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Getting buried in two gigantic boobs while still sitting on her goddess' huge cock, it's her dream come true VA: Alessia, Futa Goddess: Bordeaux Black - Voice Actress & Sound Design Katie, Small Woman: 🩵KassioppiaVA🔞🤍 Sound pack: OpenNSFW

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FaTerKCX

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155,893 views • 1 year ago •via X (Twitter)

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This amazing compilation shows us what the smoking day of a super addicted German hot milf looks like. Yeah, all these clips come from a single day. Cool, tatted blonde Sandra has a day off, so slept in and got up by lunchtime. She's still tired, and the first thing she obviously does is go outside to pump a delicious ciggie into her addicted lungs. She immediately makes it two to wake up properly. Then we see her again with her big box of ciggies, struggling through three empty lighters before she's finally able to spark up, relieve her massive cravings and dangling that smokie between her lips while she chats. Soon she's at it again with yet another ciggie, showing off just how cool she is by opening a can with her teeth. She's well aware of her huge habit, and later jokes that she does nothing but smoking while dangling yet another cigarette. And then we join her for her final evening smoke. Isn't she just amazingly hot with all her tattoos covering her body and with her lovely blonde long hair? She's so cool and friendly, chatting through her smokes while dangling the ciggies between her lips. And she already has several kids. Now here is a true Milf! Sandra's quite simply every smoking lover's ultimate dream woman. #smokingblonde #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokersday #lightingup #inhale #exhale #danglingciggie #morningsmoke #eveningsmoke #bigbox #tattedgirl #necktattoo #chesttattoo #milf #smokingmilf #coolgirl #hotgirl #sexygirl #germangirl #germansmoker
4:43

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

Smoking girl lover

37,176 views • 1 month ago

EPISODE 1- FINAL REPLAY Was their love story built on a lie? The championship was over, but the biggest betrayal was just beginning. Made with Nano Banana 2 + Seedance 2.0 on RoboNeo prompt Style: Ultra-cinematic drama, premium streaming-series aesthetics, photorealistic visuals, anamorphic framing, shallow depth of field, luxurious golden ballroom lighting with dramatic shadows, subtle facial acting, slow deliberate camera moves, emotional orchestral score swelling with tension. GRAND GALA BALLROOM – NIGHT 0–5s | Recall & Re-hook Freeze frame from Episode Zero lingers on the brunette’s @[Image 2](image_2) knowing smile as she lowers her wine glass. The giant replay screen behind her flashes blinding white. Hard cut to black. A single heartbeat sound. The replay screen bursts to life — but instead of football highlights, it shows intimate, hidden footage: the football champion @[Image 4](image_4) and the elegant dark-haired brunette @[Image 2](image_2) in a passionate embrace in a private locker room, his winner’s medal still around his neck. The crowd in the ballroom gasps audibly. 5–12s | Consequence Cut to the blonde woman @[Image 3](image_3) at the elegant table. Her face drains of color as she stares at the massive screen. Tears well up again. She picks up her engagement ring from the table in her bare hand and clutches it so tightly it digs into her right hand. The football champion @[Image 4](image_4)(still in black suit, medal now missing from his neck) stands frozen a few feet away, horror dawning on his face. He (medal now missing from his neck) turns toward the screen, then desperately toward the blonde. Blonde woman (whispering, broken): “You said it was only the match that changed everything…” The blonde @[Image 2](image_2) walks away abruptly, knocking over a champagne flute. It shatters loudly on the marble floor — the sound cutting through the now-hushed ballroom. She looks between the champion @[Image 3](image_3) and the brunette @[Image 1](image_1), betrayal turning to cold fury. Blonde woman @[Image 2](image_2)(voice cracking but gaining strength): “Then why does the final replay show you celebrating with her… while I waited for you?” The replay screen loops the damning embrace in slow motion. Guests murmur and film with their phones. 27–30s | Next Cliffhanger The brunette @[Image 1](image_1) smiles wider, turns, and begins walking away through the crowd as the replay screen suddenly cuts to new unseen footage — a close-up of the brunette @[Image 1](image_1) slipping something into the champion’s drink earlier that night, followed by a quick flash of a mysterious document with official-looking seals. The champion’s face twists in shock and realization. The blonde’s eyes widen in horror as she sees it too. Freeze frame on the three of them — triangle of tension. Text on screen fades in: EPISODE TWO Fade to black. Distant crowd applause mixes with a rising, ominous orchestral sting.
0:36

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

Sharon Riley

68,284 views • 13 days ago

🚨 EXCLUSIVE: Laurie Cardoza-Moore (aka "Lauren Bishop") – Former 1-900 Phone Sex Actress in Steamy Commercials & Alleged 1980s Dallas Stripper? Plus, Her Nonprofit's Shady $365K Family Payouts Mirror TPUSA Grift! 😱💸 Newly unearthed video proof shows Laurie Cardoza-Moore Laurie Cardoza Moore – the evangelical Zionist powerhouse behind Proclaiming Justice to the Nations (PJTN) – operating under the stage name Lauren Bishop as a 1-900 romance hotline actress in various late-night commercials. Those sultry "call me" spots from the era? It's her – signature look, voice, everything. From phone sex promo queen to "pro-Israel Christian leader"... the glow-up (or cover-up?) is wild. And it gets darker: Multiple sources allege she was a stripper in the Dallas area in the early 1980s. I'm still hunting concrete proof (yearbooks, club records, photos) – if you worked/knew the scene or have ANY info, DM me ASAP. Sources protected. We need the full truth! But the real smoking gun? Her 2019 IRS 990 for PJTN reeks of the SAME shady financial moves we've seen at TPUSA: ♦️$1.3M in donations... but Laurie took $145K salary (10% straight to her pocket) – the ONLY paid officer out of 9 listed. ♦️$40K "occupancy expense" – her nonprofit paying HER for "rent" on property she owns (classic self-dealing home office scam). ♦️$85K to her husband's production company. ♦️Thousands more to her kids: $1K to one, $5.6K to another, $47.9K to a third. ♦️Total family haul: $365K+ while donors thought they were fighting "antisemitism." Sound familiar? Nonprofit as family ATM – just like the TPUSA fraud allegations (shells, insider payouts, foreign agent grants). Is this the playbook for "Christian Zionist" orgs? Laurie preaches "biblical values" while allegedly hiding a wild past and funneling donor cash to her clan. Hypocrisy much? Watch the 1-900 video proof attached – And if you've got Dallas strip club intel from the '80s – hit my DMs! Link to financial expose will be in the comments below Shoutout to Brave Report for the awesome video find! FOLLOW Them! Tag Candace Owens RT if you're done with grifters hiding behind "faith" while lining their pockets! The mask is slipping.
3:31

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🚨 EXCLUSIVE: Laurie Cardoza-Moore (aka "Lauren Bishop") – Former 1-900 Phone Sex Actress in Steamy Commercials & Alleged 1980s Dallas Stripper? Plus, Her Nonprofit's Shady $365K Family Payouts Mirror TPUSA Grift! 😱💸 Newly unearthed video proof shows Laurie Cardoza-Moore Laurie Cardoza Moore – the evangelical Zionist powerhouse behind Proclaiming Justice to the Nations (PJTN) – operating under the stage name Lauren Bishop as a 1-900 romance hotline actress in various late-night commercials. Those sultry "call me" spots from the era? It's her – signature look, voice, everything. From phone sex promo queen to "pro-Israel Christian leader"... the glow-up (or cover-up?) is wild. And it gets darker: Multiple sources allege she was a stripper in the Dallas area in the early 1980s. I'm still hunting concrete proof (yearbooks, club records, photos) – if you worked/knew the scene or have ANY info, DM me ASAP. Sources protected. We need the full truth! But the real smoking gun? Her 2019 IRS 990 for PJTN reeks of the SAME shady financial moves we've seen at TPUSA: ♦️$1.3M in donations... but Laurie took $145K salary (10% straight to her pocket) – the ONLY paid officer out of 9 listed. ♦️$40K "occupancy expense" – her nonprofit paying HER for "rent" on property she owns (classic self-dealing home office scam). ♦️$85K to her husband's production company. ♦️Thousands more to her kids: $1K to one, $5.6K to another, $47.9K to a third. ♦️Total family haul: $365K+ while donors thought they were fighting "antisemitism." Sound familiar? Nonprofit as family ATM – just like the TPUSA fraud allegations (shells, insider payouts, foreign agent grants). Is this the playbook for "Christian Zionist" orgs? Laurie preaches "biblical values" while allegedly hiding a wild past and funneling donor cash to her clan. Hypocrisy much? Watch the 1-900 video proof attached – And if you've got Dallas strip club intel from the '80s – hit my DMs! Link to financial expose will be in the comments below Shoutout to Brave Report for the awesome video find! FOLLOW Them! Tag Candace Owens RT if you're done with grifters hiding behind "faith" while lining their pockets! The mask is slipping.

Project Constitution

98,498 views • 6 months ago

More Details 🚨 I can recite all the Harry Potter books word-for-word: Meet the woman with an astonishing memory thanks to rare condition Rebecca Sharrock, a woman from Brisbane, Australia, possesses an extraordinary gift — she can remember virtually every detail of her life due to a rare condition called Highly Superior Autobiographical Memory (HSAM), also known as hypermnesia. She is one of just 80 people worldwide identified with this ability, which allows her to recall even the most trivial events with striking accuracy. Her earliest memory dates back to when she was just 12 days old, sitting in the driver’s seat of a car while her mother took a photo. Since then, she remembers every single day — the weather, her activities, and the emotions she felt. When reliving memories, she re-experiences emotions and even physical sensations like pain. For instance, she can still feel the sting in her knee from a fall when she was three. Rebecca’s memory extends to taste as well. She can vividly re-taste her favorite food, black forest cake, simply by thinking about it, which helps her mentally replace unpleasant tastes. She once calmed herself during childhood nightmares by reciting Harry Potter books — which she knows word-for-word, even by page number. Diagnosed with autism and OCD as a teen, Rebecca and her family didn’t initially recognize her memory as unusual. It wasn’t until her mother watched a 60 Minutes episode on HSAM in 2011 that they realized she might have the rare condition. After contacting researchers at the University of California, she was confirmed to have HSAM in 2013 and joined their ongoing study. While her memory is fascinating, it can be overwhelming. Rebecca has been diagnosed with PTSD due to vividly reliving painful moments, including past bullying. Even visiting her old school triggered a breakdown from the flood of negative memories. To cope, she uses mindfulness techniques and focuses on positive past events on the first of each month. Rebecca also struggles to sleep, needing light and sound to quiet the flood of memories. Her short-term memory can be unclear initially, but often becomes sharper over time, which researchers find particularly interesting in understanding memory development. She avoids watching television news because the disturbing images linger in her mind too strongly. Instead, she reads newspapers and focuses on her passion for books and writing, finding the structure of reading more manageable than visual media. Now, Rebecca runs her own Facebook and Twitter pages to connect with others with HSAM and raise awareness. She continues to support research into memory at the University of California, believing that her participation could contribute to better understanding Alzheimer’s and dementia. FYI, I focus on adding context to social media posts that often lack it. If you're interested in seeing posts with added clarity and background, consider following me.
1:26

