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In #ThePolygamist specifically this scene, Matipa wears green, even though she has already bagged Jonasi. But there is an ironic twist to how the green symbolism actually plays out in this scene between Joyce, Matipa and Jonasi. While green is the universal symbol for envy, Matipa is not the...

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TheKingLouNetwork

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169,884 görüntüleme • 2 ay önce •via X (Twitter)

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#ThePolygamist #NetflixThePolygamist 🔴 ⚪️ The wardrobe color choices for Joyce and Matipa are highly deliberate and carry deep symbolic meaning that perfectly mirrors their roles and personalities in the show. The costume designers use these colors to establish a stark, visual contrast between the two women competing for space in Jonasi's life. ⚪️ Joyce’s White Wardrobe: The Illusion of Perfection. As a top social media influencer, Joyce uses her signature all-white wardrobe to project a lifestyle of absolute purity, pristine elegance, and "perfect family goals" to her followers. White visually cements her position as the first wife and the established foundation of the home. It represents order, tradition, and the clean structure she has spent years building. As her marriage begins to fracture, the white clothing becomes ironic. It highlights how exposed her pain and heartbreak are; every crack and emotional stain shows up clearly against a pristine white background. 🩸 Matipa’s Red Wardrobe: Power, Disruption, and Desire. Matipa is an ambitious, highly successful corporate climber. Her red clothing acts as a "power suit," signifying her boldness, confidence, and refusal to wait around for a man to hand her what she wants. Red is the universal color of passion, danger, and disruption. By constantly wearing red, Matipa is visually marked as the flame that ignites the family's emotional meltdown and burns down Joyce’s carefully curated world. Unlike standard tropes, Matipa does not see herself as a hidden villain or a quiet side-chick. Her bright red clothing states loudly that she feels fully entitled to the space she occupies and the partnership she demands. Check the full scene on #NetflixSA
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#ThePolygamist #NetflixThePolygamist 🔴 ⚪️ The wardrobe color choices for Joyce and Matipa are highly deliberate and carry deep symbolic meaning that perfectly mirrors their roles and personalities in the show. The costume designers use these colors to establish a stark, visual contrast between the two women competing for space in Jonasi's life. ⚪️ Joyce’s White Wardrobe: The Illusion of Perfection. As a top social media influencer, Joyce uses her signature all-white wardrobe to project a lifestyle of absolute purity, pristine elegance, and "perfect family goals" to her followers. White visually cements her position as the first wife and the established foundation of the home. It represents order, tradition, and the clean structure she has spent years building. As her marriage begins to fracture, the white clothing becomes ironic. It highlights how exposed her pain and heartbreak are; every crack and emotional stain shows up clearly against a pristine white background. 🩸 Matipa’s Red Wardrobe: Power, Disruption, and Desire. Matipa is an ambitious, highly successful corporate climber. Her red clothing acts as a "power suit," signifying her boldness, confidence, and refusal to wait around for a man to hand her what she wants. Red is the universal color of passion, danger, and disruption. By constantly wearing red, Matipa is visually marked as the flame that ignites the family's emotional meltdown and burns down Joyce’s carefully curated world. Unlike standard tropes, Matipa does not see herself as a hidden villain or a quiet side-chick. Her bright red clothing states loudly that she feels fully entitled to the space she occupies and the partnership she demands. Check the full scene on #NetflixSA

TheKingLouNetwork

38,645 görüntüleme • 2 ay önce

In #ThePolygamist Jonasi’s excessive gifting of red roses to Matipa serves as heavy visual symbolism for manipulation, surface-level affection, and a toxic "love-bombing" dynamic. The overwhelming presence of flowers in this kitchen scene operates on several distinct symbolic levels: 🎭 Love Bombing and Distraction • Overwhelming her defenses: Gomora is a classic, highly manipulative corporate tycoon. In relationships, showering a partner with massive amounts of romantic gestures like burying her in roses is a psychological tactic used to overwhelm them so they overlook red flags or sudden disappearances. • When Matipa points out that he is trying to "create a garden," it visually highlights the absurdity of his overcompensation. He brings physical objects to substitute for genuine emotional availability, transparency, and a stable foundation. 💸 Transactional Love • Materialism over substance: As an ambitious corporate climber herself, Matipa initially seeks a life of luxury and power through Jonasi. Jonasi understands his relationships transactionally; he believes his wealth gives him the right to act recklessly because he can simply buy forgiveness later. • The endless influx of roses is Jonasi's way of treating Matipa like a prize to be maintained rather than a partner to be respected, attempting to purchase her compliance and patience. 🥀 Red Flags Disguised as Romance • Artificial perfection: Just like his wife Joyce’s heavily curated public life, Jonasi uses beautiful visual aesthetics to cover up the ugly truth of his infidelity and deception. The pristine, overflowing bouquets create a sensory illusion of a perfect fairytale romance, hiding the incoming chaos. • The thorns beneath: While roses traditionally mean love and passion, a literal "garden" of cut flowers in a house consists of dying plants. It mimics the true nature of their relationship something that looks breathtaking on the outside but is fundamentally temporary, severed from its roots, and destined to wilt under the weight of his secrets. #ThePolygamist #NetflixThePolygamist
1:42

