ALEXANDER ISAEV'S NUDE PHOTOGRAPHY

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TRAVELING BY CAR VOL15

The future of the automobile is looking increasingly uncertain. No one really knows how much time combustion-engine vehicles have left, although it seems obvious that their fate will be decided less by consumers than by political decisions, regulations, and the enormous economic interests driving one of the biggest industrial transformations in modern history.

It's understandable that Europe wants to reduce its dependence on oil. For decades, it has relied on importing a large share of the energy it consumes, leaving itself exposed to geopolitical conflicts, supply crises, and the interests of the world's largest oil producers. From that perspective, electrifying transport makes perfect sense: generate more energy within Europe, reduce dependence on foreign suppliers, and strengthen its own energy industry.

What many of us question isn't that. We're not saying the climate isn't changing. That would be absurd. The Earth's climate has been changing ever since the planet existed. We've experienced ice ages, periods far warmer than today's, continents arranged in completely different positions, and eras when volcanic activity released amounts of gas into the atmosphere that dwarf anything produced today. The planet has always changed, and it will continue to change with or without us. The real discussion is how much influence humans actually have and which measures genuinely make sense.





What many of us struggle to believe is the political narrative surrounding all of this. If Europe had simply said from the beginning, "Ladies and gentlemen, we're tired of depending on oil from the Middle East, Russia, or the United States. We want to produce our own energy, build a European energy industry, and achieve strategic independence—even if that means covering the continent with wind farms, solar panels, and new infrastructure," there would probably have been debate, but at least the message would have been straightforward.

Instead, everything is presented as though it's solely about saving the planet, even though this transition also involves hundreds of billions of euros. New taxes, new regulations, new markets, public subsidies, energy giants expanding, manufacturers reinventing themselves... and, as so often happens, the revolving door that many suspect will keep spinning once certain politicians leave office.

And whenever someone questions that model, the label appears almost instantly: climate denier. As if criticizing specific policies were the same thing as denying that the climate changes. Those are two completely different debates. You can accept that the climate evolves, care about the environment, and at the same time distrust the way that argument is being used to justify certain economic, fiscal, or regulatory decisions.

Meanwhile, the people expected to adapt to every new change are ordinary citizens. Replacing perfectly functional cars ahead of time, paying ever-higher prices, facing new taxes, dealing with restrictions, and becoming increasingly dependent on heavily regulated technologies all come at a cost—and it's the public that ultimately pays it. History shows that power rarely gives up the opportunity to accumulate more influence, more regulation, and more resources. That's why many people view this transition with skepticism: not because they believe the planet isn't changing, but because they find it difficult to believe that politics has suddenly stopped being politics and become nothing more than an act of environmental altruism.

And after sharing this opinion—which is, after all, just an opinion—here are a few videos.


Update (Putting Some Numbers on the Table)

• Humans are responsible for roughly 5% of the CO₂ entering the atmosphere each year within the Earth's overall carbon cycle. The remaining 95% comes from natural processes such as the oceans, soils, vegetation, and the respiration of living organisms.
• Of that 5% generated by human activity, Europe accounts for approximately 6%.
• Put into global terms, Europe contributes about 0.3% of the CO₂ entering the atmosphere each year within the overall carbon cycle.
• In addition, roughly half of human-generated emissions are absorbed by the oceans and terrestrial ecosystems, meaning the net contribution attributable to Europe would be even smaller—around 0.15%.

Now here's the question.
Does the direct effect of reducing such a small fraction of global emissions justify the climate emergency narrative, the political urgency, the bans, the taxes, the subsidies, the transformation of Europe's energy model and vehicle fleet, and all the economic sacrifices being asked of ordinary citizens?

What cannot be denied is that, while those sacrifices are being demanded from the public, enormous economic, industrial, strategic, and geopolitical interests surround the energy transition. Major power companies, manufacturers, investment funds, and countless industries connected to this transformation stand to move hundreds of billions of euros—ultimately paid by taxpayers. And, of course, there are the well-known revolving doors between politics and major energy corporations.

Is it possible that the only motivation is saving the planet, and that everything else is merely secondary and incidental? Well... it's possible.



# Watch the videos




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THE EROTICISM OF NORMAN BOESCHE

Norman Boesche is a German photographer specializing in artistic portraiture and sensual photography.

One of the most distinctive features of his style is his frequent use of black and white, combined with soft lighting and minimalist compositions. The result is a collection of images that feel quiet, intimate, and cinematic.

His work belongs to the European tradition of artistic sensual photography and contemporary boudoir, a genre that explores sensuality through an elegant, subtle, and emotionally evocative aesthetic.



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When your ass looks more like a buoy.

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JASON STOKES' NUDE PHOTOGRAPHY. PART TWO

Yesterday we shared the first gallery of Jason Stokes' work, but while putting the post together, we realized leaving so many great photos behind would've been a crime. So here's Part Two, featuring another collection that showcases the same outstanding quality and the distinctive visual style that defines his photography.

Cinematic lighting, carefully crafted compositions, and elegant sensuality once again take center stage in a body of work that proves artistic nude photography can convey far more than simple visual provocation.

If the first gallery left you wanting more, here's another batch of photographs to keep exploring Jason Stokes' visual world.




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You never really know what people are doing behind closed doors.

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STEPHANE LEPINE 2026

We first discovered Stéphane Lépine’s work in late 2014, and more than a decade later, he remains one of those artists whose work is worth revisiting from time to time.

Born in France and currently based in Germany, Stéphane Lépine is a difficult creator to categorize. Painter, illustrator, photographer... his work moves effortlessly between different artistic disciplines, using each one as a different way to express his creativity.



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Activating the Bat-Signal.

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SAN HENDERSON 2026

Over the past few days, we've been revisiting the work of several photographers we featured on ALRNCN nearly a decade ago. It's fascinating to see how their style has evolved over the years and where their creative journey has taken them.

Today it's Sam Henderson's turn. Based in Miami, he returns with Femme ArtNude, his latest series of erotic photographs. A new collection that continues his exploration of the beauty of the female body through elegant, carefully crafted, and highly personal photography.



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I have no idea what people see in riding that thing... especially when they have to pay for it.

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ESCALATORS VOL4

There was a time when getting attention meant doing it in front of the people who were actually there. Today, the audience is almost always on the other side of a screen. What matters isn't being seen by the people walking past you, but by the thousands who'll watch the video hours later from anywhere in the world.

That's what makes the behavior of many content creators so interesting. Before they start recording, they look around, wait for the right moment, and try not to attract anyone's attention. The scene isn't meant for the people nearby—it's meant for the camera. If someone notices what's happening, it's usually just collateral damage rather than the goal.

Escalators have become one of the perfect settings for this kind of content. A short ride, a quick shot, and the illusion that everything is happening naturally. Then the clip ends up online, where it'll be watched by thousands—or even millions—of people.

It's an interesting contradiction: the goal is to reach as many people as possible while staying as unnoticed as possible during the recording. Two very different ways of understanding what it means to "be seen" in the age of social media.



# Watch videos


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The change syncs automatically with your Telegram app on any device.




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