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This amazing compilation shows us what the smoking day of a super addicted German hot milf looks like. Yeah, all these clips come from a single day. Cool, tatted blonde Sandra has a day off, so slept in and got up by lunchtime. She's still tired, and the first thing she obviously does is go outside to pump a delicious ciggie into her addicted lungs. She immediately makes it two to wake up properly. Then we see her again with her big box of ciggies, struggling through three empty lighters before she's finally able to spark up, relieve her massive cravings and dangling that smokie between her lips while she chats. Soon she's at it again with yet another ciggie, showing off just how cool she is by opening a can with her teeth. She's well aware of her huge habit, and later jokes that she does nothing but smoking while dangling yet another cigarette. And then we join her for her final evening smoke. Isn't she just amazingly hot with all her tattoos covering her body and with her lovely blonde long hair? She's so cool and friendly, chatting through her smokes while dangling the ciggies between her lips. And she already has several kids. Now here is a true Milf! Sandra's quite simply every smoking lover's ultimate dream woman. #smokingblonde #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokersday #lightingup #inhale #exhale #danglingciggie #morningsmoke #eveningsmoke #bigbox #tattedgirl #necktattoo #chesttattoo #milf #smokingmilf #coolgirl #hotgirl #sexygirl #germangirl #germansmoker

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This amazing compilation shows us what the smoking day of a super addicted German hot milf looks like. Yeah, all these clips come from a single day. Cool, tatted blonde Sandra has a day off, so slept in and got up by lunchtime. She's still tired, and the first thing she obviously does is go outside to pump a delicious ciggie into her addicted lungs. She immediately makes it two to wake up properly. Then we see her again with her big box of ciggies, struggling through three empty lighters before she's finally able to spark up, relieve her massive cravings and dangling that smokie between her lips while she chats. Soon she's at it again with yet another ciggie, showing off just how cool she is by opening a can with her teeth. She's well aware of her huge habit, and later jokes that she does nothing but smoking while dangling yet another cigarette. And then we join her for her final evening smoke. Isn't she just amazingly hot with all her tattoos covering her body and with her lovely blonde long hair? She's so cool and friendly, chatting through her smokes while dangling the ciggies between her lips. And she already has several kids. Now here is a true Milf! Sandra's quite simply every smoking lover's ultimate dream woman. #smokingblonde #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokersday #lightingup #inhale #exhale #danglingciggie #morningsmoke #eveningsmoke #bigbox #tattedgirl #necktattoo #chesttattoo #milf #smokingmilf #coolgirl #hotgirl #sexygirl #germangirl #germansmoker

Smoking girl lover

37,938 görüntüleme • 2 ay önce

The automatic doors slid open as Maria stormed into the Walmart, her receipt crumpled tight in her fist. What was supposed to be a routine grocery run had turned into a shock when she checked her bank app in the parking lot, hundreds of dollars gone, most of it from meat that suddenly seemed way heavier on paper than in her cart. Back at the counter, she held up a small ham. “This says five pounds,” she said, disbelief cracking her voice, “but it barely weighs two.” The manager barely glanced at the scale before shaking his head. Once it’s labeled, he explained, it can’t be reweighed. Phones came out. Shoppers gathered. Maria hit record as she lined up the receipts, the tags, the hams, evidence stacking up in real time while the manager repeated policy like a shield. By the time the video hit social media, millions were watching the same question play out: when a system keeps overcharging and calls it policy, is it a mistake, or a scam hiding in plain sight?

The automatic doors slid open as Maria stormed into the Walmart, her receipt crumpled tight in her fist. What was supposed to be a routine grocery run had turned into a shock when she checked her bank app in the parking lot, hundreds of dollars gone, most of it from meat that suddenly seemed way heavier on paper than in her cart. Back at the counter, she held up a small ham. “This says five pounds,” she said, disbelief cracking her voice, “but it barely weighs two.” The manager barely glanced at the scale before shaking his head. Once it’s labeled, he explained, it can’t be reweighed. Phones came out. Shoppers gathered. Maria hit record as she lined up the receipts, the tags, the hams, evidence stacking up in real time while the manager repeated policy like a shield. By the time the video hit social media, millions were watching the same question play out: when a system keeps overcharging and calls it policy, is it a mistake, or a scam hiding in plain sight?

Dr. CZ

467,877 görüntüleme • 6 ay önce

A security guard allegedly restrained a 22-year-old student using a wire around her neck and raped her on the terrace of a society in Jodhpur late on Saturday night. Anandnagar police said the accused, Dharm Singh, 27, a native of Uttar Pradesh's Hardoi district, was arrested from Hebatpur early on Sunday. He had been deployed at the society only six days ago. The woman, studying interior design in the city, was a paying guest in a flat in the society, and was on the terrace for a walk. The accused allegedly approached her with the intention of having sexual relations. When she refused, he allegedly assaulted her, restrained her with a wire around the neck and raped her. Police said the assault lasted nearly an hour. The wire prevented her from shouting for help. After he fled, taking her phone and locking her out on the terrace, she raised an alarm and was rescued by residents living on the floors below. She was taken to a hospital and police were informed. Sector 1 JCP Neeraj Badgujar said CCTV footage shows him taking the lift to the terrace around the time of the incident. Police said the accused had been deployed at the society for only about six days. He had worked for different security agencies for the past four years. DCP, Zone-7, Shivam Verma said while the woman's medical condition is stable, she is under severe trauma. "She has been in the city for around two years for studies," said Verma, adding that she tried to scream, but the accused had overpowered her and tried to strangle her with the wire. Police will next record her statement and probe if the guard knew of her routine. The security agency will also be questioned about his registration.

A security guard allegedly restrained a 22-year-old student using a wire around her neck and raped her on the terrace of a society in Jodhpur late on Saturday night. Anandnagar police said the accused, Dharm Singh, 27, a native of Uttar Pradesh's Hardoi district, was arrested from Hebatpur early on Sunday. He had been deployed at the society only six days ago. The woman, studying interior design in the city, was a paying guest in a flat in the society, and was on the terrace for a walk. The accused allegedly approached her with the intention of having sexual relations. When she refused, he allegedly assaulted her, restrained her with a wire around the neck and raped her. Police said the assault lasted nearly an hour. The wire prevented her from shouting for help. After he fled, taking her phone and locking her out on the terrace, she raised an alarm and was rescued by residents living on the floors below. She was taken to a hospital and police were informed. Sector 1 JCP Neeraj Badgujar said CCTV footage shows him taking the lift to the terrace around the time of the incident. Police said the accused had been deployed at the society for only about six days. He had worked for different security agencies for the past four years. DCP, Zone-7, Shivam Verma said while the woman's medical condition is stable, she is under severe trauma. "She has been in the city for around two years for studies," said Verma, adding that she tried to scream, but the accused had overpowered her and tried to strangle her with the wire. Police will next record her statement and probe if the guard knew of her routine. The security agency will also be questioned about his registration.

Hate Detector 🔍

44,379 görüntüleme • 8 gün önce

Super cute Amina lights up a ciggie during her live, and shows us just how incredibly hot a teen girl becomes when she takes up a cool smoking habit. This German beauty has Serbian-Greek roots, and looks absolutely amazing in her tight white turtleneck sweater, massive hoop earrings, and with her lovely long, raven hair and gorgeous eyes. She's only fifteen and started smoking when she was twelve. She insist that it was her own decision and that she doesn't ever regret becoming a smoker. She's now so addicted that her parents had to allow her to smoke in her room. And she smokes like a pro, taking deep drags and holding it in to let her lungs soak up all the nicotine pleasure. She doesn't let anything go to waste, smoking her ciggie right down to the filter. And she becomes so relaxed, and when she smokes looks way more mature than her young age. Her two friends in the back also follow her lead; they know that they don't have to hold back when they're visiting Amina. I just love how she passes them her pack of Marlboro Reds immediately after lighting up. In the background you can see the girl behind Amina smoking while eating her pizza, and two hands ash their ciggies in the pizza box. Man, it's so hot when three teen girls are pumping the room full of smoke! They all just need to smoke as soon as they discover how cool it feels when the nicotine rushes through their body. It's impossible to resist becoming addicted to so much fun. Let's face it, every teen girl should be like Amina. #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #turtleneck #turtlenecksweater #turtleneckfetish #hoopearring #lightingup #deepinhale #exhale #ashingciggies #teensmoking #teensmoker #smokingteen #coolgirl #hotgirl #sexygirl #germangirl #germansmoker

