Sensitive content

This media may contain sensitive content.

Video wird geladen...

Video konnte nicht geladen werden

Zur Startseite

This beauty pulls her jeans down to show her perfect ass. It doesnt take long until she's getting her little pussy pounded!😍💦😈❤️🔥🥰#brunette #sex #porn #xxx #pov #beautiful #wataa #chudai #verticalporn #cum #pussy #ass #pussygrip #pov #nude #fucking

Blondeprinces27's profile picture

Blonde_Barbie

279,720 subscribers

303,794 Aufrufe • vor 1 Monat •via X (Twitter)

NSFW#brunette#sex#porn#xxx#pov#beautiful#wataa#chudai#verticalporn#cum#pussy#ass#pussygrip#pov#nude#fucking
LIVE

Anya Rossi• Live Now

Private livecam show

0 Kommentare

Keine Kommentare verfügbar

Kommentare vom Original-Post werden hier angezeigt

Ähnliche Videos

A little update on Yuki ❤ She's had a few medicated baths along with her med's and is looking a lot cleaner. Her skin problems are also showing signs of improvement already 😍 At the moment she's still very fragile, but she has the will to get better 💪💪💪 At first, all she wanted to do was lay down in her bed, which is understandable because her body needs to start to recover. She's now started to take little walks, so we've covered her bare skin with a T-shirt to avoid sun burn. We're so happy that she's taking these little steps! 😍🐶🥰 Yuki's currently on 4 small meals of recovery food daily, to allow her stomach to get used to digesting again. She's actually getting up to go and eat when she smells the food now, which is wonderful 😊 She's still struggling to walk and has quite a way to go before she's fully fit, but all the signs seem to be good! She's definitely going in the right direction 😊💪🐶❤❤❤ Yuki is only one of many we're helping by providing food, shelter, veterinary care, medication and a dedicated team to give them all the love and care they need. We're almost running on empty and it's a constant struggle to bring in the donations we need to help them. ANY amount helps us to continue to do this work. We desperately need donations to get us from month to month! Without YOU we are nothing!🙏🏻 ❤ To support us you can donate here: Or follow the details on our website for bank transfer here: Thank you so much to all who contribute to take care of our beautiful rescues 🙏🏻 you're as much part of the team as we are! 🙏🏻🐶😺❤❤❤ Also, please kindly share to help us reach more people 🙏🏻🐶😺❤ #rescuedogs #animalrescue #dogsofbali #dogsofX #puppylove
0:15

A little update on Yuki ❤ She's had a few medicated baths along with her med's and is looking a lot cleaner. Her skin problems are also showing signs of improvement already 😍 At the moment she's still very fragile, but she has the will to get better 💪💪💪 At first, all she wanted to do was lay down in her bed, which is understandable because her body needs to start to recover. She's now started to take little walks, so we've covered her bare skin with a T-shirt to avoid sun burn. We're so happy that she's taking these little steps! 😍🐶🥰 Yuki's currently on 4 small meals of recovery food daily, to allow her stomach to get used to digesting again. She's actually getting up to go and eat when she smells the food now, which is wonderful 😊 She's still struggling to walk and has quite a way to go before she's fully fit, but all the signs seem to be good! She's definitely going in the right direction 😊💪🐶❤❤❤ Yuki is only one of many we're helping by providing food, shelter, veterinary care, medication and a dedicated team to give them all the love and care they need. We're almost running on empty and it's a constant struggle to bring in the donations we need to help them. ANY amount helps us to continue to do this work. We desperately need donations to get us from month to month! Without YOU we are nothing!🙏🏻 ❤ To support us you can donate here: Or follow the details on our website for bank transfer here: Thank you so much to all who contribute to take care of our beautiful rescues 🙏🏻 you're as much part of the team as we are! 🙏🏻🐶😺❤❤❤ Also, please kindly share to help us reach more people 🙏🏻🐶😺❤ #rescuedogs #animalrescue #dogsofbali #dogsofX #puppylove

Lovina Animal Welfare

20,510 Aufrufe • vor 1 Jahr

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

Sensitive content

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

Smoking girl lover

621,166 Aufrufe • vor 3 Monaten

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

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

Tony Chau

11,734 Aufrufe • vor 3 Monaten

Very good run down of events here. It is very tragic to be proven wrong in the most violent of ways, with such finality. Not seeing the light until the darkness comes calling. I wonder if people in this lady's situation find themselves realising they made a devastating error in judgement as they fight for life. Or do thet still believe what they believe, even then. I feel extremely sorry this lady's young child who found her and I imagine what actually occurred in Jamie Carnie's finally moments was fear her daughter would be next. The Gardaí of course have still not released his name. This is a GDPR rights issue. I kid you not. Whatever his name is it's probably about as real as his con man perfect man routine. I bet he has committed plenty of crimes. Probably not his first murder rodeo. I STRESS I probably wouldn't have gotten along with Jamie and she probably would have hated me. Also, I certainly would not have exposed my daughter to this man under any circumstances. However, I can, when I pivot away from my outrage, see a situation where someone with her naive views thought this was a romantic situation; coming to beautiful Ireland, getting involved in the Palestinian cause with all the woke virtue signallers and then meeting someone who claimed to be fleeing war and was sweeping her off her feet. He clearly appeared to be displaying glib charm and looked clean cut and well presented. Looks like she thought she was in a movie. He would have behaved well long enough to establish a deep connection and have her trauma bonded to him. He would have told her all the bullshit lies you'd expect. Unfortunately because she didn't see Islam as the extreme barrier that it is, she overlooked the fact that in Islam women are unequivocally property akin to a dog for many men. Whatever jealousy or possessiveness that can cause a man to be controlling or violent is going to be far more normalised and accepted in Islam. It goes hand in hand. These are facts. Not "Islamophobia". It is front and centre for all to see. I see all the comments about this woman. I get it. Her empathy was suicidal (homicidal). But remember, if nothing else, she has a daughter who is 13 who is likely on social media and can see what people are saying about her mother [deserving to die]. When you say she deserved that, somewhere in that you are condoning murder. I'll likely be attacked for saying that. But it's true. I don't find her murder unsurprising. But I don't at all take pleasure in it or feel she deserved to die because of some very unwise decisions. I'm not going to lose my humanity here. Especially when her child could be watching.
4:58

Very good run down of events here. It is very tragic to be proven wrong in the most violent of ways, with such finality. Not seeing the light until the darkness comes calling. I wonder if people in this lady's situation find themselves realising they made a devastating error in judgement as they fight for life. Or do thet still believe what they believe, even then. I feel extremely sorry this lady's young child who found her and I imagine what actually occurred in Jamie Carnie's finally moments was fear her daughter would be next. The Gardaí of course have still not released his name. This is a GDPR rights issue. I kid you not. Whatever his name is it's probably about as real as his con man perfect man routine. I bet he has committed plenty of crimes. Probably not his first murder rodeo. I STRESS I probably wouldn't have gotten along with Jamie and she probably would have hated me. Also, I certainly would not have exposed my daughter to this man under any circumstances. However, I can, when I pivot away from my outrage, see a situation where someone with her naive views thought this was a romantic situation; coming to beautiful Ireland, getting involved in the Palestinian cause with all the woke virtue signallers and then meeting someone who claimed to be fleeing war and was sweeping her off her feet. He clearly appeared to be displaying glib charm and looked clean cut and well presented. Looks like she thought she was in a movie. He would have behaved well long enough to establish a deep connection and have her trauma bonded to him. He would have told her all the bullshit lies you'd expect. Unfortunately because she didn't see Islam as the extreme barrier that it is, she overlooked the fact that in Islam women are unequivocally property akin to a dog for many men. Whatever jealousy or possessiveness that can cause a man to be controlling or violent is going to be far more normalised and accepted in Islam. It goes hand in hand. These are facts. Not "Islamophobia". It is front and centre for all to see. I see all the comments about this woman. I get it. Her empathy was suicidal (homicidal). But remember, if nothing else, she has a daughter who is 13 who is likely on social media and can see what people are saying about her mother [deserving to die]. When you say she deserved that, somewhere in that you are condoning murder. I'll likely be attacked for saying that. But it's true. I don't find her murder unsurprising. But I don't at all take pleasure in it or feel she deserved to die because of some very unwise decisions. I'm not going to lose my humanity here. Especially when her child could be watching.

Susanne Delaney

67,864 Aufrufe • vor 1 Monat

[#QWER's answer to LE SSERAFIM's questions] (QWER collectively shaking) 🐱: There's too many to name...! 🐶: How...? I love all of their songs... 🐹: But for us, instead of one member, we love all of them. They're a group of sunbaenims we love. We love their songs too. 🐶: For real! 🐹: Oh, but your phone wallpaper...? 🦊: Yes, my phone wallpaper actually changes every week and this week, I'm doing my best to exercise so I set it to Kazuha sunbaenim who gives me the motivation to work out. Every time I look at it, it inspires me to obtain that healthy and cool charm. So I always look at it like... 🥰 🐱: So she's totally your inspiration 🐹: Her motivation 🦊: Yes, I'm getting my motivation from her. I love you! 🐹: She (Kazuha) has great core strength, right? 🦊: Yes! 🐶: She didn't change her phone wallpaper just for this shoot. Her wallpapers are always pictures of LE SSERAFIM sunbaenim. 🦊: That's true. It changes every week. 🐹: I really like their debut song 'FEARLESS'. I listened to that song a lot when I was living in Japan and I tried my best to copy the moves on my own so I still kinda remember it. Like this. I was kinda stiff back then so I can't do it well but it was a very fun dance! 🐱: For me, it's "Smarter, baby, smarter~" 🐶🦊🐹: Ahhh!!! 🐱: Either that or 'Perfect Night'. I like those songs. I listened to them a lot! 🐶: I watched all of LE SSERAFIM sunbaenim's live showcase performances while I was working in my studio. Their songs from then were really good, and for me, I like 'Smart' too~ 🐹: And for you, (Magenta) unnie... 🦊: Of course it's 'SPAGHETTI' for me! 🐹: Every single day... 🦊: "Eat it up~ Eat it~ Eat it up~" 🐶: I swear she listens to it more than a thousand times a day and she doesn't get tired of it 🐱: We became addicted to it too because of her 🐹: Her dance skills improves every time she dances to it 🦊: It's my dance teacher 🐱: You should dance and we will sing it for you! 🐹: You can do it sitting down 🐶: As expected from our main dancer 🐱: Just this move~ 🐹: She really practices this every day! 🐱: Show them the results of your practice until today! They might be watching too, you know! Okay. 1, 2, 3, 4! (Magenta 'SPAGHETTI' dance time) 🦊: Thank you! (LOL) I'm really bad at dancing but thanks to this, my skills have greatly improved. Thank you very much. 🐱: She watched their fancams for like a thousand times every day as soon as they had their comeback 🐹: Thank you
2:39