More Details 🚨 I can recite all the Harry Potter books word-for-word: Meet the woman with an astonishing memory thanks to rare condition Rebecca Sharrock, a woman from Brisbane, Australia, possesses an extraordinary gift — she can remember virtually every detail of her life due to a rare condition called Highly Superior Autobiographical Memory (HSAM), also known as hypermnesia. She is one of just 80 people worldwide identified with this ability, which allows her to recall even the most trivial events with striking accuracy. Her earliest memory dates back to when she was just 12 days old, sitting in the driver’s seat of a car while her mother took a photo. Since then, she remembers every single day — the weather, her activities, and the emotions she felt. When reliving memories, she re-experiences emotions and even physical sensations like pain. For instance, she can still feel the sting in her knee from a fall when she was three. Rebecca’s memory extends to taste as well. She can vividly re-taste her favorite food, black forest cake, simply by thinking about it, which helps her mentally replace unpleasant tastes. She once calmed herself during childhood nightmares by reciting Harry Potter books — which she knows word-for-word, even by page number. Diagnosed with autism and OCD as a teen, Rebecca and her family didn’t initially recognize her memory as unusual. It wasn’t until her mother watched a 60 Minutes episode on HSAM in 2011 that they realized she might have the rare condition. After contacting researchers at the University of California, she was confirmed to have HSAM in 2013 and joined their ongoing study. While her memory is fascinating, it can be overwhelming. Rebecca has been diagnosed with PTSD due to vividly reliving painful moments, including past bullying. Even visiting her old school triggered a breakdown from the flood of negative memories. To cope, she uses mindfulness techniques and focuses on positive past events on the first of each month. Rebecca also struggles to sleep, needing light and sound to quiet the flood of memories. Her short-term memory can be unclear initially, but often becomes sharper over time, which researchers find particularly interesting in understanding memory development. She avoids watching television news because the disturbing images linger in her mind too strongly. Instead, she reads newspapers and focuses on her passion for books and writing, finding the structure of reading more manageable than visual media. Now, Rebecca runs her own Facebook and Twitter pages to connect with others with HSAM and raise awareness. She continues to support research into memory at the University of California, believing that her participation could contribute to better understanding Alzheimer’s and dementia. FYI, I focus on adding context to social media posts that often lack it. If you're interested in seeing posts with added clarity and background, consider following me.

Global Statistics

31,675 views • 1 year ago

Only a woman will cry about how hard life is just to see her flexing and living a luxurious lifestyle in a few months. Women know they don't have to hustle to make money. All they have to do is cry for help and watch men come to their aid. Afterall, nobody empowers women more than men. Another day to remind you anytime you see a woman set her camera, cry and post it online, it's a performative act to get empathy from men in order to get the fame which follows with monetary support. A woman who started as an activist and complaining about how hard things were, in less than two years of getting media attention through the help and support of Nigerians who backed her up because they believe in the movement, after getting the attention she wanted and financial support, she reverted back to her true nature as a typical whore which is why she went to do BBL. You'd expect a woman who once cried about how hard things were in the country and understand the value of little money will be financially wise but NO! She went to do BBL because her source of income is derived from hookup. She wasn't fighting for the poor masses but for herself which explains why she's no longer fighting for them because she has gotten her own portion from the government which she once called out. A woman who was complaining about the cost of a crate of egg can now afford to travel from one country to another and sleeping with rich clients while using remote work as her cover up. "I wasn't created to pay bills." So now, she has to whore her way to pay her bills because an average woman believes they're too fragile to hustle legitimately. They should be rewarded for existing and given free money because they are women. They tell you they're an independent woman but still have to sleep with rich men to be independent. Another day to remind you women ain't good with power, fame or money. They'll end up self sabotaging themselves. They start by becoming activist to make you believe they're fighting for the common goal of the masses and as soon as they start enjoying the fame and money, you'll realize their loyalty is only to themselves and they never cared about the masses. You'll be foolish to believe women think of anybody but themselves. This is why you're better off helping a man over a woman. Empowering a woman is helping one person while empowering a man is helping a family. Empowering women doesn't distribute wealth but empowering men, you're guaranteed he's going to empower other people. Before you empower one woman, empower a thousand men. Men are the last hope to a financially stable society.
0:31

Only a woman will cry about how hard life is just to see her flexing and living a luxurious lifestyle in a few months. Women know they don't have to hustle to make money. All they have to do is cry for help and watch men come to their aid. Afterall, nobody empowers women more than men. Another day to remind you anytime you see a woman set her camera, cry and post it online, it's a performative act to get empathy from men in order to get the fame which follows with monetary support. A woman who started as an activist and complaining about how hard things were, in less than two years of getting media attention through the help and support of Nigerians who backed her up because they believe in the movement, after getting the attention she wanted and financial support, she reverted back to her true nature as a typical whore which is why she went to do BBL. You'd expect a woman who once cried about how hard things were in the country and understand the value of little money will be financially wise but NO! She went to do BBL because her source of income is derived from hookup. She wasn't fighting for the poor masses but for herself which explains why she's no longer fighting for them because she has gotten her own portion from the government which she once called out. A woman who was complaining about the cost of a crate of egg can now afford to travel from one country to another and sleeping with rich clients while using remote work as her cover up. "I wasn't created to pay bills." So now, she has to whore her way to pay her bills because an average woman believes they're too fragile to hustle legitimately. They should be rewarded for existing and given free money because they are women. They tell you they're an independent woman but still have to sleep with rich men to be independent. Another day to remind you women ain't good with power, fame or money. They'll end up self sabotaging themselves. They start by becoming activist to make you believe they're fighting for the common goal of the masses and as soon as they start enjoying the fame and money, you'll realize their loyalty is only to themselves and they never cared about the masses. You'll be foolish to believe women think of anybody but themselves. This is why you're better off helping a man over a woman. Empowering a woman is helping one person while empowering a man is helping a family. Empowering women doesn't distribute wealth but empowering men, you're guaranteed he's going to empower other people. Before you empower one woman, empower a thousand men. Men are the last hope to a financially stable society.

KING CHIDI

101,284 views • 2 months ago

It was a dream come true tonight, thank you #OffKaiGen4!! 💙 I got to perform outdoors at MosoMatsuri in front of a huge crowd who screamed so loudly I could feel it in my bones all the way from Australia!! Tonight I even got the chance to have a whole mini concert afterparty!! The crowd stayed until midnight, and remained patient despite the TV breaking, the speaker breaking, and sat around in a big circle, craning their necks in to listen closely to the tiny laptop blast my voice out while I ironically sang GHOST by Suisei. The depressed girl who used to sing alone in the closet to the vast internet now had people jumping up and down, cheering her on halfway across the world. A whole group of grown adults linking arms and singing Country Roads together, surrounding a campfire made of orange UO penlights and a tiny laptop at midnight. I still honestly don't feel worthy of such tender, gentle care and patience, which is so overwhelmingly loving. But I will do my utmost best to be worthy of being you star your oshi!!!!!!!! Please continue watching over me!!!!!✨💫
1:59

It was a dream come true tonight, thank you #OffKaiGen4!! 💙 I got to perform outdoors at MosoMatsuri in front of a huge crowd who screamed so loudly I could feel it in my bones all the way from Australia!! Tonight I even got the chance to have a whole mini concert afterparty!! The crowd stayed until midnight, and remained patient despite the TV breaking, the speaker breaking, and sat around in a big circle, craning their necks in to listen closely to the tiny laptop blast my voice out while I ironically sang GHOST by Suisei. The depressed girl who used to sing alone in the closet to the vast internet now had people jumping up and down, cheering her on halfway across the world. A whole group of grown adults linking arms and singing Country Roads together, surrounding a campfire made of orange UO penlights and a tiny laptop at midnight. I still honestly don't feel worthy of such tender, gentle care and patience, which is so overwhelmingly loving. But I will do my utmost best to be worthy of being you star your oshi!!!!!!!! Please continue watching over me!!!!!✨💫

Nana Asteria ✨💫

26,156 views • 1 year ago

ABSOLUTE ROMANCEEEEE 🫸🏻😮‍💨 #เสน่หาวาโย "is it snowing?" the clear-eyed woman stared out the window on an ordinary day in the cold air of madelin. she had grown accustomed to this quiet, faraway place. but today felt special—different from any other. white snowflakes gently fell from the sky, dancing in the cold wind. as she sat there, her thoughts stirred. she turned to watch the first snow of madelin with her own eyes—something someone had once told her about. so wayo stepped outside and stood watching the clean white flakes descend from the vast heavens. "the first snow of madelin..." there had never been a promise, but seeing the first snow of madelin still made her think of someone very dear—someone who was still her love, her breath, her reason for enduring the sadness each day. at first, she had intended to retreat somewhere far away, somewhere no one could ever find her. but after parting ways with her cousins at the airport, she somehow ended up in this distant town in madelin. she planned to stay until the coronation of the elegant crown princess—so famous even this village knew her name. wayo hoped to offer her congratulations from afar, hidden among the thousands who would attend on that special day. just once more, she wanted to see that beautiful face and smile that brought her joy. "are you watching now?" the beautiful woman mumbled to herself, knowing there'd be no answer. she caught a snowflake in her hand, watching it melt into her palm—like the cold, empty feeling in her heart. when she opened her hand again, the flake was gone, like their love. "yes, i'm watching" was heartbreak supposed to come with side effects like hearing voices and imagining things? wayo could've sworn someone was answering her thoughts. she turned—and there they were, face to face, only an arm's length apart, just like that day. no—maybe even closer, as the former princess stepped forward. "the first snow of madelin... is it as beautiful as i once told you, wayo?" "you... blew. no—princess catherine! i didn't know your highness had come here..." "i came to see you" "but how did you know i was here?" "i just followed my heart" it was the first time catherine had ever said something like that. as a commoner, she wanted to speak from the heart—without her royal title weighing on her. she no longer had to hide her feelings out of obligation. from now on, she would make it up to the person who had loved her most, and apologize for the hurt she caused. "and... could you stop using royal language with me?" "but you're a princess" "i used to be, but not anymore" "i don't understand. what do you want?" "father punished me by stripping me of my title" "what happened?" even after the heartbreak, wayo's concern for catherine never faded. from the first day until now, it only grew. no matter the pain, she was still wayo—the one who loved princess catherine, and would always protect her. "i broke a serious royal rule. the coronation was canceled. i was exiled from the palace" "what did you do? was it really serious?" "there are only two reasons to be stripped of one's title. first: grave misconduct. second: marrying a commoner. if you know me, wayo... you know i would never be guilty of the first" then how could she be stripped of her title? marrying a commoner? that didn't sound like something catherine would do. "may i come inside to talk?" "oh—right! it's freezing out here" "if we stay any longer, i might freeze and melt into the snow myself" "please take this shawl. it might not warm you up much, but..." "i'm already warm" wayo froze mid-motion. she was about to wrap the scarf around catherine, but before she could place it around her neck, warmth enveloped her—from the arms pulling her close, closing the gap between them. in the cold air, under the falling snow— "i missed you, lom"
0:35