In #ThePolygamist Jonasi’s excessive gifting of red roses to Matipa serves as heavy visual symbolism for manipulation, surface-level affection, and a toxic "love-bombing" dynamic. The overwhelming presence of flowers in this kitchen scene operates on several distinct symbolic levels: 🎭 Love Bombing and Distraction • Overwhelming her defenses: Gomora is a classic, highly manipulative corporate tycoon. In relationships, showering a partner with massive amounts of romantic gestures like burying her in roses is a psychological tactic used to overwhelm them so they overlook red flags or sudden disappearances. • When Matipa points out that he is trying to "create a garden," it visually highlights the absurdity of his overcompensation. He brings physical objects to substitute for genuine emotional availability, transparency, and a stable foundation. 💸 Transactional Love • Materialism over substance: As an ambitious corporate climber herself, Matipa initially seeks a life of luxury and power through Jonasi. Jonasi understands his relationships transactionally; he believes his wealth gives him the right to act recklessly because he can simply buy forgiveness later. • The endless influx of roses is Jonasi's way of treating Matipa like a prize to be maintained rather than a partner to be respected, attempting to purchase her compliance and patience. 🥀 Red Flags Disguised as Romance • Artificial perfection: Just like his wife Joyce’s heavily curated public life, Jonasi uses beautiful visual aesthetics to cover up the ugly truth of his infidelity and deception. The pristine, overflowing bouquets create a sensory illusion of a perfect fairytale romance, hiding the incoming chaos. • The thorns beneath: While roses traditionally mean love and passion, a literal "garden" of cut flowers in a house consists of dying plants. It mimics the true nature of their relationship something that looks breathtaking on the outside but is fundamentally temporary, severed from its roots, and destined to wilt under the weight of his secrets. #ThePolygamist #NetflixThePolygamist

TheKingLouNetwork

63,150 görüntüleme • 2 ay önce

The Green Party is a front for the first Muslim party in the UK. Aisha Bibi said she wears the Hijab to guard her modesty and not to arouse men.
1:06

The Green Party is a front for the first Muslim party in the UK. Aisha Bibi said she wears the Hijab to guard her modesty and not to arouse men.

HJB News

63,063 görüntüleme • 4 ay önce

Can you spot the demons in this crowd? Lindsay Clancy’s childhood friend in the green dress is apparently a spawn of Satan. Why is she smiling and winking at the camera while her friend stands trial for strangling her three babies???
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Can you spot the demons in this crowd? Lindsay Clancy’s childhood friend in the green dress is apparently a spawn of Satan. Why is she smiling and winking at the camera while her friend stands trial for strangling her three babies???

Clerpatriot

15,815 görüntüleme • 10 gün önce

JOYCE ONYANGO, A HOUSE MAID, ALLEGEDLY KILLED A 4-YEAR-OLD CHILD. Joyce Onyango, a housemaid in Ruai, is suspected to have poisoned and killed a 4-year-old baby girl following a disagreement with her employer, who is the child’s mother. Joyce is reportedly from Kisumu and is said to have five children. She had requested to be paid her KSh 6,000 monthly salary on the 1st, but the employer informed her that since she had started work on the 3rd, she would be paid on that date when the employer receives her income. Instead, Joyce allegedly left the house, informing the employer that she had left the child with neighbors. She then disappeared and was last seen in Githurai. Anyone with information that may assist in tracing her is urged to report to the nearest police station. Call :0748253190
11:33