[#QWER's answer to LE SSERAFIM's questions] (QWER collectively shaking) 🐱: There's too many to name...! 🐶: How...? I love all of their songs... 🐹: But for us, instead of one member, we love all of them. They're a group of sunbaenims we love. We love their songs too. 🐶: For real! 🐹: Oh, but your phone wallpaper...? 🦊: Yes, my phone wallpaper actually changes every week and this week, I'm doing my best to exercise so I set it to Kazuha sunbaenim who gives me the motivation to work out. Every time I look at it, it inspires me to obtain that healthy and cool charm. So I always look at it like... 🥰 🐱: So she's totally your inspiration 🐹: Her motivation 🦊: Yes, I'm getting my motivation from her. I love you! 🐹: She (Kazuha) has great core strength, right? 🦊: Yes! 🐶: She didn't change her phone wallpaper just for this shoot. Her wallpapers are always pictures of LE SSERAFIM sunbaenim. 🦊: That's true. It changes every week. 🐹: I really like their debut song 'FEARLESS'. I listened to that song a lot when I was living in Japan and I tried my best to copy the moves on my own so I still kinda remember it. Like this. I was kinda stiff back then so I can't do it well but it was a very fun dance! 🐱: For me, it's "Smarter, baby, smarter~" 🐶🦊🐹: Ahhh!!! 🐱: Either that or 'Perfect Night'. I like those songs. I listened to them a lot! 🐶: I watched all of LE SSERAFIM sunbaenim's live showcase performances while I was working in my studio. Their songs from then were really good, and for me, I like 'Smart' too~ 🐹: And for you, (Magenta) unnie... 🦊: Of course it's 'SPAGHETTI' for me! 🐹: Every single day... 🦊: "Eat it up~ Eat it~ Eat it up~" 🐶: I swear she listens to it more than a thousand times a day and she doesn't get tired of it 🐱: We became addicted to it too because of her 🐹: Her dance skills improves every time she dances to it 🦊: It's my dance teacher 🐱: You should dance and we will sing it for you! 🐹: You can do it sitting down 🐶: As expected from our main dancer 🐱: Just this move~ 🐹: She really practices this every day! 🐱: Show them the results of your practice until today! They might be watching too, you know! Okay. 1, 2, 3, 4! (Magenta 'SPAGHETTI' dance time) 🦊: Thank you! (LOL) I'm really bad at dancing but thanks to this, my skills have greatly improved. Thank you very much. 🐱: She watched their fancams for like a thousand times every day as soon as they had their comeback 🐹: Thank you

😼 CEREMONY OUT NOW!

42,456 Aufrufe • vor 5 Monaten

🚨EXPOSING Andrew Tate's Alleged Decade-Long Pattern of Strangling Women At least 10 women, from 2012 to 2025, across the UK, Romania, and the United States, have gone to police alleging the same specific conduct: that Andrew Tate strangled them. Including the UK's additional reported allegations that Andrew Tate choked women. Many of these alleged incidents are said to have occurred during sex. Some women allege they were choked until they lost consciousness, only to wake up and find Andrew Tate was still having sex with them while they were unconscious. Several women allegedly suffered similar injuries, including: -Burst blood vessels in their eyes -Concussions -Other injuries allegedly consistent with strangulation One of the alleged victims in Romania was 15 years old. Their relationship allegedly began in 2020, when Andrew Tate was in his mid-30s. She testified: "When we had sex, Andrew was often aggressive with me, in the sense that he beat me with a belt, choked me. It happened that once he choked me until I fainted, circumstances in which he woke me up by slapping me in the face." She also said: "You take her so young, you fool her and make her your slave? Fuck you... And, anyway, think about it, bro, when I was little, I had sex with him. God, he put his dick in my ass and I was telling him, stop, bro. He choked me, fuck, when I was little." Evidence cited includes: -Alleged victim testimony -Medical certificates -Photographs documenting injuries -Messages and voice notes allegedly sent by Andrew Tate to one complainant that prosecutors allege are incriminating The allegations predate Andrew Tate's rise to global fame and span more than a decade. They come from women in multiple countries who, did not know one another, and in some cases did not even speak the same language, yet describe strikingly similar allegations. It's important to note that this is only examining allegations that Andrew Tate strangled women. It does not account for the separate allegations of rape, human trafficking, and other offences.
3:51

Sensitive content

🚨EXPOSING Andrew Tate's Alleged Decade-Long Pattern of Strangling Women At least 10 women, from 2012 to 2025, across the UK, Romania, and the United States, have gone to police alleging the same specific conduct: that Andrew Tate strangled them. Including the UK's additional reported allegations that Andrew Tate choked women. Many of these alleged incidents are said to have occurred during sex. Some women allege they were choked until they lost consciousness, only to wake up and find Andrew Tate was still having sex with them while they were unconscious. Several women allegedly suffered similar injuries, including: -Burst blood vessels in their eyes -Concussions -Other injuries allegedly consistent with strangulation One of the alleged victims in Romania was 15 years old. Their relationship allegedly began in 2020, when Andrew Tate was in his mid-30s. She testified: "When we had sex, Andrew was often aggressive with me, in the sense that he beat me with a belt, choked me. It happened that once he choked me until I fainted, circumstances in which he woke me up by slapping me in the face." She also said: "You take her so young, you fool her and make her your slave? Fuck you... And, anyway, think about it, bro, when I was little, I had sex with him. God, he put his dick in my ass and I was telling him, stop, bro. He choked me, fuck, when I was little." Evidence cited includes: -Alleged victim testimony -Medical certificates -Photographs documenting injuries -Messages and voice notes allegedly sent by Andrew Tate to one complainant that prosecutors allege are incriminating The allegations predate Andrew Tate's rise to global fame and span more than a decade. They come from women in multiple countries who, did not know one another, and in some cases did not even speak the same language, yet describe strikingly similar allegations. It's important to note that this is only examining allegations that Andrew Tate strangled women. It does not account for the separate allegations of rape, human trafficking, and other offences.

Nathan Livingstone (MilkBarTV)

97,383 Aufrufe • vor 1 Monat

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

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

Sharon Riley

28,464 Aufrufe • vor 6 Tagen

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 Aufrufe • vor 3 Monaten

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

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

Hollywood Golden Age of cinema

35,552 Aufrufe • vor 2 Monaten

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.
0:30

My first dragon flight via Seedream 5.0 pro + Seedance 2.5 on TapNow prompt SCENE CONTEXT A first dragon flight. SHARON, a nervous first-time rider in white-silver armor, sits in the saddle of a colossal opalescent dragon perched at the cliff's edge. She barely finishes her nervous little speech before the dragon bolts — a wild, playful joyride: diving low through the village and straight over a scattering flock of sheep, brushing past the willows, slicing a wingtip through the waterfall, rocketing sky-high past the floating islands, and finally spiraling around the great Gothic castle and climbing onto its tallest spire — all experienced from HER saddle. Exactly ONE dragon exists in this world: the one she rides. 30 seconds, two shots, vertical 9:16, full realism. ACTIVE REFERENCES — STRICT ROLE HIERARCHY >>: LOCATION — the fantasy valley: meadow, stream, half-timbered village houses (real 6–8 m scale) and sheep in the foreground; green stone spires and floating rock islands; the pale GOTHIC CASTLE fused into the peaks — rose-window façade ~200 m, spires 400–500+ m into the low clouds, complex ~1 km along the ridge; flanking waterfall; giant translucent moon, towering cumulus. 100% matches the reference; scale ratios preserved in every frame. >>: DRAGON — full identity lock: adult dragon, body ~60 m, wingspan ~65 m, head over 4 m; white-grey opalescent scales; long tapered muzzle, backward-curved horns, layered leaf-crests; vast translucent membrane wings; dark leather saddle at the neck base, reins to the bridle. A real living animal — THE ONLY DRAGON IN THE ENTIRE FILM. Playful temperament: sudden banks, drops, climbing surges, occasional intelligent glances back at its rider. Image : SHARON CHARACTER SHEET — everything except the face: WAVY BLONDE BOB; mirror white-silver plate armor with DEEP V NECK EXAGGERATED BUST, fleur-de-lis engraving; blackened chainmail; brown leather belt; ivory silk cloak. 20, 163 cm, slim. Does NOT control the face. >>; dragon 100% image ; world and scale 100% Image . Full realism — no animated look, no CG sheen, no cartoon. Clean image: no grain, no vignette. No text, no logos, no watermarks. OPTICS STRONG anamorphic lens character: horizontal squeeze and compression, oval elliptical bokeh, horizontally stretched highlights, curved barrel edge distortion, chromatic aberration toward the edges. NO lens flares, NO light streaks, NO floating bokeh circles. Shot A: focus on her face at open, holding both after the zoom-out. Shot B: deep focus down the neck; spray droplets soft on the near plane; castle crisp at the reveal.