ABSOLUTE ROMANCEEEEE 🫸🏻😮‍💨 #เสน่หาวาโย "is it snowing?" the clear-eyed woman stared out the window on an ordinary day in the cold air of madelin. she had grown accustomed to this quiet, faraway place. but today felt special—different from any other. white snowflakes gently fell from the sky, dancing in the cold wind. as she sat there, her thoughts stirred. she turned to watch the first snow of madelin with her own eyes—something someone had once told her about. so wayo stepped outside and stood watching the clean white flakes descend from the vast heavens. "the first snow of madelin..." there had never been a promise, but seeing the first snow of madelin still made her think of someone very dear—someone who was still her love, her breath, her reason for enduring the sadness each day. at first, she had intended to retreat somewhere far away, somewhere no one could ever find her. but after parting ways with her cousins at the airport, she somehow ended up in this distant town in madelin. she planned to stay until the coronation of the elegant crown princess—so famous even this village knew her name. wayo hoped to offer her congratulations from afar, hidden among the thousands who would attend on that special day. just once more, she wanted to see that beautiful face and smile that brought her joy. "are you watching now?" the beautiful woman mumbled to herself, knowing there'd be no answer. she caught a snowflake in her hand, watching it melt into her palm—like the cold, empty feeling in her heart. when she opened her hand again, the flake was gone, like their love. "yes, i'm watching" was heartbreak supposed to come with side effects like hearing voices and imagining things? wayo could've sworn someone was answering her thoughts. she turned—and there they were, face to face, only an arm's length apart, just like that day. no—maybe even closer, as the former princess stepped forward. "the first snow of madelin... is it as beautiful as i once told you, wayo?" "you... blew. no—princess catherine! i didn't know your highness had come here..." "i came to see you" "but how did you know i was here?" "i just followed my heart" it was the first time catherine had ever said something like that. as a commoner, she wanted to speak from the heart—without her royal title weighing on her. she no longer had to hide her feelings out of obligation. from now on, she would make it up to the person who had loved her most, and apologize for the hurt she caused. "and... could you stop using royal language with me?" "but you're a princess" "i used to be, but not anymore" "i don't understand. what do you want?" "father punished me by stripping me of my title" "what happened?" even after the heartbreak, wayo's concern for catherine never faded. from the first day until now, it only grew. no matter the pain, she was still wayo—the one who loved princess catherine, and would always protect her. "i broke a serious royal rule. the coronation was canceled. i was exiled from the palace" "what did you do? was it really serious?" "there are only two reasons to be stripped of one's title. first: grave misconduct. second: marrying a commoner. if you know me, wayo... you know i would never be guilty of the first" then how could she be stripped of her title? marrying a commoner? that didn't sound like something catherine would do. "may i come inside to talk?" "oh—right! it's freezing out here" "if we stay any longer, i might freeze and melt into the snow myself" "please take this shawl. it might not warm you up much, but..." "i'm already warm" wayo froze mid-motion. she was about to wrap the scarf around catherine, but before she could place it around her neck, warmth enveloped her—from the arms pulling her close, closing the gap between them. in the cold air, under the falling snow— "i missed you, lom"

r

86,171 views • 1 month ago

NOTHING HAS CHANGED: I spent hours in downtown #Seattle on Saturday to see the illicit activity ebb and flow. This is the first weekend since Mayor Bruce Harrell(Mayor Katie B. Wilson) announced his Downtown Activation Plan to clean up this mess. Most of the action is still concentrated at 3rd Ave & Pike St. near the Ross Store(Ross Dress For Less.) But police emphasis patrols are now scattering drug addicts and dealers to other streets. The vestibules of empty store fronts remain popular spots to do fentanyl. Folks continue to use public transportation(Sound Transit - 🚆 🚈 🚍, King County Metro 🚏) to move stolen merchandise back and forth on to the streets. The black market is thriving and it's a free for all. I also witnessed two men being saved from drug overdoses which is now a daily occurrence in the city. But the most jarring thing I saw was an infant in a crib/stroller, right next to a guy smoking meth. The dad was just standing there with his kid in all this insanity until I approached him. Otherwise, the windows at the former Starbucks(Starbucks) in West Lake Center are now plastered with #Kraken Stanley Cup Playoff run posters. Fans were taking selfies with addicts sitting in the background smoking "blues." Not enough police to keep up with enforcement on the weekends. So who's up for coming out with me on Sunday night to walk the streets? Bring your camera. CM Andrew Lewis(Councilmember Andrew J. Lewis) has a standing offer to come along. Still no response. LOL. His district is a disaster. Once again, nothing has changed in this part of the Emerald City. We are now learning to live this harsh reality. It's being normalized. I'll have another update coming up from 3rd Ave. and Cherry St near City Hall and Little Saigon in the #Chinatown-ID. It's a mess on those streets as well. Downtown Seattle @GovInslee King County Executives Braddock & Constantine Seattle City Council King County Council @KC_RHA @CMSaraNelson Councilmember Teresa Mosqueda @D5Juarez
5:37

NOTHING HAS CHANGED: I spent hours in downtown #Seattle on Saturday to see the illicit activity ebb and flow. This is the first weekend since Mayor Bruce Harrell(Mayor Katie B. Wilson) announced his Downtown Activation Plan to clean up this mess. Most of the action is still concentrated at 3rd Ave & Pike St. near the Ross Store(Ross Dress For Less.) But police emphasis patrols are now scattering drug addicts and dealers to other streets. The vestibules of empty store fronts remain popular spots to do fentanyl. Folks continue to use public transportation(Sound Transit - 🚆 🚈 🚍, King County Metro 🚏) to move stolen merchandise back and forth on to the streets. The black market is thriving and it's a free for all. I also witnessed two men being saved from drug overdoses which is now a daily occurrence in the city. But the most jarring thing I saw was an infant in a crib/stroller, right next to a guy smoking meth. The dad was just standing there with his kid in all this insanity until I approached him. Otherwise, the windows at the former Starbucks(Starbucks) in West Lake Center are now plastered with #Kraken Stanley Cup Playoff run posters. Fans were taking selfies with addicts sitting in the background smoking "blues." Not enough police to keep up with enforcement on the weekends. So who's up for coming out with me on Sunday night to walk the streets? Bring your camera. CM Andrew Lewis(Councilmember Andrew J. Lewis) has a standing offer to come along. Still no response. LOL. His district is a disaster. Once again, nothing has changed in this part of the Emerald City. We are now learning to live this harsh reality. It's being normalized. I'll have another update coming up from 3rd Ave. and Cherry St near City Hall and Little Saigon in the #Chinatown-ID. It's a mess on those streets as well. Downtown Seattle @GovInslee King County Executives Braddock & Constantine Seattle City Council King County Council @KC_RHA @CMSaraNelson Councilmember Teresa Mosqueda @D5Juarez

Jonathan Choe

217,220 views • 3 years ago

In Remembrance of Carole Lombard Born | October 6, 1908 in Fort Wayne, Indiana, USA Died | January 16, 1942 aged 33 at Potosi Mountain, Nevada, USA Video | Carole Lombard Tribute Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. By age 15 she had had enough of school, though, and quit. She joined a theatre troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to “talkies”. While some stars' careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole's light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn't work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Twentieth Century (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for My Man Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in The Great Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn't surprising as she was smart enough to see through the good-ol'-boy syndrome of the studio moguls. She commanded and received what was one of the top salaries in the business ― at one time it was reported she was making $35,000 a week. She made but one film in 1941, Mr. & Mrs. Smith (1941). Her last film was in 1942, when she played Maria Tura opposite Jack Benny in To Be or Not to Be (1942). Tragically, she didn't live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since. ― IMDb mini biography by: Denny Jackson Video footage courtesy of Saxon Brack Music | Dances with Wolves [1990] ― “The John Dunbar Theme”
2:19

In Remembrance of Carole Lombard Born | October 6, 1908 in Fort Wayne, Indiana, USA Died | January 16, 1942 aged 33 at Potosi Mountain, Nevada, USA Video | Carole Lombard Tribute Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. By age 15 she had had enough of school, though, and quit. She joined a theatre troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to “talkies”. While some stars' careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole's light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn't work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Twentieth Century (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for My Man Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in The Great Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn't surprising as she was smart enough to see through the good-ol'-boy syndrome of the studio moguls. She commanded and received what was one of the top salaries in the business ― at one time it was reported she was making $35,000 a week. She made but one film in 1941, Mr. & Mrs. Smith (1941). Her last film was in 1942, when she played Maria Tura opposite Jack Benny in To Be or Not to Be (1942). Tragically, she didn't live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since. ― IMDb mini biography by: Denny Jackson Video footage courtesy of Saxon Brack Music | Dances with Wolves [1990] ― “The John Dunbar Theme”

Hollywood Golden Age of Cinema

17,680 views • 6 months ago

After several days of replaying #NoEspaçoEntreNós trying to transcribe every word like it was some kind of sacred secret 😅… I think I've reached the end of this journey and honestly, it was beautiful 🥹 I've lived in different places, experienced different cultures, tried all kinds of food, seen a variety of landscapes, and listened to music from all over. But the journey I've lived through the voice of Alanis Guillen is, without a doubt, the most sensory experience I've ever had in my life. I always believed music is magic, that sound can move you just as much, if not more, than visuals. But I never really understood how a voice, just a voice in a language I don't even speak, could reach me like this. And that's exactly what happened with Alanis. If I used to think her strength was in her gestures or physical acting tools, I now understand it's something much deeper: it's all of her. Even without the visuals, her voice contains everything. There's something in her cadence, her tone, her vibration, the way she breathes through every line… that wakes something up in me. Even when I had to pull out a dictionary just to keep up, she still managed to move me emotionally. It was a balm for my ears… but also a doorway into understanding. Because in the end, I didn't just want to hear it as music, I wanted to understand it. Understand Maitê. Understand the story. Not just stay with the beauty of the sound, but actually embrace its meaning. That's why I made the effort to translate every word 🥹 And in that process, I ended up valuing even more not just Alanis's artistry, but also the work of everyone who brought this project to life. A story that, at first glance, might remind you of other sci-fi narratives or tech-based connections… but that, in its deeper construction, is built on a deliberate contrast: the human vs. the artificial. Because Lilith is, from the very beginning, an artificial intelligence programmed to simulate, process, and respond through a constructed emotional logic. And Maitê, on the other hand, is the complete opposite: raw humanity in its most vulnerable, contradictory, and alive form. Alanis gives Maitê a body that cannot be seen, but can be deeply felt… And it's precisely in that clash that the story finds its meaning. If at any point someone didn't feel a strong connection between them, I get why now: it's not meant to feel like a traditional, natural relationship. It's a constant tension between two natures that were never meant to fully align. One exists from the structure of the artificial. The other from the overflow of the human. And in that impossible space between them, the story breathes. Anyway, as I've already rambled on (true to myself 😅) I can only be grateful for having had the chance to experience this. And while at one point I even thought about translating the entire script, let's be real… I have a life to live 😅... so I'm leaving here just a few subtitled excerpts in English for those who don't speak Portuguese. Obviously, I'm respecting the work and avoiding spoilers, because even though I imagine MOST of Brazil has already listened to this story (and if not… what are you even waiting for 😏), I still really hope more people get to discover it. And I hope the platform adds subtitles someday, because it's genuinely worth it 🙏🏻 And I end this by thanking Alanis once again 🥰 Because there are voices that interpret stories… and there are voices that bring them into existence. Yours didn't just narrate Maitê… it turned her into someone who breathes inside the listener. And in that process, it goes beyond performance. It becomes a way of opening space, of bringing sapphic characters to life without reducing them to their orientation, but allowing them to exist as full human beings: complex, emotional, contradictory, alive. That matters. And that's your impact, Alanis ♥️
13:17

