorous, the sort of place you could have gone to in the 19th century”. He sent both of his sons to Eton.
There are no stories of past or present indiscretions involving women, alcohol or drugs. Jon Holmes, a contemporary at Leeds University who is now a sports agent, recalls him as “a very cold fish; he never, ever, seemed to go out in a group for a drink or a meal or anything”. A former Mail reporter says: “We’d all be in the Harrow [a Fleet Street pub, heavily frequented by Mail journalists], and he would come in, buy a half-pint, take it to the opposite end of the bar, drink alone, and leave without speaking.”
He has an apparently stable and successful marriage to a woman he met at university, which has lasted 37 years. He frequently attends Church of England services, but is not a believer. He likes and sometimes goes out to rugby union matches, the opera and theatre – the last partly because his wife, Kathleen Dacre, is a professor of theatre studies and partly because he has a son who is a successful director and producer with surprisingly avant-garde leanings. Asked what television he watched, he once mentioned Midsomer Murders and nothing else.
He mostly eschews the trappings and opportunities of wealth and power. It is impossible to imagine him as a member of the Chipping Norton set or anything like it. He rarely dines or lunches with the powerful or fashionable, nor does he attend glitzy parties and social events. Frequently, he lunches in his office on meat and two veg. Sometimes he will lunch with politicians, but he has little respect or liking for them as a class and thinks it wise to keep his distance; Oborne recalls how, one evening, he ignored at least five increasingly urgent requests to take a call from a senior Tory minister. He declines nearly all invitations to sit on committees; his chairmanship of an official inquiry into the “30-year rule” (under which Whitehall records were kept secret for three decades) was unusual. “Editorship is not for him a route to something else,” says a former employee.

