Sensitive content

This media may contain sensitive content.

Video yükleniyor...

Video Yüklenemedi

Ana Sayfaya Dön

‼️NEW SCENE DROPPED‼️ Title: The Unexpected Trio Starring: Hazel Moore MILAN PONjEVIC 🇷🇸 Mannie Coco Release Date: Jan 03, 2026 Presented by: Love Her Feet Love Her Films Check out on: #HazelMoore #MannieCoco #MilanPonjevic #LoveHerFeet #LoveherFilms

RisquePawn's profile picture

RisquePawn

5,908 subscribers

40,055 görüntüleme • 7 ay önce •via X (Twitter)

NSFW#HazelMoore#MannieCoco#MilanPonjevic#LoveHerFeet#LoveherFilms
LIVE

Anya Rossi• Live Now

Private livecam show

0 Yorum

Yorum bulunmuyor

Orijinal gönderinin yorumları burada görünecek

Benzer Videolar

MILAP ZAVERI DIRECTS AMAN INDRA KUMAR - AKANKSHA SHARMA: 'TERA YAAR HOON MAIN' TRAILER OUT NOW – 24 JULY 2026 RELEASE... Love, friendship, emotions, and entertainment... #TeraYaarHoonMainTrailer is now LIVE. #TeraYaarHoonMain marks the acting debut of #AmanIndraKumar, who stars opposite #AkankshaSharma. 🔗: Directed by Milap Milan Zaveri, #TYHM stars Paresh Rawal in a pivotal role along with Johny Lever, Supriya Pilgaonkar, Mrinal Kulkarni, Neha Khan, Pooja Katurde, Anand Acharya, and Darshan Jariwala. Presented by Ajay Murdia in association with Mumbai Films, BIK Productions, and Enter10 Television, the film is produced by Ajay Murdia, Bina Indra Kumar, and Manish Singhal... Subhash Kale is the co-producer. A Camera Take Films production, #TYHM is slated for a theatrical release on 24 July 2026.
2:41

MILAP ZAVERI DIRECTS AMAN INDRA KUMAR - AKANKSHA SHARMA: 'TERA YAAR HOON MAIN' TRAILER OUT NOW – 24 JULY 2026 RELEASE... Love, friendship, emotions, and entertainment... #TeraYaarHoonMainTrailer is now LIVE. #TeraYaarHoonMain marks the acting debut of #AmanIndraKumar, who stars opposite #AkankshaSharma. 🔗: Directed by Milap Milan Zaveri, #TYHM stars Paresh Rawal in a pivotal role along with Johny Lever, Supriya Pilgaonkar, Mrinal Kulkarni, Neha Khan, Pooja Katurde, Anand Acharya, and Darshan Jariwala. Presented by Ajay Murdia in association with Mumbai Films, BIK Productions, and Enter10 Television, the film is produced by Ajay Murdia, Bina Indra Kumar, and Manish Singhal... Subhash Kale is the co-producer. A Camera Take Films production, #TYHM is slated for a theatrical release on 24 July 2026.

taran adarsh

1,084,528 görüntüleme • 1 ay önce

One of the most magical films ever made✨ Portrait of Jennie (1948) starring Jennifer Jones, Joseph Cotten, Ethel Barrymore and Lillian Gish, is a hauntingly beautiful romantic fantasy directed by William Dieterle and based on Robert Nathan’s 1940 novella. Set in Depression-era New York, the film follows struggling artist Eben Adams, who encounters the mysterious Jennie, a young girl who seems to age years between each meeting. As Eben falls deeply in love with her, he becomes determined to uncover the secret behind her extraordinary existence. Known for its dreamlike atmosphere, Portrait of Jennie is presented mostly in black and white, creating a nostalgic, almost otherworldly mood before shifting into full Technicolor for the climactic unveiling of Jennie’s portrait, which was painted by renowned portrait artist Robert Brackman.
0:34

One of the most magical films ever made✨ Portrait of Jennie (1948) starring Jennifer Jones, Joseph Cotten, Ethel Barrymore and Lillian Gish, is a hauntingly beautiful romantic fantasy directed by William Dieterle and based on Robert Nathan’s 1940 novella. Set in Depression-era New York, the film follows struggling artist Eben Adams, who encounters the mysterious Jennie, a young girl who seems to age years between each meeting. As Eben falls deeply in love with her, he becomes determined to uncover the secret behind her extraordinary existence. Known for its dreamlike atmosphere, Portrait of Jennie is presented mostly in black and white, creating a nostalgic, almost otherworldly mood before shifting into full Technicolor for the climactic unveiling of Jennie’s portrait, which was painted by renowned portrait artist Robert Brackman.

Hollywood Golden Age of Cinema

16,707 görüntüleme • 1 ay önce

Drake's the sharper business mind than Lil Wayne ever was and here's the reason‼️💯 He treated Young Money like a launchpad runway—not a permanent airport‼️. While Lil Wayne held the keys to that stacked roster and cashed out the whole catalog for a fat one-time $100M+ check in 2020, Drake played the long game‼️He maxed out leverage, flipped ownership on the back half of his work, locked in one of the biggest artist deals ever‼️, and set himself up to renegotiate or walk independent on god-tier terms‼️💯. Catalog split: Drake’s early classics (Thank Me Later through Scorpion, 2010–2018) live under Young Money/Cash Money and ended up with Universal after Wayne’s sale‼️💯. But from "Certified Lover Boy" (2021) onward, everything dropped via OVO Sound with Republic/UMG on license deals‼️💯. He owns those newer masters—straight-up rapped “owning masters” on “The Remorse”‼️💯and that’s the key difference‼️. Wayne liquidated the pool; Drake made sure the streaming-era half stayed in his pocket‼️💯. In 2021–22 he signed a true equity-style deal covering recordings, publishing, merch, film/TV, and brands‼️💯. Massive upfront advance, net-profit splits—the kind of terms you get when you’re already pulling $50M a year from music alone‼️💯. It turned him from label artist into a partner using UMG’s machine while owning his ecosystem‼️💯. By mid-2026 he dropped "ICEMAN", "Maid of Honour", and "Habibti"—reportedly clearing his album obligations in one flex‼️💯. He’s been vocal about wanting freedom (“I’m better off independent… swear my label gotta free me”)‼️, and the ongoing UMG litigation (Not Like Us defamation case on appeal) only adds leverage‼️💯. Whether he renegotiates bigger or goes fully independent, he’s doing it as the most-streamed artist alive with recent masters in hand and a self-built brand‼️💯. OVO empire = new-school Jay-Z‼️💯 Co-founded OVO Sound in 2012, built it into a real label that develops talent and keeps the upside‼️. OVO clothing pulls tens of millions yearly with stores‼️. NOCTA with Nike‼️, DreamCrew (Euphoria, Top Boy)‼️, smart investments (Dave’s Hot Chicken stake that blew up to $1B valuation)‼️, minority stakes in AC Milan and 100 Thieves‼️, $200M+ real estate‼️, and his own customized Boeing 767‼️💯. Music funds everything else—just like Jay‼️💯. Wayne was the generational talent with the stronger starting hand‼️. Drake⁉️ He exited the old restrictive setup, kept the modern catalog‼️, extracted historic money‼️, diversified into compounding equity‼️, and built an ownership-driven empire‼️💯. Generational artist (first to 500M RIAA units‼️, decades of dominance, $320M+ tours) who turned cultural power into lasting wealth‼️💯. That’s the Jay playbook executed perfectly in the streaming age‼️💯. That's the reason he is in the position to go against the machine‼️💯
4:25

Drake's the sharper business mind than Lil Wayne ever was and here's the reason‼️💯 He treated Young Money like a launchpad runway—not a permanent airport‼️. While Lil Wayne held the keys to that stacked roster and cashed out the whole catalog for a fat one-time $100M+ check in 2020, Drake played the long game‼️He maxed out leverage, flipped ownership on the back half of his work, locked in one of the biggest artist deals ever‼️, and set himself up to renegotiate or walk independent on god-tier terms‼️💯. Catalog split: Drake’s early classics (Thank Me Later through Scorpion, 2010–2018) live under Young Money/Cash Money and ended up with Universal after Wayne’s sale‼️💯. But from "Certified Lover Boy" (2021) onward, everything dropped via OVO Sound with Republic/UMG on license deals‼️💯. He owns those newer masters—straight-up rapped “owning masters” on “The Remorse”‼️💯and that’s the key difference‼️. Wayne liquidated the pool; Drake made sure the streaming-era half stayed in his pocket‼️💯. In 2021–22 he signed a true equity-style deal covering recordings, publishing, merch, film/TV, and brands‼️💯. Massive upfront advance, net-profit splits—the kind of terms you get when you’re already pulling $50M a year from music alone‼️💯. It turned him from label artist into a partner using UMG’s machine while owning his ecosystem‼️💯. By mid-2026 he dropped "ICEMAN", "Maid of Honour", and "Habibti"—reportedly clearing his album obligations in one flex‼️💯. He’s been vocal about wanting freedom (“I’m better off independent… swear my label gotta free me”)‼️, and the ongoing UMG litigation (Not Like Us defamation case on appeal) only adds leverage‼️💯. Whether he renegotiates bigger or goes fully independent, he’s doing it as the most-streamed artist alive with recent masters in hand and a self-built brand‼️💯. OVO empire = new-school Jay-Z‼️💯 Co-founded OVO Sound in 2012, built it into a real label that develops talent and keeps the upside‼️. OVO clothing pulls tens of millions yearly with stores‼️. NOCTA with Nike‼️, DreamCrew (Euphoria, Top Boy)‼️, smart investments (Dave’s Hot Chicken stake that blew up to $1B valuation)‼️, minority stakes in AC Milan and 100 Thieves‼️, $200M+ real estate‼️, and his own customized Boeing 767‼️💯. Music funds everything else—just like Jay‼️💯. Wayne was the generational talent with the stronger starting hand‼️. Drake⁉️ He exited the old restrictive setup, kept the modern catalog‼️, extracted historic money‼️, diversified into compounding equity‼️, and built an ownership-driven empire‼️💯. Generational artist (first to 500M RIAA units‼️, decades of dominance, $320M+ tours) who turned cultural power into lasting wealth‼️💯. That’s the Jay playbook executed perfectly in the streaming age‼️💯. That's the reason he is in the position to go against the machine‼️💯

(st_ides)

78,489 görüntüleme • 19 gün önce

‼️👩🏼‍⚖️NEW MARIE CARVALHO MOTION TO SEAL ‼️⚖️ Today, via certified mail, I received a motion from Marie Carvalho to seal last week’s court hearing. In it, she claims I shared her “medical diagnosis and history” on social media after the hearing. See her motion below. Every single detail she testified to regarding her medical history she had already publicly disclosed herself, multiple times, on her own shows. This is just a sample. She was explicitly told at the start of the hearing that it was being recorded and part of the public record. None of us were “discussing her medical history.” I simply mentioned what she said under oath, including her claim that I made fun of her do-rag. She tried spinning that into mockery of a disability. False. I had zero idea why she was wearing it, and contrary to popular belief, I don’t watch all her shitty shows. This is yet another example of Marie wasting the court’s time. I’ll be filing an opposition next week, loaded with case law. In New Hampshire, there is a strong constitutional presumption that court proceedings and records are public. The burden is on the moving party to prove that a specific and substantial interest in confidentiality outweighs that presumption. That’s a high bar. Motions to seal are for truly sensitive matters, i.e. domestic violence, minors, etc. They are not information you yourself already put out on your shows. There is no irreparable harm when the information was already public by your own hand. The judge is going to love this. Especially after you said “it’s back on” right after your petition was denied.
3:20

‼️👩🏼‍⚖️NEW MARIE CARVALHO MOTION TO SEAL ‼️⚖️ Today, via certified mail, I received a motion from Marie Carvalho to seal last week’s court hearing. In it, she claims I shared her “medical diagnosis and history” on social media after the hearing. See her motion below. Every single detail she testified to regarding her medical history she had already publicly disclosed herself, multiple times, on her own shows. This is just a sample. She was explicitly told at the start of the hearing that it was being recorded and part of the public record. None of us were “discussing her medical history.” I simply mentioned what she said under oath, including her claim that I made fun of her do-rag. She tried spinning that into mockery of a disability. False. I had zero idea why she was wearing it, and contrary to popular belief, I don’t watch all her shitty shows. This is yet another example of Marie wasting the court’s time. I’ll be filing an opposition next week, loaded with case law. In New Hampshire, there is a strong constitutional presumption that court proceedings and records are public. The burden is on the moving party to prove that a specific and substantial interest in confidentiality outweighs that presumption. That’s a high bar. Motions to seal are for truly sensitive matters, i.e. domestic violence, minors, etc. They are not information you yourself already put out on your shows. There is no irreparable harm when the information was already public by your own hand. The judge is going to love this. Especially after you said “it’s back on” right after your petition was denied.