After several days of replaying #NoEspaçoEntreNós trying to transcribe every word like it was some kind of sacred secret 😅… I think I've reached the end of this journey and honestly, it was beautiful 🥹 I've lived in different places, experienced different cultures, tried all kinds of food, seen a variety of landscapes, and listened to music from all over. But the journey I've lived through the voice of Alanis Guillen is, without a doubt, the most sensory experience I've ever had in my life. I always believed music is magic, that sound can move you just as much, if not more, than visuals. But I never really understood how a voice, just a voice in a language I don't even speak, could reach me like this. And that's exactly what happened with Alanis. If I used to think her strength was in her gestures or physical acting tools, I now understand it's something much deeper: it's all of her. Even without the visuals, her voice contains everything. There's something in her cadence, her tone, her vibration, the way she breathes through every line… that wakes something up in me. Even when I had to pull out a dictionary just to keep up, she still managed to move me emotionally. It was a balm for my ears… but also a doorway into understanding. Because in the end, I didn't just want to hear it as music, I wanted to understand it. Understand Maitê. Understand the story. Not just stay with the beauty of the sound, but actually embrace its meaning. That's why I made the effort to translate every word 🥹 And in that process, I ended up valuing even more not just Alanis's artistry, but also the work of everyone who brought this project to life. A story that, at first glance, might remind you of other sci-fi narratives or tech-based connections… but that, in its deeper construction, is built on a deliberate contrast: the human vs. the artificial. Because Lilith is, from the very beginning, an artificial intelligence programmed to simulate, process, and respond through a constructed emotional logic. And Maitê, on the other hand, is the complete opposite: raw humanity in its most vulnerable, contradictory, and alive form. Alanis gives Maitê a body that cannot be seen, but can be deeply felt… And it's precisely in that clash that the story finds its meaning. If at any point someone didn't feel a strong connection between them, I get why now: it's not meant to feel like a traditional, natural relationship. It's a constant tension between two natures that were never meant to fully align. One exists from the structure of the artificial. The other from the overflow of the human. And in that impossible space between them, the story breathes. Anyway, as I've already rambled on (true to myself 😅) I can only be grateful for having had the chance to experience this. And while at one point I even thought about translating the entire script, let's be real… I have a life to live 😅... so I'm leaving here just a few subtitled excerpts in English for those who don't speak Portuguese. Obviously, I'm respecting the work and avoiding spoilers, because even though I imagine MOST of Brazil has already listened to this story (and if not… what are you even waiting for 😏), I still really hope more people get to discover it. And I hope the platform adds subtitles someday, because it's genuinely worth it 🙏🏻 And I end this by thanking Alanis once again 🥰 Because there are voices that interpret stories… and there are voices that bring them into existence. Yours didn't just narrate Maitê… it turned her into someone who breathes inside the listener. And in that process, it goes beyond performance. It becomes a way of opening space, of bringing sapphic characters to life without reducing them to their orientation, but allowing them to exist as full human beings: complex, emotional, contradictory, alive. That matters. And that's your impact, Alanis ♥️

𝓐 ᥫ᭡. Ari

28,843 views • 3 months ago

I think this is a very interesting business case to discuss Because as a business owner he's in the right, and legally he's got himself covered, he does state it's a subscription multiple times: - "ships free monthly" (although literally TINY in font-size:10px) - in the cart it states "delivers every 1 month" (font-size:13px) - in checkout "1 month subscription with 20% discount" (font-size:12px) - in checkout "recurring subtotal $48.00 every month" (font-size:14px) - in checkout "by continuing with your payment, you agree to the future charges listed on this page and the cancellation policy." (font-size:12px) But as a customer I'd get angry here too, if I click through it fast while doing multiple things on a busy day (like most people), it's highly likely you miss it'a subscription because: - when you buy most things, they don't default to a subscription, you just buy a single thing, here it immediately defaults to a subscription - the single purchase option is shown below the CTA so it is possible: "One-Time Purchase - $180 $167 ($1.85 / Day)" but in TINY text again (font-size:14px) vs the subscription CTA that's in capitals "ADD TO CART" (font-size:16px) I don't blame the guy either, B2C supplements businesses like these are brutal, getting someone to get a subscription means you can sell the same thing probably at least 3 times But you're also counting on them to NOT see it's a subscription, and then secondly forgetting it's a subscription So I'd call this 100% asshole design, but ironically very legally sound, I try keep the asshole design to a minimum on my sites, for Photo AI, I do have a it a little bit, I show a $349/year annual plan as "$29/mo billed annually $349" but I also have a self-refund if you did that wrong after Anyway my point is it's not really black and white, competitors force you to do asshole design, or you make 3-4x less than them, meanwhile as a customer it feels you're being tricked I'd always go with whatever design makes sense if you'd sell to your mom and you wouldn't want her to be tricked! Actually with most things in a business always ask what your mom would think! Would she approve or disapprove? I call it "the mom test"
0:25

I think this is a very interesting business case to discuss Because as a business owner he's in the right, and legally he's got himself covered, he does state it's a subscription multiple times: - "ships free monthly" (although literally TINY in font-size:10px) - in the cart it states "delivers every 1 month" (font-size:13px) - in checkout "1 month subscription with 20% discount" (font-size:12px) - in checkout "recurring subtotal $48.00 every month" (font-size:14px) - in checkout "by continuing with your payment, you agree to the future charges listed on this page and the cancellation policy." (font-size:12px) But as a customer I'd get angry here too, if I click through it fast while doing multiple things on a busy day (like most people), it's highly likely you miss it'a subscription because: - when you buy most things, they don't default to a subscription, you just buy a single thing, here it immediately defaults to a subscription - the single purchase option is shown below the CTA so it is possible: "One-Time Purchase - $180 $167 ($1.85 / Day)" but in TINY text again (font-size:14px) vs the subscription CTA that's in capitals "ADD TO CART" (font-size:16px) I don't blame the guy either, B2C supplements businesses like these are brutal, getting someone to get a subscription means you can sell the same thing probably at least 3 times But you're also counting on them to NOT see it's a subscription, and then secondly forgetting it's a subscription So I'd call this 100% asshole design, but ironically very legally sound, I try keep the asshole design to a minimum on my sites, for Photo AI, I do have a it a little bit, I show a $349/year annual plan as "$29/mo billed annually $349" but I also have a self-refund if you did that wrong after Anyway my point is it's not really black and white, competitors force you to do asshole design, or you make 3-4x less than them, meanwhile as a customer it feels you're being tricked I'd always go with whatever design makes sense if you'd sell to your mom and you wouldn't want her to be tricked! Actually with most things in a business always ask what your mom would think! Would she approve or disapprove? I call it "the mom test"

@levelsio

171,704 views • 2 months ago

Vayne takes you on a hunt. you don't know why. she doesn't take anyone. she says stay behind me. don't speak unless i speak first. don't make a sound when we move. you say yes. she looks at you for a second longer than usual. "if i tell you to run, you run. you don't look back for me. are we clear" you say yes. she doesn't answer. she just turns and walks out the door. you follow her through the city streets. she moves different when she's working. shoulders lower. steps shorter. her head doesn't turn but her eyes do. you can feel her cataloguing everything. the man smoking outside the tavern. the cat under the cart. the second floor window with the curtain half drawn. she leads you through an alley you didn't know existed. stops at a brick wall. then she climbs. there are handholds carved into the mortar that you wouldn't have noticed if she hadn't used them first. she's halfway up before she realizes you're still at the bottom. she looks down at you. "up" you climb. your hands are shaking by the time you reach the top. the roof is flat. old clay tiles along the edges. a low wall you can crouch behind. the city stretches out below you in every direction. a thousand windows glowing gold in the dusk. she's already at the far side. crouched. crossbow unslung. watching a building across the square. she doesn't look at you when you come up beside her. "stay low" you crouch. "that building. third floor. second window from the left" you look. "i see it" he'll come to that window sometime tonight. i've watched him do it for three nights. i want to know who he meets you ask who he is. her jaw tightens. "a demon pretending to be a man" you don't ask what that means. you settle in beside her. the wind is up here. it pulls at her hair and she doesn't bother fixing it. the sun is going down behind her. her profile in the gold light looks like something carved. her hands on the crossbow are steady. completely still. you've never seen anyone be this still. an hour passes. she doesn't move. you try not to move. your leg falls asleep. you shift an inch. she looks at you. you go completely still again. she looks back at the window. another hour. the sun is gone. the city is blue and black. lamps are lighting up one by one. the air is getting cold. you're shivering before you realize you're shivering. she notices. she doesn't say anything. then she takes off her cloak. doesn't look at you. holds it out to the side. "take it" you say "you'll be cold" "i don't get cold. take it" you take it. it's warm from her. it smells like leather and steel and something underneath. pine. smoke. something you can't name. you put it around your shoulders. the hem pools on the tile. it's huge on you. it's not huge on her. you hadn't realized how tall she is until you were wearing her cloak. she doesn't look at you for the next ten minutes. the stars come out. she shifts closer to you. just a little. so her shoulder is almost touching yours. you don't say anything about it. she doesn't either. you can feel the heat coming off her even through the cloak. another hour. still nothing at the window. she says "tell me something" you blink. "what" "anything. i need to stay sharp. talking keeps me sharp. not about the target. something else" you didn't expect that. you tell her about a book you've been reading. she listens. actually listens. her eyes never leave the window but you can tell she's hearing every word. she asks one question. you answer. she goes quiet again. you keep talking. quieter now. she interrupts you. "shh" she's not looking at the window anymore. she's looking at the roof two buildings over. you don't see anything. you don't see anything for a long time. then you do. a shadow that moves the wrong way. her hand finds yours. she doesn't look at you when she does it. her eyes don't leave the shadow. her fingers lace through yours and LOCK. tight. too tight. knuckles going white around your hand. "don't move" she breathes. you don't move. you can feel every ounce of her focus through her grip. it's not a lover's hold. it's a predator's. every muscle in her hand coiled. ready to drop yours the instant she needs the crossbow. she's not holding you for you. she's holding you to keep track of where you are without having to look. it should scare you. it doesn't. there is something about being held that tight by someone that dangerous that makes the rest of the world go quiet. your heartbeat slows. your breathing slows. the cold stops mattering. you are not the one hunting but you are with the one who is. and nothing is going to get through her to reach you. the shadow crosses the roof and disappears into a stairwell. she watches the spot it left for another full minute. her hand is still locked around yours. she doesn't loosen it. you don't want her to. finally she lets out a breath you didn't know she was holding. "not him. but someone who works for him" her grip eases. slowly. finger by finger. like she's having to consciously tell each one to let go. the last one is her thumb. it stays against your palm for half a second longer than the rest. then she takes her hand back. the cold rushes in where she was. she glances at you. just for a second. then she looks back at the window. the rest of the night she's quieter than before. the target never shows. when the sky starts turning grey she stands up. stretches. rolls her shoulders. looks out over the city one last time. "we're done" you stand too. your legs don't work right. she catches your elbow without looking. "careful" she keeps her hand there until you're steady. then she takes it away. you start to hand her cloak back. she says "keep it for the climb down" she goes first. you follow. the handholds are easier going down once you know where they are. when you're both on the ground she turns to take the cloak. you hand it to her. her fingers brush yours. she doesn't pull back as fast as she usually does. she puts the cloak back on. it's warm now. from you. she has to notice. she doesn't say anything about it. she walks you home. at your door she stops. "don't tell anyone what you saw tonight" you say "i didn't see much" she looks at you. her eyes in the lamplight. the edge of her mouth. almost softer than it should be. "you saw enough" then she turns and walks back into the dark. you close the door. your hand still feels cold where hers was. you can still smell pine on your shirt. you don't sleep. Study the Saskio way
8:09

