Sensitive content

This media may contain sensitive content.

Video yükleniyor...

Video Yüklenemedi

Ana Sayfaya Dön

Massive SSBBW babe spreads her thick legs wide while her equally huge girlfriend buries her face in that juicy pussy, licking deep and sloppy. They switch, then press their soaked cunts together for intense scissoring, hips rolling, tits bouncing, screaming as they cum hard. Pure BBW bliss. #SSBBW #Lesbian...

Bbw_nd_Ssbbw's profile picture

Porntopia

71,504 subscribers

224,289 görüntüleme • 5 ay önce •via X (Twitter)

NSFW
LIVE

Anya Rossi• Live Now

Private livecam show

0 Yorum

Yorum bulunmuyor

Orijinal gönderinin yorumları burada görünecek

Benzer Videolar

Who doesn't love a group of college girls who're full-on nicotine addicts? The star of this video is the cute nerdy girl with her big glasses and lovely turtleneck sweater. And you'd naturally ask; how did such an innocent-looking model student become a smoker? Well, it all happened during her first exams. Her nerves were killing her, but her roommate thought her a little secret; that ciggies would calm her down. She quickly started chainsmoking and became a huge addict in no time at all. And now she's the first one outside during the break to light up and get her much-needed relief. She's quickly joined by two of her friends in Doc Martens boots who're passing the lighter around. Just look how they all relax as soon as they start pumping the delicious smoke into their lungs. They squat down as the nicotine rush hammers through their young bodies. The black-haired beauty meanwhile stays upright and takes drags in quick succession. But I simply can't take my eyes of this nerdy cutie. She's the kind of girl I'd get a massive crush on back in college. Her good girl gone bad vibe was just irresistible. Her sweater would smell of cigarette smoke, and I'd smoke my lungs to pulp together with her. And the sex would be so amazing; looking onto that sweet face while we'd both cum so hard. Oh man, I simply couldn't get enough of this type of girl. #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokingcollegegirl #smokingincollege #lightingup #deepinhale #exhale #turtleneck #turtleneckjacket #turtleneckfetish #nerdyglasses #docmartens #teensmoking #teensmoker #smokingteen #collegegirl #nerdygirl #cutegirl #coolgirl #hotgirl #sexygirl
4:56

Sensitive content

Who doesn't love a group of college girls who're full-on nicotine addicts? The star of this video is the cute nerdy girl with her big glasses and lovely turtleneck sweater. And you'd naturally ask; how did such an innocent-looking model student become a smoker? Well, it all happened during her first exams. Her nerves were killing her, but her roommate thought her a little secret; that ciggies would calm her down. She quickly started chainsmoking and became a huge addict in no time at all. And now she's the first one outside during the break to light up and get her much-needed relief. She's quickly joined by two of her friends in Doc Martens boots who're passing the lighter around. Just look how they all relax as soon as they start pumping the delicious smoke into their lungs. They squat down as the nicotine rush hammers through their young bodies. The black-haired beauty meanwhile stays upright and takes drags in quick succession. But I simply can't take my eyes of this nerdy cutie. She's the kind of girl I'd get a massive crush on back in college. Her good girl gone bad vibe was just irresistible. Her sweater would smell of cigarette smoke, and I'd smoke my lungs to pulp together with her. And the sex would be so amazing; looking onto that sweet face while we'd both cum so hard. Oh man, I simply couldn't get enough of this type of girl. #smoking #smokingfetish #sexysmoker #sexysmoking #cigarette #girlsmoke #smokingwoman #smokinggirl #smokingbabe #smokingbeauty #cig #chainsmoker #heavysmoker #girlswhosmokecigarette #chainsmoking #girlswhosmoke #smokingmodel #smokinghot #smoker #smokergirl #cigarette #addicted #smokingaddiction #smokingcollegegirl #smokingincollege #lightingup #deepinhale #exhale #turtleneck #turtleneckjacket #turtleneckfetish #nerdyglasses #docmartens #teensmoking #teensmoker #smokingteen #collegegirl #nerdygirl #cutegirl #coolgirl #hotgirl #sexygirl

Smoking girl lover

629,503 görüntüleme • 3 ay önce

Charlie was a rescue dog who had already been returned to the shelter twice. The first family lasted only a few days. They said he was overwhelming — always following them from room to room, whining the second he was alone, unable to settle in his crate. Even shutting the bathroom door made him anxious. The second family gave it a week. Their complaint was similar. Charlie needed constant closeness. He leaned into them, shadowed their every step, and never seemed comfortable unless he was touching someone. The shelter staff were devastated for him. He wasn’t destructive. He wasn’t aggressive. He carried intense separation anxiety and a huge need for reassurance. Sitting quietly in his kennel, he looked like a dog who thought he had failed yet again. Then one afternoon, a woman named Margaret Ellis walked in. She moved slowly with the help of a walker and lived alone after losing her husband. The house, she admitted, felt painfully quiet. She told the staff she didn’t want a dog who valued independence. She wanted one who would stay by her side, sit next to her for hours, and follow her everywhere. She longed for steady companionship. They brought her to Charlie. He walked straight up to her, gently leaned his body against her legs, and gazed up at her before softly licking her hand. When Margaret lowered herself into a chair, Charlie immediately rested his head on her lap. With a tender smile, she said he was exactly what she had been looking for. She felt as if he had already chosen her. The dog others had described as “too clingy” had finally found the right match. They were perfect together. When Margaret watched TV, Charlie pressed against her like a warm pillow. If she stepped into another room, he waited patiently nearby. At night, he curled close to her feet, keeping her company and warmth. Charlie had never been a “difficult” dog. His need for closeness wasn’t a defect. It simply meant he was waiting for someone who needed that same steady presence. Sometimes what seems like a flaw in one home is exactly what makes a perfect fit in another. The house that once felt quiet now has soft paws following every step. If you want to see Charlie today, comment “Charlie” and I’ll share how happy and bright he looks in his forever home. | Dogs Are Our World.
0:20

Charlie was a rescue dog who had already been returned to the shelter twice. The first family lasted only a few days. They said he was overwhelming — always following them from room to room, whining the second he was alone, unable to settle in his crate. Even shutting the bathroom door made him anxious. The second family gave it a week. Their complaint was similar. Charlie needed constant closeness. He leaned into them, shadowed their every step, and never seemed comfortable unless he was touching someone. The shelter staff were devastated for him. He wasn’t destructive. He wasn’t aggressive. He carried intense separation anxiety and a huge need for reassurance. Sitting quietly in his kennel, he looked like a dog who thought he had failed yet again. Then one afternoon, a woman named Margaret Ellis walked in. She moved slowly with the help of a walker and lived alone after losing her husband. The house, she admitted, felt painfully quiet. She told the staff she didn’t want a dog who valued independence. She wanted one who would stay by her side, sit next to her for hours, and follow her everywhere. She longed for steady companionship. They brought her to Charlie. He walked straight up to her, gently leaned his body against her legs, and gazed up at her before softly licking her hand. When Margaret lowered herself into a chair, Charlie immediately rested his head on her lap. With a tender smile, she said he was exactly what she had been looking for. She felt as if he had already chosen her. The dog others had described as “too clingy” had finally found the right match. They were perfect together. When Margaret watched TV, Charlie pressed against her like a warm pillow. If she stepped into another room, he waited patiently nearby. At night, he curled close to her feet, keeping her company and warmth. Charlie had never been a “difficult” dog. His need for closeness wasn’t a defect. It simply meant he was waiting for someone who needed that same steady presence. Sometimes what seems like a flaw in one home is exactly what makes a perfect fit in another. The house that once felt quiet now has soft paws following every step. If you want to see Charlie today, comment “Charlie” and I’ll share how happy and bright he looks in his forever home. | Dogs Are Our World.

Crazy Moments

26,622 görüntüleme • 2 ay önce

Made this cinematic sequence using Seedance 2.5 The realism, camera movements, water physics, explosions, and intense atmosphere are on another level. AI video generation is getting seriously cinematic. Prompt ⤵️ Create a 30-second ultra-realistic cinematic disaster sequence with a dark, intense, Hollywood-blockbuster atmosphere. Main character: A young woman with short, messy dark hair, wearing a soaked white T-shirt and light-colored shorts. Keep her appearance consistent throughout the entire video. Her face should remain realistic and expressive, showing fear, shock, exhaustion, and determination. Scene 1 — 0–5 seconds: Open with an extreme close-up of the woman running toward the camera through a dark industrial shipping yard at night. Heavy rain is falling, her hair and clothes are completely wet, and she is breathing heavily. Behind her, bright industrial lights glow through thick smoke and mist. The camera moves backward smoothly while maintaining focus on her face. Add realistic rain droplets on the camera lens, dramatic backlighting, atmospheric fog, and handheld cinematic movement. Scene 2 — 5–10 seconds: Cut to a wider shot as she runs through the flooded container yard. Large shipping containers surround her, emergency lights flash in the distance, and explosions/fire erupt behind her. She looks over her shoulder in panic while continuing to run. Water splashes dramatically around her legs with every step. Use realistic fire, smoke, debris, rain, and volumetric lighting. Scene 3 — 10–15 seconds: She suddenly loses her balance and falls into the flooded ground. Show the impact in slow motion for a moment, with water splashing around her. She quickly pushes herself back up while terrified people run in the background. A massive wave of smoke, debris, and water moves through the shipping yard behind them. Use a low-angle camera close to the ground for a powerful disaster-movie perspective. Scene 4 — 15–21 seconds: She gets back on her feet and starts sprinting toward safety. The camera tracks alongside her at high speed. Containers shake, debris flies through the air, vehicles and objects are pushed around by the powerful force behind her. Keep her face and body consistent. Alternate between close-ups of her frightened expression and wide shots showing the enormous scale of destruction. Scene 5 — 21–25 seconds: She reaches a large modern building filled with terrified people. The camera follows her inside as everyone rushes toward safety. People are falling, crawling, and helping each other while water and debris can be seen outside through the entrance. The lighting changes from cold blue-gray exterior lighting to dramatic warm interior lighting. Scene 6 — 25–30 seconds: Suddenly transition to a massive luxury yacht in the middle of a violent ocean. Huge dark waves surround the vessel under a stormy sky. The camera starts behind the yacht and slowly reveals an enormous shark-like sea creature emerging from the ocean directly behind it, creating a terrifying final reveal. The creature rises through the waves with water cascading from its body. End with a gigantic wave crashing toward the yacht. Visual style: photorealistic Hollywood disaster film, cinematic color grading, realistic skin texture, physically accurate water and rain, volumetric fog, dramatic practical lighting, realistic fire and smoke, detailed environments, natural motion blur, shallow depth of field, dynamic camera movement, high contrast, atmospheric storm clouds, extremely detailed CGI, 4K cinematic quality. Camera: mixture of handheld close-ups, smooth tracking shots, wide establishing shots, low-angle disaster shots, slow-motion impact moments, and dramatic aerial/wide shots. Sound design: heavy rainfall, thunder, distant explosions, sirens, screaming crowds, footsteps splashing through water, crashing metal, deep cinematic bass, roaring waves, and an intense rising orchestral score that builds toward the final creature reveal.
0:30

Made this cinematic sequence using Seedance 2.5 The realism, camera movements, water physics, explosions, and intense atmosphere are on another level. AI video generation is getting seriously cinematic. Prompt ⤵️ Create a 30-second ultra-realistic cinematic disaster sequence with a dark, intense, Hollywood-blockbuster atmosphere. Main character: A young woman with short, messy dark hair, wearing a soaked white T-shirt and light-colored shorts. Keep her appearance consistent throughout the entire video. Her face should remain realistic and expressive, showing fear, shock, exhaustion, and determination. Scene 1 — 0–5 seconds: Open with an extreme close-up of the woman running toward the camera through a dark industrial shipping yard at night. Heavy rain is falling, her hair and clothes are completely wet, and she is breathing heavily. Behind her, bright industrial lights glow through thick smoke and mist. The camera moves backward smoothly while maintaining focus on her face. Add realistic rain droplets on the camera lens, dramatic backlighting, atmospheric fog, and handheld cinematic movement. Scene 2 — 5–10 seconds: Cut to a wider shot as she runs through the flooded container yard. Large shipping containers surround her, emergency lights flash in the distance, and explosions/fire erupt behind her. She looks over her shoulder in panic while continuing to run. Water splashes dramatically around her legs with every step. Use realistic fire, smoke, debris, rain, and volumetric lighting. Scene 3 — 10–15 seconds: She suddenly loses her balance and falls into the flooded ground. Show the impact in slow motion for a moment, with water splashing around her. She quickly pushes herself back up while terrified people run in the background. A massive wave of smoke, debris, and water moves through the shipping yard behind them. Use a low-angle camera close to the ground for a powerful disaster-movie perspective. Scene 4 — 15–21 seconds: She gets back on her feet and starts sprinting toward safety. The camera tracks alongside her at high speed. Containers shake, debris flies through the air, vehicles and objects are pushed around by the powerful force behind her. Keep her face and body consistent. Alternate between close-ups of her frightened expression and wide shots showing the enormous scale of destruction. Scene 5 — 21–25 seconds: She reaches a large modern building filled with terrified people. The camera follows her inside as everyone rushes toward safety. People are falling, crawling, and helping each other while water and debris can be seen outside through the entrance. The lighting changes from cold blue-gray exterior lighting to dramatic warm interior lighting. Scene 6 — 25–30 seconds: Suddenly transition to a massive luxury yacht in the middle of a violent ocean. Huge dark waves surround the vessel under a stormy sky. The camera starts behind the yacht and slowly reveals an enormous shark-like sea creature emerging from the ocean directly behind it, creating a terrifying final reveal. The creature rises through the waves with water cascading from its body. End with a gigantic wave crashing toward the yacht. Visual style: photorealistic Hollywood disaster film, cinematic color grading, realistic skin texture, physically accurate water and rain, volumetric fog, dramatic practical lighting, realistic fire and smoke, detailed environments, natural motion blur, shallow depth of field, dynamic camera movement, high contrast, atmospheric storm clouds, extremely detailed CGI, 4K cinematic quality. Camera: mixture of handheld close-ups, smooth tracking shots, wide establishing shots, low-angle disaster shots, slow-motion impact moments, and dramatic aerial/wide shots. Sound design: heavy rainfall, thunder, distant explosions, sirens, screaming crowds, footsteps splashing through water, crashing metal, deep cinematic bass, roaring waves, and an intense rising orchestral score that builds toward the final creature reveal.

Noor 🌸

23,233 görüntüleme • 29 gün önce

Pure emotions 😭 Can Hollywood match it ? Seedance 2.5 Prompt : Create a 30-second, 1080p ultra-realistic emotional live-action scene about a young woman discovering her boyfriend kissing another woman inside a quiet café. Focus entirely on authentic human emotion, natural crying, subtle facial expressions and believable body language. No melodrama or exaggerated acting. MAIN CHARACTER Young Korean woman in her early 20s, naturally beautiful, realistic skin texture, minimal makeup, long black hair loosely styled, wearing a fitted pastel-pink top, casual denim shorts and simple sneakers. Maintain the exact same face, hairstyle, outfit, body proportions and appearance throughout the entire scene. LOCATION A cozy modern café on a rainy evening. Warm interior lighting, large windows covered with rain droplets, wooden tables, soft background chatter, cups and plates, a few customers quietly talking. SCENE She enters the café carrying a small handbag, casually looking around for her boyfriend. She suddenly notices him sitting at a table near the window. He is kissing another young woman. She immediately stops walking. Her expression changes from confusion to disbelief. She slowly lowers her handbag. She stares at them silently for a few seconds, struggling to process what she is seeing. Her eyes begin to fill with tears. Show realistic tears naturally forming along her lower eyelids, then slowly rolling down her cheeks. No exaggerated crying. She takes a shaky breath. She walks toward their table. Her boyfriend notices her. His expression immediately changes to shock. The other woman turns around and becomes uncomfortable. The girlfriend looks directly at him with trembling eyes and quietly says: “How could you do this to me?” Her voice cracks naturally. She wipes one tear from her cheek, but more tears continue falling. Her boyfriend stands up and tries to explain. She shakes her head and takes a small step backward. She says through tears: “I trusted you.” She looks at him for one final moment. Her expression shows heartbreak, disappointment and disbelief rather than anger. She turns around and walks toward the café door while quietly crying. Her boyfriend takes one step after her but stops. She reaches the door, pauses briefly, wipes her face and leaves. The camera remains inside the café as the door closes behind her. CAMERA / VISUAL STYLE Handheld cinematic camera with subtle natural movement. Start with a medium shot following her into the café, then slowly move closer when she notices the couple. Use realistic close-ups of her eyes, trembling lips, tears and subtle facial reactions. Natural shallow depth of field, realistic skin pores, authentic reflections in the café windows, soft rainy evening light, natural motion blur, 24fps, photorealistic live-action. Do not make her crying look beautiful or glamorous. It should look spontaneous, uncomfortable and emotionally real. AUDIO Rain against the café windows, quiet conversations, cups being placed on tables, distant café ambience, footsteps and subtle breathing. No background music. No narration. Dialogue should sound natural with slight pauses, trembling voice and emotional breathing. EMOTIONAL DIRECTION The emotion should build gradually: confusion → realization → shock → disbelief → tears → confrontation → heartbreak → quiet acceptance. Avoid screaming, physical aggression or exaggerated dramatic gestures. CONTINUITY / REALISM Keep tears physically consistent once they appear. Tears should remain visible on her cheeks and naturally accumulate as she continues crying. Maintain consistent clothing, hairstyle, jewelry and facial identity. No sudden emotional changes, no disappearing tears, no duplicated people, no changing café layout, no unnatural body movements. NEGATIVE: plastic skin, fake tears, exaggerated crying, cartoon expressions, melodramatic acting, screaming, physical violence, distorted faces, extra fingers, identity drift, outfit changes, CGI
0:30

Pure emotions 😭 Can Hollywood match it ? Seedance 2.5 Prompt : Create a 30-second, 1080p ultra-realistic emotional live-action scene about a young woman discovering her boyfriend kissing another woman inside a quiet café. Focus entirely on authentic human emotion, natural crying, subtle facial expressions and believable body language. No melodrama or exaggerated acting. MAIN CHARACTER Young Korean woman in her early 20s, naturally beautiful, realistic skin texture, minimal makeup, long black hair loosely styled, wearing a fitted pastel-pink top, casual denim shorts and simple sneakers. Maintain the exact same face, hairstyle, outfit, body proportions and appearance throughout the entire scene. LOCATION A cozy modern café on a rainy evening. Warm interior lighting, large windows covered with rain droplets, wooden tables, soft background chatter, cups and plates, a few customers quietly talking. SCENE She enters the café carrying a small handbag, casually looking around for her boyfriend. She suddenly notices him sitting at a table near the window. He is kissing another young woman. She immediately stops walking. Her expression changes from confusion to disbelief. She slowly lowers her handbag. She stares at them silently for a few seconds, struggling to process what she is seeing. Her eyes begin to fill with tears. Show realistic tears naturally forming along her lower eyelids, then slowly rolling down her cheeks. No exaggerated crying. She takes a shaky breath. She walks toward their table. Her boyfriend notices her. His expression immediately changes to shock. The other woman turns around and becomes uncomfortable. The girlfriend looks directly at him with trembling eyes and quietly says: “How could you do this to me?” Her voice cracks naturally. She wipes one tear from her cheek, but more tears continue falling. Her boyfriend stands up and tries to explain. She shakes her head and takes a small step backward. She says through tears: “I trusted you.” She looks at him for one final moment. Her expression shows heartbreak, disappointment and disbelief rather than anger. She turns around and walks toward the café door while quietly crying. Her boyfriend takes one step after her but stops. She reaches the door, pauses briefly, wipes her face and leaves. The camera remains inside the café as the door closes behind her. CAMERA / VISUAL STYLE Handheld cinematic camera with subtle natural movement. Start with a medium shot following her into the café, then slowly move closer when she notices the couple. Use realistic close-ups of her eyes, trembling lips, tears and subtle facial reactions. Natural shallow depth of field, realistic skin pores, authentic reflections in the café windows, soft rainy evening light, natural motion blur, 24fps, photorealistic live-action. Do not make her crying look beautiful or glamorous. It should look spontaneous, uncomfortable and emotionally real. AUDIO Rain against the café windows, quiet conversations, cups being placed on tables, distant café ambience, footsteps and subtle breathing. No background music. No narration. Dialogue should sound natural with slight pauses, trembling voice and emotional breathing. EMOTIONAL DIRECTION The emotion should build gradually: confusion → realization → shock → disbelief → tears → confrontation → heartbreak → quiet acceptance. Avoid screaming, physical aggression or exaggerated dramatic gestures. CONTINUITY / REALISM Keep tears physically consistent once they appear. Tears should remain visible on her cheeks and naturally accumulate as she continues crying. Maintain consistent clothing, hairstyle, jewelry and facial identity. No sudden emotional changes, no disappearing tears, no duplicated people, no changing café layout, no unnatural body movements. NEGATIVE: plastic skin, fake tears, exaggerated crying, cartoon expressions, melodramatic acting, screaming, physical violence, distorted faces, extra fingers, identity drift, outfit changes, CGI

Synthia

278,420 görüntüleme • 5 gün önce

They said no one messes with her girl.! The bright lights of the Gainbridge Fieldhouse were buzzing during the Indiana Fever vs. Connecticut Sun game. Caitlin Clark was doing what she does—cooking the defense, slicing through lanes, dropping dimes like it was nothing. But the Sun weren’t having it. Jacy Sheldon had been physical all night, and then it escalated: a hard rake across the face, followed by Marina Mabrey shoving Caitlin hard from behind, sending her stumbling. The crowd erupted. Refs blew the whistle, but no ejection for the cheap shots. Caitlin got up frustrated, the physicality clearly building for years with the league’s biggest star drawing extra hands. That’s when Sophie Cunningham flipped the switch. Sophie locked eyes on the situation, stepped right in, and became the enforcer everyone’s talking about. As play continued, she went straight for Sheldon—wrapping her up in a bear hug and taking her straight to the floor with zero hesitation. Hair flying, intensity maxed out. “I got us” energy in full effect. Chaos exploded. Players from both sides jumped in, pushing and yelling in a full-on melee. Whistles blared, techs and flagrants flew. Sophie and Sheldon both got ejected, but the message was sent loud and clear: you don’t keep targeting Caitlin without consequences. After the dust settled, Sophie stood tall—fired up but composed—while the Fever regrouped. Coach was heated on the sideline about the lack of protection for their star. Caitlin got checked on by her teammates, and the squad kept that “we ride together” vibe. Moral of the story? Don’t start none, won’t be none—especially not with Caitlin Clark. Sophie proved she’s the protector the Fever needed, turning WNBA physicality into viral loyalty. Peace on the court… until you touch her girl. 😤🏀 Who else loves seeing teammates have each other’s backs like this? Drop your favorite WNBA enforcer moments below. 🔥 #CaitlinClark #SophieCunningham #Fever #WNBA
1:00

They said no one messes with her girl.! The bright lights of the Gainbridge Fieldhouse were buzzing during the Indiana Fever vs. Connecticut Sun game. Caitlin Clark was doing what she does—cooking the defense, slicing through lanes, dropping dimes like it was nothing. But the Sun weren’t having it. Jacy Sheldon had been physical all night, and then it escalated: a hard rake across the face, followed by Marina Mabrey shoving Caitlin hard from behind, sending her stumbling. The crowd erupted. Refs blew the whistle, but no ejection for the cheap shots. Caitlin got up frustrated, the physicality clearly building for years with the league’s biggest star drawing extra hands. That’s when Sophie Cunningham flipped the switch. Sophie locked eyes on the situation, stepped right in, and became the enforcer everyone’s talking about. As play continued, she went straight for Sheldon—wrapping her up in a bear hug and taking her straight to the floor with zero hesitation. Hair flying, intensity maxed out. “I got us” energy in full effect. Chaos exploded. Players from both sides jumped in, pushing and yelling in a full-on melee. Whistles blared, techs and flagrants flew. Sophie and Sheldon both got ejected, but the message was sent loud and clear: you don’t keep targeting Caitlin without consequences. After the dust settled, Sophie stood tall—fired up but composed—while the Fever regrouped. Coach was heated on the sideline about the lack of protection for their star. Caitlin got checked on by her teammates, and the squad kept that “we ride together” vibe. Moral of the story? Don’t start none, won’t be none—especially not with Caitlin Clark. Sophie proved she’s the protector the Fever needed, turning WNBA physicality into viral loyalty. Peace on the court… until you touch her girl. 😤🏀 Who else loves seeing teammates have each other’s backs like this? Drop your favorite WNBA enforcer moments below. 🔥 #CaitlinClark #SophieCunningham #Fever #WNBA

R͓̽Y͓̽a͓̽n͓̽C͓̽e͓̽y͓̽

74,012 görüntüleme • 5 ay önce

Analyzing Episode 35. Season 2 aka Turning the Tables Alrighty, let's do this. Episode 35 was one of the strongest episodes of season 2, I think, because we get to see Ciho and Alya kind of switch places, for once. In s1, Alya would mostly pick flight when her feelings got overwhelming. Whereas Ciho, with his Ağa mindset, would inevitably choose to fight. But, unlike in s1, the circumstances are unique. We see the tables turn because Alya probably hasn't loved anyone before like she loves Cihan, and Cihan hasn't ever come across a test as heavy as the half-alive Boran. So, essentially, they're both out of their comfort zones. Let's discuss Alya first. My love for this character just keeps growing. I've yet to see someone be as principled and willing to break the rules, as strong and soft at the same time, as Alya Albora. The woman is a marvel. We must protect her at all costs (Get in line, Ciho). As the episode begins, Alya walks off to their room and proceeds to lock herself in Cihan's study after informing everyone about Cihan's not-so-tiny health problem. I think being the smart cookie she is, she realizes early on that Cihan will be his stubborn self about the surgery business, which is why something of a plan is already forming in her head. When Cihan shows up to talk, Alya doesn't back down from telling him she knows exactly why he's walking to almost certain death. Still, she only brings out the big guns after pleading with him to review his decision doesn't work. Her goal isn't to hurt him. It's to save him. To shock him enough to wake from the limbo Cihan has isolated himself in. When her words fail to achieve their target, she acts. I'm pretty damn sure she knows exactly what she's going to do as she's packing her clothes to leave the mansion. Alya refuses to leave Cihan's side even in the worst of circumstances, so her walking out when he's about to risk his life is completely out of character. And not only that, before leaving, she tells Cihan she doesn't want to talk to him or see him until he changes his mind about becoming the donor. See? Smart. She's doing everything she can to keep him from monitoring her movements (like he generally does :D). She's learned to read her husband, so much so that she turns his tactics on him. And Cihan never picks up on it. And watching her in action is poetry in motion - beautiful and heartbreaking at the same time. Because this time, the one person she can always count on for support isn't with her. She's fighting for Cihan, for their love, all on her own. Even though they promise each other they'd face whatever obstacles come their way together as they leave the airport in ep 29. While everyone gathers to wish Cihan well before the operation, Alya walks through those corridors alone. She has no one to calm her fears, no one to soothe her brow. No one tells her they'll be praying for her quick recovery. And that hurts like a son of a bitch. Because Alya has such a capacity for love and giving, she doesn't hesitate to take huge risks for the people she loves. On the other hand, she has no one other than Cihan to do the same for her. He's her other half. And there's no way in hell she'd stand back and watch him destroy himself. Her devotion and resolve are crystal clear when she speaks to Cihan while he's sedated. Still, I think some of her loneliness and desperation bleeds through her words to her husband. Almost as if something deep inside her cries out for him to wake up and choose her - like she's choosing him. Over everyone. Even her own life. Speaking of choosing, let's pause here and pivot to Cihan Bey. Cihan, like all of us, is a product of his upbringing, his environment, and his personal beliefs. Two of those three things are extremely toxic and warped. Not to mention, the guilt that's eating him alive is a product of those two things. They say when you're undergoing feelings of intense guilt, you tend to fluctuate between two states - suppression and surrender. When you suppress, you tell yourself you're fine. Everything's okay. Things are best this way type of stuff. In fact, I want you to remember this phrase. Then, there's surrender - moments of lucidity where you realize you're falling apart, that this isn't what you want at all. You're flooded by emotions and longing about what you're denying yourself. And that's something you see in Cihan over and over in this episode. He keeps fluctuating from one state to the other, and I don't think he even realizes what he's about to do to himself and Alya by wanting to go through with that operation. Take the scene where they're talking in their room before Alya leaves. On the one hand, Cihan tells Alya he has responsibilities to his family, and on the other, he can't see how his decision will affect Alya and Deniz. Then, when Cihan tries talking to Alya when he's driving her to work, he tells her he doesn't want to sacrifice their love, but in the next instance, he tells her he won't lose her 'in his heart' even if Boran wakes up. You see the inconsistency? He keeps switching between what he truly wants and the things might be best this way mindset. Surrender and suppression. Like when he keeps seeking her out at every turn, but insists on undergoing a surgery that will almost certainly kill him. The guilt inside him builds like pressure almost. He tries to suppress it until it spills over, revealing his true feelings, then he panics and moves back to suppression again. This keeps repeating until he wakes up to discover that Alya is the one undergoing the surgery. That's when the cycle finally breaks. Because when he's faced with the reality of losing Alya forever, he finally accepts the core truth driving his guilt - he fell in love with his brother's wife. Sure, he thinks Boran is dead and gone when it happens, but guilt doesn't really follow logic. That's why Alya being the donor and almost losing her life forces him to accept the love he feels for Alya is part of him now. There is no fighting it, there is no changing it. There is only accepting it. And his speech to Boran before he sees Alya is proof of his surrender. Because he finally admits that his bond with Alya isn't about choice anymore, he doesn't control the love; it controls him now. In front of Boran, no less. He finally looks his guilt in the face and starts to overcome it. That's why we see him initiating the kiss in their room. He's not overcome by self-reproach when he thinks of touching Alya intimately now. All very, very positive signs. And, let's not forget, when he sees his entire family conspired behind his back to allow Alya to be the donor, he understands another sold truth. He is the only family Alya has apart from Deniz. Which makes Alya's sacrifice all the more powerful. Because he realizes that she kept her part of the bargain. She kept fighting for them, even when he didn't. Hopefully, this is the moment where Cihan stops running and starts choosing. Alya didn’t just save his life physically; she forced him to confront the part of himself he kept buried. And now that he’s finally surrendered to that truth, we’re about to see the version of Cihan who fights for love instead of resisting it. Till next time, happy reading, y'all. #CihAl #UzakŞehir
4:55