Dacre was born and spent much of his childhood in Enfield, an unremarkable middle-class suburb of north London whose inhabitants, he told the New Yorker, “were frugal, reticent, utterly self-reliant and immensely aspirational . . . suspicious of progressive values, vulgarity of any kind, self-indulgence, pretentiousness and people who know best”. Though his parents divorced late in life, his family was then (at least in his eyes) stable, happy and secure.
But the more important clue to him and his relationship with the Mail’s Middle England readership is the Sunday Express of the 1950s and 1960s under the editorship of John Gordon and then John Junor. “That paper,” Dacre told the Society of Editors, “was my journalistic primer . . . [It] was warm, aspirational, unashamedly traditional, dedicated to decency, middlebrow, beautifully written and subbed, accessible, and, above all, utterly relevant to the lives of its readers.” Talking to Hagerty, he described Junor’s Sunday Express as “one of the great papers of all time”.
After leaving school in Yorkshire at 16, his father, Peter Dacre, joined the Sunday Express at 21 and stayed there for the rest of his working life – mainly as a show-business writer but also, for short periods, as New York correspondent and foreign editor. Each Sunday that week’s paper was discussed and analysed over the Dacre family dinner table.
It was then in its heyday, selling five million copies a week, and it didn’t go into severe decline (it now sells under 440,000) until the 1980s. It was a formulaic paper, which placed the same types of stories and features in exactly the same spots week after week. As Roy Greenslade observes in Press Gang, his post-1944 history of national newspapers, it was “virtually devoid of genuine news”; what it presented as news stories were really quirky mini-features, starting, as Greenslade put it, “with lengthy scene-setting descriptions or homilies”. Its staple subjects were animals, motor cars and wartime heroes. Its biggest target was “filth”, in the theatre, the cinema, books, magazines and TV programmes.
It particularly deplored any assault on the delicate sensibilities of children. Dacre’s father criticised the BBC in 1965 for the unsuitable content of its Sunday teatime serials. Lorna Doone, he wrote, ended “gruesomely”, with a man drowning in a bog, and in the first episode of a spy serial the actors used such expressions as “damn”, “hell” and “silly bitch” at a time supposedly reserved for “family viewing”. “Have the men responsible for these programmes,” asked the elder Dacre, “forgotten that there can be no family without children? What kind of men are they? Do they have families of their own?” Another piece denounced the BBC’s Sunday evening play for “an overdose of twisted social conscience”.
The young Dacre was hooked by newspapers. He only ever wanted to be a journalist and he always had his eyes on editing: “I’m a good writer, but not a great writer,” he told Hagerty. As a child in New York, during his father’s posting there, he would wake to the clattering of the ticker-tape telex machine outside his bedroom. In school holidays, he worked as a messenger for Junor’s Sunday Express and then spent a gap year before university as a trainee on the Daily Express. At the fee-charging University College School in Hampstead, north London, he edited the school magazine, and once ran, he told the Society of Editors, “a ponderous, prolix and achingly dull” special issue about the evangelist Billy Graham. It “went down like a sodden hot cross bus”, teaching him the essential lesson, which the Mail remembers every day on every page, that the worst sin in journalism is to be boring.
To his disappointment, his application to Oxford University failed. He went instead to Leeds, where he read English and edited Union News, taking it sharply downmarket from, in his own description, “a product that looked like the then Times on Prozac” to one that ran “Leeds Lovelies” on page three. It won an award for student newspaper of the year. The paper supported a sit-in (led by the union president, Jack Straw, later a Labour cabinet minister), interviewed a student about “the delights of getting stoned”, wrote sympathetically about gay people, immigrants and homeless families, and called on students to help in “breaking down the barriers between the coloured and white communities of this town”. At the time, he subsequently claimed, he was left-wing, though Jon Holmes, who worked on Dacre’s Union News, says: “I never heard him express a political view except in favour of planned economies for third-world, though not first-world, countries.”
His left-wing period, as he calls it, continued until the Daily Express, which he joined as soon as he left Leeds, sent him to America in 1976. He stayed there for six years, latterly working for the Mail. “America,” Dacre told Hagerty, “taught me the power of the free market . . . to improve the lives of the vast majority of ordinary people.”
The Mail brought him back to London in the early 1980s and made him news editor. According to various accounts, he would “rampage through the newsroom with arms flailing like a windmill”, shouting “Go, paras, go” as he despatched reporters on stories. He climbed the hierarchy until in 1991 he became the editor of the London Evening Standard, then owned, like the Mail, by the Rothermeres’ Associated Newspapers. Circulation rose by 25 per cent in 16 months and Rupert Murdoch sounded him out about the Times editorship. To stop him leaving, the Mail editor David English resigned his chair, recommended that Dacre should replace him, and moved “upstairs” as editor-in-chief, another title that Dacre eventually inherited after English died in 1998.
Dacre’s editorship has been more successful than his mentor’s but most staff do not love him as they did English. English, though capable of great coldness to those who fell into disfavour and no less likely to fly off the handle, had charm and charisma. “He would be delighted when you rang,” a former foreign correspondent says, “and he’d want to gossip and know about everything that was going on. Sometimes we’d talk for an hour. But Paul doesn’t give good phone.”
He will invite writers into his office, push a glass of champagne into their hands and start saying their latest story is rubbish even as he does so. “And you hardly got time to finish the bloody drink,” a former reporter complains. A former executive says: “His track record for creating columnists is nil. He buys them up from elsewhere. He doesn’t home-grow talent because he doesn’t nurture and praise it. That’s where he’s unlike English.”
Dacre is a passionate and emotional man. Though the story that he sometimes sheds tears as he dictates leaders is probably apocryphal, nobody who has worked with him doubts that he is sincere in the views he and the Mail express. “He’s not an editor who wakes up in the morning and wonders what he should be thinking today,” says Simon Heffer, a Mail columnist. Another columnist, Amanda Platell, a former editor of the Sunday Mirror and press secretary to William Hague during his leadership of the Conservative Party, says: “When I was an editor, I had to second-guess my readership because they weren’t my natural constituency. Paul never has to do that.”
But while his views are mostly right-wing, he is not a reliable ally for the Conservative Party, or for anyone else. This aspect of his way of working is little understood. More than most editors, it can be said of him that he is in nobody’s pocket, not even his proprietor’s. He inherited from English a paper that was slavishly pro-Tory (“David was always in and out of No 10,” said a long-serving Mail editor), firmly pro-Europe and read mainly by people in London and the south-east. Dacre changed the politics of the paper and the demographics of its audience. Today, it is resolutely – some would say hysterically – Euro­sceptic and a far higher proportion of its readership is from Scotland and the English north and midlands. The Mail has ceased to take its line from Tory headquarters or to act as a mouthpiece for Conservative leaders. Indeed, every Tory leader since Margaret That­cher has fallen short of Dacre’s exacting standards. That applies particularly to John Major and David Cameron. According to a former columnist, Dacre regards the latter as “brash, shallow, unthinking and self-advancing” and he takes an equally jaundiced view of Boris Johnson. Twice he backed Kenneth Clarke for the party leadership, despite Clarke’s enthusiasm for the EU.
Clarke is a model for the politicians Dacre generally favours even if he disagrees with most of what they say: earthy, authentic, unpretentious, consistent in their values. Jack Straw and David Blunkett – both, like Clarke, from humble backgrounds – are other examples. For a time, Dacre took a relatively kindly view of Tony Blair, having been impressed by the future prime minister’s “tough on crime” approach as shadow home secretary. But he was always suspicious of Blair’s socially liberal views on marriage, gays and drugs and he told Hagerty that once Labour attained power, he saw the new government as “manipulative, dictatorial and slightly corrupt”. He wished, he added, that Blair had “done as much for the family as he’s done for gay rights”.
Gordon Brown, however, was smiled upon as no other politician had ever been. The two men developed a strange friendship, involving meals together and walks in the park, which one Mail columnist described to me as “the attraction of the two weirdest boys in the playground”. Brown, Dacre told Hagerty, was “touched by the mantle of greatness . . . he is a genuinely good man . . . a compassionate man . . . an original thinker . . . of enormous willpower and courage”. At a Savoy Hotel event to celebrate Dacre’s first ten years as editor, Brown was almost equally effusive, describing the Mail editor as showing “great personal warmth and kindness . . . as well as great journalistic skill”. “We tried to tell Dacre,” says a former Mail political reporter, “that Brown was not a very good chancellor and the economy would implode eventually. But frankly, Dacre has poor political judgement. They were united by a mutual hatred of Blair. Both are social conservatives; they’re both suspicious of foreigners; they both have a kind of Presbyterian morality. Dacre would say that Brown believes in work. It’s typical of him that he seizes on a single word as the key to his understanding of someone else.”
It is inconceivable that the Mail would ever back a party other than the Conservatives in a general election, but Dacre’s support can be cool, as it was in 1997 and 2010. Although he described himself to Hagerty as “a Thatcher­ite politically” and though self-made entrepreneurs are among the few people who can expect favourable coverage in the Mail, Dacre is, to most neoliberals, a tepid and inconsistent supporter of free enterprise. Nor is he a neocon. The Mail opposed overseas military interventions in Iraq, Libya and Syria. It has denounced Guantanamo Bay, extraordinary rendition and torture. It may be hard on immigrants and benefit scroungers, but it is often equally hard on the rich and famous, pursuing overpaid bosses of public-service utilities to their luxurious homes, exposing “depravity” among the well-heeled and high-born, and rarely treating TV and film celebrities with the deference that is the staple fare of other tabloids.
Many Mail campaigns have centred on liberal or environmental causes: lead in petrol, plastic bags, secret justice, the extradition to the United States of the hacker Gary McKinnon, and so on. For a time, the Mail furiously campaigned to stop Labour deporting failed (black) asylum-seekers to Zimbabwe, even though, almost simultaneously, it was berating ministers for allowing too many illegal immigrants to stay. Other campaigns, such as those against internet porn and super-casinos (both of which influenced government action), though reflecting the Mail’s conservative social agenda, highlighted issues that concern many on the left.
Dacre’s most celebrated campaign, which even some of his enemies regard as his finest hour, was to bring the killers of Stephen Lawrence to justice. In 1997, over the five photographs of those he believed were responsible, he ran the headline “MURDERERS” and, beneath it, asserted: “The Mail accuses these men of killing. If we are wrong, let them sue us”.
It was hugely courageous, but did it exonerate the Mail from accusations of racism? Critics point out that the paper rarely features black people except as criminals, though this is not exceptional for the nationals. The “soft” features on women, fashion, style and health are illustrated almost entirely by white faces and bodies.