Super cute Amina lights up a ciggie during her live, and shows us just how incredibly hot a teen girl becomes when she takes up a cool smoking habit. This German beauty has Serbian-Greek roots, and looks absolutely amazing in her tight white turtleneck sweater, massive hoop earrings, and with her lovely long, raven hair and gorgeous eyes. She's only fifteen and started smoking when she was twelve. She insist that it was her own decision and that she doesn't ever regret becoming a smoker. She's now so addicted that her parents had to allow her to smoke in her room. And she smokes like a pro, taking deep drags and holding it in to let her lungs soak up all the nicotine pleasure. She doesn't let anything go to waste, smoking her ciggie right down to the filter. And she becomes so relaxed, and when she smokes looks way more mature than her young age. Her two friends in the back also follow her lead; they know that they don't have to hold back when they're visiting Amina. I just love how she passes them her pack of Marlboro Reds immediately after lighting up. In the background you can see the girl behind Amina smoking while eating her pizza, and two hands ash their ciggies in the pizza box. Man, it's so hot when three teen girls are pumping the room full of smoke! They all just need to smoke as soon as they discover how cool it feels when the nicotine rushes through their body. It's impossible to resist becoming addicted to so much fun. Let's face it, every teen girl should be like Amina. #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #turtleneck #turtlenecksweater #turtleneckfetish #hoopearring #lightingup #deepinhale #exhale #ashingciggies #teensmoking #teensmoker #smokingteen #coolgirl #hotgirl #sexygirl #germangirl #germansmoker

Smoking girl lover

27,359 görüntüleme • 1 yıl önce

Update to Abigail Afiba Andoh’s story. It keeps getting sadder everyday. This Ghanaian girl went to Nigeria accompanying her Nigerian female friend. She and the friend have been missing/feared dead. Yesterday I shared a video of Afiba’s l!feless body in the rich man’s/host house New update: One of The Alleged Body Of the 2 Girls who traveled To Abia State all the way from Port Harcourt to go and See A Wealthy Man Who They Met on Facebook has just been Found, Her Head, Legs and Hands were all Removed! The Wealthy man who Mysteriously passed away some days back in Police Custody while he was Being transported to Abuja from Abia was said to allegedly be into Organ Harvesting and he had unfortunately used the 2 Girls whom he lured to their untimely D3mise by sending them Money online. their family raised alarm and declared them missing. If you’re into fast life/WhoCup and you see this, maybe it’s time to change.

Update to Abigail Afiba Andoh’s story. It keeps getting sadder everyday. This Ghanaian girl went to Nigeria accompanying her Nigerian female friend. She and the friend have been missing/feared dead. Yesterday I shared a video of Afiba’s l!feless body in the rich man’s/host house New update: One of The Alleged Body Of the 2 Girls who traveled To Abia State all the way from Port Harcourt to go and See A Wealthy Man Who They Met on Facebook has just been Found, Her Head, Legs and Hands were all Removed! The Wealthy man who Mysteriously passed away some days back in Police Custody while he was Being transported to Abuja from Abia was said to allegedly be into Organ Harvesting and he had unfortunately used the 2 Girls whom he lured to their untimely D3mise by sending them Money online. their family raised alarm and declared them missing. If you’re into fast life/WhoCup and you see this, maybe it’s time to change.

WithAlvin 🇬🇭

75,464 görüntüleme • 2 yıl önce

🥵 Kyiv residents are escaping the heat on the beaches of the Dnipro River — while the war keeps many from taking a vacation Nadiia, 53, is staying in Kyiv this summer because her husband is serving in the military and someone has to look after their cats. "The most I can afford is a two-day trip to a friend's birthday. I have enough money, but I don't have the opportunity," she says with a smile. Another resident, Olena, says traveling abroad is simply too expensive, so she's spending the summer by the Dnipro or at her country house. Meanwhile, 62-year-old Svitlana says she'd love to go to the seaside, but long journeys have become too difficult. With no commercial flights operating in Ukraine, traveling by train is no longer an option for her either. 🌡 The heatwave that swept across Western Europe has now reached Ukraine. Forecasters expect temperatures of 30–37°C across most of the country from June 29, with the hottest weather expected in the western regions.

🥵 Kyiv residents are escaping the heat on the beaches of the Dnipro River — while the war keeps many from taking a vacation Nadiia, 53, is staying in Kyiv this summer because her husband is serving in the military and someone has to look after their cats. "The most I can afford is a two-day trip to a friend's birthday. I have enough money, but I don't have the opportunity," she says with a smile. Another resident, Olena, says traveling abroad is simply too expensive, so she's spending the summer by the Dnipro or at her country house. Meanwhile, 62-year-old Svitlana says she'd love to go to the seaside, but long journeys have become too difficult. With no commercial flights operating in Ukraine, traveling by train is no longer an option for her either. 🌡 The heatwave that swept across Western Europe has now reached Ukraine. Forecasters expect temperatures of 30–37°C across most of the country from June 29, with the hottest weather expected in the western regions.

NEXTA

79,111 görüntüleme • 1 ay önce

Fred Astaire & Rita Hayworth perform the “Boogie Barcarolle” in YOU’LL NEVER GET RICH (‘41). ✨ “From the time I was three & a half … as soon as I (Rita Hayworth) could stand on my own two feet, I was given dance lessons.” Hayworth was raised amidst a family of ardent dancers, but Hayworth wasn’t a fan. Later saying; “I didn’t like it very much … but I didn’t have the courage to tell my father, so I began taking lessons. Rehearse, rehearse, rehearse, that was my girlhood.” All that instruct paid off when she came to Hollywood. Fred Astaire was ever impressed by Hayworth’s ability to pick up a routine. “She learned steps faster than anyone I’d ever known. I’d show her a routine before lunch. She’d be back right after lunch and have it down to perfection. She apparently figured it out in her mind while eating.”

Fred Astaire & Rita Hayworth perform the “Boogie Barcarolle” in YOU’LL NEVER GET RICH (‘41). ✨ “From the time I was three & a half … as soon as I (Rita Hayworth) could stand on my own two feet, I was given dance lessons.” Hayworth was raised amidst a family of ardent dancers, but Hayworth wasn’t a fan. Later saying; “I didn’t like it very much … but I didn’t have the courage to tell my father, so I began taking lessons. Rehearse, rehearse, rehearse, that was my girlhood.” All that instruct paid off when she came to Hollywood. Fred Astaire was ever impressed by Hayworth’s ability to pick up a routine. “She learned steps faster than anyone I’d ever known. I’d show her a routine before lunch. She’d be back right after lunch and have it down to perfection. She apparently figured it out in her mind while eating.”

Hollywood Golden Age of Cinema

137,296 görüntüleme • 9 ay önce

Youtuber Brittany Venti covers The Quartering, getting banned from the Ren Fair due to his weird, creepy behavior on a resurfaced livestream of him walking around the Ren Fair site, stating the following while filming: 1. pointing his camera at and calling women in close distance of Jeremy "MILFs" who are also holding their hand's with their children 2. pointing his camera at and calling a fat woman thick and saying "Rawr." 3. Pointing his camera at and walking behind a woman with her two kids while saying "that is what I am talking about," "she keeps it tight," and "you know she is DTF because she has kids." 4. points his camera at a nearly 10-year-old and moves his camera up and down as if hes checking her out. Brittany says that typically, the Renaissance Fair will not allow you to film and they will kick you out for it. She also says that it's pretty embarrassing to get banned from a place like the Ren Fair for being a sex pest. To which I agree.

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Youtuber Brittany Venti covers The Quartering, getting banned from the Ren Fair due to his weird, creepy behavior on a resurfaced livestream of him walking around the Ren Fair site, stating the following while filming: 1. pointing his camera at and calling women in close distance of Jeremy "MILFs" who are also holding their hand's with their children 2. pointing his camera at and calling a fat woman thick and saying "Rawr." 3. Pointing his camera at and walking behind a woman with her two kids while saying "that is what I am talking about," "she keeps it tight," and "you know she is DTF because she has kids." 4. points his camera at a nearly 10-year-old and moves his camera up and down as if hes checking her out. Brittany says that typically, the Renaissance Fair will not allow you to film and they will kick you out for it. She also says that it's pretty embarrassing to get banned from a place like the Ren Fair for being a sex pest. To which I agree.

