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Asher is trending because Asherkine introduced Becky to a lifestyle she can’t maintain, and instantly denied her boyfriend and all her exes on the spot. Asher spent atleast ₦5M on her. Asher finally went to the East, University of Nigeria Nsukka, Enugu. As they finished their exams, he flew Becky to Lagos and took her on a lifetime honeymoon experience. First they went grocery shopping in Enugu, where he spent ₦469,980k, first. Then flew went to Lagos, where he took her to a spa, then lodged her in a luxurious hotel. The next day, he took her shopping and spent ₦349,800k. Then took her to a jewelry store and Sub Zero’d her. Ice on her neck, Ice on her ears, Ice on her fingers and Ice on her wrist.. — Ice Princess. (Price was undisclosed for public sanity) Honey moon continued.. He took her hair shopping, got her a wig of ₦1.25M. Took her shopping again and spent ₦378,000. Of course a honeymoon is incomplete without a good ol’ boat cruise. On the boat cruise, she got ₦150k cash, a brand new Apple AirPods and a tear rubber iPhone 16. Estimated at ₦1.6M. At this point the total expenses so far, peaked around ₦4.1M excluding the Icing. Becky could do nothing but Cry. And she Crode. Sadly, like the moon in honeymoon, it wanes with time. Becky had to go home. She left with looking mildly happy. Wondering why the sun has to shine, wishing the moon could shine longer. — it didn’t. As she walks into oblivion. Ken is at the other end. Twitter is saying, she’s not single and just like other girls before her, she has denied her boyfriend. Infact, the streets is saying her boyfriend is Ken. It’s mostly likely cruise. But it hits. Enjoy the screenshots. Follow Trending Explained for daily narration lol.
7:12

Asher is trending because Asherkine introduced Becky to a lifestyle she can’t maintain, and instantly denied her boyfriend and all her exes on the spot. Asher spent atleast ₦5M on her. Asher finally went to the East, University of Nigeria Nsukka, Enugu. As they finished their exams, he flew Becky to Lagos and took her on a lifetime honeymoon experience. First they went grocery shopping in Enugu, where he spent ₦469,980k, first. Then flew went to Lagos, where he took her to a spa, then lodged her in a luxurious hotel. The next day, he took her shopping and spent ₦349,800k. Then took her to a jewelry store and Sub Zero’d her. Ice on her neck, Ice on her ears, Ice on her fingers and Ice on her wrist.. — Ice Princess. (Price was undisclosed for public sanity) Honey moon continued.. He took her hair shopping, got her a wig of ₦1.25M. Took her shopping again and spent ₦378,000. Of course a honeymoon is incomplete without a good ol’ boat cruise. On the boat cruise, she got ₦150k cash, a brand new Apple AirPods and a tear rubber iPhone 16. Estimated at ₦1.6M. At this point the total expenses so far, peaked around ₦4.1M excluding the Icing. Becky could do nothing but Cry. And she Crode. Sadly, like the moon in honeymoon, it wanes with time. Becky had to go home. She left with looking mildly happy. Wondering why the sun has to shine, wishing the moon could shine longer. — it didn’t. As she walks into oblivion. Ken is at the other end. Twitter is saying, she’s not single and just like other girls before her, she has denied her boyfriend. Infact, the streets is saying her boyfriend is Ken. It’s mostly likely cruise. But it hits. Enjoy the screenshots. Follow Trending Explained for daily narration lol.

Trending Explained

146,474 görüntüleme • 1 yıl önce

KAROLINE LEAVITT JUST SET THE STANDARD. 🇺🇸 Youngest White House Press Secretary in history. Most effective in a generation. And she’s walking away at the top of her game to put her kids first. President Trump’s announcement was pure class. She’s not being pushed out, she’s choosing family, and he’s elevating her to top outside advisor for the midterms. That’s loyalty both ways. Fox just laid it out perfectly: • She was in the room with the President, not reading from binders like the last crew. • She answered anything thrown at her. • She was accessible, professional, and actually helped reporters get real information. • When she took maternity leave, they had to rotate cabinet secretaries because nobody else could do it like her. Kellyanne Conway said it best, the Trump White House has been a place where strong women like Sarah Huckabee Sanders and Karoline Leavitt could thrive as both warriors and moms. That says everything. A year and a half in that pressure cooker is like five years anywhere else. She never cracked. Never flinched. Never let the media run the narrative. This is not a loss. This is a promotion with priorities. Karoline leaves with her head held high, two young kids at home, and the full respect of the President and the entire MAGA movement. We will miss that podium energy… but she’s not done. Not even close. Thank you, Karoline. Absolute legend
7:39

KAROLINE LEAVITT JUST SET THE STANDARD. 🇺🇸 Youngest White House Press Secretary in history. Most effective in a generation. And she’s walking away at the top of her game to put her kids first. President Trump’s announcement was pure class. She’s not being pushed out, she’s choosing family, and he’s elevating her to top outside advisor for the midterms. That’s loyalty both ways. Fox just laid it out perfectly: • She was in the room with the President, not reading from binders like the last crew. • She answered anything thrown at her. • She was accessible, professional, and actually helped reporters get real information. • When she took maternity leave, they had to rotate cabinet secretaries because nobody else could do it like her. Kellyanne Conway said it best, the Trump White House has been a place where strong women like Sarah Huckabee Sanders and Karoline Leavitt could thrive as both warriors and moms. That says everything. A year and a half in that pressure cooker is like five years anywhere else. She never cracked. Never flinched. Never let the media run the narrative. This is not a loss. This is a promotion with priorities. Karoline leaves with her head held high, two young kids at home, and the full respect of the President and the entire MAGA movement. We will miss that podium energy… but she’s not done. Not even close. Thank you, Karoline. Absolute legend

Gunther Eagleman™

120,384 görüntüleme • 11 gün önce

AsherKine is trending because Twitter FBIs are exposing and accusing him of scripted staged content as he randomly spent over ₦20M on a ‘stranger’ Asher Kine ‘found’ a sales girl, named Clare in Ogun state and took her to Cape Town. But first went shopping at YL, ZTTW, Nike Store, ZARA and few others.. After the regular staycation they flew to South Africa to conclude the date where she got a tattoo, rode a chopper, etc .. Twitter FBI’s dug out Clare’s page on Instagram and alleged she’s infact used to the lifestyle. As most of her posts do not look like she’s a ‘random’ sales girl earning a ‘random’ sales girl salary. And for her decorated social media presence, she must know AsherKine, yet she reacted like she had never heard of him, yet her mom casually allowed her go out of the state and country with him.. And her chemistry with Asher also raised flags..her posts showed her living a luxury life. Exhibit: However, the skit could have been shot earlier.. because in one of her posts from January, she shared a resignation letter, perhaps it was from the canteen job. Perhaps. Asher is yet to react, as fans hope for clarety... Follow Trending Explained for daily explanations!
6:39

AsherKine is trending because Twitter FBIs are exposing and accusing him of scripted staged content as he randomly spent over ₦20M on a ‘stranger’ Asher Kine ‘found’ a sales girl, named Clare in Ogun state and took her to Cape Town. But first went shopping at YL, ZTTW, Nike Store, ZARA and few others.. After the regular staycation they flew to South Africa to conclude the date where she got a tattoo, rode a chopper, etc .. Twitter FBI’s dug out Clare’s page on Instagram and alleged she’s infact used to the lifestyle. As most of her posts do not look like she’s a ‘random’ sales girl earning a ‘random’ sales girl salary. And for her decorated social media presence, she must know AsherKine, yet she reacted like she had never heard of him, yet her mom casually allowed her go out of the state and country with him.. And her chemistry with Asher also raised flags..her posts showed her living a luxury life. Exhibit: However, the skit could have been shot earlier.. because in one of her posts from January, she shared a resignation letter, perhaps it was from the canteen job. Perhaps. Asher is yet to react, as fans hope for clarety... Follow Trending Explained for daily explanations!