Dacre’s somewhat belated support for the Lawrence campaign was prompted by a personal connection: Neville Lawrence, Stephen’s father, had worked as a decorator on Dacre’s London house of the time, in Islington. The Mail’s campaign, critics argue, was based on substituting one frame of prejudice for another. Young Stephen eschewed gangs and drugs, did his homework and wanted to go to university. His parents were married, aspirational and home-owning. In everything except skin colour, the Law­rence family represented Middle England, while his white alleged killers were low-class yobs who threatened the safety of all res­pectable folk.
In that, as in much else, Dacre’s Mail recalls 1950s Britain, which rather patronisingly welcomed migrants from Asia and the Caribbean as long as they behaved as though they and their ancestors were English. “If you’re in twinset and pearls, your colour is irrelevant,” says a former Mail journalist. “And Dacre’s attitude to gays changed when he realised it’s possible to be an extremely boring gay person.”
The Mail’s attitudes to drugs are also redolent of the 1950s. Writing about the disgraced Co-operative Bank chairman Paul Flowers, Stephen Glover – the Mail columnist whose views, according to insiders, track Dacre’s most closely – criticised commentators who “concentrated on his financial unsuitability”, placing “relatively little emphasis” on his “moral turpitude”.
Most of all, the Mail seems determined to uphold the 1950s ideal of womanhood: the stay-at-home mother who dedicates herself to homemaking and prepares a cooked dinner for her husband on his return home every night. That, the paper’s defenders say, is something of a caricature of the Mail’s position. It objects not so much to working mothers as to middle-class feminists who insist that women can “have it all”. English aimed at turning the Mail into “the women’s paper”, and succeeded: it became the only national newspaper where women accounted for more than half the readership. That remains true, and yet Dacre sometimes seems determined to drive them away. The paper subjects women’s bodies, clothes and deportment to relentless and detailed scrutiny, and often finds them wanting, particularly in the thigh and bottom department. It gives prominent coverage to research that warns of the negative effects of working mothers on children’s lives.
The Mail’s poster girl is Liz Jones, the columnist and fashion editor celebrated for her self-hatred and misery. “She has so much,” says another Mail journalist, “lots of money, expensive houses, the newest clothes. But she’s never had a child, she hasn’t kept hold of a man, and she’s unhappy. The message is: it’s what happens to you, girls, if you pursue worldly success. You can succeed but, oh boy, you will suffer for it.”
The Mail’s punishing hours, requiring news and features executives to stay at the office until late into the evening (not uncommon in national newspapers), and its largely unsympathetic attitude to part-time employment make it an unfriendly environment for working mothers. When Dacre took over at the Mail, he immediately appointed a female deputy, which, said another woman who then had a senior role in the group, “was quite a statement”. But the paper now has few women in its most senior positions, other than the editor of Femail (though sometimes even that post is occupied by a man), and few staff have young children.
Yet in some respects, the Mail, even though it does not recognise the National Union of Journalists, is a good employer. Unlike the Mirror, it is not under a company ruled by accountants who single-mindedly seek “efficiencies”. Unlike the Times and the Sun, it does not have a proprietor who touts his papers’ support to the highest bidder. Unlike the Guardian and Independent, it is not beset by financial problems. The pro­prietor, Viscount (Jonathan) Rothermere, whose great-grandfather Harold Harms­worth founded the paper with his brother Alfred in 1896, allows his editors wide freedom, as did his father, Vere Rothermere, who appointed Dacre. The Mail, alone among national newspapers, has had no significant rounds of editorial redundancies in recent years and its staffing levels (it employs about 400 journalists) are comparable to what they were a decade ago.
Dacre’s paper is his sole domain; MailOnline is run separately (though Dacre, as editor-in-chief, has oversight) and although the website carries all daily and Sunday paper stories, much of its content is self-generated and the editorial flavour is distinct. Dacre demands, and mostly gets, a generous budget, paying high salaries for established editorial staff and columnists and high fees for freelance contributors. Journalists are driven hard but, at senior levels in particular, they rarely leave, not least because Dacre is as loyal to them as they mostly are to him. Outright sackings are rare and nearly always accompanied by large payoffs.
Those who do leave often reach the top elsewhere. The current editors of both Telegraph papers – Tony Gallagher at the daily and Ian MacGregor at the Sunday – are former Mail executives.
Despite more than two decades at the helm, Dacre shows few signs of slowing down. After heart trouble some years ago – which caused an absence of several months from the office – his holidays, which he usually takes in the British Virgin Islands, have become slightly longer and more frequent. But he still routinely puts in 14-hour days.
Nevertheless, speculation about his future has grown among journalists on the Mail and other papers. At the end of November, Dacre sold his last remaining shares in the Daily Mail and General Trust, the Mail’s parent company, for £347,564; he disposed of the majority in 2012. His latest contract, signed on his 65th birthday, is for one year only. Geordie Greig, the 53-year-old editor of the Mail on Sunday, is widely regarded as the most likely successor, though Martin Clarke, the abrasive publisher of the phenomenally successful MailOnline, now the most visited newspaper website in the world, is also tipped and Jon Steafel, Dacre’s deputy, is favoured by most staff. The surprising announcement in November that Richard Kay, the paper’s diarist and a long-standing friend of Dacre’s, is to leave his position looks like another straw in the wind, particularly given that his almost certain replacement is Sebastian Shakespeare, previously the diary editor at the London Evening Standard, where Greig was editor before he moved to the Mail on Sunday.
Fleet Street rumour has it that Kay is being moved because he upset friends of Lady Rothermere, the proprietor’s wife, and that she is also behind the abrupt departure of the columnist Melanie Phillips, apparently on the grounds that her style – particularly during a June appearance on BBC1’s Question Time – is too shrill. Lady Rothermere, it is said, is desperately keen to oust Dacre in favour of Greig. Senior Mail sources pooh-pooh such tales, but they stop short of outright denials that Dacre is nearing the end of his days on the paper.
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2020.03.09 22:26 Elvis_Interstellar College tamil hidden girls

I'm making a new thread, because the last one is already archived and hasn't been updated for over a month. Its author is also permanently suspended.
As Reddit limits you to 40000 characters per post, I must split this into 2 posts. This post contains everything except subreddits banned for ban evasion or for being unmoderated.
Link to the second thread
A list of 200,194 banned subs
 
Violent content:

Proliferation of violent content:
Glorifying violence:
Encouraging violence:
Inciting violence:
Violence:
Inciting harm:
Encouraging harm:
Glorifying sexual violence:
Animal abuse:
 
Harassment or harassing content:
Inciting harassment:
Bullying:
Violent content and harassment:
Banned for having a racial slur in its name:
 
Transactions involving prohibited goods or services:
Marketplace:
Criminal activity:
 
Minor sexualization:
Involuntary pornography:
 
Proliferation of personal and confidential information:
 
Copyright violations:
 
Spam:
 
