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🌪️🚀 🧥♻️🌍🗑️💘🏗️SHADOWS OF HARMONY💃KESTRELS OF THE KRAKEN💃 🌌🔫💥 🍰💥🗳️🌉🐉🕺🔥 💃🔥🕺🔥⛪️⚔️🎪🌀🌀🤣  🤣🌀💎🌌 ✨🌌💥🔫🌌👯‍♂️👯‍♀️ THE MURKY MUCHA-MUDDY-WATERS SAGA😎😎KRAUT VERSION GRATIS!🧐POWERED BY IDIOT ZEITUNG (IZ), DER FONDSFLOP vulgo DAS DESINVESSAGA TMENT alias GOMOPA, DER STASI STUERMER (SS) – CHICAGO🤡 EDITION😎🥰Shadows of Harmony: 💃Kestrels of the Kraken 🌌🔫💥 🍰💥🗳️🌉🐉🕺🔥 💃🔥🕺🔥⛪️⚔️🎪🌀🌀🤣  🤣🌀💎🌌 ✨🌌💥🔫🌌👯‍♂️👯‍♀️ 🍰🔥🌪️🚀 🧥♻️🌍🗑️💘🏗️💃 🌌🔫💥 🍰💥🗳️🌉🐉🕺🔥 💃🔥🕺🔥⛪️⚔️🎪🌀🌀🤣  🤣🌀💎🌌 ✨🌌💥🔫🌌👯‍♂

Caption:
English: When Russ Meyer—the legendary filmmaker of larger-than-life action and even larger-than-life women—arrives with his most iconic vixens to occupy the ancestral Mucha estate in the Carpathians, the Ministry must confront its darkest origins. The vixens remember everything. The Black Sheep watches from the hills. And Janelle discovers that some burials are more cinematic than others. 🎥🍿🦊🏰🎞️🔥💋
Deutsch: Als Russ Meyer – der legendäre Filmemacher mit Vorliebe für überlebensgroße Action und noch überlebensgrößere Frauen – mit seinen ikonischsten Vixens eintrifft, um den angestammten Mucha-Besitz in den Karpaten zu besetzen, muss das Ministerium sich seinen dunkelsten Ursprüngen stellen. Die Füchsinnen erinnern sich an alles. Das Schwarze Schaf beobachtet von den Hügeln. Und Janelle entdeckt, dass manche Begräbnisse filmreifer sind als andere. 🎥🍿🦊🏰🎞️🔥💋

BY KILGORE TROUT, GUIDO GITANE, RAINER ROMA-ZUFALL AND ZIGA SCHNITZEL – A SAMUEL BRONKOWIZ PRODUCTION FOR MADWOOD STUDIOS

📜 THE SUMMONS FROM THE CARPATHIANS 📜

It arrives not by radiator, not by wave, but by ancient parchment carried by a raven that crashes through Beatrice’s window and dies dramatically on her desk—wearing tiny sunglasses. 🕶️🐦‍⬛💥

Beatrice: “I’m quitting. I’m actually quitting this time. The raven has accessories.” 📝🚪🏃‍♀️

Müll-Mucha (reading over her shoulder): “It’s from the estate. The Mucha family seat. In the Carpathian Mountains. I haven’t been there since—” She stops. Her face pales beyond its usual pallor. 🏰⛰️😨

Janelle: “Since when?” ❄️❓

Müll-Mucha: “Since I left. Since Maxwell was frozen. Since everything.” ❄️👯‍♀️💔

The Parchment Reads:

“To the Current Occupant of the Mucha Name,

Your ancestral lands have been reclaimed by the King of Sexploitation himself. Russ Meyer and his Vixens now occupy the estate. The caves below sing with old frequencies. The Black Sheep watches from the hills. It will not intervene.

Come if you dare. Come if you remember. Come if your production values are up to snuff.