The old M can’t come to the phone right now

13,906 görüntüleme • 1 ay önce

HOW TO LOOK COOL & GET THE GIRL WHEN YOU APPROACH ❌ Home in on the girl you like and ignore her friend who’s also staring at you ✅ Open both girls at once, talk to both, win them both over ❌ Describe yourself as chasing after her (“courage to come up to you”) ✅ Use a chill opener instead (e.g., “Looks like you’re putting a lot of thought into that decision”) ❌ Ask her name unprompted (“What’s your name?”; you are seeking information from her) ✅ Offer your name first (“I’m Daniel”; you are offering value to her) ❌ Shake her hand like it’s a new business partnership ✅ Hold her hand a moment and give it a squeeze without shaking it ❌ Use her foreignness to compliment her looks in another language (“Muy bonita gracias”) ✅ Use her foreignness to ask what she’s doing here (creates an open loop) ❌ Compliment her looks a 3rd time while explaining yourself (“came up because you’re gorgeous”) ✅ Have her comply with you instead (“I love that bracelet. Let me have a look?” [beckon her]) ❌ Get her to show you the lingerie she bought then completely change the topic ✅ Get her to show you the lingerie she bought then flirt over it (“Oh… lingerie… what is THAT for??”) ❌ Ask her out 40 seconds in after on a non-high point not building any real attraction or connection ✅ Talk to her for at least 2 minutes, build attraction + connection, THEN ask her out on a HIGH point (i.e., she is really engaged, laughing hard, showing a lot of curiosity about you, etc.) Notes from the video: • During the initial moment, she smile genuinely and eyes him up and down (see her head to toe glance) while quickly finishing what she is doing. She shows initial openness to him. HOWEVER… • She gives the “Oh, gosh” eye shut and grimacing nod in response to his “chasing after you” opener. She acknowledges it’s ‘funny’ but still cringe. • She follows this by PICKING UP HER CUP (which she does not need to do) and holding it in front of herself defensively, creating a barrier between her and him. (If she was into the approach, she’d leave the cup there and face him without a barrier.) • After he blasts her with the fourth compliment, she backs away from him while laughing awkwardly and eye codes her friend (whom this guy’s still ignoring) in disbelief. • When he asks her out on “like a food date”, she takes two seconds to break eye contact to the side, still with her forced smile, briefly shakes her head “no”, then nods politely and says it “sounds good” and gives her number (while eye coding her friend again) just to get rid of him. • After he gets the number, he tells her “Next Friday?” and she doesn’t even need to think about what she has going on or check her schedule because she has no intention of actually meeting this guy, so she just says “Next Friday, perfect” to get this over with. Approach better & avoid these mistakes!
1:00

HOW TO LOOK COOL & GET THE GIRL WHEN YOU APPROACH ❌ Home in on the girl you like and ignore her friend who’s also staring at you ✅ Open both girls at once, talk to both, win them both over ❌ Describe yourself as chasing after her (“courage to come up to you”) ✅ Use a chill opener instead (e.g., “Looks like you’re putting a lot of thought into that decision”) ❌ Ask her name unprompted (“What’s your name?”; you are seeking information from her) ✅ Offer your name first (“I’m Daniel”; you are offering value to her) ❌ Shake her hand like it’s a new business partnership ✅ Hold her hand a moment and give it a squeeze without shaking it ❌ Use her foreignness to compliment her looks in another language (“Muy bonita gracias”) ✅ Use her foreignness to ask what she’s doing here (creates an open loop) ❌ Compliment her looks a 3rd time while explaining yourself (“came up because you’re gorgeous”) ✅ Have her comply with you instead (“I love that bracelet. Let me have a look?” [beckon her]) ❌ Get her to show you the lingerie she bought then completely change the topic ✅ Get her to show you the lingerie she bought then flirt over it (“Oh… lingerie… what is THAT for??”) ❌ Ask her out 40 seconds in after on a non-high point not building any real attraction or connection ✅ Talk to her for at least 2 minutes, build attraction + connection, THEN ask her out on a HIGH point (i.e., she is really engaged, laughing hard, showing a lot of curiosity about you, etc.) Notes from the video: • During the initial moment, she smile genuinely and eyes him up and down (see her head to toe glance) while quickly finishing what she is doing. She shows initial openness to him. HOWEVER… • She gives the “Oh, gosh” eye shut and grimacing nod in response to his “chasing after you” opener. She acknowledges it’s ‘funny’ but still cringe. • She follows this by PICKING UP HER CUP (which she does not need to do) and holding it in front of herself defensively, creating a barrier between her and him. (If she was into the approach, she’d leave the cup there and face him without a barrier.) • After he blasts her with the fourth compliment, she backs away from him while laughing awkwardly and eye codes her friend (whom this guy’s still ignoring) in disbelief. • When he asks her out on “like a food date”, she takes two seconds to break eye contact to the side, still with her forced smile, briefly shakes her head “no”, then nods politely and says it “sounds good” and gives her number (while eye coding her friend again) just to get rid of him. • After he gets the number, he tells her “Next Friday?” and she doesn’t even need to think about what she has going on or check her schedule because she has no intention of actually meeting this guy, so she just says “Next Friday, perfect” to get this over with. Approach better & avoid these mistakes!

Girls Chase 🏃‍♀️💨

65,755 görüntüleme • 2 ay önce

Shiroko's "Are you having fun, Sensei?" from Blue Archive Fes 2026 If Shiroko was real I would definitely try to befriend her. I've always longed for someone who would encourage me to take working out more seriously—particularly cycling. Right now, my biggest problem with cycling is that I don't have that many cool spots I can go to anymore after having moved cities. And like many people, I'm bad at aimlessly strolling around, even more so at going on a trip without a clear destination. But Shiroko could help with that. She's great at planning (as shown by planning out her tour around Kivotos in her Cycling alt bond story), and I'm sure she would be able to plan several routes of various lengths and change in altitude. And I would love to go with her, no matter what she plans. If there's one thing I'm good at, it's endurance, after all. Throw however many "light 100km trips" at me as she may want, I would definitely keep up. And exercising together would bring us closer, as sharing any enjoyable activity would. Her brain would associate the endorphins released during workout with me being around, as would mine with her. And eventually, we would start dating. Doesn't a joint bank robbery sound great for the first date? How about a simple outing to a familiar ramen place? Or a romantic bike trip to the far seaside, just in time to sit down and watch the sunset, with her head leaning on my shoulder... There's just so much I would love to do together. I wonder how smooth her hair is. I wonder how soft the fur on her ears is. I wonder how much muscle she has, and how much that influences how her body feels to the touch. I would check everything. But no matter what I would discover, I'm sure I would come to love everything about her. I mean, she's already this perfect for me—she's cute, she's funny, and she even doesn't understand the appeal of electronic gear-shifting! In fact, I love her so much already, I'm worried I would mess the whole befriending part of the plan up. And even if I didn't, my feelings are bound to overflow at one point or another, and I can only imagine the things I would do when that happens. I would probably shower her in hugs, pats and kisses, and hope I won't get hated for that. Which I wouldn't if we were already dating, but then I feel like I would be on the receiving end of that kind of onslaught... That wouldn't be so bad though. In fact, I would let Shiroko assault me. I may have read too many Shiroko doujins, but she does strike me as the type to unleash her inner beast- er, I mean, unleash her emotions when faced with the man she loves. As just like with exercise, I would endure everything she would throw at me. I have gone a bit off-topic, but if Shiroko was real, I would be a healthier person. If Shiroko was real, I would be a better person. If Shiroko was real, I would be the best version of myself so that I could support her in all she does. I'm sure I could make it worth the time I would be stealing from her.
2:43

Shiroko's "Are you having fun, Sensei?" from Blue Archive Fes 2026 If Shiroko was real I would definitely try to befriend her. I've always longed for someone who would encourage me to take working out more seriously—particularly cycling. Right now, my biggest problem with cycling is that I don't have that many cool spots I can go to anymore after having moved cities. And like many people, I'm bad at aimlessly strolling around, even more so at going on a trip without a clear destination. But Shiroko could help with that. She's great at planning (as shown by planning out her tour around Kivotos in her Cycling alt bond story), and I'm sure she would be able to plan several routes of various lengths and change in altitude. And I would love to go with her, no matter what she plans. If there's one thing I'm good at, it's endurance, after all. Throw however many "light 100km trips" at me as she may want, I would definitely keep up. And exercising together would bring us closer, as sharing any enjoyable activity would. Her brain would associate the endorphins released during workout with me being around, as would mine with her. And eventually, we would start dating. Doesn't a joint bank robbery sound great for the first date? How about a simple outing to a familiar ramen place? Or a romantic bike trip to the far seaside, just in time to sit down and watch the sunset, with her head leaning on my shoulder... There's just so much I would love to do together. I wonder how smooth her hair is. I wonder how soft the fur on her ears is. I wonder how much muscle she has, and how much that influences how her body feels to the touch. I would check everything. But no matter what I would discover, I'm sure I would come to love everything about her. I mean, she's already this perfect for me—she's cute, she's funny, and she even doesn't understand the appeal of electronic gear-shifting! In fact, I love her so much already, I'm worried I would mess the whole befriending part of the plan up. And even if I didn't, my feelings are bound to overflow at one point or another, and I can only imagine the things I would do when that happens. I would probably shower her in hugs, pats and kisses, and hope I won't get hated for that. Which I wouldn't if we were already dating, but then I feel like I would be on the receiving end of that kind of onslaught... That wouldn't be so bad though. In fact, I would let Shiroko assault me. I may have read too many Shiroko doujins, but she does strike me as the type to unleash her inner beast- er, I mean, unleash her emotions when faced with the man she loves. As just like with exercise, I would endure everything she would throw at me. I have gone a bit off-topic, but if Shiroko was real, I would be a healthier person. If Shiroko was real, I would be a better person. If Shiroko was real, I would be the best version of myself so that I could support her in all she does. I'm sure I could make it worth the time I would be stealing from her.

Minend

15,846 görüntüleme • 6 ay önce

‼️The Drug They're Giving Seven-Year-Olds Has a 59% Rate of Permanent Sexual Dysfunction Danielle Gansky was seven years old when she was first prescribed psychiatric medication. The side effects were misread as worsening mental illness, so more drugs were added to treat the symptoms the first drugs had caused. By the time she decided to come off them, the withdrawal felt, in her words, like being dropped into a living nightmare of nonstop physical and psychological torment. Being alive simply felt unbearable. And then there was Lauren, who stood up and testified about something indescribable - Post-SSRI Sexual Dysfunction. She suffers from complete genital numbness. She has ZERO sensation. At 23, she described it as a form of chemical castration. It is permanent and caused by medications prescribed to children who had no idea what they were agreeing to. She cannot feel love for her own mother. She cannot feel a connection to her friends. She was neurologically severed by drugs given to her before she was old enough to understand what was being taken from her. 50% to 70% of SSRI patients experience sexual side effects. There is no black box warning, and no requirement to tell parents that the medication they are giving their seven-year-old carries a greater than 50% chance of permanent sexual dysfunction. It is absolutely horrific. Del walked out of that conversation and called Aaron Siri. A new lawsuit is being filed. That is what this community makes possible: the moment a story becomes this outrageous, the resources exist to do something about it. Though we walk through the valley of the shadow of death, we fear no evil here at The HighWire. And neither do you.
2:07

‼️The Drug They're Giving Seven-Year-Olds Has a 59% Rate of Permanent Sexual Dysfunction Danielle Gansky was seven years old when she was first prescribed psychiatric medication. The side effects were misread as worsening mental illness, so more drugs were added to treat the symptoms the first drugs had caused. By the time she decided to come off them, the withdrawal felt, in her words, like being dropped into a living nightmare of nonstop physical and psychological torment. Being alive simply felt unbearable. And then there was Lauren, who stood up and testified about something indescribable - Post-SSRI Sexual Dysfunction. She suffers from complete genital numbness. She has ZERO sensation. At 23, she described it as a form of chemical castration. It is permanent and caused by medications prescribed to children who had no idea what they were agreeing to. She cannot feel love for her own mother. She cannot feel a connection to her friends. She was neurologically severed by drugs given to her before she was old enough to understand what was being taken from her. 50% to 70% of SSRI patients experience sexual side effects. There is no black box warning, and no requirement to tell parents that the medication they are giving their seven-year-old carries a greater than 50% chance of permanent sexual dysfunction. It is absolutely horrific. Del walked out of that conversation and called Aaron Siri. A new lawsuit is being filed. That is what this community makes possible: the moment a story becomes this outrageous, the resources exist to do something about it. Though we walk through the valley of the shadow of death, we fear no evil here at The HighWire. And neither do you.