Leigha Sapienti

60,394 görüntüleme • 3 ay önce

EXCLUSIVE: Young Ontario woman's life becomes a living hell after Moderna booster shot leaves her paralyzed. Doctors confirm vaccine connection and offer Medical Assistance in Dying (MAID). Kayla Pollock is a 37-year-old mother from Ontario whose life took a drastic turn after receiving a Moderna Covid-19 booster shot. She experienced paralysis from the neck down and has been enduring a challenging ordeal ever since. Kayla's early years were marked by unspeakable cruelty and suffering. As an infant, she endured the horrors of severe abuse, including broken bones, cigarette burns, and bruises inflicted upon her helpless body by her parents. Her distressing situation prompted the intervention of family and children services, ultimately leading to her placement in a caring, loving and supportive home. As she grew older, Kayla dedicated the majority of her younger adult years to behavioral training of exotic animals. However, she eventually made the decision to resign from this profession after having her son, recognizing the inherent risks of the job. Kayla eventually ended up in the small town of Mount Albert, Ontario, where she co-raised her son after a separation. She worked as a casual educational assistant at Robert Munsch Public School, assisting kindergarten children. Her home was conveniently located right next to the school. Kayla's son attended the same school where she worked, and she expressed her love for her job and the positive direction her life was heading. Describing herself as fit, healthy, and very active, Kayla enjoyed hiking, being outdoors, gardening, and going places with her son. When the pandemic struck, Kayla recalls the mainstream media, politicians, and public health officials emphasizing the severity of the virus and urging everyone to get vaccinated. She remembers health officials specifically advising that those at highest risk should prioritize getting vaccinated. Being immunocompromised and a type one diabetic, Kayla heeded the advice of health officials and received the first two Pfizer shots in the middle of 2021 and didn’t experience any issues. Additionally, she mentions another reason for getting vaccinated was because her father resided in a long-term care facility with dementia, and vaccination was going to be a requirement for entry into the care home. Kayla then decided to take a booster, but this time it was a Moderna booster shot. She recounts going to a vaccination drive and the police being there. She found that odd and questioned why the police were present. According to Kayla, people were upset that Moderna was being given out instead of Pfizer, and that was the reason for the police presence. Kayla says that something didn’t sit right in her gut, but she went ahead with the Moderna booster shot anyway. She explains her reasoning for getting the third shot was because she felt like a third one would be mandated at some point to get access into her dads long term care home. She received the Moderna booster shot on January 11, 2022. Four days later, Kayla described a situation where her legs just gave out, and she collapsed, but all seemed fine a short time later. Then, nine days later, she experienced a similar event, and at that time, she called her doctor, asking to see a neurologist because she suspected something wasn’t right. On the morning of February 22, 2022, Kayla's life took an irreversible turn. As she awoke, opened her eyes, a sudden realization struck her – she couldn't move her body. Despite the shock, she says she remained calm and started yelling for help. Fortunately, her boyfriend who spent the night, was in the driveway preparing to leave for work, and heard her cries for help. Her boyfriend called 911 and Kayla was transported to Southlake Regional Health Centre in Newmarket, Ontario. While in the emergency department Kayla recounts that the attending physician initially dismissed her symptoms, suggesting that it was all in her head and portrayed her as a "crazy person," and ordered a psychiatric consult. All of what Kayla describes happening is evident in her medical records which we obtained and reviewed. Eventually, an MRI was conducted, revealing that Kayla had a very large lesion on her spinal cord. A neurologist followed up with Kayla and recommended a course of steroids in an attempt to decrease the size of the lesion. Kayla questioned the neurologist and asked if the lesion could be a tumor. In an audio recording taken by Kayla’s boyfriend, the neurologist responds, saying, “it's less likely a tumor” and that it is his “gut impression it was caused by the vaccine.” When Kayla questions the doctor as to whether many people have had something similar happen to them, the doctor responds, saying “many people have had it.” Later, Kayla would learn that she had developed transverse myelitis, a condition that interrupts the transmission of messages along the spinal cord nerves throughout the body. She would go on to spend several months in the hospital, where she says she was offered medical assistance in dying (MAID) on two occasions but rejected the offer. During Kayla's hospital stay, she received steroids, which she claims helped to some extent, allowing her to regain very slight movement in her arms, hands, and fingers. However, she still has absolutely no feeling from the neck down. Visually examining her fingernails reveals decay due to the lack of nerve function. Kayla believes that if the initial doctor had taken her concerns seriously, rather than dismissing her as a "crazy person," and promptly ordered an MRI, she might have been able to walk again or experience sensation in some parts of her body that she doesn’t have today. After her initial treatment at the local hospital, Kayla was subsequently transferred to Lyndhurst Rehabilitation Centre in Toronto to undergo several months of intensive rehabilitation aimed at attempting to restore her physical capabilities and adapting to her new reality. Unfortunately, Kayla says that rehab did not help her. Following her discharge from the hospital, she now takes a long list of drugs daily. She ended up losing everything she worked hard for—her home, the ability to co-raise her son, and her job, essentially losing everything. Kayla was placed on provincial disability and was forced to move away from Mount Albert, where her son lives, into an apartment that could accommodate her wheelchair accessibility needs. Kayla has faced challenges in obtaining the promised hours of in-home care after leaving the hospital. Kayla relies on a personal support worker to help her get out of bed each morning, another organization assists with meal preparation, and in the evenings, a friend comes over to manually extract feces from her bowel and aid her in getting into bed. Securing compensation through the federal government’s Vaccine Injury Support Program (VISP) has been difficult for Kayla. She initiated the application process in July of 2022, following up with the program six months later. However, according to Kayla, her application was still under review at that time. Another six months elapsed, and when she sought an update, the program informed her that they had never received her initial application. In response, Kayla reapplied to the program and was recently assigned a case worker. Uncertainty looms over whether she will be approved and, if approved, when she will receive any form of compensation. Kayla faces challenges in performing simple tasks both at home and in the community. She is in a difficult financial situation and desperately seeks a service dog. According to her, having a service dog would not only assist her with daily tasks but also offer companionship, providing her with much-needed company. An organization called Veterans 4 Freedom has stepped in to help Kayla and has set up a GiveSendGo campaign to help her raise funds for a service dog. A link to that fundraising campaign is below.

EXCLUSIVE: Young Ontario woman's life becomes a living hell after Moderna booster shot leaves her paralyzed. Doctors confirm vaccine connection and offer Medical Assistance in Dying (MAID). Kayla Pollock is a 37-year-old mother from Ontario whose life took a drastic turn after receiving a Moderna Covid-19 booster shot. She experienced paralysis from the neck down and has been enduring a challenging ordeal ever since. Kayla's early years were marked by unspeakable cruelty and suffering. As an infant, she endured the horrors of severe abuse, including broken bones, cigarette burns, and bruises inflicted upon her helpless body by her parents. Her distressing situation prompted the intervention of family and children services, ultimately leading to her placement in a caring, loving and supportive home. As she grew older, Kayla dedicated the majority of her younger adult years to behavioral training of exotic animals. However, she eventually made the decision to resign from this profession after having her son, recognizing the inherent risks of the job. Kayla eventually ended up in the small town of Mount Albert, Ontario, where she co-raised her son after a separation. She worked as a casual educational assistant at Robert Munsch Public School, assisting kindergarten children. Her home was conveniently located right next to the school. Kayla's son attended the same school where she worked, and she expressed her love for her job and the positive direction her life was heading. Describing herself as fit, healthy, and very active, Kayla enjoyed hiking, being outdoors, gardening, and going places with her son. When the pandemic struck, Kayla recalls the mainstream media, politicians, and public health officials emphasizing the severity of the virus and urging everyone to get vaccinated. She remembers health officials specifically advising that those at highest risk should prioritize getting vaccinated. Being immunocompromised and a type one diabetic, Kayla heeded the advice of health officials and received the first two Pfizer shots in the middle of 2021 and didn’t experience any issues. Additionally, she mentions another reason for getting vaccinated was because her father resided in a long-term care facility with dementia, and vaccination was going to be a requirement for entry into the care home. Kayla then decided to take a booster, but this time it was a Moderna booster shot. She recounts going to a vaccination drive and the police being there. She found that odd and questioned why the police were present. According to Kayla, people were upset that Moderna was being given out instead of Pfizer, and that was the reason for the police presence. Kayla says that something didn’t sit right in her gut, but she went ahead with the Moderna booster shot anyway. She explains her reasoning for getting the third shot was because she felt like a third one would be mandated at some point to get access into her dads long term care home. She received the Moderna booster shot on January 11, 2022. Four days later, Kayla described a situation where her legs just gave out, and she collapsed, but all seemed fine a short time later. Then, nine days later, she experienced a similar event, and at that time, she called her doctor, asking to see a neurologist because she suspected something wasn’t right. On the morning of February 22, 2022, Kayla's life took an irreversible turn. As she awoke, opened her eyes, a sudden realization struck her – she couldn't move her body. Despite the shock, she says she remained calm and started yelling for help. Fortunately, her boyfriend who spent the night, was in the driveway preparing to leave for work, and heard her cries for help. Her boyfriend called 911 and Kayla was transported to Southlake Regional Health Centre in Newmarket, Ontario. While in the emergency department Kayla recounts that the attending physician initially dismissed her symptoms, suggesting that it was all in her head and portrayed her as a "crazy person," and ordered a psychiatric consult. All of what Kayla describes happening is evident in her medical records which we obtained and reviewed. Eventually, an MRI was conducted, revealing that Kayla had a very large lesion on her spinal cord. A neurologist followed up with Kayla and recommended a course of steroids in an attempt to decrease the size of the lesion. Kayla questioned the neurologist and asked if the lesion could be a tumor. In an audio recording taken by Kayla’s boyfriend, the neurologist responds, saying, “it's less likely a tumor” and that it is his “gut impression it was caused by the vaccine.” When Kayla questions the doctor as to whether many people have had something similar happen to them, the doctor responds, saying “many people have had it.” Later, Kayla would learn that she had developed transverse myelitis, a condition that interrupts the transmission of messages along the spinal cord nerves throughout the body. She would go on to spend several months in the hospital, where she says she was offered medical assistance in dying (MAID) on two occasions but rejected the offer. During Kayla's hospital stay, she received steroids, which she claims helped to some extent, allowing her to regain very slight movement in her arms, hands, and fingers. However, she still has absolutely no feeling from the neck down. Visually examining her fingernails reveals decay due to the lack of nerve function. Kayla believes that if the initial doctor had taken her concerns seriously, rather than dismissing her as a "crazy person," and promptly ordered an MRI, she might have been able to walk again or experience sensation in some parts of her body that she doesn’t have today. After her initial treatment at the local hospital, Kayla was subsequently transferred to Lyndhurst Rehabilitation Centre in Toronto to undergo several months of intensive rehabilitation aimed at attempting to restore her physical capabilities and adapting to her new reality. Unfortunately, Kayla says that rehab did not help her. Following her discharge from the hospital, she now takes a long list of drugs daily. She ended up losing everything she worked hard for—her home, the ability to co-raise her son, and her job, essentially losing everything. Kayla was placed on provincial disability and was forced to move away from Mount Albert, where her son lives, into an apartment that could accommodate her wheelchair accessibility needs. Kayla has faced challenges in obtaining the promised hours of in-home care after leaving the hospital. Kayla relies on a personal support worker to help her get out of bed each morning, another organization assists with meal preparation, and in the evenings, a friend comes over to manually extract feces from her bowel and aid her in getting into bed. Securing compensation through the federal government’s Vaccine Injury Support Program (VISP) has been difficult for Kayla. She initiated the application process in July of 2022, following up with the program six months later. However, according to Kayla, her application was still under review at that time. Another six months elapsed, and when she sought an update, the program informed her that they had never received her initial application. In response, Kayla reapplied to the program and was recently assigned a case worker. Uncertainty looms over whether she will be approved and, if approved, when she will receive any form of compensation. Kayla faces challenges in performing simple tasks both at home and in the community. She is in a difficult financial situation and desperately seeks a service dog. According to her, having a service dog would not only assist her with daily tasks but also offer companionship, providing her with much-needed company. An organization called Veterans 4 Freedom has stepped in to help Kayla and has set up a GiveSendGo campaign to help her raise funds for a service dog. A link to that fundraising campaign is below.