JOYCE ONYANGO, A HOUSE MAID, ALLEGEDLY KILLED A 4-YEAR-OLD CHILD. Joyce Onyango, a housemaid in Ruai, is suspected to have poisoned and killed a 4-year-old baby girl following a disagreement with her employer, who is the child’s mother. Joyce is reportedly from Kisumu and is said to have five children. She had requested to be paid her KSh 6,000 monthly salary on the 1st, but the employer informed her that since she had started work on the 3rd, she would be paid on that date when the employer receives her income. Instead, Joyce allegedly left the house, informing the employer that she had left the child with neighbors. She then disappeared and was last seen in Githurai. Anyone with information that may assist in tracing her is urged to report to the nearest police station. Call :0748253190

Geoffrey Mosiria

211,658 görüntüleme • 4 ay önce

In the #ThePolygamist this specific home office scene between Mpume Gomora and her father, Jonasi Gomora, highlights him at his most toxic and dismissive. As the moral conscience of the family, Mpume confronts Jonasi on behalf of her heartbroken mother, Joyce, and the children. Because Jonasi is a master of manipulation who constantly interrupts, gaslights, and dominates verbal arguments, Mpume writes a letter to strip him of his ability to twist her words. The letter outlines the emotional and psychological devastation his serial cheating, hidden families, and selfish choices have inflicted on their household. It serves as a formal indictment of his failures as a father and husband, delivered in a way that forces him to either listen or look like a complete coward. Jonasi's decision to increase the television volume is a raw display of egocentric emotional abuse and defensive avoidance. • By turning up the audio, he physically tries to drown out her voice because the truth hurts his fragile ego. • It is a power play meant to signal that her feelings, her mother's pain, and the letter are completely insignificant to him. This beautifully directed sequence relies heavily on physical blocking and spatial metaphors to expose Jonasi's narcissism: • The Desk and Office Chair (The Throne of Power): Initially, Jonasi sits behind his grand office desk. This represents his corporate empire, his patriarchal authority, and the structural power he wields over his family. Mpume stands before him like a subject pleading with a ruthless king. • Moving to the Couch (Relinquishing Accountability): When Jonasi moves away from the desk to the office couch, he is physically fleeing the confrontation. By choosing to sit and not look at her, he attempts to strip the moment of its formality, treating her heavy words like white noise. • Mpume Standing Behind Him: As Jonasi moves, Mpume remains steadfast, continuing to read the letter while standing behind his new position. • "Leave the Letter I'll read it myself": Telling her to leave the physical letter on the couch, without ever looking her in the eye, is the ultimate act of compartmentalization. To Jonasi, people and their pain are just messy inconveniences. By treating the letter like a discarded piece of trash to be left on furniture, he attempts to localise and discard the family's trauma so he can return to his pristine, curated life. Ultimately, the scene beautifully juxtaposes Mpume's raw vulnerability against Jonasi's chilling emotional detachment, proving that while he has built an empire of wealth, he is entirely bankrupt as a human being. #NetflixPolygamist
1:37

In the #ThePolygamist this specific home office scene between Mpume Gomora and her father, Jonasi Gomora, highlights him at his most toxic and dismissive. As the moral conscience of the family, Mpume confronts Jonasi on behalf of her heartbroken mother, Joyce, and the children. Because Jonasi is a master of manipulation who constantly interrupts, gaslights, and dominates verbal arguments, Mpume writes a letter to strip him of his ability to twist her words. The letter outlines the emotional and psychological devastation his serial cheating, hidden families, and selfish choices have inflicted on their household. It serves as a formal indictment of his failures as a father and husband, delivered in a way that forces him to either listen or look like a complete coward. Jonasi's decision to increase the television volume is a raw display of egocentric emotional abuse and defensive avoidance. • By turning up the audio, he physically tries to drown out her voice because the truth hurts his fragile ego. • It is a power play meant to signal that her feelings, her mother's pain, and the letter are completely insignificant to him. This beautifully directed sequence relies heavily on physical blocking and spatial metaphors to expose Jonasi's narcissism: • The Desk and Office Chair (The Throne of Power): Initially, Jonasi sits behind his grand office desk. This represents his corporate empire, his patriarchal authority, and the structural power he wields over his family. Mpume stands before him like a subject pleading with a ruthless king. • Moving to the Couch (Relinquishing Accountability): When Jonasi moves away from the desk to the office couch, he is physically fleeing the confrontation. By choosing to sit and not look at her, he attempts to strip the moment of its formality, treating her heavy words like white noise. • Mpume Standing Behind Him: As Jonasi moves, Mpume remains steadfast, continuing to read the letter while standing behind his new position. • "Leave the Letter I'll read it myself": Telling her to leave the physical letter on the couch, without ever looking her in the eye, is the ultimate act of compartmentalization. To Jonasi, people and their pain are just messy inconveniences. By treating the letter like a discarded piece of trash to be left on furniture, he attempts to localise and discard the family's trauma so he can return to his pristine, curated life. Ultimately, the scene beautifully juxtaposes Mpume's raw vulnerability against Jonasi's chilling emotional detachment, proving that while he has built an empire of wealth, he is entirely bankrupt as a human being. #NetflixPolygamist