Trending Explained

97,383 görüntüleme • 5 ay önce

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.
4:15

In Remembrance of Marilyn Monroe on her 100th Birthday Born | June 1, 1926 in Los Angeles, California, USA Probably the most celebrated of all actresses, Marilyn Monroe was born Norma Jeane Mortenson on June 1, 1926, in the charity ward of the Los Angeles General Hospital. Her mother, Gladys Pearl (Monroe), was born in Piedras Negras, Coahuila, Mexico, to American parents from Indiana and Missouri, and was a film-cutter at Consolidated Film Industries. Marilyn's biological father has been established through DNA testing as Charles Stanley Gifford, who had been born in Newport, Rhode Island, to a family with deep roots in the state. Marilyn grew up not knowing for sure who her father really was. Gladys gave Norma Jeane the name of Baker. Poverty was a constant companion to Gladys and Norma. Gladys, who was extremely attractive and later worked for R.K.O. Studios, suffered from mental illness and was in and out of mental institutions for the rest of her life, and because of that Norma Jeane spent time in foster homes. When she was nine, she was placed in an orphanage where she was to stay for the next two years. Upon being released from the orphanage, she went to yet another foster home. In 1942, at sixteen years old, Norma Jeane married twenty-one-year-old aircraft plant worker James Dougherty. The marriage lasted only four years, and they divorced in 1946. By this time, Marilyn began to model swimsuits and bleached her hair blonde. Various shots made their way into the public eye, where some were eventually seen by R.K.O. Pictures head Howard Hughes. He offered Marilyn a screen test, but an agent suggested that 20th Century-Fox would be the better choice for her, since it was a much bigger and more prestigious studio. She was signed to a contract at $125 per week for a six-month period and that was increased by $25 per week at the end of that time when her contract was lengthened. Her first film was in 1947 with a bit part in The Shocking Miss Pilgrim (1947). Her next production was not much better, a bit in the forgettable Scudda Hoo! Scudda Hay! (1948). Two of the three brief scenes in which she appeared wound up on the cutting room floor. Later that same year, she was given a somewhat better role as Evie in Dangerous Years (1947). However, Fox declined to renew her contract, so she went back to modeling and acting school. Columbia Pictures then picked her up to play Peggy Martin in Ladies of the Chorus (1948), where she sang three numbers. Notices from the critics were favorable for her, if not the film, but Columbia dropped her. Once again Marilyn returned to modeling. In 1949, she appeared in United Artists' Love Happy (1949). It was also that same year she posed nude for the now famous calendar shot which was later to appear in Playboy magazine in 1953 and further boost her career. She would be the first centerfold in that magazine's long and illustrious history. The next year proved to be a good year for Marilyn. She appeared in five films, but the good news was that she received very good notices for her roles in two of them, The Asphalt Jungle (1950) from MGM and All About Eve (1950) from Fox. Even though both roles were basically not much more than bit parts, movie fans remembered her dizzy but very sexy blonde performance. In 1951, Marilyn got a fairly sizable role in Love Nest (1951). The public was now getting to know her and liked what it saw. She had an intoxicating quality of volcanic sexuality wrapped in an aura of almost childlike innocence. In 1952, Marilyn appeared in Don't Bother to Knock (1952), in which she played a somewhat mentally unbalanced babysitter. Critics didn't particularly care for her work in this picture, but she made a much more favorable impression later in the year in Monkey Business (1952), where she was seen for the first time as a platinum blonde, a look that became her trademark. The next year, she appeared in Gentlemen Prefer Blondes (1953) as Lorelei Lee. It was also the same year she began dating the baseball great Joe DiMaggio. Marilyn was now a genuine box-office drawing card. Later, she appeared with Betty Grable, Lauren Bacall, and Rory Calhoun in How to Marry a Millionaire (1953). Although her co-stars got the rave reviews, it was the sight of Marilyn that really excited the audience, especially the male members. On Thursday, January 14th, 1954, Marilyn wed DiMaggio, then proceeded to film There's No Business Like Show Business (1954). That was quickly followed by The Seven Year Itch (1955), which showcased her considerable comedic talent and contained what is arguably one of the most memorable moments in cinema history: Marilyn standing above a subway grating and the wind from a passing subway blowing her white dress up. By October 1954, Marilyn announced her divorce from DiMaggio (though the divorce was not finalised until October 31, 1955). In 1955, she was suspended by Fox for not reporting for work on How to Be Very, Very Popular (1955). It was her second suspension, the first being for not reporting for the production of The Girl in the Red Velvet Swing (1955). Both roles went to others. Her work was slowing down, due to her habit of being continually late to the set, her illnesses (whether real or imagined) and generally being unwilling to cooperate with her producers, directors, and fellow actors. However in Bus Stop (1956), Marilyn finally showed critics that she could play a straight dramatic role. It was also the same year she married playwright Arthur Miller. (They divorced January 20, 1961.) In 1957, Marilyn flew to Britain to film The Prince and the Showgirl (1957), which proved less than impressive critically and financially. It made money, but many critics panned it for being slow-moving. After a year off in 1958, Marilyn returned to the screen the next year for the delightful comedy, Some Like It Hot (1959) with Tony Curtis and Jack Lemmon. The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. In 1960, Marilyn appeared in George Cukor's Let's Make Love (1960) with Tony Randall and Yves Montand. Again, while it made money, it was critically panned as stodgy and slow-moving. The following year, Marilyn made what was to be her final film, The Misfits (1961), which also proved to be the final film for the legendary Clark Gable, who died later that year of a heart attack. The film was popular with critics and the public alike. In 1962, Marilyn was chosen to star in Fox's Something's Got to Give (1962). Again, her absenteeism caused delay after delay in production, resulting in her being fired from the production in June of that year. It looked as though her career was finished. Studios just didn't want to take a chance on her because it would cost them thousands of dollars in delays. She was only 36 years old. Marilyn remains a pop culture icon, with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood. Marilyn acted in only thirty films, but her legendary status and mysticism will remain with film history for ever.

Hollywood Golden Age of cinema

35,552 görüntüleme • 2 ay önce

🫧✨They hate her because she’s beautiful. They hate her because she’s rich. If Melania Trump stays away, they write she’s done, filing for divorce. If she shows up, they write she’s fulfilling an obligatory prenup or covering up a salacious scandal. Today she showed up at the Freedom 250 Grand Prix looking every bit the First Lady — stunning, and the media still needed a smear. They didn’t wait for facts. They reached again for Natalie Harp and Jon Ossoff’s seeds of adultery. Natalie Harp is a cancer survivor and a top White House aide to President Donald Trump. Mocking her was not enough. Outlets turned proximity into a plot, letters into a scandal, and a West Wing blonde into the other woman. No proof required. Just innuendo, then a thousand follow-up stories. CNN makes it a nightly show. First Lady Melania gets mocked for being loyal and beautiful. Harp gets mocked for surviving cancer and standing near power. Same machine. Same trick. If they don’t have a story, the left invents a marriage crisis and call it reporting. One woman walked onto that track in a race-day crisp summer white top and refused to shrink. The other became a punchline for people who never asked whether any of it was true. They hate Melania if she hides. They hate her if she arrives. That isn’t journalism. That’s cruelty with a byline.🫧✨
0:53

🫧✨They hate her because she’s beautiful. They hate her because she’s rich. If Melania Trump stays away, they write she’s done, filing for divorce. If she shows up, they write she’s fulfilling an obligatory prenup or covering up a salacious scandal. Today she showed up at the Freedom 250 Grand Prix looking every bit the First Lady — stunning, and the media still needed a smear. They didn’t wait for facts. They reached again for Natalie Harp and Jon Ossoff’s seeds of adultery. Natalie Harp is a cancer survivor and a top White House aide to President Donald Trump. Mocking her was not enough. Outlets turned proximity into a plot, letters into a scandal, and a West Wing blonde into the other woman. No proof required. Just innuendo, then a thousand follow-up stories. CNN makes it a nightly show. First Lady Melania gets mocked for being loyal and beautiful. Harp gets mocked for surviving cancer and standing near power. Same machine. Same trick. If they don’t have a story, the left invents a marriage crisis and call it reporting. One woman walked onto that track in a race-day crisp summer white top and refused to shrink. The other became a punchline for people who never asked whether any of it was true. They hate Melania if she hides. They hate her if she arrives. That isn’t journalism. That’s cruelty with a byline.🫧✨

Tosca Austen

49,696 görüntüleme • 8 saat önce

Candace baby…..let’s talk. Did your research team quit? Took me just a few minutes to get the real story behind Elizabeth. Elizabeth McCoys parents are from Russia. Her family came from the Soviet Union not Ukraine. She was born in the US not Ukraine and met Mikey in high school. Her grandfather was prosecuted in Russia and was on the KGBs most wanted list and put in prison for being an evangelistic preacher for 9 years. He was in prison after breaking the Russians laws for religion. You know that Russian country you love so well, that you claim is the best country on earth that’s where they fled from. And yes it was the Bolsheviks. I’ve included in my photos what the Bolsheviks did to the Russian faithful because I’m not sure you know. I think I know why you picked on her now. Russia, Russia, Russia. There’s no evidence that she gets picked up by FU (why did you say FU?) or I mean SUVs when they go there or that she goes there actually. But since her family is anti Russia you had to put a target on her. How much is Russia paying you Candace? There’s no evidence the charity they run traffics kids. They save them. Candace you seem to have an issue with people that actually get out of a basement and help others in this world. You need some therapy. Or maybe join a charity and do something good in your life. Oh wait…she’s a small petit blonde white woman who is college educated and successful. I forgot you seem to have targets on that portion of our society as well. Jealousy is a green eyed monster.
1:12

Candace baby…..let’s talk. Did your research team quit? Took me just a few minutes to get the real story behind Elizabeth. Elizabeth McCoys parents are from Russia. Her family came from the Soviet Union not Ukraine. She was born in the US not Ukraine and met Mikey in high school. Her grandfather was prosecuted in Russia and was on the KGBs most wanted list and put in prison for being an evangelistic preacher for 9 years. He was in prison after breaking the Russians laws for religion. You know that Russian country you love so well, that you claim is the best country on earth that’s where they fled from. And yes it was the Bolsheviks. I’ve included in my photos what the Bolsheviks did to the Russian faithful because I’m not sure you know. I think I know why you picked on her now. Russia, Russia, Russia. There’s no evidence that she gets picked up by FU (why did you say FU?) or I mean SUVs when they go there or that she goes there actually. But since her family is anti Russia you had to put a target on her. How much is Russia paying you Candace? There’s no evidence the charity they run traffics kids. They save them. Candace you seem to have an issue with people that actually get out of a basement and help others in this world. You need some therapy. Or maybe join a charity and do something good in your life. Oh wait…she’s a small petit blonde white woman who is college educated and successful. I forgot you seem to have targets on that portion of our society as well. Jealousy is a green eyed monster.