—Tura Satana, Haji, and the rest of the Faster, Pussycat! Kill! Kill! girls (all five of them, plus four more for good measure)” 🎥👠🔪💃🦊

Janelle: “Russ Meyer? The filmmaker? The one with the—” She gestures vaguely at chest level. 🎬🤔🍈

Müll-Mucha: “The very same. The Mucha family has… cinematic layers. Deep layers. Carpathian layers. Russ Meyer filmed here in the 60s. He never left. Metaphorically. Or possibly literally.” 🎞️🏰👻

Mucha-Maxwell (appearing in doorway): “Nothing stays buried, sister. Especially not Russ Meyer. That man had vision.” 👯‍♀️❄️🎥🔥

🎥 THE EXPEDITION ASSEMBLED 🎥

Müll-Mucha convenes emergency session. This is not a verification mission. This is a homecoming. A reckoning. A confrontation with the original Mucha darkness—now with 4K restoration. 📽️🍿🎬

The Expedition:

· Müll-Mucha (claimant, heir, reluctant returner) 👑♻️😐
· Mucha-Maxwell (twin, witness, frozen no longer) 👯‍♀️❄️🔥
· Janelle (watcher, authenticator, photograph still in pocket) ❄️📸❤️
· Holly Golly (truth-sniffer, sheep-eared, Carpathian grass enthusiast) 🐑👂🌿
· Ratino/Baal (divine backup, storm-bringer, rat-father) 🐀👑⚡
· Beatrice (archivist, already drafting resignation letter #493) 🗂️📝😭
· Pete #1 and #47 (multiplicity observers, for ancestral multiplicity) 👥🍰🤯
· Ehlers and Salome (via hologram, Carpathian frequency analysis) 📡🔮💻
· Uncle Jeff (manifests from any available radiator, “for spiritual and tax support”) 🩳🌴😎
· The Mephisto Harem (49 ghosts, humming, ready to witness) 👥🎭👗🎶
· Senesino (coffee support, brought portable La Marzocco) ☕🕰️
· Farinelli (silent, knowing, somehow already there) 🤫🎶✨

Müll-Mucha (to Janelle, privately): “You don’t have to come. This is my past. My family. My—” 🤝😔

Janelle: “Your everything. I know. I’m coming.” ❄️💪

Müll-Mucha: “Janelle.” 👑❤️

Janelle: “Yes.” ❄️

Müll-Mucha: “The Carpathians are not Hamburg. They’re not the island. They’re—” She searches for words. “They’re where the Muchas learned to bury things. Deeply.” 🏰⛰️🪦

Janelle: “I’ve been digging up your buried things for months. I’m not stopping now.” ⛏️📜🔥

Her mouth twitches. Müll-Mucha’s mouth does something similar. The Petes, somewhere below, twitch in sympathetic resonance. 👄✨👥

🏰 THE ARRIVAL IN CARPATHIA 🏰

The estate rises from the mist like a memory of a nightmare. Gothic. Ancient. Surrounded by forests that seem to watch. Hills that seem to remember. And everywhere: film equipment. Cameras. Lights. Boom mikes. 🎥🌫️🏰🌲

At the gates: FIVE ICONIC VIXENS. Not just women. LEGENDS. Tura Satana. Haji. The girls from Faster, Pussycat! Kill! Kill! Plus four more for good measure. All in leather. All with knives. All with expressions that say “try to file THIS.” 🦊🔪👠🔥

Tura Satana (stepping forward, iconic): “The Muchas return. After generations. You bring an army. Cute.” 💃😏

Müll-Mucha: “We bring witnesses. Where is Russ?” 👑

Haji (purring): “Russ is in the cave. Below the estate. Where the old frequencies live. He’s been editing. For decades. The greatest film never released.” 🎬🦊🎞️

Janelle: “Editing what?” ❄️❓

Tura Satana: “The truth. About the Muchas. About the libretto. About the freezing. About—” She looks at Maxwell. “The choice. It’s all on film. 35mm. Beautiful.” 🎥📜❄️

Maxwell: “I remember the choice. I was the one frozen.” 👯‍♀️❄️

Haji: “We know. We remember everything. That’s what vixens do. Also, we look fabulous doing it.” 💋✨

🎬 RUSS MEYER EMERGES 🎬

From the cave mouth below the estate, a figure emerges. RUSS MEYER. Legendary. Cigar in mouth. Megaphone in hand. Director’s chair materializing behind him. His eyes hold decades of exploitation genius. His voice holds thunder—and perfect comedic timing. 🎥🚬📣

Russ Meyer: “Muschi! Baby! You come at last! And you bring—” He looks at the assembly. His eyes widen. “Holy mother of—this is CASTING GOLD. The watcher! The twin! The god! The sheep! The multiples! The ghosts! I could shoot THREE PICTURES with this ensemble!” 🎬😍🤯