Sharon Riley

35,806 Aufrufe • vor 7 Tagen

Analyzing Episode 39. Season 2 aka Of Closets, Skeletons, and Haunting Truths Eveeeetttt. I finally found some of my old energy to write because last night's episode was AWESOME. And, allow me, nay, give me the freedom to say 'I TOLD YOU SO!' because the zombie turned out to be just as big a sh!thead as I expected him to be. Okay, now that I've gotten that exultant vindication out of the way, let's get on with our analysis. We start the episode with FrankenBoran saying 'Alya' and promptly fainting again. When he comes to again, he remarkably remembers all his other family members, and proceeds to creep Alya out further by calling her beautiful. I mean, don't get me wrong, but if a loving husband woke up from a year-long coma and saw his wife, I'd expect him to say something like 'I missed you' or 'How have you been?' But this guy? He goes straight for the look at my hot trophy-doctor wife. Yech. Anyway, at the zombie's insistence of seeing Cihan Deniz, Alya informs his decrepit self of the accident and all that followed, minus the mountain of trauma she went through. Is anyone else surprised by how handy this man's memory is? Because what the heck do you mean he doesn't remember asking his brother to marry his widow? When Cihan is forced to inform the zombie of his marriage to Alya, he suddenly switches to victim mode and passes out again. Convenient. After that, the assorted Alboras all convene in the salon at Sadakat's insistence, where she tries and fails to guilt-trip Cihan and Alya into showing Deniz to the zombie. Then she fine-tunes her maternal emo blackmail skills to keep Cihan from telling Boran who his real father is. Spot the witch's hypocrisy here? The only thing that made that entire scene bearable was Nare and Kaya supporting Cihan and Alya. Thank goodness for Azem and Fiko anne's genes. Alya's scene with Deniz (who's still blissfully napping) was a cute reprieve. She's understandably struggling with how she's going to explain the mess the zombie has made of their lives to her son. And, like any decent mom, she wants to protect Deniz from all kinds of pain, but finds herself helpless. And the fact that Cihan walks in and says he wishes he could protect Alya from the ugliness of life because she's just as innocent as Deniz was special to me. Because the world we live in will always blame women first, regardless of whether they're guilty or not. I've read so many comments from random losers (yep, losers) blaming Alya and accusing her of 'loose morals' because she refuses to return to the PoS husband who all but foists her on his brother's shoulders to save his own worthless self. That little reminder by Cihan of Alya's innocence in all that's happening to them made me want to hug Gulizar. Because that scene was put in there for a reason. It's to remind the viewers to watch what's happening without the blinders of hate and judgment. Because sometimes the truth requires you to be a little more than just your hateful prejudices. The next scene that stood out to me was when Boran sees Deniz. Because there you can clearly see the difference between Cihan and Boran in their 'husband' or 'protector' roles. When Boran struts to Alya in his fake righteous indignation and asks her about which room is hers, you can see his harsh, condemnatory behavior in juxtaposition to Cihan's loving acceptance of all that Alya is. Even when Cihan doesn't know her, he intrinsically trusts her and refuses to believe his mother's accusations about her and Izzet. The fact that Boran expects Alya to have a separate room, even though he specifically asks Cihan to marry Alya, is just more proof that the zombie merely wanted the marriage to ensure Alya didn't move on in her life. It was never about love or protection. It was about control and possession. Among the many outstanding scenes of this episode were Cihan and Alya facing off against Boran. Because it was about damn time this freaking skeleton was dragged out of the closet and forced into the light of truth. Why do people expect Alya to go back to Boran? Why do they expect her to stay silent about loving Cihan? Because she's a woman? Because her worth is measured by what the world dictates is her honor? Fcuk that. And that's precisely what Alya's monologue is about. How is she the one to blame when her ex-husband was the one lying to her since day one? How is the shame hers when Boran felt none, asking his brother to marry his widow just so he could return and claim her like she's some baggage? Alya rightly informs the zombie that, in his attempt to play God, his decision made her Cihan's wife. And, no matter how much he apologizes, nothing will change the truth of her feelings. She loves Cihan now, and that's that. Now, let's focus on Cihan's talk with Boran. I feel so sad for Ciho, because the man he looked up to turned out to have feet of clay. And, Cihan's realization of that becomes obvious as their 'talk' continues. When Cihan admits he loves Alya, Boran immediately hits him with Meryem. The zombie has the audacity to say that if Cihan managed to get over Meryem, his love for Alya could be a passing thing too. Manipulative ass. Thankfully, Cihan has the perfect comeback. And, what's more, we as the audience know he's telling the truth, because we've seen him evolve. He says what he thought was the truth was actually a lie, and it was only something he realized when he came face-to-face with the real deal. Alya truly is the love of his life. A fact that only becomes clearer as he continues to talk. When Boran dares to ask whether Cihan has slept with Alya, you can see Cihan's heart break in the heavy breath he expels. It's almost as if he can't believe the words he's hearing. But despite that, he answers. And he answers truthfully. Why? Because he'd never allow what he feels for Alya to be marred by accusations of lust. Of falling under the spell of her beauty only. Cihan knows Alya is beautiful. And he's often mesmerized by her beauty. But he falls in love with who Alya is. As a mother. As a doctor. As his wife. He falls in love with all the aspects of her, good and bad. And his dialogue 'whether I touch her or not, my love for her will never change,' proves he's operating on a different plain than his scum of a brother. The fact that Alya is willing to risk being called 'characterless' or 'easy' with the trauma of her past, and that Cihan is willing to go against his entire code of 'family and duty' for each other, is the biggest proof of their love. It's not easy to break out of the mold our circumstances and life place us in. But what makes Alya and Cihan inherently attractive is that they're willing to risk it all for love, while still sticking to their principles and beliefs. I think I fell in love with CihAl as a couple all over again in this episode. These two characters are possibly the most conscientious protagonists I've seen in a dizi, and it's laughable when people pass judgment on them due to morals, lmao. Now, on to less palatable topics. The zombie and Albora's haunting truth. The last scene of the episode makes several silent revelations. One is that Boran was never happy being sidelined in favor of Cihan as the leader. Two is that Boran likely killed Sulaiman Baybars, not out of a vendetta, but possibly because he was trying to prove himself worthy of the mantle of leadership, and being exiled instead pissed him off. Three is that Boran will likely stoop to any level, including going over to Ecmel's side to snatch what he feels is rightfully his. And four is that allowing Boran to escape the consequences of his actions created a monster who thinks the world revolves around him. It's obvious by the look on Boran's face that he's going to pick bitterness and payback over introspection and accountability. And in doing so, Albora's haunting truth will be repeated - the biggest danger to the family isn't some external enemy, it's often one of your own, driven by festering envy and entitlement. Because history doesn't always repeat, but it does rhyme. And that's my two cents on this episode. Till next time, happy reading y'all. #CihAl #UzakŞehir
3:09

Analyzing Episode 39. Season 2 aka Of Closets, Skeletons, and Haunting Truths Eveeeetttt. I finally found some of my old energy to write because last night's episode was AWESOME. And, allow me, nay, give me the freedom to say 'I TOLD YOU SO!' because the zombie turned out to be just as big a sh!thead as I expected him to be. Okay, now that I've gotten that exultant vindication out of the way, let's get on with our analysis. We start the episode with FrankenBoran saying 'Alya' and promptly fainting again. When he comes to again, he remarkably remembers all his other family members, and proceeds to creep Alya out further by calling her beautiful. I mean, don't get me wrong, but if a loving husband woke up from a year-long coma and saw his wife, I'd expect him to say something like 'I missed you' or 'How have you been?' But this guy? He goes straight for the look at my hot trophy-doctor wife. Yech. Anyway, at the zombie's insistence of seeing Cihan Deniz, Alya informs his decrepit self of the accident and all that followed, minus the mountain of trauma she went through. Is anyone else surprised by how handy this man's memory is? Because what the heck do you mean he doesn't remember asking his brother to marry his widow? When Cihan is forced to inform the zombie of his marriage to Alya, he suddenly switches to victim mode and passes out again. Convenient. After that, the assorted Alboras all convene in the salon at Sadakat's insistence, where she tries and fails to guilt-trip Cihan and Alya into showing Deniz to the zombie. Then she fine-tunes her maternal emo blackmail skills to keep Cihan from telling Boran who his real father is. Spot the witch's hypocrisy here? The only thing that made that entire scene bearable was Nare and Kaya supporting Cihan and Alya. Thank goodness for Azem and Fiko anne's genes. Alya's scene with Deniz (who's still blissfully napping) was a cute reprieve. She's understandably struggling with how she's going to explain the mess the zombie has made of their lives to her son. And, like any decent mom, she wants to protect Deniz from all kinds of pain, but finds herself helpless. And the fact that Cihan walks in and says he wishes he could protect Alya from the ugliness of life because she's just as innocent as Deniz was special to me. Because the world we live in will always blame women first, regardless of whether they're guilty or not. I've read so many comments from random losers (yep, losers) blaming Alya and accusing her of 'loose morals' because she refuses to return to the PoS husband who all but foists her on his brother's shoulders to save his own worthless self. That little reminder by Cihan of Alya's innocence in all that's happening to them made me want to hug Gulizar. Because that scene was put in there for a reason. It's to remind the viewers to watch what's happening without the blinders of hate and judgment. Because sometimes the truth requires you to be a little more than just your hateful prejudices. The next scene that stood out to me was when Boran sees Deniz. Because there you can clearly see the difference between Cihan and Boran in their 'husband' or 'protector' roles. When Boran struts to Alya in his fake righteous indignation and asks her about which room is hers, you can see his harsh, condemnatory behavior in juxtaposition to Cihan's loving acceptance of all that Alya is. Even when Cihan doesn't know her, he intrinsically trusts her and refuses to believe his mother's accusations about her and Izzet. The fact that Boran expects Alya to have a separate room, even though he specifically asks Cihan to marry Alya, is just more proof that the zombie merely wanted the marriage to ensure Alya didn't move on in her life. It was never about love or protection. It was about control and possession. Among the many outstanding scenes of this episode were Cihan and Alya facing off against Boran. Because it was about damn time this freaking skeleton was dragged out of the closet and forced into the light of truth. Why do people expect Alya to go back to Boran? Why do they expect her to stay silent about loving Cihan? Because she's a woman? Because her worth is measured by what the world dictates is her honor? Fcuk that. And that's precisely what Alya's monologue is about. How is she the one to blame when her ex-husband was the one lying to her since day one? How is the shame hers when Boran felt none, asking his brother to marry his widow just so he could return and claim her like she's some baggage? Alya rightly informs the zombie that, in his attempt to play God, his decision made her Cihan's wife. And, no matter how much he apologizes, nothing will change the truth of her feelings. She loves Cihan now, and that's that. Now, let's focus on Cihan's talk with Boran. I feel so sad for Ciho, because the man he looked up to turned out to have feet of clay. And, Cihan's realization of that becomes obvious as their 'talk' continues. When Cihan admits he loves Alya, Boran immediately hits him with Meryem. The zombie has the audacity to say that if Cihan managed to get over Meryem, his love for Alya could be a passing thing too. Manipulative ass. Thankfully, Cihan has the perfect comeback. And, what's more, we as the audience know he's telling the truth, because we've seen him evolve. He says what he thought was the truth was actually a lie, and it was only something he realized when he came face-to-face with the real deal. Alya truly is the love of his life. A fact that only becomes clearer as he continues to talk. When Boran dares to ask whether Cihan has slept with Alya, you can see Cihan's heart break in the heavy breath he expels. It's almost as if he can't believe the words he's hearing. But despite that, he answers. And he answers truthfully. Why? Because he'd never allow what he feels for Alya to be marred by accusations of lust. Of falling under the spell of her beauty only. Cihan knows Alya is beautiful. And he's often mesmerized by her beauty. But he falls in love with who Alya is. As a mother. As a doctor. As his wife. He falls in love with all the aspects of her, good and bad. And his dialogue 'whether I touch her or not, my love for her will never change,' proves he's operating on a different plain than his scum of a brother. The fact that Alya is willing to risk being called 'characterless' or 'easy' with the trauma of her past, and that Cihan is willing to go against his entire code of 'family and duty' for each other, is the biggest proof of their love. It's not easy to break out of the mold our circumstances and life place us in. But what makes Alya and Cihan inherently attractive is that they're willing to risk it all for love, while still sticking to their principles and beliefs. I think I fell in love with CihAl as a couple all over again in this episode. These two characters are possibly the most conscientious protagonists I've seen in a dizi, and it's laughable when people pass judgment on them due to morals, lmao. Now, on to less palatable topics. The zombie and Albora's haunting truth. The last scene of the episode makes several silent revelations. One is that Boran was never happy being sidelined in favor of Cihan as the leader. Two is that Boran likely killed Sulaiman Baybars, not out of a vendetta, but possibly because he was trying to prove himself worthy of the mantle of leadership, and being exiled instead pissed him off. Three is that Boran will likely stoop to any level, including going over to Ecmel's side to snatch what he feels is rightfully his. And four is that allowing Boran to escape the consequences of his actions created a monster who thinks the world revolves around him. It's obvious by the look on Boran's face that he's going to pick bitterness and payback over introspection and accountability. And in doing so, Albora's haunting truth will be repeated - the biggest danger to the family isn't some external enemy, it's often one of your own, driven by festering envy and entitlement. Because history doesn't always repeat, but it does rhyme. And that's my two cents on this episode. Till next time, happy reading y'all. #CihAl #UzakŞehir