No reason given: (these are usually banned due to being used for spam)
Multiple violations of site wide rules:
 
Other reasons:
Safety reasons:
Interfering with Reddit:
Vote manipulation:
Subreddits banned due to the rule change:
 
* Ban time and reason changed during the purge of subs containing the word 'nigga' or 'nigger'
submitted by Elvis_Interstellar to reclassified [link] [comments]


2017.01.09 15:40 HelpSaveStudents College tamil girls hidden

This incident happened four days ago, but you are unlikely to read about this in the news because the college's owner have heavy political influence. Any negative news about this college almost never comes out of the campus as any student who dares to report such things will immediately be suspended/debarred/not-allowed-to-write-exams.
The last time a negative news came from this engineering college was in 2010 when some students protested because two college officials(male) went inside ladies hostel at night and misbehaved with girls. The officials claimed that they were going through the bags of all girls to inspect if anyone have brought any mobile phones or laptops. Yes, phones are banned in this Engineering college. The students who protested the next day were debarred! After this incident, no one dares to protest no matter what happens.
I am an ex-student of this college and I can confirm that everyday was like going to hell. It is a private college-network. They run multiple colleges under different names at different locations (Nehru College of Engineering and Research Center, Thrissur, Kerala, Jawaharlal college of Engineering, Palakkad,Kerala, Nehru colleges, Coimbatore, Tamil Nadu etc) The college where this incident happened is Nehru College of Engineering and Research Center, Thrissur, Kerala.
For most people, college life might be the most enjoyable time of their life, but not for me or any of my classmates. It was a mental torture to go through this college. I am glad that it is over now. I can mention some of my 'memories' of my college life

  1. You are not allowed to talk to anyone of the opposite gender. If you talk and any "disciplinary inspectors" sees it, then they will consider it to be romance/love, you will be suspended immediately and your parents will be called. If you are lucky, you can get away with a fine and few weeks suspension.
  2. You are not allowed to share benches with a person of opposite gender. It is in the rule book!
  3. We have uniforms and Id cards. If you are caught with even a one-day's worth of beard, your ID card will be snatched and you will have to pay fine of Rs100 to Rs500. If you are caught without the ID cards next day, you will have to pay more fine. These fines are not really meant to make students better, but they are just collecting the fines for the sake of making free money. Considering atleast 100 students getting Rs100 fine per day on average, they are getting atleast 2.5 lakhs in fine every month. I doubt if they are submitting this data to the income tax department!
  4. Compulsory attendance. Even if they do not teach anything for the whole day, you are forced to sit on the bench quietly, everyday. Leaves are not allowed unless you are very ill and can prove it with medical certificate. Taking a day off for any other reason will result in Rs100 fine(per day) and a meeting with the director. Attendance is taken every hour and if you miss even one class an automated sms will go to your parents, half day's attendance will be cut and you will be fined.
  5. If they do not like you for any reason and they are unable to directly take action, forget your internals. They can fail you in every retest too, as it is totally under their discretion.
  6. It is 6 days class every week from 9 to 4:30PM. Second & fourth Saturday are gladly holidays, but you will be given assignment on every second friday(and fourth friday) to write CMA. Full form is something like Chairman's Memorial Assessment or something like that. It was started when our founding chairman passed away few years ago. In CMA, you will be given five big questions of each subject, and you are supposed to write article sized answers in different booklets(which you need to buy from them) for each subject and this needs to be submitted by Monday 9:00AM in person. For any reason you are unable to come at that time, your internal marks is gone. These questions are nothing useful or creative. They just give "explain xyz" and you are supposed to find it in the textbook and copy it. Every second saturday and fourth saturday it is a ritual for everyone to circle-copy these things. Many professors have said that this is a waste of time but management is not allowing them to change this even if they want to.
  7. If for some reason one day you got an unexpected holiday like due to a strike or something, dont think that you got a holiday as they will convert next real holiday into working day to compensate this unexpected holiday.
  8. You are not allowed to bring 'outside books' to college. You must use the book made by the college only.
  9. There are cctv cameras everywhere watching your every step.(This can be considered as good or bad..I dont know.)
  10. Hostel is compulsory in first year for anyone who is not coming from their own home. Hostel life is way too strict too. I don't know how it is in other colleges, but we had roll-call every day just like prison camps. You are supposed to stand in a line at fixed time every day, and they will ask to say out loud your hostel roll number. Hostel curfew is at 6.30PM. Hostlers can go out of the campus with the written permission of the warden inbetween 4:30 to 6:30. Most hostlers do not get this permission and is hence trapped inside the campus full-time until the next holidays when they can go to their own home. Mess food is compulsory for hostlers, although the quality of food is poor. There is no chance you can go out and eat. Also, bringing food inside hostel is against the rules.
  11. There is mobile phone radio Jammers in Girls hostel. It is an electronic device which makes it not possible to use Mobile phones within a certain area as you will not get network signal.
  12. We had absolutely no rights as adult 18+ citizens. We were treated worse than school children. We had to get signatures from parents for every small things. The parents have to come to college every semester to review the performance, and so that the school--teachers can complain about us. Even the leaves for medical reasons required a phone call from parents, a written letter from parents and a medical certificate from a reputable doctor.
  13. We were not allowed to celebrate anything inside the campus, like cutting cake for someone's birthday etc. My senior friend and his class was fined because they celebrated a classmates birthday by cutting cake inside the classroom.
Damn, I got carried away with these old memories.. Let's get into the topic.
This time, a first year computer science engineering student named Jishnu committed suicide after not being able to bear the torture. He was a pretty creative student who had won several technical competitions and had even featured on newspapers for a device he invented. He was also a freelance web developer.
According to his classmates, Jishnu who allegedly glanced behind and was asked to stand up by one Mr. Praveen, the invigilator in the examination hall(This 'professor' was fired from previous two colleges for misbehaving with girls). Jishnu was scolded before his fellow students and was then taken to the Vice Principal's room where he was mentally tortured for more than an hour. His answer sheet, in which he had almost finished his test, was torn up. He was told that he had been debarred from writing exams for 3 years. He came back to hostel, disillusioned, alone and lost, with his future threatened and he found himself incapable of addressing the situation. He committed suicide.
It is also alleged that the P.R.O of the college also physically tortured him. There were bruise marks and his leg was swollen on his dead-body. Although this guy holds the position of public relations officer, he is the son of a politician and he owns half of the shares of the college. He is well known to take students to his room and physically punch them like a goonda. The disciplinary inspectors are also nothing but goondas hired under the name of disciplinary inspector. They have no qualification other than a big tough body. (I have not experienced any physical torture, but many have and it is a well known fact in the college.)
They have cctv cameras everywhere, if what the college is saying is true, then why not release the video footage of the copying incident, or the video after Jishnu got out of the principal's office? Latest reports says the university investigative team found the college management’s statement of 'caught copying, hence committed suicide' to be false. (Source)
This news remains hidden from the mainstream-media till now. Today many students and local parties protested in a kindof bad way, they shattered some window glass and such stuff, which I do not approve at all.) and some local news are now covering it. Even then, many media groups refused to write the name of the college and instead used the word 'popular college'.
Why students still join this college? I also joined it with lot of dreams and aspirations. I wanted to be a great Engineer and I wasn't forced into engineering by anyone. The thing is, no one outside the college knows about all these bad things. It is kindof a secret which only the students know. They even advertise 'Wifi campus' although there are no wifi points which are accessible to students, plus mobiles & laptops are banned. Only the positive news get spread in media and due to this, this college has a quite big name in Kerala. Many students come from distant districts to study here! More than half of the seats are filled with merit students who got selected after writing the Kerala Engineering test, so they have no other option. Also, once you join, there is no turning back. If you want to change colleges or drop out, you will be forced to pay the entire 4 year's fee!
One good thing I can say about this college. There is absolutely no ragging from any senior students... But, well...instead you can get mental torture from management. Infact, students of different years are not allowed to talk to each other. Seniors are scared to talk to juniors, as they can face suspension if the junior complains about anything. There is one case where a senior just asked the name of a junior girl, she didnt like it, so she went and reported it. The senior was suspended.
And, do you know what? I would call this a medium-strict college. I know of other colleges in Tamil Nadu which are 10X more strict, and for those students, this may seem like heaven. I guess these are the legalized concentration camps of today's era.
Some news links
Fury bursts against Kerala college after student Jishnu kills self over copying allegation
Kerala college student Jishnu's death: Netizens blame news channels for not naming engineering college; memes go viral
Torture rooms, fine for beards, no girlfriends: Nehru College students list out harassment methods
Penalty for talking, cutting cakes, growing beard; Nehru College follows bizarre rules
Engg student’s death: SFI, KSU march turn violent
Ex-student shudders at nightmarish experience
KTU officials find college contention of copying false
If you think this is a serious topic which needs to be investigated, sign this change.org petition - A change.org petition
If you want to help, please spread this news so that more people can know about this. It is the only way for some change to happen. This is the first time in over 7 years where some students have gathered courage to come together to protest this. If it doesn't get enough media attention, then they are likely to get silenced in a week, then de-barred, and the next protest wouldn't happen for many years until someone else commits suicide.
Twitter hashtag - #JusticeForJishnu Facebook link - Justice for Jishnu
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2016.05.09 13:25 GoityePowerhouse Tamil college girls hidden