Raven Grace 🇺🇸🇺🇸🇺🇸

34,130 görüntüleme • 2 ay önce

#WATCH | Delhi: Speaking on retired Indian Army Major Vikrant Jaitly's case, Vikrant's wife Charul Jaitly's lawyer, Major Sudhanshu Pandey, says, "Vikrant was an ex-army officer... In 2016-17, due to family circumstances, he took premature retirement, and since then, he has set up his own work and has been settled in Dubai, where he is working... What we have been told is that there were some national security issues and cyber issues in respect of some different companies with whom Vikrant may have had some dealings... His wife was trying to find out what exactly had happened... She got in contact with the Ministry of External Affairs; everything was explained to them; Vikrant was given counsellor access; and thereafter, it was said that there are some investigations going on in respect of the case against different people, and during that investigation, it would be necessary for Vikrant to be there... Celina was the one whom she contacted first when she got to know about this, and she did not, at that point in time, come forward in any manner to help—at least, any visible help did not come from them. The case happened on the 6th of September 2023... She followed the protocol... and went about the case the way she was advised... She decided to wait for the case to get over... While Charul was never informed by Celina that she had decided to take any legal recourse in this matter, it would have been better if she had consulted Charul and discussed that this is what she was going to do about this. Charul would have come forward, and they could have taken steps that were in the best interest of Vikrant... The reason for filing the case is that if this was something that was motivated by her genuine concern for her brother, she should have consulted us... But to say that she is not being given information or that his wife is not giving her information, we actually strongly rebut because there are absolutely no such reasons. Charul was going to everybody whom she had a hope would be able to help Vikrant... We have been told that some investigation is in the process for which he is required, and when it is over, we will be able to have a better insight into the disposal of Vikrant." (06.12)
9:52

#WATCH | Delhi: Speaking on retired Indian Army Major Vikrant Jaitly's case, Vikrant's wife Charul Jaitly's lawyer, Major Sudhanshu Pandey, says, "Vikrant was an ex-army officer... In 2016-17, due to family circumstances, he took premature retirement, and since then, he has set up his own work and has been settled in Dubai, where he is working... What we have been told is that there were some national security issues and cyber issues in respect of some different companies with whom Vikrant may have had some dealings... His wife was trying to find out what exactly had happened... She got in contact with the Ministry of External Affairs; everything was explained to them; Vikrant was given counsellor access; and thereafter, it was said that there are some investigations going on in respect of the case against different people, and during that investigation, it would be necessary for Vikrant to be there... Celina was the one whom she contacted first when she got to know about this, and she did not, at that point in time, come forward in any manner to help—at least, any visible help did not come from them. The case happened on the 6th of September 2023... She followed the protocol... and went about the case the way she was advised... She decided to wait for the case to get over... While Charul was never informed by Celina that she had decided to take any legal recourse in this matter, it would have been better if she had consulted Charul and discussed that this is what she was going to do about this. Charul would have come forward, and they could have taken steps that were in the best interest of Vikrant... The reason for filing the case is that if this was something that was motivated by her genuine concern for her brother, she should have consulted us... But to say that she is not being given information or that his wife is not giving her information, we actually strongly rebut because there are absolutely no such reasons. Charul was going to everybody whom she had a hope would be able to help Vikrant... We have been told that some investigation is in the process for which he is required, and when it is over, we will be able to have a better insight into the disposal of Vikrant." (06.12)

ANI

41,692 görüntüleme • 8 ay önce

Today at White River Magistrate’s Court, I was physically assaulted in a place that is supposed to deliver justice. I emailed at 09:13 to request documents I am constitutionally entitled to. I drove there to collect copies. Upon arrival, I was forced through unnecessary obstacles: print out the email and return, sit and wait endlessly. I complied. After repeatedly asking court staff for help, the copies were finally made and handed to the clerk responsible for taking payment and issuing the documents with a receipt. At 10:55, she boldly announced she was going on a tea break. I explained that I had already waited a long time and politely asked if she could please process my payment first and hand over the documents. She refused, and then lunged at me with a kettle in hand, pouring its entire contents over my shirt and skirt. (Thank God the water was not boiling.) At the same moment, a court security guard and SAPS officer grabbed me, dragged me out, and manhandled me aggressively. I am a short woman, they threw me around like a ragdoll. At no point did I give anyone permission to lay hands on me. This was clear assault. I yelled out: "WHAT ARE YOU DOING?!" In that instant, it took me straight back to the day in 2021 at White River SAPS, when I screamed the exact same words while connected comrades viciously assaulted my husband inside the police station. This time, it was me on the floor. This time, it was me being assaulted. This is NOT okay.
6:59

Today at White River Magistrate’s Court, I was physically assaulted in a place that is supposed to deliver justice. I emailed at 09:13 to request documents I am constitutionally entitled to. I drove there to collect copies. Upon arrival, I was forced through unnecessary obstacles: print out the email and return, sit and wait endlessly. I complied. After repeatedly asking court staff for help, the copies were finally made and handed to the clerk responsible for taking payment and issuing the documents with a receipt. At 10:55, she boldly announced she was going on a tea break. I explained that I had already waited a long time and politely asked if she could please process my payment first and hand over the documents. She refused, and then lunged at me with a kettle in hand, pouring its entire contents over my shirt and skirt. (Thank God the water was not boiling.) At the same moment, a court security guard and SAPS officer grabbed me, dragged me out, and manhandled me aggressively. I am a short woman, they threw me around like a ragdoll. At no point did I give anyone permission to lay hands on me. This was clear assault. I yelled out: "WHAT ARE YOU DOING?!" In that instant, it took me straight back to the day in 2021 at White River SAPS, when I screamed the exact same words while connected comrades viciously assaulted my husband inside the police station. This time, it was me on the floor. This time, it was me being assaulted. This is NOT okay.

Delia Byliefeldt

41,986 görüntüleme • 6 ay önce

Oprah Winfrey is Coming Under HEAVY SCRUTINY Over Her Suspicious Maui Land Purchasing Just Prior To The Lahaina, Maui, Hawaii Fires 🔥 ‌ OPRAH: “Owns over 2000 acres on Maui, 870 of which were just purchased earlier this year” What Luck! How Did She Know?!? ‌ We have the media trying to paid Oprah as a saint as you see in some of these news clips but local residents (and anyone with a brain) IS NOT BUYING IT ‌ “We move on for the moment to one of the island's most famous long time residents. This is on the recovery side of things, Oprah Winfrey. She spent the past several days, along with many, many others, doing what she could. You would see people lined up, cots, cots, cots, right next to each other. You would see people with all of their worldly possessions in, you know, like a small garbage bag. You figure out what the rebuild. ‌ I'm not buying it owning 2,000 acres of someone else's land, someone else's sacred land. Oprah now commands over 1,000 acres, but here's the twist. Amidst this real estate surge, a sudden fire happens, destroying homes nearby, but leaving her vast terrains unscathed. Once again, Oprah Winfrey is allegedly on the verge of getting canceled over the whooping amount of land she owns in Maui, amid the recent devastating fires in the area. ‌ Let us take a look at Oprah Winfrey and her lands that are causing her controversy after controversy. Oprah Winfrey has sparked controversy with her recent visit to the War Memorial Complex in Wailuku, which is currently functioning as an emergency shelter for survivors of the Maui fires. Her visit generated headlines after reports emerged that she was denied entry along with a CBS News crew. ‌ Oprah's initial visit was met with restrictions imposed by the shelter management and according to reports she was informed that no camera crews or journalists would be allowed inside the shelter to respect the privacy and dignity of those seeking refuge. ‌ —— ongoing debate about her presence and actions in Maui in light of her purchases of over 2000 acres as natives continue to be priced out of their ancestral home. Since the fires began, people have called out Oprah on social media and this situation has only deepened the debate over her controversial presence on Maui since she has been a part time resident of the island since the early 2000s ‌ She owns over 2000 acres on Maui, 870 of which were just purchased earlier this year. One of the things Oprah was able to do after she took her first tour through there, had a visit with people, is she went to Costco, she went to Wal-Mart and she bought just basic necessities. Oprah told BBC that she found out what people needed then shopped at Walmart and Costco so she could hand out supplies like pillows, shampoo and diapers. And outside of the shelter, she and CBS News spoke to some victims and volunteers. These reports caused an uproar online and allegations started being thrown around. ‌ Most were asking why a billionaire with such a lot of land in Maui, which has been alleged to not have been scathed, did not offer to help by seeking shelter for the residents. Some claimed that buying necessities for the people would close people's eyes to the fact that she has enough of the locals' land to help them out. The County of Maui shared a statement on Facebook writing, To clarify, Oprah was able to visit our shelter and we thank her for instructing media journalists and camera crews to remain outside. We welcome Oprah to continue to uplift our community's spirit and give her aloha to victims of the tragedy. ‌ DEWs, Direct Energy Weapons #Hawaii #Maui #MauiFires #Lahaina #LahainaFires #DEWs #DirectedEnergyWeapons
3:31

Oprah Winfrey is Coming Under HEAVY SCRUTINY Over Her Suspicious Maui Land Purchasing Just Prior To The Lahaina, Maui, Hawaii Fires 🔥 ‌ OPRAH: “Owns over 2000 acres on Maui, 870 of which were just purchased earlier this year” What Luck! How Did She Know?!? ‌ We have the media trying to paid Oprah as a saint as you see in some of these news clips but local residents (and anyone with a brain) IS NOT BUYING IT ‌ “We move on for the moment to one of the island's most famous long time residents. This is on the recovery side of things, Oprah Winfrey. She spent the past several days, along with many, many others, doing what she could. You would see people lined up, cots, cots, cots, right next to each other. You would see people with all of their worldly possessions in, you know, like a small garbage bag. You figure out what the rebuild. ‌ I'm not buying it owning 2,000 acres of someone else's land, someone else's sacred land. Oprah now commands over 1,000 acres, but here's the twist. Amidst this real estate surge, a sudden fire happens, destroying homes nearby, but leaving her vast terrains unscathed. Once again, Oprah Winfrey is allegedly on the verge of getting canceled over the whooping amount of land she owns in Maui, amid the recent devastating fires in the area. ‌ Let us take a look at Oprah Winfrey and her lands that are causing her controversy after controversy. Oprah Winfrey has sparked controversy with her recent visit to the War Memorial Complex in Wailuku, which is currently functioning as an emergency shelter for survivors of the Maui fires. Her visit generated headlines after reports emerged that she was denied entry along with a CBS News crew. ‌ Oprah's initial visit was met with restrictions imposed by the shelter management and according to reports she was informed that no camera crews or journalists would be allowed inside the shelter to respect the privacy and dignity of those seeking refuge. ‌ —— ongoing debate about her presence and actions in Maui in light of her purchases of over 2000 acres as natives continue to be priced out of their ancestral home. Since the fires began, people have called out Oprah on social media and this situation has only deepened the debate over her controversial presence on Maui since she has been a part time resident of the island since the early 2000s ‌ She owns over 2000 acres on Maui, 870 of which were just purchased earlier this year. One of the things Oprah was able to do after she took her first tour through there, had a visit with people, is she went to Costco, she went to Wal-Mart and she bought just basic necessities. Oprah told BBC that she found out what people needed then shopped at Walmart and Costco so she could hand out supplies like pillows, shampoo and diapers. And outside of the shelter, she and CBS News spoke to some victims and volunteers. These reports caused an uproar online and allegations started being thrown around. ‌ Most were asking why a billionaire with such a lot of land in Maui, which has been alleged to not have been scathed, did not offer to help by seeking shelter for the residents. Some claimed that buying necessities for the people would close people's eyes to the fact that she has enough of the locals' land to help them out. The County of Maui shared a statement on Facebook writing, To clarify, Oprah was able to visit our shelter and we thank her for instructing media journalists and camera crews to remain outside. We welcome Oprah to continue to uplift our community's spirit and give her aloha to victims of the tragedy. ‌ DEWs, Direct Energy Weapons #Hawaii #Maui #MauiFires #Lahaina #LahainaFires #DEWs #DirectedEnergyWeapons