The Canadian Independent

1,421,802 görüntüleme • 2 yıl önce

EPISODE 1- FINAL REPLAY Was their love story built on a lie? The championship was over, but the biggest betrayal was just beginning. Made with Nano Banana 2 + Seedance 2.0 on RoboNeo prompt Style: Ultra-cinematic drama, premium streaming-series aesthetics, photorealistic visuals, anamorphic framing, shallow depth of field, luxurious golden ballroom lighting with dramatic shadows, subtle facial acting, slow deliberate camera moves, emotional orchestral score swelling with tension. GRAND GALA BALLROOM – NIGHT 0–5s | Recall & Re-hook Freeze frame from Episode Zero lingers on the brunette’s @[Image 2](image_2) knowing smile as she lowers her wine glass. The giant replay screen behind her flashes blinding white. Hard cut to black. A single heartbeat sound. The replay screen bursts to life — but instead of football highlights, it shows intimate, hidden footage: the football champion @[Image 4](image_4) and the elegant dark-haired brunette @[Image 2](image_2) in a passionate embrace in a private locker room, his winner’s medal still around his neck. The crowd in the ballroom gasps audibly. 5–12s | Consequence Cut to the blonde woman @[Image 3](image_3) at the elegant table. Her face drains of color as she stares at the massive screen. Tears well up again. She picks up her engagement ring from the table in her bare hand and clutches it so tightly it digs into her right hand. The football champion @[Image 4](image_4)(still in black suit, medal now missing from his neck) stands frozen a few feet away, horror dawning on his face. He (medal now missing from his neck) turns toward the screen, then desperately toward the blonde. Blonde woman (whispering, broken): “You said it was only the match that changed everything…” The blonde @[Image 2](image_2) walks away abruptly, knocking over a champagne flute. It shatters loudly on the marble floor — the sound cutting through the now-hushed ballroom. She looks between the champion @[Image 3](image_3) and the brunette @[Image 1](image_1), betrayal turning to cold fury. Blonde woman @[Image 2](image_2)(voice cracking but gaining strength): “Then why does the final replay show you celebrating with her… while I waited for you?” The replay screen loops the damning embrace in slow motion. Guests murmur and film with their phones. 27–30s | Next Cliffhanger The brunette @[Image 1](image_1) smiles wider, turns, and begins walking away through the crowd as the replay screen suddenly cuts to new unseen footage — a close-up of the brunette @[Image 1](image_1) slipping something into the champion’s drink earlier that night, followed by a quick flash of a mysterious document with official-looking seals. The champion’s face twists in shock and realization. The blonde’s eyes widen in horror as she sees it too. Freeze frame on the three of them — triangle of tension. Text on screen fades in: EPISODE TWO Fade to black. Distant crowd applause mixes with a rising, ominous orchestral sting.

EPISODE 1- FINAL REPLAY Was their love story built on a lie? The championship was over, but the biggest betrayal was just beginning. Made with Nano Banana 2 + Seedance 2.0 on RoboNeo prompt Style: Ultra-cinematic drama, premium streaming-series aesthetics, photorealistic visuals, anamorphic framing, shallow depth of field, luxurious golden ballroom lighting with dramatic shadows, subtle facial acting, slow deliberate camera moves, emotional orchestral score swelling with tension. GRAND GALA BALLROOM – NIGHT 0–5s | Recall & Re-hook Freeze frame from Episode Zero lingers on the brunette’s @[Image 2](image_2) knowing smile as she lowers her wine glass. The giant replay screen behind her flashes blinding white. Hard cut to black. A single heartbeat sound. The replay screen bursts to life — but instead of football highlights, it shows intimate, hidden footage: the football champion @[Image 4](image_4) and the elegant dark-haired brunette @[Image 2](image_2) in a passionate embrace in a private locker room, his winner’s medal still around his neck. The crowd in the ballroom gasps audibly. 5–12s | Consequence Cut to the blonde woman @[Image 3](image_3) at the elegant table. Her face drains of color as she stares at the massive screen. Tears well up again. She picks up her engagement ring from the table in her bare hand and clutches it so tightly it digs into her right hand. The football champion @[Image 4](image_4)(still in black suit, medal now missing from his neck) stands frozen a few feet away, horror dawning on his face. He (medal now missing from his neck) turns toward the screen, then desperately toward the blonde. Blonde woman (whispering, broken): “You said it was only the match that changed everything…” The blonde @[Image 2](image_2) walks away abruptly, knocking over a champagne flute. It shatters loudly on the marble floor — the sound cutting through the now-hushed ballroom. She looks between the champion @[Image 3](image_3) and the brunette @[Image 1](image_1), betrayal turning to cold fury. Blonde woman @[Image 2](image_2)(voice cracking but gaining strength): “Then why does the final replay show you celebrating with her… while I waited for you?” The replay screen loops the damning embrace in slow motion. Guests murmur and film with their phones. 27–30s | Next Cliffhanger The brunette @[Image 1](image_1) smiles wider, turns, and begins walking away through the crowd as the replay screen suddenly cuts to new unseen footage — a close-up of the brunette @[Image 1](image_1) slipping something into the champion’s drink earlier that night, followed by a quick flash of a mysterious document with official-looking seals. The champion’s face twists in shock and realization. The blonde’s eyes widen in horror as she sees it too. Freeze frame on the three of them — triangle of tension. Text on screen fades in: EPISODE TWO Fade to black. Distant crowd applause mixes with a rising, ominous orchestral sting.

Sharon Riley

68,710 görüntüleme • 29 gün önce

── Letters from Midsummer 《盛夏来信》 Li Youlin x Dong Yueyu Binge-watched this last night, and it was such a sweet slow-burn romance filled with everyday warmth and affection. The way their relationship develops is so well written, taking them from strangers, to friends, to lovers in the most natural way He suffers from a hereditary disease but initially hides it from her because he's planning to end his life in three months. His mother and younger brother both died from the same illness, and his condition leaves him unable to stand for long periods due to weakness in his legs. But when she and her family learn about his illness, they don't abandon him—instead, they shower him with even more love and care. He's calm, gentle, and kind, while she's optimistic, cheerful, independent, and strong. She truly becomes his salvation, helping him find hope again. They both have their own wonderful qualities, so it makes perfect sense why they're drawn to each other. Their interactions are incredibly sweet, especially when he's already fallen for her but keeps acting cool and aloof—it's both adorable and hilarious. I couldn't stop smiling while watching them 😆 After they officially get together, she thinks he no longer wants to die. But then she discovers that he's still planning to go through with it. He even writes a will, leaving everything to her. Furious, she writes a breakup letter and leaves. He lets her go because he still believes that short-term pain is better than long-term suffering. But afterward, he starts imagining her becoming a rich widow after his death, spending his money on new boyfriends every day and burning paper money for him during festivals. Suddenly, he doesn't want to die anymore 🤣🤣 060终于有好本子了，董玥妤也特别可爱