Analyzing Episode 35. Season 2 aka Turning the Tables Alrighty, let's do this. Episode 35 was one of the strongest episodes of season 2, I think, because we get to see Ciho and Alya kind of switch places, for once. In s1, Alya would mostly pick flight when her feelings got overwhelming. Whereas Ciho, with his Ağa mindset, would inevitably choose to fight. But, unlike in s1, the circumstances are unique. We see the tables turn because Alya probably hasn't loved anyone before like she loves Cihan, and Cihan hasn't ever come across a test as heavy as the half-alive Boran. So, essentially, they're both out of their comfort zones. Let's discuss Alya first. My love for this character just keeps growing. I've yet to see someone be as principled and willing to break the rules, as strong and soft at the same time, as Alya Albora. The woman is a marvel. We must protect her at all costs (Get in line, Ciho). As the episode begins, Alya walks off to their room and proceeds to lock herself in Cihan's study after informing everyone about Cihan's not-so-tiny health problem. I think being the smart cookie she is, she realizes early on that Cihan will be his stubborn self about the surgery business, which is why something of a plan is already forming in her head. When Cihan shows up to talk, Alya doesn't back down from telling him she knows exactly why he's walking to almost certain death. Still, she only brings out the big guns after pleading with him to review his decision doesn't work. Her goal isn't to hurt him. It's to save him. To shock him enough to wake from the limbo Cihan has isolated himself in. When her words fail to achieve their target, she acts. I'm pretty damn sure she knows exactly what she's going to do as she's packing her clothes to leave the mansion. Alya refuses to leave Cihan's side even in the worst of circumstances, so her walking out when he's about to risk his life is completely out of character. And not only that, before leaving, she tells Cihan she doesn't want to talk to him or see him until he changes his mind about becoming the donor. See? Smart. She's doing everything she can to keep him from monitoring her movements (like he generally does :D). She's learned to read her husband, so much so that she turns his tactics on him. And Cihan never picks up on it. And watching her in action is poetry in motion - beautiful and heartbreaking at the same time. Because this time, the one person she can always count on for support isn't with her. She's fighting for Cihan, for their love, all on her own. Even though they promise each other they'd face whatever obstacles come their way together as they leave the airport in ep 29. While everyone gathers to wish Cihan well before the operation, Alya walks through those corridors alone. She has no one to calm her fears, no one to soothe her brow. No one tells her they'll be praying for her quick recovery. And that hurts like a son of a bitch. Because Alya has such a capacity for love and giving, she doesn't hesitate to take huge risks for the people she loves. On the other hand, she has no one other than Cihan to do the same for her. He's her other half. And there's no way in hell she'd stand back and watch him destroy himself. Her devotion and resolve are crystal clear when she speaks to Cihan while he's sedated. Still, I think some of her loneliness and desperation bleeds through her words to her husband. Almost as if something deep inside her cries out for him to wake up and choose her - like she's choosing him. Over everyone. Even her own life. Speaking of choosing, let's pause here and pivot to Cihan Bey. Cihan, like all of us, is a product of his upbringing, his environment, and his personal beliefs. Two of those three things are extremely toxic and warped. Not to mention, the guilt that's eating him alive is a product of those two things. They say when you're undergoing feelings of intense guilt, you tend to fluctuate between two states - suppression and surrender. When you suppress, you tell yourself you're fine. Everything's okay. Things are best this way type of stuff. In fact, I want you to remember this phrase. Then, there's surrender - moments of lucidity where you realize you're falling apart, that this isn't what you want at all. You're flooded by emotions and longing about what you're denying yourself. And that's something you see in Cihan over and over in this episode. He keeps fluctuating from one state to the other, and I don't think he even realizes what he's about to do to himself and Alya by wanting to go through with that operation. Take the scene where they're talking in their room before Alya leaves. On the one hand, Cihan tells Alya he has responsibilities to his family, and on the other, he can't see how his decision will affect Alya and Deniz. Then, when Cihan tries talking to Alya when he's driving her to work, he tells her he doesn't want to sacrifice their love, but in the next instance, he tells her he won't lose her 'in his heart' even if Boran wakes up. You see the inconsistency? He keeps switching between what he truly wants and the things might be best this way mindset. Surrender and suppression. Like when he keeps seeking her out at every turn, but insists on undergoing a surgery that will almost certainly kill him. The guilt inside him builds like pressure almost. He tries to suppress it until it spills over, revealing his true feelings, then he panics and moves back to suppression again. This keeps repeating until he wakes up to discover that Alya is the one undergoing the surgery. That's when the cycle finally breaks. Because when he's faced with the reality of losing Alya forever, he finally accepts the core truth driving his guilt - he fell in love with his brother's wife. Sure, he thinks Boran is dead and gone when it happens, but guilt doesn't really follow logic. That's why Alya being the donor and almost losing her life forces him to accept the love he feels for Alya is part of him now. There is no fighting it, there is no changing it. There is only accepting it. And his speech to Boran before he sees Alya is proof of his surrender. Because he finally admits that his bond with Alya isn't about choice anymore, he doesn't control the love; it controls him now. In front of Boran, no less. He finally looks his guilt in the face and starts to overcome it. That's why we see him initiating the kiss in their room. He's not overcome by self-reproach when he thinks of touching Alya intimately now. All very, very positive signs. And, let's not forget, when he sees his entire family conspired behind his back to allow Alya to be the donor, he understands another sold truth. He is the only family Alya has apart from Deniz. Which makes Alya's sacrifice all the more powerful. Because he realizes that she kept her part of the bargain. She kept fighting for them, even when he didn't. Hopefully, this is the moment where Cihan stops running and starts choosing. Alya didn’t just save his life physically; she forced him to confront the part of himself he kept buried. And now that he’s finally surrendered to that truth, we’re about to see the version of Cihan who fights for love instead of resisting it. Till next time, happy reading, y'all. #CihAl #UzakŞehir

CocoLoco

26,299 görüntüleme • 10 ay önce

What would you do if this mirror pulled you underwater? Nano Banana 2 + Seedance 2.5 on TapNow prompt SCENE CONTEXT A girl Image flees something unseen through a glowing forest, trips, falls — and finds an antique mirror that yanks her through into an underwater city. There, mid-float before the great shell palace, she turns her head — a flash of POV shows a colossal mouth opening onto her — and back in the wide frame the whale is already closing its jaw and gliding calmly away. 24 seconds, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY Image HER EXACT FACE — sole source of her identity and features, 100% match, zero drift: a 20-year-old , 163 cm, slim and lightly built. Soft rounded oval face; warm light-beige skin with a golden undertone and real photographic texture — visible pores, small freckles and tiny beauty marks across the cheeks and nose bridge; dark blue almond eyes with a shallow partially hidden upper-lid crease and soft under-eye fullness; thick dark straight brows with individual hairs brushed upward; a small neat nose with narrow straight bridge and softly rounded tip; full lips with a defined cupid's bow, the lower lip fuller, natural rosy tone; softly rounded jaw tapering to a small chin; small silver hoop earrings. Ignore this reference's hair, clothing, car interior and lighting. Face identity comes from this reference in every single frame. Image : CHARACTER SHEET — controls everything: long voluminous wavy blonde hair past the shoulders; neat elven ears with slender pointed tips; a white billowy medieval linen shirt deep plunging scoop neckline that reveals significant cleavage., with puffed sleeves; a brown leather underbust corset; fitted sage-green trousers; tall brown leather boots; brown leather gloves; a forest-green wool hooded cloak clasped at the collar. Does NOT control the face. Image FOREST LOCATION — a misty magical forest: narrow dirt path, giant glowing red mushrooms casting warm orange light, pink flowers, mossy trunks, drifting fog. 100% matches the reference. Image : UNDERWATER CITY LOCATION — the plaza: a colossal ribbed nautilus-shell palace with glowing golden seams, pearl shell houses with warm windows, god rays from above, jellyfish and drifting sea life. 100% matches the reference. FORMAT MODE One continuous shot from 0:00 to 0:19, then TWO HARD CUTS in the finale: a fast POV insert and a return to the previous framing. No fades, no dissolves. Full realism. HER BACKWARD GLANCE — HOW IT MUST LOOK, STRICT Whenever she checks behind her, she does NOT turn toward the camera and does NOT look into the lens. She rotates her head roughly 45° to ONE SIDE and her EYES GO THE SAME WAY her head goes — looking off toward that side of frame, into the fog, then snapping forward again. BANS: no over-the-shoulder look at the lens, no eye contact with the camera, no 180° head turn. SHOT 1 — 0:00–0:01.5 — HER FEET, LOW AND CANTED LOW, near ground level, canted hard — Dutch tilt ~20–25° — framing her BOOTS and lower legs sprinting along the path: soil bursting, cloak hem cracking, mushroom stalks brushing aside, path streaking in motion blur. Handheld, jolting with her rhythm; the pursuer heard far behind in the fog. SHOT 2 — 0:01.5–0:03 — HER FACE, FRIGHTENED Unbroken move: the frame rises and pushes in to her FACE — a tight running close-up travelling with her, still canted, hair whipping. Raw fear: wide eyes, brows drawn, mouth gasping, dirt on her cheek. Twice she performs the 45° glance as specified, eyes going the same way as her head, searching the fog off to that side; then forward again. SHOT 3 — 0:03–0:05 — THE TRIP, WIDE Unbroken: the frame swings out to a WIDE shot of the path — full figure, mushrooms towering, fog closing the depth. Mid-glance her leading boot CATCHES a root — the foot stops dead, momentum throws her forward, and she goes down hard in full view: knees, then hands and shoulder into the dirt, dust and leaf litter bursting up, cloak flying over her. She lands sprawled, chest heaving. SHOT 4 — 0:05–0:09 — THE MIRROR SHE ALMOST IGNORES Unbroken: the camera drifts in from the front, then around to her side, settling into profile with her and the mirror in frame. Fear first, curiosity second: sprawled, she checks behind with the 45° head-and-eyes turn; the crashing is closer. She scrambles up, barely looking ahead — then registers an ornate antique MIRROR against a mossy trunk, filled with cold blue glow unlike the warm mushroom light. Brushing dirt off her sleeve with ONE hand, her eyes stay on the glass. THE MIRROR DOES NOT REFLECT: her reflection NEVER appears, no mirror image of her, no reflection of the forest — the glass is a window filled with its own inner light: fog thinning into deep watery blue, faint caustics, vague luminous silhouettes far in the depth, no sharp image. The blue washes her face. ACTING TASK — HER CHOICE (the work happens in her eyes): glass → a 45° glance into the fog behind → glass again; she registers that nothing of HER answers her movement in it; no time to solve it. She extends ONE FINGER toward the surface. (Safety: gaze always engaged; natural blink cadence.) SHOT 5 — 0:09–0:11 — THE YANK: UNDER A SECOND Her fingertip nears the glass. The light FLARES — the surface SNAPS outward like a whip and SEIZES her hand. INSTANT: she is RIPPED off her feet, jerked forward along her outstretched arm, body whipping horizontal in a single frame, head-first through the glass, boots torn off the ground last, cloak cracking behind her. No build-up, no float — limp as a ragdoll, the mirror doing ALL of it, vector purely FORWARD through the glass plane. Camera: caught off guard WITH her — it WHIPS sideways-and-forward, slings around behind her flying body and punches through the rippling surface on her heels; water and bubbles SLAM across the lens, forest colors ripped into deep blue. NOT her POV. SHOT 6 — 0:11–0:16 — ARRIVAL IN THE PLAZA Same shot, no cut — camera behind her. THE FIRST UNDERWATER FRAME IS THE ARRIVAL FRAME: the portal exits DIRECTLY INTO the plaza of >>; the colossal nautilus palace is ALREADY in frame, its ribbed pearl wall with glowing golden seams filling the background, sharp and close; shell houses with warm windows border both sides. NO TRAVEL, no approach — the water BRAKES her within a meter or two. HER BODY: horizontal, HEAD-FIRST, back toward the surface, fully passive — arms loose, LEGS STILL AND MOTIONLESS, no kicking, no strokes; thrown cargo, not a swimmer. UNDERWATER PHYSICS, HIGHEST PRIORITY: hair streaming backward in rippling seaweed-like strands, cloak dragging in a heavy water-loaded wave; on stopping, hair and cloak drift forward past her shoulders by inertia. She pivots from horizontal to upright — feet swinging down, legs hanging relaxed — settling into weightless float facing the palace wall. HER HAIR AT REST, STRICT: no parting, no combed order — a loose free-floating mass fanning outward and upward from her whole head, strands crossing over her crown in constant slow chaotic motion, never symmetrical, never still. The cloak billows wide, breathing with the water. SHE CANNOT BREATHE UNDERWATER: cheeks slightly puffed, lips pressed, holding her breath. Bubbles rise from her mouth in small silver clusters climbing upward past her face. ACTING TASK: to ORIENT beneath something impossibly huge — her attention pulls UPWARD: head climbing the glowing houses, up the palace wall, chin lifting, trying to find where the spiral ends. Jellyfish pulse between the houses. SHOT 7 — 0:16–0:19 — SETTLE INTO THE MEDIUM PROFILE FRAME Same shot, no cut. The camera drifts smoothly from behind her around to her side and settles into the framing that holds for the rest of the film: FRAMING LOCK — MEDIUM PROFILE: she is seen from her LEFT SIDE in a medium shot, CHEST-UP ONLY — never full-body, never small in frame; her head and shoulders occupy the lower-left third, elven ear tip clear, hair a floating dark halo, white puffed sleeve and green cloak reading in the frame's bottom, one gloved hand extended forward. Behind and above her, filling the whole background, the giant glowing spiral nautilus palace; pearl shell houses along the lower edge; god rays raking down from the surface; a jellyfish drifting at frame-left; her bubbles rising past her face. She hangs weightless with the faintest sway. SHOT 8 — 0:19–0:21 — SHE TURNS HER HEAD (SAME FRAME) No cut, camera locked in the FRAMING LOCK. She turns her head sharply to look off toward frame-LEFT — a fast, alarmed head turn, eyes going the same direction, brows snapping up, a startled burst of bubbles ripping from her mouth. Her shoulder tenses; nothing else of her moves. She is still only chest-up in frame; the whale is NOT visible yet. HARD CUT. SHOT 9 — 0:21–0:22.5 — POV: THE MOUTH OPENS ON US FIRST-PERSON POV FROM HER EYES — fast and brutal: filling the entire frame, the colossal whale's head rushes in from the left, and the vast baleen MOUTH OPENS WIDE — grooved pale throat pleats stretching, a dark glowing cavern spreading until it swallows the frame edge to edge; water and bubbles ripping past the lens; the scale absolute, the opening several times larger than a human body. Quick — a second and a half, no lingering. The frame goes to the mouth's darkness. HARD CUT. SHOT 10 — 0:22.5–0:24 — BACK TO THE SAME FRAME: THE WHALE MOVES ON Return to the EXACT FRAMING LOCK of Shot 7–8 — same camera position, same background: the glowing spiral palace, the shell houses, the god rays. The girl is no longer there; only her last scattered bubbles rising where she floated. The colossal whale is already in frame with its JAW CLOSED, gliding calmly from LEFT to RIGHT across the plaza — placid, unhurried, indifferent, as if it simply fed on the way past. Its enormous flank sweeps close past the lens: dark iridescent mother-of-pearl skin shifting purple-green-blue like oil on water, scattered glowing teal rings and dotted bioluminescent lines, a tall webbed translucent dorsal fin with visible veining, pectoral and tail fins extending into long flowing translucent ribbon-streamers rippling like silk. TRUE WHALE LOCOMOTION: all thrust from the TAIL — deep lateral sweeps bending the rear third of the body, an S-wave of muscle rolling down the flanks head-to-tail on every beat, mass shifting under the skin, head steady on course, ribbon-fins streaming back like wings. Living muscle, never a rigid sculpture on rails. Its wake rocks the jellyfish and scatters her bubbles. It exits frame-RIGHT. Final beat: the empty plaza, the palace glowing, bubbles dispersing, water settling. END. Exactly ONE creature in the finale, the same individual in the POV and in the return frame — no second creature, no duplicate. No grabbing, no chewing, no thrashing, no blood, no gore — the horror is entirely scale. PHYSICS Forest: real running biomechanics, the head-turns costing her balance, the trip stopping the foot dead while momentum carries her over, a genuine three-point fall, real bodyweight in the scramble up. The yank: whip-crack acceleration, body limp, purely forward. Underwater: everything obeys water — drag on limbs and fabric, slow rebound, no dry-hair or dry-cloth behavior in any frame; the whale moves with true mass and inertia, its bow wave visibly displacing water, bubbles and jellyfish; the jaw opens and closes with weight, not like a trap. LIGHTING Forest: warm orange mushroom glow against cool misty air; the mirror's cold blue the only competing source. Underwater: cool blue depth light with god rays, warm golden light from the shell houses and the palace's glowing seams; caustic ripples crawling over her skin, the white sleeve and the whale's flank; the open mouth in the POV reading as a deep shadowed cavern with faint light only on the throat pleats. Natural exposure, no stylization. MATERIALS Real skin with pores and freckles; individual hair strands, dry and flying in the forest, water-loaded and undulating below; real linen weave, leather grain, heavy wool cloak with true water weight; real soil, moss and mushroom flesh; pearl shell with subsurface glow; the whale's iridescent hide with subsurface shift, skin folds and grooved throat pleats, translucent fin membranes. No plastic skin, no CG sheen. AUDIO — SFX ONLY, NO MUSIC 0:00–0:05: pounding footsteps, ragged breathing, cloak snapping, DISTANT crashing branches and a low guttural monster call rolling through the fog; the trip — scuff, body impact, gasp. 0:05–0:09: panicked breathing, scrambling in dirt, forest ambience, a rising crystalline hum near the glass. 0:09–0:11: a sharp liquid CRACK, one violent water-rush WHOOSH, bubbles slamming the lens; forest sound cutting off dead. 0:11–0:19: muffled underwater ambience, soft bubble streams, distant whale-like calls, faint clicks, a deep resonant hum from the palace. 0:19–0:22.5: a startled bubble burst; a deep swelling RUMBLE from the left; in the POV a roaring water-rush and the wet groan of the opening jaw. 0:22.5–0:24: one soft heavy WHOMP settling, then calm rhythmic tail SWISH, the flank's water-rush passing the lens, fading right into churning wake and settling ambience. No score, no melody anywhere. POSITIVE CONSTRAINTS Continuous shot 0:00–0:19; then exactly TWO HARD CUTS: into the POV insert and back out to the identical framing. No other cuts anywhere. FRAMING LOCK: from 0:16 to the end (except the POV insert) the camera holds the same medium profile framing — she is CHEST-UP, seen from her left side, lower-left of frame, with the glowing spiral palace filling the background. She is never shown full-body in this section, never small in frame, and the camera never moves. The finale order is exact: she turns her head left (chest-up, whale not visible) → HARD CUT to her POV of the mouth opening wide, fast → HARD CUT back to the same framing where the jaw is already closed and the whale glides calmly left to right and exits. Her glances in the forest: ~45° head turns with eyes going the same direction; never toward the lens. The forest pursuer is NEVER shown — distant sound only. The mirror NEVER reflects her or the forest — a lit window, not a reflective surface. Underwater she never swims — legs still and motionless throughout; the palace fills the background from the first underwater frame, no travel. Her hair underwater is a chaotic free-floating mass — never parted, never neat, never still. Face 100% >> every frame, zero drift; hair, elven ears, wardrobe 100% >>; forest 100% >>; plaza and palace 100% >>. No grabbing, chewing, blood or gore; exactly ONE creature; she is not visible after the POV cut, only her bubbles. Full realism — no animated look, no illustration, no CG gloss, no plastic surfaces. Clean image: no grain, no vignette. She is the only person. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot 1: canted 20–25°, low on boots. Shot 2: focus locked on her face. Shot 3: wide, deep focus. Shots 4–5: her face and the mirror's glow. Shots 6–8: her in medium profile against the palace, caustics softening the depth. Shot 9 (POV): ultra-wide immersive perspective, the mouth filling the frame. Shot 10: the flank sharp as it sweeps past the lens.
0:27

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

Sharon Riley

28,464 görüntüleme • 26 gün önce

🏴󠁧󠁢󠁥󠁮󠁧󠁿 THE MASK DROPS: JOURNALIST GOES TO PROVE MUSLIMS ARE "PEACEFUL" — MOB SHOWS UP TO KILL HER INSTEAD ☠️ The irony would be a chef’s kiss if it weren’t so deadly serious. A journalist waltzes into a Muslim enclave in England, cameras rolling, narrative pre-written — “look at these peaceful, law-abiding citizens, nothing to see here, you bigots.” The script writes itself. It’s the same one the legacy media has been running for two decades straight. And then reality intervenes. Within minutes, a gang of masked men swarm her. They don’t want an interview. They don’t want dialogue. They want her gone — and they make it abundantly clear she’s leaving in a body bag if she doesn’t comply. The live feed gets cut. The studio anchor is stammering apologies for the “language.” The journalist gets escorted out, tail between her legs, narrative in tatters. This isn’t an isolated incident. It’s the Birmingham pattern — and it keeps repeating: - Sky News reporter Becky Johnson, August 2024: surrounded by masked men on bikes, shouting profanities and “Free Palestine,” forced off-air mid-broadcast. A man with a knife chased the van and tried to slash the tires. A year later, when she returned to the same neighborhood, a man in a car mimed pulling a trigger at her head. - Christian preacher in Walsall, January 2023: mob of 20-30 Muslims formed a ring around him, threatened to cut his throat, beat him, and abduct him — for preaching that the Qur’an presents a false Jesus. Police response? Arrest the preacher for “blasphemy.” The mob walked free. A judge later threw out the charges, but the message was sent. Same neighborhoods, same script: white resident Gerry Moynihan admitted he stayed inside his own home that day because the "intelligence" was that the mobs were "looking for what they thought were the enemy — white people — and trying to find white people." The Narrative vs. The Footage The establishment gaslights the public with one hand while their own camera crews are fleeing for their lives on the other. The cognitive dissonance is staggering: View the table below. The 2030 Agenda crowd — the globalist technocrats pushing mass migration, open borders, and the dissolution of national identity — didn’t just break England. They lobotomized it. They convinced the ruling class that importing millions of people from cultures that view Western values as a disease to be eradicated would somehow produce... Sweden. Look how that turned out. The Real Two-Tier System When a white man says something offensive online, the full weight of the British state descends on him — dawn raids, criminal charges, career destruction. When a mob of masked men threatens to murder a female journalist on live television for the crime of standing on a street with a microphone, the system suddenly discovers its deep reservoir of “context” and “community tensions.” The journalist who went in expecting to film a puff piece about peaceful Muslims got the uncut director’s commentary instead. The mask didn’t just slip — it was ripped off and thrown at the camera. The lesson? You can gaslight a nation for twenty years with carefully edited news packages and diversity-committee-approved scripts. But you can’t edit the live feed fast enough when the truth charges at the lens on two wheels, masked up, screaming for blood. #TheMaskDrops #NarrativeVsReality #BirminghamExposed #TwoTierEverything #LiveFeedDoesntLie #2030AgendaWasteland #TheyCantEditFastEnough #PeacefulOnPaper can’t director’s didn’t Qur’an “ chef’s chef’s
0:20

🏴󠁧󠁢󠁥󠁮󠁧󠁿 THE MASK DROPS: JOURNALIST GOES TO PROVE MUSLIMS ARE "PEACEFUL" — MOB SHOWS UP TO KILL HER INSTEAD ☠️ The irony would be a chef’s kiss if it weren’t so deadly serious. A journalist waltzes into a Muslim enclave in England, cameras rolling, narrative pre-written — “look at these peaceful, law-abiding citizens, nothing to see here, you bigots.” The script writes itself. It’s the same one the legacy media has been running for two decades straight. And then reality intervenes. Within minutes, a gang of masked men swarm her. They don’t want an interview. They don’t want dialogue. They want her gone — and they make it abundantly clear she’s leaving in a body bag if she doesn’t comply. The live feed gets cut. The studio anchor is stammering apologies for the “language.” The journalist gets escorted out, tail between her legs, narrative in tatters. This isn’t an isolated incident. It’s the Birmingham pattern — and it keeps repeating: - Sky News reporter Becky Johnson, August 2024: surrounded by masked men on bikes, shouting profanities and “Free Palestine,” forced off-air mid-broadcast. A man with a knife chased the van and tried to slash the tires. A year later, when she returned to the same neighborhood, a man in a car mimed pulling a trigger at her head. - Christian preacher in Walsall, January 2023: mob of 20-30 Muslims formed a ring around him, threatened to cut his throat, beat him, and abduct him — for preaching that the Qur’an presents a false Jesus. Police response? Arrest the preacher for “blasphemy.” The mob walked free. A judge later threw out the charges, but the message was sent. Same neighborhoods, same script: white resident Gerry Moynihan admitted he stayed inside his own home that day because the "intelligence" was that the mobs were "looking for what they thought were the enemy — white people — and trying to find white people." The Narrative vs. The Footage The establishment gaslights the public with one hand while their own camera crews are fleeing for their lives on the other. The cognitive dissonance is staggering: View the table below. The 2030 Agenda crowd — the globalist technocrats pushing mass migration, open borders, and the dissolution of national identity — didn’t just break England. They lobotomized it. They convinced the ruling class that importing millions of people from cultures that view Western values as a disease to be eradicated would somehow produce... Sweden. Look how that turned out. The Real Two-Tier System When a white man says something offensive online, the full weight of the British state descends on him — dawn raids, criminal charges, career destruction. When a mob of masked men threatens to murder a female journalist on live television for the crime of standing on a street with a microphone, the system suddenly discovers its deep reservoir of “context” and “community tensions.” The journalist who went in expecting to film a puff piece about peaceful Muslims got the uncut director’s commentary instead. The mask didn’t just slip — it was ripped off and thrown at the camera. The lesson? You can gaslight a nation for twenty years with carefully edited news packages and diversity-committee-approved scripts. But you can’t edit the live feed fast enough when the truth charges at the lens on two wheels, masked up, screaming for blood. #TheMaskDrops #NarrativeVsReality #BirminghamExposed #TwoTierEverything #LiveFeedDoesntLie #2030AgendaWasteland #TheyCantEditFastEnough #PeacefulOnPaper can’t director’s didn’t Qur’an “ chef’s chef’s