Many have heard the wine-breathed, schizophrenic mumbling of weathered vagrants the world over, who talk of immaculate conceptions among the animal Kingdom and ancient alien conquests of planet earth - in the days of blood thirsty pre-Triassic monsters and primordial anarchy.
 
Obscured verbal legends, and scrolls passed on by blasphemous cults of pre-Roman Europe, tell of a tribe of primates in primordial Africa, born beneath the 'snake star', near the constellation of Orion, above the valley where it was - that a lowly female ape - caught the fancy of the gods. Her name, I am told, was Sirentia. Attractive for an ape, with long dark hair that fell over her eyes. She was known most carnally by extra terrestrial visitors, and screamed through the blood of childbirth in all horrendousness.
 
According to rare Tamil literature studied by Sri Lankan scholars ; Sirentia was chosen, as the most beauteous amongst the race of Macaca Fasicularis, and selected as a mating partner of the god Mithras-- that she should bear a valorous son, Murdaath, who would be destined to oversee his races ascent to primacy on earth-- in the prophesised utopia of 'the silver planet'. The first great King of monkeys and mortals.
 
Noble Murdaath was born in a savage age of blood, cannibalism and sacrifice, where teeth ripped out by bare hands were worn upon necklaces. So the legend goes, his step father Arzghaal had been a noble warrior, and had overseen the defeat of the neighbouring tribe of raging chimps, (Thence it is known that Arzghaal's tribe had made cups from the defeated monkey's skulls to drink the blood of their enemies, and their blooded furs were fashioned into scarves for the women).
 
Sirentia loved Arzghaal, but grew impatient for a child, and it is whispered that one fateful day she crossed over the hill of Atlaaas, and journeyed to the forbidden valley-- where the great one's skulls lay, and there she did make pleas with the 'ones who come down from the sky'. It is not known wether Murdaath was conceived beneath the dank rocks of the valley of the shadow, only that when Arzghaal later found his monkey-bride pregnant after five months--he flew into a jealous rage, challenging the dominant males of the tribe with angry shouting and waving of sharpened sticks. Much blood was carved upon the faces of the males of the pack that night.
 
When little Murdaath was born under a blood red moon, curious kinsfolk observed in him the unfamiliar sheen of olive --that formed the hue of his childish-fur, and knew then, that Sirentia had caught a father of some incredible external genetics. Arzghaal, meanwhile had stalked the pale-green baby boy bitterly as the child lay in his mothers arms, and slowly learnt to grunt and walk. Though the jealous step father kept at a distance, his prowling heart displayed the ominous signs of infanticide, which was marked by a titanic bolt of lightning and peal of thunder that echoed through the African landscape that night ---a landscape which would one day become the human kingdom of 'Kongo'.
 
The rain and thunder ricocheted off the stepped pyramids the night that Arzghaal planned his foster child's late abortion. Some of the other monkeys spied him as he crept up the sweeping grassy hill bearing the hallowed executioners stone. A great din arose, as the monkeys whispered in their pre-Bantu tongues that Arzghaal would soon move to break the sacred laws of Apigunta, passed on by generations of elders. But Arzghaal, (the proud and unruly) didn't count on Garimunda, one of Sirentia's early suitors, he-- huge and carved with an enormous muscular frame, seized Arzghaal, and with the hellish chants of the monkeys who gathered around the spectacle, fought Arzghaal until he bled, and threw him into the pitt at the border of the sacred tribeslands. The rain fell hard and long.
 