── Letters from Midsummer 《盛夏来信》 Li Youlin x Dong Yueyu Binge-watched this last night, and it was such a sweet slow-burn romance filled with everyday warmth and affection. The way their relationship develops is so well written, taking them from strangers, to friends, to lovers in the most natural way He suffers from a hereditary disease but initially hides it from her because he's planning to end his life in three months. His mother and younger brother both died from the same illness, and his condition leaves him unable to stand for long periods due to weakness in his legs. But when she and her family learn about his illness, they don't abandon him—instead, they shower him with even more love and care. He's calm, gentle, and kind, while she's optimistic, cheerful, independent, and strong. She truly becomes his salvation, helping him find hope again. They both have their own wonderful qualities, so it makes perfect sense why they're drawn to each other. Their interactions are incredibly sweet, especially when he's already fallen for her but keeps acting cool and aloof—it's both adorable and hilarious. I couldn't stop smiling while watching them 😆 After they officially get together, she thinks he no longer wants to die. But then she discovers that he's still planning to go through with it. He even writes a will, leaving everything to her. Furious, she writes a breakup letter and leaves. He lets her go because he still believes that short-term pain is better than long-term suffering. But afterward, he starts imagining her becoming a rich widow after his death, spending his money on new boyfriends every day and burning paper money for him during festivals. Suddenly, he doesn't want to die anymore 🤣🤣 060终于有好本子了，董玥妤也特别可爱

biee🎐*:.⋆°

20,140 görüntüleme • 2 ay önce

i think it’s also worth mentioning, since everybody keeps asking “Why join the show NOW, Shamea?” & acting like she had a secret agenda by S16, #RHOA was no longer a marriage-focused show. most of the women were single or divorced, couples trips were gone, the literal plot & direction of the show had changed, making it the perfect time for Shamea & Gerald bc their marriage was no longer the focus. plus Porsha had changed her mind abt Shamea joining, but that’s when she thought it was gonna be all abt HER, not expecting what would happen next… Bravo was preparing this HUGE comeback for Porsha Stewart-Williams-McKinley-Guobadia, then the Simon marriage imploded, her storyline tanked & suddenly Shamea was positioned as CENTER peach, a huge BLOW to Porsha’s ego, like damn, i lost my man AND my status on RHOA? which made Porsha feel overshadowed & highlighted her ORIGINAL reservations for not wanting Shamea on the show to begin with but by then, the girl had already officially signed on. So the off camera tension & resentment btw the two grew to where it translated ON CAMERA bc Porsha was passive aggressively taking it out on Shamea by distancing herself & talking shit abt her, regretting ever vouching for Shamea cus she only wanted her there if it meant Shamea was beneath her. So ppl keep tryna make it like Shamea always planned to come on & expose Porsha, baby no…. What Shamea thought was gonna be her first Peach holding season w/ her bestie, aint how it panned out. they werent rly filming solo scenes together bc Porsha doesnt do good with REAL, VULNERABLE confrontations so she avoided it just like she used Drew to deflect from the Simon divorce. Shamea OVER compensated for the distance by tryna prove her loyalty to Porsha by taking on ALL her beefs & Shamea grew tired of faking it for TV & Social media, like their friendship wasnt falling apart IRL. but thats just it. Porsha wasnt willing to talk abt ANY real life issues on camera like Simon n Shamea unless she got an extra check for it. Which is why Shamea ran her mouth n vented to the other cast mates in the first place & THEY brought it onto camera as getback at Shamea being a lapdog. So NO, there was never no “Takedown Porsha Plot”, it was Porsha switching up when her life threw curve balls, Shamea having to pay for it, while still tryna please her & plead for their declining friendship, which ultimately lead to her doing a full audit of everything, completely reassessing their entire friendship, & THAT is why old issues started coming up.

i think it’s also worth mentioning, since everybody keeps asking “Why join the show NOW, Shamea?” & acting like she had a secret agenda by S16, #RHOA was no longer a marriage-focused show. most of the women were single or divorced, couples trips were gone, the literal plot & direction of the show had changed, making it the perfect time for Shamea & Gerald bc their marriage was no longer the focus. plus Porsha had changed her mind abt Shamea joining, but that’s when she thought it was gonna be all abt HER, not expecting what would happen next… Bravo was preparing this HUGE comeback for Porsha Stewart-Williams-McKinley-Guobadia, then the Simon marriage imploded, her storyline tanked & suddenly Shamea was positioned as CENTER peach, a huge BLOW to Porsha’s ego, like damn, i lost my man AND my status on RHOA? which made Porsha feel overshadowed & highlighted her ORIGINAL reservations for not wanting Shamea on the show to begin with but by then, the girl had already officially signed on. So the off camera tension & resentment btw the two grew to where it translated ON CAMERA bc Porsha was passive aggressively taking it out on Shamea by distancing herself & talking shit abt her, regretting ever vouching for Shamea cus she only wanted her there if it meant Shamea was beneath her. So ppl keep tryna make it like Shamea always planned to come on & expose Porsha, baby no…. What Shamea thought was gonna be her first Peach holding season w/ her bestie, aint how it panned out. they werent rly filming solo scenes together bc Porsha doesnt do good with REAL, VULNERABLE confrontations so she avoided it just like she used Drew to deflect from the Simon divorce. Shamea OVER compensated for the distance by tryna prove her loyalty to Porsha by taking on ALL her beefs & Shamea grew tired of faking it for TV & Social media, like their friendship wasnt falling apart IRL. but thats just it. Porsha wasnt willing to talk abt ANY real life issues on camera like Simon n Shamea unless she got an extra check for it. Which is why Shamea ran her mouth n vented to the other cast mates in the first place & THEY brought it onto camera as getback at Shamea being a lapdog. So NO, there was never no “Takedown Porsha Plot”, it was Porsha switching up when her life threw curve balls, Shamea having to pay for it, while still tryna please her & plead for their declining friendship, which ultimately lead to her doing a full audit of everything, completely reassessing their entire friendship, & THAT is why old issues started coming up.

Sky Santana

111,080 görüntüleme • 1 ay önce

In Remembrance of Dorothy Malone. Born | January 29, 1924 in Chicago, Illinois, USA. Died | January 19, 2018 aged 93 in Dallas, Texas, USA. Video | Humphrey Bogart as Philip Marlowe and Dorothy Malone as Acme Bookstore proprietress in the classic film noir, The Big Sleep (1946), directed by Howard Hawks. The blonde, sultry, dreamy-eyed beauty of Dorothy Malone, who was born Mary Maloney in Chicago, took some time before it made an impact with American film-going audiences. But once she did, she played it for all it was worth in her one chance Academy Award-winning “bad girl” performance, a role quite unlike the classy and strait-laced lady herself. Raised in Dallas, she was one of five children born to an accountant father and housewife mother. Two older sisters died of polio. Attending Ursuline Convent and Highland Park High School, she was quite popular (as “School Favourite”). She was also a noted female athlete while there and won several awards for swimming and horseback riding. Following graduation, she studied at Southern Methodist University with the intent of becoming a nurse, but a role in the college play “Starbound” happened to catch the eye of an RKO talent scout and she was offered a Hollywood contract. The lovely brunette started off in typical RKO starlet mode with acting/singing/dancing/diction lessons and bit parts (billed as Dorothy Maloney) in such films as the Frank Sinatra musicals Higher and Higher (1943) and Step Lively (1944), a couple of the mystery “Falcon” entries and a showier role in Show Business (1944) with Eddie Cantor and George Murphy. RKO lost interest, however, after the two-year contract was up. Warner Bros., however, stepped up to the plate and offered the actress a contract. Now billed as Dorothy Malone, her third film offering with the studio finally injected some adrenaline into her floundering young career, when she earned the small role of a seductive book clerk in the Bogart/Bacall classic The Big Sleep (1946). Critics and audiences took notice of her captivating little part. As a reward, the studio nudged her up the billing ladder with more visible roles in Two Guys from Texas (1948), Romance on the High Seas (1948), South of St. Louis (1949) and Colorado Territory (1949), with the westerns showing off her equestrian prowess if not her acting ability. Despite this positive movement, Warner Bros. did not extend Dorothy's contract in 1949 and she returned willingly back to her tight-knit family in her native Dallas. Taking a steadier job with an insurance agency, she happened to attend a work-related convention in New York City and grew fascinated with the big city. Deciding to recommit to her acting career, she moved to the Big Apple and studied at the American Theatre Wing. In between her studies, she managed to find work on TV, which spurred freelancing “B” movie offers in the routine form of Saddle Legion (1951), The Bushwhackers (1951), the Martin & Lewis romp Scared Stiff (1953), Law and Order (1953), Jack Slade (1953), Pushover (1954) and Private Hell 36 (1954). Things picked up noticeably once Dorothy went platinum blonde, which seemed to emphasise her overt and sensual beauty. First off was as a sister to Doris Day in Young at Heart (1954), a musical remake of Four Daughters (1938), back at Warner Bros. She garnered even better attention when she appeared in the war picture Battle Cry (1955), in which she shared torrid love scenes with film's newest heartthrob Tab Hunter, and continued the momentum with the reliable westerns Five Guns West (1955) and Tall Man Riding (1955) but not with melodramatic romantic dud Sincerely Yours (1955) which tried to sell to the audiences a heterosexual Liberace. By this time she had signed with Universal. Following a few more westerns for good measure (At Gunpoint (1955), Tension at Table Rock (1956) and Pillars of the Sky (1956), Dorothy won the scenery-chewing role of wild, nymphomaniac Marylee Hadley in the Douglas Sirk soap opera Written on the Wind (1956) co-starring Rock Hudson, Lauren Bacall and Robert Stack. Stack and Malone had the showier roles and completely out-shined the two leads, both earning supporting Oscar nominations in the process. Stack lost in his category but Dorothy nabbed the trophy for her splendidly trampy, boozed-up Southern belle which was highlighted by her writhing mambo dance. Unfortunately, Dorothy's long spell of mediocre filming did not end with all the hoopla she received for Written on the Wind (1956). The Tarnished Angels (1957), which reunited Malone with Hudson and Stack faltered, and Quantez (1957) with Fred MacMurray was just another run-of-the-mill western. Two major film challenges might have changed things with Man of a Thousand Faces (1957) as the unsympathetic first wife of James Cagney's Lon Chaney Sr, and as alcoholic actress Diana Barrymore in the biographic melodrama Too Much, Too Soon (1958). Cagney, however, overshadowed everyone in the first and the second was fatally watered down by the Production Code committee. To compensate, Dorothy, at age 35 in 1959, finally was married ― to playboy actor Jacques Bergerac (Ginger Rogers's ex-husband). A daughter, Mimi, was born the following year. Fewer film offers, which included Warlock (1959) and The Last Voyage (1960), came her way as Dorothy focused more on family life. While a second daughter, Diane, was born in 1962, the turbulent marriage wouldn't last and their divorce became final in December 1964. A bitter custody battle ensued with Dorothy eventually winning primary custody. It took the small screen to rejuvenate Dorothy's career in the mid-1960s when she earned top billing of TV's first prime time soap opera Peyton Place (1964). Dorothy, starring in Lana Turner's 1957 film role of Constance MacKenzie, found herself in a smash hit. The run wasn't entirely happy however. Doctors discovered blood clots on her lungs which required major surgery and she almost died. Lola Albright filled in until she was able to return. Just as bad, the significance of her role dwindled with time and 20th Century-Fox finally wrote her and co-star Tim O'Connor off the show in 1968. Dorothy filed a breach of contract lawsuit which ended in an out-of-court settlement. Her life on- and off-camera did not improve. Dorothy's second marriage to stockbroker Robert Tomarkin in 1969 would last only three months, and a third to businessman Charles Huston Bell managed about three years. Now-matronly roles in the films Winter Kills (1979), Vortex (1982), The Being (1981) and Descanse en piezas (1987), were few and far between a few TV-movies ― which included some “Peyton Place” revivals, did nothing to advance her career. Malone returned and settled for good back in her native Dallas, returning to Hollywood only on occasion. Dorothy's last film was a cameo in the popular thriller Basic Instinct (1992) as a friend to Sharon Stone. She will be remembered as one of those Hollywood stars who proved she had the talent but somehow got the short end of the stick when it came to quality films offered. She retired to Texas and died in Dallas shortly before her 94th birthday on January 19, 2018.