CocoLoco

30,788 Aufrufe • vor 9 Monaten

"Mark this day on your calendar: 11/18/25 - the day the entire online world surrounding Karen Read, John O’Keefe, Turtleboy, Lindsey Gaetani, Brian Tully, Michael Proctor, Yuri Bukhenik, and the Norfolk DA went straight to hell in a handbasket. Kate Peter and Leigha “Bathtub” Genduso have taken center stage in the remaining Aidan “Turtleboy” Kearney cases, and Lindsey Gaetani is on an absolute wrecking path. Look at that: Kate Peter had ex parte contact with one of the special prosecutors working for the Norfolk DA, and now there's a record of it. Kate's Discord server might not survive. She's got a November 25 hearing on her open felony charges where the issue is the Norfolk DA's conflict because of their contact with Kate Peter." To understand why PI Kate Peter and all her Discord operatives are losing their collective minds on social media right now, the answer is this recent filing from Aidan TurtleBoy Kearney; In short, Kate had ex parte contact with the DA's office (and Lindsey Gaetani can prove it). TRASNCRIPT: In the past week, the defense—that's the Aidan Kearney defense—has obtained five items of favorable and discoverable evidence which should have been, but were not, disclosed to us by the Commonwealth. Two of the discoverable items originated from civilian witness Lindsey Gaetani. First, there's an audio recording where Leigha Genduso texted her on December 11, 2023, which Ms. Gaetani posted online on November 9, 2025. And second, an email from Kate Peter to special prosecutor Kenneth Mello dated February 14, 2024, which Kate Peter forwarded to Lindsey Gaetani on February 22, 2024, and Lindsey then forwarded to the defense on November 11, 2025. Oh hey, Leigha Genduso, you made it into a court filing! God bless America! Look at that, ladies and gentlemen—Leigha Genduso is in the Aidan “Turtleboy” Kearney case. She's going to be so pleased. I have to do a tweet about this. I'm posting about this right now. Ladies and gentlemen, hold on—how do I phrase this? Kate Peter's Discord server is going to lose their ever-loving minds. Leigha Genduso has made her appearance in the Aidan Turtleboy Kearney case, and it is glorious. Who hid that recording from the defense? God bless the United States of America. I should join the defense bar—I think I'm going to do it. Oh, Adam Deitch just announced he's running for Norfolk DA, by the way—the guy from the federal investigation into John O'Keefe's death. God bless us all. How do you even spell Genduso? G-E-N-D-U-S-O. Can I call her Leigha Bathtub Genduso? I feel like that's reasonable. Lindsey's trying to make that a thing, and I think it should be a thing. Leigha Bathtub Genduso has made her appearance, and Bossy Texas Chicken Bella are listening with all their towel ears. Here we go—let's do it. Oh, Kate Peter's in there too. God bless America. This is a glorious day. Listen, listen—now I know my Towel Mom best. I'll take the slings and arrows. This is freaking amazing. About time. Goddamn Kate Peter and Leigha Genduso—goddamn little towels. They're not towels; they're anti-towels. Is there such a thing as an anti-towel? If there is, it's Kate Peter. We thought maybe it was other people—it was Kate Peter all along. She's an anti-towel. Yes, it is glorious. Kate Peter and Leigha Bathtub Genduso have taken center stage in the remaining Aidan Turtleboy Kearney cases, and Lindsey Gaetani is on a wrecking path. Somebody check on Kate's Discord server—it's probably chaos. I'm hilarious, you've got to admit. I'm endearing and hilarious. Who else just narrates writing their Twitter posts as they write them? It's very meta, you know what I'm saying? I can't take forever with this though—I have to be somewhat of an erudite and informed little towel. We've got to continue. I'm tagging Lindsey because she's a little towel. You're a little towel. I'm clearly overly excited. Wow, it's all happening at the same time. What a day. God bless these United States of America. I'm never going to get to eat if all this keeps happening—I'm just running in circles. Look at that—Kate Peter had ex parte contact with one of the special prosecutors working for the Norfolk DA, and now there's a record of it. Kate's Discord server might not survive. She's got a November 25 hearing on her open felony charges where the issue is the Norfolk DA's conflict because of their contact with Kate Peter. Mark this day on your calendar, ladies and gentlemen: November 18, 2025—the day the online world related to Karen Read, John O'Keefe, Turtleboy, Lindsey Gaetani, Brian Tully, Michael Proctor, Yuri Bukhenik, the Norfolk DA, and everything else all went to hell in a handbasket. Their worlds have imploded. Kate Peter had direct ex parte contact with members of the Norfolk DA's office, and there is now evidence in the hands of Aidan Turtleboy Kearney. This could be huge for Kate's November 25 hearing where her relationship to the DA's office is at issue. The revenge of Lindsey Gaetani. Lindsey Gaetani will be a prosecution and defense trial witness. She voluntarily cooperated with the prosecution against Mr. Kearney from December 2023 until approximately September 2025. During that period, she met and spoke with Detective Lieutenant Brian Tully, Mr. Mello, and Mr. Cosgrove. Her direct contact with Mr. Mello and Detective Lieutenant Tully resulted in Mr. Mello being disqualified from a now-dismissed 2024 case because his interactions with her made him a material defense witness. On December 14, 2023, she was interviewed by Detective Lieutenant Tully and Mr. Mello's investigator. On December 22, 2023, she was summoned to testify before the grand jury. In January 2024, she voluntarily provided her cell phone to Detective Lieutenant Tully for the MSP to prepare an extraction report, under a promise by Ken Mello and Tully that it would be redacted. On January 22, 2024, Detective Lieutenant Tully applied for a search warrant to seize Karen Read's cell phones. Information from Ms. Gaetani served as a substantial source of the probable cause in Tully's affidavit—paragraphs 72 to 89, I'd say a good 12 to 15 paragraphs dedicated to her. Mr. Cosgrove is currently seeking to search Ms. Read's phones in anticipation of seeking an indictment against her and Mr. Kearney for conspiracy to commit witness intimidation. What the fuck? That's it. I'm just trying to eat my fucking lunch, and now this? Aiden Turtleboy Kearney's lawyers have confirmed in a bombshell filing that special prosecutor Robert Cosgrove is aiming to search Karen Read's phones for the purpose of criminally indicting Kearney and Read. This is outrageous. They were never going to really charge Kearney—it was all to get to Karen. I told you! Somebody get me a soapbox! Peep Bunny Towel! Peep Bunny Towel! Peep Bunny Towel! [Peep Bunny Towel squeaking in the background] I woke him up very rudely. I'm sorry, Peep—I'll give you food in a second. I am having a day! This has been a ridiculous fucking day. First I just wanted to cover a regulatory hearing, and now I'm forced to use my comfort Peep Bunny Towel because there have been so many developments. First Brian Walsh pleading guilty to two charges but going to trial on first-degree murder, then Karen Read announcing she's suing basically the entire town of Canton, then the 46-page filing, then the Farwell filing, then down the rabbit hole on the sealed affidavit—and now all hell is breaking loose. Leigha Genduso and Kate Peter are probably running around like chickens with their heads cut off, and the reason Cosgrove and Tully were seizing Karen's phones all the way back in January 2024 was because their plan was to charge Karen and Aidan together. Ladies and gentlemen, someone get my broom—I don't even know what to say anymore. This is outrageous. I'm joining the defense bar. I've had enough prosecutorial misconduct. I'm done. On February 1 and 22, 2024, Ms. Gaetani testified before a grand jury that returned indictments against her. In June 2025, Mr. Cosgrove called her as a prosecution witness against herself in a district court trial, and she was acquitted of all charges notwithstanding her own testimony. In the past few months, Ms. Gaetani has publicly accused numerous prosecution witnesses and sources—including Kate Peter, Leigha Genduso, Detective Lieutenant Tully, and Jen McCabe—of assorted misconduct that adversely impacts their credibility. On September 5, 2025, she sued Mr. Cosgrove and Detective Lieutenant Tully for intentional infliction of emotional distress and interfering with her rights by threat, intimidation, or coercion. That same day she served notice of intent to sue the Norfolk DA. As a result of her civil complaint against him, Mr. Cosgrove voluntarily withdrew from the 2024 case, recognizing the obvious conflict when a prosecutor is sued for intentionally harming a witness in a case he is prosecuting. Thank you, Peep Bunny Towel—this is a day if I've ever seen a day. I'll go back to reading the document. I mean, how do you even make sense of this? There's like 70,000 words, Peep Bunny Towel is in it, it won't stop—it's just more and more and more. Thank you, Peep Bunny Towel. All right, he says I can get through it. Let's do it. Ladies and gentlemen, this is a day. This is a day if I've ever seen a day. Let me tell you right now—this is a day. On February 1st and 22nd of 2024, Ms. Gaetani testified before a grand jury that returned indictments against Ms. Gaetani. In June of 2025, Ms. Gaetani was called by Mr. Cosgrove as a prosecution witness against Ms. Gaetani in a district court trial. Notwithstanding Ms. Gaetani's own testimony, Ms. Gaetani was acquitted of all charges. In the past few months, Ms. Gaetani has publicly accused numerous prosecution witnesses and sources—including Ms. Peter, Ms. Genduso, Detective Lieutenant Tully, and Jen McCabe—of assorted misconduct or other issues that adversely impact their credibility. See Bederow/Yannetti's October 2nd filing, paragraphs 90 through 98. On September 5th, 2025, Ms. Gaetani sued Mr. Cosgrove and Detective Lieutenant Tully for, among other things, intentional infliction of emotional distress and interfering with her rights by threat, intimidation, or coercion. I think that had to do with the release of one specific report—it wasn't about her phone; it was about a report on something that's very intense. That same day, Ms. Gaetani also served notice of her intent to sue the Norfolk DA because of the harm Mr. Cosgrove and Det. Lt. Tully allegedly caused her. I'm still not totally sure where he's getting that from—I went to the docket, I read the filing, and I still don't fully understand what he's referring to there. Maybe he's reading something I'm not. I don't know. And finally, point 13: As a result of Ms. Gaetani's civil complaint against him, Mr. Cosgrove voluntarily withdrew from the prosecution of the now-dismissed 2024 case because he, quote, “recognized the obvious conflict created by circumstances where a prosecutor is sued for intentionally harming a witness in a case where he is prosecuting.”
16:45