TheKingLouNetwork

57,292 görüntüleme • 2 ay önce

ANATOMY OF A SCENE: And this ladies and gentle is why I say Icala is one of the best shows we've produced in Mzansi. Look at the quiet brilliance of this SCENE. This is how I read it... 1. Mashandu's wardrobe and how it serves the story without anyone saying it, it is brilliant! 2. The beats in the conversation between her and the chief... It starts with her being flirty, he takes the bait, when he tries to assert his dominance in the dynamic, she reels him back to her having the upper hand by playing vulnerable. This whole scene is about her being in control even though the overarching visual says she is submitting to the men around her. Big up to the director for the shoes thing... She shows up in heels which are inappropriate practically but asserts her feminity. Taking them off lures us the audience into false sense of her relinquishing that feminine power. But from there the director frames her mostly in mid-shots when she speaks thus framing her as filling a space rather than being a subordinate in that space.
1:31

ANATOMY OF A SCENE: And this ladies and gentle is why I say Icala is one of the best shows we've produced in Mzansi. Look at the quiet brilliance of this SCENE. This is how I read it... 1. Mashandu's wardrobe and how it serves the story without anyone saying it, it is brilliant! 2. The beats in the conversation between her and the chief... It starts with her being flirty, he takes the bait, when he tries to assert his dominance in the dynamic, she reels him back to her having the upper hand by playing vulnerable. This whole scene is about her being in control even though the overarching visual says she is submitting to the men around her. Big up to the director for the shoes thing... She shows up in heels which are inappropriate practically but asserts her feminity. Taking them off lures us the audience into false sense of her relinquishing that feminine power. But from there the director frames her mostly in mid-shots when she speaks thus framing her as filling a space rather than being a subordinate in that space.

Kgopolo

119,851 görüntüleme • 1 yıl önce

I'm recovering from surgery and decided to watch the Green Lantern. I've never seen it before and wanted to see if it really is as bad as every says it it - it is! But I noticed that about 30 mins into the film, there's a scene where Lively and Reynolds characters dance in a bar in an almost identical way to the slow dance scene from IEWU. The only difference is the characters were talking Could it be possible that Lively was trying to recreate the scene to be similar to the scene she did with her husband when she fell in love with him? Did she rewrite the scene to mirror the details of the dance? Is this what she means when she says her husband is "all over this movie"? Did Reynolds see this and get jealous because it hit a nerve? *side observation - she's rubbing her hands all over him and not intimacy coordinator is around
0:57

I'm recovering from surgery and decided to watch the Green Lantern. I've never seen it before and wanted to see if it really is as bad as every says it it - it is! But I noticed that about 30 mins into the film, there's a scene where Lively and Reynolds characters dance in a bar in an almost identical way to the slow dance scene from IEWU. The only difference is the characters were talking Could it be possible that Lively was trying to recreate the scene to be similar to the scene she did with her husband when she fell in love with him? Did she rewrite the scene to mirror the details of the dance? Is this what she means when she says her husband is "all over this movie"? Did Reynolds see this and get jealous because it hit a nerve? *side observation - she's rubbing her hands all over him and not intimacy coordinator is around

Leanne Newton

528,288 görüntüleme • 1 yıl önce

From the breathtaking valleys of Srinagar to the high-voltage stage of Bigg Boss 19, Farhana Bhat has always stood tall—fearless, unapologetic, and bold in her voice against terrorism and injustice. She has never hesitated to speak her truth, even when the world around her demanded silence. That is what makes her journey so unique, so inspiring, and so powerful. Now, as she steps inside the most unpredictable house in the country, she isn’t just walking in as a contestant—she is walking in as a symbol of courage, resilience, and strength. Farhana carries with her the spirit of Kashmir, the power of conviction, and the blessings of every supporter who believes in truth, justice, and unshakable determination. For her, this is not just another chapter—it’s a mission. A mission to represent voices that are often unheard, to break stereotypes, and to prove that honesty and strength can shine even in the toughest battles. But in this journey, she cannot walk alone. She needs you—her Janta, her strength, her army of believers. #Rebelqueenfarhana #kashmirkikali #kashmirkibeti #BiggBoss19OnJioHotstar #bb19 #ColorsTv
0:26