In Remembrance of Dorothy Malone. Born | January 29, 1924 in Chicago, Illinois, USA. Died | January 19, 2018 aged 93 in Dallas, Texas, USA. Video | Humphrey Bogart as Philip Marlowe and Dorothy Malone as Acme Bookstore proprietress in the classic film noir, The Big Sleep (1946), directed by Howard Hawks. The blonde, sultry, dreamy-eyed beauty of Dorothy Malone, who was born Mary Maloney in Chicago, took some time before it made an impact with American film-going audiences. But once she did, she played it for all it was worth in her one chance Academy Award-winning “bad girl” performance, a role quite unlike the classy and strait-laced lady herself. Raised in Dallas, she was one of five children born to an accountant father and housewife mother. Two older sisters died of polio. Attending Ursuline Convent and Highland Park High School, she was quite popular (as “School Favourite”). She was also a noted female athlete while there and won several awards for swimming and horseback riding. Following graduation, she studied at Southern Methodist University with the intent of becoming a nurse, but a role in the college play “Starbound” happened to catch the eye of an RKO talent scout and she was offered a Hollywood contract. The lovely brunette started off in typical RKO starlet mode with acting/singing/dancing/diction lessons and bit parts (billed as Dorothy Maloney) in such films as the Frank Sinatra musicals Higher and Higher (1943) and Step Lively (1944), a couple of the mystery “Falcon” entries and a showier role in Show Business (1944) with Eddie Cantor and George Murphy. RKO lost interest, however, after the two-year contract was up. Warner Bros., however, stepped up to the plate and offered the actress a contract. Now billed as Dorothy Malone, her third film offering with the studio finally injected some adrenaline into her floundering young career, when she earned the small role of a seductive book clerk in the Bogart/Bacall classic The Big Sleep (1946). Critics and audiences took notice of her captivating little part. As a reward, the studio nudged her up the billing ladder with more visible roles in Two Guys from Texas (1948), Romance on the High Seas (1948), South of St. Louis (1949) and Colorado Territory (1949), with the westerns showing off her equestrian prowess if not her acting ability. Despite this positive movement, Warner Bros. did not extend Dorothy's contract in 1949 and she returned willingly back to her tight-knit family in her native Dallas. Taking a steadier job with an insurance agency, she happened to attend a work-related convention in New York City and grew fascinated with the big city. Deciding to recommit to her acting career, she moved to the Big Apple and studied at the American Theatre Wing. In between her studies, she managed to find work on TV, which spurred freelancing “B” movie offers in the routine form of Saddle Legion (1951), The Bushwhackers (1951), the Martin & Lewis romp Scared Stiff (1953), Law and Order (1953), Jack Slade (1953), Pushover (1954) and Private Hell 36 (1954). Things picked up noticeably once Dorothy went platinum blonde, which seemed to emphasise her overt and sensual beauty. First off was as a sister to Doris Day in Young at Heart (1954), a musical remake of Four Daughters (1938), back at Warner Bros. She garnered even better attention when she appeared in the war picture Battle Cry (1955), in which she shared torrid love scenes with film's newest heartthrob Tab Hunter, and continued the momentum with the reliable westerns Five Guns West (1955) and Tall Man Riding (1955) but not with melodramatic romantic dud Sincerely Yours (1955) which tried to sell to the audiences a heterosexual Liberace. By this time she had signed with Universal. Following a few more westerns for good measure (At Gunpoint (1955), Tension at Table Rock (1956) and Pillars of the Sky (1956), Dorothy won the scenery-chewing role of wild, nymphomaniac Marylee Hadley in the Douglas Sirk soap opera Written on the Wind (1956) co-starring Rock Hudson, Lauren Bacall and Robert Stack. Stack and Malone had the showier roles and completely out-shined the two leads, both earning supporting Oscar nominations in the process. Stack lost in his category but Dorothy nabbed the trophy for her splendidly trampy, boozed-up Southern belle which was highlighted by her writhing mambo dance. Unfortunately, Dorothy's long spell of mediocre filming did not end with all the hoopla she received for Written on the Wind (1956). The Tarnished Angels (1957), which reunited Malone with Hudson and Stack faltered, and Quantez (1957) with Fred MacMurray was just another run-of-the-mill western. Two major film challenges might have changed things with Man of a Thousand Faces (1957) as the unsympathetic first wife of James Cagney's Lon Chaney Sr, and as alcoholic actress Diana Barrymore in the biographic melodrama Too Much, Too Soon (1958). Cagney, however, overshadowed everyone in the first and the second was fatally watered down by the Production Code committee. To compensate, Dorothy, at age 35 in 1959, finally was married ― to playboy actor Jacques Bergerac (Ginger Rogers's ex-husband). A daughter, Mimi, was born the following year. Fewer film offers, which included Warlock (1959) and The Last Voyage (1960), came her way as Dorothy focused more on family life. While a second daughter, Diane, was born in 1962, the turbulent marriage wouldn't last and their divorce became final in December 1964. A bitter custody battle ensued with Dorothy eventually winning primary custody. It took the small screen to rejuvenate Dorothy's career in the mid-1960s when she earned top billing of TV's first prime time soap opera Peyton Place (1964). Dorothy, starring in Lana Turner's 1957 film role of Constance MacKenzie, found herself in a smash hit. The run wasn't entirely happy however. Doctors discovered blood clots on her lungs which required major surgery and she almost died. Lola Albright filled in until she was able to return. Just as bad, the significance of her role dwindled with time and 20th Century-Fox finally wrote her and co-star Tim O'Connor off the show in 1968. Dorothy filed a breach of contract lawsuit which ended in an out-of-court settlement. Her life on- and off-camera did not improve. Dorothy's second marriage to stockbroker Robert Tomarkin in 1969 would last only three months, and a third to businessman Charles Huston Bell managed about three years. Now-matronly roles in the films Winter Kills (1979), Vortex (1982), The Being (1981) and Descanse en piezas (1987), were few and far between a few TV-movies ― which included some “Peyton Place” revivals, did nothing to advance her career. Malone returned and settled for good back in her native Dallas, returning to Hollywood only on occasion. Dorothy's last film was a cameo in the popular thriller Basic Instinct (1992) as a friend to Sharon Stone. She will be remembered as one of those Hollywood stars who proved she had the talent but somehow got the short end of the stick when it came to quality films offered. She retired to Texas and died in Dallas shortly before her 94th birthday on January 19, 2018.