The HighWire

15,044 görüntüleme • 2 ay önce

In Remembrance of Barbara Stanwyck. Born | July 16, 1907 in Brooklyn, New York City, New York, USA. Died | January 20, 1990 aged 82 in Santa Monica, California, USA. American actress and dancer Barbara Stanwyck (born Ruby Catherine Stevens) was a star of the stage, film, and television and during her 60-year professional career, she was known for her strong, realistic screen presence and versatility. Stanwyck was a favourite of directors, including Cecil B. DeMille, Fritz Lang, and Frank Capra, and made 86 films in 38 years before turning to television. She received numerous accolades, including three Primetime Emmy Awards and a Golden Globe Award, and was nominated for four Academy Awards. Orphaned at the age of four and partially raised in foster homes, she always worked. One of her directors, Jacques Tourneur, said of her, “She only lives for two things, and both of them are work”. She made her debut on stage in the chorus as a Ziegfeld girl in 1923 at age 16, and within a few years was acting in plays. Her first lead role, which was in the hit Burlesque (1927), established her as a Broadway star. In 1929, she transitioned from the stage to the film industry, and began acting in talking pictures, the first of which was George Archainbaud's The Locked Door, where her naturalistic acting style and unaffected vocal delivery were instantly evident. Frank Capra chose her for his romantic drama Ladies of Leisure (1930), and Stanwyck later became a favourite of Capra’s, leading to another three collaborations. This led to additional leading roles which raised her profile, such as Night Nurse (1931), Baby Face (1933), the controversial The Bitter Tea of General Yen (1933), and Gambling Lady (1934). By the late 1930s, Stanwyck had moved to more mature roles in critically and commercially successful comedies and dramas. For her performance as the titular character in Stella Dallas (1937), she earned her first Academy Award nomination for Best Actress. In 1941, she starred in two screwball comedies: Ball of Fire with Gary Cooper, and The Lady Eve with Henry Fonda. She received her second Academy Award nomination for Ball of Fire, and in the decades since its release, The Lady Eve has come to be regarded as a comedic classic, with Stanwyck's performance widely hailed as one of the best in American comedy. Other successful films during this period are Remember the Night (1940), Meet John Doe (1940) and You Belong to Me (1941), reteaming her with Cooper and Fonda, respectively, The Gay Sisters (1942), and Lady of Burlesque (1943). By 1944, Stanwyck had become the highest-paid actress in the United States. That year, she received a third Academy Award nomination for Best Actress in the film noir Double Indemnity, playing a wife who persuades an insurance salesman to kill her husband. In 1945, she played a homemaker columnist in the holiday classic Christmas in Connecticut, and the following year, starred as the titular femme fatale in The Strange Love of Martha Ivers. For the remainder of the decade, Stanwyck starred in additional successes ranging from romantic dramas and comedies, to suspenseful, crime-noirs. Her films during this period include My Reputation (1946), The Two Mrs. Carrolls (1947), Sorry, Wrong Number (1948), for which she received her fourth and final Academy Award nomination, and East Side, West Side (1949). By the early 1950s, Stanwyck’s career began to decline, despite a fair number of leading and major supporting roles, the most successful being Clash by Night (1952), Jeopardy (1953), and Executive Suite (1954). In the 1960s, Stanwyck had made a successful transition to television, where she won three Emmy Awards, for The Barbara Stanwyck Show (1961), the Western series The Big Valley (1966), and the miniseries The Thorn Birds (1983). She received an Honorary Oscar in 1982, the Golden Globe Cecil B. DeMille Award in 1986, and several other honorary lifetime awards. In 1999 she was ranked as the 11th-greatest female star of classic American cinema by the American Film Institute. Video | Barbara Stanwyck Tribute. Video footage courtesy of Saxon Brack Music | The Shawshank Redemption (1994) ― “So Was Red” and “End Title”. Music composed and conducted by Thomas Newman. Performed by The Hollywood Studio Symphony.
3:39

In Remembrance of Barbara Stanwyck. Born | July 16, 1907 in Brooklyn, New York City, New York, USA. Died | January 20, 1990 aged 82 in Santa Monica, California, USA. American actress and dancer Barbara Stanwyck (born Ruby Catherine Stevens) was a star of the stage, film, and television and during her 60-year professional career, she was known for her strong, realistic screen presence and versatility. Stanwyck was a favourite of directors, including Cecil B. DeMille, Fritz Lang, and Frank Capra, and made 86 films in 38 years before turning to television. She received numerous accolades, including three Primetime Emmy Awards and a Golden Globe Award, and was nominated for four Academy Awards. Orphaned at the age of four and partially raised in foster homes, she always worked. One of her directors, Jacques Tourneur, said of her, “She only lives for two things, and both of them are work”. She made her debut on stage in the chorus as a Ziegfeld girl in 1923 at age 16, and within a few years was acting in plays. Her first lead role, which was in the hit Burlesque (1927), established her as a Broadway star. In 1929, she transitioned from the stage to the film industry, and began acting in talking pictures, the first of which was George Archainbaud's The Locked Door, where her naturalistic acting style and unaffected vocal delivery were instantly evident. Frank Capra chose her for his romantic drama Ladies of Leisure (1930), and Stanwyck later became a favourite of Capra’s, leading to another three collaborations. This led to additional leading roles which raised her profile, such as Night Nurse (1931), Baby Face (1933), the controversial The Bitter Tea of General Yen (1933), and Gambling Lady (1934). By the late 1930s, Stanwyck had moved to more mature roles in critically and commercially successful comedies and dramas. For her performance as the titular character in Stella Dallas (1937), she earned her first Academy Award nomination for Best Actress. In 1941, she starred in two screwball comedies: Ball of Fire with Gary Cooper, and The Lady Eve with Henry Fonda. She received her second Academy Award nomination for Ball of Fire, and in the decades since its release, The Lady Eve has come to be regarded as a comedic classic, with Stanwyck's performance widely hailed as one of the best in American comedy. Other successful films during this period are Remember the Night (1940), Meet John Doe (1940) and You Belong to Me (1941), reteaming her with Cooper and Fonda, respectively, The Gay Sisters (1942), and Lady of Burlesque (1943). By 1944, Stanwyck had become the highest-paid actress in the United States. That year, she received a third Academy Award nomination for Best Actress in the film noir Double Indemnity, playing a wife who persuades an insurance salesman to kill her husband. In 1945, she played a homemaker columnist in the holiday classic Christmas in Connecticut, and the following year, starred as the titular femme fatale in The Strange Love of Martha Ivers. For the remainder of the decade, Stanwyck starred in additional successes ranging from romantic dramas and comedies, to suspenseful, crime-noirs. Her films during this period include My Reputation (1946), The Two Mrs. Carrolls (1947), Sorry, Wrong Number (1948), for which she received her fourth and final Academy Award nomination, and East Side, West Side (1949). By the early 1950s, Stanwyck’s career began to decline, despite a fair number of leading and major supporting roles, the most successful being Clash by Night (1952), Jeopardy (1953), and Executive Suite (1954). In the 1960s, Stanwyck had made a successful transition to television, where she won three Emmy Awards, for The Barbara Stanwyck Show (1961), the Western series The Big Valley (1966), and the miniseries The Thorn Birds (1983). She received an Honorary Oscar in 1982, the Golden Globe Cecil B. DeMille Award in 1986, and several other honorary lifetime awards. In 1999 she was ranked as the 11th-greatest female star of classic American cinema by the American Film Institute. Video | Barbara Stanwyck Tribute. Video footage courtesy of Saxon Brack Music | The Shawshank Redemption (1994) ― “So Was Red” and “End Title”. Music composed and conducted by Thomas Newman. Performed by The Hollywood Studio Symphony.

MSI | Movie Star Icons

15,995 görüntüleme • 6 ay önce

Happy 86th Birthday to KATHARINE ROSS !!! Born | January 29, 1940 in Los Angeles, California, USA. Video | Katharine Ross, Paul Newman and Robert Redford on the set of, and in publicity photos for, Butch Cassidy and the Sundance Kid (1969), directed by George Roy Hill. KATHARINE ROSS MINI BIO Katharine Juliet Ross was born January 29, 1940, in Hollywood, CA, to Katherine (née Hall) and Dudley Tying Ross. Her father, who had also worked as a reporter for the Associated Press, was a commander in the US Navy when she was born. His navy career shuttled the family around to Virginia, then Palo Alto, and finally to Walnut Creek, outside of San Francisco, where Ross grew up. Ross graduated from Las Lomas High School in Walnut Creek in 1957 and attended Santa Rosa Junior College and Diablo Valley College in the Bay Area, where she took part in her first onscreen work in a student film. Moving to San Francisco, into an apartment on Stockton Street above a grocery store, she began her acting career as an understudy in Actor's Workshop productions, and was soon auditioning for roles. She was also married in 1960 to college sweetheart Joel Fabiani, the first of five husbands. Work came steadily for Ross, at first mainly in television westerns, and indeed Westerns would make up the majority of her best-known work, her natural beauty being a strong asset in that genre. She made her TV debut in an episode of Sam Benedict (1962), and her first film role was in the Civil War era Shenandoah (1965) starring James Stewart. Ross' career as a leading actress began in earnest in 1967, with her strong turn co-starring with James Caan and Simone Signoret in Games (1967), and with The Graduate (1967). Ross' performance as Elaine earned her a Supporting Actress Oscar nomination. A disappointing, formulaic John Wayne vehicle, Hellfighters (1968), followed but she soon returned to form with two films with Robert Redford. As Etta Place in Butch Cassidy and the Sundance Kid (1969), Ross was part of the most memorable scene from that hit film, precariously perched barefoot on the bumper of that newfangled contraption, the bicycle, as Paul Newman's Butch Cassidy takes her for a ride. The compelling Tell Them Willie Boy Is Here (1969) was less of a box office success but more highly regarded by the critics, and Ross won a BAFTA Award for her work as Lola, a Paiute Indian who flees with her boyfriend, played by Robert Blake, after he kills her father in self-defense. Swept up into a whirlwind of fame, widely idealised as the symbol of beauty for the Woodstock generation, Ross had accomplished so much so quickly that it seemed her entire career had happened almost all at once, in that frenzy of activity between 1967 and 1969. Sure enough, there followed a long dry spell in which she was mostly cast in forgettable roles; her next strong film wasn't for another six years. In The Stepford Wives (1975), an intriguing Black comedy-cum-horror film, Ross plays a independent, free-spirited wife newly relocated to a suburb where the other wives all seem to be just a little too perfect, too submissive; it was arguably her strongest performance to date, but Stepford Wives would prove to be but a temporary resurgence for Ross, and her work in the decade and a half to follow would include such star-studded duds as The Betsy (1978), and a return to TV, including a part in primetime soap opera The Colbys (1985). Along the way, however, Ross found love. After four failed marriages (the second, third and fourth were to John Marion, Conrad L. Hall and Gaetano Lisi respectively), she met her current husband Sam Elliott, while working on The Legacy (1978). They married in May 1984; that September, just four months short of her 45th birthday, Ross gave birth to a daughter, Cleo Rose. In 1991, Ross and Elliott adapted the Louis L'Amour novel, Conagher (1991), for television in a remarkably affecting Western tale which showcases both actors' remarkable talents. Ross continued to take roles up until her early 80s and, as usual, her work was strong ― something that was sometimes overlooked in her youth due to her famous beauty. Katharine Ross and Sam Elliott live on their ranchito in Malibu. - IMDb Mini Biography by: Larry-115
2:49

Happy 86th Birthday to KATHARINE ROSS !!! Born | January 29, 1940 in Los Angeles, California, USA. Video | Katharine Ross, Paul Newman and Robert Redford on the set of, and in publicity photos for, Butch Cassidy and the Sundance Kid (1969), directed by George Roy Hill. KATHARINE ROSS MINI BIO Katharine Juliet Ross was born January 29, 1940, in Hollywood, CA, to Katherine (née Hall) and Dudley Tying Ross. Her father, who had also worked as a reporter for the Associated Press, was a commander in the US Navy when she was born. His navy career shuttled the family around to Virginia, then Palo Alto, and finally to Walnut Creek, outside of San Francisco, where Ross grew up. Ross graduated from Las Lomas High School in Walnut Creek in 1957 and attended Santa Rosa Junior College and Diablo Valley College in the Bay Area, where she took part in her first onscreen work in a student film. Moving to San Francisco, into an apartment on Stockton Street above a grocery store, she began her acting career as an understudy in Actor's Workshop productions, and was soon auditioning for roles. She was also married in 1960 to college sweetheart Joel Fabiani, the first of five husbands. Work came steadily for Ross, at first mainly in television westerns, and indeed Westerns would make up the majority of her best-known work, her natural beauty being a strong asset in that genre. She made her TV debut in an episode of Sam Benedict (1962), and her first film role was in the Civil War era Shenandoah (1965) starring James Stewart. Ross' career as a leading actress began in earnest in 1967, with her strong turn co-starring with James Caan and Simone Signoret in Games (1967), and with The Graduate (1967). Ross' performance as Elaine earned her a Supporting Actress Oscar nomination. A disappointing, formulaic John Wayne vehicle, Hellfighters (1968), followed but she soon returned to form with two films with Robert Redford. As Etta Place in Butch Cassidy and the Sundance Kid (1969), Ross was part of the most memorable scene from that hit film, precariously perched barefoot on the bumper of that newfangled contraption, the bicycle, as Paul Newman's Butch Cassidy takes her for a ride. The compelling Tell Them Willie Boy Is Here (1969) was less of a box office success but more highly regarded by the critics, and Ross won a BAFTA Award for her work as Lola, a Paiute Indian who flees with her boyfriend, played by Robert Blake, after he kills her father in self-defense. Swept up into a whirlwind of fame, widely idealised as the symbol of beauty for the Woodstock generation, Ross had accomplished so much so quickly that it seemed her entire career had happened almost all at once, in that frenzy of activity between 1967 and 1969. Sure enough, there followed a long dry spell in which she was mostly cast in forgettable roles; her next strong film wasn't for another six years. In The Stepford Wives (1975), an intriguing Black comedy-cum-horror film, Ross plays a independent, free-spirited wife newly relocated to a suburb where the other wives all seem to be just a little too perfect, too submissive; it was arguably her strongest performance to date, but Stepford Wives would prove to be but a temporary resurgence for Ross, and her work in the decade and a half to follow would include such star-studded duds as The Betsy (1978), and a return to TV, including a part in primetime soap opera The Colbys (1985). Along the way, however, Ross found love. After four failed marriages (the second, third and fourth were to John Marion, Conrad L. Hall and Gaetano Lisi respectively), she met her current husband Sam Elliott, while working on The Legacy (1978). They married in May 1984; that September, just four months short of her 45th birthday, Ross gave birth to a daughter, Cleo Rose. In 1991, Ross and Elliott adapted the Louis L'Amour novel, Conagher (1991), for television in a remarkably affecting Western tale which showcases both actors' remarkable talents. Ross continued to take roles up until her early 80s and, as usual, her work was strong ― something that was sometimes overlooked in her youth due to her famous beauty. Katharine Ross and Sam Elliott live on their ranchito in Malibu. - IMDb Mini Biography by: Larry-115