Wall Street Apes

372,637 görüntüleme • 3 yıl önce

In Remembrance of Suzanne Pleshette. Born | January 31, 1937 in New York City, New York, USA. Died | January 19, 2008 aged 70 in Los Angeles, California, USA. Suzanne Pleshette achieved television immortality in her role as Bob Newhart's wife in the 1970s classic situation comedy, The Bob Newhart Show (1972). For her role as “Emily Hartley” wife of psychologist “Bob Hartley” (played by Bob Newhart), Pleshette was nominated for the Emmy Award twice, in 1977 and 1978. She was also nominated for an Emmy in 1962 for a guest appearance on the TV series, Dr. Kildare (1961) and, in 1991, for playing the title role in Leona Helmsley: The Queen of Mean (1990) in a 1990 TV movie. Her acting career lasted almost 50 years. Suzanne Pleshette was born on January 31, 1937 in New York to Gene Pleshette, a TV network executive who had managed the Paramount Theatres in Manhattan and Brooklyn during the Big Band era, and the former Geraldine Kaplan, a dancer who performed under the pseudonym Geraldine Rivers. Pleshette claims that she was not an acting natural, but just “found” herself attending New York City's High School of the Performing Arts. After graduating high school, she attended Syracuse University for a semester before returning to NYC to go to Finch College, an elite finishing school for well-to-do young ladies. After a semester at Finch, Pleshette dropped out of college to take lessons from famed acting teacher Sanford Meisner at the Neighborhood Playhouse. She made her Broadway debut in 1957 as part of the supporting cast for the play Compulsion (1959). Initially cast as “The Fourth Girl”, she eventually took over the ingénue role during the play's run. Blessed with beauty, a fine figure, and a husky voice that made her seem older than her years, she quickly achieved success on both the small and big screens. She made her TV debut, at age 20, in Harbourmaster (1957), then was chosen as the female lead opposite superstar Jerry Lewis in his 1958 comedy, The Geisha Boy (1958). On Broadway, she replaced Anne Bancroft in the Broadway hit The Miracle Worker (1962). Once Pleshette started acting, her career never lagged until she was afflicted with cancer. Her most famous cinematic role was in Alfred Hitchcock's classic, The Birds (1963), as the brunette schoolteacher jilted by the hero of the film, “Mitch Brenner” (played by Rod Taylor). Pleshette's warm, earthy character was a perfect contrast to the icy blonde beauty, “Melanie Daniels” (Tippi Hedren). Frankly, it is hard to understand how Taylor's Mitch would jilt Pleshette's Annie, other than to work out Hitchcock's dark vision of society and psychosexual relations between the sexes, in which amoral blondes triumph for aesthetic rather than moral reasons. Still, it is for Emily Hartley she will always be remembered, for both the original show and her part in another show that had the most clever sign-off episode in TV series history. Bob Newhart had enjoyed a second success during the 1980s with his TV sitcom Newhart (1982), and when he decided to end that series, he asked Suzanne Pleshette to come back. She did, reprising her tole of Emily in a final episode of Newhart, where Newhart woke up as Bob Hartley from “The Bob Newhart Show” in the bedroom of the Hartley's Chicago apartment, Pleshette's Emily at his side. Bob Hartley then told his wife Emily of a crazy dream he'd just had, where he was the proprietor of a Vermont inn overrun with eccentrics, the premise of the second show. After “The Bob Newhart Show” ceased production, Suzanne Pleshette worked regularly on television, mostly in TV movies. Although she was a talented dramatic actress, she had a flair for comedy and, in 1984, she headlined her own series at CBS. She helped develop the half-hour sitcom, and even had the rare honor of having her name in the title. Suzanne Pleshette Is Maggie Briggs (1984), however, was not a success. She co-starred with Hal Linden in another short-lived CBS TV series, The Boys Are Back (1994), in the 1994-95 season, then had recurring roles in the TV series Good Morning, Miami (2002) and 8 Simple Rules... for Dating My Teenage Daughter (2002). Pleshette was married three times: In 1964, she wed teen idol Troy Donahue, her co-star in the 1962 film Rome Adventure (1962) and in 1964's A Distant Trumpet (1964), but the marriage lasted less than a year. She was far more successful in her 1968 nuptials to Texas oil millionaire Tommy Gallagher, whom she remained married to until his death in 2000. After becoming a widow, she and widower Tom Poston (a Newhart regular) rekindled an old romance they had enjoyed when appearing together in “The Golden Fleecing”, a 1959 Broadway comedy. They were married from 2001 until Poston's death, in April 2007. Pleshette was diagnosed with lung cancer and underwent chemotherapy in the summer of 2006; she rallied, but in late 2007, she barely survived a bout of pneumonia. She died of respiratory failure on January 19, 2008, a few days shy of her 71st birthday. Suzanne Pleshette was remembered as a gregarious, down-to-earth person who loved to talk and often would regale her co-stars with a naughty story. Newhart and his producers had picked her for the role of Emily in “The Bob Newhart Show” after watching her appearances with Johnny Carson on Late Night with Johnny Carson (1962), where she showed herself to be a first-rate raconteuse. Because she could hold her own with Newhart's friend Carson, it was felt she would be a perfect foil as Newhart's TV wife. She accepted the part, and TV history was made.
0:32

In Remembrance of Suzanne Pleshette. Born | January 31, 1937 in New York City, New York, USA. Died | January 19, 2008 aged 70 in Los Angeles, California, USA. Suzanne Pleshette achieved television immortality in her role as Bob Newhart's wife in the 1970s classic situation comedy, The Bob Newhart Show (1972). For her role as “Emily Hartley” wife of psychologist “Bob Hartley” (played by Bob Newhart), Pleshette was nominated for the Emmy Award twice, in 1977 and 1978. She was also nominated for an Emmy in 1962 for a guest appearance on the TV series, Dr. Kildare (1961) and, in 1991, for playing the title role in Leona Helmsley: The Queen of Mean (1990) in a 1990 TV movie. Her acting career lasted almost 50 years. Suzanne Pleshette was born on January 31, 1937 in New York to Gene Pleshette, a TV network executive who had managed the Paramount Theatres in Manhattan and Brooklyn during the Big Band era, and the former Geraldine Kaplan, a dancer who performed under the pseudonym Geraldine Rivers. Pleshette claims that she was not an acting natural, but just “found” herself attending New York City's High School of the Performing Arts. After graduating high school, she attended Syracuse University for a semester before returning to NYC to go to Finch College, an elite finishing school for well-to-do young ladies. After a semester at Finch, Pleshette dropped out of college to take lessons from famed acting teacher Sanford Meisner at the Neighborhood Playhouse. She made her Broadway debut in 1957 as part of the supporting cast for the play Compulsion (1959). Initially cast as “The Fourth Girl”, she eventually took over the ingénue role during the play's run. Blessed with beauty, a fine figure, and a husky voice that made her seem older than her years, she quickly achieved success on both the small and big screens. She made her TV debut, at age 20, in Harbourmaster (1957), then was chosen as the female lead opposite superstar Jerry Lewis in his 1958 comedy, The Geisha Boy (1958). On Broadway, she replaced Anne Bancroft in the Broadway hit The Miracle Worker (1962). Once Pleshette started acting, her career never lagged until she was afflicted with cancer. Her most famous cinematic role was in Alfred Hitchcock's classic, The Birds (1963), as the brunette schoolteacher jilted by the hero of the film, “Mitch Brenner” (played by Rod Taylor). Pleshette's warm, earthy character was a perfect contrast to the icy blonde beauty, “Melanie Daniels” (Tippi Hedren). Frankly, it is hard to understand how Taylor's Mitch would jilt Pleshette's Annie, other than to work out Hitchcock's dark vision of society and psychosexual relations between the sexes, in which amoral blondes triumph for aesthetic rather than moral reasons. Still, it is for Emily Hartley she will always be remembered, for both the original show and her part in another show that had the most clever sign-off episode in TV series history. Bob Newhart had enjoyed a second success during the 1980s with his TV sitcom Newhart (1982), and when he decided to end that series, he asked Suzanne Pleshette to come back. She did, reprising her tole of Emily in a final episode of Newhart, where Newhart woke up as Bob Hartley from “The Bob Newhart Show” in the bedroom of the Hartley's Chicago apartment, Pleshette's Emily at his side. Bob Hartley then told his wife Emily of a crazy dream he'd just had, where he was the proprietor of a Vermont inn overrun with eccentrics, the premise of the second show. After “The Bob Newhart Show” ceased production, Suzanne Pleshette worked regularly on television, mostly in TV movies. Although she was a talented dramatic actress, she had a flair for comedy and, in 1984, she headlined her own series at CBS. She helped develop the half-hour sitcom, and even had the rare honor of having her name in the title. Suzanne Pleshette Is Maggie Briggs (1984), however, was not a success. She co-starred with Hal Linden in another short-lived CBS TV series, The Boys Are Back (1994), in the 1994-95 season, then had recurring roles in the TV series Good Morning, Miami (2002) and 8 Simple Rules... for Dating My Teenage Daughter (2002). Pleshette was married three times: In 1964, she wed teen idol Troy Donahue, her co-star in the 1962 film Rome Adventure (1962) and in 1964's A Distant Trumpet (1964), but the marriage lasted less than a year. She was far more successful in her 1968 nuptials to Texas oil millionaire Tommy Gallagher, whom she remained married to until his death in 2000. After becoming a widow, she and widower Tom Poston (a Newhart regular) rekindled an old romance they had enjoyed when appearing together in “The Golden Fleecing”, a 1959 Broadway comedy. They were married from 2001 until Poston's death, in April 2007. Pleshette was diagnosed with lung cancer and underwent chemotherapy in the summer of 2006; she rallied, but in late 2007, she barely survived a bout of pneumonia. She died of respiratory failure on January 19, 2008, a few days shy of her 71st birthday. Suzanne Pleshette was remembered as a gregarious, down-to-earth person who loved to talk and often would regale her co-stars with a naughty story. Newhart and his producers had picked her for the role of Emily in “The Bob Newhart Show” after watching her appearances with Johnny Carson on Late Night with Johnny Carson (1962), where she showed herself to be a first-rate raconteuse. Because she could hold her own with Newhart's friend Carson, it was felt she would be a perfect foil as Newhart's TV wife. She accepted the part, and TV history was made.