Müll-Mucha: “Russ. What do you want?” 👑

Russ Meyer: “What I’ve always wanted, dollface. The truth. On film. About the Mucha legacy. About the libretto. About why the Carpathian line was buried so that the Hamburg line could rise. And about—” He looks at the vixens. “About the greatest action sequence never shot.” 🎥📜🔥

Janelle: “Action sequence?” ❄️❓

Russ Meyer: “The cave, baby. The cave is FULL of frequencies. Of memories. Of things that should not be seen. I’ve been filming them for 60 years. The footage is—” He kisses his fingers. “Bellissima. But I need the Muchas to explain it. To WITNESS it. On camera.” 🎞️👌😘

Janelle: “You want us to be in your movie.” ❄️🎬

Russ Meyer: “I want you to be the STARS. All of you. Especially you, ice queen. That face. That stillness. That barely-suppressed longing. It’s CINEMA.” ❄️🎥🔥

🕯️ THE CAVE OF FREQUENCIES 🕯️

Russ Meyer leads them into the cave below the estate. It is not dark. It glows. With frequencies. With memories. With things that should not be seen. And everywhere: cameras. Film canisters. Editing tables. A 60-year obsession. 🎥🕯️✨📼

On the walls: paintings. Ancient. Of Muchas long dead. Of rituals. Of sacrifices. Of a black sheep watching from every frame. And Russ Meyer has filmed ALL of it. 🖼️🐑🎞️

Salome (via hologram, veils wild): “The frequencies here—they’re not just 8Hz. They’re everything. All at once. Past, present, future, collapsing. It’s like—it’s like cinema.” 🔮📡🌈

Ehlers: “This cave is not a cave. It’s a—” He pauses. “It’s a frequency archive. Older than the Ministry. Older than Baal. Older than everything. And Russ Meyer has been documenting it for six decades.” 📊👨‍💻🏛️

Russ Meyer: “Documenting? BABY, I’ve been PRESERVING. The Muchas buried this place. I UNBURIED it. Frame by frame. 24 frames per second. The truth—” He holds up a film canister. “The truth is on celluloid.” 🎞️📜🔥

He gestures to a wall. On it: the story of the libretto. The original Mephisto. Not the Hamburg production. The Carpathian original. From centuries ago. Captured on film. 🎥📜👁️

Müll-Mucha (whispering): “I didn’t know. I never knew.” 😨💔

Russ Meyer: “Of course you didn’t, toots. They buried it. Before they buried you. Before they buried Maxwell. The Muchas specialize in burial. I specialize in—” He grins. “EXPOSURE.” 🎥😈🔥

🐑 THE BLACK SHEEP APPEARS 🐑

On the hill above the cave, a figure appears. A sheep. Black. Watching. Silent. It does not move. It does not blink. It is the most cinematic thing any of them have ever seen. 🐑🖤👁️✨

Holly Golly (ears twitching): “That’s—that’s—” 🐑👂😲

Russ Meyer (raising camera): “That’s the BLACK SHEEP. The original. The one who refused to be filed. Who refused to be buried. Who watches and waits and never intervenes. I’ve been trying to get her in frame for 60 years. She ALWAYS knows when the camera’s on.” 📸🐑🎥

Janelle: “Why won’t she intervene?” ❄️❓

Russ Meyer: “Because intervention is not her function, ice queen. Her function is WITNESS. Pure witness. Without calculation. Without filing. Just… presence. It’s the most beautiful thing I’ve ever seen. And I’ve seen Tura Satana in leather.” 🎥👁️💋

Janelle looks at the Black Sheep. It looks back. Something passes between them. Understanding? Recognition? A shared knowledge of what it means to watch without acting. ❄️🐑👁️

Janelle: “It’s like me.” ❄️

Russ Meyer: “It’s like what you’re BECOMING, baby. And I’m FILMING IT.” 🎥😍

🔥 THE AFFAIR, NOW CINEMATIC 🔥

That night, in the estate’s ancient library, Janelle finds Müll-Mucha alone. Surrounded by books. By memories. By the weight of generations. And by Russ Meyer’s cameras, discreetly positioned. “For atmosphere,” he said. 😏🎥