Hollywood Golden Age of Cinema

35,527 görüntüleme • 6 ay önce

My latest AIGC film "Him" is here ( finally )! "Quan, a girl from Haixian, sets out on a journey to Min City in search of him. But when she finally arrives at her destination, everything takes an unexpected turn…" Image:Midjourney V6.1 Video: Dreamina AI 3.0 Eight months have passed since the release of The Thin Man The Gun The Hotpot, and my new work, Him, is finally ready to meet the audience. This film marks a significant departure from my previous creative style. One of my original intentions in making Him was to explore a new visual language and narrative rhythm. I was fortunate to utilize the Dreamina AI Video 3.0 model in the production of this film. At the same time, Him is also my tribute to the genre of “cruel youth” stories. For teenageers, the world often appears more pure—yet that very purity makes emotions feel all the more weighty.Him is a love story. It’s not a love story. And at its core—it is still a love story. I’ve retained the Sichuan-Chongqing setting, but placed it within a fictional world to create an experience that feels both familiar and fresh. The visual style of this piece is inspired by the gouache illustrations once found in old Chinese language textbooks—imagery that defined the visual memories of an entire generation. To me, those gouache paintings have become synonymous with nostalgia. I’m curious to see how audiences will respond to this stylistic approach. On a deeper level, I hope this story can deliver a moment of genuine emotional resonance—something I wasn’t quite able to achieve in The Thin man The Gun The Hotpot. Due to family and work responsibilities, the production of Him, which began in February, has progressed in fits and starts. I want to express my heartfelt gratitude to the Dreamina team for their tremendous support. The Dreamina Action provided invaluable inspiration and insights during the writing stage. It was like a creative partner, brainstorming and shaping the story with me. If you liked Sailor Suit and Machine Gun, or Better Days, then maybe—just maybe—you’ll like Him too. Thank you for watching! For 4K, you can watch it at
6:03

My latest AIGC film "Him" is here ( finally )! "Quan, a girl from Haixian, sets out on a journey to Min City in search of him. But when she finally arrives at her destination, everything takes an unexpected turn…" Image:Midjourney V6.1 Video: Dreamina AI 3.0 Eight months have passed since the release of The Thin Man The Gun The Hotpot, and my new work, Him, is finally ready to meet the audience. This film marks a significant departure from my previous creative style. One of my original intentions in making Him was to explore a new visual language and narrative rhythm. I was fortunate to utilize the Dreamina AI Video 3.0 model in the production of this film. At the same time, Him is also my tribute to the genre of “cruel youth” stories. For teenageers, the world often appears more pure—yet that very purity makes emotions feel all the more weighty.Him is a love story. It’s not a love story. And at its core—it is still a love story. I’ve retained the Sichuan-Chongqing setting, but placed it within a fictional world to create an experience that feels both familiar and fresh. The visual style of this piece is inspired by the gouache illustrations once found in old Chinese language textbooks—imagery that defined the visual memories of an entire generation. To me, those gouache paintings have become synonymous with nostalgia. I’m curious to see how audiences will respond to this stylistic approach. On a deeper level, I hope this story can deliver a moment of genuine emotional resonance—something I wasn’t quite able to achieve in The Thin man The Gun The Hotpot. Due to family and work responsibilities, the production of Him, which began in February, has progressed in fits and starts. I want to express my heartfelt gratitude to the Dreamina team for their tremendous support. The Dreamina Action provided invaluable inspiration and insights during the writing stage. It was like a creative partner, brainstorming and shaping the story with me. If you liked Sailor Suit and Machine Gun, or Better Days, then maybe—just maybe—you’ll like Him too. Thank you for watching! For 4K, you can watch it at

Jim HuiHui

15,144 görüntüleme • 1 yıl önce

I need to make this abundantly clear, after following this case now since August 2023, I can see how this wretched diabolical psychopath operates. She is starting to form a brand new narrative for who is responsible for John’s death. Here are the former targets of Read’s narrative to blame someone else for what she did. 1) It was a plow. 2)It was Chloe, the Albert’s dog 3) It was Jennifer McCabe 4) It was Colin Albert 5) It was Brian Albert 6)It was all 3 of these people. The following people are part of the conspiracy according to Karen, and are covering up what Jenn, Colin, Brian A, & Brian H did 📌Brian Albert Jr. 📌Julie Nagel 📌Sarah Levinson 📌Allie McCabe 📌Julie Albert 📌The EMT’s on the scene the morning John was found 📌The Canton PD 📌Mass State Police 📌Ian Whiffin: an expert in digital forensics who currently serves as a Senior Technical Product Manager at Cellebrite. 📌Dr. Jessica Hyde: a high-profile digital forensics examiner, consultant, and educator. *It’s important to note that any friends & family of the aforementioned, would be looked upon by Read & her attorneys of being complicit in the conspiracy if they were to speak out to support their family and/or friends. THERE IS NOT ONE SHRED OF EVIDENCE THAT ANYONE MENTIONED ABOVE, HAD ANYTHING TO DO WITH THE DEATH OF JOHN O’KEEFE. Here are the basic facts and evidence that point directly to Karen Read. The digital data shows: 📌Karen backed her SUV up going 24 MPH, with the gas pedal pressed at 75% throttle. What that means is her gas pedal was almost completely pressed to the floor of the vehicle. 📌 Read's 2021 Lexus LX 570 SUV recorded a "trigger event" when put in reverse, corresponding to the time of the fatal strike of John O’Keefe. O'Keefe's iPhone, including Health app steps, Doppler data, and battery temperature, forensic experts testified that the phone's last recorded movement stopped at 12:32 a.m., right around the same time the SUV was in reverse. 📌A Canton Police Department cruiser responding to check on John O’Keefe's niece and nephew captured footage of Karen Read’s broken tail light at 8:23 a.m.on January 29, 2022, via the vehicle camera on law enforcement’s vehicle. 📌 Karen relayed through the intermediary to the blogger, that her taillight was already broken at 5:08 AM. 📌Pieces of her tail light were found at the scene (34 Fairview) 📌 microscopic pieces of tail light were found embedded in John’s clothing. 📌 Karen herself told several first responders, and witnesses testified during the trial, that Karen Read made statements at the scene admitting she hit John O’Keefe. 📌 Karen told investigators the afternoon of the horrific event, that John did not go into the house. Since then, Karen’s version of whether John went into the home at 34 Fairview has changed multiple times. Presently her story is that he did go into the home. (He didn’t) ‼️This is not a complicated case, this is a woman who was enraged, drunk, and in a fit of rage, backed her vehicle up into John, struck him, and left him to die in the cold. Instead of taking accountability, she is now trying to blame his death on John’s own friends, to avoid taking any accountability for what she did. She has destroyed people’s, including at the time, an 18 year old young man named Colin albert, who was not even inside the home by the time Karen had arrived. ‼️ given all of this evidence, if you still believe that Karen Read is innocent, then you are as dumb as a bag of damn rocks! 🚨 that brings me back to the original purpose of this post. She is now trying to put the blame on Michael Proctor. Michael Proctor‘s horrific, disgusting, and despicable text messages are just that, but they have nothing to do with Karen Read herself, or his investigation of her case. ‼️The FBI went through Michael Proctor‘s phone & found ZERO evidence of a coverup or a conspiracy. Read is a manipulative, lying, narcissist, & needs to be held accountable for the death of John O’Keefe.
0:24

I need to make this abundantly clear, after following this case now since August 2023, I can see how this wretched diabolical psychopath operates. She is starting to form a brand new narrative for who is responsible for John’s death. Here are the former targets of Read’s narrative to blame someone else for what she did. 1) It was a plow. 2)It was Chloe, the Albert’s dog 3) It was Jennifer McCabe 4) It was Colin Albert 5) It was Brian Albert 6)It was all 3 of these people. The following people are part of the conspiracy according to Karen, and are covering up what Jenn, Colin, Brian A, & Brian H did 📌Brian Albert Jr. 📌Julie Nagel 📌Sarah Levinson 📌Allie McCabe 📌Julie Albert 📌The EMT’s on the scene the morning John was found 📌The Canton PD 📌Mass State Police 📌Ian Whiffin: an expert in digital forensics who currently serves as a Senior Technical Product Manager at Cellebrite. 📌Dr. Jessica Hyde: a high-profile digital forensics examiner, consultant, and educator. *It’s important to note that any friends & family of the aforementioned, would be looked upon by Read & her attorneys of being complicit in the conspiracy if they were to speak out to support their family and/or friends. THERE IS NOT ONE SHRED OF EVIDENCE THAT ANYONE MENTIONED ABOVE, HAD ANYTHING TO DO WITH THE DEATH OF JOHN O’KEEFE. Here are the basic facts and evidence that point directly to Karen Read. The digital data shows: 📌Karen backed her SUV up going 24 MPH, with the gas pedal pressed at 75% throttle. What that means is her gas pedal was almost completely pressed to the floor of the vehicle. 📌 Read's 2021 Lexus LX 570 SUV recorded a "trigger event" when put in reverse, corresponding to the time of the fatal strike of John O’Keefe. O'Keefe's iPhone, including Health app steps, Doppler data, and battery temperature, forensic experts testified that the phone's last recorded movement stopped at 12:32 a.m., right around the same time the SUV was in reverse. 📌A Canton Police Department cruiser responding to check on John O’Keefe's niece and nephew captured footage of Karen Read’s broken tail light at 8:23 a.m.on January 29, 2022, via the vehicle camera on law enforcement’s vehicle. 📌 Karen relayed through the intermediary to the blogger, that her taillight was already broken at 5:08 AM. 📌Pieces of her tail light were found at the scene (34 Fairview) 📌 microscopic pieces of tail light were found embedded in John’s clothing. 📌 Karen herself told several first responders, and witnesses testified during the trial, that Karen Read made statements at the scene admitting she hit John O’Keefe. 📌 Karen told investigators the afternoon of the horrific event, that John did not go into the house. Since then, Karen’s version of whether John went into the home at 34 Fairview has changed multiple times. Presently her story is that he did go into the home. (He didn’t) ‼️This is not a complicated case, this is a woman who was enraged, drunk, and in a fit of rage, backed her vehicle up into John, struck him, and left him to die in the cold. Instead of taking accountability, she is now trying to blame his death on John’s own friends, to avoid taking any accountability for what she did. She has destroyed people’s, including at the time, an 18 year old young man named Colin albert, who was not even inside the home by the time Karen had arrived. ‼️ given all of this evidence, if you still believe that Karen Read is innocent, then you are as dumb as a bag of damn rocks! 🚨 that brings me back to the original purpose of this post. She is now trying to put the blame on Michael Proctor. Michael Proctor‘s horrific, disgusting, and despicable text messages are just that, but they have nothing to do with Karen Read herself, or his investigation of her case. ‼️The FBI went through Michael Proctor‘s phone & found ZERO evidence of a coverup or a conspiracy. Read is a manipulative, lying, narcissist, & needs to be held accountable for the death of John O’Keefe.

Andie (Albert) Dufrense

35,003 görüntüleme • 2 ay önce

“Hollywood Steps Out” (1941) ― Merrie Melodies Cartoon. “Hollywood Steps Out” is a 1941 Warner Bros. Merrie Melodies cartoon short directed by Tex Avery and produced by Leon Schlesinger. The cartoon features caricatures of over forty contemporary Hollywood celebrities (along with guest appearances). PLOT A group of “caricatured” Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer. Greta Garbo, working as a cigarette girl, sells a pack to Cary Grant, then lights his cigarette by striking a match on her very large foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is an extra-wide sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot, who reacts with a weary “Ouch”. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga” (also known as “Here comes the conga” in English). The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his Andy Hardy movie father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable is still pursuing the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison (by saying “Baby!”), Peter Lorre, Henry Fonda, whose “mother” pulls him away by his ear (in its reference to The Aldrich Family), J. Edgar Hoover, Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time, and Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel, held up by suspenders. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag. CAST Kent Rogers as James Cagney, Cary Grant, Edward G. Robinson, Clark Gable, Ned Sparks, Peter Lorre, Groucho Marx, Mickey Rooney, James Stewart, J. Edgar Hoover, Henry Fonda, Bing Crosby, Kay Kyser, and Lewis Stone. Mel Blanc as Jerry Colonna. Sara Berner as Greta Garbo, Ann Sheridan, Paulette Goddard, Dorothy Lamour, and Henry Fonda's mother. Directed by Supervision: Fred Avery Story by: Dave Monahan Produced by: Leon Schlesinger Starring Kent Rogers, Sara Berner, and Mel Blanc Edited by: Treg Brown Music by: Carl W. Stalling Animation by: Rod Scribner Color Process: Technicolor Production Company: Leon Schlesinger Productions Distributed by: Warner Bros. Pictures Release Dates: May 24, 1941 (original); October 2, 1948 (Blue Ribbon reissue).
7:45

“Hollywood Steps Out” (1941) ― Merrie Melodies Cartoon. “Hollywood Steps Out” is a 1941 Warner Bros. Merrie Melodies cartoon short directed by Tex Avery and produced by Leon Schlesinger. The cartoon features caricatures of over forty contemporary Hollywood celebrities (along with guest appearances). PLOT A group of “caricatured” Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer. Greta Garbo, working as a cigarette girl, sells a pack to Cary Grant, then lights his cigarette by striking a match on her very large foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is an extra-wide sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot, who reacts with a weary “Ouch”. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga” (also known as “Here comes the conga” in English). The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his Andy Hardy movie father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable is still pursuing the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison (by saying “Baby!”), Peter Lorre, Henry Fonda, whose “mother” pulls him away by his ear (in its reference to The Aldrich Family), J. Edgar Hoover, Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time, and Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel, held up by suspenders. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag. CAST Kent Rogers as James Cagney, Cary Grant, Edward G. Robinson, Clark Gable, Ned Sparks, Peter Lorre, Groucho Marx, Mickey Rooney, James Stewart, J. Edgar Hoover, Henry Fonda, Bing Crosby, Kay Kyser, and Lewis Stone. Mel Blanc as Jerry Colonna. Sara Berner as Greta Garbo, Ann Sheridan, Paulette Goddard, Dorothy Lamour, and Henry Fonda's mother. Directed by Supervision: Fred Avery Story by: Dave Monahan Produced by: Leon Schlesinger Starring Kent Rogers, Sara Berner, and Mel Blanc Edited by: Treg Brown Music by: Carl W. Stalling Animation by: Rod Scribner Color Process: Technicolor Production Company: Leon Schlesinger Productions Distributed by: Warner Bros. Pictures Release Dates: May 24, 1941 (original); October 2, 1948 (Blue Ribbon reissue).