From the breathtaking valleys of Srinagar to the high-voltage stage of Bigg Boss 19, Farhana Bhat has always stood tall—fearless, unapologetic, and bold in her voice against terrorism and injustice. She has never hesitated to speak her truth, even when the world around her demanded silence. That is what makes her journey so unique, so inspiring, and so powerful. Now, as she steps inside the most unpredictable house in the country, she isn’t just walking in as a contestant—she is walking in as a symbol of courage, resilience, and strength. Farhana carries with her the spirit of Kashmir, the power of conviction, and the blessings of every supporter who believes in truth, justice, and unshakable determination. For her, this is not just another chapter—it’s a mission. A mission to represent voices that are often unheard, to break stereotypes, and to prove that honesty and strength can shine even in the toughest battles. But in this journey, she cannot walk alone. She needs you—her Janta, her strength, her army of believers. #Rebelqueenfarhana #kashmirkikali #kashmirkibeti #BiggBoss19OnJioHotstar #bb19 #ColorsTv

Farrhana Bhatt

48,418 görüntüleme • 1 yıl önce

NEW: Destenee Green, 23, is accused of running over her boyfriend on New Year’s Eve in Upper Darby, Pennsylvania Police say the couple had argued and the man tried to walk away Green then drove the wrong way over a sidewalk, struck him with her car, and fled the scene The man suffered cuts and road rash, and officers say he is “lucky to be alive.”
0:21

NEW: Destenee Green, 23, is accused of running over her boyfriend on New Year’s Eve in Upper Darby, Pennsylvania Police say the couple had argued and the man tried to walk away Green then drove the wrong way over a sidewalk, struck him with her car, and fled the scene The man suffered cuts and road rash, and officers say he is “lucky to be alive.”

Unlimited L's

853,129 görüntüleme • 8 ay önce

This woman showed up to her own brother’s wedding in this pretty pink floral dress, excited to celebrate with family. But right after the ceremony one of the bridesmaids pulled her aside and said she had to change or leave because there was “too much white” in her dress. I know there’s a longstanding tradition that guests should avoid wearing white to weddings out of respect for the bride, and maybe picking a dress with zero white would have been the safest move. That being said, this is clearly a soft pink floral dress. It doesn’t come across as bridal at all. I’m curious… do you think this dress was too white to wear to a wedding? And I can’t help wondering how her brother and the rest of the family felt about her being asked to leave on such a joyful day. In the end, she chose the high road — she left peacefully and even took some flowers with her on the way out 😭
1:12

This woman showed up to her own brother’s wedding in this pretty pink floral dress, excited to celebrate with family. But right after the ceremony one of the bridesmaids pulled her aside and said she had to change or leave because there was “too much white” in her dress. I know there’s a longstanding tradition that guests should avoid wearing white to weddings out of respect for the bride, and maybe picking a dress with zero white would have been the safest move. That being said, this is clearly a soft pink floral dress. It doesn’t come across as bridal at all. I’m curious… do you think this dress was too white to wear to a wedding? And I can’t help wondering how her brother and the rest of the family felt about her being asked to leave on such a joyful day. In the end, she chose the high road — she left peacefully and even took some flowers with her on the way out 😭