"Mark this day on your calendar: 11/18/25 - the day the entire online world surrounding Karen Read, John O’Keefe, Turtleboy, Lindsey Gaetani, Brian Tully, Michael Proctor, Yuri Bukhenik, and the Norfolk DA went straight to hell in a handbasket. Kate Peter and Leigha “Bathtub” Genduso have taken center stage in the remaining Aidan “Turtleboy” Kearney cases, and Lindsey Gaetani is on an absolute wrecking path. Look at that: Kate Peter had ex parte contact with one of the special prosecutors working for the Norfolk DA, and now there's a record of it. Kate's Discord server might not survive. She's got a November 25 hearing on her open felony charges where the issue is the Norfolk DA's conflict because of their contact with Kate Peter." To understand why PI Kate Peter and all her Discord operatives are losing their collective minds on social media right now, the answer is this recent filing from Aidan TurtleBoy Kearney; In short, Kate had ex parte contact with the DA's office (and Lindsey Gaetani can prove it). TRASNCRIPT: In the past week, the defense—that's the Aidan Kearney defense—has obtained five items of favorable and discoverable evidence which should have been, but were not, disclosed to us by the Commonwealth. Two of the discoverable items originated from civilian witness Lindsey Gaetani. First, there's an audio recording where Leigha Genduso texted her on December 11, 2023, which Ms. Gaetani posted online on November 9, 2025. And second, an email from Kate Peter to special prosecutor Kenneth Mello dated February 14, 2024, which Kate Peter forwarded to Lindsey Gaetani on February 22, 2024, and Lindsey then forwarded to the defense on November 11, 2025. Oh hey, Leigha Genduso, you made it into a court filing! God bless America! Look at that, ladies and gentlemen—Leigha Genduso is in the Aidan “Turtleboy” Kearney case. She's going to be so pleased. I have to do a tweet about this. I'm posting about this right now. Ladies and gentlemen, hold on—how do I phrase this? Kate Peter's Discord server is going to lose their ever-loving minds. Leigha Genduso has made her appearance in the Aidan Turtleboy Kearney case, and it is glorious. Who hid that recording from the defense? God bless the United States of America. I should join the defense bar—I think I'm going to do it. Oh, Adam Deitch just announced he's running for Norfolk DA, by the way—the guy from the federal investigation into John O'Keefe's death. God bless us all. How do you even spell Genduso? G-E-N-D-U-S-O. Can I call her Leigha Bathtub Genduso? I feel like that's reasonable. Lindsey's trying to make that a thing, and I think it should be a thing. Leigha Bathtub Genduso has made her appearance, and Bossy Texas Chicken Bella are listening with all their towel ears. Here we go—let's do it. Oh, Kate Peter's in there too. God bless America. This is a glorious day. Listen, listen—now I know my Towel Mom best. I'll take the slings and arrows. This is freaking amazing. About time. Goddamn Kate Peter and Leigha Genduso—goddamn little towels. They're not towels; they're anti-towels. Is there such a thing as an anti-towel? If there is, it's Kate Peter. We thought maybe it was other people—it was Kate Peter all along. She's an anti-towel. Yes, it is glorious. Kate Peter and Leigha Bathtub Genduso have taken center stage in the remaining Aidan Turtleboy Kearney cases, and Lindsey Gaetani is on a wrecking path. Somebody check on Kate's Discord server—it's probably chaos. I'm hilarious, you've got to admit. I'm endearing and hilarious. Who else just narrates writing their Twitter posts as they write them? It's very meta, you know what I'm saying? I can't take forever with this though—I have to be somewhat of an erudite and informed little towel. We've got to continue. I'm tagging Lindsey because she's a little towel. You're a little towel. I'm clearly overly excited. Wow, it's all happening at the same time. What a day. God bless these United States of America. I'm never going to get to eat if all this keeps happening—I'm just running in circles. Look at that—Kate Peter had ex parte contact with one of the special prosecutors working for the Norfolk DA, and now there's a record of it. Kate's Discord server might not survive. She's got a November 25 hearing on her open felony charges where the issue is the Norfolk DA's conflict because of their contact with Kate Peter. Mark this day on your calendar, ladies and gentlemen: November 18, 2025—the day the online world related to Karen Read, John O'Keefe, Turtleboy, Lindsey Gaetani, Brian Tully, Michael Proctor, Yuri Bukhenik, the Norfolk DA, and everything else all went to hell in a handbasket. Their worlds have imploded. Kate Peter had direct ex parte contact with members of the Norfolk DA's office, and there is now evidence in the hands of Aidan Turtleboy Kearney. This could be huge for Kate's November 25 hearing where her relationship to the DA's office is at issue. The revenge of Lindsey Gaetani. Lindsey Gaetani will be a prosecution and defense trial witness. She voluntarily cooperated with the prosecution against Mr. Kearney from December 2023 until approximately September 2025. During that period, she met and spoke with Detective Lieutenant Brian Tully, Mr. Mello, and Mr. Cosgrove. Her direct contact with Mr. Mello and Detective Lieutenant Tully resulted in Mr. Mello being disqualified from a now-dismissed 2024 case because his interactions with her made him a material defense witness. On December 14, 2023, she was interviewed by Detective Lieutenant Tully and Mr. Mello's investigator. On December 22, 2023, she was summoned to testify before the grand jury. In January 2024, she voluntarily provided her cell phone to Detective Lieutenant Tully for the MSP to prepare an extraction report, under a promise by Ken Mello and Tully that it would be redacted. On January 22, 2024, Detective Lieutenant Tully applied for a search warrant to seize Karen Read's cell phones. Information from Ms. Gaetani served as a substantial source of the probable cause in Tully's affidavit—paragraphs 72 to 89, I'd say a good 12 to 15 paragraphs dedicated to her. Mr. Cosgrove is currently seeking to search Ms. Read's phones in anticipation of seeking an indictment against her and Mr. Kearney for conspiracy to commit witness intimidation. What the fuck? That's it. I'm just trying to eat my fucking lunch, and now this? Aiden Turtleboy Kearney's lawyers have confirmed in a bombshell filing that special prosecutor Robert Cosgrove is aiming to search Karen Read's phones for the purpose of criminally indicting Kearney and Read. This is outrageous. They were never going to really charge Kearney—it was all to get to Karen. I told you! Somebody get me a soapbox! Peep Bunny Towel! Peep Bunny Towel! Peep Bunny Towel! [Peep Bunny Towel squeaking in the background] I woke him up very rudely. I'm sorry, Peep—I'll give you food in a second. I am having a day! This has been a ridiculous fucking day. First I just wanted to cover a regulatory hearing, and now I'm forced to use my comfort Peep Bunny Towel because there have been so many developments. First Brian Walsh pleading guilty to two charges but going to trial on first-degree murder, then Karen Read announcing she's suing basically the entire town of Canton, then the 46-page filing, then the Farwell filing, then down the rabbit hole on the sealed affidavit—and now all hell is breaking loose. Leigha Genduso and Kate Peter are probably running around like chickens with their heads cut off, and the reason Cosgrove and Tully were seizing Karen's phones all the way back in January 2024 was because their plan was to charge Karen and Aidan together. Ladies and gentlemen, someone get my broom—I don't even know what to say anymore. This is outrageous. I'm joining the defense bar. I've had enough prosecutorial misconduct. I'm done. On February 1 and 22, 2024, Ms. Gaetani testified before a grand jury that returned indictments against her. In June 2025, Mr. Cosgrove called her as a prosecution witness against herself in a district court trial, and she was acquitted of all charges notwithstanding her own testimony. In the past few months, Ms. Gaetani has publicly accused numerous prosecution witnesses and sources—including Kate Peter, Leigha Genduso, Detective Lieutenant Tully, and Jen McCabe—of assorted misconduct that adversely impacts their credibility. On September 5, 2025, she sued Mr. Cosgrove and Detective Lieutenant Tully for intentional infliction of emotional distress and interfering with her rights by threat, intimidation, or coercion. That same day she served notice of intent to sue the Norfolk DA. As a result of her civil complaint against him, Mr. Cosgrove voluntarily withdrew from the 2024 case, recognizing the obvious conflict when a prosecutor is sued for intentionally harming a witness in a case he is prosecuting. Thank you, Peep Bunny Towel—this is a day if I've ever seen a day. I'll go back to reading the document. I mean, how do you even make sense of this? There's like 70,000 words, Peep Bunny Towel is in it, it won't stop—it's just more and more and more. Thank you, Peep Bunny Towel. All right, he says I can get through it. Let's do it. Ladies and gentlemen, this is a day. This is a day if I've ever seen a day. Let me tell you right now—this is a day. On February 1st and 22nd of 2024, Ms. Gaetani testified before a grand jury that returned indictments against Ms. Gaetani. In June of 2025, Ms. Gaetani was called by Mr. Cosgrove as a prosecution witness against Ms. Gaetani in a district court trial. Notwithstanding Ms. Gaetani's own testimony, Ms. Gaetani was acquitted of all charges. In the past few months, Ms. Gaetani has publicly accused numerous prosecution witnesses and sources—including Ms. Peter, Ms. Genduso, Detective Lieutenant Tully, and Jen McCabe—of assorted misconduct or other issues that adversely impact their credibility. See Bederow/Yannetti's October 2nd filing, paragraphs 90 through 98. On September 5th, 2025, Ms. Gaetani sued Mr. Cosgrove and Detective Lieutenant Tully for, among other things, intentional infliction of emotional distress and interfering with her rights by threat, intimidation, or coercion. I think that had to do with the release of one specific report—it wasn't about her phone; it was about a report on something that's very intense. That same day, Ms. Gaetani also served notice of her intent to sue the Norfolk DA because of the harm Mr. Cosgrove and Det. Lt. Tully allegedly caused her. I'm still not totally sure where he's getting that from—I went to the docket, I read the filing, and I still don't fully understand what he's referring to there. Maybe he's reading something I'm not. I don't know. And finally, point 13: As a result of Ms. Gaetani's civil complaint against him, Mr. Cosgrove voluntarily withdrew from the prosecution of the now-dismissed 2024 case because he, quote, “recognized the obvious conflict created by circumstances where a prosecutor is sued for intentionally harming a witness in a case where he is prosecuting.”