Tony Seruga

15,908 görüntüleme • 3 ay önce

An update on Maya Gebala (Tumbler Ridge) From her mom Cia **Additional info regarding Ronalds house. Charity funds, and Cvap and added at the bottom** Hey Everyone. Here comes another long one...... Ive wanted to write an update for quite sometime.. I just, dont really know what to say I guess. I know alot of my posts seem to be deep in despair. Truth is though, I simply can't afford to give up in faith. Its all I have left. People ask me, regularly, is Maya okay? -I suppose- If Okay is the mid line on a scale from 1 to 10, 1 being dead 10 being thriving... I suppose okay would suffice. The Maya I see everyday currently, to the Maya i spent the past 12 years observing and attempting to tame into civility, are vastly different. Through the eyes of pure unwavering love, It feels like a crime to say "shes okay" The Maya I had the pleasure to watch blossom.. like a volcano.. The brave, confident force of nature. Was rarely sick for school. Had deep burning empathy. She understood more of the world and the people around her, then she probably should at her age.. Now.... Now, I imagine she is a goldfish, floating in the small aquarium that is her own body. Observing. She cant communicate. Or articulate feelings. Her eyes tell me she is in there still. So, is she "okay"? What IS okay? The adrenaline and consistent wave of hope and despair in the beginning brought feelings that made the scale of comparison easy to articulate. And then now. We have only time. Endless time. Uncertainty. Faith(?) And fear.... Her cranialplasty went well. No further signs of infection, crisis averted. She is healing incredibly well. Myself, as a mother, stood on a platform of maternal vigilance. Now I can ... what.... relax? Now that her life doesn't hang in the fragile threads of moments and possibilities, I'm left with the mountain of broken pieces that was once our lives.. The dishes from a sunday dinner, left forgotten until tomorrow. Time to deal with the mess. We were plucked from our small town lives and dropped collectively in a new life, broken and battered. A now past life, where i once ran a business. where my daughters spent most their little lives walking the streets 'hanging at moms shop' Where everyone knows you, and most welcome you. Where there are many more trees then cars, and if you heard sirens at night, you likely knew who they were for. In the silence of unrelenting "wait and see" we pick up the pieces, and start over. A new normal. A new place. A new shade of jade. It has been nearly impossible to aquire housing. knowing she will likely be in a wheelchair. To know that there is a good chance that her level of consciousness can still continue to develop and all I want to do is protect my children from the busy noise and sirens that is the city. One day she might ask what happened. One day i may have to tell her. I hope to protect the peace. I hope to create an imaginary parallel to the life they were forced to abandon. It is difficult... if not impossible. For a while little Dahlia and I stayed in a series of airbnbs, thinking we would find a home soon. She needed her mom. I felt all I could give that resembled any sort of 'life' was a bedroom.. and breakfast together. Under the implication that victim services would cover accomodations and expenses as they offer on the government website. A service intended to support families who have been subject to the wreckage of a hanous and violent crime. We dont qualify. The list of potential benefits covered for truamatized families searching for a new normal in an unthinkable situation. We arent covered. Turns out, legislation is written in such a way, we dont qualify. So all and any expenses are left to be fulfilled by any organizations holding donations, that has litterally saved us so far.. So, with that, accomodations have become too much, and we live between the back of my car and a couch in the hospital. Hoping we find a place that fits all our requirements sometime soon. Then what? Prepare for the worst, yet hope for the best, they say. What if maya needs round the clock care? How do I work... how does LIFE work. I live moment to moment in a sea of maybe's with no solid ground to rest our feet. Running in place. Fantasizing over possibilities that seem just barely out of reach. The carrot on the stick. We have had some incredible opportunities surface, we seemed to have stumbled on a 'school' type structure in a horse stable... no walls. No familiarity... Perfect for now. It is exactly what she needed. So... I still keep faith. We never went to LA.. for anyone who believed we did, it just didnt happen. There was too much uncertainty and her state was to fragile to have the travel was worth the risk.. in all honesty I think I pulled the trigger on that post to early, although I didn't see it that way at the time -my bad. We are now, however, researching neurospecific hospitals world wide for advanced treatment, if we find one she may qualify for, we would rather go broke taking any potential avenues available, then walk the arduous path of "wait and see". So.. we are okay. We are all okay. If Okay was the mid line on a scale of 1 to 10. 1 being dead. 10 being thriving. We are the epitome of Okay.. Mya Maya. My goldfish baby, as Ive been calling her.. Dumbed down to a state of pre-evolution, her gold fish state. All I can hope is, one day she finds the means to sprout legs and walk out of her pond. Like the images in those old 90's science books.. I continue to pray she evolves.. I hope the path to a new normal starts to become clear. We just.... wait and see. Xoxo (( **Edit: To address question about the Ronald Mcdonald House. We do have a room there.. one per family. Dahlia was abruptly forced to abandon her entire life, while simultaneously grappling with the news that some of her friends were dead, and confronted daily thay her fearless leader is a goldfish.. I didnt find it healthy that her only available.friends were more vulnerable children. She loves fiercely, but im terrified for her. I basically gave the room to david and his family that comes.quite frequently to help. The airbnbs and couch surfing, id assumed to be short.lived as he hunt for homes..** **CHARITY FUNDS. YES. The pac charity. The Red Cross. There are other charities available we can pull from. However, with having toforfeit my shop, the outrageous cost of housing, medical equipment, and not knowing how or if I can ever work again, using any of that for overpriced short term stays seems very unreasonable. 2 weeks in a hotel or Airbnb is a months rent. There are financial resources. As our future looks now, maya will need mechanical slings, ramps, stair lifts. A van, a special tub, and potentially at home care... all of that combined is well over 200k in a year... That coupled with 2500 a month in rent, and everyday living. These alotted funds need to stretch us as long as possible. With 6k a month in home care for maya and 2500 a month in rent, its scary fast it Will go. I will.likely need to upgrade some courses and find new work. Its alot and the future is unknown. So with the government sector offering to cover "accomodations" it didnt seem so reckless. I wouldnt want to spend a lifeline like these funds, on expensive short term stays, but with that seemingly the only option, we will just keep looking for a home.** **Also In regards to Victim services. I hope no one calls to raise hell on our behalf, it isnt the employees, it is the legislature. We could tell today during our meeting that they wanted to help. The guidelines to these benefits are restricting, there simply is no place for us.. The change needs bigger then an exemption. It needs to be for the people.** Thank you for your love and passion though.
0:55

An update on Maya Gebala (Tumbler Ridge) From her mom Cia **Additional info regarding Ronalds house. Charity funds, and Cvap and added at the bottom** Hey Everyone. Here comes another long one...... Ive wanted to write an update for quite sometime.. I just, dont really know what to say I guess. I know alot of my posts seem to be deep in despair. Truth is though, I simply can't afford to give up in faith. Its all I have left. People ask me, regularly, is Maya okay? -I suppose- If Okay is the mid line on a scale from 1 to 10, 1 being dead 10 being thriving... I suppose okay would suffice. The Maya I see everyday currently, to the Maya i spent the past 12 years observing and attempting to tame into civility, are vastly different. Through the eyes of pure unwavering love, It feels like a crime to say "shes okay" The Maya I had the pleasure to watch blossom.. like a volcano.. The brave, confident force of nature. Was rarely sick for school. Had deep burning empathy. She understood more of the world and the people around her, then she probably should at her age.. Now.... Now, I imagine she is a goldfish, floating in the small aquarium that is her own body. Observing. She cant communicate. Or articulate feelings. Her eyes tell me she is in there still. So, is she "okay"? What IS okay? The adrenaline and consistent wave of hope and despair in the beginning brought feelings that made the scale of comparison easy to articulate. And then now. We have only time. Endless time. Uncertainty. Faith(?) And fear.... Her cranialplasty went well. No further signs of infection, crisis averted. She is healing incredibly well. Myself, as a mother, stood on a platform of maternal vigilance. Now I can ... what.... relax? Now that her life doesn't hang in the fragile threads of moments and possibilities, I'm left with the mountain of broken pieces that was once our lives.. The dishes from a sunday dinner, left forgotten until tomorrow. Time to deal with the mess. We were plucked from our small town lives and dropped collectively in a new life, broken and battered. A now past life, where i once ran a business. where my daughters spent most their little lives walking the streets 'hanging at moms shop' Where everyone knows you, and most welcome you. Where there are many more trees then cars, and if you heard sirens at night, you likely knew who they were for. In the silence of unrelenting "wait and see" we pick up the pieces, and start over. A new normal. A new place. A new shade of jade. It has been nearly impossible to aquire housing. knowing she will likely be in a wheelchair. To know that there is a good chance that her level of consciousness can still continue to develop and all I want to do is protect my children from the busy noise and sirens that is the city. One day she might ask what happened. One day i may have to tell her. I hope to protect the peace. I hope to create an imaginary parallel to the life they were forced to abandon. It is difficult... if not impossible. For a while little Dahlia and I stayed in a series of airbnbs, thinking we would find a home soon. She needed her mom. I felt all I could give that resembled any sort of 'life' was a bedroom.. and breakfast together. Under the implication that victim services would cover accomodations and expenses as they offer on the government website. A service intended to support families who have been subject to the wreckage of a hanous and violent crime. We dont qualify. The list of potential benefits covered for truamatized families searching for a new normal in an unthinkable situation. We arent covered. Turns out, legislation is written in such a way, we dont qualify. So all and any expenses are left to be fulfilled by any organizations holding donations, that has litterally saved us so far.. So, with that, accomodations have become too much, and we live between the back of my car and a couch in the hospital. Hoping we find a place that fits all our requirements sometime soon. Then what? Prepare for the worst, yet hope for the best, they say. What if maya needs round the clock care? How do I work... how does LIFE work. I live moment to moment in a sea of maybe's with no solid ground to rest our feet. Running in place. Fantasizing over possibilities that seem just barely out of reach. The carrot on the stick. We have had some incredible opportunities surface, we seemed to have stumbled on a 'school' type structure in a horse stable... no walls. No familiarity... Perfect for now. It is exactly what she needed. So... I still keep faith. We never went to LA.. for anyone who believed we did, it just didnt happen. There was too much uncertainty and her state was to fragile to have the travel was worth the risk.. in all honesty I think I pulled the trigger on that post to early, although I didn't see it that way at the time -my bad. We are now, however, researching neurospecific hospitals world wide for advanced treatment, if we find one she may qualify for, we would rather go broke taking any potential avenues available, then walk the arduous path of "wait and see". So.. we are okay. We are all okay. If Okay was the mid line on a scale of 1 to 10. 1 being dead. 10 being thriving. We are the epitome of Okay.. Mya Maya. My goldfish baby, as Ive been calling her.. Dumbed down to a state of pre-evolution, her gold fish state. All I can hope is, one day she finds the means to sprout legs and walk out of her pond. Like the images in those old 90's science books.. I continue to pray she evolves.. I hope the path to a new normal starts to become clear. We just.... wait and see. Xoxo (( **Edit: To address question about the Ronald Mcdonald House. We do have a room there.. one per family. Dahlia was abruptly forced to abandon her entire life, while simultaneously grappling with the news that some of her friends were dead, and confronted daily thay her fearless leader is a goldfish.. I didnt find it healthy that her only available.friends were more vulnerable children. She loves fiercely, but im terrified for her. I basically gave the room to david and his family that comes.quite frequently to help. The airbnbs and couch surfing, id assumed to be short.lived as he hunt for homes..** **CHARITY FUNDS. YES. The pac charity. The Red Cross. There are other charities available we can pull from. However, with having toforfeit my shop, the outrageous cost of housing, medical equipment, and not knowing how or if I can ever work again, using any of that for overpriced short term stays seems very unreasonable. 2 weeks in a hotel or Airbnb is a months rent. There are financial resources. As our future looks now, maya will need mechanical slings, ramps, stair lifts. A van, a special tub, and potentially at home care... all of that combined is well over 200k in a year... That coupled with 2500 a month in rent, and everyday living. These alotted funds need to stretch us as long as possible. With 6k a month in home care for maya and 2500 a month in rent, its scary fast it Will go. I will.likely need to upgrade some courses and find new work. Its alot and the future is unknown. So with the government sector offering to cover "accomodations" it didnt seem so reckless. I wouldnt want to spend a lifeline like these funds, on expensive short term stays, but with that seemingly the only option, we will just keep looking for a home.** **Also In regards to Victim services. I hope no one calls to raise hell on our behalf, it isnt the employees, it is the legislature. We could tell today during our meeting that they wanted to help. The guidelines to these benefits are restricting, there simply is no place for us.. The change needs bigger then an exemption. It needs to be for the people.** Thank you for your love and passion though.

The Real Mr Bench

14,169 görüntüleme • 3 ay önce

Catch Me If You Can, A journey that never stops. Created with Seedance 2.5. Prompt: Create a 30-second, 9:16 photoreal cinematic travel-fashion film, 24fps, following the exact same woman from the supplied character reference. Preserve her face, freckles, dark hair, skin tone, body proportions and natural beauty perfectly throughout. She must look like a real person filmed on location—real skin pores, individual hair strands, natural expressions and realistic anatomy. She always wears white wired earphones. No dialogue. STORY — “CATCH ME IF YOU CAN” 0–4s — CITY HOOK Rain-wet city street, cool cinematic daylight. 24mm intimate close-up. She stands inches from camera, gives a playful knowing smile, then suddenly turns and runs. Camera immediately chases her handheld. A red city bus crosses extremely close and completely covers frame → perfect practical wipe transition. 4–8s — OLD MARKET Same running stride continues seamlessly into a beautiful atmospheric old-town market. Cream jacket, olive loose trousers. Real pedestrians, bicycles, textured stone, warm shops. She looks back laughing while running, then jumps across a puddle. Camera dives toward the splash → water fills frame. 8–12s — MOUNTAIN REVEAL Splash match-cuts into the reflective floor of a glass elevator. She enters; doors close, then immediately reopen onto a breathtaking enormous mountain valley above clouds. She smiles back at camera and runs outside. Cool mist, huge atmospheric depth, realistic wind. 12–16s — COAST Match her exact running stride onto a spectacular golden-hour coastal road. Deep-red track jacket, denim, ocean and cliffside architecture behind. Camera tracks beside her. She spins naturally, laughs, removes her red jacket while moving and throws it directly into lens → red fabric completely covers frame. 16–20s — NEON NIGHT Fabric clears into a rain-soaked neon city at night. Black leather jacket. Deep cinematic blacks, cyan reflections, controlled red practical lights, steam and natural crowds. She confidently walks toward camera. A passing tram completely blocks frame → occlusion transition. 20–23s — ABOVE THE CLOUDS Tram windows match-cut into a mountain cable-car window. Navy jacket. She stands against the glass overlooking gigantic mist-covered peaks. Music briefly becomes quiet. Her reflection overlays the landscape. She notices camera in the reflection, smiles mischievously, then suddenly exits frame. Camera whip-pans after her. 23–26s — WE LOSE HER Whip resolves into a huge lively blue-hour plaza. Camera urgently searches through real moving crowds. She appears for a moment, disappears behind pedestrians, then vanishes completely. Music drops almost to silence. Suddenly someone taps the camera from behind. Fast whip around—she is standing behind us with her female friend, both laughing. Beat drops hard and they run away together. 26–30s — HERO ENDING Camera chases both girls across the spectacular plaza. They hold hands, run, spin and laugh naturally. A flock of pigeons lifts ahead of them. Camera catches up as they turn back and throw their arms up. At 27.8s introduce huge premium warm-ivory condensed typography: CATCH ME then: IF YOU CAN. Characters naturally overlap parts of the letters for realistic depth. No glow, gradients or cheap animation—clean theatrical movie-title design. Lead runs directly toward camera, laughing, then covers the lens with her hand. Hard cut to black exactly on the final beat. CINEMATIC LOOK Feature-film-level cinematography: 24mm chase shots, 35mm movement, 50mm portraits, natural handheld micro-movement, 180° shutter and realistic motion blur. Fine 35mm film grain, subtle highlight halation, soft cinematic bloom and expensive highlight roll-off. Color progression: cool rainy city → warm earthy market → cyan misty mountains → golden coast → deep cyan/red neon → cool mountain atmosphere → rich cinematic blue-hour finale. Keep natural warm skin throughout. TRANSITION RULE Every transition must be physically motivated: bus wipe → water splash → elevator doors → jacket wipe → tram wipe → reflection/whip → crowd reveal → hand-to-lens ending. Never visibly morph locations. No portals, liquid AI transformations, speed ramps, floating cameras or impossible movements. Cuts should be so clean viewers replay them to understand how they happened. REALISM LOCK Same exact lead identity throughout. Real skin texture, correct hands, natural running, realistic footsteps, weighted hair and clothing, earphone cable bouncing with movement, physically correct reflections and splashes. Background people move independently and never freeze or duplicate. No warped architecture, plastic skin, beauty-filter face or AI look. MUSIC / SOUND Original 120 BPM premium cinematic-electronic travel track synchronized tightly to every transition. Start with minimal bass and crisp percussion, build through the chase, open into an uplifting melodic hook at the coast, become deeper at neon night, strip down during the cable-car/crowd search, then massive satisfying beat drop at the friend reveal and strongest musical section for the final run. Layer realistic footsteps, traffic, splash, elevator ding, wind, tram rumble, cable-car hum, crowd ambience, fabric movement, pigeon wings and genuine laughter. No dialogue. No voiceover. No lyrics.
0:30

Catch Me If You Can, A journey that never stops. Created with Seedance 2.5. Prompt: Create a 30-second, 9:16 photoreal cinematic travel-fashion film, 24fps, following the exact same woman from the supplied character reference. Preserve her face, freckles, dark hair, skin tone, body proportions and natural beauty perfectly throughout. She must look like a real person filmed on location—real skin pores, individual hair strands, natural expressions and realistic anatomy. She always wears white wired earphones. No dialogue. STORY — “CATCH ME IF YOU CAN” 0–4s — CITY HOOK Rain-wet city street, cool cinematic daylight. 24mm intimate close-up. She stands inches from camera, gives a playful knowing smile, then suddenly turns and runs. Camera immediately chases her handheld. A red city bus crosses extremely close and completely covers frame → perfect practical wipe transition. 4–8s — OLD MARKET Same running stride continues seamlessly into a beautiful atmospheric old-town market. Cream jacket, olive loose trousers. Real pedestrians, bicycles, textured stone, warm shops. She looks back laughing while running, then jumps across a puddle. Camera dives toward the splash → water fills frame. 8–12s — MOUNTAIN REVEAL Splash match-cuts into the reflective floor of a glass elevator. She enters; doors close, then immediately reopen onto a breathtaking enormous mountain valley above clouds. She smiles back at camera and runs outside. Cool mist, huge atmospheric depth, realistic wind. 12–16s — COAST Match her exact running stride onto a spectacular golden-hour coastal road. Deep-red track jacket, denim, ocean and cliffside architecture behind. Camera tracks beside her. She spins naturally, laughs, removes her red jacket while moving and throws it directly into lens → red fabric completely covers frame. 16–20s — NEON NIGHT Fabric clears into a rain-soaked neon city at night. Black leather jacket. Deep cinematic blacks, cyan reflections, controlled red practical lights, steam and natural crowds. She confidently walks toward camera. A passing tram completely blocks frame → occlusion transition. 20–23s — ABOVE THE CLOUDS Tram windows match-cut into a mountain cable-car window. Navy jacket. She stands against the glass overlooking gigantic mist-covered peaks. Music briefly becomes quiet. Her reflection overlays the landscape. She notices camera in the reflection, smiles mischievously, then suddenly exits frame. Camera whip-pans after her. 23–26s — WE LOSE HER Whip resolves into a huge lively blue-hour plaza. Camera urgently searches through real moving crowds. She appears for a moment, disappears behind pedestrians, then vanishes completely. Music drops almost to silence. Suddenly someone taps the camera from behind. Fast whip around—she is standing behind us with her female friend, both laughing. Beat drops hard and they run away together. 26–30s — HERO ENDING Camera chases both girls across the spectacular plaza. They hold hands, run, spin and laugh naturally. A flock of pigeons lifts ahead of them. Camera catches up as they turn back and throw their arms up. At 27.8s introduce huge premium warm-ivory condensed typography: CATCH ME then: IF YOU CAN. Characters naturally overlap parts of the letters for realistic depth. No glow, gradients or cheap animation—clean theatrical movie-title design. Lead runs directly toward camera, laughing, then covers the lens with her hand. Hard cut to black exactly on the final beat. CINEMATIC LOOK Feature-film-level cinematography: 24mm chase shots, 35mm movement, 50mm portraits, natural handheld micro-movement, 180° shutter and realistic motion blur. Fine 35mm film grain, subtle highlight halation, soft cinematic bloom and expensive highlight roll-off. Color progression: cool rainy city → warm earthy market → cyan misty mountains → golden coast → deep cyan/red neon → cool mountain atmosphere → rich cinematic blue-hour finale. Keep natural warm skin throughout. TRANSITION RULE Every transition must be physically motivated: bus wipe → water splash → elevator doors → jacket wipe → tram wipe → reflection/whip → crowd reveal → hand-to-lens ending. Never visibly morph locations. No portals, liquid AI transformations, speed ramps, floating cameras or impossible movements. Cuts should be so clean viewers replay them to understand how they happened. REALISM LOCK Same exact lead identity throughout. Real skin texture, correct hands, natural running, realistic footsteps, weighted hair and clothing, earphone cable bouncing with movement, physically correct reflections and splashes. Background people move independently and never freeze or duplicate. No warped architecture, plastic skin, beauty-filter face or AI look. MUSIC / SOUND Original 120 BPM premium cinematic-electronic travel track synchronized tightly to every transition. Start with minimal bass and crisp percussion, build through the chase, open into an uplifting melodic hook at the coast, become deeper at neon night, strip down during the cable-car/crowd search, then massive satisfying beat drop at the friend reveal and strongest musical section for the final run. Layer realistic footsteps, traffic, splash, elevator ding, wind, tram rumble, cable-car hum, crowd ambience, fabric movement, pigeon wings and genuine laughter. No dialogue. No voiceover. No lyrics.

Nexora

24,180 görüntüleme • 8 gün önce

She Doesn’t Just Play the Drums. She Owns Them. Watching this woman play the drums is a reminder that good drumming is never just about hitting the right notes. She’s at an outdoor bar at night, under string lights and palm trees. Blonde hair flying, patterned blouse moving with every hit, white pants, full body in the groove. She doesn’t sit stiff and careful. She leans in, swings the sticks high, drops them hard, and lets her whole upper body follow the rhythm. You can see she’s not performing the idea of drumming — she’s inside it. What stands out first is the energy. She plays with real physical commitment. Hair whipping across her face, shoulders rolling, one arm shooting up before crashing back down on the cymbal. That kind of movement only works when the player trusts their body and isn’t afraid of looking intense. A lot of people play drums correctly. Fewer people play them like they mean it. Underneath the flair is solid coordination. Hands and feet move independently but stay locked together. The snare, hi-hat, and kick keep talking to each other without getting tangled. That independence is one of the hardest things to develop. It takes time for the brain to stop treating the limbs as one unit and let them operate on their own while still serving the same groove. Her timing stays steady even when the playing gets aggressive. She doesn’t rush when the energy rises. The pulse holds. That quiet control is what separates someone who can play fills from someone who can actually drive a song. Speed and power mean little if the foundation drifts. There’s also clear stamina. This isn’t a careful, measured performance. She’s going at it hard for the whole stretch of the clip and still looks present rather than drained. Drumming at that intensity asks for more than technique — it asks for physical conditioning and the willingness to keep pushing when it starts to burn. What makes the video especially watchable is how comfortable she looks in the moment. She smiles, closes her eyes, throws her head back. The expression isn’t forced for the camera. It feels like the natural result of being fully inside the music. That kind of freedom usually comes after the basics are no longer a struggle. When the hands and feet already know what to do, the player can stop thinking and start feeling. Taken together, the clip shows the real requirements pretty clearly. Strong sense of time. Independent limb control. Physical endurance. And the courage to commit fully instead of holding back. Gender doesn’t change any of that. The same ingredients apply whether the person behind the kit is a woman or a man. Some drummers impress with precision. Others make you feel the music in your chest. This performance leans hard into the second kind — and that’s why it stays with you after the video ends.
0:30

She Doesn’t Just Play the Drums. She Owns Them. Watching this woman play the drums is a reminder that good drumming is never just about hitting the right notes. She’s at an outdoor bar at night, under string lights and palm trees. Blonde hair flying, patterned blouse moving with every hit, white pants, full body in the groove. She doesn’t sit stiff and careful. She leans in, swings the sticks high, drops them hard, and lets her whole upper body follow the rhythm. You can see she’s not performing the idea of drumming — she’s inside it. What stands out first is the energy. She plays with real physical commitment. Hair whipping across her face, shoulders rolling, one arm shooting up before crashing back down on the cymbal. That kind of movement only works when the player trusts their body and isn’t afraid of looking intense. A lot of people play drums correctly. Fewer people play them like they mean it. Underneath the flair is solid coordination. Hands and feet move independently but stay locked together. The snare, hi-hat, and kick keep talking to each other without getting tangled. That independence is one of the hardest things to develop. It takes time for the brain to stop treating the limbs as one unit and let them operate on their own while still serving the same groove. Her timing stays steady even when the playing gets aggressive. She doesn’t rush when the energy rises. The pulse holds. That quiet control is what separates someone who can play fills from someone who can actually drive a song. Speed and power mean little if the foundation drifts. There’s also clear stamina. This isn’t a careful, measured performance. She’s going at it hard for the whole stretch of the clip and still looks present rather than drained. Drumming at that intensity asks for more than technique — it asks for physical conditioning and the willingness to keep pushing when it starts to burn. What makes the video especially watchable is how comfortable she looks in the moment. She smiles, closes her eyes, throws her head back. The expression isn’t forced for the camera. It feels like the natural result of being fully inside the music. That kind of freedom usually comes after the basics are no longer a struggle. When the hands and feet already know what to do, the player can stop thinking and start feeling. Taken together, the clip shows the real requirements pretty clearly. Strong sense of time. Independent limb control. Physical endurance. And the courage to commit fully instead of holding back. Gender doesn’t change any of that. The same ingredients apply whether the person behind the kit is a woman or a man. Some drummers impress with precision. Others make you feel the music in your chest. This performance leans hard into the second kind — and that’s why it stays with you after the video ends.

