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#EndSARS Report: Buhari Regime Is Murderous, Oppressive, Lacks Regard For Life—Peoples Democratic Party



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The Peoples Democratic Party (PDP) has accused the Nigerian government led by the All Progressives Congress (APC) of being murderous following the report of the Lagos #EndSARS Panel’s report. 

The report said soldiers and police operatives massacred youths at Lekki Toll Gate on 20th October, 2020.

The opposition party also called the handlers in President Muhammadu Buhari’s government bloody liars for attempting to cover up their atrocities. 

It, therefore, called on Nigerians to ensure all those behind the gruesome killing of the innocent youths are brought to justice. 

PDP disclosed this in a press statement by its spokesperson, Kola Ologbondiyan which was obtained by SaharaReporters on Tuesday. 

It is titled ‘Lagos EndSARS Report: PDP Demands Prosecution of Killers, APC Collaborators.’

The statement read, “The Peoples Democratic Party (PDP) says the report by the Lagos state EndSARS panel confirming the gruesome killings of innocent youths at the Lekki Tollgate during the 2020 EndSARS protest. strengthened the fact that the All Progressives Congress (APC) is running a murderous and oppressive regime that has no regard for life.

“Nigerians can recall how security operatives attacked and massacred innocent youths and how the APC, its leaders and agents, in various agencies of APC-controlled government, vehemently denied the killings, tried to mop up evidence and provided official cover for the killers.

“The report of the Lagos EndSARS panel, which confirms the massacre of Nigerian youths in Lekki. has further shown the APC and its government as bloody liars whose hands are stained with the blood of our innocent compatriots.

“It is now clear that no matter how much the wicked strive in denial, the truth will always prevail. Therefore, the blood of our innocent youths killed by agents of the APC and its administration must not be shed in vain. Those responsible for these callous acts must be made to face justice.

“Of course, all those whose hands have become bloodstained will never know peace.

“The PDP hereby invites Nigerians to stand for our slain compatriots by ensuring that those behind the massacre of our youths as well as their supporters in government have their days in the dock.

“The nation must ensure that such individuals are brought to book for their act of wickedness to humanity.

“In this regard, our party insists that all those indicted by the panel should be arrested, prosecuted and dealt with in accordance with our laws.

“The PDP again commiserates with the families of the slain young Nigerians, who were cut in their prime for demanding for a just, equitable and secure nation governed by the rule of law.” 


Mega Millions Numbers for 12/03/21: Did Anyone Win $112 Million?



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A top cash prize option of $81.9 million was on offer on Friday but did anyone take home the big one? Source

Read Full Story At Mega Millions Numbers for 12/03/21: Did Anyone Win $112 Million?

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Fugitive Team ‘Actively’ Searching For Parents Of Suspected Oxford High School Shooter; Attorney For Parents Denies They’re Fleeing



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Police are searching for the parents of the suspected Oxford High School shooter Friday after a county prosecutor issued charges against the couple on four counts of involuntary manslaughter following the deaths of four students and seven others who were injured on Tuesday.

Judge Julie Nicholson approved a warrant on Friday to take the couple into custody, according to WDIV-TV. The father and mother were scheduled to be arraigned at 4 p.m. local time on Friday but had not yet been apprehended, according to police reports.

In a press release, the Oakland County Sheriff’s department said that the attorney for their parents couldn’t reach them, according to WXYZ Detroit.

“We have our Fugitive Apprehension Team, the FBI and the U.S. Marshals Service and others actively looking for them and have every expectation we’ll have them in custody soon,” Oakland County Sheriff Michael Bouchard said in a press release, reports the news agency. “The action of fleeing and ignoring their attorney certainly adds weight to the charges. They cannot run from their part in this tragedy.”

Following media reports about the search for the parents, an attorney for the parents denied they were fleeing. “The [parents] left town on the night of the tragic shooting for their own safety. They are returning to the area to be arraigned. They are not fleeing from law enforcement despite recent comments in media reports,” said the attorney.

The parents each face four criminal charges for involuntary manslaughter after reports that their son allegedly used a handgun purchased by the father as a gift for his son on Black Friday days before the shooting.

The Daily Wire previously reported that the 15-year-old Michigan student also likely had the handgun in his backpack during a meeting with teachers and parents just hours before using it in the shooting spree.

Oakland County Prosecutor Karen McDonald told CNN on Thursday that there was a “very strong possibility” the suspect was already carrying the weapon during a meeting with his parents and school officials earlier in the day before the shooting.

“I think that it’s already been public that he did have the weapon. During COVID, they don’t use lockers, so they just have backpacks,” McDonald said.

“And unfortunately, he was allowed to get back to class. And we now know he had a weapon with him at that time. And that is simply tragic,” she added.