Grant Smith Ellis

22,026 Aufrufe • vor 9 Monaten

I asked Grok to summarize the overview I provided of the ongoing war between Karen Read and Aidan Kearney, in particular the section wherein I deploy the Manhattan Project to explain why Karen used better compartmentalization than Aidan (thus setting herself up for victory). The Manhattan Project Analogy: Ah, the Manhattan Project—Grant drops this as the "archetypal example" of compartmentalization, using it to explain why no one (not even insiders) sees the full picture in ops like Karen's or Aidan's. It's not just history; it's a blueprint for why leaks like this recording hit so hard. Here's Grant's breakdown, paraphrased and expanded for context: Historical Setup: During WWII, the U.S. raced to build the atomic bomb. Led by J. Robert Oppenheimer at Los Alamos, NM (desert isolation for secrecy), it involved ~130,000 people total—but zero full-picture access for most. Goal: Win the war without leaks (or Japanese spies spotting it). Core Mechanic: Siloed Knowledge: Los Alamos: Elite scientists (e.g., Oppenheimer) handled core R&D. Even here, info was need-to-know—e.g., Operation Paperclip Nazis like Wernher von Braun (V-2 rocket guy) worked alongside possible communist sympathizers, but no one knew the endgame. Oak Ridge, Tennessee: The "production" hub—a secret 20,000-person "government town" (still exists today). To hide from aerial recon, they draped canopies over the entire site to mimic forest. Workers (engineers, laborers) toiled in ignorance: Example: A guy feeds a single punch card (1940s code line) into a massive green computer. He doesn't know what it codes, why, or even the machine's purpose. Just: Insert, output, repeat. Multiply by thousands—boom, uranium enrichment without risk. Why It Worked: "You do that with all the people working on a project that's very top secret (except for a select few high up)." Weak links? Minimal. One leak doesn't topple it. Ties to the Drama: Grant flips this to modern players. Aidan's Version: Rudimentary—paralegals like Olivia/Tina handle PR/logins but don't see the "full picture" (e.g., his flip risks). Meredith O'Neill becomes the leak about the recording played for her at lunch because she is smart and she does eventually see too much (just like Lindsey Gaetani before her). Karen's Mastery: Pro-level. Her finance/academia fam (Bentley University ties) screams gov recruitment pipeline—academia as "front" for talent scouting (e.g., intel via international money flows). She "understands the apparatus" (DNI hierarchy), so she deploys limited hangouts/double agents like Natalie. Result: Aidan’s recording "signal flare" to Alan Jackson and David Yannetti (his flip threat) gets mirrored by Karen's public nuke after the recordings and Read's messages to Flipperhead are released—eroding Kearney's base without directly exposing Karen's crushing blow. Grant's Point: Kate Peter/Tully are "children" at this; Karen's moves (e.g., burning Aidan now) only make sense through this lens. It's not emotion—it's chess: "If you show Karen Read anything less than respect, she's gonna fucking own you." Grant wraps by noting Karen's parasocial "complex" (stronger than Aidan's "brand") gives her leverage. He admits partiality ("I think she's responsible for John's death") but respects her ops savvy—possibly from her dad or self-taught intel. **Transcript: Grant's Analysis on Karen Read's Tactical Maneuvering and Compartmentalization** [Warning against crossing Karen Read] Grant: Listen—I would have told you this. I probably said it on stream before. You are out of your mind if you fuck with Karen Read. Like—it's one thing if you are like on her level and matching wits with her—like she's gonna grudgingly show you respect. I'm telling you—I've seen it in her eyes—but you can't fuck with her, and you certainly can't threaten her. I would not do that. I don't know who the fuck her parents know. I don't know who she knows, but bro—like it's politics. She's smarter than you. Don't threaten her. What the fuck? And that is something—like if you show her anything less than respect, she's gonna fucking own you. And that's what she did. Because the respectful way to do it would have been like a diplomatic meeting. And they must have been at a point where Aidan couldn't get that. So he did the most disrespectful thing possible where he tried to like corner her through like extortion almost. That's what it sounds like—although Aidan denies it. That—listen—forget about like how a normal person would react. When you're talking about a very influential operator like Karen Read—who has this very savvy understanding of the public mind—you're fucked. Because she's gonna know immediately what you just did. And she's gonna counter it with the thing that's gonna hurt you the most. What's gonna hurt Aidan Kearney the most? His support being dwindled down to only his core loyalists. And if he's right—and you'll hear it in the conversation—if Aidan Kearney is right, that most of who he is is because Karen Read and her support—oh my goodness, folks—like that—that means that Karen controls whether Aidan can continue this fight. If Karen—when she—that's why I want to listen to this whole conversation—there's no doubt in my mind she's pulling his support and pulling the rug under him because she's afraid that either he cooperated or he's going to cooperate. If she pulls the rug from him—okay, listen—he might be able to escape the criminal charges, but do you think Aidan Kearney—a man who thrives, in my opinion, on attention, numbers—from knowing that your words are impacting someone or the platform is reaching people—do you think he's going to enjoy being in a position where he—the very people who made him—and it wasn't just Karen; it was her supporters—now loathe his existence? And he—not just that—they are like tactical operators. Clearly Karen knows how to do counter intel—especially if she sent Natalie as a double agent to get information from the state police using Kearney as leverage all the way back in 2023. She understands the world of intel. I don't know how—I think it's her dad. I'm pretty sure because—and it could be her too—because like you don't get involved in the world of international finance on a fucking—like—what is it—the sort of leisurely level. It's not a pastime. You either do it because like—you're really fucking good at making money from the stock market—or—and these two weren't; they're not that wealthy—or you're giving information to the government. Why do I say that? Because the world of international finance is the most valuable intel sector you could possibly imagine. You can commit or try to commit any number of international crimes if you're threatening the United States of America. But I guarantee you're moving money around to do it. So who's the best possible sources for that? High-level financial people. So I don't know if either they were a Jason—and they were also academics. Okay. And a lot—what folks have to understand is when I—when people say like academia—it does not mean that you are just smart. Anyone who—who's good at studying could become a professor and be in academia. What a lot of folks should understand is that academia is a front for the government. It has always been a front for the government. Where do you think they headhunt from? Academia—well like—at the higher you get up the academic ladder—all you're really doing is getting more and more involved in the government. I'm not saying anything that anyone involved with this does not know. Like high-level academics are involved with the government. That's like the backbone of our system. Now a lot of the actual education—I think it's gotten a little out of hand with some of these majors, some of these colleges and universities who are offering [them]. That's not the point. The point is to create a—curate a talent pool to make the United States stronger. And a lot of it is government recruitment. Okay. And so Karen Read being all the way up at the top at Bentley—which is a very interconnected university with the government, trust me—that just makes me think she understands this—whether she was a Jason. Listen—you can understand what the intelligence community does without being in it. I'm not in the intelligence community—I just report on the government. So I kind of see how it all works. You can understand it without being in it. But if you're in it—let me just tell you right now—if anyone Karen Read knew professionally—through family or otherwise—is in the government—and I'm not talking about a special agent like in the FBI or, you know, a case officer—I'm talking about in the apparatus of control. Okay. In the directorate of national intelligence somewhere—there's a hierarchy. All right. If she knows anyone who understands all that—that's why she was able to pull this off. Because it's not—that's why I'm not fawning or being gratuitous. I don't necessarily—I'm not partial to Karen Read. I think she has liability for John's death. What I am is cognizant of what she's capable of—so I can understand what's going on. A mind like that, okay—doesn't just do PR. PR was not going to help Karen Read here. Natalie and her PR and all that stuff—none of that was going to work. What Karen Read needed was counter intel and intel knowledge. [Explanation of compartmentalization via the Manhattan Project] When I say compartmentalization—what you all have to realize is I'm talking about how the Manhattan Project—that's like the archetypal example of compartmentalization—how the Manhattan Project to develop the bomb that won the war for the United States in World War II—how that worked. The way that that worked is you had Los Alamos, okay, in New Mexico with Oppenheimer and whatever the hell—some of the Operation Paperclip people—which I'm not very happy with. We took Otto von Braun—who developed the V2 rocket for the Nazis. We brought him over via Operation Paperclip. We implanted him at Los Alamos with fucking Oppenheimer. I'm pretty sure it was like a communist sympathizer. Anyway—we sent them down to Los Alamos—the actual research scientists working on the core of the bomb. But to develop a nuclear bomb—you need 20,000 people at the time working simultaneously on production. You're not going to do that at Los Alamos. One: why would you ever expose them to the inner workings of the tech? It's nuclear material. You are not going to have 20,000 people around it. That's why it was in the middle of a desert. Third of all—they would know too much. So what did they do? Okay—look up Oak Ridge, Tennessee. Oak Ridge, Tennessee is a town—it's a government town still to this day. It's one of the most—it's not as top secret as it used to be. But back in the day—like during World War II—they put fucking canopies over the whole thing—20,000-person town—canopies over all of it. So it would just look like trees from the air in case the Japanese managed to come and bomb us. They never did—thank God. But anyway—at least on the mainland—obviously they got Pearl Harbor, and we're still upset about that. But the point is Oak Ridge, Tennessee, okay—it had people employed across a number of disciplines, all right—and they would go into—I'm giving you an example—one guy would go into a room, all right, and he would walk up to a giant computer. It was an old computer—we're talking the '40s here—it was a big computer, like a big green box. He would take a punch card. Okay—this is how you used to code—write computer code—he would put—take one punch card with one line of code—put it in the machine—take it out—put it down. He had no idea what he was doing. He didn't know what the punch card had on it. He didn't even understand what the machine did. That's compartmentalization. He's like—you do that with all of the people working on a project that's very top secret. So if you're thinking as Karen Read—Aidan Kearney does like a rudimentary version of it—even Tully does a rudimentary version of it—and Kate Peter—compared to Karen Read—Karen Read, Alan Jackson—whatever—understand the intelligence community. I don't fucking know how, but they do. So they compartmentalize. That's how they have pulled this whole thing off. They compartmentalize—no one ever really saw the full picture. When you—if you are a schematic mind like that—when you do something like reveal that Aidan Kearney has sent you a recording of conversations between you because you want the public to know that Aidan is doing this to you—you are tactically sabotaging him. Why you do that at this moment—when you are an expert in counter intel—thus requires that level of understanding. You cannot just say, "Oh, I don't like Karen Read; she must be a moron." No—if you want to understand why she's acting—you have to think about her tactical intelligence—because then you can reconstruct what the goal of this move is. It can only be designed to kneecap his support. I mean—when I say kneecap—I'm not talking Tonya Harding beating the woman at the ice rink. I'm talking—you can make it so this man's numbers are lower than Kate Peter talking about Cyraxx—like 2,000 views of video, if that, all right. That's what it will come down to. And she wants him to feel that. I think that it's a little bit like—it's 97% tactical. It seems to be that this is the moment where she feels he needs to lose all his support—like right now. Second—it feels a little like a little personal—like it's not just that she's causing him to lose all his support. There are ways to do that without doing this. I believe what Karen's really done here is she's taken the one thing from Aidan that gives him the strength to keep going day to day—which is his public persona and image—his support—her support. And so he can go around saying all he wants—"I owe it to Karen; she made me"—do you think that's how he really feels? Or do you think he feels that he's the only reason she's where she is? Now—if that's how they each feel—you're at a stalemate. Aidan thinks he's the reason Karen got to where she is. Karen thinks that she's the reason Aidan has support and is known in the region. Who's right? Who's right? That's what this conversation is going to be about. And I'm telling you—Karen's right. Karen has more support than Aidan Kearney. Okay—it's just a basic—you can look at the numbers. Karen has more support than Aidan Kearney. Karen has more loyalists. Karen—I don't even understand the complex, okay—but her parasocial complex that she's created is stronger. You might call it a brand—I think that degrades the insidious nature of it. I call it a parasocial complex. That is stronger than Aidan Kearney's. [Transition to the conversation with greetings] So what we're going to listen to right now is—oh, hello, Francesca Towel. Oh—a lot of folks are coming in. Hello, Rose Water. Hello, Maureen. It's great to see you all. Hello, J.I.5. We're going to listen to this conversation. I'm going to explicate it for you. I think you have enough background to get it now—but just be aware—without this background—that would have made no sense whatsoever. I promise you. **Aidan:** Am I on? **Host/Other:** You're on. **Aidan:** So who are you? Who is this? **Chris:** Don't worry about it. It doesn't matter who I am. **Aidan:** Well, it does. You're some fucking kangaroo court motherfucker talking about her. What the fuck do you know about anything? **Chris:** Well, I know exactly what you've been doing. **Aidan:** So—well, what the fuck are the sites you're talking about? No—no—recites—what you talk about? No—receipts. I've got to shit up. Let's see him. Let's fucking see your receipts. **Lily:** Hang on, Aidan—you know me. I'm the host. I'm Lily. **Aidan:** Yes, Lily. Hi, Lily. How are you? I'm sorry. I'm just wondering... **Lily:** I know you may not know Chris, but you know me. And so I just wanted to say hello. **Aidan:** Yeah, no, but... Grant: Oh, I also want to let you know this comes with a warning. They use very vulgar language. Some of them are from Commonwealth realms countries. So the language they're using is not as offensive as it would be if you used it in America. Aidan uses some very offensive language. This is for the purposes of analysis and commentary. I do not condone, endorse, promote, or otherwise suggest anyone engage in the use of this language. I personally don't like it. I use the F word from time to time, okay? And maybe like the S word—but I do not say some of the terms they're going to use—especially because one of them is very offensive, okay, to women. And I'm sorry ahead of time that he uses it—but you should hear Aidan's true colors. **Aidan:** This koala motherfucker is up here making shit up, running his... [Recap of text messages and setup for listening] Grant: So what you have to realize is these texts you're seeing on the screen got released because of this conversation. You're going to hear Joe Flipperhead talking about them. Now in the text messages, you can see Joe reaches out to Karen—Joe Flipperhead. And Karen's going to say she's trying to bounce back, but life is not quite happening. "Had a falling out with Aidan as everyone eventually does. Found out Aidan's been taping our phone conversations and sharing them with people and then telling everyone he doesn't understand how I blew him off for Howie Carr. Some anonymous person sent David and Alan a 33-minute phone call I had with Aidan that was all recorded without my knowledge. That was my final straw. He's done a lot of sneaky stuff with me, but this is above and beyond." And then Joe Flipperhead's like, "Do you want your side out there? If yes, I'm with you. If not, all good—just let me know. Have a good weekend." Karen says, "Sure. I told many people my side. This is the last straw. Would never and have never betrayed him. Meanwhile, he has put me in harm's way in a huge way multiple times." Okay, so we're going to listen. "Okay, okay, all right, all right—no trolling. We should—we should be banning people like that. You have been banned. You have been banned. No trolling. Absolutely no trolling. Now gaslighting and manipulative subversion is the hallmark of a lot of the forces in the orbit of this case. So none of that. We have a lot of Blue Wall of Towel friends here. Don't stand for that. Hello, Christy Mack. Great to see you. Hello. Stay tuned, Wendy. Hello, Bunny. Hello, F.B.I.—my friend, F.B.I. DOJ corruption survivor. And hello, Meredith—which is not Meredith O'Neill. This is Meredith the Towel friend. It's great to see you all. And as I said, if you see anybody trolling in the chat—now is not the day for it. Towel's health is not well. And I think there are a lot of people who want to undermine the agency of the unheard and the vulnerable in this situation. There are a lot of people who want to gaslight right now because where this is going is explosive. And furthermore, we're about to listen to the conversation. So what you're going to hear in this conversation is it's going to be Aidan Kearney and Joe Flipperhead—who's named Nick—and a guy named Chris who Aidan Kearney calls a koala. They're going to be talking about what we just talked about. But remember—these text messages haven't been released. So Aidan doesn't actually know they're coming. He's being told of this and going on an X Space and reacting in real time. Now I'm going to pause from time to time, and I'll try to flesh out some of the less clear parts. But as we read through the transcript and as you see this all, I think it will be clear to you—clear to you—the implications. So let's listen."
15:49