The elation of violence which came over the tribe would slowly die down, as strange things began to happen in those ensuing months. It was not the first time that the monkeys had seen the visitors, who descended from the stars in giant silver rocks, which had been smoothened into tapered disks, and flew through the night sky like silverfish. (The ones who had first delivered the prophecy of the silver planet). But since the birth of Murdaath, the monkeys noticed a bizarre increase in extra terrestrial visitation. The anorexic 'kamu' (walking chameleon), seemed to devote extra attention to the young Murdaath, beyond the usual experimentation and electric charges metred with their silver sticks. Three pale, and noble looking members of the 'kamu' gentry, robed in multi coloured silks, gathered around the naked babe constantly, prodding his face and rubbing him with foreign lotions. Paranoia hit some of the dark-furred friends of Azghaal and they began secret consultation. Some of the gathering women had witnessed meetings with Azghaal (and the black monkeys beneath the eaves of the holy Yggassa trees to the North), and fear of a raid grew prevalent amongst the tribe.
 
As factions divided under the blood star of planet Mars in the fifth house--Murdaath grew, playing with his mother and occasionally receiving private tuition in the valley of the shadows. Meanwhile, the black tongue had reached the whole flock, and many of the dark-furred Yulanta began to accuse Murdaath of bringing a curse upon them, blaming the enchanted child for the increasing sicknesses amidst the group-- and lapses in huntable food around the plains. Out of just such a dark shroud Azghaal returned, with a mob of armed spear-monkeys. The defenceless Sirentia, sheltering her pup was powerless against the fearsome clan as they laid assault. Many were slain. Azghaal ordered her hussies death upon the sacrificial Ziggurat, but clever Sirentia persuaded the black warriors for her final jury and testimony, subtly flirting with her old suitors, and bearing herself shamefully. After much methodic pleaing, she convinced the militia of the coup de tat that she and her son would leave camp immediately, if only they were granted their own kingdom beyond the valley of the shadow. The other apes conceded, and finally Azghaal gave lenience, but on his terms and conditions:
 
This he ruled; Upon the sacred vestibule was the carcass of the sacrificial bull from last weeks draw down the moon festiva. 'You may take the skin of the bull,' said Azghaal to his exiled wife, 'Wherever you lay that beyond the valley of shadow, upon that area of land may you build your kingdom, and that area alone.'
 
So, Sirentia took her chosen son, and the decaying bull-skin and ran off into the shadowlands.
 
Azghaal was most pleased, and lying upon the sacred Ziggurat he feasted with his black-furred friends, and together they drank of the purple mead which the visitors had gifted them, and the black apes grew merry and drunk as the rest of the tribe watched on in awestruck terror.
 
But the black furred apes were not satisfied for long, because soon... reports came back of scouts sent out beyond the valley of shadow, who reported that the trickster Sirentia had made a mockery of their judicial ruling. The words bit Azghaal like a snake-- when he learned that Sirentia had torn the bull-skin into thin strips, and laid it bare across a perimeter twice the size of the sacred lands --on the plateau above the shadowlands, and that Sirentia had proudly called herself 'the queen of the overlands', claiming that her son Murdaath would one day be King of the great silver planet. King of all that was.
 
There were certain attempts by the black furred apes to sack the Queen's 'overlands' in these days, but it is said that all who tried to cross the border of shadow met grotesque and unusual deaths, only charred remains were found, many guessed it was the visitors, or the giant Jurassic beasts they kept as pets outside the borderlands, in greater Alosha --who were causing the mutilations.
 
There are some discrepancies on the legends. It is hard to correspond the precise age translation between man and primordial ape. But one would estimate the equivalent coming of age milestones, of thirteen and twenty-one were when Murdaath received his major coronations. At thirteen he was inducted into the brotherhood of Kings, and from thence the visitors began to take him down into the caverns beneath the valley of shadows to teach him his sacred birthright.
 
The black monkeys of the lowlands were raised to a great fury the night of Murdaath's twenty first coronation, for the sky was full of streaking lights, as visitors from the great lights of the sky, came in droves to witness. This is the night, it is said that Murdaath gave his sacred pledge, that he was presented with gifts and robes, and his regal outfit --that would become known to all who fell beneath his might, this was when his kings robe's were first donned. He proudly wore his ceremonial gear of opaque purple. The Phrygian cap stood unchallenged on Murdaath's head, the insect-like things dressed in maroon robes gave to him then his flowing tunic, stone shield and the piece of ivory, from which he would one day soon fashion his own majestic blade. A sword that would fell nations and conquer the beings of savage lands.
 
On the borders of Murdaath's new kingdom, restlessness was brewing, for the black furred apes had learnt to fashion crude catapults from leftover alien craft-junk, and had prevailed in knocking some of the Kamu space vessels straight out of the sky. Fury spread across the lands like a storm.
 
Murdaath had already the noble aspect in him that would make him a great king, and pledged to slay the brutes of the lowlands. But the sky-born taught him patience. So it was those years, that the sky-born took him into the caves, and underground halls and taught him many lessons about his lineage and destiny. Murdaath recognised some of the hieroglyphs of his mothers tongue, (pre-Bantu iroan-Slamic glyphs) upon the cave walls, but among them was a Rosetta Stone of other curious hooked languages and robotic alphabets. Soon Murdaath had mastered seven interstellar languages and learnt the history of his people. Told in the pictures upon the halls of the ancient caverns were the ancestral family tree of Victoriapithecus. 19 million years in beautiful illustration. He read of the struggle of the great apes, who dug beneath the earth and brought up things living beneath, in the Aeon of Hominidae Clade. Back when even greater enormous beasts raged over the planet. He read of the future evolutions of Homo sapiens, who would populate the African regions of his birth- millions of years later.
 
There was unparalleled violence as Murdaath was initiated into the mysteries. The larger, thicker skinned Kamu beat him with hooked sticks until his back bled and stung from the wounds. But Murdaath could see through the pain toward the haven of the secret knowledge he was learning. In the sacred mysteries he learnt the things which were not given to be known even to mankind, or the son of man to know. He learnt of Mithras*.
 
(*For all that known history tells us -- the mysteries of Mithras were practised in the Roman Empire from about the 1st to the 4th century. Rivalling the great arch cult of Christianity which would dominate the central currents of human earthlings culture and thought for millennia to come.) Mithraism remains a source of great curiosity to human scholars.
 