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

Tony Chau

11,734 views • 3 months ago

LONDON BREAKING - Sara Sharif: Neighbor heard 'high-pitched scream' two days before 10-year-old's death, court told. Pakistani family killed their own daughter brutally OCT 15, 2024 Sara's father Urfan Sharif, 42, is on trial at the Old Bailey alongside her stepmother, Beinash Batool, 30, and uncle, Faisal Malik, 28. They deny murder and causing or allowing the death of a child. A blood-stained cricket bat, a rolling pin and home-made hoods may have been used to abuse Sara Sharif in the weeks before her alleged murder, a court has heard. Warning: This story contains details readers may find distressing PAKISTANI FAMILY - DAUGHTER - Sara Sharif 10 Years FATHER - Urfan Sharif, 42 STEP MOTHER - Beinash Batool, 30 UNCLE - Faisal Malik, 28 The 10-year-old began to wear a hijab to hide her injuries to her face and head from the outside world as she was beaten with objects, strangled, tied up, burnt with an iron and bitten, the Old Bailey has heard. A neighbor heard a "single high-pitched scream" of someone in pain two days before her death on 8 August 2023, a jury was told. Her body was found in an upstairs bedroom on a bottom bunk bed of her home in Woking #Surrey, on 10 August last year after her father Urfan Sharif, 42, called police and confessed to killing her after fleeing to Pakistan with the rest of the family. The minicab driver is on trial along with Sara's stepmother, Beinash Batool, 30, and uncle, Faisal Malik, 29, where they deny murder and causing or allowing the death of a child. The court has heard Sara suffered dozens of injuries, including bruising, burns and broken bones in a "brutal" campaign of abuse in the weeks leading up to her death. Prosecutor William Emlyn Jones KC said jurors may get a better sense of how the wounds were inflicted as he outlined the potential weapons found by police in a search of the home. A length of black rope with hairs pulled from Sara's head stuck on it, a rolling pin and a plastic-coated metal pole or baton, were found in a small brick outhouse at the back of the house, while a cricket bat stained with blood matching Sara's DNA was leaning outside. In bins to the side of the house, officers found a filthy nappy with a match to Sara's DNA, and "strange looking objects" made of bits of plastic bag wrapped up with parcel tape, some stained with blood or clumps of hairs. Mr. Emlyn Jones described them as "home-made hoods", adding: "They had been placed over Sara's head, we suggest and then taped in place." Batool's Amazon shopping history showed she had bought 18 rolls of parcel tape in July alone, the jury was told. The prosecutor said one neighbor heard a "single high-pitched scream" two days before Sara's death, which lasted a couple of seconds and stopped suddenly. 'Gut-wrenching screams' heard by neighbor "It sounded to her like the scream of someone in pain and as she put it, 'It didn't sound good'," he told the jury. A neighbor at the family's previous address said she had heard banging and rattling along with the sounds of a child crying or screaming, followed by a "deathly quiet" silence, the court heard. Another said she would hear children screaming and a woman shouting: "Shut the f*** up" and "go to your room you f***ing bastard," the prosecutor said. She would also hear "shockingly loud" sounds of smacking followed by "gut-wrenching screams", the court heard, and said Sara's responsibilities included taking out the bins every week and hanging out the washing. Batool told her sisters about the violence her stepdaughter suffered for more than two years before her death, the court heard. In May 2021, she said in a message: "Urfan beat the crap out of Sara. She's covered in bruises, literally beaten black. I feel really sorry for Sara, poor girl can't walk. I really want to report him." In another she said: "Something happens to Sara I will not be able to forgive myself." #Prosecutors say that in January last year, Sara began to wear a hijab - the only member of her family to do so - while teachers at her primary school spotted bruises on her face before she was withdrawn to be home-schooled in April. All three defendants are said to have played their part in the violence and mistreatment that resulted in Sara's death before flying to #Pakistan the following day. Sharif dialed 999 in the early hours of 10 August last year, when he and the rest of his family were already thousands of miles away, telling police in a tearful eight-and-a-half minute call: "I've killed my daughter." He also said: "I legally punished her, and she died," adding "she was naughty", and: "I beat her up, it wasn't my intention to kill her, but I beat her up too much." The court heard the house's Ring doorbell had been removed, while police found a note in his handwriting by her body, next to her pillow, which said "Love you Sara" on the first page. "It's me Urfan Sharif who killed my daughter by beating. I am running away because I am scared but I promise that I will hand over myself and take punishment," it said. The jury was told Sharif will claim he made a "false confession" to protect his wife, who will say he was a "violent disciplinarian" who she was afraid of. Malik, who worked part-time at McDonald's, is expected to say he was not aware of the abuse. The trial continues. #UrfanSharif #BeinashBatool #London #News #CrownCourt #Pakistan #Islam #Hijab #Islamistheproblem #UKNews #MurderTrial #EmlynJones
2:32

LONDON BREAKING - Sara Sharif: Neighbor heard 'high-pitched scream' two days before 10-year-old's death, court told. Pakistani family killed their own daughter brutally OCT 15, 2024 Sara's father Urfan Sharif, 42, is on trial at the Old Bailey alongside her stepmother, Beinash Batool, 30, and uncle, Faisal Malik, 28. They deny murder and causing or allowing the death of a child. A blood-stained cricket bat, a rolling pin and home-made hoods may have been used to abuse Sara Sharif in the weeks before her alleged murder, a court has heard. Warning: This story contains details readers may find distressing PAKISTANI FAMILY - DAUGHTER - Sara Sharif 10 Years FATHER - Urfan Sharif, 42 STEP MOTHER - Beinash Batool, 30 UNCLE - Faisal Malik, 28 The 10-year-old began to wear a hijab to hide her injuries to her face and head from the outside world as she was beaten with objects, strangled, tied up, burnt with an iron and bitten, the Old Bailey has heard. A neighbor heard a "single high-pitched scream" of someone in pain two days before her death on 8 August 2023, a jury was told. Her body was found in an upstairs bedroom on a bottom bunk bed of her home in Woking #Surrey, on 10 August last year after her father Urfan Sharif, 42, called police and confessed to killing her after fleeing to Pakistan with the rest of the family. The minicab driver is on trial along with Sara's stepmother, Beinash Batool, 30, and uncle, Faisal Malik, 29, where they deny murder and causing or allowing the death of a child. The court has heard Sara suffered dozens of injuries, including bruising, burns and broken bones in a "brutal" campaign of abuse in the weeks leading up to her death. Prosecutor William Emlyn Jones KC said jurors may get a better sense of how the wounds were inflicted as he outlined the potential weapons found by police in a search of the home. A length of black rope with hairs pulled from Sara's head stuck on it, a rolling pin and a plastic-coated metal pole or baton, were found in a small brick outhouse at the back of the house, while a cricket bat stained with blood matching Sara's DNA was leaning outside. In bins to the side of the house, officers found a filthy nappy with a match to Sara's DNA, and "strange looking objects" made of bits of plastic bag wrapped up with parcel tape, some stained with blood or clumps of hairs. Mr. Emlyn Jones described them as "home-made hoods", adding: "They had been placed over Sara's head, we suggest and then taped in place." Batool's Amazon shopping history showed she had bought 18 rolls of parcel tape in July alone, the jury was told. The prosecutor said one neighbor heard a "single high-pitched scream" two days before Sara's death, which lasted a couple of seconds and stopped suddenly. 'Gut-wrenching screams' heard by neighbor "It sounded to her like the scream of someone in pain and as she put it, 'It didn't sound good'," he told the jury. A neighbor at the family's previous address said she had heard banging and rattling along with the sounds of a child crying or screaming, followed by a "deathly quiet" silence, the court heard. Another said she would hear children screaming and a woman shouting: "Shut the f*** up" and "go to your room you f***ing bastard," the prosecutor said. She would also hear "shockingly loud" sounds of smacking followed by "gut-wrenching screams", the court heard, and said Sara's responsibilities included taking out the bins every week and hanging out the washing. Batool told her sisters about the violence her stepdaughter suffered for more than two years before her death, the court heard. In May 2021, she said in a message: "Urfan beat the crap out of Sara. She's covered in bruises, literally beaten black. I feel really sorry for Sara, poor girl can't walk. I really want to report him." In another she said: "Something happens to Sara I will not be able to forgive myself." #Prosecutors say that in January last year, Sara began to wear a hijab - the only member of her family to do so - while teachers at her primary school spotted bruises on her face before she was withdrawn to be home-schooled in April. All three defendants are said to have played their part in the violence and mistreatment that resulted in Sara's death before flying to #Pakistan the following day. Sharif dialed 999 in the early hours of 10 August last year, when he and the rest of his family were already thousands of miles away, telling police in a tearful eight-and-a-half minute call: "I've killed my daughter." He also said: "I legally punished her, and she died," adding "she was naughty", and: "I beat her up, it wasn't my intention to kill her, but I beat her up too much." The court heard the house's Ring doorbell had been removed, while police found a note in his handwriting by her body, next to her pillow, which said "Love you Sara" on the first page. "It's me Urfan Sharif who killed my daughter by beating. I am running away because I am scared but I promise that I will hand over myself and take punishment," it said. The jury was told Sharif will claim he made a "false confession" to protect his wife, who will say he was a "violent disciplinarian" who she was afraid of. Malik, who worked part-time at McDonald's, is expected to say he was not aware of the abuse. The trial continues. #UrfanSharif #BeinashBatool #London #News #CrownCourt #Pakistan #Islam #Hijab #Islamistheproblem #UKNews #MurderTrial #EmlynJones

Abhay

11,155 views • 1 year ago

Isabelle Adjani on playing psychologically complex characters & the difference between working in French & American productions: "Adjani: For me, there is no difference, for in both cases I remain myself. But as American budgets are more important, everything is in proportion and much more hierarchical, with a star system that, basically, exists only here, and that brings along constraints and a discipline unknown on European sets. In Europe, there are, even for a star, limits that can't be exceeded, or one risks being rejected by the crew. Here, the crew is really a proletariat in service of the star system, a system that functions like a true dictatorship and that no one, by the way, seems to challenge. No one says no, no one says stop. It's very strange. Interviewer: Do you still feel yourself a stranger in Hollywood? Adjani: Actually, no. It's something I felt deeply at first, but no more now. Maybe I also have a different perception of myself. I feel more relaxed, in every sense of the word, more at ease in an industry of which I now am a part and of which I now know the language better. Integration does not only come from others. I do not consider myself a Frenchwoman, or a European, but an actress. Interviewer: In France you are a star. Here you are known, but people have not seen most of your films... Adjani: That anonymity is very liberating. I love it, for I can do what I want. Here, for an actress, the recognition of the profession hinges on one or two films. That are successful, preferably... Interviewer: You have played many psychologically complex roles. Are you still attracted by that type of character? Adjani: It happens that I like the fate of women, and there's always a tragedy in the life of a woman. There's always a dramatic road to make her femininity bloom. As much as I do this work, that much I can express what touches me. It's true that I have mostly a recalcitrant temperament. It's a natural attraction, but not an exclusive one." (Isabelle Adjani's interview with Cecilia Peck, 1996, translated by Marcel Durieux) P.S: Happy 71st birthday, Isabelle Adjani! Clip from: One Deadly Summer (1983) Director: Jean Becker
1:14

Isabelle Adjani on playing psychologically complex characters & the difference between working in French & American productions: "Adjani: For me, there is no difference, for in both cases I remain myself. But as American budgets are more important, everything is in proportion and much more hierarchical, with a star system that, basically, exists only here, and that brings along constraints and a discipline unknown on European sets. In Europe, there are, even for a star, limits that can't be exceeded, or one risks being rejected by the crew. Here, the crew is really a proletariat in service of the star system, a system that functions like a true dictatorship and that no one, by the way, seems to challenge. No one says no, no one says stop. It's very strange. Interviewer: Do you still feel yourself a stranger in Hollywood? Adjani: Actually, no. It's something I felt deeply at first, but no more now. Maybe I also have a different perception of myself. I feel more relaxed, in every sense of the word, more at ease in an industry of which I now am a part and of which I now know the language better. Integration does not only come from others. I do not consider myself a Frenchwoman, or a European, but an actress. Interviewer: In France you are a star. Here you are known, but people have not seen most of your films... Adjani: That anonymity is very liberating. I love it, for I can do what I want. Here, for an actress, the recognition of the profession hinges on one or two films. That are successful, preferably... Interviewer: You have played many psychologically complex roles. Are you still attracted by that type of character? Adjani: It happens that I like the fate of women, and there's always a tragedy in the life of a woman. There's always a dramatic road to make her femininity bloom. As much as I do this work, that much I can express what touches me. It's true that I have mostly a recalcitrant temperament. It's a natural attraction, but not an exclusive one." (Isabelle Adjani's interview with Cecilia Peck, 1996, translated by Marcel Durieux) P.S: Happy 71st birthday, Isabelle Adjani! Clip from: One Deadly Summer (1983) Director: Jean Becker