Hollywood Golden Age of Cinema

38,828 görüntüleme • 7 ay önce

-The Cab Ride I'll Never Forget- "Twenty years ago, I drove a cab for a living. When I arrived at 2:30 a.m., the building was dark except for a single light in a ground floor window. Under these circumstances, many drivers would just honk once or twice, wait a minute, then drive away. But, I had seen too many impoverished people who depended on taxis as their only means of transportation. Unless a situation smelled of danger, I always went to the door. This passenger might be someone who needs my assistance, I reasoned to myself. So I walked to the door and knocked. “Just a minute”, answered a frail, elderly voice. After a long pause, the door opened. A small woman in her 90′s stood before me. She was wearing a print dress and a pillbox hat with a veil pinned on it, like somebody out of a 1940′s movie. By her side was a small nylon suitcase. The apartment looked as if no one had lived in it for years. All the furniture was covered with sheets. There were no clocks on the walls, no knickknacks or utensils on the counters. In the corner was a cardboard box filled with photos and glassware. ‘Would you carry my bag out to the car?’ she said. I took the suitcase to the cab, then returned to assist the woman. She took my arm and we walked slowly toward the curb. She kept thanking me for my kindness. ‘It’s nothing’, I told her.. ‘I just try to treat my passengers the way I would want my mother to be treated.’ ‘Oh, you’re such a good boy, she said. When we got in the cab, she gave me an address and then asked, ‘Could you drive through downtown?’ ‘It’s not the shortest way,’ I answered quickly.. ‘Oh, I don’t mind,’ she said. ‘I’m in no hurry. I’m on my way to a hospice. I looked in the rear-view mirror. Her eyes were glistening. ‘I don’t have any family left,’ she continued in a soft voice..’The doctor says I don’t have very long.’ I quietly reached over and shut off the meter. ‘What route would you like me to take?’ I asked. For the next two hours, we drove through the city. She showed me the building where she had once worked as an elevator operator. We drove through the neighborhood where she and her husband had lived when they were newlyweds She had me pull up in front of a furniture warehouse that had once been a ballroom where she had gone dancing as a girl. Sometimes she’d ask me to slow in front of a particular building or corner and would sit staring into the darkness, saying nothing. As the first hint of sun was creasing the horizon, she suddenly said, ‘I’m tired.Let’s go now’. We drove in silence to the address she had given me. It was a low building, like a small convalescent home, with a driveway that passed under a portico. Two orderlies came out to the cab as soon as we pulled up. They were solicitous and intent, watching her every move. They must have been expecting her. I opened the trunk and took the small suitcase to the door. The woman was already seated in a wheelchair. ‘How much do I owe you?’ She asked, reaching into her purse. ‘Nothing,’ I said ‘You have to make a living,’ she answered. ‘There are other passengers,’ I responded. Almost without thinking, I bent and gave her a hug.She held onto me tightly. ‘You gave an old woman a little moment of joy,’ she said. ‘Thank you.’ I squeezed her hand, and then walked into the dim morning light.. Behind me, a door shut. It was the sound of the closing of a life.. I didn’t pick up any more passengers that shift. I drove aimlessly lost in thought. For the rest of that day,I could hardly talk.What if that woman had gotten an angry driver,or one who was impatient to end his shift? What if I had refused to take the run, or had honked once, then driven away? On a quick review, I don’t think that I have done anything more important in my life. We’re conditioned to think that our lives revolve around great moments. But great moments often catch us unaware-beautifully wrapped in what others may consider a small one."
0:46

-The Cab Ride I'll Never Forget- "Twenty years ago, I drove a cab for a living. When I arrived at 2:30 a.m., the building was dark except for a single light in a ground floor window. Under these circumstances, many drivers would just honk once or twice, wait a minute, then drive away. But, I had seen too many impoverished people who depended on taxis as their only means of transportation. Unless a situation smelled of danger, I always went to the door. This passenger might be someone who needs my assistance, I reasoned to myself. So I walked to the door and knocked. “Just a minute”, answered a frail, elderly voice. After a long pause, the door opened. A small woman in her 90′s stood before me. She was wearing a print dress and a pillbox hat with a veil pinned on it, like somebody out of a 1940′s movie. By her side was a small nylon suitcase. The apartment looked as if no one had lived in it for years. All the furniture was covered with sheets. There were no clocks on the walls, no knickknacks or utensils on the counters. In the corner was a cardboard box filled with photos and glassware. ‘Would you carry my bag out to the car?’ she said. I took the suitcase to the cab, then returned to assist the woman. She took my arm and we walked slowly toward the curb. She kept thanking me for my kindness. ‘It’s nothing’, I told her.. ‘I just try to treat my passengers the way I would want my mother to be treated.’ ‘Oh, you’re such a good boy, she said. When we got in the cab, she gave me an address and then asked, ‘Could you drive through downtown?’ ‘It’s not the shortest way,’ I answered quickly.. ‘Oh, I don’t mind,’ she said. ‘I’m in no hurry. I’m on my way to a hospice. I looked in the rear-view mirror. Her eyes were glistening. ‘I don’t have any family left,’ she continued in a soft voice..’The doctor says I don’t have very long.’ I quietly reached over and shut off the meter. ‘What route would you like me to take?’ I asked. For the next two hours, we drove through the city. She showed me the building where she had once worked as an elevator operator. We drove through the neighborhood where she and her husband had lived when they were newlyweds She had me pull up in front of a furniture warehouse that had once been a ballroom where she had gone dancing as a girl. Sometimes she’d ask me to slow in front of a particular building or corner and would sit staring into the darkness, saying nothing. As the first hint of sun was creasing the horizon, she suddenly said, ‘I’m tired.Let’s go now’. We drove in silence to the address she had given me. It was a low building, like a small convalescent home, with a driveway that passed under a portico. Two orderlies came out to the cab as soon as we pulled up. They were solicitous and intent, watching her every move. They must have been expecting her. I opened the trunk and took the small suitcase to the door. The woman was already seated in a wheelchair. ‘How much do I owe you?’ She asked, reaching into her purse. ‘Nothing,’ I said ‘You have to make a living,’ she answered. ‘There are other passengers,’ I responded. Almost without thinking, I bent and gave her a hug.She held onto me tightly. ‘You gave an old woman a little moment of joy,’ she said. ‘Thank you.’ I squeezed her hand, and then walked into the dim morning light.. Behind me, a door shut. It was the sound of the closing of a life.. I didn’t pick up any more passengers that shift. I drove aimlessly lost in thought. For the rest of that day,I could hardly talk.What if that woman had gotten an angry driver,or one who was impatient to end his shift? What if I had refused to take the run, or had honked once, then driven away? On a quick review, I don’t think that I have done anything more important in my life. We’re conditioned to think that our lives revolve around great moments. But great moments often catch us unaware-beautifully wrapped in what others may consider a small one."

Ryan Buikema

110,585 görüntüleme • 2 yıl önce

🥚 **Explanation of Chicken Math** 🥚: A warning for future chicken owners (and husbands). I have 9 chickens and 1 rooster. One of my hens hatched 4 more babies on Easter Sunday. Now I have 13 chickens (and a rooster). I should have been good after this, right? Wrong. One of my chickens, “Blue,” was very broody and wanted to hoard eggs so badly. So, I finally decided to give her 3–4 eggs and just see what would happen. I wasn’t even sure if they were fertile. I marked them so we wouldn’t gather them and let her have them. Mind you, they were all laid on the same day. As the weeks passed, she continued to hoard other eggs, many times creating a massive pile for herself and sometimes abandoning the marked eggs altogether for a larger pile. In my head, I thought, “There’s no way those eggs will hatch. She isn’t taking care of them properly.” But behold, on Friday, May 30th, ONE egg hatched. A precious little black baby with white spots was born. The other eggs showed no sign of life. I quickly moved the mom hen to a brooder box with her single baby. I moved her other marked eggs as well but had little faith they would hatch. A day later, none had hatched. Still no sign of life, and she had shoved them into a corner (meaning she was done with them and focusing on her single baby chick). Well, it’s not good for a baby to be alone. Chicks don’t do well without other chicks, so, naturally, I went to my feed store and grabbed two more chicks. They were crested, which means they have Afros. SO CUTE! Now, I have 16 total chickens and 1 rooster. Two days pass. It’s Monday. I forgot to toss the eggs that were abandoned by the mom. I go outside to clean out her brooder box and grab those rotten eggs. But lo! One of the abandoned eggs was hatching! And the baby had clearly been struggling to hatch for a while. The inner lining was very dry. My poor pregnant soul was immediately emotional and had to help this baby live! I assisted with the hatch, knowing that the mom hen would likely reject this baby. Sure enough, the mom rejected her once she was born. I waited for hours to see how the mom hen would react. She wanted nothing to do with her. The baby was small and had signs of dehydration and failure to thrive. But I didn’t want to lose this baby, not if I could do something about it. So, I grabbed her, placed her in a box with a heat lamp, and brought her inside, determined to raise her myself. But HARK! It’s not good for baby chicks to be alone. I called an expert, and the first thing she said was, “You need other babies to be with her; she probably won’t make it by herself.” So, again, I went to my feed store and bought two more crested Afro chicks. Now, I have 19 chickens (and my rooster). And chickens inside my house that I’ll likely still be taking care of even when my own baby is born. This is chicken math. And I don’t know why I do this to myself. In 6 weeks, I gained 10 more chickens. Totally by… accident.
1:02