Hollywood Golden Age of Cinema

22,629 görüntüleme • 7 ay önce

Rember back in Trial 2, years after the fact that Kerry says “We were putting a timeline together at the request of Peggy O’Keefe.” “I was at Jen’s house making a timeline when the two officers showed up… I just happened to be there.” “Jen’s sister Denise was there. Denise was writing it down as we were remembering things.” Oh. Denise was writing it down. Denise was physically in the room. Denise was part of the timeline construction process. Denise is now a core witness to the very first ‘what happened’ narrative. And yet… Jen under oath makes it sound like it was just her and Kerry, desperately trying to “figure out what happened to our friend.” She never says, “Oh yeah, my sister Denise was also there writing the whole thing down… while two officers showed up… while Kerry was on the phone with Proctor… while we were actively constructing a joint narrative.” Not a whisper. Not a mention. Denise apparently took a vow of timeline celibacy. If Denise was taking notes, she's a witness to the creation of the narrative. But somehow magically becomes irrelevant to everyone at the house. If she was there when officers arrived, she SAW who said what. Which means she’s a witness to the early statements… Which means she’s a witness to inconsistencies… Which means she’s a witness to whether Jen’s story evolved. . If she was there when Kerry called Proctor, she’s a witness to THAT too. So she’s not just present, she’s potentially involved in the very structure of the early story coordination. But here’s the most important contradiction: When Jen talks about the timeline, she keeps framing it as: “The two of us were trying to figure out what happened.” Two. Her and Kerry. But Kerry says: DENISE WAS WRITING IT DOWN. You don’t forget the person writing the timeline YOU’RE BEING QUESTIONED ABOUT. Unless… they’re not supposed to exist in that moment.

Rember back in Trial 2, years after the fact that Kerry says “We were putting a timeline together at the request of Peggy O’Keefe.” “I was at Jen’s house making a timeline when the two officers showed up… I just happened to be there.” “Jen’s sister Denise was there. Denise was writing it down as we were remembering things.” Oh. Denise was writing it down. Denise was physically in the room. Denise was part of the timeline construction process. Denise is now a core witness to the very first ‘what happened’ narrative. And yet… Jen under oath makes it sound like it was just her and Kerry, desperately trying to “figure out what happened to our friend.” She never says, “Oh yeah, my sister Denise was also there writing the whole thing down… while two officers showed up… while Kerry was on the phone with Proctor… while we were actively constructing a joint narrative.” Not a whisper. Not a mention. Denise apparently took a vow of timeline celibacy. If Denise was taking notes, she's a witness to the creation of the narrative. But somehow magically becomes irrelevant to everyone at the house. If she was there when officers arrived, she SAW who said what. Which means she’s a witness to the early statements… Which means she’s a witness to inconsistencies… Which means she’s a witness to whether Jen’s story evolved. . If she was there when Kerry called Proctor, she’s a witness to THAT too. So she’s not just present, she’s potentially involved in the very structure of the early story coordination. But here’s the most important contradiction: When Jen talks about the timeline, she keeps framing it as: “The two of us were trying to figure out what happened.” Two. Her and Kerry. But Kerry says: DENISE WAS WRITING IT DOWN. You don’t forget the person writing the timeline YOU’RE BEING QUESTIONED ABOUT. Unless… they’re not supposed to exist in that moment.

Dixie Normus

45,181 görüntüleme • 9 ay önce

Some people still think AI does't look real - This video just ended the argument Made with Seedance 2.5 1080p on maxfusion Full prompt: Raw vertical phone video (UGC), handheld throughout, filmed by a friend who walks with the group, casual sway, natural night lighting, wide-angle lens, deep focus. Characters: The hero is a young woman with long dark hair in a deep-purple one-shoulder dress with a small shoulder bag. Her three friends: one in a dark brown dress, a blonde in a black wrap dress, a blonde in a white mini dress — party dresses and sandals. Laughing, spontaneous night-out energy. Setting: A luxury marina at night — a stone quay along a narrow water slip flanked on both sides by large moored luxury yachts, big white hulls rising on either side, masts and rigging above, fenders on the hulls. Warm orange street lamps, palm trees, distant city lights. The yachts glow with blue-turquoise underwater LED lights spilling into the water; a yellow mooring line runs to the stone. [0.0s–4.0s] — Wide tracking shot, eye level, camera moving backward. The camera walks backward ahead of the four women as they stroll toward it down the marina promenade, framed head-to-toe, laughing and chatting in French; warm lamplight and palm trees behind, slight handheld bob. [4.0s–6.0s] — Medium shot, eye level, backward track + quick left pan. The woman in the purple dress surges ahead of the group toward the lens, one arm raised, hair flying; the camera, on their left, keeps tracking back and pans to hold her. [6.0s–8.0s] — Medium-wide, camera tilts down-left to follow, whip motion. She reaches the quay edge between the moored luxury yachts and launches headfirst over the edge; the handheld camera whips left and tilts down to chase her off the stone. [8.0s–10.0s] — High-angle wide, looking down at the water, slight jolt. From up on the quay the camera looks down as she plunges headfirst into the blue-turquoise water in the slip between the big yacht hulls — a big splash, the underwater lights glowing around the impact; the handheld frame jolts slightly with the motion. [10.0s–13.0s] — High-angle medium, looking down, small handheld drift. She surfaces in the teal water, gasping and laughing up at the camera, hair slicked back, treading water. [13.0s–16.0s] — Handheld tilt up and back down, slight zoom. The camera lifts off the water and tilts up to a person leaning on the deck railing of one of the moored luxury yachts, watching her in the water, then tilts back down and zooms slightly in on her still treading and laughing. [16.0s–20.0s] — High-angle medium, tilting to follow her up. She swims to the stone quay wall, reaches up and grabs a thick dark mooring pole, and hauls herself out; the camera tilts upward with her as she rises from the water, legs braced on the stone. [20.0s–23.0s] — Low/close medium at the quay edge, static handheld. She climbs onto the stone lip, rolls onto her side, soaked dress clinging, then pushes up to her feet; the camera holds close, catching the water running off her. [23.0s–27.0s] — Medium shot, eye level, loose handheld reframe. Back on the promenade, dripping wet, she flips her long wet hair forward and wrings it out, laughing, as her friends and passing pedestrians move behind her. [27.0s–30.0s] — Medium shot, eye level, camera settles. Still dripping, she straightens up and strikes a confident, playful pose for the camera — hand on hip, tossing her wet hair back with a big smile — her friends laughing around her; the camera holds on the pose to end. Audio: Live sync sound — friends laughing and shouting excitedly in French, a scream at the leap, a big water splash, water sloshing against the yacht hulls, wet footsteps on stone, ambient night marina sounds. No music. Style: Raw amateur vertical phone footage, natural night lighting, warm street lamps mixing with the turquoise underwater yacht glow, authentic handheld motion.

Some people still think AI does't look real - This video just ended the argument Made with Seedance 2.5 1080p on maxfusion Full prompt: Raw vertical phone video (UGC), handheld throughout, filmed by a friend who walks with the group, casual sway, natural night lighting, wide-angle lens, deep focus. Characters: The hero is a young woman with long dark hair in a deep-purple one-shoulder dress with a small shoulder bag. Her three friends: one in a dark brown dress, a blonde in a black wrap dress, a blonde in a white mini dress — party dresses and sandals. Laughing, spontaneous night-out energy. Setting: A luxury marina at night — a stone quay along a narrow water slip flanked on both sides by large moored luxury yachts, big white hulls rising on either side, masts and rigging above, fenders on the hulls. Warm orange street lamps, palm trees, distant city lights. The yachts glow with blue-turquoise underwater LED lights spilling into the water; a yellow mooring line runs to the stone. [0.0s–4.0s] — Wide tracking shot, eye level, camera moving backward. The camera walks backward ahead of the four women as they stroll toward it down the marina promenade, framed head-to-toe, laughing and chatting in French; warm lamplight and palm trees behind, slight handheld bob. [4.0s–6.0s] — Medium shot, eye level, backward track + quick left pan. The woman in the purple dress surges ahead of the group toward the lens, one arm raised, hair flying; the camera, on their left, keeps tracking back and pans to hold her. [6.0s–8.0s] — Medium-wide, camera tilts down-left to follow, whip motion. She reaches the quay edge between the moored luxury yachts and launches headfirst over the edge; the handheld camera whips left and tilts down to chase her off the stone. [8.0s–10.0s] — High-angle wide, looking down at the water, slight jolt. From up on the quay the camera looks down as she plunges headfirst into the blue-turquoise water in the slip between the big yacht hulls — a big splash, the underwater lights glowing around the impact; the handheld frame jolts slightly with the motion. [10.0s–13.0s] — High-angle medium, looking down, small handheld drift. She surfaces in the teal water, gasping and laughing up at the camera, hair slicked back, treading water. [13.0s–16.0s] — Handheld tilt up and back down, slight zoom. The camera lifts off the water and tilts up to a person leaning on the deck railing of one of the moored luxury yachts, watching her in the water, then tilts back down and zooms slightly in on her still treading and laughing. [16.0s–20.0s] — High-angle medium, tilting to follow her up. She swims to the stone quay wall, reaches up and grabs a thick dark mooring pole, and hauls herself out; the camera tilts upward with her as she rises from the water, legs braced on the stone. [20.0s–23.0s] — Low/close medium at the quay edge, static handheld. She climbs onto the stone lip, rolls onto her side, soaked dress clinging, then pushes up to her feet; the camera holds close, catching the water running off her. [23.0s–27.0s] — Medium shot, eye level, loose handheld reframe. Back on the promenade, dripping wet, she flips her long wet hair forward and wrings it out, laughing, as her friends and passing pedestrians move behind her. [27.0s–30.0s] — Medium shot, eye level, camera settles. Still dripping, she straightens up and strikes a confident, playful pose for the camera — hand on hip, tossing her wet hair back with a big smile — her friends laughing around her; the camera holds on the pose to end. Audio: Live sync sound — friends laughing and shouting excitedly in French, a scream at the leap, a big water splash, water sloshing against the yacht hulls, wet footsteps on stone, ambient night marina sounds. No music. Style: Raw amateur vertical phone footage, natural night lighting, warm street lamps mixing with the turquoise underwater yacht glow, authentic handheld motion.