DepressedBergman

781,903 views • 1 month ago

Once in every generation, particular persons walk the face of our earth and leave the most ineludible mark on the quality of life on our earth via their impact on the lives of those they come across. In the 1960s, it was Rosa Parks, whose quiet defiance ignited the U.S. civil rights movement. In the 1970s, it was Margaret Thatcher, whose leadership reshaped global economic and political thinking. In the 1980s, it was Wangari Maathai, whose Green Belt Movement tied environmental renewal to women’s empowerment. In the 1990s, it was Oprah Winfrey who turned television into a platform for growth and giving. In the 2000s, it was Angela Merkel who steered Europe through crises with steady resolve. In the 2010s, it was Malala Yousafzai, who became the world’s leading voice for girls’ education. And in the 2020s, for the life of me and over 10,000 young African women, it is Confidence Staveley (Confidence Staveley), whose dedication to the girl child’s empowerment—through the Cybersafe Foundation's CyberGirls program—has given rise to young women who have gone on to be torchbearers for a world in need of as much light as it can find. My first encounter with Confidence Staveley (CS) was in 2022 when Mr Bright Aghimien mentioned the CyberGirls program to me. I remember there was an ongoing cohort when I first learned about the program, and so I wrote an email to the organization while I waited for the next application window. I did not hesitate to put in and give it my best shot, and I must confess I am glad I did. Since getting into the cybergirls program, my life has taken such an upward turn that I never knew was possible in such a short period. Somewhere in Abuja, Nigeria 🇳🇬, 2.5 years ago, Elizabeth Ekedoro (Elizabeth Ekedoro ) was a graduate of Biology cum fashion designer, who trained gymnasts on the side. However, last week, in a privilege granted by Confidence Staveley (CS), and in a second all-expense-paid trip to the USA 🇺🇸 in a space of 5 months, I was present at various cybersecurity-niche conferences in multiple locations in Las Vegas USA. That fashion designer had her story told by Akamai Technologies. This fashion designer got to meet, sit, and collaborate with CS. My journey is a dream come true because this woman gave herself fully. And for me, finally getting to meet this woman who has made it all a reality was an ethereal experience. CS is so beautiful in heart and soul, and I saw her presence and energy light up every space she walked into while I was with her. A woman because of whom I and thousands of others have dared to dream. It was such an honor to stand and work side by side with you at this time. Thank you so much for giving yourself. Thank you so much for pursuing your dreams so much so that now I know that mine are valid. I could go on and on and on. My heart and soul are full and grateful. Thank you so much, Confidence Staveley, for all you have given me. I love you so much. God bless you, real good!💜 #MentorshipMatters, #WomenInCyber
1:30

Once in every generation, particular persons walk the face of our earth and leave the most ineludible mark on the quality of life on our earth via their impact on the lives of those they come across. In the 1960s, it was Rosa Parks, whose quiet defiance ignited the U.S. civil rights movement. In the 1970s, it was Margaret Thatcher, whose leadership reshaped global economic and political thinking. In the 1980s, it was Wangari Maathai, whose Green Belt Movement tied environmental renewal to women’s empowerment. In the 1990s, it was Oprah Winfrey who turned television into a platform for growth and giving. In the 2000s, it was Angela Merkel who steered Europe through crises with steady resolve. In the 2010s, it was Malala Yousafzai, who became the world’s leading voice for girls’ education. And in the 2020s, for the life of me and over 10,000 young African women, it is Confidence Staveley (Confidence Staveley), whose dedication to the girl child’s empowerment—through the Cybersafe Foundation's CyberGirls program—has given rise to young women who have gone on to be torchbearers for a world in need of as much light as it can find. My first encounter with Confidence Staveley (CS) was in 2022 when Mr Bright Aghimien mentioned the CyberGirls program to me. I remember there was an ongoing cohort when I first learned about the program, and so I wrote an email to the organization while I waited for the next application window. I did not hesitate to put in and give it my best shot, and I must confess I am glad I did. Since getting into the cybergirls program, my life has taken such an upward turn that I never knew was possible in such a short period. Somewhere in Abuja, Nigeria 🇳🇬, 2.5 years ago, Elizabeth Ekedoro (Elizabeth Ekedoro ) was a graduate of Biology cum fashion designer, who trained gymnasts on the side. However, last week, in a privilege granted by Confidence Staveley (CS), and in a second all-expense-paid trip to the USA 🇺🇸 in a space of 5 months, I was present at various cybersecurity-niche conferences in multiple locations in Las Vegas USA. That fashion designer had her story told by Akamai Technologies. This fashion designer got to meet, sit, and collaborate with CS. My journey is a dream come true because this woman gave herself fully. And for me, finally getting to meet this woman who has made it all a reality was an ethereal experience. CS is so beautiful in heart and soul, and I saw her presence and energy light up every space she walked into while I was with her. A woman because of whom I and thousands of others have dared to dream. It was such an honor to stand and work side by side with you at this time. Thank you so much for giving yourself. Thank you so much for pursuing your dreams so much so that now I know that mine are valid. I could go on and on and on. My heart and soul are full and grateful. Thank you so much, Confidence Staveley, for all you have given me. I love you so much. God bless you, real good!💜 #MentorshipMatters, #WomenInCyber

Elizabeth Ekedoro

16,048 views • 11 months ago

Deputies conduct welfare check on 68 year old women. Upon arrival they find an unknown house guest and true crime story ready to unfold in real time. ​ 68 year old Monique Gilbertson met Daniel Roush (who also used the name Jazlynn) at a local Home Depot in East Las Vegas. Roush was experiencing homelessness at the time, and Gilbertson, known by her neighbors as a kind and deeply trusting woman, offered to rent him a room in her mobile home. In exchange, Roush was supposed to help with housework and pay a small amount of rent. ​The living arrangement quickly deteriorated. Gilbertson grew increasingly upset when her personal belongings began to go missing, leading her to terminate the living arrangement. Grand jury transcripts later revealed messages from Gilbertson telling Roush that she had left his belongings on the front porch and that he was no longer welcome. Investigators believe she officially evicted him around October 22nd the last time she was seen alive. ​After nearly two weeks of zero contact from Gilbertson, the mobile home park’s leasing office grew concerned and requested a police welfare check. When Las Vegas Metropolitan Police officers arrived, they were met by Roush and his wife, Gina Lopez, who had taken over the residence. ​ As Rosha was questioned at the door you could see his panic as he quickly began heavily stalling and deflecting. Standing behind a locked security screen door, he claimed his name was "Jaslin," that he was house-sitting, and that Gilbertson had suddenly left town to visit an ill family member on the East Coast. ​Suspicious of Roush's defensive behavior, his conflicting stories, and the fact that Gilbertson's car was still parked outside, officers demanded to enter for a walkthrough. Inside, the home was in complete disarray. ​Officers eventually located a locked chest freezer in the utility area. After getting a lock Smith out, they opened it and tragically discovered what was hidden inside. Immediately Rouch was placed in cuffs. ​Following his arrest, Roush claimed to homicide detectives that he found Gilbertson deceased, panicked, and hid her remains because he was terrified of losing his housing. ​However, state prosecutors painted a much darker picture of a crime committed for profit. Authorities alleged that Roush deliberately administered a massive, lethal amount of fentanyl to the victim specifically to take over her property and her lease. Police also recovered a large cache of methamphetamine, cocaine, heroin, and fentanyl from the scene. ​A Clark County grand jury indicted Daniel Roush on multiple felony charges, including: ​Open Murder ​Abuse of an Older/Vulnerable Person ​Burglary ​Multiple Drug Possession and Trafficking Charges ​His wife, Gina Lopez, was also named as a co-defendant in the broader criminal case. Roush remains held without bail at the Clark County Detention Center, facing a maximum penalty of life in prison without the possibility of parole. The case is still ongoing though the justice system so we will need to revisit this once completed.
11:17

Deputies conduct welfare check on 68 year old women. Upon arrival they find an unknown house guest and true crime story ready to unfold in real time. ​ 68 year old Monique Gilbertson met Daniel Roush (who also used the name Jazlynn) at a local Home Depot in East Las Vegas. Roush was experiencing homelessness at the time, and Gilbertson, known by her neighbors as a kind and deeply trusting woman, offered to rent him a room in her mobile home. In exchange, Roush was supposed to help with housework and pay a small amount of rent. ​The living arrangement quickly deteriorated. Gilbertson grew increasingly upset when her personal belongings began to go missing, leading her to terminate the living arrangement. Grand jury transcripts later revealed messages from Gilbertson telling Roush that she had left his belongings on the front porch and that he was no longer welcome. Investigators believe she officially evicted him around October 22nd the last time she was seen alive. ​After nearly two weeks of zero contact from Gilbertson, the mobile home park’s leasing office grew concerned and requested a police welfare check. When Las Vegas Metropolitan Police officers arrived, they were met by Roush and his wife, Gina Lopez, who had taken over the residence. ​ As Rosha was questioned at the door you could see his panic as he quickly began heavily stalling and deflecting. Standing behind a locked security screen door, he claimed his name was "Jaslin," that he was house-sitting, and that Gilbertson had suddenly left town to visit an ill family member on the East Coast. ​Suspicious of Roush's defensive behavior, his conflicting stories, and the fact that Gilbertson's car was still parked outside, officers demanded to enter for a walkthrough. Inside, the home was in complete disarray. ​Officers eventually located a locked chest freezer in the utility area. After getting a lock Smith out, they opened it and tragically discovered what was hidden inside. Immediately Rouch was placed in cuffs. ​Following his arrest, Roush claimed to homicide detectives that he found Gilbertson deceased, panicked, and hid her remains because he was terrified of losing his housing. ​However, state prosecutors painted a much darker picture of a crime committed for profit. Authorities alleged that Roush deliberately administered a massive, lethal amount of fentanyl to the victim specifically to take over her property and her lease. Police also recovered a large cache of methamphetamine, cocaine, heroin, and fentanyl from the scene. ​A Clark County grand jury indicted Daniel Roush on multiple felony charges, including: ​Open Murder ​Abuse of an Older/Vulnerable Person ​Burglary ​Multiple Drug Possession and Trafficking Charges ​His wife, Gina Lopez, was also named as a co-defendant in the broader criminal case. Roush remains held without bail at the Clark County Detention Center, facing a maximum penalty of life in prison without the possibility of parole. The case is still ongoing though the justice system so we will need to revisit this once completed.