🥚 **Explanation of Chicken Math** 🥚: A warning for future chicken owners (and husbands). I have 9 chickens and 1 rooster. One of my hens hatched 4 more babies on Easter Sunday. Now I have 13 chickens (and a rooster). I should have been good after this, right? Wrong. One of my chickens, “Blue,” was very broody and wanted to hoard eggs so badly. So, I finally decided to give her 3–4 eggs and just see what would happen. I wasn’t even sure if they were fertile. I marked them so we wouldn’t gather them and let her have them. Mind you, they were all laid on the same day. As the weeks passed, she continued to hoard other eggs, many times creating a massive pile for herself and sometimes abandoning the marked eggs altogether for a larger pile. In my head, I thought, “There’s no way those eggs will hatch. She isn’t taking care of them properly.” But behold, on Friday, May 30th, ONE egg hatched. A precious little black baby with white spots was born. The other eggs showed no sign of life. I quickly moved the mom hen to a brooder box with her single baby. I moved her other marked eggs as well but had little faith they would hatch. A day later, none had hatched. Still no sign of life, and she had shoved them into a corner (meaning she was done with them and focusing on her single baby chick). Well, it’s not good for a baby to be alone. Chicks don’t do well without other chicks, so, naturally, I went to my feed store and grabbed two more chicks. They were crested, which means they have Afros. SO CUTE! Now, I have 16 total chickens and 1 rooster. Two days pass. It’s Monday. I forgot to toss the eggs that were abandoned by the mom. I go outside to clean out her brooder box and grab those rotten eggs. But lo! One of the abandoned eggs was hatching! And the baby had clearly been struggling to hatch for a while. The inner lining was very dry. My poor pregnant soul was immediately emotional and had to help this baby live! I assisted with the hatch, knowing that the mom hen would likely reject this baby. Sure enough, the mom rejected her once she was born. I waited for hours to see how the mom hen would react. She wanted nothing to do with her. The baby was small and had signs of dehydration and failure to thrive. But I didn’t want to lose this baby, not if I could do something about it. So, I grabbed her, placed her in a box with a heat lamp, and brought her inside, determined to raise her myself. But HARK! It’s not good for baby chicks to be alone. I called an expert, and the first thing she said was, “You need other babies to be with her; she probably won’t make it by herself.” So, again, I went to my feed store and bought two more crested Afro chicks. Now, I have 19 chickens (and my rooster). And chickens inside my house that I’ll likely still be taking care of even when my own baby is born. This is chicken math. And I don’t know why I do this to myself. In 6 weeks, I gained 10 more chickens. Totally by… accident.

Sarah Fields

56,406 görüntüleme • 1 yıl önce

A GRIEVING MOTHER FOUGHT THE BRITISH ESTABLISHMENT FOR 24 YEARS AND PROVED IT WRONG FROM THE GRAVE Kevin Williams was 15 when he died at Hillsborough on 15 April 1989. The original inquest ruled every single death happened by 3.15pm and refused to consider any evidence after that point. Convenient cutoff. It meant nobody ever had to explain why an ambulance never reached him, or whether he could have survived. His mother Anne Williams was not satisfied with convenient. She had medical evidence suggesting Kevin was alive well after the official cutoff. South Yorkshire Police had a simpler version of events, one that blamed dying fans for their own deaths and altered statements to fit it. So Anne spent the next two decades doing the job the police, the coroner, and the government should have done properly the first time. She set up Hope For Hillsborough, then chaired the Hillsborough Justice Campaign HJC Official. She petitioned the Attorney General three times. Over 118,000 people signed her call for a fresh inquest. The establishment's strategy was simple. Wait her out. It didn't work. In 2012 the Hillsborough Independent Panel confirmed what campaigners had said for years, the original verdicts were built on doctored evidence. The verdicts were quashed and a fresh inquest was ordered into all 96 deaths. Anne died of cancer in April 2013, two weeks before that fresh inquest began. She never lived to hear the 2016 verdict that all 96 were killed. Liverpool City Region Mayor Steve Rotheram Steve Rotheram, who has campaigned for a Hillsborough Law ever since, called her fight a symbol of unbreakable maternal love. BBC gave her a posthumous award later that year. A nice gesture, 24 years late. The lesson is not complicated. One mother with no legal training out-investigated a police force, a coroner, and most of Whitehall, just by refusing to accept a story that didn't add up. If the truth had been told in 1989, none of this would have been necessary. It wasn't, so she made them tell it anyway. Next time someone tells you to drop it and move on, think of Anne Williams. She didn't, and the country is still catching up to what she proved. Sources: The Guardian BBCNews Channel 4 News Liverpool Echo
2:10

A GRIEVING MOTHER FOUGHT THE BRITISH ESTABLISHMENT FOR 24 YEARS AND PROVED IT WRONG FROM THE GRAVE Kevin Williams was 15 when he died at Hillsborough on 15 April 1989. The original inquest ruled every single death happened by 3.15pm and refused to consider any evidence after that point. Convenient cutoff. It meant nobody ever had to explain why an ambulance never reached him, or whether he could have survived. His mother Anne Williams was not satisfied with convenient. She had medical evidence suggesting Kevin was alive well after the official cutoff. South Yorkshire Police had a simpler version of events, one that blamed dying fans for their own deaths and altered statements to fit it. So Anne spent the next two decades doing the job the police, the coroner, and the government should have done properly the first time. She set up Hope For Hillsborough, then chaired the Hillsborough Justice Campaign HJC Official. She petitioned the Attorney General three times. Over 118,000 people signed her call for a fresh inquest. The establishment's strategy was simple. Wait her out. It didn't work. In 2012 the Hillsborough Independent Panel confirmed what campaigners had said for years, the original verdicts were built on doctored evidence. The verdicts were quashed and a fresh inquest was ordered into all 96 deaths. Anne died of cancer in April 2013, two weeks before that fresh inquest began. She never lived to hear the 2016 verdict that all 96 were killed. Liverpool City Region Mayor Steve Rotheram Steve Rotheram, who has campaigned for a Hillsborough Law ever since, called her fight a symbol of unbreakable maternal love. BBC gave her a posthumous award later that year. A nice gesture, 24 years late. The lesson is not complicated. One mother with no legal training out-investigated a police force, a coroner, and most of Whitehall, just by refusing to accept a story that didn't add up. If the truth had been told in 1989, none of this would have been necessary. It wasn't, so she made them tell it anyway. Next time someone tells you to drop it and move on, think of Anne Williams. She didn't, and the country is still catching up to what she proved. Sources: The Guardian BBCNews Channel 4 News Liverpool Echo

Artur Nadolny

60,057 görüntüleme • 2 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.
0:27

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

28,464 görüntüleme • 7 gün önce

A medieval woman walks out of her marriage with half of everything. 🏴󠁧󠁢󠁷󠁬󠁳󠁿🇬🇧 And the law is on her side. This is Wales, over 1,000 years ago.🏴󠁧󠁢󠁷󠁬󠁳󠁿 The Welsh called it Cyfraith Hywel. The Law of Hywel. It carries the name of Hywel ap Cadell, the king Wales still calls Hywel the Good, who came to rule more of Wales than any king before him. The story the old law books tell: around 945 he summoned lawmen from every corner of Wales to a white hall on the river Taf, and there the laws of the Welsh were set in order. ⚖️ Open that book and a different Middle Ages looks back. An insult had a price in silver: sarhaed. And a woman held her price in her own name. A husband who struck his wife without cause paid for the blow, to her and no one else. Marriage was an agreement between 2 people. If a husband strayed, the law made him pay his wife, 120 silver pence the first time, a pound the second. A third time, and she could walk away. After 7 years of marriage, the law counted everything a couple owned as shared, and if it ended, she took her half and went. By right. Children born outside marriage, acknowledged by the father, inherited like any other. The father's sin, said the law, must not be held against the son. And when blood was spilled, this law refused the feud. Galanas: the killer's kindred paid the life's worth to the family wronged, and once it was paid, the vengeance was over. By law. Across the border, a wife's property passed to her husband. For centuries yet. ⚔️ Then Edward the First broke the Welsh princes, and in 1284 the Statute of Rhuddlan swept the criminal law aside. But in the farms and the families, Hywel's law held on, for another 250 years. Then the Acts of Union under Henry VIII outlawed it altogether. English law became the only law in Wales, and English the only tongue its courts could speak. 📜 After nearly 600 years, the Law of Hywel was closed. But a parliament can close a book. Not a memory. Around 80 of the old law books survive, copied hand to hand, the oldest made 300 years after Hywel died and still carrying his name. Today that name stands over hospitals across west Wales. 🏛️ Britain remembers most of its kings for their wars. Wales remembers this one for his fairness. ━━━━━━━━━━━━━━ A woman's worth was written into law on these islands over 1,000 years ago. The Acts closed the book. The idea reached you anyway. We are the home of British heroes. There is a place for you in it. 👇🙏 👉 👈 Be part of us. ☝️🇬🇧 Be Proud Of Us. 🙏🇬🇧
2:54