Like the witch cults of Europe, the secret cults of Mithras were forced to stay in shadow for risk of their persecution in the early years of Christianity. So threatening, apparently, were the practices to Christians --the 2nd century Christian writer, Justin Martyr accused Mithras cultists of imitating the communion rite, declaring: 'Wherefore also the evil demons in mimicry have handed down that the same thing should be done in the Mysteries of Mithras. For that bread and a cup of water are in these mysteries set before the initiate.'
 
Christian association of Mithraism with devil worship was maintained, even as late as 1882, Ernest Renan suggested that, under different circumstances, Mithraism might have risen to the prominence of modern-day Christianity had the history pages been inked in another hand, writing: "if the growth of Christianity had been arrested by some mortal malady, the world would have been Mithraic.'
 
A great deal of Mithraeums throughout Europe have been discovered beneath churches, (such as santa prisms Mithraeum and San Clemente Mithraeum), which seems to point at a hidden subconscious world the early Christians both suppressed, memetically and (with violence) oppressed. http://i.imgur.com/fsJEJzY.jpg http://i.imgur.com/fmbMLuW.jpg
 
Concealment of Mithraic objects proves the brotherhood sought protection against Christian attacks. The similarities to transubstantiation and the ritual cannibal acts that draw deep parallels with Christianity are unmistakeable. A text on the wall of St Prisca Mithraeum contains the words: "et nos servasti...sanguine fuso" (and you have saved us....in the shed blood) next to the image of Mithras slaying a bull. Mithraic temples are common in Europe and Africa; although very unevenly distributed, with considerable numbers found in Rome, Ostia, Numidia, Dalmatia, Britain and along the Rhine/Danube frontier; while being much less common in Greece, Egypt, and Syria. More than 420 Mithraic sites have now been identified by modern human scholars.
 
The Mithraum beneath the valley of the shadow was more elaborate than any uncovered in modern human history, and Murdaath was to learn the true meaning of the sacred rituals, that no man had ever known. Murdaath was to learn, that the Mithraists themselves, had very little interest in the future empires of men, for indeed, the mysteries were adapted for their ancestors, and were handed down to the great apes. Though the god Mithras appeared in human form to men, Mithraism was predominantly and foremost ; a simian religion.
 
The temples of Mithraists, as in the days of Murdaath-- were always an underground cave, featuring a relief of Mithras killing the bull. This "tauroctony", as it is known today, appears in the same format everywhere human archeologists have discovered it, but with minor variations. Other standard themes appear in the iconography. It is certain that Mithras is born from a rock. They know that he then hunts down a bull in the 'tauroctony'. They know Mithras meets the sun who kneels to him, that he shakes hands with the sun and they feast on bull parts together. The precise meaning of these events is entirely lost on modern day scholars. http://imgur.com/hpDYDvH
 
Other more obscure shrines from Mithraems seem to depict narratives of the Titomancy, (the ancient legends of the overthrowing of old gods for the new --which predate the communal flood stories of ancient cultures), the Greek version being the most famous of these, (of which only a few stories survive in the works of Homer and Ovid). Certain shrines in the Mithraen caves depict the Olympian god Jupiter fighting against the giants, followed by a bearded figure reclining against a rock, which is believed to be the Titan Oceanus. Oceanus is a mysterious Titan among the early Greek myths who fathered Asia, he was also the son of Uranus and Gaia, brother of Cronus. (Murdaath was to learn that myths held a kind of sacred map, or history of the lands that birthed them).
 
Murdaath was also to learn such human myths, alongside the true stories of future human culture, as the Kamu tutored him in their private underground college. He learned the symbolism surrounding the 'tauroctony' which dated back to the first cave paintings of men, and their early communion with spirits. He learned of the importance of the symbolism of Mithra slaying the bull and it's connection to European sacrifice since the times of their Neanderthal ancestors.
 
He learnt the connection of the bull symbolism in other European human myths (such as the myth of Europa, who was carried off by Zeus in the disguise of a bull.) He learnt of Europa's three son's to Zeus; (Minos, Rhadamanthus, and Sarpedon), the three of whom in Greek myth became the three judges of the Underworld when they died.
 
King Minos, Murdaath discovered; may have been a real historical figure, a Minoan King. The Minoan civilization, he learned, was a Bronze Age civilization that arose on the island of Crete and other Aegean islands and flourished from approximately 3650 to 1400 BCE. Historian Will Durant referred to the Minoan civilisation as "the first link in the European chain." In Greek legend, Europa's son Minos plays a central role aswell. An oracle told the Athenians to meet any of Minos' demands if they wanted to escape a certain punishment. Minos then asked Athens to send seven boys and seven girls to Crete every nine years to be sacrificed to the Minotaur, (the offspring from the zoophilic encounter of Minos' wife Pasiphae --with a certain bull that the king refused to sacrifice to Poseidon), which he had placed within a labyrinth he commanded his architect Daedalus to build.
 
The Minotaur was defeated by the hero Theseus with the help of Minos' daughter Ariadne. It happened just like this, Murdaath learnt, Minos justified his accession as king and prayed to Poseidon for a sign. Poseidon sent a giant white bull out of the sea. Minos was committed to sacrificing the bull to Poseidon, but then decided to substitute a different bull. In rage, Poseidon cursed Pasiphaë, Minos' wife, with zoophilia. Daedalus built her a wooden cow, which she hid inside. The bull mated with the wooden cow and Pasiphaë was impregnated by the bull, giving birth to a horrible monster, named Asterius, the Minotaur, (half man half bull.) Daedalus then built a complicated "chamber that with its tangled windings perplexed the outward way" called the Labyrinth, and Minos put the Minotaur in it. To make sure no one would ever know the secret of who the Minotaur was and how to get out of the Labyrinth (Daedalus knew both of these things), Minos imprisoned Daedalus and his son, Icarus, along with the monster. Daedalus and Icarus flew away on wings Daedalus invented, but Icarus' wings melted because he flew too close to the sun. Icarus fell in the sea and drowned. Theseus killed the Minotaur with the help of Ariadne, Minos' lovestruck daughter and by following a trail of rope, or "clue" (where the modern English word derives from) he was able to escape. As it happens, seven, the number of sacrifices to the Minotaur, was the same number of sacred initiates completing the rituals of the Mithrain mysteries.
 