Oxford Community Schools Superintendent Tim Throne also addressed the shooting during a video to the community on Thursday.

“I want you to know that there has been a lot of talk about the student who was apprehended,” Throne said.

“That he was called up to the office, and all that kind of stuff. No discipline was warranted. There are no discipline records at the high school,” he added.

Throne did confirm that the student had “contact” with the front office and that the student’s parents were on campus on Tuesday morning before the shooting.

“Yes, this student did have contact with our front office, and yes, his parents were on campus November 30th,” he said.

“This is as much information as we can give you now,” he added.

Three students were reported dead on Tuesday. A fourth victim died on Wednesday, according to the Oakland County Sheriff’s Office.

Justin Shilling, 17, passed away at approximately 10:00 a.m. local time at McLaren Oakland Hospital in Pontiac just one day after the shooting tragedy that took the lives of three students.

The three students who died on the day of the incident included Tate Myre, a 16-year-old football player, who died in a sheriff’s deputy’s car while traveling to the hospital; Hana St. Juliana, 14; and Madisyn Baldwin, 17.

The suspect is currently being held at a local juvenile detention facility and has declined to speak to law enforcement regarding motives. The student has been charged with counts of murder and terrorism.

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‘Flee’: A Gay Afghan Refugee’s Haunting Story Comes to Stunning Life



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In the absence of filmed visuals, the sounds in Jonas Poher Rasmussen’s animated documentary Flee become our tether to reality. Narrator Amin Nawabi details his family’s escape from Afghanistan in the 1980s with a faraway tone that evokes an unsettling dream. A haunting cacophony of clanging metal punctuates his story—like refugees banging on the walls of a shipping container, frantic pleas to escape the very thing that was supposed to set them free.

As a small child fleeing the only home he’d ever known, Amin witnessed humanity at its cruelest—from the mercenary human traffickers who locked his family members into cargo hulls for days-long voyages at sea, to the callous immigration officials whose grasp they all sought to evade. His family escaped to Moscow, where they spent years seeking asylum in Scandinavia—a destination they would not reach together. Flee documents the true story of Amin’s journey, which he’s kept secret for decades.

We first see Amin’s animated stand-in lying down for an early interview, one we can tell will be the first of many. His posture is confessional but his tone is wary, hesitant. Soon enough we realize that Jonas Poher Rasmussen and Amin are friends, and that we’ve been privileged with the kind of confidence it takes years to earn. The Danish-French filmmaker combines pseudonym and animation to protect a personal history so troubled that until recently, the man who lived it couldn’t share it with anyone.

Like many people with traumatic histories, Amin has gotten used to telling a very particular version of his story. In fact, “Amin” is not our protagonist’s real name. Drawn with an angular face, 5 o’clock shadow, and a deeply creased brow, Amin himself sounds exhausted before we’ve even begun.

Despite animation’s frequent association with children’s programming, a growing number of films have used the technique to explore traumas both personal and political. Some of the genre’s best-known entries include 1988’s Grave of Fireflies, 2007’s Persepolis, 2008’s Waltz with Bashir, 2019’s Funan, and last year’s My Favorite War. Flee is another triumph in this tradition, and uses the full emotional scope of its artistic medium to capture the humanity of Amin’s story in all its whimsy and terror.

When Amin recalls his youth, we observe a combination of playful animation and news footage from a pre-Taliban Kabul. Poher Rasmussen, animation director Kenneth Ladekjaer, and art director Jess Nicholls favor gently rendered, mostly realistic visuals. But unexpected textures and adjustments in coloration puncture the narrative in times of trauma.

Flee is another triumph in this tradition, and uses the full emotional scope of its artistic medium to capture the humanity of Amin’s story in all its whimsy and terror.

There are also moments of beauty. While Flee largely focuses on the outer circumstances of Amin’s life, we also bear witness to an inner journey as he describes grappling with his queer identity. Amin knew from a young age that he was attracted to men, but it took him years to process what that really meant. His recollections of hiding and detention contain glimmers of that inner exploration as well—of his childhood obsession with Jean-Claude Van Damme, and the minor crush he developed on a fellow refugee while a gruff and expensive human trafficker smuggled them out of Moscow.

Flee’s greatest triumph, however, is its ability to transcend time—to evoke the wide-eyed worldview of a small child on screen while its narrator pieces together his story with the (relative) emotional clarity of an adult. Through young Amin’s eyes, police and human traffickers are indistinguishably terrifying. In adult Amin’s reflections, the monstrosity of national borders as tools of oppression becomes undeniable. But the fragility of Amin’s story, the layers of mediation required for him to share it, is perhaps most telling of all. Even now, there’s a part of him that doesn’t feel safe. It’s why we’ll never know his name.

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