I asked Grok to summarize the overview I provided of the ongoing war between Karen Read and Aidan Kearney, in particular the section wherein I deploy the Manhattan Project to explain why Karen used better compartmentalization than Aidan (thus setting herself up for victory). The Manhattan Project Analogy: Ah, the Manhattan Project—Grant drops this as the "archetypal example" of compartmentalization, using it to explain why no one (not even insiders) sees the full picture in ops like Karen's or Aidan's. It's not just history; it's a blueprint for why leaks like this recording hit so hard. Here's Grant's breakdown, paraphrased and expanded for context: Historical Setup: During WWII, the U.S. raced to build the atomic bomb. Led by J. Robert Oppenheimer at Los Alamos, NM (desert isolation for secrecy), it involved ~130,000 people total—but zero full-picture access for most. Goal: Win the war without leaks (or Japanese spies spotting it). Core Mechanic: Siloed Knowledge: Los Alamos: Elite scientists (e.g., Oppenheimer) handled core R&D. Even here, info was need-to-know—e.g., Operation Paperclip Nazis like Wernher von Braun (V-2 rocket guy) worked alongside possible communist sympathizers, but no one knew the endgame. Oak Ridge, Tennessee: The "production" hub—a secret 20,000-person "government town" (still exists today). To hide from aerial recon, they draped canopies over the entire site to mimic forest. Workers (engineers, laborers) toiled in ignorance: Example: A guy feeds a single punch card (1940s code line) into a massive green computer. He doesn't know what it codes, why, or even the machine's purpose. Just: Insert, output, repeat. Multiply by thousands—boom, uranium enrichment without risk. Why It Worked: "You do that with all the people working on a project that's very top secret (except for a select few high up)." Weak links? Minimal. One leak doesn't topple it. Ties to the Drama: Grant flips this to modern players. Aidan's Version: Rudimentary—paralegals like Olivia/Tina handle PR/logins but don't see the "full picture" (e.g., his flip risks). Meredith O'Neill becomes the leak about the recording played for her at lunch because she is smart and she does eventually see too much (just like Lindsey Gaetani before her). Karen's Mastery: Pro-level. Her finance/academia fam (Bentley University ties) screams gov recruitment pipeline—academia as "front" for talent scouting (e.g., intel via international money flows). She "understands the apparatus" (DNI hierarchy), so she deploys limited hangouts/double agents like Natalie. Result: Aidan’s recording "signal flare" to Alan Jackson and David Yannetti (his flip threat) gets mirrored by Karen's public nuke after the recordings and Read's messages to Flipperhead are released—eroding Kearney's base without directly exposing Karen's crushing blow. Grant's Point: Kate Peter/Tully are "children" at this; Karen's moves (e.g., burning Aidan now) only make sense through this lens. It's not emotion—it's chess: "If you show Karen Read anything less than respect, she's gonna fucking own you." Grant wraps by noting Karen's parasocial "complex" (stronger than Aidan's "brand") gives her leverage. He admits partiality ("I think she's responsible for John's death") but respects her ops savvy—possibly from her dad or self-taught intel. **Transcript: Grant's Analysis on Karen Read's Tactical Maneuvering and Compartmentalization** [Warning against crossing Karen Read] Grant: Listen—I would have told you this. I probably said it on stream before. You are out of your mind if you fuck with Karen Read. Like—it's one thing if you are like on her level and matching wits with her—like she's gonna grudgingly show you respect. I'm telling you—I've seen it in her eyes—but you can't fuck with her, and you certainly can't threaten her. I would not do that. I don't know who the fuck her parents know. I don't know who she knows, but bro—like it's politics. She's smarter than you. Don't threaten her. What the fuck? And that is something—like if you show her anything less than respect, she's gonna fucking own you. And that's what she did. Because the respectful way to do it would have been like a diplomatic meeting. And they must have been at a point where Aidan couldn't get that. So he did the most disrespectful thing possible where he tried to like corner her through like extortion almost. That's what it sounds like—although Aidan denies it. That—listen—forget about like how a normal person would react. When you're talking about a very influential operator like Karen Read—who has this very savvy understanding of the public mind—you're fucked. Because she's gonna know immediately what you just did. And she's gonna counter it with the thing that's gonna hurt you the most. What's gonna hurt Aidan Kearney the most? His support being dwindled down to only his core loyalists. And if he's right—and you'll hear it in the conversation—if Aidan Kearney is right, that most of who he is is because Karen Read and her support—oh my goodness, folks—like that—that means that Karen controls whether Aidan can continue this fight. If Karen—when she—that's why I want to listen to this whole conversation—there's no doubt in my mind she's pulling his support and pulling the rug under him because she's afraid that either he cooperated or he's going to cooperate. If she pulls the rug from him—okay, listen—he might be able to escape the criminal charges, but do you think Aidan Kearney—a man who thrives, in my opinion, on attention, numbers—from knowing that your words are impacting someone or the platform is reaching people—do you think he's going to enjoy being in a position where he—the very people who made him—and it wasn't just Karen; it was her supporters—now loathe his existence? And he—not just that—they are like tactical operators. Clearly Karen knows how to do counter intel—especially if she sent Natalie as a double agent to get information from the state police using Kearney as leverage all the way back in 2023. She understands the world of intel. I don't know how—I think it's her dad. I'm pretty sure because—and it could be her too—because like you don't get involved in the world of international finance on a fucking—like—what is it—the sort of leisurely level. It's not a pastime. You either do it because like—you're really fucking good at making money from the stock market—or—and these two weren't; they're not that wealthy—or you're giving information to the government. Why do I say that? Because the world of international finance is the most valuable intel sector you could possibly imagine. You can commit or try to commit any number of international crimes if you're threatening the United States of America. But I guarantee you're moving money around to do it. So who's the best possible sources for that? High-level financial people. So I don't know if either they were a Jason—and they were also academics. Okay. And a lot—what folks have to understand is when I—when people say like academia—it does not mean that you are just smart. Anyone who—who's good at studying could become a professor and be in academia. What a lot of folks should understand is that academia is a front for the government. It has always been a front for the government. Where do you think they headhunt from? Academia—well like—at the higher you get up the academic ladder—all you're really doing is getting more and more involved in the government. I'm not saying anything that anyone involved with this does not know. Like high-level academics are involved with the government. That's like the backbone of our system. Now a lot of the actual education—I think it's gotten a little out of hand with some of these majors, some of these colleges and universities who are offering [them]. That's not the point. The point is to create a—curate a talent pool to make the United States stronger. And a lot of it is government recruitment. Okay. And so Karen Read being all the way up at the top at Bentley—which is a very interconnected university with the government, trust me—that just makes me think she understands this—whether she was a Jason. Listen—you can understand what the intelligence community does without being in it. I'm not in the intelligence community—I just report on the government. So I kind of see how it all works. You can understand it without being in it. But if you're in it—let me just tell you right now—if anyone Karen Read knew professionally—through family or otherwise—is in the government—and I'm not talking about a special agent like in the FBI or, you know, a case officer—I'm talking about in the apparatus of control. Okay. In the directorate of national intelligence somewhere—there's a hierarchy. All right. If she knows anyone who understands all that—that's why she was able to pull this off. Because it's not—that's why I'm not fawning or being gratuitous. I don't necessarily—I'm not partial to Karen Read. I think she has liability for John's death. What I am is cognizant of what she's capable of—so I can understand what's going on. A mind like that, okay—doesn't just do PR. PR was not going to help Karen Read here. Natalie and her PR and all that stuff—none of that was going to work. What Karen Read needed was counter intel and intel knowledge. [Explanation of compartmentalization via the Manhattan Project] When I say compartmentalization—what you all have to realize is I'm talking about how the Manhattan Project—that's like the archetypal example of compartmentalization—how the Manhattan Project to develop the bomb that won the war for the United States in World War II—how that worked. The way that that worked is you had Los Alamos, okay, in New Mexico with Oppenheimer and whatever the hell—some of the Operation Paperclip people—which I'm not very happy with. We took Otto von Braun—who developed the V2 rocket for the Nazis. We