Hollywood Golden Age of Cinema

48,145 görüntüleme • 25 gün önce

“Hollywood Steps Out” (1941). “Hollywood Steps Out” is a 1941 Warner Bros. Merrie Melodies cartoon short directed by Tex Avery and produced by Leon Schlesinger. The cartoon features caricatures of over forty contemporary Hollywood celebrities (along with guest appearances). PLOT A group of “caricatured” Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer. Greta Garbo, working as a cigarette girl, sells a pack to Cary Grant, then lights his cigarette by striking a match on her very large foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is an extra-wide sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot, who reacts with a weary “Ouch”. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga” (also known as “Here comes the conga” in English). The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his Andy Hardy movie father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable is still pursuing the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison (by saying “Baby!”), Peter Lorre, Henry Fonda, whose “mother” pulls him away by his ear (in its reference to The Aldrich Family), J. Edgar Hoover, Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time, and Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel, held up by suspenders. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag. CAST Kent Rogers as James Cagney, Cary Grant, Edward G. Robinson, Clark Gable, Ned Sparks, Peter Lorre, Groucho Marx, Mickey Rooney, James Stewart, J. Edgar Hoover, Henry Fonda, Bing Crosby, Kay Kyser, Lewis Stone, Mel Blanc as Jerry Colonna, Sara Berner as Greta Garbo, Ann Sheridan, Paulette Goddard, Dorothy Lamour, and Henry Fonda's mother. Directed by Supervision: Fred Avery Story by: Dave Monahan Produced by: Leon Schlesinger Starring Sara Berner, Mel Blanc and Kent Rogers Edited by: Treg Brown Music by: Carl W. Stalling Animation by: Rod Scribner Color Process: Technicolor Production Company: Leon Schlesinger Productions Distributed by: Warner Bros. Pictures Release Dates: May 24, 1941 (original); October 2, 1948 (Blue Ribbon reissue).
6:37

“Hollywood Steps Out” (1941). “Hollywood Steps Out” is a 1941 Warner Bros. Merrie Melodies cartoon short directed by Tex Avery and produced by Leon Schlesinger. The cartoon features caricatures of over forty contemporary Hollywood celebrities (along with guest appearances). PLOT A group of “caricatured” Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer. Greta Garbo, working as a cigarette girl, sells a pack to Cary Grant, then lights his cigarette by striking a match on her very large foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is an extra-wide sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot, who reacts with a weary “Ouch”. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga” (also known as “Here comes the conga” in English). The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his Andy Hardy movie father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable is still pursuing the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison (by saying “Baby!”), Peter Lorre, Henry Fonda, whose “mother” pulls him away by his ear (in its reference to The Aldrich Family), J. Edgar Hoover, Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time, and Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel, held up by suspenders. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag. CAST Kent Rogers as James Cagney, Cary Grant, Edward G. Robinson, Clark Gable, Ned Sparks, Peter Lorre, Groucho Marx, Mickey Rooney, James Stewart, J. Edgar Hoover, Henry Fonda, Bing Crosby, Kay Kyser, Lewis Stone, Mel Blanc as Jerry Colonna, Sara Berner as Greta Garbo, Ann Sheridan, Paulette Goddard, Dorothy Lamour, and Henry Fonda's mother. Directed by Supervision: Fred Avery Story by: Dave Monahan Produced by: Leon Schlesinger Starring Sara Berner, Mel Blanc and Kent Rogers Edited by: Treg Brown Music by: Carl W. Stalling Animation by: Rod Scribner Color Process: Technicolor Production Company: Leon Schlesinger Productions Distributed by: Warner Bros. Pictures Release Dates: May 24, 1941 (original); October 2, 1948 (Blue Ribbon reissue).

Hollywood Golden Age of cinema

54,656 görüntüleme • 4 ay önce

Analyzing Episode 60. Season 2 aka Motherhood Deconstructed I want to start this analysis with a disclaimer that I'll be writing about that kiss separately, because really, it deserves a post of its own. I'll talk about it here briefly, but this analysis will stick to the overall events of ep 60. To me, the main theme of this episode was motherhood. Be it Alya, Nare, Zerrin, Sadakat, and yes, even the dishrag. We see how these different women strive, suffer, and never stop trying to keep their children with them, all except one. So, let's begin. We start episode 60 with Alya and Cihan awaiting to conduct a DNA test on baby Simal, whom Kaya insists is his child. Long story short, Kaya is feeling a little pissed about Zerrin keeping the truth of Simal from him, and he has a point. But then, it's not like Zerrin has had a jolly good time pretending to play house with a creep like Demir. The only reason she relents is to keep her baby safe. So, it's a catch-22 situation, where both sides are right and wrong. But, it's not like we don't know these two will make up soon. What stood out to me in that sequence was Alya taking charge of ensuring Zerrin has access to her baby. She knows exactly what it is to be separated from one's child, and she's kind and brave enough to refuse to let anyone suffer through the same. So, in a way, Alya's motherhood doesn't just extend to Deniz. It encompasses her to the point where she shields all those she feels need protection. I also like the fact that she's taken Zerrin under her wing, because when the latter moves into the konak with Sadakat, she'll need all the help she can get. The next sequence begins at the hospital, where Nare is still hell-bent on continuing with the pregnancy, though at great risk to her life. This is another glimpse of motherhood the show gives us - in the shape of a woman who is so in love with her unborn child already, she's willing to risk death to bring it into the world. Contrasted to that is Sadakat, who's willing to lie or cheat to keep her daughter alive. Here is a ruthless kind of motherhood. Sadakat's love (if you can call it that) has always been wrapped in control, manipulation, and fear. But, still at the center of all her ugliness is a woman who doesn't want to lose her children. Nare is willing to die for her child, Sadakat is willing to kill Nare's child to ensure she lives - quite the compelling contrast. Different forms of motherhood, but both rooted in desperation. In the middle of all that, Meryem pops up like a bad penny. But even as she arrives in that room and Sadakat wants to keep her there, the awkward silence that envelops the space as she lingers is telling. She doesn't belong, it seems to say. But, there's another person who's starting to question their 'belonging' in this new version of the past that's come back - and of course, that's Alya. The more she sees Meryem infiltrate parts of her life beyond the konak, the more her exposed nerves are rubbed raw. This woman is so close to complete and utter exhaustion, it's heartbreaking. What's even more heartbreaking is that while she tries to be there for everyone, she herself cuts everyone off when she feels troubled. And that, to me, is where the episode quietly portrays the emotional labor aspect of being a mom. Alya mothers everyone around her. Nare, Zerrin, Kaya, and Deniz. Even Cihan at times. She absorbs pain, tries to stem chaos, protects others from falling apart, yet when it comes to her own fears and insecurities, she retreats inward completely. It's almost as if she believes she only deserves to be the shelter, never the one allowed to seek sanctuary. Because children who grow up thinking they've been abandoned grow up thinking love is a thing to be earned through caring or usefulness. So, instead of asking for comfort, they always end up providing it. But humans, even the strongest of the strong, have their limits. And, it's so clear that Alya is close to reaching hers. So, when Cihan is forced to relent and allow Mujgan and her son to the konak because Deniz wants it, Alya does what she does best - she withdraws and leaves the source of discomfort. That's why she tells Cihan she hates going to the konak now because every time she goes there, the spectre of Meryem and what she can snatch away becomes unavoidable. And, as blind as Cihan can be at times, he picks up on that. He knows exactly what she's trying to do, which is why he tries to redirect her attention to the fact that he hates going to the konak without Alya around, too. He wants to be wherever Alya is. In his own way, he's trying to tell her it doesn't matter who stays at that house; it's only home to Cihan when Alya is around. His words reach Alya, which is why she relents and visits the konak for a few hours, but then shit hits the fan again. We'll get to that, but first, let's talk about Meryem. Meryem's scene in the hospital with Mujgan reveals Meryem saying she can't tell Cihan about Serhat because she's not sure who the father is, and that she'd rather live in the hope that Serhat is the son of the man she loves, bla blah. Now, go back and think of all the versions of motherhood we've seen in this series, and indeed this episode. They all have one thing in common - that all the mothers did whatever they had to, and bore whatever came their way to ensure their babies stayed with them. No matter how much Alya, Zerrin, or Nare love their better halves, when push came to shove, they put their children first. Even Sadakat married Azem for Boran. All except one. Meryem. Meryem sent her son away and made it look like he was Mujgan's child, thereby erasing all his links to her. One could argue it was because she feared Feyyaz. But what's stopping her now? Let's assume what Meryem says is right and there's a 50 percent chance Serhat is Cihan's son. For a mother desperate to save her child from danger, those are pretty good odds, so why avoid the DNA test? Suppose Serhat turns out to be Feyyaz's son; even so, if she comes clean with Cihan, she knows he's the kind to help her, even if just to keep an innocent child safe. So, her version of motherhood sticks out like a sore thumb in the episode. In contrast, I found Alya's line, 'When it comes to my son, I put him before everything and everyone else,' much more fitting with the theme. Mothers on the defensive, who feel there's a threat to their child's wellbeing, will relent to even the most extreme measure - even if it tears their own being apart. Alya hates being away from Cihan. She hates that distance she imposes between them as much as Cihan, but she can't help it. Because the mother in her won't let her choose anything else. Which is why I say Serhat is almost like an afterthought to Meryem because his needs are never the focus. And I get the feeling that whatever Meryem is trying to hide threatens not her son, but likely the version of herself she's presented to the world. Even when I rewatched the kite flying scene, the way the camera pans into Serhat only once, but mostly focuses on Cihan and Alya after showing us Meryem is telling. Like this is a woman not going through hell because of her child, but because she's looking at a structure of acceptance she's no longer able to enter. Life at the konak, Cihan's family unit, his love for Alya and Deniz - it's everything that could have been hers once, but no longer. No matter how she tries, she no longer fits. And honestly, that’s why that sense of not belonging is even more overt in an episode about motherhood. Every other mother in this episode becomes messy because of love for their child. Nare breaks down. Zerrin panics. Sadakat manipulates openly. Alya practically emotionally disintegrates trying to hold everything together. Their feelings spill all over the place because motherhood, especially threatened motherhood, breaks people down. But Meryem remains oddly stoic throughout it all, except for a few tears. She's mostly careful and controlled, and always aware of who's watching her. Going back to the point of shit hitting the fan, when Alya discovers Meryem and Mujgan in Cihan's room, she doesn't buy Meryem's story for a bit. When Cihan tries to calm the situation, she dismantles the sorry excuse Meryem gives with two questions. In other words, her spidey senses pick up trouble, but she keeps it locked in because she doesn't want to appear as the jealous, unreasonable wife. But things come to a head anyway when Feyyaz cuts Cihan and Alya off on the road. Cihan seems to finally realize exactly the kind of trouble Meryem has unleashed in their lives when Feyyaz keeps eyeing Alya. Because to Feyyaz's psychotic mind, Cihan is keeping Meryem away from him, which makes Alya fair game. But when Cihan insists Alya return to the konak, Alya flat out refuses, and all the pressure that's been building inside her gets directed at Cihan. She knows deep down he's not at fault, but the fact that he's jumped into another situation without thinking of the danger, grates on her nerves. Which is why her default setting kicks in; she demands that Cihan bring Deniz to her and leave the apartment. Cihan, who is already reeling from Alya pulling back from him and the reality of Feyyaz targeting the only thing he truly holds dear, is desperate to stop Alya's isolation before she decides he's not worth all the misery she's suffering, and does what's worked for him once before in a desperate situation (the airport, anyone?). He forgets everything, pulls Alya in, and kisses the breath out of her. And, it works too, because for that moment, Alya stops spiraling long enough to simply feel. To stop calculating danger or bracing for abandonment. She feels loved and safe in Cihan's arms again. That's what makes that kiss so powerful. It isn't just the passion. It's the desperation behind it, on both sides. Cihan isn't kissing Alya because he wants to win an argument. He's kissing her because he's terrified, and he misses her. He's worried that if she keeps retreating inward, one day she'll retreat so far he won't be able to reach her anymore. Worried that all the fear, exhaustion, and pressure she's carrying will eventually make her decide loving him isn't worth the cost. And Alya responds because beneath all her anger, fear, and exhaustion, she loves him just as desperately. That's the irony of CihAl this season. They're not going to pieces because the love is weakening. They're going to pieces because the love has become so enormous that losing it feels catastrophic to both of them. To conclude, everything within ep 60, including the kiss, works so beautifully because technically everyone is unraveling. Every woman in this episode is fighting to protect something she loves, but the ways they do so reveal who they are at their core. Alya protects by sacrificing parts of herself. Nare protects by risking herself. Sadakat protects by controlling others. Zerrin protects by enduring humiliation. And Meryem... Meryem protects the narratives she builds. Her emotions, while visible, don't land with impact, almost as if they're missing a core ingredient. On the opposite end of the spectrum lie CihAl, whose love strips them bare, only for them to realize that retreat is no option. The only way forward for them is through - through fear, through exhaustion, through jealousy, through danger, and through every ugly and painful thing that loving someone this deeply awakens inside them. Because CihAl are incapable of loving each other halfway. Their love keeps dragging every hidden wound, every insecurity, every instinct to the surface until there is nowhere left to hide. And maybe that’s the real contrast episode 60 quietly builds toward: one side clinging to carefully maintained facades, the other being emotionally dismantled by a love too raw and overwhelming to remain controlled. Till later, happy reading, y'all. #CihAl #UzakŞehir
5:10