Emotion & Music

34,496 görüntüleme • 19 gün önce

Analyzing Episode 55. Season 2 aka The Violence of Alignment If I visualize CihAl's journey for this season, a spiral tightening its rings comes to mind. There's always one problem after another, spiking in intensity and reaction. And, the weight of it is reflected in both Alya's increasingly somber demeanor. But, here's the thing. In every new problem, there's an echo of the old one, which leaves one with an inevitable feeling of deja vu - for the audience and the characters. We'll get to why towards the end of this analysis. For now, on we go. We kick off epi 55 with Cihan being introduced to Meryem *cough* dishrag *cough* by Sadakat. And what follows is a breakdown of her story with Cihan listening. However, when Meryem recounted her past woes, I focused less on her words and more on Cihan's words and expression. And what follows is a masterclass in the difference between sympathy and empathy. Kudos to Ozan Akbaba for portraying the difference. I couldn't help but compare the situation to when Cihan is listening to Alya's account of her past. With Alya, Cihan leans forward, barely moving. He listens, but his face tends to reflect his own emotion and mirrors Alya's at times - in other words, he's living those events with her. When he talks, his voice drops lower, but more importantly, there's a gentle softness meant to soothe. With Meryem, Cihan's body language is a tad more detached. When he's leaning forward in the seat, his hands are extended in front of him, clasped together, creating space. Then he leans back, one arm extended on the table, the other on his thigh. Again, there's this feel of distance. His voice remains soft, but there's no tenderness. He's not trying to alleviate, rather he's simply listening. Don't get me wrong, it's not like the guy doesn't feel bad for her, because what she relates shouldn't be experienced by anyone. But empathy goes beyond sympathy. Empathy is when you hurt with the one who's hurting. And that difference, to me, is clear between the two scenes. Long story short, when he's heard what Meryem's gone through, he offers to help get her out of prison because he feels responsible in part for her misfortunes. He says it's his 'duty' to help her. Here's what's interesting: when Meryem says his kindness and heart haven't changed, he gets uncomfortable. And after that, he's the one to get up from the chair, signaling the end of the conversation. Like he wants to get out of there, because some part of him that's not stupidly male understands Meryem's still attached to him, but he has no interest in that whatsoever. His method of saying goodbye is a handshake, again, a testament to his aloofness. And when Meryem hugs him, his hands remain at their sides; the man could have been a pillar. So, while he speaks not of Alya, the one time he takes her name, he drives the message across that 'she's no one ordinary' and 'tread carefully'. Honestly, I don't think he wants to talk about Alya to Meryem. Not because Alya's not important, but because Alya is too important. The part of his life that Alya represents is his alone, and he's very possessive about sharing that with anyone. To him, Meryem is a past that exists, but one that he would erase if he had the choice, because it hurts Alya. And that's pretty much the whole feel of this conversation. He wants to help Meryem, but he also wants her gone because her presence is a source of discomfort to Alya. Speaking of discomforts, the next scene I want to talk about is when the massive turd, who happens to be Alya's ex-husband, goes to the hospital to threaten her some more. Seriously, this character is a step short of absolute psycho. He's incapable of true emotion, just like his mother. Anyway, when Alya is explaining why she hasn't moved out yet, the zombie's eyes zero in on her wedding band. And, of course, being who he is, he absolutely ignores the topic of Deniz, his own flesh and blood, and instead, wants the ring gone because it symbolizes Alya's love and attachment to Cihan. Thankfully, Cihan arrives in time to push away the zombie and to hear Alya proclaim that while Boran has the power to use her son and distance her from Cihan physically, he has no power over her heart and who reigns over it. Now, think back to that conversation where Deniz wants her to pick between Cihan and himself. And Cihan says Deniz's throne (or place) in her heart is so secure, he's happy to live in the shadow of that throne. While Alya smiles at Cihan's response, she also looks miserable later at the thought of not being able to tell Cihan that things aren't exactly so. However, I think she manages to get her point across in this scene without even realizing it. Because while she may make sacrifices for her son, no amount of blackmail, pain, or hurt can remove Cihan's love from her heart. Now, I don't know about you, but that sounds almost like an equal footing. The only difference is that she's bound to protect her son, because, unlike Cihan, he can't protect himself. And that's what leads Cihan to later tell Alya that her words are etched across his heart, and that he's never felt that loved by anyone. Curiously enough, this scene also brings the spotlight on two other details: Alya's 'anka' side and the wedding ring. Both of which will feature rather greatly, in the coming episodes, I think. Now, there's a rumor going around that Alya will take off her wedding ring. And, I don't know, the fact that Cihan's almost preening at Alya, still wearing the ring, and Alya saying 'I couldn't take it off' tells me that's not what's going to happen. For some reason, I'm beginning to get the vibes of a showdown of trust in the same vein as episode 27. Now you may argue that Cihan actually tells Alya about Mine's pregnancy in that episode, but CihAl have had a long journey since then. Alya has seen Cihan choose her over Boran with her own eyes. She's seen the lengths the man has gone to for her and Deniz. So, yes, she might be pissed about something or the other related to Meryem in future episodes, but her taking off the ring seems not within her character somehow. But hey, that's just me, and I could be wrong. Anyway, the final scene I want to talk about is, of course, the ending. Everyone kept focusing on why Cihan allowed Meryem to hold his hands, but I focused on his words. Because he very clearly tells Meryem that he's no longer in love with her, that he's moved on, and that she should not hang about in the hopes of that ever changing. In his own way, Cihan is quite ruthless here. He draws a line, but his words are designed not to hurt, because he's not an ahole. He just wants dishrag to understand that even the thought of Alya being hurt pains him more now than anything else. And, he's not very kind to people who try to hurt Alya. It's a disclosure and warning, but in the form of steel wrapped in satin. Now, let's go back to the beginning for a bit, where I mentioned spiraling events. See, I somehow thought that those vows Cihal took 'savaşta, bedelde, kararda, kaderde, aşkta' were linear levels. That they'd clear them one by one and get to love. But when you see the overall structure of their journey in this season, it's not linear at all. Because all those things have existed in one form or another since ep 29. There's always an element of all of these conditions in every episode. Which is why we keep thinking, wait a minute, we've been here before. But as I said, the spiral is tightening itself. With every episode, the stakes are raised higher, and CihAl are pushed a little bit closer to the edge. Almost like the deep breath before the plunge. And here’s where things get interesting. Because what feels like repetition is not actually stagnation, it’s confrontation deferred, coming back sharper each time. Every cycle brings them back to the same point. Their love deepens, fear follows, a decision is made in the name of protection, and that decision creates distance instead of resolution. Which brings me back to the vows - savaşta, bedelde, kararda, kaderde, aşkta. I was wrong to think of them as steps. They’re not something Cihan and Alya are moving towards; they’re something CihAl are already inside of. Every episode is them living those vows in real time. But with every new episode, the pressure mounts, like music builds to a crescendo. And yet, within all of that, aşk remains. Not as a reward at the end of the journey. But as the one thing that refuses to disappear, no matter how many times everything else goes wrong. And maybe that's why episode 55 feels the way it does. It creates the illusion that everything is falling apart, yet again, when in reality, everything is being forced into alignment. Something is moving all the pieces on the chessboard for an ultimate showdown. And the process gets more violent by the minute. Cihan hides the truth because he thinks love needs protection. Alya experiences that same act as distance, almost betrayal. Meanwhile, Boran and Sadakat keep pushing, and Meryem drops like a freaking bomb at the worst possible moment. Suddenly, everything that could have remained unsaid, unresolved, or postponed is dragged into the open. This has all the hallmarks of a breaking point. Note, I said breaking point, not breakdown. Because, unlike breakdowns, breaking points are used for revelations. I guess what I'm trying to say is things are headed towards alignment, not just for the overall story, but also CihAl's journey individually. Because Cihan and Alya also keep repeating their mistakes. Their growth requires something along the lines of a push, too. So, we have war, sacrifice, decisions, fate, and love, all coming to a head. And while there are plenty of reasons to feel ominous, I personally don't. The story is no longer about them loving each other - we're well past that. It’s about whether they can finally stand in that love openly and without any fear. Because everything is pushing them toward a breaking point, not to destroy them, I think, but to shape them into who they need to be. And if there’s one thing CihAl have proven since day one, it’s this - they don’t fall apart under pressure, they grow stronger, and they survive the impossible. #CihAl #UzakŞehir
2:51

Analyzing Episode 55. Season 2 aka The Violence of Alignment If I visualize CihAl's journey for this season, a spiral tightening its rings comes to mind. There's always one problem after another, spiking in intensity and reaction. And, the weight of it is reflected in both Alya's increasingly somber demeanor. But, here's the thing. In every new problem, there's an echo of the old one, which leaves one with an inevitable feeling of deja vu - for the audience and the characters. We'll get to why towards the end of this analysis. For now, on we go. We kick off epi 55 with Cihan being introduced to Meryem *cough* dishrag *cough* by Sadakat. And what follows is a breakdown of her story with Cihan listening. However, when Meryem recounted her past woes, I focused less on her words and more on Cihan's words and expression. And what follows is a masterclass in the difference between sympathy and empathy. Kudos to Ozan Akbaba for portraying the difference. I couldn't help but compare the situation to when Cihan is listening to Alya's account of her past. With Alya, Cihan leans forward, barely moving. He listens, but his face tends to reflect his own emotion and mirrors Alya's at times - in other words, he's living those events with her. When he talks, his voice drops lower, but more importantly, there's a gentle softness meant to soothe. With Meryem, Cihan's body language is a tad more detached. When he's leaning forward in the seat, his hands are extended in front of him, clasped together, creating space. Then he leans back, one arm extended on the table, the other on his thigh. Again, there's this feel of distance. His voice remains soft, but there's no tenderness. He's not trying to alleviate, rather he's simply listening. Don't get me wrong, it's not like the guy doesn't feel bad for her, because what she relates shouldn't be experienced by anyone. But empathy goes beyond sympathy. Empathy is when you hurt with the one who's hurting. And that difference, to me, is clear between the two scenes. Long story short, when he's heard what Meryem's gone through, he offers to help get her out of prison because he feels responsible in part for her misfortunes. He says it's his 'duty' to help her. Here's what's interesting: when Meryem says his kindness and heart haven't changed, he gets uncomfortable. And after that, he's the one to get up from the chair, signaling the end of the conversation. Like he wants to get out of there, because some part of him that's not stupidly male understands Meryem's still attached to him, but he has no interest in that whatsoever. His method of saying goodbye is a handshake, again, a testament to his aloofness. And when Meryem hugs him, his hands remain at their sides; the man could have been a pillar. So, while he speaks not of Alya, the one time he takes her name, he drives the message across that 'she's no one ordinary' and 'tread carefully'. Honestly, I don't think he wants to talk about Alya to Meryem. Not because Alya's not important, but because Alya is too important. The part of his life that Alya represents is his alone, and he's very possessive about sharing that with anyone. To him, Meryem is a past that exists, but one that he would erase if he had the choice, because it hurts Alya. And that's pretty much the whole feel of this conversation. He wants to help Meryem, but he also wants her gone because her presence is a source of discomfort to Alya. Speaking of discomforts, the next scene I want to talk about is when the massive turd, who happens to be Alya's ex-husband, goes to the hospital to threaten her some more. Seriously, this character is a step short of absolute psycho. He's incapable of true emotion, just like his mother. Anyway, when Alya is explaining why she hasn't moved out yet, the zombie's eyes zero in on her wedding band. And, of course, being who he is, he absolutely ignores the topic of Deniz, his own flesh and blood, and instead, wants the ring gone because it symbolizes Alya's love and attachment to Cihan. Thankfully, Cihan arrives in time to push away the zombie and to hear Alya proclaim that while Boran has the power to use her son and distance her from Cihan physically, he has no power over her heart and who reigns over it. Now, think back to that conversation where Deniz wants her to pick between Cihan and himself. And Cihan says Deniz's throne (or place) in her heart is so secure, he's happy to live in the shadow of that throne. While Alya smiles at Cihan's response, she also looks miserable later at the thought of not being able to tell Cihan that things aren't exactly so. However, I think she manages to get her point across in this scene without even realizing it. Because while she may make sacrifices for her son, no amount of blackmail, pain, or hurt can remove Cihan's love from her heart. Now, I don't know about you, but that sounds almost like an equal footing. The only difference is that she's bound to protect her son, because, unlike Cihan, he can't protect himself. And that's what leads Cihan to later tell Alya that her words are etched across his heart, and that he's never felt that loved by anyone. Curiously enough, this scene also brings the spotlight on two other details: Alya's 'anka' side and the wedding ring. Both of which will feature rather greatly, in the coming episodes, I think. Now, there's a rumor going around that Alya will take off her wedding ring. And, I don't know, the fact that Cihan's almost preening at Alya, still wearing the ring, and Alya saying 'I couldn't take it off' tells me that's not what's going to happen. For some reason, I'm beginning to get the vibes of a showdown of trust in the same vein as episode 27. Now you may argue that Cihan actually tells Alya about Mine's pregnancy in that episode, but CihAl have had a long journey since then. Alya has seen Cihan choose her over Boran with her own eyes. She's seen the lengths the man has gone to for her and Deniz. So, yes, she might be pissed about something or the other related to Meryem in future episodes, but her taking off the ring seems not within her character somehow. But hey, that's just me, and I could be wrong. Anyway, the final scene I want to talk about is, of course, the ending. Everyone kept focusing on why Cihan allowed Meryem to hold his hands, but I focused on his words. Because he very clearly tells Meryem that he's no longer in love with her, that he's moved on, and that she should not hang about in the hopes of that ever changing. In his own way, Cihan is quite ruthless here. He draws a line, but his words are designed not to hurt, because he's not an ahole. He just wants dishrag to understand that even the thought of Alya being hurt pains him more now than anything else. And, he's not very kind to people who try to hurt Alya. It's a disclosure and warning, but in the form of steel wrapped in satin. Now, let's go back to the beginning for a bit, where I mentioned spiraling events. See, I somehow thought that those vows Cihal took 'savaşta, bedelde, kararda, kaderde, aşkta' were linear levels. That they'd clear them one by one and get to love. But when you see the overall structure of their journey in this season, it's not linear at all. Because all those things have existed in one form or another since ep 29. There's always an element of all of these conditions in every episode. Which is why we keep thinking, wait a minute, we've been here before. But as I said, the spiral is tightening itself. With every episode, the stakes are raised higher, and CihAl are pushed a little bit closer to the edge. Almost like the deep breath before the plunge. And here’s where things get interesting. Because what feels like repetition is not actually stagnation, it’s confrontation deferred, coming back sharper each time. Every cycle brings them back to the same point. Their love deepens, fear follows, a decision is made in the name of protection, and that decision creates distance instead of resolution. Which brings me back to the vows - savaşta, bedelde, kararda, kaderde, aşkta. I was wrong to think of them as steps. They’re not something Cihan and Alya are moving towards; they’re something CihAl are already inside of. Every episode is them living those vows in real time. But with every new episode, the pressure mounts, like music builds to a crescendo. And yet, within all of that, aşk remains. Not as a reward at the end of the journey. But as the one thing that refuses to disappear, no matter how many times everything else goes wrong. And maybe that's why episode 55 feels the way it does. It creates the illusion that everything is falling apart, yet again, when in reality, everything is being forced into alignment. Something is moving all the pieces on the chessboard for an ultimate showdown. And the process gets more violent by the minute. Cihan hides the truth because he thinks love needs protection. Alya experiences that same act as distance, almost betrayal. Meanwhile, Boran and Sadakat keep pushing, and Meryem drops like a freaking bomb at the worst possible moment. Suddenly, everything that could have remained unsaid, unresolved, or postponed is dragged into the open. This has all the hallmarks of a breaking point. Note, I said breaking point, not breakdown. Because, unlike breakdowns, breaking points are used for revelations. I guess what I'm trying to say is things are headed towards alignment, not just for the overall story, but also CihAl's journey individually. Because Cihan and Alya also keep repeating their mistakes. Their growth requires something along the lines of a push, too. So, we have war, sacrifice, decisions, fate, and love, all coming to a head. And while there are plenty of reasons to feel ominous, I personally don't. The story is no longer about them loving each other - we're well past that. It’s about whether they can finally stand in that love openly and without any fear. Because everything is pushing them toward a breaking point, not to destroy them, I think, but to shape them into who they need to be. And if there’s one thing CihAl have proven since day one, it’s this - they don’t fall apart under pressure, they grow stronger, and they survive the impossible. #CihAl #UzakŞehir

CocoLoco

21,885 görüntüleme • 5 ay önce

Analyzing Episode 58. Season 2 aka Balancing the Scales This episode was some of Sinem and Ozan's best work. Their expressions landed every single time, and, frankly, short of screaming what the story is trying to say, they did everything they could to convince the audience that CihAl was, is, and will remain the endgame. With that out of the way, let's begin. We start the episode with Cihan shitting literal bricks as he sees Alya is already at the konak with Sadakat and Meryem arriving, right behind him. The reason is clear - he's caught in a difficult situation yet again. He doesn't want things to look like he's overriding Alya's existence in his life as its core, but circumstances keep making it so that he's put in awkward situations, which only compound his fear of pushing Alya past the point of no return. Meryem is all smiles and teeth at seeing the konak, but the minute her eyes land on Alya, her smile and her eyes drop to the floor. Almost like she was expecting something else entirely, but reality has shamed her. Her eyes remain downcast throughout the entire time she's walking towards Alya, as if Alya's the truth she can't cross eyes with. Alya, on the other hand, remains standing tall. She doesn't flinch, doesn't express any outward anger, but you can see the storm raging in her eyes. When Cihan tells her Meryem will have to stay at the konak, she merely looks at him and nods. And you can see terror mixed with shame (I think) on Cihan's face, but hers remains clear of emotion. And then she walks away, saying she needs to collect Deniz because she's tired. Now that's an exit. Poised, calm, and leaving behind an absolute massacre in the onlookers. The scene where Deniz meets Meryem is another masterpiece because it's very subtle in the message it delivers. Which is - human relations go beyond blood, beyond memory, beyond societal impediments, if the love on both sides is strong enough. When Deniz says he's named after his father, the little boy is telling the truth. Cihan may not be his father in blood, but he's the father Deniz loves, the father he chose for himself. Then the same message is repeated through Deniz about CihAl when Sadakat tries to create trouble by saying Alya and Cihan are divorced. To which Deniz innocently replies, they may be divorced now, but they can get married again. Again, highlighting the importance of human connection. CihAl keep choosing each other through whatever challenge life throws at them, because they love each other equally. Yes, marriages and divorce can be forced, but it's the presence or absence of love that determines the final outcome. Case in point, Alya's marriage to Boran, Cihan's marriage to Seyda, Nare with Ozkan, Zerrin and Demir, etc., etc. That's what anyone opposing CihAl doesn't understand. Love finds a way. Always. That's what the story has been about since the beginning - that love will stand strong in front of all, as long as what you feel is truly love, and not some imitation of it. Also, *hint* *hint* that's the second time someone has mentioned CihAl getting married again, so it's definitely coming. Now for the scene where Cihan and Alya talk in their room. Cihan is right to be afraid of Alya here because he's a first-hand witness to how Alya reacts when she's been betrayed. He's seen how she took off Boran's ring and buried it with him after she found out about the will. An extreme situation compared to this one, absolutely. But fears don't use logic. Cihan knows Alya is strong enough to move on, to rise from the ashes - her strength is what he loves and fears at the same time. So, when he says 'Think of the Cihan in Alya's eyes, I don't want to be that Cihan' he's saying I know it looks like I disregarded you and broke your trust again, but that's not how things were. He needs her to show emotions, not because it'll pander to his ego, but because that's a sign she's still involved. That she's not near the point where she says 'enough is enough.' Alya, on the flip side, can't show her emotions. Because, unlike what Cihan fears, it's because she's so in love with him, so involved, that she's afraid to even ask what Cihan feels. Because if she learns Cihan's past isn't just the past, that he still loves Meryem, it'll shatter her unlike anything else. Despite it all, Cihan manages to reach Alya somehow when he pleads, 'I need you to communicate with me.' It's like his fears break past her barriers and, in turn, allow her to open up a little to him because she admits she doesn't know what to do, and then out comes the real question, 'Don't you feel anything?' Kudos to Cihan for not dodging the question and saying whatever he feels for her is just memory and gratitude. Salak. And I say salak with all my love, because he still misses the elephant in the room. The point is the imbalance. When we tell someone they're the only love of our life, we want an equal declaration in return. If not, the loop remains incomplete - with one side a little more invested than the other. And, CihAl's story thus far has been the opposite of imbalance. Their story is about symmetry; they reflect each other in love, in wounds, in loss. Basically everything. So, how is it that Alya's only love is Cihan, while his isn't? It's not. And that's where that necklace reveal becomes important, but we'll get to that later. For now, let's talk about that little talk in the car. The story itself is giving us hints that this imbalance won't last long, because the minute Alya talks about her first brush with romance is the moment jealous Cihan makes a return. He gets jealous of a nameless, formless, 16-year-old boy who once had the audacity to date his wife. That is, he can't tolerate a contender for Alya's affections even in memory. Cihan is extremely possessive about Alya, which is why he doesn't waste a moment to remind her she told him he's her only love. And Alya, being Alya, doesn't waste a moment in reminding him that he didn't. And then she turns the screw a little by telling Cihan not to burn his heart over her teenage crush because she never planned to marry her crush, nor is she conveniently living under the same roof with him. Mic drop. Cihan's face at that moment is a study in being hoist by one's own petard. Because he's expecting Alya to be okay with something he can't even stand the idea of. He's jealous as hell, but he can't do anything about it. But why is all this happening? Because one of Cihan's biggest truths is - he loved Meryem and lost her. In truth, he didn't love her, which is why he didn't fight hard enough, which is why he lost her. If Cihan had truly loved Meryem the way he loves Alya, he would have fought until the bitter end. Like he's doing for Alya. That's the truth. In Uzak, true love isn't passive - it demands to be seen, to be felt, it doesn't sit back quietly and accept defeat. In this story, love demands to be chosen. And Cihan didn't choose Meryem, not in the way it matters. So, why can't Cihan just accept the truth already? Fear and guilt, I think. Fear of the magnitude of what he feels for Alya, and what losing her would do to him. And guilt because some part of him knows he didn't do for Meryem what he's doing for Alya. And of course, now there's the burden of her shitty ex, too. Nonetheless, fate keeps pushing Cihan to realize the truth, over and over again in this episode. Another glimpse of how passive Cihan may have been in his relationship with Meryem is the dinner scene. Sadakat points out how much Meryem loved stuffed kebabs, and Cihan is barely listening. This is the same man who knows what Alya likes to eat when she's on break during duty. When Meryem points out Cihan's allergy, he says it was something he had in the past, but no longer. Almost like he's comparing the feelings he once had for her to an allergy. What an allegory. See? The signs are all there, but Cihan isn't picking up on them completely. Then fate ups the ante with the arrival of Chef Engin. The first thing Cihan asks Alya when Engin is gone is - Is that him? As in, is that the boy you said loved you? The man goes off the rails in 0 to 60 seconds, and keeps coming up with excuses like he may have changed his name or appearance. The idea of not being the only man in Alya's life makes him lose his cool while Alya rightly points out that she's not the one living with her 'first love' currently. Which then leads to Cihan spending the night at the office. So, fate manages to teach him one lesson here. Which is - ask only for that which you're ready to give. Cihan needs emotional exclusivity from Alya, but hasn't given her the same yet. He's not built to share Alya, not with the past, not with a memory, not with anything. But the second he feels even a fraction of what Alya's been going through, he unravels marvelously. And that's the entire point of that sequence. It's not just jealous drama, it's exposure. Cihan is slowly being led towards the one truth staring him in the face. That's where the necklace comes in. Thus far, Ciho seems to be operating under the misconception that Meryem has moved on, like him. But that necklace (and the video) prove otherwise. Meryem's current attachment to him throws neutrality out the window. Because Cihan will now have to set absolute boundaries, and in doing so, understand why he's setting them. Why what he feels for Alya leaves no room for anyone else because he can't stand the idea of something similar in Alya's past, present, or future. Because they are each other's exception, and everyone else was the rule. And that's it from me for now. Till later. Happy reading, y'all. #CihAl #UzakŞehir
2:09

Analyzing Episode 58. Season 2 aka Balancing the Scales This episode was some of Sinem and Ozan's best work. Their expressions landed every single time, and, frankly, short of screaming what the story is trying to say, they did everything they could to convince the audience that CihAl was, is, and will remain the endgame. With that out of the way, let's begin. We start the episode with Cihan shitting literal bricks as he sees Alya is already at the konak with Sadakat and Meryem arriving, right behind him. The reason is clear - he's caught in a difficult situation yet again. He doesn't want things to look like he's overriding Alya's existence in his life as its core, but circumstances keep making it so that he's put in awkward situations, which only compound his fear of pushing Alya past the point of no return. Meryem is all smiles and teeth at seeing the konak, but the minute her eyes land on Alya, her smile and her eyes drop to the floor. Almost like she was expecting something else entirely, but reality has shamed her. Her eyes remain downcast throughout the entire time she's walking towards Alya, as if Alya's the truth she can't cross eyes with. Alya, on the other hand, remains standing tall. She doesn't flinch, doesn't express any outward anger, but you can see the storm raging in her eyes. When Cihan tells her Meryem will have to stay at the konak, she merely looks at him and nods. And you can see terror mixed with shame (I think) on Cihan's face, but hers remains clear of emotion. And then she walks away, saying she needs to collect Deniz because she's tired. Now that's an exit. Poised, calm, and leaving behind an absolute massacre in the onlookers. The scene where Deniz meets Meryem is another masterpiece because it's very subtle in the message it delivers. Which is - human relations go beyond blood, beyond memory, beyond societal impediments, if the love on both sides is strong enough. When Deniz says he's named after his father, the little boy is telling the truth. Cihan may not be his father in blood, but he's the father Deniz loves, the father he chose for himself. Then the same message is repeated through Deniz about CihAl when Sadakat tries to create trouble by saying Alya and Cihan are divorced. To which Deniz innocently replies, they may be divorced now, but they can get married again. Again, highlighting the importance of human connection. CihAl keep choosing each other through whatever challenge life throws at them, because they love each other equally. Yes, marriages and divorce can be forced, but it's the presence or absence of love that determines the final outcome. Case in point, Alya's marriage to Boran, Cihan's marriage to Seyda, Nare with Ozkan, Zerrin and Demir, etc., etc. That's what anyone opposing CihAl doesn't understand. Love finds a way. Always. That's what the story has been about since the beginning - that love will stand strong in front of all, as long as what you feel is truly love, and not some imitation of it. Also, *hint* *hint* that's the second time someone has mentioned CihAl getting married again, so it's definitely coming. Now for the scene where Cihan and Alya talk in their room. Cihan is right to be afraid of Alya here because he's a first-hand witness to how Alya reacts when she's been betrayed. He's seen how she took off Boran's ring and buried it with him after she found out about the will. An extreme situation compared to this one, absolutely. But fears don't use logic. Cihan knows Alya is strong enough to move on, to rise from the ashes - her strength is what he loves and fears at the same time. So, when he says 'Think of the Cihan in Alya's eyes, I don't want to be that Cihan' he's saying I know it looks like I disregarded you and broke your trust again, but that's not how things were. He needs her to show emotions, not because it'll pander to his ego, but because that's a sign she's still involved. That she's not near the point where she says 'enough is enough.' Alya, on the flip side, can't show her emotions. Because, unlike what Cihan fears, it's because she's so in love with him, so involved, that she's afraid to even ask what Cihan feels. Because if she learns Cihan's past isn't just the past, that he still loves Meryem, it'll shatter her unlike anything else. Despite it all, Cihan manages to reach Alya somehow when he pleads, 'I need you to communicate with me.' It's like his fears break past her barriers and, in turn, allow her to open up a little to him because she admits she doesn't know what to do, and then out comes the real question, 'Don't you feel anything?' Kudos to Cihan for not dodging the question and saying whatever he feels for her is just memory and gratitude. Salak. And I say salak with all my love, because he still misses the elephant in the room. The point is the imbalance. When we tell someone they're the only love of our life, we want an equal declaration in return. If not, the loop remains incomplete - with one side a little more invested than the other. And, CihAl's story thus far has been the opposite of imbalance. Their story is about symmetry; they reflect each other in love, in wounds, in loss. Basically everything. So, how is it that Alya's only love is Cihan, while his isn't? It's not. And that's where that necklace reveal becomes important, but we'll get to that later. For now, let's talk about that little talk in the car. The story itself is giving us hints that this imbalance won't last long, because the minute Alya talks about her first brush with romance is the moment jealous Cihan makes a return. He gets jealous of a nameless, formless, 16-year-old boy who once had the audacity to date his wife. That is, he can't tolerate a contender for Alya's affections even in memory. Cihan is extremely possessive about Alya, which is why he doesn't waste a moment to remind her she told him he's her only love. And Alya, being Alya, doesn't waste a moment in reminding him that he didn't. And then she turns the screw a little by telling Cihan not to burn his heart over her teenage crush because she never planned to marry her crush, nor is she conveniently living under the same roof with him. Mic drop. Cihan's face at that moment is a study in being hoist by one's own petard. Because he's expecting Alya to be okay with something he can't even stand the idea of. He's jealous as hell, but he can't do anything about it. But why is all this happening? Because one of Cihan's biggest truths is - he loved Meryem and lost her. In truth, he didn't love her, which is why he didn't fight hard enough, which is why he lost her. If Cihan had truly loved Meryem the way he loves Alya, he would have fought until the bitter end. Like he's doing for Alya. That's the truth. In Uzak, true love isn't passive - it demands to be seen, to be felt, it doesn't sit back quietly and accept defeat. In this story, love demands to be chosen. And Cihan didn't choose Meryem, not in the way it matters. So, why can't Cihan just accept the truth already? Fear and guilt, I think. Fear of the magnitude of what he feels for Alya, and what losing her would do to him. And guilt because some part of him knows he didn't do for Meryem what he's doing for Alya. And of course, now there's the burden of her shitty ex, too. Nonetheless, fate keeps pushing Cihan to realize the truth, over and over again in this episode. Another glimpse of how passive Cihan may have been in his relationship with Meryem is the dinner scene. Sadakat points out how much Meryem loved stuffed kebabs, and Cihan is barely listening. This is the same man who knows what Alya likes to eat when she's on break during duty. When Meryem points out Cihan's allergy, he says it was something he had in the past, but no longer. Almost like he's comparing the feelings he once had for her to an allergy. What an allegory. See? The signs are all there, but Cihan isn't picking up on them completely. Then fate ups the ante with the arrival of Chef Engin. The first thing Cihan asks Alya when Engin is gone is - Is that him? As in, is that the boy you said loved you? The man goes off the rails in 0 to 60 seconds, and keeps coming up with excuses like he may have changed his name or appearance. The idea of not being the only man in Alya's life makes him lose his cool while Alya rightly points out that she's not the one living with her 'first love' currently. Which then leads to Cihan spending the night at the office. So, fate manages to teach him one lesson here. Which is - ask only for that which you're ready to give. Cihan needs emotional exclusivity from Alya, but hasn't given her the same yet. He's not built to share Alya, not with the past, not with a memory, not with anything. But the second he feels even a fraction of what Alya's been going through, he unravels marvelously. And that's the entire point of that sequence. It's not just jealous drama, it's exposure. Cihan is slowly being led towards the one truth staring him in the face. That's where the necklace comes in. Thus far, Ciho seems to be operating under the misconception that Meryem has moved on, like him. But that necklace (and the video) prove otherwise. Meryem's current attachment to him throws neutrality out the window. Because Cihan will now have to set absolute boundaries, and in doing so, understand why he's setting them. Why what he feels for Alya leaves no room for anyone else because he can't stand the idea of something similar in Alya's past, present, or future. Because they are each other's exception, and everyone else was the rule. And that's it from me for now. Till later. Happy reading, y'all. #CihAl #UzakŞehir