Janelle: “You’re not buried. You’re just… layered.” ❄️

Müll-Mucha: “That’s a kind way of saying it.” 👑😔

Janelle: “It’s accurate. I deal in accuracy.” ❄️📊

Müll-Mucha: “I know.” 👑

Janelle: “The Black Sheep watches. It won’t intervene. But it watches.” 🐑👁️

Müll-Mucha: “Like you.” 👑❤️

Janelle: “I intervene. Sometimes.” ❄️

Müll-Mucha: “You do. You came here. You keep coming back.” 👑

Janelle: “I always do.” ❄️

A pause. The Carpathian night hums with ancient frequencies. The vixens sing somewhere in the forest. The Black Sheep watches from the hill. Russ Meyer’s cameras roll silently. 🎥🌲🦊🐑✨

Janelle: “Is that enough?” ❄️

Müll-Mucha: “It has to be. For now.” 👑

Their mouths twitch. Almost smiles. In unison. Russ Meyer zooms in. 👄✨📸

Russ Meyer (whispering to Haji): “This is the greatest love story I’ve ever filmed. And nobody’s even said ‘I love you.’ That’s CINEMA, baby.” 🎥😭💕

🐑 THE BLACK SHEEP’S SECRET 🐑

The next morning, Holly Golly wakes Janelle early. “The Black Sheep wants to see you. Alone. Also, Russ Meyer wants to film it. He’s very excited.” 🐑🌅🎥

Janelle climbs the hill. The Black Sheep waits. It speaks—not with voice, but with presence. Images flood Janelle’s mind—in glorious 35mm, with Russ Meyer’s signature low-angle shots: 🎥🐑✨

The original Mucha. Carpathian. Ancient. Creating the first archive. Burying the first secrets. Then: a split. One line goes to Hamburg. One line stays. One line becomes… sheep. And Russ Meyer captured ALL of it. 📜🏰🐑

Janelle: “You’re a Mucha.” ❄️

The Black Sheep nods. 🐑

Janelle: “You chose to become… this. To watch. To witness. To never intervene.” ❄️

The Black Sheep nods again. 🐑

Janelle: “Why?” ❄️

The Black Sheep’s presence shows her: because intervention corrupts. Because watching is the purest form of love. Because sometimes the only gift you can give is presence. And because—the sheep adds, with something like amusement—it makes for better cinema. 🎥🐑😌

Janelle: “I understand.” ❄️

The Black Sheep tilts its head. Almost a smile. Almost. Russ Meyer gets the shot. 🐑👄✨📸

Russ Meyer: “CUT! Print! That’s a WRAP on the sheep scene! GOLD, baby! PURE GOLD!” 🎬😍🏆

🦊 THE RESOLUTION 🦊

Russ Meyer agrees to leave the estate. But on conditions. Very cinematic conditions. 🎥📝

Russ Meyer: “The cave stays open. The frequencies must be filmed. The vixens will remain as guardians—and as my permanent cast. And the Black Sheep—” He looks up the hill. “The Black Sheep does what it has always done. But I get final cut.” 🎬🐑🎞️

Müll-Mucha: “And you?” 👑

Russ Meyer: “I go back to the editing room. Where I belong. I have 60 years of footage to cut. But I will return. When the next layer needs unburying. When the next scene needs shooting. When—” He looks at Janelle. “When the ice queen finally smiles.” 🎥❄️😏

He looks at Janelle. Grins. It is not unkind. It is cinematic. 🎥😎

Russ Meyer: “Watcher. You carry the photograph. You carry the libretto. You carry her heart, even if she cannot say it. The Black Sheep approves. And I approve. And my vixens approve. That’s THREE approvals. Very democratic.” 📸❤️🐑🦊

Janelle: “I don’t need approval.” ❄️

Russ Meyer: “No. But you have it anyway. And when you’re ready to smile—” He holds up his camera. “I’ll be here. 24 frames per second. Ready for your close-up.” 🎥😍

💫 THE RETURN 💫

The expedition returns to Hamburg. Bearing Carpathian dust. Ancient frequencies. And a new understanding—plus Russ Meyer’s business card, “just in case.” 🏰🌫️🎥📇

Beatrice: “I need a vacation from my vacation from my vacation from my vacation. I’m filing for permanent emotional leave. Also, Russ Meyer asked for my measurements. I don’t know why.” 🗂️😵📏