Analyzing Episode 60. Season 2 aka Motherhood Deconstructed I want to start this analysis with a disclaimer that I'll be writing about that kiss separately, because really, it deserves a post of its own. I'll talk about it here briefly, but this analysis will stick to the overall events of ep 60. To me, the main theme of this episode was motherhood. Be it Alya, Nare, Zerrin, Sadakat, and yes, even the dishrag. We see how these different women strive, suffer, and never stop trying to keep their children with them, all except one. So, let's begin. We start episode 60 with Alya and Cihan awaiting to conduct a DNA test on baby Simal, whom Kaya insists is his child. Long story short, Kaya is feeling a little pissed about Zerrin keeping the truth of Simal from him, and he has a point. But then, it's not like Zerrin has had a jolly good time pretending to play house with a creep like Demir. The only reason she relents is to keep her baby safe. So, it's a catch-22 situation, where both sides are right and wrong. But, it's not like we don't know these two will make up soon. What stood out to me in that sequence was Alya taking charge of ensuring Zerrin has access to her baby. She knows exactly what it is to be separated from one's child, and she's kind and brave enough to refuse to let anyone suffer through the same. So, in a way, Alya's motherhood doesn't just extend to Deniz. It encompasses her to the point where she shields all those she feels need protection. I also like the fact that she's taken Zerrin under her wing, because when the latter moves into the konak with Sadakat, she'll need all the help she can get. The next sequence begins at the hospital, where Nare is still hell-bent on continuing with the pregnancy, though at great risk to her life. This is another glimpse of motherhood the show gives us - in the shape of a woman who is so in love with her unborn child already, she's willing to risk death to bring it into the world. Contrasted to that is Sadakat, who's willing to lie or cheat to keep her daughter alive. Here is a ruthless kind of motherhood. Sadakat's love (if you can call it that) has always been wrapped in control, manipulation, and fear. But, still at the center of all her ugliness is a woman who doesn't want to lose her children. Nare is willing to die for her child, Sadakat is willing to kill Nare's child to ensure she lives - quite the compelling contrast. Different forms of motherhood, but both rooted in desperation. In the middle of all that, Meryem pops up like a bad penny. But even as she arrives in that room and Sadakat wants to keep her there, the awkward silence that envelops the space as she lingers is telling. She doesn't belong, it seems to say. But, there's another person who's starting to question their 'belonging' in this new version of the past that's come back - and of course, that's Alya. The more she sees Meryem infiltrate parts of her life beyond the konak, the more her exposed nerves are rubbed raw. This woman is so close to complete and utter exhaustion, it's heartbreaking. What's even more heartbreaking is that while she tries to be there for everyone, she herself cuts everyone off when she feels troubled. And that, to me, is where the episode quietly portrays the emotional labor aspect of being a mom. Alya mothers everyone around her. Nare, Zerrin, Kaya, and Deniz. Even Cihan at times. She absorbs pain, tries to stem chaos, protects others from falling apart, yet when it comes to her own fears and insecurities, she retreats inward completely. It's almost as if she believes she only deserves to be the shelter, never the one allowed to seek sanctuary. Because children who grow up thinking they've been abandoned grow up thinking love is a thing to be earned through caring or usefulness. So, instead of asking for comfort, they always end up providing it. But humans, even the strongest of the strong, have their limits. And, it's so clear that Alya is close to reaching hers. So, when Cihan is forced to relent and allow Mujgan and her son to the konak because Deniz wants it, Alya does what she does best - she withdraws and leaves the source of discomfort. That's why she tells Cihan she hates going to the konak now because every time she goes there, the spectre of Meryem and what she can snatch away becomes unavoidable. And, as blind as Cihan can be at times, he picks up on that. He knows exactly what she's trying to do, which is why he tries to redirect her attention to the fact that he hates going to the konak without Alya around, too. He wants to be wherever Alya is. In his own way, he's trying to tell her it doesn't matter who stays at that house; it's only home to Cihan when Alya is around. His words reach Alya, which is why she relents and visits the konak for a few hours, but then shit hits the fan again. We'll get to that, but first, let's talk about Meryem. Meryem's scene in the hospital with Mujgan reveals Meryem saying she can't tell Cihan about Serhat because she's not sure who the father is, and that she'd rather live in the hope that Serhat is the son of the man she loves, bla blah. Now, go back and think of all the versions of motherhood we've seen in this series, and indeed this episode. They all have one thing in common - that all the mothers did whatever they had to, and bore whatever came their way to ensure their babies stayed with them. No matter how much Alya, Zerrin, or Nare love their better halves, when push came to shove, they put their children first. Even Sadakat married Azem for Boran. All except one. Meryem. Meryem sent her son away and made it look like he was Mujgan's child, thereby erasing all his links to her. One could argue it was because she feared Feyyaz. But what's stopping her now? Let's assume what Meryem says is right and there's a 50 percent chance Serhat is Cihan's son. For a mother desperate to save her child from danger, those are pretty good odds, so why avoid the DNA test? Suppose Serhat turns out to be Feyyaz's son; even so, if she comes clean with Cihan, she knows he's the kind to help her, even if just to keep an innocent child safe. So, her version of motherhood sticks out like a sore thumb in the episode. In contrast, I found Alya's line, 'When it comes to my son, I put him before everything and everyone else,' much more fitting with the theme. Mothers on the defensive, who feel there's a threat to their child's wellbeing, will relent to even the most extreme measure - even if it tears their own being apart. Alya hates being away from Cihan. She hates that distance she imposes between them as much as Cihan, but she can't help it. Because the mother in her won't let her choose anything else. Which is why I say Serhat is almost like an afterthought to Meryem because his needs are never the focus. And I get the feeling that whatever Meryem is trying to hide threatens not her son, but likely the version of herself she's presented to the world. Even when I rewatched the kite flying scene, the way the camera pans into Serhat only once, but mostly focuses on Cihan and Alya after showing us Meryem is telling. Like this is a woman not going through hell because of her child, but because she's looking at a structure of acceptance she's no longer able to enter. Life at the konak, Cihan's family unit, his love for Alya and Deniz - it's everything that could have been hers once, but no longer. No matter how she tries, she no longer fits. And honestly, that’s why that sense of not belonging is even more overt in an episode about motherhood. Every other mother in this episode becomes messy because of love for their child. Nare breaks down. Zerrin panics. Sadakat manipulates openly. Alya practically emotionally disintegrates trying to hold everything together. Their feelings spill all over the place because motherhood, especially threatened motherhood, breaks people down. But Meryem remains oddly stoic throughout it all, except for a few tears. She's mostly careful and controlled, and always aware of who's watching her. Going back to the point of shit hitting the fan, when Alya discovers Meryem and Mujgan in Cihan's room, she doesn't buy Meryem's story for a bit. When Cihan tries to calm the situation, she dismantles the sorry excuse Meryem gives with two questions. In other words, her spidey senses pick up trouble, but she keeps it locked in because she doesn't want to appear as the jealous, unreasonable wife. But things come to a head anyway when Feyyaz cuts Cihan and Alya off on the road. Cihan seems to finally realize exactly the kind of trouble Meryem has unleashed in their lives when Feyyaz keeps eyeing Alya. Because to Feyyaz's psychotic mind, Cihan is keeping Meryem away from him, which makes Alya fair game. But when Cihan insists Alya return to the konak, Alya flat out refuses, and all the pressure that's been building inside her gets directed at Cihan. She knows deep down he's not at fault, but the fact that he's jumped into another situation without thinking of the danger, grates on her nerves. Which is why her default setting kicks in; she demands that Cihan bring Deniz to her and leave the apartment. Cihan, who is already reeling from Alya pulling back from him and the reality of Feyyaz targeting the only thing he truly holds dear, is desperate to stop Alya's isolation before she decides he's not worth all the misery she's suffering, and does what's worked for him once before in a desperate situation (the airport, anyone?). He forgets everything, pulls Alya in, and kisses the breath out of her. And, it works too, because for that moment, Alya stops spiraling long enough to simply feel. To stop calculating danger or bracing for abandonment. She feels loved and safe in Cihan's arms again. That's what makes that kiss so powerful. It isn't just the passion. It's the desperation behind it, on both sides. Cihan isn't kissing Alya because he wants to win an argument. He's kissing her because he's terrified, and he misses her. He's worried that if she keeps retreating inward, one day she'll retreat so far he won't be able to reach her anymore. Worried that all the fear, exhaustion, and pressure she's carrying will eventually make her decide loving him isn't worth the cost. And Alya responds because beneath all her anger, fear, and exhaustion, she loves him just as desperately. That's the irony of CihAl this season. They're not going to pieces because the love is weakening. They're going to pieces because the love has become so enormous that losing it feels catastrophic to both of them. To conclude, everything within ep 60, including the kiss, works so beautifully because technically everyone is unraveling. Every woman in this episode is fighting to protect something she loves, but the ways they do so reveal who they are at their core. Alya protects by sacrificing parts of herself. Nare protects by risking herself. Sadakat protects by controlling others. Zerrin protects by enduring humiliation. And Meryem... Meryem protects the narratives she builds. Her emotions, while visible, don't land with impact, almost as if they're missing a core ingredient. On the opposite end of the spectrum lie CihAl, whose love strips them bare, only for them to realize that retreat is no option. The only way forward for them is through - through fear, through exhaustion, through jealousy, through danger, and through every ugly and painful thing that loving someone this deeply awakens inside them. Because CihAl are incapable of loving each other halfway. Their love keeps dragging every hidden wound, every insecurity, every instinct to the surface until there is nowhere left to hide. And maybe that’s the real contrast episode 60 quietly builds toward: one side clinging to carefully maintained facades, the other being emotionally dismantled by a love too raw and overwhelming to remain controlled. Till later, happy reading, y'all. #CihAl #UzakŞehir

CocoLoco

12,775 görüntüleme • 3 ay önce

In Remembrance of Dorothy Malone. Born | January 29, 1924 in Chicago, Illinois, USA. Died | January 19, 2018 aged 93 in Dallas, Texas, USA. Video | Humphrey Bogart as Philip Marlowe and Dorothy Malone as Acme Bookstore proprietress in the classic film noir, The Big Sleep (1946), directed by Howard Hawks. The blonde, sultry, dreamy-eyed beauty of Dorothy Malone, who was born Mary Maloney in Chicago, took some time before it made an impact with American film-going audiences. But once she did, she played it for all it was worth in her one chance Academy Award-winning “bad girl” performance, a role quite unlike the classy and strait-laced lady herself. Raised in Dallas, she was one of five children born to an accountant father and housewife mother. Two older sisters died of polio. Attending Ursuline Convent and Highland Park High School, she was quite popular (as “School Favourite”). She was also a noted female athlete while there and won several awards for swimming and horseback riding. Following graduation, she studied at Southern Methodist University with the intent of becoming a nurse, but a role in the college play “Starbound” happened to catch the eye of an RKO talent scout and she was offered a Hollywood contract. The lovely brunette started off in typical RKO starlet mode with acting/singing/dancing/diction lessons and bit parts (billed as Dorothy Maloney) in such films as the Frank Sinatra musicals Higher and Higher (1943) and Step Lively (1944), a couple of the mystery “Falcon” entries and a showier role in Show Business (1944) with Eddie Cantor and George Murphy. RKO lost interest, however, after the two-year contract was up. Warner Bros., however, stepped up to the plate and offered the actress a contract. Now billed as Dorothy Malone, her third film offering with the studio finally injected some adrenaline into her floundering young career, when she earned the small role of a seductive book clerk in the Bogart/Bacall classic The Big Sleep (1946). Critics and audiences took notice of her captivating little part. As a reward, the studio nudged her up the billing ladder with more visible roles in Two Guys from Texas (1948), Romance on the High Seas (1948), South of St. Louis (1949) and Colorado Territory (1949), with the westerns showing off her equestrian prowess if not her acting ability. Despite this positive movement, Warner Bros. did not extend Dorothy's contract in 1949 and she returned willingly back to her tight-knit family in her native Dallas. Taking a steadier job with an insurance agency, she happened to attend a work-related convention in New York City and grew fascinated with the big city. Deciding to recommit to her acting career, she moved to the Big Apple and studied at the American Theatre Wing. In between her studies, she managed to find work on TV, which spurred freelancing “B” movie offers in the routine form of Saddle Legion (1951), The Bushwhackers (1951), the Martin & Lewis romp Scared Stiff (1953), Law and Order (1953), Jack Slade (1953), Pushover (1954) and Private Hell 36 (1954). Things picked up noticeably once Dorothy went platinum blonde, which seemed to emphasise her overt and sensual beauty. First off was as a sister to Doris Day in Young at Heart (1954), a musical remake of Four Daughters (1938), back at Warner Bros. She garnered even better attention when she appeared in the war picture Battle Cry (1955), in which she shared torrid love scenes with film's newest heartthrob Tab Hunter, and continued the momentum with the reliable westerns Five Guns West (1955) and Tall Man Riding (1955) but not with melodramatic romantic dud Sincerely Yours (1955) which tried to sell to the audiences a heterosexual Liberace. By this time she had signed with Universal. Following a few more westerns for good measure (At Gunpoint (1955), Tension at Table Rock (1956) and Pillars of the Sky (1956), Dorothy won the scenery-chewing role of wild, nymphomaniac Marylee Hadley in the Douglas Sirk soap opera Written on the Wind (1956) co-starring Rock Hudson, Lauren Bacall and Robert Stack. Stack and Malone had the showier roles and completely out-shined the two leads, both earning supporting Oscar nominations in the process. Stack lost in his category but Dorothy nabbed the trophy for her splendidly trampy, boozed-up Southern belle which was highlighted by her writhing mambo dance. Unfortunately, Dorothy's long spell of mediocre filming did not end with all the hoopla she received for Written on the Wind (1956). The Tarnished Angels (1957), which reunited Malone with Hudson and Stack faltered, and Quantez (1957) with Fred MacMurray was just another run-of-the-mill western. Two major film challenges might have changed things with Man of a Thousand Faces (1957) as the unsympathetic first wife of James Cagney's Lon Chaney Sr, and as alcoholic actress Diana Barrymore in the biographic melodrama Too Much, Too Soon (1958). Cagney, however, overshadowed everyone in the first and the second was fatally watered down by the Production Code committee. To compensate, Dorothy, at age 35 in 1959, finally was married ― to playboy actor Jacques Bergerac (Ginger Rogers's ex-husband). A daughter, Mimi, was born the following year. Fewer film offers, which included Warlock (1959) and The Last Voyage (1960), came her way as Dorothy focused more on family life. While a second daughter, Diane, was born in 1962, the turbulent marriage wouldn't last and their divorce became final in December 1964. A bitter custody battle ensued with Dorothy eventually winning primary custody. It took the small screen to rejuvenate Dorothy's career in the mid-1960s when she earned top billing of TV's first prime time soap opera Peyton Place (1964). Dorothy, starring in Lana Turner's 1957 film role of Constance MacKenzie, found herself in a smash hit. The run wasn't entirely happy however. Doctors discovered blood clots on her lungs which required major surgery and she almost died. Lola Albright filled in until she was able to return. Just as bad, the significance of her role dwindled with time and 20th Century-Fox finally wrote her and co-star Tim O'Connor off the show in 1968. Dorothy filed a breach of contract lawsuit which ended in an out-of-court settlement. Her life on- and off-camera did not improve. Dorothy's second marriage to stockbroker Robert Tomarkin in 1969 would last only three months, and a third to businessman Charles Huston Bell managed about three years. Now-matronly roles in the films Winter Kills (1979), Vortex (1982), The Being (1981) and Descanse en piezas (1987), were few and far between a few TV-movies ― which included some “Peyton Place” revivals, did nothing to advance her career. Malone returned and settled for good back in her native Dallas, returning to Hollywood only on occasion. Dorothy's last film was a cameo in the popular thriller Basic Instinct (1992) as a friend to Sharon Stone. She will be remembered as one of those Hollywood stars who proved she had the talent but somehow got the short end of the stick when it came to quality films offered. She retired to Texas and died in Dallas shortly before her 94th birthday on January 19, 2018.
3:08