CocoLoco

15,453 görüntüleme • 4 ay önce

The following is a message from Diana Bloom, an anonymous Iranian activist living in Germany who is being threatened with potentially extremely dangerous "exposure" by what appears to be a lunatic. I am passing this message on since Diana has deleted her account for her own protection and safety. To note, I don't think I should be involved with this crazy Evil Evi woman or her OSINT dramas whatsoever since she went bonkers the other day, but she is acting in defamatory ways and with malicious recklessness in a way that endanger an anonymous Iranian dissident I believe to be good, so I must pass this along. A MESSAGE FROM DIANA BLOOM This is a post in two parts. Part one is a brief summary of what has happened so far. Part two addresses the defamatory claims being made about me. PART 1 - [JL: Diana's explanation and responses] For everyone who doesn’t understand what led to this point, here’s the shortest summary possible: Evi [Kokalari] and I had been friendly in DMs since the end of June. She messaged me first. After [DataRepublican] published her piece on the State Department, I asked Evi not to go too hard against DR. Evi did anyway, and James Lindsay defended DR. I didn’t like the way Evi went after James, including citing Milo. So I unfollowed and removed Evi. She confronted me in DMs, and I explained why. Evi then made a post attacking James that started and ended with me and used my profile picture. I responded once, as politely as I could. Evi then repeatedly threatened to dox me, so I deactivated my account. Now, regarding the substance of the accusations she has made so far: 1. I am not a man. My name is not Derek. 2. I am Iranian. 3. I do know stuff about American politics because (and that is the boring truth) German television is really bad. So I’ve only watched English/American stuff for the past, I don’t know, 15 years, podcasts, late night shows, etc. I didn’t think about it, I just did. Little did I know that that would give me an understanding of the inner dynamics of what’s going on within the Republican Party that would tie back to the Iranian people’s cause in 2026. Believe me, I’m still baffled by it whenever I pause to think about it. But that’s the truth, and here we are. 4. I am not in the United States. I shared a blog, and the provider of that blog (a big, common one) is in the United States. My VPN location is sometimes in the United States. Not me. 5. I am not responsible for the content of people defending me. I have no control over it. It’s not my content, and I keep my distance whenever I see problematic stuff. Many accounts defended me, but going to look for one that has done/said problematic stuff to tie it back to me is not right or fair. I am not responsible. I have nothing to do with it. 6. I wanted to help DR because Evi was threatening to go after her hard, and I didn’t think DR deserved that. I meant no harm, I wanted to help. I made a mistake, and I regret it now, but my intention wasn’t bad at that moment in time. 7. Evi herself was the first to come into my DMs and tell me not to fight with an account named Stephanie. So I did Evi that favor. Meaning: Evi came into my DMs first and tried to calm down a public disagreement between me and someone else. When I did this in defense of DR, I did the same thing Evi had done before. I would never think to accuse Evi of restricting my right to free speech because of it. 8. Publishing private DMs from someone without their permission is wrong. It is something both Evi and Stephanie have now done. Both have shared private messages from me without my permission. 9. Part of Evi’s “sources” seem to be Azi Yazdi (granddaughter of Khomeini’s first foreign minister), Benji, and Nima Yamini, as well as his ghost accounts (I have blocked multiple of them by now). If you know any of them, you know this is insane. None of them are reliable. It’s like using Milo as a source against James Lindsay. This is not about truth but about a (malicious) takedown to silence me and get me out of the way. 10. Evi has threatened to dox me (there is no doubt) multiple times, and she keeps going after me. This puts my life and my family’s lives in Iran in real danger, but she doesn’t care. She keeps going, and I can’t stop her. She keeps putting out one lie after another, and it traps me in a forever loop of defending myself. If I don’t respond to more and more accusations from her against me, rest assured, my silence should never be taken as agreement with the lies she puts out there. Be sure there is always context, a counterargument, counterevidence, etc., that would show that none of what she shares is fair or true. But it’s a forever war that is meant to drain me. So me not commenting on her stuff moving forward is never, ever, ever an admission that she is right about something. It’s just a rejection of playing a game I cannot win. To ALL the people who wrote/shared one or multiple posts and comments in my defense: Thank you very, very, very much. I’ve seen it, and I am grateful. But I think it’s best for my own and my family’s safety, as well as for the whole situation, that I step away and stay away from X. I hope that’s understandable. And Evi, for the last time: if you are not malicious, please just stop. Let me out of this. I am not your target. Just leave me and, through doxxing/"exposing", my family out of it moving forward. I beg of you, please. PART 2 - proof - [JL: The following are direct quotes from Evi indicating her intention to "expose" Diana, which she tries to claim is different than "doxxing," though for all practical purposes the effect will be the same and this is a distinction without a difference. The video below shows all of these quotes from her own posts.] 1. “I’m getting enough information on her from her own community. I may share it…” 2. “Either log back in with your real name, or I will start exposing you. And trust me, you will not like that.” 3. “So stop provoking me. If you continue, I will look much deeper into who you are and what your actual role is behind this anonymous account.” 4. “You know what...WAR IT IS. I will start with Diana!! STAY TUNED” 5. “So I will take those words seriously and dig as deep as I can” 6. “The identities of the "Iranian activists" would never have been called into question had they not attacked my right to freedom of speech in my own country.” 7. Someone: “She deleted her account because she’s concerned for her safety and the safety of her relatives in Iran your threats to dox her” Evi: “She should be...but if she turns out to be clean, I shall protect her identity. But trust me, she is not who she claims to be” 8. “Last I checked, Support on X is against fake accounts. Why are we being threatened for wanting to know the true identity of certain accounts…” 9. “Do you think I know who Diana bloom is? No but I need to find out at this point” 10. “... because I asked one of their group operatives from Germany to debate me using her/his true identity, or I would expose who’s behind the account.” 11. “So I don’t know what you’re all thinking, but this isn’t simply about Diana being scared of the IRGC in Iran. The IRGC has been significantly weakened and has plenty of other things to worry about. There are thousands of Iranian accounts fighting for Iran’s freedom under their own names while still having family members back in Iran. At this point, I think people have every right to ask who is actually behind these anonymous accounts… After a few more new posts on her feed, I was forced to tell her to either come back on X and do this under her real name, or I would expose who she was, so at least we would be having this discussion on equal grounds.” 12. “Don’t freaking interfere with other people’s business like that retard did and no one comes after you. So go ahead down and sue me and I will push harder to expose her and you and anyone else…” MY OWN [JL's] COMMENTS, which Diana has nothing to do with and doesn't know I'm appending here. I now believe Evi is likely to be a malignant narcissist who is incapable of admitting that she is wrong. She will not stop in her behavior, and she will aim to harm anyone who attempts to intervene. I do not recommend you do this. I recommend you mark, avoid, and block. Fighting with her will only fuel her because she simply cannot admit that she's wrong about all of this and can only double down in increasingly insane, dangerous, and reckless ways, including toward Diana and her safety. She believes everything she sees that's trying to talk sense into her about any of this is part of an elaborate "op" that "disrespects her free speech" (which isn't a thing, by the way). No one is silencing her. People are just trying to talk sense into her to stop spreading defamation and reckless "exposure" of people who she will put at risk with it and who do not in any way deserve it, people she considered friends and allies until literally four days ago when she suddenly blew up. Therefore, not only is her reckless belief hermetically sealed against any disagreement, she turns any disagreement into proof of allegedly coordinated attacks against her from a network that simply doesn't exist. As a response, in her malignancy, she is threatening to damage, "expose," or otherwise reputationally harm anyone who even tries politely to talk sense into her, much less to disagree with her or oppose her. I strongly recommend everyone realize what they're getting into if they work with or ally themselves with this crazy woman going forward. You do so at your own risk. I can attest from watching her over the last few days that her research abilities, at least when agitated, are so sloppy as to be beyond worthless, even dangerous. The post I'm quoting below is proof of that. She's trying to prove Diana is secretly an American because she's too sloppy and stupid to realize that a Wordpress domain has an American location. She isn't doing research in good faith or with fidelity on this issue, or about me. She is looking for any information she can to hurt people who have upset her. In fact, she is presently being sued for defamation by an Albanian singer (Evi is an Albanian immigrant to the United States and a U.S. citizen for at least a couple decades), so we might recognize this bad behavior and poor praxis as a pattern with her. I can provide just from the last few days, as can others, much evidence that she's simply grasping at the nastiest straws she can find to try to harm people she has suddenly decided are her opponents because of her jealous outburst at DataRepublican and her narcissistic injury at being called on it. The sloppiness and outright retardation of her "fact" finding and "analysis" are so shocking that it's hard not to laugh even given how horrifically dangerous it is. We can therefore infer this sloppiness, recklessness, and malice-when-opposed to be at least partially true of her other "research" against her other targets, by extension. That's a shame because many of those targets are worthy of real scrutiny, which she is undermining with her loose cannon. Therefore, I insist her OSINT "research" is at best worthless and at worst maliciously harmful. In either case, it cannot be engaged by people who want to make a positive difference in the world, so mark and avoid. Evi seems good at making connections. She was quite positively in my own DMs for a while, trying to find ways to work productively together, even suggesting we start an alternative to CPAC (lol). She appears to be friends with both Eric Trump and Don Jr., though the relationship with the former appears to be more solid. She seems to have worked behind the scenes with a lot of relatively prominent Republican groups. I find all of this incredibly concerning after the events of this week, even though I wouldn't have beforehand. My own assessment from this stupid and nasty drama is that Evi's primary motivation is that she is pathologically envious of DataRepublican and her influence, likely believing it should be her in DataRepublican's place. As we can see, she isn't nearly careful or accurate enough for that. Mark and avoid. Further, though, while DataRepublican has no driving interest to be who or what she is and is doing it in service to the best of her abilities (which are considerable but still limited and imperfect as are anyone's), Evi appears to covet the role, which she has demonstrated she cannot possibly handle responsibly. Again, mark and avoid. Block if you will. I will not unblock her for this post or in the future. You can think of that whatever you want. I will rarely, almost never, say anything about her except in the defense of others she is wantonly and recklessly attacking. I will NEVER interact with her directly again, no arguments, no back and forth, no dunks, nothing. My involvement here is pure exposure and nothing else. Thank you for your attention to this matter.
0:20

The following is a message from Diana Bloom, an anonymous Iranian activist living in Germany who is being threatened with potentially extremely dangerous "exposure" by what appears to be a lunatic. I am passing this message on since Diana has deleted her account for her own protection and safety. To note, I don't think I should be involved with this crazy Evil Evi woman or her OSINT dramas whatsoever since she went bonkers the other day, but she is acting in defamatory ways and with malicious recklessness in a way that endanger an anonymous Iranian dissident I believe to be good, so I must pass this along. A MESSAGE FROM DIANA BLOOM This is a post in two parts. Part one is a brief summary of what has happened so far. Part two addresses the defamatory claims being made about me. PART 1 - [JL: Diana's explanation and responses] For everyone who doesn’t understand what led to this point, here’s the shortest summary possible: Evi [Kokalari] and I had been friendly in DMs since the end of June. She messaged me first. After [DataRepublican] published her piece on the State Department, I asked Evi not to go too hard against DR. Evi did anyway, and James Lindsay defended DR. I didn’t like the way Evi went after James, including citing Milo. So I unfollowed and removed Evi. She confronted me in DMs, and I explained why. Evi then made a post attacking James that started and ended with me and used my profile picture. I responded once, as politely as I could. Evi then repeatedly threatened to dox me, so I deactivated my account. Now, regarding the substance of the accusations she has made so far: 1. I am not a man. My name is not Derek. 2. I am Iranian. 3. I do know stuff about American politics because (and that is the boring truth) German television is really bad. So I’ve only watched English/American stuff for the past, I don’t know, 15 years, podcasts, late night shows, etc. I didn’t think about it, I just did. Little did I know that that would give me an understanding of the inner dynamics of what’s going on within the Republican Party that would tie back to the Iranian people’s cause in 2026. Believe me, I’m still baffled by it whenever I pause to think about it. But that’s the truth, and here we are. 4. I am not in the United States. I shared a blog, and the provider of that blog (a big, common one) is in the United States. My VPN location is sometimes in the United States. Not me. 5. I am not responsible for the content of people defending me. I have no control over it. It’s not my content, and I keep my distance whenever I see problematic stuff. Many accounts defended me, but going to look for one that has done/said problematic stuff to tie it back to me is not right or fair. I am not responsible. I have nothing to do with it. 6. I wanted to help DR because Evi was threatening to go after her hard, and I didn’t think DR deserved that. I meant no harm, I wanted to help. I made a mistake, and I regret it now, but my intention wasn’t bad at that moment in time. 7. Evi herself was the first to come into my DMs and tell me not to fight with an account named Stephanie. So I did Evi that favor. Meaning: Evi came into my DMs first and tried to calm down a public disagreement between me and someone else. When I did this in defense of DR, I did the same thing Evi had done before. I would never think to accuse Evi of restricting my right to free speech because of it. 8. Publishing private DMs from someone without their permission is wrong. It is something both Evi and Stephanie have now done. Both have shared private messages from me without my permission. 9. Part of Evi’s “sources” seem to be Azi Yazdi (granddaughter of Khomeini’s first foreign minister), Benji, and Nima Yamini, as well as his ghost accounts (I have blocked multiple of them by now). If you know any of them, you know this is insane. None of them are reliable. It’s like using Milo as a source against James Lindsay. This is not about truth but about a (malicious) takedown to silence me and get me out of the way. 10. Evi has threatened to dox me (there is no doubt) multiple times, and she keeps going after me. This puts my life and my family’s lives in Iran in real danger, but she doesn’t care. She keeps going, and I can’t stop her. She keeps putting out one lie after another, and it traps me in a forever loop of defending myself. If I don’t respond to more and more accusations from her against me, rest assured, my silence should never be taken as agreement with the lies she puts out there. Be sure there is always context, a counterargument, counterevidence, etc., that would show that none of what she shares is fair or true. But it’s a forever war that is meant to drain me. So me not commenting on her stuff moving forward is never, ever, ever an admission that she is right about something. It’s just a rejection of playing a game I cannot win. To ALL the people who wrote/shared one or multiple posts and comments in my defense: Thank you very, very, very much. I’ve seen it, and I am grateful. But I think it’s best for my own and my family’s safety, as well as for the whole situation, that I step away and stay away from X. I hope that’s understandable. And Evi, for the last time: if you are not malicious, please just stop. Let me out of this. I am not your target. Just leave me and, through doxxing/"exposing", my family out of it moving forward. I beg of you, please. PART 2 - proof - [JL: The following are direct quotes from Evi indicating her intention to "expose" Diana, which she tries to claim is different than "doxxing," though for all practical purposes the effect will be the same and this is a distinction without a difference. The video below shows all of these quotes from her own posts.] 1. “I’m getting enough information on her from her own community. I may share it…” 2. “Either log back in with your real name, or I will start exposing you. And trust me, you will not like that.” 3. “So stop provoking me. If you continue, I will look much deeper into who you are and what your actual role is behind this anonymous account.” 4. “You know what...WAR IT IS. I will start with Diana!! STAY TUNED” 5. “So I will take those words seriously and dig as deep as I can” 6. “The identities of the "Iranian activists" would never have been called into question had they not attacked my right to freedom of speech in my own country.” 7. Someone: “She deleted her account because she’s concerned for her safety and the safety of her relatives in Iran your threats to dox her” Evi: “She should be...but if she turns out to be clean, I shall protect her identity. But trust me, she is not who she claims to be” 8. “Last I checked, Support on X is against fake accounts. Why are we being threatened for wanting to know the true identity of certain accounts…” 9. “Do you think I know who Diana bloom is? No but I need to find out at this point” 10. “... because I asked one of their group operatives from Germany to debate me using her/his true identity, or I would expose who’s behind the account.” 11. “So I don’t know what you’re all thinking, but this isn’t simply about Diana being scared of the IRGC in Iran. The IRGC has been significantly weakened and has plenty of other things to worry about. There are thousands of Iranian accounts fighting for Iran’s freedom under their own names while still having family members back in Iran. At this point, I think people have every right to ask who is actually behind these anonymous accounts… After a few more new posts on her feed, I was forced to tell her to either come back on X and do this under her real name, or I would expose who she was, so at least we would be having this discussion on equal grounds.” 12. “Don’t freaking interfere with other people’s business like that retard did and no one comes after you. So go ahead down and sue me and I will push harder to expose her and you and anyone else…” MY OWN [JL's] COMMENTS, which Diana has nothing to do with and doesn't know I'm appending here. I now believe Evi is likely to be a malignant narcissist who is incapable of admitting that she is wrong. She will not stop in her behavior, and she will aim to harm anyone who attempts to intervene. I do not recommend you do this. I recommend you mark, avoid, and block. Fighting with her will only fuel her because she simply cannot admit that she's wrong about all of this and can only double down in increasingly insane, dangerous, and reckless ways, including toward Diana and her safety. She believes everything she sees that's trying to talk sense into her about any of this is part of an elaborate "op" that "disrespects her free speech" (which isn't a thing, by the way). No one is silencing her. People are just trying to talk sense into her to stop spreading defamation and reckless "exposure" of people who she will put at risk with it and who do not in any way deserve it, people she considered friends and allies until literally four days ago when she suddenly blew up. Therefore, not only is her reckless belief hermetically sealed against any disagreement, she turns any disagreement into proof of allegedly coordinated attacks against her from a network that simply doesn't exist. As a response, in her malignancy, she is threatening to damage, "expose," or otherwise reputationally harm anyone who even tries politely to talk sense into her, much less to disagree with her or oppose her. I strongly recommend everyone realize what they're getting into if they work with or ally themselves with this crazy woman going forward. You do so at your own risk. I can attest from watching her over the last few days that her research abilities, at least when agitated, are so sloppy as to be beyond worthless, even dangerous. The post I'm quoting below is proof of that. She's trying to prove Diana is secretly an American because she's too sloppy and stupid to realize that a Wordpress domain has an American location. She isn't doing research in good faith or with fidelity on this issue, or about me. She is looking for any information she can to hurt people who have upset her. In fact, she is presently being sued for defamation by an Albanian singer (Evi is an Albanian immigrant to the United States and a U.S. citizen for at least a couple decades), so we might recognize this bad behavior and poor praxis as a pattern with her. I can provide just from the last few days, as can others, much evidence that she's simply grasping at the nastiest straws she can find to try to harm people she has suddenly decided are her opponents because of her jealous outburst at DataRepublican and her narcissistic injury at being called on it. The sloppiness and outright retardation of her "fact" finding and "analysis" are so shocking that it's hard not to laugh even given how horrifically dangerous it is. We can therefore infer this sloppiness, recklessness, and malice-when-opposed to be at least partially true of her other "research" against her other targets, by extension. That's a shame because many of those targets are worthy of real scrutiny, which she is undermining with her loose cannon. Therefore, I insist her OSINT "research" is at best worthless and at worst maliciously harmful. In either case, it cannot be engaged by people who want to make a positive difference in the world, so mark and avoid. Evi seems good at making connections. She was quite positively in my own DMs for a while, trying to find ways to work productively together, even suggesting we start an alternative to CPAC (lol). She appears to be friends with both Eric Trump and Don Jr., though the relationship with the former appears to be more solid. She seems to have worked behind the scenes with a lot of relatively prominent Republican groups. I find all of this incredibly concerning after the events of this week, even though I wouldn't have beforehand. My own assessment from this stupid and nasty drama is that Evi's primary motivation is that she is pathologically envious of DataRepublican and her influence, likely believing it should be her in DataRepublican's place. As we can see, she isn't nearly careful or accurate enough for that. Mark and avoid. Further, though, while DataRepublican has no driving interest to be who or what she is and is doing it in service to the best of her abilities (which are considerable but still limited and imperfect as are anyone's), Evi appears to covet the role, which she has demonstrated she cannot possibly handle responsibly. Again, mark and avoid. Block if you will. I will not unblock her for this post or in the future. You can think of that whatever you want. I will rarely, almost never, say anything about her except in the defense of others she is wantonly and recklessly attacking. I will NEVER interact with her directly again, no arguments, no back and forth, no dunks, nothing. My involvement here is pure exposure and nothing else. Thank you for your attention to this matter.

James Lindsay, anti-Communist

57,651 görüntüleme • 13 gün önce

Deputy thinks an Acorn hitting the roof of his car is gunfire so he unloaded his firearm at his own car that had an unarmed suspect inside. This is next level incompetence. ​The incident took place in Fort Walton Beach, Florida. Deputies from the Okaloosa County Sheriff’s Office responded to a call regarding a man named Marquis Jackson. Jackson’s girlfriend had called the police, accusing him of stealing her car and sending her threatening text messages. ​Deputies located Jackson, detained him, handcuffed him behind his back, and placed him in the backseat of a standard patrol vehicle for questioning. ​Deputy Jesse Hernandez, a trainee at the time, was walking back toward the patrol vehicle where Jackson was being held. As he approached the passenger side of the car, a small acorn fell from an overhead tree and struck the roof of the vehicle. ​Because of the metallic thud it made on the roof, Deputy Hernandez misidentified the sound as a muffled gunshot from inside the vehicle. What followed was a massive cascade of panic: ​Hernandez immediately fell to the ground, rolled, and began screaming, "Shots fired! Shots fired! I'm hit! I'm hit!" ​Believing he had been shot in the torso and that Jackson was actively firing at him through the car windows, Hernandez drew his weapon and fired multiple rounds into the patrol car. ​Hearing her partner’s screams and weapon fire, Sergeant Beth Roberts—who was also on the scene—assumed they were under fire. She drew her weapon and also opened fire on the vehicle. ​In total, the two officers fired more than 20 rounds into the patrol car. ​Despite the patrol car being riddled with bullets and shattered glass, Marquis Jackson was completely uninjured. Because he was handcuffed, he could only lean away and press himself as low as possible into the floorboard/seat crack of the vehicle to avoid the gunfire. ​Deputy Hernandez was also not injured. After the dust settled, medical staff confirmed he had not been shot; his belief that he was hit was likely a psychological reaction to intense panic (often referred to as a phantom injury). ​The Okaloosa County Sheriff’s Office conducted an extensive internal investigation into the shooting. The investigation concluded that Deputy Hernandez’s use of force was not objectively reasonable. While Hernandez genuinely believed he was under threat, the investigation found no evidence of any weapon on Jackson, nor any reasonable justification for mistaking an acorn for a gunshot. Sergeant Roberts' use of force was found to be legally justified under the "fellow officer rule," as she was reacting to what she reasonably believed was her partner being shot. Deputy Hernandez resigned from the sheriff's office during the investigation, effectively ending his career in law enforcement. ​ Sheriff Eric Aden publicly released the bodycam footage and issued a formal apology to Marquis Jackson and the community, stating that the department failed in its duty to protect a suspect in their custody. ​Ultimately, Jackson was cleared of any wrongdoing regarding the shooting, and the event remains a textbook example used in law enforcement training regarding hyper-vigilance and the dangers of misinterpreting sensory input during high-stress situations.
4:08

Deputy thinks an Acorn hitting the roof of his car is gunfire so he unloaded his firearm at his own car that had an unarmed suspect inside. This is next level incompetence. ​The incident took place in Fort Walton Beach, Florida. Deputies from the Okaloosa County Sheriff’s Office responded to a call regarding a man named Marquis Jackson. Jackson’s girlfriend had called the police, accusing him of stealing her car and sending her threatening text messages. ​Deputies located Jackson, detained him, handcuffed him behind his back, and placed him in the backseat of a standard patrol vehicle for questioning. ​Deputy Jesse Hernandez, a trainee at the time, was walking back toward the patrol vehicle where Jackson was being held. As he approached the passenger side of the car, a small acorn fell from an overhead tree and struck the roof of the vehicle. ​Because of the metallic thud it made on the roof, Deputy Hernandez misidentified the sound as a muffled gunshot from inside the vehicle. What followed was a massive cascade of panic: ​Hernandez immediately fell to the ground, rolled, and began screaming, "Shots fired! Shots fired! I'm hit! I'm hit!" ​Believing he had been shot in the torso and that Jackson was actively firing at him through the car windows, Hernandez drew his weapon and fired multiple rounds into the patrol car. ​Hearing her partner’s screams and weapon fire, Sergeant Beth Roberts—who was also on the scene—assumed they were under fire. She drew her weapon and also opened fire on the vehicle. ​In total, the two officers fired more than 20 rounds into the patrol car. ​Despite the patrol car being riddled with bullets and shattered glass, Marquis Jackson was completely uninjured. Because he was handcuffed, he could only lean away and press himself as low as possible into the floorboard/seat crack of the vehicle to avoid the gunfire. ​Deputy Hernandez was also not injured. After the dust settled, medical staff confirmed he had not been shot; his belief that he was hit was likely a psychological reaction to intense panic (often referred to as a phantom injury). ​The Okaloosa County Sheriff’s Office conducted an extensive internal investigation into the shooting. The investigation concluded that Deputy Hernandez’s use of force was not objectively reasonable. While Hernandez genuinely believed he was under threat, the investigation found no evidence of any weapon on Jackson, nor any reasonable justification for mistaking an acorn for a gunshot. Sergeant Roberts' use of force was found to be legally justified under the "fellow officer rule," as she was reacting to what she reasonably believed was her partner being shot. Deputy Hernandez resigned from the sheriff's office during the investigation, effectively ending his career in law enforcement. ​ Sheriff Eric Aden publicly released the bodycam footage and issued a formal apology to Marquis Jackson and the community, stating that the department failed in its duty to protect a suspect in their custody. ​Ultimately, Jackson was cleared of any wrongdoing regarding the shooting, and the event remains a textbook example used in law enforcement training regarding hyper-vigilance and the dangers of misinterpreting sensory input during high-stress situations.