End3of6Days9 (Helen) 🇺🇸

79,861 görüntüleme • 3 ay önce

The emerald-green dress which Keira Knightley wore in "Atonement" (2007) was named as "greatest film costume ever" by InStyle Magazine. Joe Wright had asked costume designer Jacqueline Durran to create a “memorable” dress for the library scene. According to Wright, Durran deliberately kept the seam down the middle of the skirt open, which would normally be sewn shut in a dress design for "easy access" in this scene. Durran said, "Wright knew that he wanted movement in the skirt. He liked the idea of it being bare-backed. But really, apart from that, there was very little instruction—direct instruction—from him about what the dress should be like. He wanted it as showstopping as we could make it, and that it should be green" Rather than just making 1 green dress, the costume team actually produced multiple versions of the dress due to its fragility—with Knightley auctioning off the one from her collection for charity in 2009. It went under the hammer for $35,000, with an LA Times article at the time noting that “someday the dress could be right up there” with Audrey Hepburn’s costume in "Breakfast at Tiffany's" (1961) , or Marilyn Monroe’s white halterneck dress in "The Seven Year Itch" (1955). ("The Story Behind Keira Knightley’s Emerald-Green Slip Dress From Atonement", Emily Chan, Vogue, 2025 and IMDb) P.S: On this day, 19 years ago, "Atonement" (2007) premiered at the Malmö Filmdagar, Sweden.
1:46

The emerald-green dress which Keira Knightley wore in "Atonement" (2007) was named as "greatest film costume ever" by InStyle Magazine. Joe Wright had asked costume designer Jacqueline Durran to create a “memorable” dress for the library scene. According to Wright, Durran deliberately kept the seam down the middle of the skirt open, which would normally be sewn shut in a dress design for "easy access" in this scene. Durran said, "Wright knew that he wanted movement in the skirt. He liked the idea of it being bare-backed. But really, apart from that, there was very little instruction—direct instruction—from him about what the dress should be like. He wanted it as showstopping as we could make it, and that it should be green" Rather than just making 1 green dress, the costume team actually produced multiple versions of the dress due to its fragility—with Knightley auctioning off the one from her collection for charity in 2009. It went under the hammer for $35,000, with an LA Times article at the time noting that “someday the dress could be right up there” with Audrey Hepburn’s costume in "Breakfast at Tiffany's" (1961) , or Marilyn Monroe’s white halterneck dress in "The Seven Year Itch" (1955). ("The Story Behind Keira Knightley’s Emerald-Green Slip Dress From Atonement", Emily Chan, Vogue, 2025 and IMDb) P.S: On this day, 19 years ago, "Atonement" (2007) premiered at the Malmö Filmdagar, Sweden.

DepressedBergman

53,225 görüntüleme • 8 gün önce

🚨Heartless carer is on the run in Tenerife after stealing £300,000 from 89-year-old woman she isolated from her family as 'cash cow to be milked' A heartless con woman who took almost £300,000 from an elderly woman before fleeing to Tenerife has been jailed for six years. Pamela Gwinnett, 62, treated frail and vulnerable Joan Green as a 'cash cow to be milked', even stealing her money after she died in November 2022. Gwinnett, who claimed to be the 89-year-old widower's friend and carer, isolated Joan from her family and even accused them of mistreating her. She also bullied Mrs Green and treated her 'like a caged animal' while splashing out on expensive meals and beauty and Botox treatments. Gwinnett failed to show up for her trial and wasn't in court to hear her sentence after boarding a flight to Tenerife in April, just five hours after failing to have her bail conditions varied. She'd denied charges of fraud and theft but was found guilty by a jury at Preston Crown Court. Jailing her for six years, judge Michael Maher condemned her for fleeing to the holiday island, where she is still at large, saying she had treated the legal process in the same way she had treated Mrs Green - 'with contempt'. The judge said the last years of 'loving' Mrs Green's life had been 'pot-marked by increasing periods of bewilderment'. Gwinnett had realised Mrs Green was a 'wealthy woman' after she and her husband, a manager for British Aerospace, had worked hard and invested shrewdly. 'But to you Mrs Gwinnett, Joan Green was nothing more than a cash cow to be milked until she was dry,' the judge said.
1:11

🚨Heartless carer is on the run in Tenerife after stealing £300,000 from 89-year-old woman she isolated from her family as 'cash cow to be milked' A heartless con woman who took almost £300,000 from an elderly woman before fleeing to Tenerife has been jailed for six years. Pamela Gwinnett, 62, treated frail and vulnerable Joan Green as a 'cash cow to be milked', even stealing her money after she died in November 2022. Gwinnett, who claimed to be the 89-year-old widower's friend and carer, isolated Joan from her family and even accused them of mistreating her. She also bullied Mrs Green and treated her 'like a caged animal' while splashing out on expensive meals and beauty and Botox treatments. Gwinnett failed to show up for her trial and wasn't in court to hear her sentence after boarding a flight to Tenerife in April, just five hours after failing to have her bail conditions varied. She'd denied charges of fraud and theft but was found guilty by a jury at Preston Crown Court. Jailing her for six years, judge Michael Maher condemned her for fleeing to the holiday island, where she is still at large, saying she had treated the legal process in the same way she had treated Mrs Green - 'with contempt'. The judge said the last years of 'loving' Mrs Green's life had been 'pot-marked by increasing periods of bewilderment'. Gwinnett had realised Mrs Green was a 'wealthy woman' after she and her husband, a manager for British Aerospace, had worked hard and invested shrewdly. 'But to you Mrs Gwinnett, Joan Green was nothing more than a cash cow to be milked until she was dry,' the judge said.