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

Hollywood Golden Age of Cinema

22,629 görüntüleme • 6 ay önce

Writing these words is incredibly difficult for me right now, but I'm afraid that if I don't write them now, I never will. I was only ten years old when I first saw the photo of Jennifer 'Precious' Finch below. I had just lost my mother after her long battle with cancer. Around that time, I was reading a book about Kurt Cobain and the author mentioned a bass player named Jennifer Finch. Nirvana's drummer Dave Grohl was her boyfriend and she was the one who introduced Courtney Love to Kurt, and she was an incredible bassist, artist, photographer and activist, and played in an all female band called L7. She seemed to have left her fingerprints all over the American punk scene. After reading everything written about Jennifer over and over again, I remember my childself self thinking: 'An all-female punk band?' I couldn't stop staring at her photos in amazement... The fire-red hair, the unbelievable energy bursting out of every image, the confidence, the attitude, the style... I threw the book into my bag, rushed to the nearest record store, showed it to the owner, and asked, "Do you have LPs of any of these bands? Hole? Babes in Toyland? Sugar Babydoll? L7? The Gits?" They had L7. I bought the record and ran straight back home. The years that followed were spent following these women... Their stage presence, their courage, their music, their politics. Even if Oliver Stone had opened Natural Born Killers with an explosion, it couldn't have made a bigger impact on me than hearing "Shitlist." I can't remember how many times that my childhood version watched the film just to hear L7. Or how many times I jumped off the couch when Jennifer appeared in a John Waters film. Or how many nights I stayed up in front of MTV, hoping they'd play another one of their videos. My childhood, my teenage years were shaped by that world. My worldview. My confidence. My taste in music. My politics. Even my closest circle of friends. Then life performed one of its impossible miracles. Jennifer Finch transformed from one of my childhood heroes into a musician I eventually had the privilege of working with, then into a close friend, then an older sister and ultimately someone I call family. The first real tour I ever organized with my friends as a teenager was for Jennifer's new band, The Shocker. Years later, in my twenties, we were sitting together in a kebab shop in Denmark talking about our shared love for Kanye and the Yeezy pop-up store in Los Angeles that had just opened. As I approached my thirties, we wandered through museums together in Nuremberg before going to watch British bands play. Another time, while I was visiting the incredible Raymond Pettibon retrospective in Moscow, I called her to show her the original SST fanzines. "Cali mention, Precious!!' From the day I discovered her as a child until today, Jennifer's influence never left my life. I admired her, learned from her, and never stopped learning from her. I honestly don't think anyone else has shaped my life so profoundly or in so many different ways. Jennifer was so down to earth that you could almost forget, for a moment, just how much she had lived through and how a legendary rockstar she really was. But then she'd start talking about music, art, photography, or politics, and you'd immediately realize the depth of her knowledge. I have met very few people in my life whose understanding of music stretched so effortlessly from hip-hop to metal, from punk to jazz. Jennifer wasn't just an icon of the Los Angeles punk scene. She reached people in the smallest underground communities all over the world and left a lasting mark on countless lives. You could write an entire book about the life she lived. Within seconds she could take you from a jaw dropping story to one that left you crying with laughter. One day she told me she was proud of me. I still remember thinking "Life has been incredibly hard but hey, if I can make my childhood hero proud then it's ok, I made it." I'm writing these words with incredible sadness, grief mixed with anger, because I truly believe that if the United States treated healthcare as a universal human right, Jennifer Finch would still be with us today. Instead, her treatment turned into a battle against private insurance companies that made everything harder, longer and more exhausting. So yes, my heart is broken. And yes, forever, Free Luigi. My deepest condolences to her life partner, Jack, and to everyone who loved her and everyone who was loved by her. Until we meet again, may the stars guide you home. Precious. I'll miss you forever. — Erin RIP Jennifer Precious Finch (1966-2026)
1:30

Writing these words is incredibly difficult for me right now, but I'm afraid that if I don't write them now, I never will. I was only ten years old when I first saw the photo of Jennifer 'Precious' Finch below. I had just lost my mother after her long battle with cancer. Around that time, I was reading a book about Kurt Cobain and the author mentioned a bass player named Jennifer Finch. Nirvana's drummer Dave Grohl was her boyfriend and she was the one who introduced Courtney Love to Kurt, and she was an incredible bassist, artist, photographer and activist, and played in an all female band called L7. She seemed to have left her fingerprints all over the American punk scene. After reading everything written about Jennifer over and over again, I remember my childself self thinking: 'An all-female punk band?' I couldn't stop staring at her photos in amazement... The fire-red hair, the unbelievable energy bursting out of every image, the confidence, the attitude, the style... I threw the book into my bag, rushed to the nearest record store, showed it to the owner, and asked, "Do you have LPs of any of these bands? Hole? Babes in Toyland? Sugar Babydoll? L7? The Gits?" They had L7. I bought the record and ran straight back home. The years that followed were spent following these women... Their stage presence, their courage, their music, their politics. Even if Oliver Stone had opened Natural Born Killers with an explosion, it couldn't have made a bigger impact on me than hearing "Shitlist." I can't remember how many times that my childhood version watched the film just to hear L7. Or how many times I jumped off the couch when Jennifer appeared in a John Waters film. Or how many nights I stayed up in front of MTV, hoping they'd play another one of their videos. My childhood, my teenage years were shaped by that world. My worldview. My confidence. My taste in music. My politics. Even my closest circle of friends. Then life performed one of its impossible miracles. Jennifer Finch transformed from one of my childhood heroes into a musician I eventually had the privilege of working with, then into a close friend, then an older sister and ultimately someone I call family. The first real tour I ever organized with my friends as a teenager was for Jennifer's new band, The Shocker. Years later, in my twenties, we were sitting together in a kebab shop in Denmark talking about our shared love for Kanye and the Yeezy pop-up store in Los Angeles that had just opened. As I approached my thirties, we wandered through museums together in Nuremberg before going to watch British bands play. Another time, while I was visiting the incredible Raymond Pettibon retrospective in Moscow, I called her to show her the original SST fanzines. "Cali mention, Precious!!' From the day I discovered her as a child until today, Jennifer's influence never left my life. I admired her, learned from her, and never stopped learning from her. I honestly don't think anyone else has shaped my life so profoundly or in so many different ways. Jennifer was so down to earth that you could almost forget, for a moment, just how much she had lived through and how a legendary rockstar she really was. But then she'd start talking about music, art, photography, or politics, and you'd immediately realize the depth of her knowledge. I have met very few people in my life whose understanding of music stretched so effortlessly from hip-hop to metal, from punk to jazz. Jennifer wasn't just an icon of the Los Angeles punk scene. She reached people in the smallest underground communities all over the world and left a lasting mark on countless lives. You could write an entire book about the life she lived. Within seconds she could take you from a jaw dropping story to one that left you crying with laughter. One day she told me she was proud of me. I still remember thinking "Life has been incredibly hard but hey, if I can make my childhood hero proud then it's ok, I made it." I'm writing these words with incredible sadness, grief mixed with anger, because I truly believe that if the United States treated healthcare as a universal human right, Jennifer Finch would still be with us today. Instead, her treatment turned into a battle against private insurance companies that made everything harder, longer and more exhausting. So yes, my heart is broken. And yes, forever, Free Luigi. My deepest condolences to her life partner, Jack, and to everyone who loved her and everyone who was loved by her. Until we meet again, may the stars guide you home. Precious. I'll miss you forever. — Erin RIP Jennifer Precious Finch (1966-2026)

erin/c

70,334 görüntüleme • 28 gün önce

‼️‼️🙏THESE ARE THE CURRENT CHARACTERS WHO ARE MOST CONDEMNED BY THE COMMUNITY 🙇‍♀️Revelation from Yu Menglong's junior (shimei): "Capitalist widow Tian Hairong controls 13 billion yuan. Her ex-husband, Xu Ming of the Dalian Shide Group, died in prison. She bought media coverage, and a month ago already hinted that Eternal Love (Ten Miles of Peach Blossoms) would explode with a huge scandal. Those present at the murder scene were: Tian Hairong, Cheng Qingsong, Li Ming, Song Yiren, Yu Menglong, and Yu Menglong's manager. Tian and director Cheng Qingsong, a homosexual, have been close friends for 20 years. Actress Song Yiren, at the age of 13, was sent into Cheng’s clutches. Later she entered the Film Academy through connections. Her homeroom teacher was Huang Lei, who also introduced her to a bisexual screenwriter boyfriend, Li Ming. (The deceased was found with two Rolex watches in his pocket, both belonging to Li Ming, left behind as evidence.) Thus, Song became the one responsible for supplying young male actors to those at the top. In the live video recording, voices can be heard: (1. "Why are you grabbing Longlong?" (2. "He kept resisting.") Photo and documentary evidence shows that Cheng, Song, and Li all graduated from the Film Academy. Yu is not the type of actor that can rely on the power of playing according to the rules to climb. He has no support, can't buy, but he has access to many good resources. He was frozen for two to three years, and upon returning, still refused to follow the unspoken rules. After his death, a scheduled appearance on CCTV the following day was canceled. The victim's mother was placed under surveillance and ultimately forced to announce through Yu Menglong’s studio (which had been deregistered in July and issued a statement disclaiming responsibility) that her son jumped to his death. For someone like Tian with 13 billion yuan, spending 50 million to silence the news is nothing. Coincidentally, Xiaohongshu (boss) was summoned for talks just a few days ago, preventing users from posting about it. All of the above is true. Yu Menglong was pure and upright, never involved in scandals, and had often tried to dissuade others in the industry from committing suicide. Yet this was the fate he met. As his junior, I cannot speak out domestically. Teacher Zhai, please clarify for the public that this case was a deliberate murder, not suicide, and restore the victim's innocence." 🙏 #于朦朧墜樓事件 #YuMenglongFallingEvent #justiceforyumenglong #于朦胧坠楼 #YuMenglong #于朦胧 #AlanYu #YuMenglong #JusticeforYuMenglong #YuMenglong于朦胧 #于朦胧
0:21