Giggling Ganon

833,178 görüntüleme • 3 ay önce

There was a massive John O'Keefe and Karen Read re-trial bombshell that went under the surface last week. Not only were 17 Ring videos deleted from John's system between 12:37am and 5:08am on 1/29/22, another video of Karen and her family collecting the murder weapon after 12pm ET that day was also deleted. This means someone (probably Karen) accessed John's Ring system --access that John's niece and nephew have testified Karen possessed-- sometime in the afternoon of 1/29/22 (before search warrants were served on Karen's phone and her car, after 4pm that day, when the vehicle was located by State Police at the home of Karen's parents in Dighton). Indeed, Karen would only need knowledge of John's Ring login information --something Karen had, as evidenced by the document below-- in order to access the system remotely from any device. The fact that there was a video deleted after 12pm on 1/29/22, and that the video in question directly captured Karen and her family leaving John's home with the murder weapon, indicates at least some of the deletions in questions did not occur until Karen was released from the hospital. Karen's access to John's rings system, and the timeline of the deleted videos, thus raises the potential that Karen also deleted 17 of the 18 Ring videos from earlier that morning --between 12:37am and 5:08am, as mentioned-- while at her parents house in Dighton. In turn, this would mean Karen left specific Ring videos on the system, including a staged "bump" into John's car at at 5:08am, in anticipation of being criminally charged. Read a prior public court motion regarding Karen's access to John's ring system here - If these deletions are confirmed, Karen's prior statement during a news interview becomes an ominous double entendre. "I mean, what kind of criminal mastermind am I? Not a very good one," said Read with a smirk to the camera. Perhaps in a prescient manner, when that clip first aired in March of 2025, this is what I reported (at the time, I did not fully realize the implications of Karen also deleting another damning Ring video from after 12pm on 1/29/22); "Karen Read, as I predicted many months ago, left a single Ring video on John O'Keefe's system , from roughly 5:08am, wherein Karen may have staged a fake "bump" into John O'Keefe's car to, in real time, plant reasonable double as to the cause of Read's broken taillight." "I am actually stunned that, in that moment, Karen managed to make sure the other 17 Ring videos on John's system were deleted (from between 12:37am and 5:08am), and managed to stage a fake "bump" into John's car, as a preemptive form of artificial reasonable doubt." "Karen didn't pull it off, but her mind was certainly in overdrive that morning before Read hatched her plan to, in my view, return to Fairview Road (circa 5:23am), confirm John was indeed dead, as a result of Karen hitting John with her car at 12:31am that morning, while drunk, and then leaving John on the lawn in a blizzard." "Then, Read, after 5:35am, went to pick up Jen McCabe and Kerri Roberts, returned to John's house with the two women, told them to stop searching in John's house because "John wasn't there," left the alleged murder weapon in John's driveway, and returned to Fairview Road after 6am (in Kerri's car), whereupon Karen somehow "saw" John's body in the snow, through a blizzard, and before the three women passed the tree line of the lawn of the home where John met his lonesome and untimely end earlier that morning (as a result of what, I believe, was a fight between John and Karen, as to the breakdown of their relationship, spiraling when Karen felt she was losing control of the situation)." See that clip of Karen's "criminal mastermind" statement, and read my shockingly accurate prediction, here - Also of note, in towel's exclusive Karen Cam footage from May 8th, 2025 --when jurors in Read's re-trial were show evidence of Karen's father and brother collecting Read's Lexus from John's home in Canton after 12pm ET on 1/29/22-- prior observations by social media users --related to Bill Read leaving the courtroom within seconds of those clips being shown to jurors-- were confirmed. Read the initial reporting of Mr. Read leaving the courtroom in very seconds after clips were played here - Bill Read --already under observation by a court officer due to reports Mr. Read was staring at jurors as state witnesses were testifying over recent days-- noticeably left the front bench behind his daughter for nearly 40 minutes in the immediate aftermath of the deleted Ring videos (in particular from after 12pm that day involving Mr. Read, Karen's brother, and Karen's sister-in-law - all three of whom are on the state's witness list for the re-trial, but have yet to be called). This was the first time, throughout any proceeding, that Mr. Read left the courtroom benches during trial for an extended period of time. Interestingly, Hank Brennan announced last week in a court motion that the keeper of records for Ring will be testifying in Karen's re-trial --something that did not happen in the first trial-- which, further, suggests that Ring may have a log of when John's account was accessed, where it was accessed from and, most importantly, what videos were deleted from that account (along with when those videos were deleted). Read that motion related to Ring's upcoming testimony, between May 12 and May 16 of 2025, here - If it is indeed confirmed that Karen, or her family member, accessed John's Ring system to remove 17 of the 18 videos recorded between 12:37am and 5:08am on 1/29/22, along with another video after 12pm showing Karen's family collecting the vehicle, with a broken taillight, before taking it back to Dighton-- that is devastating evidence to Karen's defense. It has already been revealed in court papers, in that regard, that Karen was on her laptop at her parent's house around 4pm on 1/29/22 --when Karen's phone and car were collected as evidence by the police-- and, in turn, that may be the smoking gun as to Karen's consciousness of guilt if Ring records indicate videos from John's system were deleted from a remote location (in particular Dighton, Massachusetts) circa 2-4pm or so on that afternoon. Those deleted videos are no doubt very damaging to Karen, and would certainly show her taillight broken when Karen returned to John's home at 12:37am that morning --as confirmed by Karen connecting to John's home wifi at that time-- as well as that taillight being broken when Karen, her father, her brother and her sister-in-law came to collect the alleged murder weapon after 12pm ET on 1/29/22. See testimony from Karen's first trial wherein Karen admitted to one of John's friends --whom Karen tried to bait into an affair by manipulating that friend about John hugging someone on a vacation prior to John's death, until John's friend cut off the affair when he realized Karen was only trying to hurt John-- that Karen "knew where the Ring cameras were" in John's home in the weeks leading up to John's last moments alive, here - Karen, of course, was taken to the hospital (at the request of her own parents) for threatening self harm after confessing to hitting John O'Keefe, while drunk and with a BAC of 0.14-0.28 (2-4 times the legal limit) at exactly 12:32:16am ET on 1/29/22. Firefighter Katie McLaughlin, a key witness in the John O'Keefe and Karen Read re-trial, testified that she was the person who asked Karen if John had experienced any trauma in the early morning of 1/29/22, to which Karen replied, "I hit him! I hit him! I hit him!" At that point, multiple witnesses to the statement (including other first responders) realized Karen was confessing to hitting John O'Keefe with her car, while drunk with a BAC between 0.14 and 0.28, and then the Canton Police called in their supervisor. See that earthshattering testimony from Firefighter McLaughlin here - Jurors have already seen shocking videos, from Karen's own media interviews, wherein Read admits that she should not have been drunk driving in the moments before she John drove from a bar to an after party a local home. The clips, in turn, not only showed Karen admitting to her state of intoxication while driving but, at the same time, they also showed Karen ADMITTING to having up to nine drinks over just three or so hours on the evening of 1/28/22 and the early morning of 1/29/22. Indeed, see that admission by Read, as to her state of intoxication while driving in the moment's before John was allegedly struck, here - "I had been out late, I had been drinking, John was in the last general vicinity of where I saw him...within 50 feet...he's in the front yard so I'm thinking "Jesus, was I starting to pull away and did I run over his foot." "So when I found him, I was thinking, did I clip him somehow," said Read, in further footage played before jurors. Read's team fought hard to keep those pieces of footage secret from jurors, and the public, but that plan failed. Watch the previously-secret footage of Karen's admission as to potentially hitting John with her car while drunk here - Somehow making Read's situation worse, Hank Brennan than played interviews with Read wherein Karen admitted to attempting to frame one of John's dear friends, Jen McCabe, for Karen's actions. "Jen McCabe? It's me or her! Either I'm going down, Jen, or you are!" Read told a film crew, in remarks played for jurors during week 2 of Karen's re-trial as to causing John's death. See that moment here - Of note, Hank Brennan has played multiple audio and video recordings for the jury related to Karen Read admitting that Karen and John O'Keefe were in an argument in the minutes leading up to Read allegedly striking John with her car, while drunk driving. Karen was upset because the name of John's former girlfriend was mentioned on the drive to Fairview Road. See more background about that argument between a possessive, controlling, Karen Read and John O'Keefe, in the moments before John was allegedly struck by Karen's car at 12:32am on 1/29/22, here - Earlier last week, jurors were aghast at Karen mocking John's mother, Peggy O'Keefe, also in a media interview. See those moments here - Also, as a final note, I want to extend a huge thank you to super towel MrrderByMaestro for noticing the subtle moment in court this week when confirmation came down that a Ring video from John's home system -- that is obviously quite damaging to Karen Read's defense-- was deleted (along with the 17 of 18 videos deleted earlier that morning that also implicate Karen, and her broken taillight, as the cause of John's death). I believe Mr. ByMaestro to be the exemplar of noble towel service to humanity, and I thus deem him a member of Nobilis ordo Linteo (N.o.L.). As always, watch live coverage of Monday's (day 13) presentation of evidence in the John O'Keefe and Karen Read re-trial, chat with the wonderful towel friends and watch special Towel MultiCam Coverage --including the world famous Karen Cam-- via this link -
20:16

There was a massive John O'Keefe and Karen Read re-trial bombshell that went under the surface last week. Not only were 17 Ring videos deleted from John's system between 12:37am and 5:08am on 1/29/22, another video of Karen and her family collecting the murder weapon after 12pm ET that day was also deleted. This means someone (probably Karen) accessed John's Ring system --access that John's niece and nephew have testified Karen possessed-- sometime in the afternoon of 1/29/22 (before search warrants were served on Karen's phone and her car, after 4pm that day, when the vehicle was located by State Police at the home of Karen's parents in Dighton). Indeed, Karen would only need knowledge of John's Ring login information --something Karen had, as evidenced by the document below-- in order to access the system remotely from any device. The fact that there was a video deleted after 12pm on 1/29/22, and that the video in question directly captured Karen and her family leaving John's home with the murder weapon, indicates at least some of the deletions in questions did not occur until Karen was released from the hospital. Karen's access to John's rings system, and the timeline of the deleted videos, thus raises the potential that Karen also deleted 17 of the 18 Ring videos from earlier that morning --between 12:37am and 5:08am, as mentioned-- while at her parents house in Dighton. In turn, this would mean Karen left specific Ring videos on the system, including a staged "bump" into John's car at at 5:08am, in anticipation of being criminally charged. Read a prior public court motion regarding Karen's access to John's ring system here - If these deletions are confirmed, Karen's prior statement during a news interview becomes an ominous double entendre. "I mean, what kind of criminal mastermind am I? Not a very good one," said Read with a smirk to the camera. Perhaps in a prescient manner, when that clip first aired in March of 2025, this is what I reported (at the time, I did not fully realize the implications of Karen also deleting another damning Ring video from after 12pm on 1/29/22); "Karen Read, as I predicted many months ago, left a single Ring video on John O'Keefe's system , from roughly 5:08am, wherein Karen may have staged a fake "bump" into John O'Keefe's car to, in real time, plant reasonable double as to the cause of Read's broken taillight." "I am actually stunned that, in that moment, Karen managed to make sure the other 17 Ring videos on John's system were deleted (from between 12:37am and 5:08am), and managed to stage a fake "bump" into John's car, as a preemptive form of artificial reasonable doubt." "Karen didn't pull it off, but her mind was certainly in overdrive that morning before Read hatched her plan to, in my view, return to Fairview Road (circa 5:23am), confirm John was indeed dead, as a result of Karen hitting John with her car at 12:31am that morning, while drunk, and then leaving John on the lawn in a blizzard." "Then, Read, after 5:35am, went to pick up Jen McCabe and Kerri Roberts, returned to John's house with the two women, told them to stop searching in John's house because "John wasn't there," left the alleged murder weapon in John's driveway, and returned to Fairview Road after 6am (in Kerri's car), whereupon Karen somehow "saw" John's body in the snow, through a blizzard, and before the three women passed the tree line of the lawn of the home where John met his lonesome and untimely end earlier that morning (as a result of what, I believe, was a fight between John and Karen, as to the breakdown of their relationship, spiraling when Karen felt she was losing control of the situation)." See that clip of Karen's "criminal mastermind" statement, and read my shockingly accurate prediction, here - Also of note, in towel's exclusive Karen Cam footage from May 8th, 2025 --when jurors in Read's re-trial were show evidence of Karen's father and brother collecting Read's Lexus from John's home in Canton after 12pm ET on 1/29/22-- prior observations by social media users --related to Bill Read leaving the courtroom within seconds of those clips being shown to jurors-- were confirmed. Read the initial reporting of Mr. Read leaving the courtroom in very seconds after clips were played here - Bill Read --already under observation by a court officer due to reports Mr. Read was staring at jurors as state witnesses were testifying over recent days-- noticeably left the front bench behind his daughter for nearly 40 minutes in the immediate aftermath of the deleted Ring videos (in particular from after 12pm that day involving Mr. Read, Karen's brother, and Karen's sister-in-law - all three of whom are on the state's witness list for the re-trial, but have yet to be called). This was the first time, throughout any proceeding, that Mr. Read left the courtroom benches during trial for an extended period of time. Interestingly, Hank Brennan announced last week in a court motion that the keeper of records for Ring will be testifying in Karen's re-trial --something that did not happen in the first trial-- which, further, suggests that Ring may have a log of when John's account was accessed, where it was accessed from and, most importantly, what videos were deleted from that account (along with when those videos were deleted). Read that motion related to Ring's upcoming testimony, between May 12 and May 16 of 2025, here - If it is indeed confirmed that Karen, or her family member, accessed John's Ring system to remove 17 of the 18 videos recorded between 12:37am and 5:08am on 1/29/22, along with another video after 12pm showing Karen's family collecting the vehicle, with a broken taillight, before taking it back to Dighton-- that is devastating evidence to Karen's defense. It has already been revealed in court papers, in that regard, that Karen was on her laptop at her parent's house around 4pm on 1/29/22 --when Karen's phone and car were collected as evidence by the police-- and, in turn, that may be the smoking gun as to Karen's consciousness of guilt if Ring records indicate videos from John's system were deleted from a remote location (in particular Dighton, Massachusetts) circa 2-4pm or so on that afternoon. Those deleted videos are no doubt very damaging to Karen, and would certainly show her taillight broken when Karen returned to John's home at 12:37am that morning --as confirmed by Karen connecting to John's home wifi at that time-- as well as that taillight being broken when Karen, her father, her brother and her sister-in-law came to collect the alleged murder weapon after 12pm ET on 1/29/22. See testimony from Karen's first trial wherein Karen admitted to one of John's friends --whom Karen tried to bait into an affair by manipulating that friend about John hugging someone on a vacation prior to John's death, until John's friend cut off the affair when he realized Karen was only trying to hurt John-- that Karen "knew where the Ring cameras were" in John's home in the weeks leading up to John's last moments alive, here - Karen, of course, was taken to the hospital (at the request of her own parents) for threatening self harm after confessing to hitting John O'Keefe, while drunk and with a BAC of 0.14-0.28 (2-4 times the legal limit) at exactly 12:32:16am ET on 1/29/22. Firefighter Katie McLaughlin, a key witness in the John O'Keefe and Karen Read re-trial, testified that she was the person who asked Karen if John had experienced any trauma in the early morning of 1/29/22, to which Karen replied, "I hit him! I hit him! I hit him!" At that point, multiple witnesses to the statement (including other first responders) realized Karen was confessing to hitting John O'Keefe with her car, while drunk with a BAC between 0.14 and 0.28, and then the Canton Police called in their supervisor. See that earthshattering testimony from Firefighter McLaughlin here - Jurors have already seen shocking videos, from Karen's own media interviews, wherein Read admits that she should not have been drunk driving in the moments before she John drove from a bar to an after party a local home. The clips, in turn, not only showed Karen admitting to her state of intoxication while driving but, at the same time, they also showed Karen ADMITTING to having up to nine drinks over just three or so hours on the evening of 1/28/22 and the early morning of 1/29/22. Indeed, see that admission by Read, as to her state of intoxication while driving in the moment's before John was allegedly struck, here - "I had been out late, I had been drinking, John was in the last general vicinity of where I saw him...within 50 feet...he's in the front yard so I'm thinking "Jesus, was I starting to pull away and did I run over his foot." "So when I found him, I was thinking, did I clip him somehow," said Read, in further footage played before jurors. Read's team fought hard to keep those pieces of footage secret from jurors, and the public, but that plan failed. Watch the previously-secret footage of Karen's admission as to potentially hitting John with her car while drunk here - Somehow making Read's situation worse, Hank Brennan than played interviews with Read wherein Karen admitted to attempting to frame one of John's dear friends, Jen McCabe, for Karen's actions. "Jen McCabe? It's me or her! Either I'm going down, Jen, or you are!" Read told a film crew, in remarks played for jurors during week 2 of Karen's re-trial as to causing John's death. See that moment here - Of note, Hank Brennan has played multiple audio and video recordings for the jury related to Karen Read admitting that Karen and John O'Keefe were in an argument in the minutes leading up to Read allegedly striking John with her car, while drunk driving. Karen was upset because the name of John's former girlfriend was mentioned on the drive to Fairview Road. See more background about that argument between a possessive, controlling, Karen Read and John O'Keefe, in the moments before John was allegedly struck by Karen's car at 12:32am on 1/29/22, here - Earlier last week, jurors were aghast at Karen mocking John's mother, Peggy O'Keefe, also in a media interview. See those moments here - Also, as a final note, I want to extend a huge thank you to super towel MrrderByMaestro for noticing the subtle moment in court this week when confirmation came down that a Ring video from John's home system -- that is obviously quite damaging to Karen Read's defense-- was deleted (along with the 17 of 18 videos deleted earlier that morning that also implicate Karen, and her broken taillight, as the cause of John's death). I believe Mr. ByMaestro to be the exemplar of noble towel service to humanity, and I thus deem him a member of Nobilis ordo Linteo (N.o.L.). As always, watch live coverage of Monday's (day 13) presentation of evidence in the John O'Keefe and Karen Read re-trial, chat with the wonderful towel friends and watch special Towel MultiCam Coverage --including the world famous Karen Cam-- via this link -

Grant Smith Ellis

101,651 görüntüleme • 1 yıl önce

"We loved our daughter and we wanted to help her." ~Tim Gallaudet This is way too long but I hope you enjoy it. As far as Steven Greenstreet 🐷's posts about the Gallaudets, hauntings and psychics? First off, Tim Gallaudet's wife, "was also a Naval Academy graduate and a master’s recipient from Scripps, having earned her degree in 2001." Source: We know the resume of retired Rear Admiral and oceanographer, Tim Gallaudet, but what about his wife, Caren? She's a big part of this story, so any journalist covering it would want you to know a little something about her. But not Greenstreet, who is, as I said, not a journalist. He leaves out any detail that doesn't fit his debunker, mocking narrative. And he just blocked me. Good. Trash. More... “(My wife Caren) is an inspiration to me, first because she was a Navy diver, and you don’t need to say more. And second, she was a Navy diver as a female during a time when it was not easy. In the late 1980s/early 1990s there was a lot of sexual harassment in the Navy.” ~RDML Tim Gallaudet ~~~ This episode of "The Dead Files," S6E8 ("You Will Be Mine") aired May 20th, 2016. Caren: "People think I'm crazy but it's hard to do battle with an enemy you don't understand. There are things moving around the house. We're hearing voices. We've all had nightmares. We've seen full apparitions. Now things are getting physical." (I would liked to have heard more about full apparitions and exactly who saw them. Having multiple witnesses to alleged phenomena is important. And yes, people will think you're crazy but screw 'em. People have been experiencing this type of phenomena all over the world. At the time this was shot (2015 or 2016), their oldest of three daughters, Laurel, was 14, Aspen was 8, and the youngest, Cedar, was 6.) Caren: "My husband works for the Department of Defense and he travels a lot, so he's rarely here." (They bought the property in 2007 but the odd activity in the house didn't start until Cedar turned 3.) Caren: "Cedar has drawn pictures. This is the man with the brown arms. He lives in her room in her closet. This one she saw in my bathroom, it was a man covered with blood. And I have a book with over 40 drawings. She has become anxious and depressed." (Why didn't the family bring her to a psychiatrist or psychologist first before immediately seeking out a medium? What? They did? Why didn't hack Greenstreet tell us that? Because his goal is to make anybody connected to UFO disclosure look bad.) Caren: "We've seen psychiatrists, psychologists. They all say she's a normal little girl. But she says things that 5 and 6 year old children should not be saying. I love her with all my heart but, at times, I don't know who she is." How is Caren handling it? Caren: "Not very well. When I'm alone, I do a lot of crying. I feel isolated, I feel exhausted." (The kids fight and the older sisters blame Cedar for what's going on. That fighting may be related to the phenomena. Watch the video clip I included below for context. ~~~ Caren: "We're wiling to do whatever it takes. We're ready." (My take: It's obvious they were desperate for help in a situation where nobody else was offering up anything to fix the problem. So they turned to an alleged medium, Amy Allan, and former NYPD homicide investigator, Steve DiSchiavi, who were part of a TV show, "The Dead Files." I am NOT a fan of those types of shows and I would tell people to avoid them if they had a problem like what the Gallaudet's described. But I wasn't in their shoes so who knows what I might have done to get help for the people I love? Luckily, I've never had to deal with a situation like that.) Caren: "I was in the kitchen, and I opened the cupboard. And before doing anything, all the dishes and the bowls fell on top of me." (Sounds like poltergeist activity. And when I say poltergeist, I don't necessarily mean a ghost, spirit, etc. If you read Dr. Barry Taff's book, "Aliens Above, Ghosts Below," he talks about something called Recurrent Spontaneous Psychokinesis, or RSPK. The term was coined by parapsychologist, the late Dr. William Roll. The theory is that the paranormal activity taking place is originating from one of the people in the house. Usually, a young, adolescent boy or girl. "After receiving a report of poltergeist-like activities, two investigators from the Rhine visited a site and observed disturbances that were classified as Recurrent Spontaneous Psychokinesis or RSPK. RSPK is the modern interpretation of what was previously called poltergeist activity. It occurs when an individual – in this case an adolescent boy – is present in every case where a poltergeist-like effect is observed. The activity is interpreted as the result of unconscious psychokinesis activities coming from the individual who is called the PK-Agent." Source: ~ Here's a transcription of the video clip I included below: Parapsychologist Dr. Barry Taff: "The original belief, regarding poltergeist, was that they were, basically, mischievous, prank-playing ghosts. That's what the German word means. The modern theorist in parapsychology consider a quite different type of belief system is operating here, or phenomena is operating. They believe that there are young children present, pubescent, adolescent children, and the research tends to support this belief. These young children are present with a lot of emotional animosities, belligerence, a lot of very intense interactions. And this emotional interaction will produce an emission of unconscious energy from these children, which will affect matter, objects around them. Make them move, affect electrical appliances, make them turn on and off. Make things speed up and slow down, affect televisions, affect radios. Dishes may explode, furniture may move across the room, cameras may go off by themselves, light bulbs may explode suddenly." ~ "A person-focused poltergeist tends to (but not always) involve a female adolescent who is suffering from emotional turmoil when the activity begins. That said however, not all so called 'focal agents' are teenagers. Indeed, William G. Roll, a pioneer in poltergeist research, found the age of people reporting experiences of poltergeist activity ranged from eight to 78 years." Source: ~~~ (That may explain what went on in the Gallaudet home but it's still not accepted by mainstream science as a valid theory. Unfortunately, Allan (the alleged medium) didn't offer up any alternative explanations for the paranormal activity in the home and focused solely on the alleged spirts of dead people as the answer. She thought Cedar was a physical medium who could cause that type of activity to occur, but again, 100% related it to the spirits of dead people, without offering any other explanation. IMO, it's possible one of the girls (or Caren) is a PK-Agent and this had nothing to do with spirits. Then again, maybe it IS connected to non-physical entities? Spirits of the dead? Keel's ultraterrestrials, who he believed impersonated the dead? A mix? Something different? Impossible to prove, either way. So, I don't know. But I DO believe SOMETHING anomalous was going on. If you want an example of how an alleged haunting, ghost or poltergeist case should be investigated, watch this. The clip I attached at the end is from this video. If these folks were still doing investigations, I'd refer anybody who was dealing with this type of situation to them.) "We don't consider our pictures proof of anything, we consider them part of the struggle to gather evidence to try to understand this phenomena." ~Kerry Gaynor Watch it... 👆🏼👆🏼👆🏼 ~~~ Caren: Also, "my daughter, Laurel, and I were right here having a conversation. And all of a sudden she screamed. She said, 'Someone just touched me on my back.' And there was no one else in the room." The bedroom... Caren: "I was woken by a noise. Immediately, I looked to the door and saw a giant, black shadow coming at me from the door. It came over the bed and came straight over top of me. I was scared to death. I've never been that scared in my life." (This is very similar to what happened to people who visited Skinwalker Ranch (and other locations) and reported taking "something" home with them. Also known as the hitchhiker effect. ) Caren: "I was asleep and I felt a hand grab my hair and yank me up. It was a very aggressive pull. I screamed, and I did not go back to sleep after that. There was no one around. Tim wasn't here. It was not a nightmare. I don't sleep most nights, but I'm glad that I had the experience because I understand what Cedar's going through. If I saw that every night, I think I'd act like her, too." Caren's mother, Jan: "Something's going on with Cedar. She's changed dramatically in the last year, year and a half. To do this to my grandchildren makes me angry. My husband and I were babysitting here and we heard Cedar cry out, yelling and screaming, 'Stop it, stop it. Leave me alone!' So I rubbed her back and she went back into her sleep. And then I heard a low voice (that sounded male) say, 'It's gonna be alright. It's alright.'" (From the investigation, Jan wants, "peace among the girls. They don't tend to get along. It's more than just sibling rivalry. It's something else." She thinks the girls are in physical danger. As Taff noted, intense interactions among people in the house could be the cause of all of this. Why did it take a few years for the activity in the house to start? Did anything change in the family dynamic? Cedar is interviewed and she tells the investigator what she's experienced, which includes a scary dream with blood on the floor and dead people. She says she sees the man with brown arms and brown skin who yells at her, "Get out of here, this is not your room. This is my room." Later on, the medium says that this man was there to protect Cedar. Based on what he allegedly said, that makes zero sense. I'm not a fan of this medium (Allan), to put it mildly. Aspen, eight years old, says she sees a shadow man in her room who sits near her dresser. She also saw a little girl who was wet. "I felt a thumb press on my neck really hard." During the nighttime walkthrough of the house, the medium says that one of the spirits looks wet. Is this confirmation or was the medium fed information about what the children experienced? Impossible to know as it's an edited TV show.) Caren says Cedar has seen over a hundred spirits. "It's every night." Medium Allan says this one spirit is tormenting the kids because she's jealous of them and wants Caren to be her mother.) Amy Allan: "The only way (this spirit) could be with you is if you were to kill yourself, then you guys would spend entirety together, and you would forever be her mother, alone." (I'm sorry but without any evidence to back that up, it's an irresponsible thing to say and, IMO, a bunch of sensational bs.) You can watch the entire episode if you log in with your cable subscription. Or watch it at Greensteet's post... ~~~ Tim Gallaudet was on with “Jay Anderson” a few years ago and spoke about the phenomenon and what his family has experienced. Tim Gallaudet (TG): "You see a sort of grouping of UAP and paranormal and how does it intersect. And the answer is: I don't know." TG: "We were all grown up in traditional, kind of, religion. But at some point in our lives, my youngest daughter had real serious behavior issues. And to sum it all up, she is like many of these mediums that you see. She could see spirits, she saw them all the time. A lot of listeners might just think this is just a joke or made up." (I definitely don't think it's a joke, but if she still has these abilities when she gets older, try to take her to get tested at Windbridge Research. Some people (who call themselves mediums) claim they can acquire information via something other than their five senses and have shown the ability to do so under controlled conditions. Are they speaking to the dead or is it something else? I don't know. And FYI, a medium claims they can speak to the dead and also provides alleged psychic readings to people about their lives and sometimes the future. Nine times out of ten, a psychic does not claim to speak with the dead.) TG: "There are people that have this ability to tap into whatever we wanna call it. The Other Side, where people go when they die, whatever that is. The energy that people leave behind. There's a lot of ways to explain it. It was real and...real to us." (They're allegedly able to see the spirits of the dead and can acquire information they have no way of knowing via their five senses. To me, the part about them acquiring information they have no way of knowing through means other than their five senses has been proven. Maybe there's some storehouse of information that they're accessing, like an Akashic Records type of thing? Or, maybe they're really communicating with the dead or some other entities? Again, I don't know where the information is coming from. As TG said, there are lots of ways to explain it.) TG: "She had real experiences, it was affecting her. And through a lot of therapy, we were able to basically have her - now she's thirteen - she became adjusted and has kind of dealt with that. She's sort of suppressed it, actually, which is okay. I mean, she's only thirteen. We can take a pause and help her develop as a person and human before coming to groups with that incredible ability." (TG and his wife did everything they could to help their daughter. When traditional methods failed, they sought help in other ways. Why anybody would have a problem with that is beyond me.) TG: "My wife and I, through this experience, to just be able to help her, we came to meet several mediums who are incredibly gifted." One of them was the Long Island medium, Theresa Caputo. (I like to see Caputo tested in a lab. If you'd like to see what that looks like, watch this HBO documentary on Life After Death and mediums. You'll have to search for the other parts. Part 1 of Life Afterlife ) ~~~ TG said he and his wife had a camera in Cedar's room when this activity was taking place and, "there was orbs flying all around this video. It was so active." (I'd like to see this video and see if those were orbs or particles of dust.) TG: "We loved our daughter and we wanted to help her. And so, through just meeting people, doing a lot of reading about people, these experiences, it became real to us and it opened our minds. I don't have all the answers but I know what we experienced, I know what she saw. We contacted [the show] because we thought she could help her and she ultimately did help my daughter." (That's really all that matters! TG says he has some family history with this type of thing but doesn't have any details as people were less willing to talk about it back then.) TG "She was not the Devil, she was seeing real things (laughs), and that's it. We were not gonna brand her or blame her. And I ultimately know, it was that love that we shared - my wife and I - for her, that opened our minds and create the right outcome. For being well-adjusted, having that in our history, and not being afraid of it or ashamed of it. And being aware and open now to a lot of other things that happen in life and maybe seeing their meaning." (Well said. After learning about this, my respect for Tim and his family has only increased.) ~~~ Last and definitely least...Greenstreet's comments. SG: "In an interview with TheProjectUnity, former Navy Admiral Tim Gallaudet claims his young daughter is a 'medium' who sees spirits and can communicate with them." (He said that but also added this...) TG: "There are people that have this ability to tap into whatever we wanna call it. The Other Side, where people go when they die, whatever that is. The energy that people leave behind. There's a lot of ways to explain it." SG: "Gallaudet's wife claims their house is haunted by violent poltergeists." (His wife explained what the family was experiencing. I don't recall anyone involved mentioning poltergeists or that the house was haunted. This are buzzwords SG uses to disparage people. Just like his "monsters" garbage. ) SG: "Their youngest daughter, 6, thinks ghost monsters are hiding in her room and both the TV show stars and her parents validate her fantasies as real." (His wife and daughters were having experiences they couldn't explain. They took the youngest to a psychiatrist and psychologist and they couldn't help. So they sought out the show. You left out the part about them seeking professional help first. Why? Because you're a piece of trash who will do anything to disparage anybody involved in this. I think YOU should seek help.) SG: "Gallaudet says he's taken his young daughter to multiple psychics to try to 'help her.'" (Nope. Mediums. For a so-called journalist, you should know the difference. And again, this was AFTER they sought out traditional help.) SG: "It should be noted that Gallaudet is "close friends" with Jay Stratton, another retired Navy official who claims his house was/is also haunted by violent poltergeists who attacked his children." (Talk to Stratton and you'll see he doesn't define what happened to his family. Oh, that's right, he won't talk to you because you're an azzhole. And it makes sense that those two would bond since their families experienced similar things. I hope Tim shares more details about what's currently going on with his family and what he experienced himself.)
0:53