Giggling Ganon

565,419 views • 1 month ago

Seedance 2.5 excels at VLOG-style videos. Coming soon to Higgsfield. Characters and locations are generated in Higgsfield Soul Cinema. Full prompt: SCENE A day in New York shot entirely by the subject herself: waking in her hotel suite, coffee, getting ready, out into the city, back to the room at night. ACTIVE REFERENCES @ image1 — the hotel suite. Curved cove ceiling with warm LED coving, deep red carpet, cream walls, two black organic sculptures above a light wood headboard, white bedding with red pillows, twin bedside lamps, pale sofa, oval coffee table, sheer curtains, dark door. @ image2 — the subject. Young woman, shoulder-length wavy blonde hair with curtain bangs and highlights, light freckles, thin gold necklace, silver ring, dark brown off-the-shoulder knit with white diamond-stripe pattern. 100% matches the reference. CAMERA OWNERSHIP LOCK Only two positions exist. HELD: arm extended, camera 0.4-0.7m from her face, visible arm tension, tilt and step-bounce. PROPPED: camera on a surface she placed it on, crooked and fixed, with her moving in and out of frame. No operator shots, no tracking, nothing she could not have filmed alone. FORMAT Eight shots, 30s, seven HARD CUTS, no fades. Real-time. 0-4s SHOT 1 — PROPPED, morning room. 84° diagonal field of view, camera on the sideboard 3m from the bed at 1.1m, static and tilted. The suite matches @ image1: cove light on, curtains half open, cool daylight across the red carpet. @ image2 visible at 0.0s, sitting up on the bed edge x66 y58. No empty frame. She rubs her face and croaks at the running camera: "It's seven. In New York. Why am I awake." Stands, walks out screen-right. HARD CUT. 4-7s SHOT 2 — HELD, window light. 84°, arm's length 0.5m, above eye line. She is x50 y42 at the sheer curtain screen-left, cool daylight on the near side of her face, cove warmth behind. She pulls the curtain, squints at the street below, then into the lens: "Okay. It's actually happening." Arm wobble throughout. HARD CUT. 7-11s SHOT 3 — PROPPED, coffee. 47°, camera on the oval coffee table 0.8m away, low, looking up past a cup. She sits into frame at x55 y45, pours, tastes, pulls a face at the running camera: "Hotel coffee. We'll fix that outside." Steam bends in the light. HARD CUT. 11-15s SHOT 4 — HELD, mirror. 47°, camera at chest height reflected in the suite mirror. She is x45 y50 in the reflection, camera visible in her hand, working through her hair with the other. Bed and sculptures behind. At 13s: "This is as good as it gets. Let's go." HARD CUT. 15-18s SHOT 5 — HELD, leaving. 107° wide rectilinear, camera held low at waist height, turned forward. She crosses the red carpet to the door at x55, lens swinging with her stride. She opens it and corridor light floods the frame. Off-frame, breathy: "Downtown first." HARD CUT. 18-22s SHOT 6 — PROPPED, street. 47°, camera on a stoop rail 3m away, static, crooked. A New York block behind her — brownstone steps, fire escapes, yellow cabs, steam from a vent. She walks in from screen-left at 18.5s, stands at x60 y50, spreads her arms: "Look at this street." Then walks to the lens and takes it at 21.5s. Passers-by cross the foreground. HARD CUT. 22-26s SHOT 7 — PROPPED, diner. 84° wide, camera on the counter behind a plate, 0.7m from her, looking up. She is x55 y38, sits into frame, takes a bite, eyes widen, mouth full: "Okay, that's the one." Laughs, keeps eating. HARD CUT. 26-30s SHOT 8 — HELD, night, back in the room. 84°, arm's length 0.5m, held above her. She lies back across the white bedding at x50 y55, hair spread, in the brown knit again. Bedside lamps and cove light are the only sources, windows black with city glow. Into the lens: "Twenty thousand steps. Everything hurts." Softer: "Same time tomorrow." Wave, the frame tilts as she lowers the camera. 30.0s black. SPEECH Only the quoted lines are spoken, at the timings given, all in her voice. Lips still at all other times. No voiceover, no second speaker, no offscreen voices. Delivery is casual, unrehearsed, mid-breath, sometimes trailing off. Volume rises over street noise in Shot 6, near-whisper in Shot 8. CONTINUITY The suite matches @ image1 in both interior sequences — same carpet, sculptures, headboard, sofa, lamps. Hair, necklace and ring identical throughout. PHYSICS Loose knit slides on the shoulder with every arm movement. Wavy hair lags a frame behind head turns. Bedding creases under her weight. Step energy visible in every HELD frame. LIGHTING Shots 1-4: cool daylight from the curtains screen-left as key, warm cove LED as fill, red carpet bouncing warmth into the shadows. Shot 5: corridor light through the doorway. Shots 6-7: hard street daylight, warm diner practicals. Shot 8: lamps and cove light only. AUDIO Diegetic only, from the same camera — room tone, footsteps, door, traffic, sirens, steam vents, diner clatter, wind. Ambience ducks under her lines. No music. LOCKS Photoreal live action, 4K detail, fine grain, warm consumer-camera colour, mild rolling shutter and auto-exposure hunting. She is the only person who speaks; background figures anonymous and unfocused. No subtitles.
0:28

Seedance 2.5 excels at VLOG-style videos. Coming soon to Higgsfield. Characters and locations are generated in Higgsfield Soul Cinema. Full prompt: SCENE A day in New York shot entirely by the subject herself: waking in her hotel suite, coffee, getting ready, out into the city, back to the room at night. ACTIVE REFERENCES @ image1 — the hotel suite. Curved cove ceiling with warm LED coving, deep red carpet, cream walls, two black organic sculptures above a light wood headboard, white bedding with red pillows, twin bedside lamps, pale sofa, oval coffee table, sheer curtains, dark door. @ image2 — the subject. Young woman, shoulder-length wavy blonde hair with curtain bangs and highlights, light freckles, thin gold necklace, silver ring, dark brown off-the-shoulder knit with white diamond-stripe pattern. 100% matches the reference. CAMERA OWNERSHIP LOCK Only two positions exist. HELD: arm extended, camera 0.4-0.7m from her face, visible arm tension, tilt and step-bounce. PROPPED: camera on a surface she placed it on, crooked and fixed, with her moving in and out of frame. No operator shots, no tracking, nothing she could not have filmed alone. FORMAT Eight shots, 30s, seven HARD CUTS, no fades. Real-time. 0-4s SHOT 1 — PROPPED, morning room. 84° diagonal field of view, camera on the sideboard 3m from the bed at 1.1m, static and tilted. The suite matches @ image1: cove light on, curtains half open, cool daylight across the red carpet. @ image2 visible at 0.0s, sitting up on the bed edge x66 y58. No empty frame. She rubs her face and croaks at the running camera: "It's seven. In New York. Why am I awake." Stands, walks out screen-right. HARD CUT. 4-7s SHOT 2 — HELD, window light. 84°, arm's length 0.5m, above eye line. She is x50 y42 at the sheer curtain screen-left, cool daylight on the near side of her face, cove warmth behind. She pulls the curtain, squints at the street below, then into the lens: "Okay. It's actually happening." Arm wobble throughout. HARD CUT. 7-11s SHOT 3 — PROPPED, coffee. 47°, camera on the oval coffee table 0.8m away, low, looking up past a cup. She sits into frame at x55 y45, pours, tastes, pulls a face at the running camera: "Hotel coffee. We'll fix that outside." Steam bends in the light. HARD CUT. 11-15s SHOT 4 — HELD, mirror. 47°, camera at chest height reflected in the suite mirror. She is x45 y50 in the reflection, camera visible in her hand, working through her hair with the other. Bed and sculptures behind. At 13s: "This is as good as it gets. Let's go." HARD CUT. 15-18s SHOT 5 — HELD, leaving. 107° wide rectilinear, camera held low at waist height, turned forward. She crosses the red carpet to the door at x55, lens swinging with her stride. She opens it and corridor light floods the frame. Off-frame, breathy: "Downtown first." HARD CUT. 18-22s SHOT 6 — PROPPED, street. 47°, camera on a stoop rail 3m away, static, crooked. A New York block behind her — brownstone steps, fire escapes, yellow cabs, steam from a vent. She walks in from screen-left at 18.5s, stands at x60 y50, spreads her arms: "Look at this street." Then walks to the lens and takes it at 21.5s. Passers-by cross the foreground. HARD CUT. 22-26s SHOT 7 — PROPPED, diner. 84° wide, camera on the counter behind a plate, 0.7m from her, looking up. She is x55 y38, sits into frame, takes a bite, eyes widen, mouth full: "Okay, that's the one." Laughs, keeps eating. HARD CUT. 26-30s SHOT 8 — HELD, night, back in the room. 84°, arm's length 0.5m, held above her. She lies back across the white bedding at x50 y55, hair spread, in the brown knit again. Bedside lamps and cove light are the only sources, windows black with city glow. Into the lens: "Twenty thousand steps. Everything hurts." Softer: "Same time tomorrow." Wave, the frame tilts as she lowers the camera. 30.0s black. SPEECH Only the quoted lines are spoken, at the timings given, all in her voice. Lips still at all other times. No voiceover, no second speaker, no offscreen voices. Delivery is casual, unrehearsed, mid-breath, sometimes trailing off. Volume rises over street noise in Shot 6, near-whisper in Shot 8. CONTINUITY The suite matches @ image1 in both interior sequences — same carpet, sculptures, headboard, sofa, lamps. Hair, necklace and ring identical throughout. PHYSICS Loose knit slides on the shoulder with every arm movement. Wavy hair lags a frame behind head turns. Bedding creases under her weight. Step energy visible in every HELD frame. LIGHTING Shots 1-4: cool daylight from the curtains screen-left as key, warm cove LED as fill, red carpet bouncing warmth into the shadows. Shot 5: corridor light through the doorway. Shots 6-7: hard street daylight, warm diner practicals. Shot 8: lamps and cove light only. AUDIO Diegetic only, from the same camera — room tone, footsteps, door, traffic, sirens, steam vents, diner clatter, wind. Ambience ducks under her lines. No music. LOCKS Photoreal live action, 4K detail, fine grain, warm consumer-camera colour, mild rolling shutter and auto-exposure hunting. She is the only person who speaks; background figures anonymous and unfocused. No subtitles.

Higgsfield AI 🧩

51,806 views • 1 day ago

SISA MALAM (Remnants of the Night) An AI-generated short film by Dan Pradana Made with Seedance 2.0 via Runway Edited with CapCut CapCut CapCut_jp A slice of life. A woman. A man. A flat somewhere in the city. And the quiet hours between afternoon and night where something unspoken slowly finds its way out. No action scenes. No explosions. Just love that finds its way through moments. + + + While AI influencers keep declaring Hollywood is cooked just for clout or engagement, I've been quietly trying to figure out how far Seedance 2.0 can actually go. And it's been one of the most challenging and rewarding things I've made. Fight scenes with Seedance 2.0 are easy. But drama is not. The goal was simple but hard: stop relying on random footage stitched together with a voiceover, and instead build something continuous. Scene by scene. Moment by moment. Reaction by reaction. A love story told through glances, small talk, and the kind of silences that say more than dialogue. Far from perfect, but further than I expected. + + + The characters are entirely AI-generated using Nano Banana. But the souls behind them are real. Risa (Icha) was inspired by a remarkable woman I admire. A middle-aged lady who could not have children of her own adopted an orphan girl at the age of eight. That girl is Icha. She grew up to become someone with a depth of warmth and maternal instinct that is hard to describe. When her adoptive mother later took in two more orphans, Icha, now 24, naturally became both an older sister and a mother figure to them. Through her I wanted to explore something I find genuinely beautiful about Southeast Asian women: that nurturing instinct, so quiet and so deep, it doesn't need to be taught. It simply is. Riandi (Rian) is a reflection of my younger self. Long before I married my wife, we lived in different cities. Every weekend I would take a two hour travel bus just to see her. No WhatsApp back then, no easy communication. Just a longing strong enough to move. We never went anywhere fancy. Cheap warung food, roadside stalls, just sitting together. It was never about the place. It was about needing to see her. That kind of love makes you do things that make no logical sense, and you do them gladly. We eventually got married. She gave me three boys. All of them. And she remains the only woman in the house, an absolute princess surrounded by chaos, and she handles it with more grace than any of us deserve. + + + I hope you enjoy the video. The technology is there. It has come a long way, and it keeps getting better. Looking forward to keep experimenting. 🙂
7:49