A medieval woman walks out of her marriage with half of everything. 🏴󠁧󠁢󠁷󠁬󠁳󠁿🇬🇧 And the law is on her side. This is Wales, over 1,000 years ago.🏴󠁧󠁢󠁷󠁬󠁳󠁿 The Welsh called it Cyfraith Hywel. The Law of Hywel. It carries the name of Hywel ap Cadell, the king Wales still calls Hywel the Good, who came to rule more of Wales than any king before him. The story the old law books tell: around 945 he summoned lawmen from every corner of Wales to a white hall on the river Taf, and there the laws of the Welsh were set in order. ⚖️ Open that book and a different Middle Ages looks back. An insult had a price in silver: sarhaed. And a woman held her price in her own name. A husband who struck his wife without cause paid for the blow, to her and no one else. Marriage was an agreement between 2 people. If a husband strayed, the law made him pay his wife, 120 silver pence the first time, a pound the second. A third time, and she could walk away. After 7 years of marriage, the law counted everything a couple owned as shared, and if it ended, she took her half and went. By right. Children born outside marriage, acknowledged by the father, inherited like any other. The father's sin, said the law, must not be held against the son. And when blood was spilled, this law refused the feud. Galanas: the killer's kindred paid the life's worth to the family wronged, and once it was paid, the vengeance was over. By law. Across the border, a wife's property passed to her husband. For centuries yet. ⚔️ Then Edward the First broke the Welsh princes, and in 1284 the Statute of Rhuddlan swept the criminal law aside. But in the farms and the families, Hywel's law held on, for another 250 years. Then the Acts of Union under Henry VIII outlawed it altogether. English law became the only law in Wales, and English the only tongue its courts could speak. 📜 After nearly 600 years, the Law of Hywel was closed. But a parliament can close a book. Not a memory. Around 80 of the old law books survive, copied hand to hand, the oldest made 300 years after Hywel died and still carrying his name. Today that name stands over hospitals across west Wales. 🏛️ Britain remembers most of its kings for their wars. Wales remembers this one for his fairness. ━━━━━━━━━━━━━━ A woman's worth was written into law on these islands over 1,000 years ago. The Acts closed the book. The idea reached you anyway. We are the home of British heroes. There is a place for you in it. 👇🙏 👉 👈 Be part of us. ☝️🇬🇧 Be Proud Of Us. 🙏🇬🇧

Proudofus.uk

20,682 görüntüleme • 1 ay önce

On October 3, 2022, the defense for #KarenRead vigorously argued its Rule 17 Motion (filed September 16, 2022) addressing the fact that none of the several witnesses who left 34 Fairview saw the dead body on the front lawn. Surely, if there were any possible witnesses who could’ve seen Officer #JohnOKeefe’s body there—in the investigation of the murder of a fellow Police Officer—investigators would’ve interviewed them promptly, right? Certainly, if someone possessed such critical information, honest homicide detectives would want to know it, right? This would be pertinent information in a murder investigation, right? Presumably, they wouldn’t wait until over 8 months to speak with such an individual—whose existence they were aware of on day 1, since January 29, 2022, right? WRONG! Enter: Julie Nagel. Is it convenient or just a coincidence that only AFTER the defense argued this Rule 17 Motion—requesting cell records of all the individuals who were present at the Albert residence on the night in question—conflicted Lead Investigator Michael Proctor miraculously is able to produce a witness who would say she “observed a dark object in the white snow by the flagpole”? In fact, it was just 2 days later (on October 5, 2022) that Proctor for the first time interviewed this individual, Julie Nagel, despite being aware of her identity/presence at 34 Fairview since January 29, 2022. Seems awfully convenient, doesn’t it? When looking at the procedural history of the #KarenRead case, it becomes clear that much of the Commonwealth’s (CW) actual case was reactionary—contrived in response to the actual factual basis of events brought forth & slowly trickled out by the defense. This seems to be, in large part, reflected in their trial strategy. We’re three weeks into trial & have seen little, if any, case or evidence whatsoever regarding how the defendant, Karen Read, was supposedly on the “outs” with her boyfriend, had a toxic, tumultuous relationship, was intoxicated, was fighting so badly with her boyfriend that she wanted to murder him, or how she supposedly murdered him with her taillight. The defense points out the obvious problems with the CW’s case—like the fact that a body not being on the front lawn from approximately 12:30am onward, means Karen Read did not kill Officer O’Keefe—and days/weeks later, the CW gets a witness to say they saw a blob on the lawn to assuage the Court. …Because the last thing they want is to have to turn over Brian Albert or Colin Albert’s cellphone data to the defense, pursuant to their Rule 17 filing. But, there’s a few problems with the credulity of Julie Nagel’s claims: 1) She self-admittedly was drunk 2) She wasn’t interviewed until at least eight months after the fact 3) She’s close enough to Jen McCabe to have: provided child- and dog-care for her, been to her house, and had a nickname for her—a fact that Nagel was hardly forthcoming about But, we’re supposed to believe that this witness, who was drunk at the time, had such astute recall, of a mere flash in time over 8 months ago, to remember seeing—over Sara Levinson’s shoulder (from the opposite side of the car) out the window, while in a moving car—a black blob where Officer O’Keefe’s body was later found. And after months & months of having presumably heard the state’s story that Karen hit John, leaving his body in the front lawn before Nagel would’ve left 34 Fairview. How accurate is one’s memory after 8 months anyway? How accurate is Nagel’s memory given she was intoxicated at the time? And how reliable is her testimony, as it’s presumably biased by her relationship with the McCabes? My question is: If Julie Nagel truly saw a black blob, where she would’ve been well aware Officer O’Keefe’s body was found as early as January 29, 2022—obviously critical information for investigators—why would she wait for them to come to her, over 8 months later, to share it? #KarenReadTrial #JusticeForJohnOKeefe #CantonCoverup
0:39

On October 3, 2022, the defense for #KarenRead vigorously argued its Rule 17 Motion (filed September 16, 2022) addressing the fact that none of the several witnesses who left 34 Fairview saw the dead body on the front lawn. Surely, if there were any possible witnesses who could’ve seen Officer #JohnOKeefe’s body there—in the investigation of the murder of a fellow Police Officer—investigators would’ve interviewed them promptly, right? Certainly, if someone possessed such critical information, honest homicide detectives would want to know it, right? This would be pertinent information in a murder investigation, right? Presumably, they wouldn’t wait until over 8 months to speak with such an individual—whose existence they were aware of on day 1, since January 29, 2022, right? WRONG! Enter: Julie Nagel. Is it convenient or just a coincidence that only AFTER the defense argued this Rule 17 Motion—requesting cell records of all the individuals who were present at the Albert residence on the night in question—conflicted Lead Investigator Michael Proctor miraculously is able to produce a witness who would say she “observed a dark object in the white snow by the flagpole”? In fact, it was just 2 days later (on October 5, 2022) that Proctor for the first time interviewed this individual, Julie Nagel, despite being aware of her identity/presence at 34 Fairview since January 29, 2022. Seems awfully convenient, doesn’t it? When looking at the procedural history of the #KarenRead case, it becomes clear that much of the Commonwealth’s (CW) actual case was reactionary—contrived in response to the actual factual basis of events brought forth & slowly trickled out by the defense. This seems to be, in large part, reflected in their trial strategy. We’re three weeks into trial & have seen little, if any, case or evidence whatsoever regarding how the defendant, Karen Read, was supposedly on the “outs” with her boyfriend, had a toxic, tumultuous relationship, was intoxicated, was fighting so badly with her boyfriend that she wanted to murder him, or how she supposedly murdered him with her taillight. The defense points out the obvious problems with the CW’s case—like the fact that a body not being on the front lawn from approximately 12:30am onward, means Karen Read did not kill Officer O’Keefe—and days/weeks later, the CW gets a witness to say they saw a blob on the lawn to assuage the Court. …Because the last thing they want is to have to turn over Brian Albert or Colin Albert’s cellphone data to the defense, pursuant to their Rule 17 filing. But, there’s a few problems with the credulity of Julie Nagel’s claims: 1) She self-admittedly was drunk 2) She wasn’t interviewed until at least eight months after the fact 3) She’s close enough to Jen McCabe to have: provided child- and dog-care for her, been to her house, and had a nickname for her—a fact that Nagel was hardly forthcoming about But, we’re supposed to believe that this witness, who was drunk at the time, had such astute recall, of a mere flash in time over 8 months ago, to remember seeing—over Sara Levinson’s shoulder (from the opposite side of the car) out the window, while in a moving car—a black blob where Officer O’Keefe’s body was later found. And after months & months of having presumably heard the state’s story that Karen hit John, leaving his body in the front lawn before Nagel would’ve left 34 Fairview. How accurate is one’s memory after 8 months anyway? How accurate is Nagel’s memory given she was intoxicated at the time? And how reliable is her testimony, as it’s presumably biased by her relationship with the McCabes? My question is: If Julie Nagel truly saw a black blob, where she would’ve been well aware Officer O’Keefe’s body was found as early as January 29, 2022—obviously critical information for investigators—why would she wait for them to come to her, over 8 months later, to share it? #KarenReadTrial #JusticeForJohnOKeefe #CantonCoverup