Grifty

657,236 görüntüleme • 10 ay önce

Suzzy Pinamang, a student of Adventist Senior High School in Bantama, who was shot in the face by a fellow student in the classroom, has lost her sight and is now unable to see. She has been discharged from the hospital and is currently at home with her family. However, several bullets remain lodged in her face and are yet to be removed. The family is appealing to Ghanaians for financial support to help cover the cost of further medical procedures to improve her condition, as she is currently in severe pain.
2:40

Suzzy Pinamang, a student of Adventist Senior High School in Bantama, who was shot in the face by a fellow student in the classroom, has lost her sight and is now unable to see. She has been discharged from the hospital and is currently at home with her family. However, several bullets remain lodged in her face and are yet to be removed. The family is appealing to Ghanaians for financial support to help cover the cost of further medical procedures to improve her condition, as she is currently in severe pain.

EDHUB🌍ℹ

271,276 görüntüleme • 1 yıl önce

Instead of engaging in debate to challenge misinformation, the Secretary of State for Culture, Media and Sport, Lisa Nandy, flounced off X — and took her department with her. She has now been reappointed by Andy Burnham to an expanded role that includes responsibility for digital policy. Last month, Lisa Nandy unveiled her department’s new green paper, Watch this Space. The proposals in the green paper would require social media platforms to prioritise the promotion of “trustworthy” news sources such as the BBC, ITV and Channel 4, while demoting others such as GB News, The Telegraph and The Guardian. Not only is this Orwellian, it is deeply sinister. Why does the Government think it has the right to decide what constitutes a “trustworthy” news source and what we can and cannot see? Watch FSU Campaigns Officer @MaxHThomspon, read the green paper below and let us know your thoughts in the comments. 👇
0:56

Instead of engaging in debate to challenge misinformation, the Secretary of State for Culture, Media and Sport, Lisa Nandy, flounced off X — and took her department with her. She has now been reappointed by Andy Burnham to an expanded role that includes responsibility for digital policy. Last month, Lisa Nandy unveiled her department’s new green paper, Watch this Space. The proposals in the green paper would require social media platforms to prioritise the promotion of “trustworthy” news sources such as the BBC, ITV and Channel 4, while demoting others such as GB News, The Telegraph and The Guardian. Not only is this Orwellian, it is deeply sinister. Why does the Government think it has the right to decide what constitutes a “trustworthy” news source and what we can and cannot see? Watch FSU Campaigns Officer @MaxHThomspon, read the green paper below and let us know your thoughts in the comments. 👇

The Free Speech Union

18,233 görüntüleme • 1 ay önce

They banned Russian athletes. or four years. Last week in Tokyo, one of them came back with her son in the stands. Alexandra Trusova's choreographer Benoît Richaud on what happened: "Four years without international competitions, and she comes back with a clean skate. Her little son is sitting in the stands watching his mother perform. This is much bigger than just a result. There was Sasha before, there is Sasha now, and there is her future. I think she is opening this new chapter beautifully. She proved to herself that she can come back. She proved that she can skate differently, that she has changed, and that there is now a different depth to her skating. Sasha was magnificent. And as I just wrote to her, this is only the beginning." 🇷🇺⛸️
3:07

They banned Russian athletes. or four years. Last week in Tokyo, one of them came back with her son in the stands. Alexandra Trusova's choreographer Benoît Richaud on what happened: "Four years without international competitions, and she comes back with a clean skate. Her little son is sitting in the stands watching his mother perform. This is much bigger than just a result. There was Sasha before, there is Sasha now, and there is her future. I think she is opening this new chapter beautifully. She proved to herself that she can come back. She proved that she can skate differently, that she has changed, and that there is now a different depth to her skating. Sasha was magnificent. And as I just wrote to her, this is only the beginning." 🇷🇺⛸️

Rina Lu🇷🇺

61,039 görüntüleme • 11 saat önce