"We loved our daughter and we wanted to help her." ~Tim Gallaudet This is way too long but I hope you enjoy it. As far as Steven Greenstreet 🐷's posts about the Gallaudets, hauntings and psychics? First off, Tim Gallaudet's wife, "was also a Naval Academy graduate and a master’s recipient from Scripps, having earned her degree in 2001." Source: We know the resume of retired Rear Admiral and oceanographer, Tim Gallaudet, but what about his wife, Caren? She's a big part of this story, so any journalist covering it would want you to know a little something about her. But not Greenstreet, who is, as I said, not a journalist. He leaves out any detail that doesn't fit his debunker, mocking narrative. And he just blocked me. Good. Trash. More... “(My wife Caren) is an inspiration to me, first because she was a Navy diver, and you don’t need to say more. And second, she was a Navy diver as a female during a time when it was not easy. In the late 1980s/early 1990s there was a lot of sexual harassment in the Navy.” ~RDML Tim Gallaudet ~~~ This episode of "The Dead Files," S6E8 ("You Will Be Mine") aired May 20th, 2016. Caren: "People think I'm crazy but it's hard to do battle with an enemy you don't understand. There are things moving around the house. We're hearing voices. We've all had nightmares. We've seen full apparitions. Now things are getting physical." (I would liked to have heard more about full apparitions and exactly who saw them. Having multiple witnesses to alleged phenomena is important. And yes, people will think you're crazy but screw 'em. People have been experiencing this type of phenomena all over the world. At the time this was shot (2015 or 2016), their oldest of three daughters, Laurel, was 14, Aspen was 8, and the youngest, Cedar, was 6.) Caren: "My husband works for the Department of Defense and he travels a lot, so he's rarely here." (They bought the property in 2007 but the odd activity in the house didn't start until Cedar turned 3.) Caren: "Cedar has drawn pictures. This is the man with the brown arms. He lives in her room in her closet. This one she saw in my bathroom, it was a man covered with blood. And I have a book with over 40 drawings. She has become anxious and depressed." (Why didn't the family bring her to a psychiatrist or psychologist first before immediately seeking out a medium? What? They did? Why didn't hack Greenstreet tell us that? Because his goal is to make anybody connected to UFO disclosure look bad.) Caren: "We've seen psychiatrists, psychologists. They all say she's a normal little girl. But she says things that 5 and 6 year old children should not be saying. I love her with all my heart but, at times, I don't know who she is." How is Caren handling it? Caren: "Not very well. When I'm alone, I do a lot of crying. I feel isolated, I feel exhausted." (The kids fight and the older sisters blame Cedar for what's going on. That fighting may be related to the phenomena. Watch the video clip I included below for context. ~~~ Caren: "We're wiling to do whatever it takes. We're ready." (My take: It's obvious they were desperate for help in a situation where nobody else was offering up anything to fix the problem. So they turned to an alleged medium, Amy Allan, and former NYPD homicide investigator, Steve DiSchiavi, who were part of a TV show, "The Dead Files." I am NOT a fan of those types of shows and I would tell people to avoid them if they had a problem like what the Gallaudet's described. But I wasn't in their shoes so who knows what I might have done to get help for the people I love? Luckily, I've never had to deal with a situation like that.) Caren: "I was in the kitchen, and I opened the cupboard. And before doing anything, all the dishes and the bowls fell on top of me." (Sounds like poltergeist activity. And when I say poltergeist, I don't necessarily mean a ghost, spirit, etc. If you read Dr. Barry Taff's book, "Aliens Above, Ghosts Below," he talks about something called Recurrent Spontaneous Psychokinesis, or RSPK. The term was coined by parapsychologist, the late Dr. William Roll. The theory is that the paranormal activity taking place is originating from one of the people in the house. Usually, a young, adolescent boy or girl. "After receiving a report of poltergeist-like activities, two investigators from the Rhine visited a site and observed disturbances that were classified as Recurrent Spontaneous Psychokinesis or RSPK. RSPK is the modern interpretation of what was previously called poltergeist activity. It occurs when an individual – in this case an adolescent boy – is present in every case where a poltergeist-like effect is observed. The activity is interpreted as the result of unconscious psychokinesis activities coming from the individual who is called the PK-Agent." Source: ~ Here's a transcription of the video clip I included below: Parapsychologist Dr. Barry Taff: "The original belief, regarding poltergeist, was that they were, basically, mischievous, prank-playing ghosts. That's what the German word means. The modern theorist in parapsychology consider a quite different type of belief system is operating here, or phenomena is operating. They believe that there are young children present, pubescent, adolescent children, and the research tends to support this belief. These young children are present with a lot of emotional animosities, belligerence, a lot of very intense interactions. And this emotional interaction will produce an emission of unconscious energy from these children, which will affect matter, objects around them. Make them move, affect electrical appliances, make them turn on and off. Make things speed up and slow down, affect televisions, affect radios. Dishes may explode, furniture may move across the room, cameras may go off by themselves, light bulbs may explode suddenly." ~ "A person-focused poltergeist tends to (but not always) involve a female adolescent who is suffering from emotional turmoil when the activity begins. That said however, not all so called 'focal agents' are teenagers. Indeed, William G. Roll, a pioneer in poltergeist research, found the age of people reporting experiences of poltergeist activity ranged from eight to 78 years." Source: ~~~ (That may explain what went on in the Gallaudet home but it's still not accepted by mainstream science as a valid theory. Unfortunately, Allan (the alleged medium) didn't offer up any alternative explanations for the paranormal activity in the home and focused solely on the alleged spirts of dead people as the answer. She thought Cedar was a physical medium who could cause that type of activity to occur, but again, 100% related it to the spirits of dead people, without offering any other explanation. IMO, it's possible one of the girls (or Caren) is a PK-Agent and this had nothing to do with spirits. Then again, maybe it IS connected to non-physical entities? Spirits of the dead? Keel's ultraterrestrials, who he believed impersonated the dead? A mix? Something different? Impossible to prove, either way. So, I don't know. But I DO believe SOMETHING anomalous was going on. If you want an example of how an alleged haunting, ghost or poltergeist case should be investigated, watch this. The clip I attached at the end is from this video. If these folks were still doing investigations, I'd refer anybody who was dealing with this type of situation to them.) "We don't consider our pictures proof of anything, we consider them part of the struggle to gather evidence to try to understand this phenomena." ~Kerry Gaynor Watch it... 👆🏼👆🏼👆🏼 ~~~ Caren: Also, "my daughter, Laurel, and I were right here having a conversation. And all of a sudden she screamed. She said, 'Someone just touched me on my back.' And there was no one else in the room." The bedroom... Caren: "I was woken by a noise. Immediately, I looked to the door and saw a giant, black shadow coming at me from the door. It came over the bed and came straight over top of me. I was scared to death. I've never been that scared in my life." (This is very similar to what happened to people who visited Skinwalker Ranch (and other locations) and reported taking "something" home with them. Also known as the hitchhiker effect. ) Caren: "I was asleep and I felt a hand grab my hair and yank me up. It was a very aggressive pull. I screamed, and I did not go back to sleep after that. There was no one around. Tim wasn't here. It was not a nightmare. I don't sleep most nights, but I'm glad that I had the experience because I understand what Cedar's going through. If I saw that every night, I think I'd act like her, too." Caren's mother, Jan: "Something's going on with Cedar. She's changed dramatically in the last year, year and a half. To do this to my grandchildren makes me angry. My husband and I were babysitting here and we heard Cedar cry out, yelling and screaming, 'Stop it, stop it. Leave me alone!' So I rubbed her back and she went back into her sleep. And then I heard a low voice (that sounded male) say, 'It's gonna be alright. It's alright.'" (From the investigation, Jan wants, "peace among the girls. They don't tend to get along. It's more than just sibling rivalry. It's something else." She thinks the girls are in physical danger. As Taff noted, intense interactions among people in the house could be the cause of all of this. Why did it take a few years for the activity in the house to start? Did anything change in the family dynamic? Cedar is interviewed and she tells the investigator what she's experienced, which includes a scary dream with blood on the floor and dead people. She says she sees the man with brown arms and brown skin who yells at her, "Get out of here, this is not your room. This is my room." Later on, the medium says that this man was there to protect Cedar. Based on what he allegedly said, that makes zero sense. I'm not a fan of this medium (Allan), to put it mildly. Aspen, eight years old, says she sees a shadow man in her room who sits near her dresser. She also saw a little girl who was wet. "I felt a thumb press on my neck really hard." During the nighttime walkthrough of the house, the medium says that one of the spirits looks wet. Is this confirmation or was the medium fed information about what the children experienced? Impossible to know as it's an edited TV show.) Caren says Cedar has seen over a hundred spirits. "It's every night." Medium Allan says this one spirit is tormenting the kids because she's jealous of them and wants Caren to be her mother.) Amy Allan: "The only way (this spirit) could be with you is if you were to kill yourself, then you guys would spend entirety together, and you would forever be her mother, alone." (I'm sorry but without any evidence to back that up, it's an irresponsible thing to say and, IMO, a bunch of sensational bs.) You can watch the entire episode if you log in with your cable subscription. Or watch it at Greensteet's post... ~~~ Tim Gallaudet was on with “Jay Anderson” a few years ago and spoke about the phenomenon and what his family has experienced. Tim Gallaudet (TG): "You see a sort of grouping of UAP and paranormal and how does it intersect. And the answer is: I don't know." TG: "We were all grown up in traditional, kind of, religion. But at some point in our lives, my youngest daughter had real serious behavior issues. And to sum it all up, she is like many of these mediums that you see. She could see spirits, she saw them all the time. A lot of listeners might just think this is just a joke or made up." (I definitely don't think it's a joke, but if she still has these abilities when she gets older, try to take her to get tested at Windbridge Research. Some people (who call themselves mediums) claim they can acquire information via something other than their five senses and have shown the ability to do so under controlled conditions. Are they speaking to the dead or is it something else? I don't know. And FYI, a medium claims they can speak to the dead and also provides alleged psychic readings to people about their lives and sometimes the future. Nine times out of ten, a psychic does not claim to speak with the dead.) TG: "There are people that have this ability to tap into whatever we wanna call it. The Other Side, where people go when they die, whatever that is. The energy that people leave behind. There's a lot of ways to explain it. It was real and...real to us." (They're allegedly able to see the spirits of the dead and can acquire information they have no way of knowing via their five senses. To me, the part about them acquiring information they have no way of knowing through means other than their five senses has been proven. Maybe there's some storehouse of information that they're accessing, like an Akashic Records type of thing? Or, maybe they're really communicating with the dead or some other entities? Again, I don't know where the information is coming from. As TG said, there are lots of ways to explain it.) TG: "She had real experiences, it was affecting her. And through a lot of therapy, we were able to basically have her - now she's thirteen - she became adjusted and has kind of dealt with that. She's sort of suppressed it, actually, which is okay. I mean, she's only thirteen. We can take a pause and help her develop as a person and human before coming to groups with that incredible ability." (TG and his wife did everything they could to help their daughter. When traditional methods failed, they sought help in other ways. Why anybody would have a problem with that is beyond me.) TG: "My wife and I, through this experience, to just be able to help her, we came to meet several mediums who are incredibly gifted." One of them was the Long Island medium, Theresa Caputo. (I like to see Caputo tested in a lab. If you'd like to see what that looks like, watch this HBO documentary on Life After Death and mediums. You'll have to search for the other parts. Part 1 of Life Afterlife ) ~~~ TG said he and his wife had a camera in Cedar's room when this activity was taking place and, "there was orbs flying all around this video. It was so active." (I'd like to see this video and see if those were orbs or particles of dust.) TG: "We loved our daughter and we wanted to help her. And so, through just meeting people, doing a lot of reading about people, these experiences, it became real to us and it opened our minds. I don't have all the answers but I know what we experienced, I know what she saw. We contacted [the show] because we thought she could help her and she ultimately did help my daughter." (That's really all that matters! TG says he has some family history with this type of thing but doesn't have any details as people were less willing to talk about it back then.) TG "She was not the Devil, she was seeing real things (laughs), and that's it. We were not gonna brand her or blame her. And I ultimately know, it was that love that we shared - my wife and I - for her, that opened our minds and create the right outcome. For being well-adjusted, having that in our history, and not being afraid of it or ashamed of it. And being aware and open now to a lot of other things that happen in life and maybe seeing their meaning." (Well said. After learning about this, my respect for Tim and his family has only increased.) ~~~ Last and definitely least...Greenstreet's comments. SG: "In an interview with TheProjectUnity, former Navy Admiral Tim Gallaudet claims his young daughter is a 'medium' who sees spirits and can communicate with them." (He said that but also added this...) TG: "There are people that have this ability to tap into whatever we wanna call it. The Other Side, where people go when they die, whatever that is. The energy that people leave behind. There's a lot of ways to explain it." SG: "Gallaudet's wife claims their house is haunted by violent poltergeists." (His wife explained what the family was experiencing. I don't recall anyone involved mentioning poltergeists or that the house was haunted. This are buzzwords SG uses to disparage people. Just like his "monsters" garbage. ) SG: "Their youngest daughter, 6, thinks ghost monsters are hiding in her room and both the TV show stars and her parents validate her fantasies as real." (His wife and daughters were having experiences they couldn't explain. They took the youngest to a psychiatrist and psychologist and they couldn't help. So they sought out the show. You left out the part about them seeking professional help first. Why? Because you're a piece of trash who will do anything to disparage anybody involved in this. I think YOU should seek help.) SG: "Gallaudet says he's taken his young daughter to multiple psychics to try to 'help her.'" (Nope. Mediums. For a so-called journalist, you should know the difference. And again, this was AFTER they sought out traditional help.) SG: "It should be noted that Gallaudet is "close friends" with Jay Stratton, another retired Navy official who claims his house was/is also haunted by violent poltergeists who attacked his children." (Talk to Stratton and you'll see he doesn't define what happened to his family. Oh, that's right, he won't talk to you because you're an azzhole. And it makes sense that those two would bond since their families experienced similar things. I hope Tim shares more details about what's currently going on with his family and what he experienced himself.)

Joe Murgia

88,583 görüntüleme • 2 yıl önce

Alright, here's the epic towel rant from tonight; And so that's what kind of tipped me off in real time. I was like: wait a minute. Is Judge Doolin ruling from the bench right now? And then I was like: wait a minute. He's ruling from the bench and ordering them to appoint a new prosecutor and potentially the Attorney General. Oh my word. How—what is this? I—this wasn't on my bingo card. Even now I'm just like: Oh my God, I can't believe he did that. Judge Doolin—in a good way. I'm just like: Oh my God, there is hope. And then to follow it up with: "Oh yeah, I'm thinking about a hearing on the contempt." Oh my God—you're telegraphing. You're going to have a contempt hearing after the Attorney General is potentially on the case. The other witnesses, however, are left in this position where they have this kind of not really well-funded—like kind of spastic prosecution, like the special prosecutors on the Kearney cases. Then you got the December 23rd, 2023 criminal charges against Aidan that were charged in Dedham District Court, 23rd or 26th or so. And that was for illegally—allegedly—recording Lindsey Gaetani and then submitting an edited version of the recording into court for some reason. I don't know why Aidan did that, especially apparently when there's an original version of the recording pursuant to some of the statements in court. And then also for intimidating Lindsey—for allegedly going over there on December 23rd, 2023—against Karen Read's advice and against his lawyers' advice, apparently, according to a leaked group chat message from Facebook in 2024—in May of 2024—going over to Lindsey's apartment. And then according to the affidavit from the search warrant for Karen Read's cell phone—allegedly telling Lindsey that she shouldn't cooperate with the grand jury. She should—she could remove information from her phone or something—that Aidan would get her a lawyer, but only if she agreed to meet with a lawyer only with him present, because she had, quote, "broken his trust." It just like—wild stuff. And that new grand jury, by the way, was apparently—it did go forward. And then in time it came out that it—that was about Karen and Aidan and witness intimidation and conspiracy, because Aidan Kearney—between October and November—really August and November of 2023—it started telling Lindsey Gaetani about his communications with Karen Read that included—in writing—Exhibit O to Karen Read search warrant affidavit, which says that Karen Read told Aidan Kearney that in November of 2023—November 28, 2023, to be specific—that Karen Read told Aidan Kearney that Karen Read and her team at ex parte conversations with former U.S. Attorney Josh Levy—which was right in the window of time that Jessica Leslie, the grand juror leaker, was leaking information. Leslie started leaking in August of 2022—which is the same month that Alan Jackson joined Karen Read's legal team. And Josh Levy—who was one of the U.S. Attorneys in charge of that grand jury—Leslie was leaking about four different cases: probably the Birchmore case, definitely the Read and O'Keefe case, definitely the CDL case. One more case. We can't really—the group of us journalists involved in this—can't really figure out. So right in the middle of that—November of 2023—Josh Levy is leaking ex parte grand jury information to Karen Read, which she's putting—she's telling Aidan Kearney about; he's putting it in writing. He just was trying to just show off for Lindsey, but you don't like—come on—like what is it? First day in the IC, bro? I'm not in the IC. I'm not part of the government. I'm a towel. But anyway—so Aidan's bragging to Lindsey, and I don't think that was a very good idea. I mean, she's brilliant and stuff, but like—why would you ever say that to her? Don't say that stuff. But anyway—like, why would you say—even if it's your significant other—unless they are read-in on the intel that you are sharing—why would you ever, ever, ever share that with someone? It exposes them to an incredible liability—which, if you love them, don't do it. It also exposes your own credibility to an incredible risk of liability. You will never be trusted by the intelligence community again. Pillow talk and honeypots are how they trap operatives. If you chase sex, they will compromise you. How can you not understand that? So if you get compromised by someone who's not an agent—just someone who's your partner and you're just telling them stuff about protected federal investigations—what do you think your reputation is going to be like among the intelligence community when you're doing that and they haven't even honeypotted you? You just voluntarily started putting this shit in writing. They're going to look at you like you are out of your mind. So anyway—Karen Read apparently is telling Aidan Kearney that she's having ex parte conversations with Josh Levy. Now, the grand jury that Leslie was leaking from was impaneled in May of 2022 when Rachael Rollins used to be U.S. Attorney in Boston. Now think about this. In 2020, Rachael Rollins and Aidan Kearney—Rachael Rollins, a hyper-liberal known for her soft-on-crime stance. We'll also hear Rollins hated Michael Morrissey. Anyway, Rollins worked with Turtle Boy to send a Republican operative named Rayla Campbell to Joe Kennedy Jr.'s events in the Senate race against Ed Markey so that Ed Markey could win the Senate seat. Now, interestingly enough, Rachael Rollins then got appointed to the position of U.S. Attorney right after that. And you might say: well, Grant, that's a stretch. No, no—because then within a few months, Rachael Rollins—part of the reason she gets thrown out of office by the DOJ OIG—is because she attends an event in Andover with—guess who?—Dr. Jill Biden, the wife of the then-president who appointed her. Now, what does that mean? Well, if you really think about the geopolitical implications of the 2020 Senate race between Ed Markey in Massachusetts and Joe Kennedy Jr.—well, one of the things you're going to realize is that—think about 2020. The leadership around Biden did not know that the chaos of 2024 was going to happen with Kamala and Biden not really being up to it. You're thinking ahead to 2024. Why? Who's your biggest target if you are a sitting Democrat and you're worried about a primary challenge four years from now? Well, what if JFK's—what is it—nephew or whatever it is—is in the House of Representatives? And what if JFK started his career in the House of Representatives? And what if that new young Kennedy with red hair and sort of a photogenic face? What if he is running for JFK's old Senate seat? What if he's on the same exact trajectory as JFK? Oh, we can't have that. We—as the Biden White House—cannot have Joe Kennedy Jr. beating Ed Markey for Senate. And how it got to the point that somebody talked to Rachael Rollins and she came up with the brilliant idea to reach out to Turtle Boy so that Turtle Boy would talk to Rayla Campbell to send her to Joe Kennedy Jr.'s events to help Markey—I don't know. But that's why I think Rachael Rollins became U.S. Attorney—someone who, in my opinion, was uniquely unqualified and fundamentally unethically un-predisposed to being able to run that office. Who then in turn immediately tried to interfere in the 2022 Suffolk DA primary between Kevin Hayden and Ricardo O'Rourke—because Rollins wanted to see her progressive vision continue through O'Rourke—so she worked with Daniel Medwed—the same professor who was involved with advocating the media on behalf of Karen Read's team. She worked with Daniel Medwed to get a story leaked about how a non-existent federal probe into Kevin Hayden—to increase Ricardo O'Rourke's chances in the Suffolk DA primary. Sound familiar? Oh, hell yeah. So anyway—between November of 2022 and May of 2023—you got this weird situation where Rollins knows she's getting forced out; Levy's going to take over the office. The people who take Rollins out are Josh Levy, Bill Abley, and still head of the criminal division—Dustin Chao, I think—still head of the public integrity unit, and then executive officer who is also the press secretary or the communications director of the office. Those four people—without being named; they're named by title—were the people who cooperated with the DOJ to take Rollins out—DOJ-OIG to take Rollins out. Now, why is that interesting? Well, one—because it shows that people in that office knew that Rachael Rollins had a proclivity for weaponizing leaks about non-existent federal probes to interfere in particular district attorney races and matters. Second—Rachael Rollins and Michael Morrissey had a bifurcated history of ten years. One: Rachael Rollins had this list of 25 crimes she wouldn't prosecute, and other DAs critiqued her—not just Michael Morrissey but others. Rollins—I'm pretty sure—was the one who first called Morrissey a "meatball," in fact, because of his criticism of Rollins over that issue. Rachael Rollins—I think—has a proclivity, in my opinion, to hold a bit of a grudge. When she became U.S. Attorney and she realized she was on the way out—well, maybe the Sandra Birchmore probe started back in May of 2022 because former chief of the Canton police—Ken Berkowitz—went to the FBI and told them that the FBI covered up—the MSP unit detailed to the Norfolk DA covered up Sandra Birchmore's murder—potentially because Yuri Bukhenik and John Fanning used to work in Stoughton with Matt Farwell and Robert Devine and Billy Farwell—I think they all worked there. And furthermore—that Brian Tully, the unit commander, was partners with John Fanning for 20 years. All right, and in that regard—it is very interesting, I think—that Chief Berkowitz—who may have been very offended that his unit... So Sandra Birchmore was murdered on February 1st, 2021, at 9:23 p.m. in her apartment in Canton. Okay—on February 4th, Monday in the morning—the Canton police do a wellness check after they get a call from her—Sandra's—colleagues at the school where she worked as an administrative assistant. Now the Canton police respond—on Monday, February 4th—by Wednesday, February 6th. The Canton police have collected the following evidence in order. And if you don't believe me, you can read pages—I think 97 through 101—of the Canton Police Department audit report released in April of 2025. Point by point. Number one: the Canton police confirm—via a witness who was the maintenance worker at Sandra's apartment building—that Matt Farwell was the man on camera outside Sandra's apartment in the elevator at 9:23 p.m. on February 1st—which is exactly when Sandra died. Two: that the man was Matt Farwell, and he was the same man who helped Sandra move into her apartment. Three: that when the Canton PD went to Sandra's school, they got information that Farwell was telling people that Sandra was pregnant with his child—that he had abused her since she was a child—and that he was going to quote "take care of the problem himself" if Sandra decided to carry the baby to term. All right. All of that information—by February 6th of 2021—was passed over to the MSP. John Fanning and this whole unit—I think—really then facilitate a report sometime over the next six to 12 months that exonerates Farwell and says Sandra dies from self-harm. Well, I think that's why Ken Berkowitz blew the whistle before he died of cancer—and that's why there was a grand jury impaneled in May of 2022—and it was really about the cover-up of Sandra Birchmore's murder. Well—one—it was about Sandra Birchmore's murder. Why does that make everything so interesting? Because I think that the investigation wasn't just about who killed Sandra and why—but how was it ruled a—the result of self-harm—instead of the very obvious murder that it was. Well—that starts—2022, I think—May of 2022—the grand jury. Jessica Leslie was on the grand jury—leaker—who's going to be sentenced on October 4th of 2025. I think Jessica Leslie—ladies and gentlemen—in August of 2022 somehow leaked to Karen Read—Alan Jackson—that the Norfolk DA was dirty because they covered up—and that MSP unit—because they covered up Sandra Birchmore's murder. All right—so therefore, Alan Jackson—that's the skeleton in the closet. It wasn't what the people in the house were doing. I'm still a little suspect of who they know—but I don't think that's the big deal. I don't think Jen McCabe's social life is the big deal. Nobody cares—nobody fucking cares. Sorry for cussing. The big issue is that Jen was friends with Tully. Tully's unit knew literally where the bodies were buried. And they—I think—they brought on the PI—Marty Kraft—and Kate Peter—to insulate their exposure from the coming publicity that they knew was going to be brought upon them by Alan Jackson. And so they were worried. And who would you bring in if you had covered up a murder? If you were a MSP unit—you'd bring in someone like Kate Peter. Because you can read her in on that. She's hardened. She doesn't give a fuck. She lost two of her kids—and I don't think she even fucking cared. So who the fuck's the perfect person be like: "Bruh, if that shit gets national attention, we're fucked. So you better control that fucking narrative and handle all these like different people that get too close to this—or we're going to be exposed for Birchmore." But let me bring it back to the point here—which is in 2022, the feds clearly were starting to poke around. And come 2023—I think Brian Tully's unit was desperate. Who was going to find out because of the coverage of the Read case? Could they make sure that Kate Peter got close enough to Netflix and Gretchen Voss so that they couldn't find out what was actually going on? And could the Birchmore cover-up be kept up—even in light of the national spotlight? When you think about the fact that some people may not have been loyal to the Justice for John O'Keefe movement—but were instead primarily loyal to Brian Tully's unit. And when you think about the fact that maybe Tully's unit didn't run the best investigation of Karen Read—maybe there were some flaws. But if you think about the fact that they did get her—but if you think about it in the context of: Karen knew from the jump that the MSP were dirty over Birchmore—then you understand: Karen—that's why it was going to become an incident. Everyone knew—everyone around Tully, his friends, all of them—the unit—they knew they covered up Birchmore's murder. And they knew Karen had it in her hands if she could just figure out the PR. And that's exactly what she did—to put enough pressure on them. They took her to trial anyway—and it destroyed the fucking Norfolk DA—destroyed Brian Tully's unit. It cost them dearly—and she's a tactical fucking genius. I think Brian Tully thought he was slicker than he was by using the prosecution of Aidan Kearney—not to get a genuinely—in my opinion—bad guy who was deserving of the indictment handed up by a grand jury of his peers. But because Tully wanted to know what the real target of the federal probe is. If you don't know what a backhand is, folks—a backhand is where you investigate one thing on the surface because you're dealing with a very high-level operation like the state police—who are a paramilitary intelligence-gathering operation. So you trick them. You make them think they're under investigation for John's death and the investigation of that death. But really—you're investigating them for the cover-up of Sandra Birchmore's murder. And that's exactly what I think happened to this unit. That's what I think Brian Tully was trying to figure out—from August of 2023 until about December. I think they eventually put it together—and by August of 2024, Matthew Farwell got indicted. Now—it's a question of all this as a result of today. I want to be very clear: this is what was called for. There needed to be an independent voice with power and who takes no nonsense—who came into this and said: Nope—it's out of your hands. And that's what Judge Doolin did today. Someone just needed to not either be involved with Karen Read, Aidan Kearney, or the Norfolk DA—or Kate Peter or Marty Kraft—and prosecute this. Now, all those other witnesses—I have no idea what the hell is going to happen there. But at least for Lindsey—Judge Doolin was like: enough of this nonsense. And that's why today was such a big deal in light of that historical context—because just tracing that very insidious pattern of events over the past 18 months—you can see this became a proxy war. It was Michael Morrissey on one side with his marching soldiers: Brian Tully, Kate Peter, Marty Kraft. And then it was Karen Read and the DOJ on the other side. Okay. And their soldiers were like the Free Karen Read movement and Turtle Boy and Natalie and all these other people. This was an intelligence community proxy war. And that's why I've been trying to tell people for so long: Lindsey Gaetani was not involved. She was an unwitting pawn. These two factions both took advantage of her—including Brian Tully—who was more interested in preserving his unit's reputation than actually defending the interest of the vulnerable. In my opinion, I think Brian Tully is a terrible person. Does that mean that he's a bad person for trying to hold Karen Read accountable for John O'Keefe's death? No, of course not. He's a bad person because in what fucking world do you—as a fucking state police officer—who you—you are entrusted—not just to get the bad guys—but to protect the most fucking vulnerable? One: how do you justify what happened with Sandra Birchmore? Two: how the fuck do you get it in your fucking mind that you're going to take a 15-year unredacted extraction of a fucking vulnerable victim's cell phone and release it to a fucking defendant known for promulgating exactly that material? What fucking headspace? What satanic fucking chamber do you and Kate Peter have to be drinking blood from fucking cups in to think that that's fucking okay? Fuck you. How do you even get in the headspace where doing something like that to a fucking victim becomes acceptable. The rot in that unit—whether enabled by Morrissey or whether he didn't know about it—I don't fucking know. But the point is: the rot in that unit was so deep that they lost their fucking souls. They didn't think of victims as victims. They re-victimized victims because it was a political fucking war—and these people are so hardened, I guess, that they don't understand what it means to be vulnerable. And these were police officers—detectives—people entrusted to uphold and protect the dignity of the most vulnerable—and they fucking used victims to advance some political agenda—to deal with the fact that they covered up a fucking murder. I'm done being gentle about this. Fuck these people. And I'm not saying that it was wrong for them to investigate Karen Read. I am pleased someone tried to prosecute her. I'm pissed at them because they were thinking about it from the perspective of their own liability for an unrelated case—and they fucked everything up—and introducing Kate Peter to this shit. Oh my God. It's a disgrace. It's a disgrace to the people who were hurt. It's a disgrace to the vulnerable. I frankly do not understand how Jen McCabe, Brian Tully, and Kate Peter go to bed each night. I don't get it. I don't know. Maybe there's something that shuts off the GABA-1 receptor or something and just makes you go to bed. I don't know. Never heard of such a thing. But I'm just saying: I don't know how you do it. How do you do it? But anyway—Judge Doolin—without giving a... extemporaneous, uh, bloviating cuss-based rant like I just did—instead, in my opinion, is like: fuck all of you! You're not being involved in this prosecution anymore. Someone's gonna protect this fucking woman—Lindsey Gaetani. I'm making you appoint someone! I love that man. Good for Judge Doolin. But still—we never should have gone to this point. This is incredible. With the... the... the MSP. The fact that they had a unit operating like this for so long. This is worse than what John Connolly and Whitey Bulger did. This is institutional rot that is so pervasive that it requires fundamental reform of the MSP. They're not incapable of—um, uh—solving crimes. I'm sure most of the MSP are wonderful. Anyway—my point is: I don't think the state police officers that I generally run into—or troopers—are bad people. I think most of them are wonderful. They've never been really mean to me. They do good work. They're out there protecting our roads. They stop people from speeding. They—what else do they do? They go after commercial truck violations. They investigate homicides—like, on the whole. And this is why I think we have to be careful about how we talk about this. I am not saying that the entire MSP is just rotten. I'm saying that when you have factions or sections within the institution that understand its machinations and are able to thus manipulate the bureaucratic structure and avoid accountability—you lose the confidence of everyone. And how do you think some of those good troopers feel when they have to go out there? Yes—people like me are going to smile at them and bless them and whatever—because I know they're not part of the problem. But most people look at them and they think that they're fucking hated. They don't deserve that. They literally put their lives on the line for us every day. And if we're going to give them the respect they deserve—if we're going to make the profession have the respect that it deserves—then this kind of institutional rot can't be looked at as just an embarrassment. And it can't be looked at as something that—oh, we just wish didn't happen. Maybe some guys are going to go away. No—you point at it. You scream it from the rooftops and you say: if this happens even once—then we have so failed as an institution; we must fundamentally reform from the ground up. And this wasn't just once. It was Birchmore. It was the phone extraction. It was the SA report leak over and over and over and over again. They knew the law. They were an old boys' club. They abused it. They had cover—and it was systemically enabled. And that's why I think—to save the profession of policing in Massachusetts—there needs to be a full-on unbridled discussion about how this happened—how the personalities involved were able to do what they did. And we can't be so tribalistic that because someone we support as to their views on one case, right? We cannot be so tribalistic that we just block out everything bad that they do. Or this rot will continue. And it is pernicious. It is insidious. It is invidious. It undermines the faith that citizens completely removed from this situation have in our system of government. It undermines victims' confidence in the ability to seek redress in the face of serious fucking harm—because they think the system doesn't actually care about them. It's just using them to get someone bigger. We cannot allow this to perpetuate. And the only way to fix it is to hold up situations like what happened to Birchmore—Sandra Birchmore—and what happened to Lindsey Gaetani—hold them up in the national spotlight—and say: we—the MSP—have failed you. Brian Tully failed these people. John Fanning failed these people. Nick Guarino failed these people. Yuri Bukhenik failed these people. We need to say that. We need to highlight it. We need to say: this happened even once. Therefore, we are not good enough. Not only are we not good enough—the very fact that either of these things were able to happen—the Birchmore cover-up, the phone extraction leak—is such a pervasive, systemic degradation of the faith that victims and the public have in the justice system—that our only option is to talk about this—congressional hearings. We need the State House to have congressional hearings. We need these people to answer for what they did. And we need to make sure it never happens again. And the only way you do that is by finding out what aspects of the bureaucratic structure allowed this to happen. And it's not going to be comfortable. I don't think it's going to be comfortable for anyone to talk about the fallout of any of this—but that's exactly what happened at the CCC on a smaller scale. And if this country matters—if this form of government matters—if this republic matters—then we will fix this. We will fix it together. We will address the hard questions. We will address the uncomfortable questions. We will shed our prejudices and polemical biases at the door. We will engage in no fear, no favoritism—and we will look only for the truth and nothing but it. And if you are incapable of doing that—you're contributing—either consciously or subconsciously—to the problem. It's our only option. And you can't just say: because they prosecuted Karen Read, we can't talk about anything bad that they did. That's tribalism. That's polemical. That's what drove us to this point.
1:17:36