Olivia

127,152 görüntüleme • 2 yıl önce

On this day, 34 years ago, "My Cousin Vinny" (1992) was released in the USA. The story of how Marisa Tomei was cast in the movie despite studio not wanting her: "Jonathan Lynn: The studio offered it to any Italian American they could think of with any name value. They all passed. I think they thought the part wasn’t big enough. Dale Launer: Lorraine Bracco was discussed, but I think she passed. Also on the list was Carole Davis. She’s an actress and a hip-hop singer. We’re friends, and I called her when I was down in Butler, Alabama, doing research for the movie. I remember she said, “I bet the Chinese food down there is terrible.” I thought that was funny, so I took it and gave it to Lisa. Jonathan Lynn: I started auditioning lots of people. They all came in to read, and nobody was right. I was getting very worried. By chance, John Landis phoned and said, “I’m finishing shooting Oscar this week,” which was a film with Sylvester Stallone and Danny DeVito. “Would you like to come down to Paramount and look at the amazing set before it’s broken down?” I said sure. Marisa came onto the set and did her little scene. I said to John, “Who is this? She’s really good.” She was playing a 1920s blonde flapper, nothing at all like Lisa, but I could see she had good timing. Paul Schiff: She came in and just blew us all away with this fiery, fierce, funny, witty performance. When she walked out of the room, we all looked at each other and, as cliché as it sounds, we said, “We found her.” Then we realized, “OK, this is going to be a fight.” She was relatively unknown. There was pressure from the studio to cast a star. Jonathan Lynn: I said to Fox, “I know who I’m going to cast.” They said, “We want to see a screen test of your first three choices.” I said, “OK.” We did a test of three women, including Marisa. Then I took the test to Joe Pesci, who was filming Goodfellas. I said, “I’ve got these three screen tests. I want you to know if you think it’s the same person I think it is.” He said, “Yeah, Marisa Tomei.” I said, “Right, I agree.” I then went to Fox. They picked somebody else from the screen test. We had an argument with the president of the studio for about half an hour. Finally I produced my trump card. I said, “Joe Pesci thinks it should be Marisa.” Studios never want to have a fight with a leading actor, especially shortly before a film begins. There was a pause and then he said, “Look, it’s your film. You cast who you want.”" ("‘What Is a Yute?’: An Oral History of ‘My Cousin Vinny’", Andy Greene, Rollin Stone, 2022)
2:02

On this day, 34 years ago, "My Cousin Vinny" (1992) was released in the USA. The story of how Marisa Tomei was cast in the movie despite studio not wanting her: "Jonathan Lynn: The studio offered it to any Italian American they could think of with any name value. They all passed. I think they thought the part wasn’t big enough. Dale Launer: Lorraine Bracco was discussed, but I think she passed. Also on the list was Carole Davis. She’s an actress and a hip-hop singer. We’re friends, and I called her when I was down in Butler, Alabama, doing research for the movie. I remember she said, “I bet the Chinese food down there is terrible.” I thought that was funny, so I took it and gave it to Lisa. Jonathan Lynn: I started auditioning lots of people. They all came in to read, and nobody was right. I was getting very worried. By chance, John Landis phoned and said, “I’m finishing shooting Oscar this week,” which was a film with Sylvester Stallone and Danny DeVito. “Would you like to come down to Paramount and look at the amazing set before it’s broken down?” I said sure. Marisa came onto the set and did her little scene. I said to John, “Who is this? She’s really good.” She was playing a 1920s blonde flapper, nothing at all like Lisa, but I could see she had good timing. Paul Schiff: She came in and just blew us all away with this fiery, fierce, funny, witty performance. When she walked out of the room, we all looked at each other and, as cliché as it sounds, we said, “We found her.” Then we realized, “OK, this is going to be a fight.” She was relatively unknown. There was pressure from the studio to cast a star. Jonathan Lynn: I said to Fox, “I know who I’m going to cast.” They said, “We want to see a screen test of your first three choices.” I said, “OK.” We did a test of three women, including Marisa. Then I took the test to Joe Pesci, who was filming Goodfellas. I said, “I’ve got these three screen tests. I want you to know if you think it’s the same person I think it is.” He said, “Yeah, Marisa Tomei.” I said, “Right, I agree.” I then went to Fox. They picked somebody else from the screen test. We had an argument with the president of the studio for about half an hour. Finally I produced my trump card. I said, “Joe Pesci thinks it should be Marisa.” Studios never want to have a fight with a leading actor, especially shortly before a film begins. There was a pause and then he said, “Look, it’s your film. You cast who you want.”" ("‘What Is a Yute?’: An Oral History of ‘My Cousin Vinny’", Andy Greene, Rollin Stone, 2022)

DepressedBergman

41,258 görüntüleme • 5 ay önce

I hope Americans wake up and realize that Muslims do not want to take away only your dogs. They want to take away your freedom of having dogs. It is about control and dominance. This pro-Palestinian Mamdani supporter Nerdeen Kiswani just posted that finally NYC is coming to Islam. She means Islam is taking over New York. She added that dogs definitely have a place in society but just not as indoor pets. She said like we have said all along they are unclean. She puts herself in a position to dictate what her host society in the West should look like. Then Congressman Randy Fine replied that if they force us to choose the choice between dogs and Muslims is not a difficult one. As an Iranian and a Muslim I am totally in line with this statement. He is totally right. I have been to Mecca and I own a dog myself. But then Jake Tapper the CNN guy came to the rescue screaming disgusting bigotry. Gavin Newsom said resign now you racist slob. Apparently the Governor of California is not educated enough to know that Islam is not a race. He does not seem to understand that Muslims can actually choose to be civilized respectful citizens and not dominating savages. This is not about dogs. This is not about Islam. It is about control and domination. I am Iranian. We have been through this before. Iranians are Muslims. Our Shah our king his first name was “Mohammad” Reza for God's sake. But still they managed to take power in Iran in the name of Islam. Back in 1979, Islamists had no luck until France welcomed Khomeini as a refugee. There the same exact cult the pro-Palestine leftists helped him to portray the Shah of Iran as the ultimate enemy a corrupt regime that must be annihilated. Among all Shah’s crimes being pro-West pro-US pro-Israel supportive of women's rights his worst crime was loving dogs. Not just as family members but he funded and equipped hospitals for pets. The leftists liberals Democrats corrupt elite in academia and media portrayed this monster as a freedom fighter spread lies about the Shah on BBC rioted against him. They enabled Islamists secretly gave weapons to them. They took Iran toppled the Shah through extreme violence. Now in Iran dogs are not legally allowed as pets. People still have them of course but they have to hide them and wait until dark to take them out. Because authorities not only seize them and kill them they fine them massively or punish by 70 lashes. This is the reality under Shia Islamic rule the Islamo-leftists. The issue with many Americans is that they only know Sunni Islam from 9/11. But Mamdani Khomeini Khamenei they are Shia Muslims. They play the oppressed card and use Islam as a tool for power. Mamdani's mother was partying with Bill Clinton and Jeff Bezos at Epstein place in 2009. He has been groomed to seize power behind this façade of a grassroots pro-Palestine Muslim. And just like in Iran the enablers which I call traitors are the Democrats and the corrupt elite in academia and media. So Americans please do not be naive. Do not hand your freedom to these enemies of life. Protect what you have unapologetically and fiercely. Otherwise you will have to fight to get it back just like Iranians are still fighting today. Do not think it will not happen to you. It will if you do not stand up now. Choose freedom. Do not give in to their lies. Choose dogs. Be like Congressman Randy Fine not Jake Tapper 🦅 . Share if this wakes you up. From an Iranian who lived it.
3:08

I hope Americans wake up and realize that Muslims do not want to take away only your dogs. They want to take away your freedom of having dogs. It is about control and dominance. This pro-Palestinian Mamdani supporter Nerdeen Kiswani just posted that finally NYC is coming to Islam. She means Islam is taking over New York. She added that dogs definitely have a place in society but just not as indoor pets. She said like we have said all along they are unclean. She puts herself in a position to dictate what her host society in the West should look like. Then Congressman Randy Fine replied that if they force us to choose the choice between dogs and Muslims is not a difficult one. As an Iranian and a Muslim I am totally in line with this statement. He is totally right. I have been to Mecca and I own a dog myself. But then Jake Tapper the CNN guy came to the rescue screaming disgusting bigotry. Gavin Newsom said resign now you racist slob. Apparently the Governor of California is not educated enough to know that Islam is not a race. He does not seem to understand that Muslims can actually choose to be civilized respectful citizens and not dominating savages. This is not about dogs. This is not about Islam. It is about control and domination. I am Iranian. We have been through this before. Iranians are Muslims. Our Shah our king his first name was “Mohammad” Reza for God's sake. But still they managed to take power in Iran in the name of Islam. Back in 1979, Islamists had no luck until France welcomed Khomeini as a refugee. There the same exact cult the pro-Palestine leftists helped him to portray the Shah of Iran as the ultimate enemy a corrupt regime that must be annihilated. Among all Shah’s crimes being pro-West pro-US pro-Israel supportive of women's rights his worst crime was loving dogs. Not just as family members but he funded and equipped hospitals for pets. The leftists liberals Democrats corrupt elite in academia and media portrayed this monster as a freedom fighter spread lies about the Shah on BBC rioted against him. They enabled Islamists secretly gave weapons to them. They took Iran toppled the Shah through extreme violence. Now in Iran dogs are not legally allowed as pets. People still have them of course but they have to hide them and wait until dark to take them out. Because authorities not only seize them and kill them they fine them massively or punish by 70 lashes. This is the reality under Shia Islamic rule the Islamo-leftists. The issue with many Americans is that they only know Sunni Islam from 9/11. But Mamdani Khomeini Khamenei they are Shia Muslims. They play the oppressed card and use Islam as a tool for power. Mamdani's mother was partying with Bill Clinton and Jeff Bezos at Epstein place in 2009. He has been groomed to seize power behind this façade of a grassroots pro-Palestine Muslim. And just like in Iran the enablers which I call traitors are the Democrats and the corrupt elite in academia and media. So Americans please do not be naive. Do not hand your freedom to these enemies of life. Protect what you have unapologetically and fiercely. Otherwise you will have to fight to get it back just like Iranians are still fighting today. Do not think it will not happen to you. It will if you do not stand up now. Choose freedom. Do not give in to their lies. Choose dogs. Be like Congressman Randy Fine not Jake Tapper 🦅 . Share if this wakes you up. From an Iranian who lived it.

Ida Turan 🇮🇷

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