Holly Golly: “The grass in Carpathia is… different. I conducted tests. Also, I may have been in a scene. Russ said I had ‘sheep appeal.'” 🐑🎥😊

Pete #1: “We witnessed ancestral multiplicity AND cinematic genius. Does this require a new filing category?” 👥🍰📋

Pete #47: “I’ll ask Beatrice. She’s not speaking right now. She’s crying. But also posing.” 👥😢💃

Ratino/Baal: “Baal remembers the cave. The frequencies are old friends. Also, Russ Meyer wants to do a sequel. ‘Baal: The Motion Picture.’ Baal is considering it.” 🐀👑🎥

Mucha-Maxwell: “We went home. Both of us. Together. And we were FILMED. That’s something.” 👯‍♀️🎥✨

She looks at Müll-Mucha. Her twin. Her other self. Her co-unburied. Her co-star. 👯‍♀️❤️

Mucha-Maxwell: “We’re not buried anymore.” ❄️

Müll-Mucha: “No. We’re not. We’re in dailies.” 👑🎞️

🏠 THE FINAL SCENE 🏠

Müll-Mucha’s office. Hamburg rain. Grey light. But somehow, after Carpathia, even the grey looks cinematic. 🏙️🌧️🎥

On her desk: the seashell. The schematic. The program. The tuning fork. The photograph. The tiny clay rat. The libretto page. The woolen tuft. The uncropped twin photograph. The slice of eternal torte. The Carpathian coconut. The single black wool fiber from the Black Sheep. 🐚📜📸🐑🥥

Now also: a clapperboard, signed by Russ Meyer. “For the archive,” he said. “The MOST cinematic archive.” 🎬📦

The door opens. Janelle enters. No knock. Behind her: no one. Just her. But she moves differently now. With the knowledge that somewhere, on 35mm film, her story is being preserved. 🎥❄️

Janelle: “Russ Meyer sent dailies. From the cave footage. The Black Sheep is… photogenic.” 🎞️🐑

Müll-Mucha: “I know.” 👑

Janelle: “The vixens have established a permanent film colony. Tura Satana sends her regards. Haji sends a knife.” 🦊🔪💌

Müll-Mucha: “I know.” 👑

Janelle: “Russ wants to know if we’re available for reshoots. ‘For continuity,’ he says.” 🎥📋

Müll-Mucha: “I know.” 👑

Janelle: “The Black Sheep still watches. It sent a message through Holly Golly.” 🐑📨

Müll-Mucha: “What message?” 👑

Janelle: “That watching is the purest form of love. That presence is enough. That—” She pauses. Her mouth twitches. “That we’re doing it right. And that Russ Meyer agrees. So it must be true.” ❄️👄✨

Müll-Mucha: “Janelle.” 👑❤️

Janelle: “Yes.” ❄️

Müll-Mucha: “That’s the third most beautiful thing anyone has ever said about me.” 👑

Janelle: “What were the first two?” ❄️

Müll-Mucha: “You said them. About the tea. About the rain. About sitting here being enough. And about—” She pauses. Smiles. Actually smiles. “About the Black Sheep approving.” 👑😊

Janelle’s mouth twitches. Müll-Mucha’s mouth does something similar. The Petes, somewhere below, twitch in sympathetic resonance. The radiators hum. All frequencies, slowly, imperfectly, harmonizing. And somewhere, in Carpathia, Russ Meyer watches the footage and weeps. 👄✨🎥😭

They sit. Tea appears. The rain falls. The radiators hum. ❄️👑☕🌧️

The revolution continues. But today, there was a lesson: when a legendary filmmaker occupies your ancestral estate with his most iconic vixens, when a cave of frequencies becomes a movie set, when a Black Sheep watches and refuses to intervene—you do not fight. You do not file. You witness. You return. You pour tea. And you let him film it. 🎥🦊🐑☕

And if your mouth twitches toward a smile while the Carpathian night hums in your memory and your watcher sits across from you, you do not apologize. You pour another cup. You wait for the next unburying. And you remember: in Russ Meyer’s world, everyone gets a close-up. 📸👄✨