Alright, here's the epic towel rant from tonight; And so that's what kind of tipped me off in real time. I was like: wait a minute. Is Judge Doolin ruling from the bench right now? And then I was like: wait a minute. He's ruling from the bench and ordering them to appoint a new prosecutor and potentially the Attorney General. Oh my word. How—what is this? I—this wasn't on my bingo card. Even now I'm just like: Oh my God, I can't believe he did that. Judge Doolin—in a good way. I'm just like: Oh my God, there is hope. And then to follow it up with: "Oh yeah, I'm thinking about a hearing on the contempt." Oh my God—you're telegraphing. You're going to have a contempt hearing after the Attorney General is potentially on the case. The other witnesses, however, are left in this position where they have this kind of not really well-funded—like kind of spastic prosecution, like the special prosecutors on the Kearney cases. Then you got the December 23rd, 2023 criminal charges against Aidan that were charged in Dedham District Court, 23rd or 26th or so. And that was for illegally—allegedly—recording Lindsey Gaetani and then submitting an edited version of the recording into court for some reason. I don't know why Aidan did that, especially apparently when there's an original version of the recording pursuant to some of the statements in court. And then also for intimidating Lindsey—for allegedly going over there on December 23rd, 2023—against Karen Read's advice and against his lawyers' advice, apparently, according to a leaked group chat message from Facebook in 2024—in May of 2024—going over to Lindsey's apartment. And then according to the affidavit from the search warrant for Karen Read's cell phone—allegedly telling Lindsey that she shouldn't cooperate with the grand jury. She should—she could remove information from her phone or something—that Aidan would get her a lawyer, but only if she agreed to meet with a lawyer only with him present, because she had, quote, "broken his trust." It just like—wild stuff. And that new grand jury, by the way, was apparently—it did go forward. And then in time it came out that it—that was about Karen and Aidan and witness intimidation and conspiracy, because Aidan Kearney—between October and November—really August and November of 2023—it started telling Lindsey Gaetani about his communications with Karen Read that included—in writing—Exhibit O to Karen Read search warrant affidavit, which says that Karen Read told Aidan Kearney that in November of 2023—November 28, 2023, to be specific—that Karen Read told Aidan Kearney that Karen Read and her team at ex parte conversations with former U.S. Attorney Josh Levy—which was right in the window of time that Jessica Leslie, the grand juror leaker, was leaking information. Leslie started leaking in August of 2022—which is the same month that Alan Jackson joined Karen Read's legal team. And Josh Levy—who was one of the U.S. Attorneys in charge of that grand jury—Leslie was leaking about four different cases: probably the Birchmore case, definitely the Read and O'Keefe case, definitely the CDL case. One more case. We can't really—the group of us journalists involved in this—can't really figure out. So right in the middle of that—November of 2023—Josh Levy is leaking ex parte grand jury information to Karen Read, which she's putting—she's telling Aidan Kearney about; he's putting it in writing. He just was trying to just show off for Lindsey, but you don't like—come on—like what is it? First day in the IC, bro? I'm not in the IC. I'm not part of the government. I'm a towel. But anyway—so Aidan's bragging to Lindsey, and I don't think that was a very good idea. I mean, she's brilliant and stuff, but like—why would you ever say that to her? Don't say that stuff. But anyway—like, why would you say—even if it's your significant other—unless they are read-in on the intel that you are sharing—why would you ever, ever, ever share that with someone? It exposes them to an incredible liability—which, if you love them, don't do it. It also exposes your own credibility to an incredible risk of liability. You will never be trusted by the intelligence community again. Pillow talk and honeypots are how they trap operatives. If you chase sex, they will compromise you. How can you not understand that? So if you get compromised by someone who's not an agent—just someone who's your partner and you're just telling them stuff about protected federal investigations—what do you think your reputation is going to be like among the intelligence community when you're doing that and they haven't even honeypotted you? You just voluntarily started putting this shit in writing. They're going to look at you like you are out of your mind. So anyway—Karen Read apparently is telling Aidan Kearney that she's having ex parte conversations with Josh Levy. Now, the grand jury that Leslie was leaking from was impaneled in May of 2022 when Rachael Rollins used to be U.S. Attorney in Boston. Now think about this. In 2020, Rachael Rollins and Aidan Kearney—Rachael Rollins, a hyper-liberal known for her soft-on-crime stance. We'll also hear Rollins hated Michael Morrissey. Anyway, Rollins worked with Turtle Boy to send a Republican operative named Rayla Campbell to Joe Kennedy Jr.'s events in the Senate race against Ed Markey so that Ed Markey could win the Senate seat. Now, interestingly enough, Rachael Rollins then got appointed to the position of U.S. Attorney right after that. And you might say: well, Grant, that's a stretch. No, no—because then within a few months, Rachael Rollins—part of the reason she gets thrown out of office by the DOJ OIG—is because she attends an event in Andover with—guess who?—Dr. Jill Biden, the wife of the then-president who appointed her. Now, what does that mean? Well, if you really think about the geopolitical implications of the 2020 Senate race between Ed Markey in Massachusetts and Joe Kennedy Jr.—well, one of the things you're going to realize is that—think about 2020. The leadership around Biden did not know that the chaos of 2024 was going to happen with Kamala and Biden not really being up to it. You're thinking ahead to 2024. Why? Who's your biggest target if you are a sitting Democrat and you're worried about a primary challenge four years from now? Well, what if JFK's—what is it—nephew or whatever it is—is in the House of Representatives? And what if JFK started his career in the House of Representatives? And what if that new young Kennedy with red hair and sort of a photogenic face? What if he is running for JFK's old Senate seat? What if he's on the same exact trajectory as JFK? Oh, we can't have that. We—as the Biden White House—cannot have Joe Kennedy Jr. beating Ed Markey for Senate. And how it got to the point that somebody talked to Rachael Rollins and she came up with the brilliant idea to reach out to Turtle Boy so that Turtle Boy would talk to Rayla Campbell to send her to Joe Kennedy Jr.'s events to help Markey—I don't know. But that's why I think Rachael Rollins became U.S. Attorney—someone who, in my opinion, was uniquely unqualified and fundamentally unethically un-predisposed to being able to run that office. Who then in turn immediately tried to interfere in the 2022 Suffolk DA primary between Kevin Hayden and Ricardo O'Rourke—because Rollins wanted to see her progressive vision continue through O'Rourke—so she worked with Daniel Medwed—the same professor who was involved with advocating the media on behalf of Karen Read's team. She worked with Daniel Medwed to get a story leaked about how a non-existent federal probe into Kevin Hayden—to increase Ricardo O'Rourke's chances in the Suffolk DA primary. Sound familiar? Oh, hell yeah. So anyway—between November of 2022 and May of 2023—you got this weird situation where Rollins knows she's getting forced out; Levy's going to take over the office. The people who take Rollins out are Josh Levy, Bill Abley, and still head of the criminal division—Dustin Chao, I think—still head of the public integrity unit, and then executive officer who is also the press secretary or the communications director of the office. Those four people—without being named; they're named by title—were the people who cooperated with the DOJ to take Rollins out—DOJ-OIG to take Rollins out. Now, why is that interesting? Well, one—because it shows that people in that office knew that Rachael Rollins had a proclivity for weaponizing leaks about non-existent federal probes to interfere in particular district attorney races and matters. Second—Rachael Rollins and Michael Morrissey had a bifurcated history of ten years. One: Rachael Rollins had this list of 25 crimes she wouldn't prosecute, and other DAs critiqued her—not just Michael Morrissey but others. Rollins—I'm pretty sure—was the one who first called Morrissey a "meatball," in fact, because of his criticism of Rollins over that issue. Rachael Rollins—I think—has a proclivity, in my opinion, to hold a bit of a grudge. When she became U.S. Attorney and she realized she was on the way out—well, maybe the Sandra Birchmore probe started back in May of 2022 because former chief of the Canton police—Ken Berkowitz—went to the FBI and told them that the FBI covered up—the MSP unit detailed to the Norfolk DA covered up Sandra Birchmore's murder—potentially because Yuri Bukhenik and John Fanning used to work in Stoughton with Matt Farwell and Robert Devine and Billy Farwell—I think they all worked there. And furthermore—that Brian Tully, the unit commander, was partners with John Fanning for 20 years. All right, and in that regard—it is very interesting, I think—that Chief Berkowitz—who may have been very offended that his unit... So Sandra Birchmore was murdered on February 1st, 2021, at 9:23 p.m. in her apartment in Canton. Okay—on February 4th, Monday in the morning—the Canton police do a wellness check after they get a call from her—Sandra's—colleagues at the school where she worked as an administrative assistant. Now the Canton police respond—on Monday, February 4th—by Wednesday, February 6th. The Canton police have collected the following evidence in order. And if you don't believe me, you can read pages—I think 97 through 101—of the Canton Police Department audit report released in April of 2025. Point by point. Number one: the Canton police confirm—via a witness who was the maintenance worker at Sandra's apartment building—that Matt Farwell was the man on camera outside Sandra's apartment in the elevator at 9:23 p.m. on February 1st—which is exactly when Sandra died. Two: that the man was Matt Farwell, and he was the same man who helped Sandra move into her apartment. Three: that when the Canton PD went to Sandra's school, they got information that Farwell was telling people that Sandra was pregnant with his child—that he had abused her since she was a child—and that he was going to quote "take care of the problem himself" if Sandra decided to carry the baby to term. All right. All of that information—by February 6th of 2021—was passed over to the MSP. John Fanning and this whole unit—I think—really then facilitate a report sometime over the next six to 12 months that exonerates Farwell and says Sandra dies from self-harm. Well, I think that's why Ken Berkowitz blew the whistle before he died of cancer—and that's why there was a grand jury impaneled in May of 2022—and it was really about the cover-up of Sandra Birchmore's murder. Well—one—it was about Sandra Birchmore's murder. Why does that make everything so interesting? Because I think that the investigation wasn't just about who killed Sandra and why—but how was it ruled a—the result of self-harm—instead of the very obvious murder that it was. Well—that starts—2022, I think—May of 2022—the grand jury. Jessica Leslie was on the grand jury—leaker—who's going to be sentenced on October 4th of 2025. I think Jessica Leslie—ladies and gentlemen—in August of 2022 somehow leaked to Karen Read—Alan Jackson—that the Norfolk DA was dirty because they covered up—and that MSP unit—because they covered up Sandra Birchmore's murder. All right—so therefore, Alan Jackson—that's the skeleton in the closet. It wasn't what the people in the house were doing. I'm still a little suspect of who they know—but I don't think that's the big deal. I don't think Jen McCabe's social life is the big deal. Nobody cares—nobody fucking cares. Sorry for cussing. The big issue is that Jen was friends with Tully. Tully's unit knew literally where the bodies were buried. And they—I think—they brought on the PI—Marty Kraft—and Kate Peter—to insulate their exposure from the coming publicity that they knew was going to be brought upon them by Alan Jackson. And so they were worried. And who would you bring in if you had covered up a murder? If you were a MSP unit—you'd bring in someone like Kate Peter. Because you can read her in on that. She's hardened. She doesn't give a fuck. She lost two of her kids—and I don't think she even fucking cared. So who the fuck's the perfect person be like: "Bruh, if that shit gets national attention, we're fucked. So you better control that fucking narrative and handle all these like different people that get too close to this—or we're going to be exposed for Birchmore." But let me bring it back to the point here—which is in 2022, the feds clearly were starting to poke around. And come 2023—I think Brian Tully's unit was desperate. Who was going to find out because of the coverage of the Read case? Could they make sure that Kate Peter got close enough to Netflix and Gretchen Voss so that they couldn't find out what was actually going on? And could the Birchmore cover-up be kept up—even in light of the national spotlight? When you think about the fact that some people may not have been loyal to the Justice for John O'Keefe movement—but were instead primarily loyal to Brian Tully's unit. And when you think about the fact that maybe Tully's unit didn't run the best investigation of Karen Read—maybe there were some flaws. But if you think about the fact that they did get her—but if you think about it in the context of: Karen knew from the jump that the MSP were dirty over Birchmore—then you understand: Karen—that's why it was going to become an incident. Everyone knew—everyone around Tully, his friends, all of them—the unit—they knew they covered up Birchmore's murder. And they knew Karen had it in her hands if she could just figure out the PR. And that's exactly what she did—to put enough pressure on them. They took her to trial anyway—and it destroyed the fucking Norfolk DA—destroyed Brian Tully's unit. It cost them dearly—and she's a tactical fucking genius. I think Brian Tully thought he was slicker than he was by using the prosecution of Aidan Kearney—not to get a genuinely—in my opinion—bad guy who was deserving of the indictment handed up by a grand jury of his peers. But because Tully wanted to know what the real target of the federal probe is. If you don't know what a backhand is, folks—a backhand is where you investigate one thing on the surface because you're dealing with a very high-level operation like the state police—who are a paramilitary intelligence-gathering operation. So you trick them. You make them think they're under investigation for John's death and the investigation of that death. But really—you're investigating them for the cover-up of Sandra Birchmore's murder. And that's exactly what I think happened to this unit. That's what I think Brian Tully was trying to figure out—from August of 2023 until about December. I think they eventually put it together—and by August of 2024, Matthew Farwell got indicted. Now—it's a question of all this as a result of today. I want to be very clear: this is what was called for. There needed to be an independent voice with power and who takes no nonsense—who came into this and said: Nope—it's out of your hands. And that's what Judge Doolin did today. Someone just needed to not either be involved with Karen Read, Aidan Kearney, or the Norfolk DA—or Kate Peter or Marty Kraft—and prosecute this. Now, all those other witnesses—I have no idea what the hell is going to happen there. But at least for Lindsey—Judge Doolin was like: enough of this nonsense. And that's why today was such a big deal in light of that historical context—because just tracing that very insidious pattern of events over the past 18 months—you can see this became a proxy war. It was Michael Morrissey on one side with his marching soldiers: Brian Tully, Kate Peter, Marty Kraft. And then it was Karen Read and the DOJ on the other side. Okay. And their soldiers were like the Free Karen Read movement and Turtle Boy and Natalie and all these other people. This was an intelligence community proxy war. And that's why I've been trying to tell people for so long: Lindsey Gaetani was not involved. She was an unwitting pawn. These two factions both took advantage of her—including Brian Tully—who was more interested in preserving his unit's reputation than actually defending the interest of the vulnerable. In my opinion, I think Brian Tully is a terrible person. Does that mean that he's a bad person for trying to hold Karen Read accountable for John O'Keefe's death? No, of course not. He's a bad person because in what fucking world do you—as a fucking state police officer—who you—you are entrusted—not just to get the bad guys—but to protect the most fucking vulnerable? One: how do you justify what happened with Sandra Birchmore? Two: how the fuck do you get it in your fucking mind that you're going to take a 15-year unredacted extraction of a fucking vulnerable victim's cell phone and release it to a fucking defendant known for promulgating exactly that material? What fucking headspace? What satanic fucking chamber do you and Kate Peter have to be drinking blood from fucking cups in to think that that's fucking okay? Fuck you. How do you even get in the headspace where doing something like that to a fucking victim becomes acceptable. The rot in that unit—whether enabled by Morrissey or whether he didn't know about it—I don't fucking know. But the point is: the rot in that unit was so deep that they lost their fucking souls. They didn't think of victims as victims. They re-victimized victims because it was a political fucking war—and these people are so hardened, I guess, that they don't understand what it means to be vulnerable. And these were police officers—detectives—people entrusted to uphold and protect the dignity of the most vulnerable—and they fucking used victims to advance some political agenda—to deal with the fact that they covered up a fucking murder. I'm done being gentle about this. Fuck these people. And I'm not saying that it was wrong for them to investigate Karen Read. I am pleased someone tried to prosecute her. I'm pissed at them because they were thinking about it from the perspective of their own liability for an unrelated case—and they fucked everything up—and introducing Kate Peter to this shit. Oh my God. It's a disgrace. It's a disgrace to the people who were hurt. It's a disgrace to the vulnerable. I frankly do not understand how Jen McCabe, Brian Tully, and Kate Peter go to bed each night. I don't get it. I don't know. Maybe there's something that shuts off the GABA-1 receptor or something and just makes you go to bed. I don't know. Never heard of such a thing. But I'm just saying: I don't know how you do it. How do you do it? But anyway—Judge Doolin—without giving a... extemporaneous, uh, bloviating cuss-based rant like I just did—instead, in my opinion, is like: fuck all of you! You're not being involved in this prosecution anymore. Someone's gonna protect this fucking woman—Lindsey Gaetani. I'm making you appoint someone! I love that man. Good for Judge Doolin. But still—we never should have gone to this point. This is incredible. With the... the... the MSP. The fact that they had a unit operating like this for so long. This is worse than what John Connolly and Whitey Bulger did. This is institutional rot that is so pervasive that it requires fundamental reform of the MSP. They're not incapable of—um, uh—solving crimes. I'm sure most of the MSP are wonderful. Anyway—my point is: I don't think the state police officers that I generally run into—or troopers—are bad people. I think most of them are wonderful. They've never been really mean to me. They do good work. They're out there protecting our roads. They stop people from speeding. They—what else do they do? They go after commercial truck violations. They investigate homicides—like, on the whole. And this is why I think we have to be careful about how we talk about this. I am not saying that the entire MSP is just rotten. I'm saying that when you have factions or sections within the institution that understand its machinations and are able to thus manipulate the bureaucratic structure and avoid accountability—you lose the confidence of everyone. And how do you think some of those good troopers feel when they have to go out there? Yes—people like me are going to smile at them and bless them and whatever—because I know they're not part of the problem. But most people look at them and they think that they're fucking hated. They don't deserve that. They literally put their lives on the line for us every day. And if we're going to give them the respect they deserve—if we're going to make the profession have the respect that it deserves—then this kind of institutional rot can't be looked at as just an embarrassment. And it can't be looked at as something that—oh, we just wish didn't happen. Maybe some guys are going to go away. No—you point at it. You scream it from the rooftops and you say: if this happens even once—then we have so failed as an institution; we must fundamentally reform from the ground up. And this wasn't just once. It was Birchmore. It was the phone extraction. It was the SA report leak over and over and over and over again. They knew the law. They were an old boys' club. They abused it. They had cover—and it was systemically enabled. And that's why I think—to save the profession of policing in Massachusetts—there needs to be a full-on unbridled discussion about how this happened—how the personalities involved were able to do what they did. And we can't be so tribalistic that because someone we support as to their views on one case, right? We cannot be so tribalistic that we just block out everything bad that they do. Or this rot will continue. And it is pernicious. It is insidious. It is invidious. It undermines the faith that citizens completely removed from this situation have in our system of government. It undermines victims' confidence in the ability to seek redress in the face of serious fucking harm—because they think the system doesn't actually care about them. It's just using them to get someone bigger. We cannot allow this to perpetuate. And the only way to fix it is to hold up situations like what happened to Birchmore—Sandra Birchmore—and what happened to Lindsey Gaetani—hold them up in the national spotlight—and say: we—the MSP—have failed you. Brian Tully failed these people. John Fanning failed these people. Nick Guarino failed these people. Yuri Bukhenik failed these people. We need to say that. We need to highlight it. We need to say: this happened even once. Therefore, we are not good enough. Not only are we not good enough—the very fact that either of these things were able to happen—the Birchmore cover-up, the phone extraction leak—is such a pervasive, systemic degradation of the faith that victims and the public have in the justice system—that our only option is to talk about this—congressional hearings. We need the State House to have congressional hearings. We need these people to answer for what they did. And we need to make sure it never happens again. And the only way you do that is by finding out what aspects of the bureaucratic structure allowed this to happen. And it's not going to be comfortable. I don't think it's going to be comfortable for anyone to talk about the fallout of any of this—but that's exactly what happened at the CCC on a smaller scale. And if this country matters—if this form of government matters—if this republic matters—then we will fix this. We will fix it together. We will address the hard questions. We will address the uncomfortable questions. We will shed our prejudices and polemical biases at the door. We will engage in no fear, no favoritism—and we will look only for the truth and nothing but it. And if you are incapable of doing that—you're contributing—either consciously or subconsciously—to the problem. It's our only option. And you can't just say: because they prosecuted Karen Read, we can't talk about anything bad that they did. That's tribalism. That's polemical. That's what drove us to this point.

Grant Smith Ellis

41,546 görüntüleme • 11 ay önce