The centrality of the bull to early European myth continues; as Murdaath discovered; like Moses, Minos allegedly received his laws straight from Zeus himself. When Minos' son Androgeos had won the Panathenaeic Games; the king, Aegeus, sent him to Marathon to fight a bull, resulting in the death of Androgeos. Outraged, Minos went to Athens to avenge his son, where he was killed himself. After his death, Minos became a judge of the dead in Hades together with Aeacus and Rhadamanthus. Rhadamanthus judged the souls of Asians, Aeacus judged Europeans, and Minos, it was said, had the deciding vote. The mysterious themes of early Minoan art, of bull leaping festivities have long puzzled human scholars, and many have created theories of a pre-European bull worshipping cult. http://www.mlahanas.de/Greeks/Arts/MinoanBullJump.htm
 
Murdaath learnt human poetry, among the poetry of other intergalactic species. He could recite, off by heart in three languages Ovid's poem In Metamorphoses in regards to Jupiter's seduction of Europa:
 
"And gradually she lost her fear, and he Offered his breast for her virgin caresses, His horns for her to wind with chains of flowers. Until the princess dared to mount his back. Her pet bull's back, unwitting whom she rode. Then—slowly, slowly down the broad, dry beach— First in the shallow waves the great god set His spurious hooves, then sauntered further out 'til in the open sea he bore his prize Fear filled her heart as, gazing back, she saw The fast receding sands. Her right hand grasped A horn, the other lent upon his back Her fluttering tunic floated in the breeze."
 
The Kamu applauded Murdaath as he learnt and recited poetry and history. Murdaath was obviously advanced for his race. He quickly moved though the stages of the Mithraeum, beginning as a raven, through many rituals of blindfolding and ritual humiliation and eventually coming out as 'father' and 'king'. He became very attached to the masked leader of the lodge whom he never saw, but who all the other members of the cult referred to as pater leonum 'Father of the lions'. Murdaath came to know the Mithraeum beneath the valley of shadow as a home, admiring the engravings and altars at the far end, underneath the representation of the tauroctony. Every session, the men wore their robes and moved towards the subsidiary altars, in the ante-chamber called narthex. They would stand around the altars, and make their dedications to Mithras "in fulfillment of their vow", in gratitude for favours received. As they all stood --the aroma from the residues of animal entrails on the main altars created an eerie atmosphere of suffering and death. Murdaath began the usual chant that day: 'to the bridegrooms under the protection of Venus'. Then spake the young Kamu, Jaha, who was Murdaath's closest kin at the lodge: 'Nama to the soldiers under the protection of Mars!'.
 
Then spake Pater Leonum; 'Nama to the lions, under the protection of Jupiter'. Then the ape from the Southern lands: 'Nama to the Persians under the protection of the moon'. Another Kamu then spake: 'Nama to the runners of the sun, under protection of the sun'. Finally the leader spoke again, standing underneath the sickle of the god Kronos; 'Nama to the fathers from East to West, under the protection of Saturn'.
 
Suddenly there was a loud crack which interrupted the rituals. Pater Leonom swished his red cloak, and motioned with his gnarled finger toward the pig-headed guards--who rushed toward the exits. After a short time, one of the grey headed pigs returned, breathing anxiously and holding his pitchfork tightly; 'The black apes. They are attacking the upper plains.'
 
Murdaath ran out of the Mithraeum first, followed by the others, with great worry and sorrow in his eyes. He seemed to run more like a panther than a monkey, flying swiftly along the plains. His Phrygian cap blew elegantly and his purple robe flapped and glowed in the darkness.
 
His new leather souled shoes slapped through the tar and mud along the valley of shadow. Already he could hear screams from up on the plateau. Tears welled in his eyes, but still he ran. And ran.
 
Passing through the passage of Finabrush trees he finally came upon the open plains of his kingdom --and saw the terrible sight.
 
Dead apes and Kamu, fire raging along the grass. The flicking sparks and licking flames hugged the horizon as black smoke clouded the moon. He saw the band of black apes led by Arzghaal on mounted steeds. But soon upon the ground he came upon the image which forever broke his heart, and turned him into a man. The sight which turned him cold as a king in that split moment.
 
His mother Sirentia, lay split open upon the grass, oozing gizzards. Her face was white, and contorted into an expression of grief.
 
Murdaath fell to his knees for ten seconds in silence. A single tear in the corner of his eyes froze in the chilling night air. He felt a thing inside him snap.
 
In seconds Murdaath had drawn his ivory sword, and with rage running in his blood, and horror in his yellow eyes-- he took off like a hunting big-cat. The wind pushed his face up as he charged. Stoney and cold, he had no expression, only the look of an animal on the hunt.
 
The black apes were descending the mountain on the backs of Balinx's, flaming torches still in their hands, and laughter echoing over their foul deeds. Murdaath descended on them quickly.
 
Though the men were riding their bat-like tigers, still he caught up to them one by one. His ivory blade whicker-snacked like a giant wheat reaper. One by one the black apes screamed. Heads popped off. Arms were severed, major arteries cut, and streams of blood letting drowned the soil.
 
Finally, Murdaath was on the heels of his first arch nemesis. Leaping through the air like a superhero, he tackled his step father Arzghaal off his steed. The two tumbled down the muddy slopes, until landing in a ditch in the shadow valley.
 
Murdaath came out on top of the wrestling match. Pressing down with one bulging arm on his fathers face, and the other on his chest, Murdaath breathed heavily. A strange look took over his father's face as Murdaath contemplated his deep hatred.
 
As he looked into his step fathers eyes Murdaath recognised the look as a combination of abject terror and unexpected pride. Arzghaal knew that he was beaten, and yet, somehow now ; he felt a strange compassion for the son of his dead wife Sirentia. Perhaps he recognised the same appetite for destruction that was in himself-- that which he saw now -burning up -and consuming the young lad.
 
Arzghaal did not have long however to contemplate the burgeoning feelings before all sensation he knew became pain.
 
First Murdaath hacked off both his fathers hands with his blade, then stabbed the ivory sword into his leg. As his father squealed Murdaath stood up --and moved over towards a nearby quarry of stones. Finding a dull blunt piece of basalt, Murdaath then pounced on the flailing torso. He began to pound the skull of his father with the stone, inflicting as much pain as he could he slowly smashed the bones and innards of his fathers frail body. Finally the guts and blood burst from the skin fissures. But Murdaath never stopped hacking with the stone, until his fathers brains and skull were an unrecognisable mash upon the muddy clay of the valley.
 
CONCLUDED IN --- 'Murdaath, Son of Mithras' Part 2 https://www.reddit.com/libraryofshadows/comments/4ijkml/murdaath_son_of_mithras_part_two/
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