SISA MALAM (Remnants of the Night) An AI-generated short film by Dan Pradana Made with Seedance 2.0 via Runway Edited with CapCut CapCut CapCut_jp A slice of life. A woman. A man. A flat somewhere in the city. And the quiet hours between afternoon and night where something unspoken slowly finds its way out. No action scenes. No explosions. Just love that finds its way through moments. + + + While AI influencers keep declaring Hollywood is cooked just for clout or engagement, I've been quietly trying to figure out how far Seedance 2.0 can actually go. And it's been one of the most challenging and rewarding things I've made. Fight scenes with Seedance 2.0 are easy. But drama is not. The goal was simple but hard: stop relying on random footage stitched together with a voiceover, and instead build something continuous. Scene by scene. Moment by moment. Reaction by reaction. A love story told through glances, small talk, and the kind of silences that say more than dialogue. Far from perfect, but further than I expected. + + + The characters are entirely AI-generated using Nano Banana. But the souls behind them are real. Risa (Icha) was inspired by a remarkable woman I admire. A middle-aged lady who could not have children of her own adopted an orphan girl at the age of eight. That girl is Icha. She grew up to become someone with a depth of warmth and maternal instinct that is hard to describe. When her adoptive mother later took in two more orphans, Icha, now 24, naturally became both an older sister and a mother figure to them. Through her I wanted to explore something I find genuinely beautiful about Southeast Asian women: that nurturing instinct, so quiet and so deep, it doesn't need to be taught. It simply is. Riandi (Rian) is a reflection of my younger self. Long before I married my wife, we lived in different cities. Every weekend I would take a two hour travel bus just to see her. No WhatsApp back then, no easy communication. Just a longing strong enough to move. We never went anywhere fancy. Cheap warung food, roadside stalls, just sitting together. It was never about the place. It was about needing to see her. That kind of love makes you do things that make no logical sense, and you do them gladly. We eventually got married. She gave me three boys. All of them. And she remains the only woman in the house, an absolute princess surrounded by chaos, and she handles it with more grace than any of us deserve. + + + I hope you enjoy the video. The technology is there. It has come a long way, and it keeps getting better. Looking forward to keep experimenting. 🙂

MXVDXN // DAN

40,149 views • 3 months ago

This video isn’t for most people they’ll say it’s anti semitic unhinged and pure hate because it’s about time travel and the inevitable outcome of good and evil. But if it’s for you, you aren’t alone. From all my deplatformings and what I’ve seen I assume anyone with large public visibility is full of shit. I watched “them” kick my wife off airbandb and fire my mom. That being said….maybe I’m still easy to fool because deception and immorality on a long enough time scale is a horrible idea, so I naturally assume benevolence. I’ve had to force myself to see the wickedness in people. Ok…this may sound gay. But I think Candace Owens may be a real person. MILO told me she is, and although he’s a good hearted snake who has a folder on everyone, his judgment is solid. I always make fun of her for dating her husband a week on a zoom before getting engaged because that sounds objectively crazy. But I heard her admit that it obviously sounds crazy but it’s just how it happened. All I ever ask of people is they acknowledge reality. Like if Ben Shapiro was like “yes my head wobbles while I talk and I have evil dead eyes but deep down I’m cool” that would go a long way in my book. Anyway….Im really really pumped she’s talking about the darpa time travel shit. I had a chip on my shoulder when it was just the stuff we all got kicked off YouTube for as she’s “gaining new ground.” But I’m now genuinely pumped about the stuff she’s talking about and maybe I just want it to be true, but maybe she actually figured out how to do it on YouTube. The lie detection and vibe meter of a black female with a super rich mellow polite British guy may have cracked the code. Maybe he’s not gay maybe he’s just THAT fucking British.
5:14

Sensitive content

This video isn’t for most people they’ll say it’s anti semitic unhinged and pure hate because it’s about time travel and the inevitable outcome of good and evil. But if it’s for you, you aren’t alone. From all my deplatformings and what I’ve seen I assume anyone with large public visibility is full of shit. I watched “them” kick my wife off airbandb and fire my mom. That being said….maybe I’m still easy to fool because deception and immorality on a long enough time scale is a horrible idea, so I naturally assume benevolence. I’ve had to force myself to see the wickedness in people. Ok…this may sound gay. But I think Candace Owens may be a real person. MILO told me she is, and although he’s a good hearted snake who has a folder on everyone, his judgment is solid. I always make fun of her for dating her husband a week on a zoom before getting engaged because that sounds objectively crazy. But I heard her admit that it obviously sounds crazy but it’s just how it happened. All I ever ask of people is they acknowledge reality. Like if Ben Shapiro was like “yes my head wobbles while I talk and I have evil dead eyes but deep down I’m cool” that would go a long way in my book. Anyway….Im really really pumped she’s talking about the darpa time travel shit. I had a chip on my shoulder when it was just the stuff we all got kicked off YouTube for as she’s “gaining new ground.” But I’m now genuinely pumped about the stuff she’s talking about and maybe I just want it to be true, but maybe she actually figured out how to do it on YouTube. The lie detection and vibe meter of a black female with a super rich mellow polite British guy may have cracked the code. Maybe he’s not gay maybe he’s just THAT fucking British.

Owen Benjamin 🐻

27,739 views • 6 months ago

Crown Princess Mette-marit is lucky she is not part of the British Royal family, therefore this empty and farcical interview can fly under the radar instead of drawing worldwide backlash for 7 years straight like the Andrew interview did, just because he is a member of the British Royal family😵‍💫 Since the Epstein revelations about her and the rape trial of her son, Marius Borg, the Royal family of Norway has been facing intense scrutiny. Thus, in an unusual move, Prime Minister Jonas Gahr Stoere has urged Mette-marit to come forward and explain the many emails she and Epstein sent to each other between 2011 and 2014; that is AFTER his conviction as a known Child sex offender and more than a decade AFTER her marriage to Crown Prince Haakon🔥 This interview is the third attempt by Mette-marit and the Norwegian Monarchy to make things blow over, and goodness me, some people are simply not meant to be put in front of the camera... First of all, she is a pale blond with a stern face naturally. Why is she is dressed in full black for an interview that is suppose to endear her to the public? It is giving the "mad villain of the story"... Second, If you simply turn off the volume and look at her face and body language while she talks, you are not left with a positive impression of her at all. You do not register "remorse" nor "accountability", you register nonchalance, complacency and even a bit of annoyance at having to answer these questions. When you put the volume on and actually listen to her non-answers and how she is attempting to play the "naive" victim of Epstein in all this, you realise that you are in front of a manipulator🔥 The issue that Mette-marit has is a credibility issue. In Norway, there are serious question about her fit to be Queen and a poll published on Tuesday by TV2, showed that 47.6 percent of respondents said she should not become queen, while only 28.9 percent backed her. This interview did nothing good for her, especially when she is plain lying about not knowing about Epstein past and never looking him up. In one of the email exposed last February, we learnt that in 2011, three years after his first conviction, Mette-Marit wrote to Epstein that she had "googled him", adding "it didn't look too good" and ending the sentence with a smiling emoji. So she knew. In 2012, when Epstein told her he was in Paris "on a wife hunt", she replied that the French capital is "good for adultery" and "Scandis (are) better wife material". Then in 2013, she stayed at his Florida home for four days.🤡 Thus, this idea of saying she was "manipulated" is false. What she is attempting to do is to manipulate the public perception to come out as the victim when she is anything but. The third issue with this interview is why is Crown Prince Haakon sitting there like a bodyguard? Is the Norwegian palace PR run by a group of squirrels? WHY is the Future King involved in this mess, instead of insulating him from this scandal in the Psyche of the public opinion?🤡 Their palace PR is absolutely useless. Only Mette- marit should have sat there. How do you look as a husband and future king while the journalist ask your wife about her flirting messages with a convicted paedo over a period of 4 years? Ridiculous😵‍💫 The more you hear and see of Mette, the more it becomes clear that this woman is a manipulator. The more you hear and see of Haakon, the more you realise that he is being lead around by Mette-marit, who does not have an ounce of sound judgement. So truly, what we have here for the future of the Norwegian Monarchy is a blind person leading a deaf person. So they are heading for a cliff in a "super sketchy" manner..☕️ 📹Paula Matanovich
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Crown Princess Mette-marit is lucky she is not part of the British Royal family, therefore this empty and farcical interview can fly under the radar instead of drawing worldwide backlash for 7 years straight like the Andrew interview did, just because he is a member of the British Royal family😵‍💫 Since the Epstein revelations about her and the rape trial of her son, Marius Borg, the Royal family of Norway has been facing intense scrutiny. Thus, in an unusual move, Prime Minister Jonas Gahr Stoere has urged Mette-marit to come forward and explain the many emails she and Epstein sent to each other between 2011 and 2014; that is AFTER his conviction as a known Child sex offender and more than a decade AFTER her marriage to Crown Prince Haakon🔥 This interview is the third attempt by Mette-marit and the Norwegian Monarchy to make things blow over, and goodness me, some people are simply not meant to be put in front of the camera... First of all, she is a pale blond with a stern face naturally. Why is she is dressed in full black for an interview that is suppose to endear her to the public? It is giving the "mad villain of the story"... Second, If you simply turn off the volume and look at her face and body language while she talks, you are not left with a positive impression of her at all. You do not register "remorse" nor "accountability", you register nonchalance, complacency and even a bit of annoyance at having to answer these questions. When you put the volume on and actually listen to her non-answers and how she is attempting to play the "naive" victim of Epstein in all this, you realise that you are in front of a manipulator🔥 The issue that Mette-marit has is a credibility issue. In Norway, there are serious question about her fit to be Queen and a poll published on Tuesday by TV2, showed that 47.6 percent of respondents said she should not become queen, while only 28.9 percent backed her. This interview did nothing good for her, especially when she is plain lying about not knowing about Epstein past and never looking him up. In one of the email exposed last February, we learnt that in 2011, three years after his first conviction, Mette-Marit wrote to Epstein that she had "googled him", adding "it didn't look too good" and ending the sentence with a smiling emoji. So she knew. In 2012, when Epstein told her he was in Paris "on a wife hunt", she replied that the French capital is "good for adultery" and "Scandis (are) better wife material". Then in 2013, she stayed at his Florida home for four days.🤡 Thus, this idea of saying she was "manipulated" is false. What she is attempting to do is to manipulate the public perception to come out as the victim when she is anything but. The third issue with this interview is why is Crown Prince Haakon sitting there like a bodyguard? Is the Norwegian palace PR run by a group of squirrels? WHY is the Future King involved in this mess, instead of insulating him from this scandal in the Psyche of the public opinion?🤡 Their palace PR is absolutely useless. Only Mette- marit should have sat there. How do you look as a husband and future king while the journalist ask your wife about her flirting messages with a convicted paedo over a period of 4 years? Ridiculous😵‍💫 The more you hear and see of Mette, the more it becomes clear that this woman is a manipulator. The more you hear and see of Haakon, the more you realise that he is being lead around by Mette-marit, who does not have an ounce of sound judgement. So truly, what we have here for the future of the Norwegian Monarchy is a blind person leading a deaf person. So they are heading for a cliff in a "super sketchy" manner..☕️ 📹Paula Matanovich

Canellecitadelle

115,221 views • 4 months ago