brought him over via Operation Paperclip. We implanted him at Los Alamos with fucking Oppenheimer. I'm pretty sure it was like a communist sympathizer. Anyway—we sent them down to Los Alamos—the actual research scientists working on the core of the bomb. But to develop a nuclear bomb—you need 20,000 people at the time working simultaneously on production. You're not going to do that at Los Alamos. One: why would you ever expose them to the inner workings of the tech? It's nuclear material. You are not going to have 20,000 people around it. That's why it was in the middle of a desert. Third of all—they would know too much. So what did they do? Okay—look up Oak Ridge, Tennessee. Oak Ridge, Tennessee is a town—it's a government town still to this day. It's one of the most—it's not as top secret as it used to be. But back in the day—like during World War II—they put fucking canopies over the whole thing—20,000-person town—canopies over all of it. So it would just look like trees from the air in case the Japanese managed to come and bomb us. They never did—thank God. But anyway—at least on the mainland—obviously they got Pearl Harbor, and we're still upset about that. But the point is Oak Ridge, Tennessee, okay—it had people employed across a number of disciplines, all right—and they would go into—I'm giving you an example—one guy would go into a room, all right, and he would walk up to a giant computer. It was an old computer—we're talking the '40s here—it was a big computer, like a big green box. He would take a punch card. Okay—this is how you used to code—write computer code—he would put—take one punch card with one line of code—put it in the machine—take it out—put it down. He had no idea what he was doing. He didn't know what the punch card had on it. He didn't even understand what the machine did. That's compartmentalization. He's like—you do that with all of the people working on a project that's very top secret. So if you're thinking as Karen Read—Aidan Kearney does like a rudimentary version of it—even Tully does a rudimentary version of it—and Kate Peter—compared to Karen Read—Karen Read, Alan Jackson—whatever—understand the intelligence community. I don't fucking know how, but they do. So they compartmentalize. That's how they have pulled this whole thing off. They compartmentalize—no one ever really saw the full picture. When you—if you are a schematic mind like that—when you do something like reveal that Aidan Kearney has sent you a recording of conversations between you because you want the public to know that Aidan is doing this to you—you are tactically sabotaging him. Why you do that at this moment—when you are an expert in counter intel—thus requires that level of understanding. You cannot just say, "Oh, I don't like Karen Read; she must be a moron." No—if you want to understand why she's acting—you have to think about her tactical intelligence—because then you can reconstruct what the goal of this move is. It can only be designed to kneecap his support. I mean—when I say kneecap—I'm not talking Tonya Harding beating the woman at the ice rink. I'm talking—you can make it so this man's numbers are lower than Kate Peter talking about Cyraxx—like 2,000 views of video, if that, all right. That's what it will come down to. And she wants him to feel that. I think that it's a little bit like—it's 97% tactical. It seems to be that this is the moment where she feels he needs to lose all his support—like right now. Second—it feels a little like a little personal—like it's not just that she's causing him to lose all his support. There are ways to do that without doing this. I believe what Karen's really done here is she's taken the one thing from Aidan that gives him the strength to keep going day to day—which is his public persona and image—his support—her support. And so he can go around saying all he wants—"I owe it to Karen; she made me"—do you think that's how he really feels? Or do you think he feels that he's the only reason she's where she is? Now—if that's how they each feel—you're at a stalemate. Aidan thinks he's the reason Karen got to where she is. Karen thinks that she's the reason Aidan has support and is known in the region. Who's right? Who's right? That's what this conversation is going to be about. And I'm telling you—Karen's right. Karen has more support than Aidan Kearney. Okay—it's just a basic—you can look at the numbers. Karen has more support than Aidan Kearney. Karen has more loyalists. Karen—I don't even understand the complex, okay—but her parasocial complex that she's created is stronger. You might call it a brand—I think that degrades the insidious nature of it. I call it a parasocial complex. That is stronger than Aidan Kearney's. [Transition to the conversation with greetings] So what we're going to listen to right now is—oh, hello, Francesca Towel. Oh—a lot of folks are coming in. Hello, Rose Water. Hello, Maureen. It's great to see you all. Hello, J.I.5. We're going to listen to this conversation. I'm going to explicate it for you. I think you have enough background to get it now—but just be aware—without this background—that would have made no sense whatsoever. I promise you. **Aidan:** Am I on? **Host/Other:** You're on. **Aidan:** So who are you? Who is this? **Chris:** Don't worry about it. It doesn't matter who I am. **Aidan:** Well, it does. You're some fucking kangaroo court motherfucker talking about her. What the fuck do you know about anything? **Chris:** Well, I know exactly what you've been doing. **Aidan:** So—well, what the fuck are the sites you're talking about? No—no—recites—what you talk about? No—receipts. I've got to shit up. Let's see him. Let's fucking see your receipts. **Lily:** Hang on, Aidan—you know me. I'm the host. I'm Lily. **Aidan:** Yes, Lily. Hi, Lily. How are you? I'm sorry. I'm just wondering... **Lily:** I know you may not know Chris, but you know me. And so I just wanted to say hello. **Aidan:** Yeah, no, but... Grant: Oh, I also want to let you know this comes with a warning. They use very vulgar language. Some of them are from Commonwealth realms countries. So the language they're using is not as offensive as it would be if you used it in America. Aidan uses some very offensive language. This is for the purposes of analysis and commentary. I do not condone, endorse, promote, or otherwise suggest anyone engage in the use of this language. I personally don't like it. I use the F word from time to time, okay? And maybe like the S word—but I do not say some of the terms they're going to use—especially because one of them is very offensive, okay, to women. And I'm sorry ahead of time that he uses it—but you should hear Aidan's true colors. **Aidan:** This koala motherfucker is up here making shit up, running his... [Recap of text messages and setup for listening] Grant: So what you have to realize is these texts you're seeing on the screen got released because of this conversation. You're going to hear Joe Flipperhead talking about them. Now in the text messages, you can see Joe reaches out to Karen—Joe Flipperhead. And Karen's going to say she's trying to bounce back, but life is not quite happening. "Had a falling out with Aidan as everyone eventually does. Found out Aidan's been taping our phone conversations and sharing them with people and then telling everyone he doesn't understand how I blew him off for Howie Carr. Some anonymous person sent David and Alan a 33-minute phone call I had with Aidan that was all recorded without my knowledge. That was my final straw. He's done a lot of sneaky stuff with me, but this is above and beyond." And then Joe Flipperhead's like, "Do you want your side out there? If yes, I'm with you. If not, all good—just let me know. Have a good weekend." Karen says, "Sure. I told many people my side. This is the last straw. Would never and have never betrayed him. Meanwhile, he has put me in harm's way in a huge way multiple times." Okay, so we're going to listen. "Okay, okay, all right, all right—no trolling. We should—we should be banning people like that. You have been banned. You have been banned. No trolling. Absolutely no trolling. Now gaslighting and manipulative subversion is the hallmark of a lot of the forces in the orbit of this case. So none of that. We have a lot of Blue Wall of Towel friends here. Don't stand for that. Hello, Christy Mack. Great to see you. Hello. Stay tuned, Wendy. Hello, Bunny. Hello, F.B.I.—my friend, F.B.I. DOJ corruption survivor. And hello, Meredith—which is not Meredith O'Neill. This is Meredith the Towel friend. It's great to see you all. And as I said, if you see anybody trolling in the chat—now is not the day for it. Towel's health is not well. And I think there are a lot of people who want to undermine the agency of the unheard and the vulnerable in this situation. There are a lot of people who want to gaslight right now because where this is going is explosive. And furthermore, we're about to listen to the conversation. So what you're going to hear in this conversation is it's going to be Aidan Kearney and Joe Flipperhead—who's named Nick—and a guy named Chris who Aidan Kearney calls a koala. They're going to be talking about what we just talked about. But remember—these text messages haven't been released. So Aidan doesn't actually know they're coming. He's being told of this and going on an X Space and reacting in real time. Now I'm going to pause from time to time, and I'll try to flesh out some of the less clear parts. But as we read through the transcript and as you see this all, I think it will be clear to you—clear to you—the implications. So let's listen."

Grant Smith Ellis

19,048 Aufrufe • vor 10 Monaten

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

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

Joe Murgia

88,583 Aufrufe • vor 2 Jahren