Stav Zilbershtein

370,773 görüntüleme • 1 gün önce

Absolutely conclusive that Jonathan Ross killed Renee Good. NYT breakdown of what happened. He starts out by filming her with a cell phone in his hand. What kind of law enforcement does this? Doesn’t he need his hands for other purposes? If his job is dangerous, wouldn’t he need two hands? Most likely saw that he was dealing with a lone white woman and felt no threat. Other cars had gone around Renee Good. There was no obstruction of traffic. Ross and his fellow agents seemed like they were taking the opportunity to harass a citizen whose behavior they disapproved of. Ross then gets in front of the car. Again, you’re not supposed to do that. Nobody has provided any explanation of how this could be justified. All law enforcement who have spoken about this are in agreement. He likely did not get hit by the car, and if he did it was just barely, and his legs and body were away from the car after he could see she was turning away. It appears that maybe his arm got hit if anything, and that was because he was holding out his cell phone, which again no real cop would do. And here’s the absolute nail in the coffin: he fires two more shots while he’s clearly off to the side! By this point, the other agent was getting away from the car. Ross just keeps shooting two more times. None of this even stops the car, but it does kill Renee Good. Ross first reaction after doing this is to curse the woman he just killed. Murder. There’s no longer any way to argue anything else.

Absolutely conclusive that Jonathan Ross killed Renee Good. NYT breakdown of what happened. He starts out by filming her with a cell phone in his hand. What kind of law enforcement does this? Doesn’t he need his hands for other purposes? If his job is dangerous, wouldn’t he need two hands? Most likely saw that he was dealing with a lone white woman and felt no threat. Other cars had gone around Renee Good. There was no obstruction of traffic. Ross and his fellow agents seemed like they were taking the opportunity to harass a citizen whose behavior they disapproved of. Ross then gets in front of the car. Again, you’re not supposed to do that. Nobody has provided any explanation of how this could be justified. All law enforcement who have spoken about this are in agreement. He likely did not get hit by the car, and if he did it was just barely, and his legs and body were away from the car after he could see she was turning away. It appears that maybe his arm got hit if anything, and that was because he was holding out his cell phone, which again no real cop would do. And here’s the absolute nail in the coffin: he fires two more shots while he’s clearly off to the side! By this point, the other agent was getting away from the car. Ross just keeps shooting two more times. None of this even stops the car, but it does kill Renee Good. Ross first reaction after doing this is to curse the woman he just killed. Murder. There’s no longer any way to argue anything else.

Richard Hanania

340,075 görüntüleme • 7 ay önce

Vayne takes you on a hunt. you don't know why. she doesn't take anyone. she says stay behind me. don't speak unless i speak first. don't make a sound when we move. you say yes. she looks at you for a second longer than usual. "if i tell you to run, you run. you don't look back for me. are we clear" you say yes. she doesn't answer. she just turns and walks out the door. you follow her through the city streets. she moves different when she's working. shoulders lower. steps shorter. her head doesn't turn but her eyes do. you can feel her cataloguing everything. the man smoking outside the tavern. the cat under the cart. the second floor window with the curtain half drawn. she leads you through an alley you didn't know existed. stops at a brick wall. then she climbs. there are handholds carved into the mortar that you wouldn't have noticed if she hadn't used them first. she's halfway up before she realizes you're still at the bottom. she looks down at you. "up" you climb. your hands are shaking by the time you reach the top. the roof is flat. old clay tiles along the edges. a low wall you can crouch behind. the city stretches out below you in every direction. a thousand windows glowing gold in the dusk. she's already at the far side. crouched. crossbow unslung. watching a building across the square. she doesn't look at you when you come up beside her. "stay low" you crouch. "that building. third floor. second window from the left" you look. "i see it" he'll come to that window sometime tonight. i've watched him do it for three nights. i want to know who he meets you ask who he is. her jaw tightens. "a demon pretending to be a man" you don't ask what that means. you settle in beside her. the wind is up here. it pulls at her hair and she doesn't bother fixing it. the sun is going down behind her. her profile in the gold light looks like something carved. her hands on the crossbow are steady. completely still. you've never seen anyone be this still. an hour passes. she doesn't move. you try not to move. your leg falls asleep. you shift an inch. she looks at you. you go completely still again. she looks back at the window. another hour. the sun is gone. the city is blue and black. lamps are lighting up one by one. the air is getting cold. you're shivering before you realize you're shivering. she notices. she doesn't say anything. then she takes off her cloak. doesn't look at you. holds it out to the side. "take it" you say "you'll be cold" "i don't get cold. take it" you take it. it's warm from her. it smells like leather and steel and something underneath. pine. smoke. something you can't name. you put it around your shoulders. the hem pools on the tile. it's huge on you. it's not huge on her. you hadn't realized how tall she is until you were wearing her cloak. she doesn't look at you for the next ten minutes. the stars come out. she shifts closer to you. just a little. so her shoulder is almost touching yours. you don't say anything about it. she doesn't either. you can feel the heat coming off her even through the cloak. another hour. still nothing at the window. she says "tell me something" you blink. "what" "anything. i need to stay sharp. talking keeps me sharp. not about the target. something else" you didn't expect that. you tell her about a book you've been reading. she listens. actually listens. her eyes never leave the window but you can tell she's hearing every word. she asks one question. you answer. she goes quiet again. you keep talking. quieter now. she interrupts you. "shh" she's not looking at the window anymore. she's looking at the roof two buildings over. you don't see anything. you don't see anything for a long time. then you do. a shadow that moves the wrong way. her hand finds yours. she doesn't look at you when she does it. her eyes don't leave the shadow. her fingers lace through yours and LOCK. tight. too tight. knuckles going white around your hand. "don't move" she breathes. you don't move. you can feel every ounce of her focus through her grip. it's not a lover's hold. it's a predator's. every muscle in her hand coiled. ready to drop yours the instant she needs the crossbow. she's not holding you for you. she's holding you to keep track of where you are without having to look. it should scare you. it doesn't. there is something about being held that tight by someone that dangerous that makes the rest of the world go quiet. your heartbeat slows. your breathing slows. the cold stops mattering. you are not the one hunting but you are with the one who is. and nothing is going to get through her to reach you. the shadow crosses the roof and disappears into a stairwell. she watches the spot it left for another full minute. her hand is still locked around yours. she doesn't loosen it. you don't want her to. finally she lets out a breath you didn't know she was holding. "not him. but someone who works for him" her grip eases. slowly. finger by finger. like she's having to consciously tell each one to let go. the last one is her thumb. it stays against your palm for half a second longer than the rest. then she takes her hand back. the cold rushes in where she was. she glances at you. just for a second. then she looks back at the window. the rest of the night she's quieter than before. the target never shows. when the sky starts turning grey she stands up. stretches. rolls her shoulders. looks out over the city one last time. "we're done" you stand too. your legs don't work right. she catches your elbow without looking. "careful" she keeps her hand there until you're steady. then she takes it away. you start to hand her cloak back. she says "keep it for the climb down" she goes first. you follow. the handholds are easier going down once you know where they are. when you're both on the ground she turns to take the cloak. you hand it to her. her fingers brush yours. she doesn't pull back as fast as she usually does. she puts the cloak back on. it's warm now. from you. she has to notice. she doesn't say anything about it. she walks you home. at your door she stops. "don't tell anyone what you saw tonight" you say "i didn't see much" she looks at you. her eyes in the lamplight. the edge of her mouth. almost softer than it should be. "you saw enough" then she turns and walks back into the dark. you close the door. your hand still feels cold where hers was. you can still smell pine on your shirt. you don't sleep. Study the Saskio way

Tony Chau

11,734 görüntüleme • 3 ay önce

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.

Sharon Riley

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