‼️‼️🙏THESE ARE THE CURRENT CHARACTERS WHO ARE MOST CONDEMNED BY THE COMMUNITY 🙇‍♀️Revelation from Yu Menglong's junior (shimei): "Capitalist widow Tian Hairong controls 13 billion yuan. Her ex-husband, Xu Ming of the Dalian Shide Group, died in prison. She bought media coverage, and a month ago already hinted that Eternal Love (Ten Miles of Peach Blossoms) would explode with a huge scandal. Those present at the murder scene were: Tian Hairong, Cheng Qingsong, Li Ming, Song Yiren, Yu Menglong, and Yu Menglong's manager. Tian and director Cheng Qingsong, a homosexual, have been close friends for 20 years. Actress Song Yiren, at the age of 13, was sent into Cheng’s clutches. Later she entered the Film Academy through connections. Her homeroom teacher was Huang Lei, who also introduced her to a bisexual screenwriter boyfriend, Li Ming. (The deceased was found with two Rolex watches in his pocket, both belonging to Li Ming, left behind as evidence.) Thus, Song became the one responsible for supplying young male actors to those at the top. In the live video recording, voices can be heard: (1. "Why are you grabbing Longlong?" (2. "He kept resisting.") Photo and documentary evidence shows that Cheng, Song, and Li all graduated from the Film Academy. Yu is not the type of actor that can rely on the power of playing according to the rules to climb. He has no support, can't buy, but he has access to many good resources. He was frozen for two to three years, and upon returning, still refused to follow the unspoken rules. After his death, a scheduled appearance on CCTV the following day was canceled. The victim's mother was placed under surveillance and ultimately forced to announce through Yu Menglong’s studio (which had been deregistered in July and issued a statement disclaiming responsibility) that her son jumped to his death. For someone like Tian with 13 billion yuan, spending 50 million to silence the news is nothing. Coincidentally, Xiaohongshu (boss) was summoned for talks just a few days ago, preventing users from posting about it. All of the above is true. Yu Menglong was pure and upright, never involved in scandals, and had often tried to dissuade others in the industry from committing suicide. Yet this was the fate he met. As his junior, I cannot speak out domestically. Teacher Zhai, please clarify for the public that this case was a deliberate murder, not suicide, and restore the victim's innocence." 🙏 #于朦朧墜樓事件 #YuMenglongFallingEvent #justiceforyumenglong #于朦胧坠楼 #YuMenglong #于朦胧 #AlanYu #YuMenglong #JusticeforYuMenglong #YuMenglong于朦胧 #于朦胧

미나문🌙 🇰🇷🇹🇼

139,178 görüntüleme • 11 ay önce

#AmbassadorsCookOffZW ,2025 -#Zvinyenze! #GoatTripe #GoatIntestines Good morning from my hospital bed, where I’m hooked up to a drip for a pesky bout of low blood pressure (nothing too serious, just enough to keep me off my feet for a bit). Even so, I couldn’t let this moment pass without reaching out to you all! Last year, I posed a question: "Beyond mastering linguistic and cultural skills, how many ambassadors serving in Zimbabwe 🇿🇼🇿🇼can whip up one of the country’s culinary classics? Have these diplomats learned to cook a good ol’ Zim staple without relying on their chefs?" From that curiosity, the #AmbassadorsCookOffZW was born. Thanks to eight diplomats who embraced the TeamFuloZim/Global challenge, they stepped up to the plate—quite literally—and prepared one of Zimbabwe’s beloved dishes: highfiridzi. By taking part in the 2024 #AmbassadorsCookOffZW, these eight ambassadors won over a whole new audience. They gained followers and connected with Zimbabweans—youth, elders, and everyday folks—they might never have otherwise met or spoken with. Now, it’s that time of year again. TeamFuloZim/Global is throwing down the gauntlet, inviting ALL ambassadors serving in Zimbabwe to participate in a #CookOff like no other. As announced on Sunday, March 2, 2025, this year’s challenge is to rustle up another Zimbabwean favourite: zvinyenze (goat tripe wrapped with goat intestines), alongside a separate dish of cow tripe, both served with the quintessential isitshwala/sadza/pap and greens such as kovho, rape, or nyevhe. Ambassadors, accept the challenge by replying with the hashtags #AmbassadorsCookOffZW and #TeamFulo 👍🏽. Follow TeamFuloZim/Global for updates, rules, and T&Cs. Start gathering your ingredients and share pics or videos of yourself shopping, chopping, and setting up your cooking space (but save the final dish reveal for a DM to TeamFuloZim/Global). Entries close on Friday, April 4, 2025, followed by LIVE polling. Ambassadors, check out the video below and keep an eye out for recipe cards from TeamFuloZim/Global’s Chef de Cuisine @VieMatongo and her deputy COOKING WITH LIA 👩🏾‍🍳🌱. TeamFuloZim/Global Family ! Tag the ambassadors you’d love to see take part. #DiplomatsCookForYou #TeamFulo #Graze #Banter #Friendship #CulturalImmersion PRESS PLAY▶️👇🏽
1:40

#AmbassadorsCookOffZW ,2025 -#Zvinyenze! #GoatTripe #GoatIntestines Good morning from my hospital bed, where I’m hooked up to a drip for a pesky bout of low blood pressure (nothing too serious, just enough to keep me off my feet for a bit). Even so, I couldn’t let this moment pass without reaching out to you all! Last year, I posed a question: "Beyond mastering linguistic and cultural skills, how many ambassadors serving in Zimbabwe 🇿🇼🇿🇼can whip up one of the country’s culinary classics? Have these diplomats learned to cook a good ol’ Zim staple without relying on their chefs?" From that curiosity, the #AmbassadorsCookOffZW was born. Thanks to eight diplomats who embraced the TeamFuloZim/Global challenge, they stepped up to the plate—quite literally—and prepared one of Zimbabwe’s beloved dishes: highfiridzi. By taking part in the 2024 #AmbassadorsCookOffZW, these eight ambassadors won over a whole new audience. They gained followers and connected with Zimbabweans—youth, elders, and everyday folks—they might never have otherwise met or spoken with. Now, it’s that time of year again. TeamFuloZim/Global is throwing down the gauntlet, inviting ALL ambassadors serving in Zimbabwe to participate in a #CookOff like no other. As announced on Sunday, March 2, 2025, this year’s challenge is to rustle up another Zimbabwean favourite: zvinyenze (goat tripe wrapped with goat intestines), alongside a separate dish of cow tripe, both served with the quintessential isitshwala/sadza/pap and greens such as kovho, rape, or nyevhe. Ambassadors, accept the challenge by replying with the hashtags #AmbassadorsCookOffZW and #TeamFulo 👍🏽. Follow TeamFuloZim/Global for updates, rules, and T&Cs. Start gathering your ingredients and share pics or videos of yourself shopping, chopping, and setting up your cooking space (but save the final dish reveal for a DM to TeamFuloZim/Global). Entries close on Friday, April 4, 2025, followed by LIVE polling. Ambassadors, check out the video below and keep an eye out for recipe cards from TeamFuloZim/Global’s Chef de Cuisine @VieMatongo and her deputy COOKING WITH LIA 👩🏾‍🍳🌱. TeamFuloZim/Global Family ! Tag the ambassadors you’d love to see take part. #DiplomatsCookForYou #TeamFulo #Graze #Banter #Friendship #CulturalImmersion PRESS PLAY▶️👇🏽

King Jay🇿🇼

52,865 görüntüleme • 1 yıl 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 • 2 ay önce

Why I have loved STAR TREK since I was 13 years old. This is your TL;DR warning. I didn't fall for TOS, even though I'd seen it a lot in UHF re-runs. I didn't even fall for Wrath of Khan, though I saw it first-run in the theater in 1982—and it's still widely regarded as the best Trek movie for very good reasons. I fell for The Search For Spock. And not because of the contrived way they undid the tragic beauty of the second film's ending. But for the notion of Starfleet as presented on film. Something about the gliding return to Spacedock. Rand standing there shaking her head at the repaired damage to the hull. Kirk, Scotty, and Sulu remarking on the Excelsior. And then (of course) Kirk's ballsy decision to choose loyalty above duty. The theft of the Enterprise. That scene in particular. I never don't get chills with that scene. It still moves me in ways I cannot sufficiently put to words. Anyway, right movie, right moment in my life. I re-watched it endlessly on VHS, then backed up and re-watched Khan and also The Motion Picture. And fell for them in different ways, for different reasons. Have seen all three countless times. Love the original crew mated to 1980s quality film special effects. Love the NCC-1701 refit. And consider it peak Enterprise after all these years. And I went back and rented almost all of TOS from Blockbuster when they had it in VHS. Appreciated the true standout episodes like "The Doomsday Machine" and "Balance of Terror." All of this was hugely impactful on my adolescence. Leaving a mark that's lasted all the way to now. Some people seem to love the idea of the UFP. Especially people on the Leftward side of American politics. Who insist that it's a Socialist utopia. I found it attractive when I was young, for most of the same reasons the Lefties do, but as I got older I realized it was just wishcasting. Especially those TNG scripts with all the snobby, "Your primitive planet is not ready for us evolved and superior Feddies, dear prole!" episodes. Side note: part of what makes Quark great is Quark is the perfect foil taking the air out of the Federation's tires during DS9's run. Some very good writing (and on-the-nose reflection) in those scripts. But Starfleet itself? Remained a wonderful representation of a space navy. I have never not been enamored with it. Yes, some folks consider it too goody-two-shoes for their taste. I can see why. But Starfleet—and especially the TOS crew at motion picture scale—made me want to *BE* on the Enterprise. They could make me a fobbit POG who never does a single away mission and I wouldn't care. Just being aboard. Being part of that. That's what ignited my 13 year old brain. And kept me going into successive films, and also TNG, and then DS9, and then VOY. The fascination with Starfleet never left me. And while 23+ years of IRL military service has shown me all the mistakes and misguided notions—especially that moronic "Starfleet is not a military!" stuff certain script people tried desperately to shoe-horn into the plots—I've never lost my admiration for the idea: a fleet of ships, crewed with the finest the galaxy has to offer, exploring and patrolling the far reaches of interstellar space. Armed for war, they nevertheless go in peace. To seek out and catalogue new solar systems, new planets, new species, new civilizations, Boldly Go, and so forth. What a wonderful idea. It doesn't get old. Not to me. And maybe that's why I get so damned unhappy with Nu Trek Product™? It cheapens the characters, their service, even the very conceit. Turns it into a gimmick, a parody, or just downright vandalizes Starfleet. I don't hold with that. I refuse it, in fact. And I remember. I remember what it was like to be young, and feel the magic. Ever since Captain Styles pressed the button on his arm rest and said, "Kirk, you do this you'll never sit in the captain's chair again." And Kirk, unblinking, orders, "Warp speed." 🖖
2:17

Why I have loved STAR TREK since I was 13 years old. This is your TL;DR warning. I didn't fall for TOS, even though I'd seen it a lot in UHF re-runs. I didn't even fall for Wrath of Khan, though I saw it first-run in the theater in 1982—and it's still widely regarded as the best Trek movie for very good reasons. I fell for The Search For Spock. And not because of the contrived way they undid the tragic beauty of the second film's ending. But for the notion of Starfleet as presented on film. Something about the gliding return to Spacedock. Rand standing there shaking her head at the repaired damage to the hull. Kirk, Scotty, and Sulu remarking on the Excelsior. And then (of course) Kirk's ballsy decision to choose loyalty above duty. The theft of the Enterprise. That scene in particular. I never don't get chills with that scene. It still moves me in ways I cannot sufficiently put to words. Anyway, right movie, right moment in my life. I re-watched it endlessly on VHS, then backed up and re-watched Khan and also The Motion Picture. And fell for them in different ways, for different reasons. Have seen all three countless times. Love the original crew mated to 1980s quality film special effects. Love the NCC-1701 refit. And consider it peak Enterprise after all these years. And I went back and rented almost all of TOS from Blockbuster when they had it in VHS. Appreciated the true standout episodes like "The Doomsday Machine" and "Balance of Terror." All of this was hugely impactful on my adolescence. Leaving a mark that's lasted all the way to now. Some people seem to love the idea of the UFP. Especially people on the Leftward side of American politics. Who insist that it's a Socialist utopia. I found it attractive when I was young, for most of the same reasons the Lefties do, but as I got older I realized it was just wishcasting. Especially those TNG scripts with all the snobby, "Your primitive planet is not ready for us evolved and superior Feddies, dear prole!" episodes. Side note: part of what makes Quark great is Quark is the perfect foil taking the air out of the Federation's tires during DS9's run. Some very good writing (and on-the-nose reflection) in those scripts. But Starfleet itself? Remained a wonderful representation of a space navy. I have never not been enamored with it. Yes, some folks consider it too goody-two-shoes for their taste. I can see why. But Starfleet—and especially the TOS crew at motion picture scale—made me want to *BE* on the Enterprise. They could make me a fobbit POG who never does a single away mission and I wouldn't care. Just being aboard. Being part of that. That's what ignited my 13 year old brain. And kept me going into successive films, and also TNG, and then DS9, and then VOY. The fascination with Starfleet never left me. And while 23+ years of IRL military service has shown me all the mistakes and misguided notions—especially that moronic "Starfleet is not a military!" stuff certain script people tried desperately to shoe-horn into the plots—I've never lost my admiration for the idea: a fleet of ships, crewed with the finest the galaxy has to offer, exploring and patrolling the far reaches of interstellar space. Armed for war, they nevertheless go in peace. To seek out and catalogue new solar systems, new planets, new species, new civilizations, Boldly Go, and so forth. What a wonderful idea. It doesn't get old. Not to me. And maybe that's why I get so damned unhappy with Nu Trek Product™? It cheapens the characters, their service, even the very conceit. Turns it into a gimmick, a parody, or just downright vandalizes Starfleet. I don't hold with that. I refuse it, in fact. And I remember. I remember what it was like to be young, and feel the magic. Ever since Captain Styles pressed the button on his arm rest and said, "Kirk, you do this you'll never sit in the captain's chair again." And Kirk, unblinking, orders, "Warp speed." 🖖

Brad R. Torgersen

92,424 görüntüleme • 6 ay önce