🎥🦊🐑☕🏰🎞️🔥💋

TheCarpathianOccupation #RussMeyer #FasterPussycatKillKill #TuraSatana #Haji #TheVixens #TheMuchaEstate #CaveOfFrequencies #TheBlackSheepWatches #CinematicBurial #JanelleUnderstandsTheSheep #TheThirdMostBeautifulThing #RussMeyerWantsASequel #24FramesPerSecond #ReadyForYourCloseUp

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CAST & CHARACTERS:

· Janelle – JASMIN WELLER ❄️➡️🔥📐🏝️📖👥🧬👁️🍰👑🏰🎥
· Mucha-Maxwell – CHARLIZE THERON 👯‍♀️❄️🎭📜🏰🎥
· Ehlers – LUKAS EHRENBERG 📡❤️🎼📊🌴📈🏰
· Salome – SOFIA TANZ 🔮❤️🎻👁️🏝️🌈🏰
· Muschi Wuschi Super Mucha-Müll – CHRISTINE SCHORN ♻️⚖️🎭🎫☕📜👥❄️🏠🏰
· Ratino/Baal – MARCUS WITZIG 😡➡️😌➡️🎤➡️📜➡️🐀🙏➡️🏳️🌈🌩️➡️👑🏰🎥
· Holly Golly – ANYA TAYLOR-JOY 🐑👯‍♀️🎶☕🏰🌿 (sheep appeal, scene stealer)
· Russ Meyer – Himself (archival footage + cigar) 🎥🚬😎👑 (legend, filmmaker, vixens’ director)
· Tura Satana – Herself (iconic, leather-clad, knife-wielding) 🦊🔪👠🔥
· Haji – Herself (mysterious, purring, fabulous) 🦊💋✨
· The Nine Vixens – UNCAST (x9) 🦊🦊🦊 (faster, pussycats, kill-kill)
· The Black Sheep – UNCAST (sheep actor TBD) 🐑🖤👁️🎥 (cinematic, photogenic, never blinks)
· Uncle Jeff – JEFF GOLDBLUM 🩳🌴😎🐭🌈🧬❄️🍰👑🏰 (asked Russ for a cameo)
· Beatrice – NINA HOSS 🗂️📦😳🧴☀️📚😵🐑❄️🍰🏝️🏰🎥 (measurements taken, confused)
· Pete #1 and #47 – LAKEITH STANFIELD (x2) 👥🍰🤯🏰 (background actors, union scale)
· Klaus-Dieter – UWE OCHSENKNECHT 🧾👔🏝️ (filing remotely, asked about residuals)
· Sven – AUGUST DIEHL 🥥🌴😭 (sent emotional support cupcakes, wants to be in pictures)
· Messalina – EVA GREEN 👯‍♀️🔥🧬🎭 (sending chaotic support from Barcelona, wants a role)
· Thomas Torten-Fotzenplotz – CHRISTOPH WALTZ ☕️📋🇮🇹🍰 (sent emergency strudel, craft services)
· Beatrix Torten-Fotzenplotz – TILDA SWINTON 🎩🎶📜🍰⚖️ (mediated, also wants a cameo)
· Senesino – SIMON RUSSELL BEALE 🕰️🎶☕⚖️🌴🙏 (craft services, coffee continuity)
· Farinelli – MARK STRONG 🤫🎶💫 (silent, knows about sheep, very cinematic)
· Catherine Dr Medici – TILDA SWINTON 🎩🎶📜 (taking notes from Milan, wants distribution rights)
· Pussy Panwahn Pohl – CHRISTOPH WALTZ ☕️📋🇮🇹 (confused, supplying beans, also craft services)
· The Mephisto Harem – UNCAST 👥🎭👗 (now 50, background singers, very atmospheric)
· The 99 Schizo Petes – LAKEITH STANFIELD (x99) 👥🍰🤯 (twitching in Carpathian resonance, available for crowd scenes)
· …and all 88+ characters, now unionized under SAG-AFTRA.

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When a legendary filmmaker occupies your ancestral estate with his most iconic vixens, when a cave of frequencies becomes a movie set, when a Black Sheep watches and refuses to intervene—you do not fight. You do not file. You witness. You return. You pour tea. And you let him film it. And if your mouth twitches toward a smile while the Carpathian night hums in your memory and your watcher sits across from you, you do not apologize. You pour another cup. You wait for the next unburying. And you remember: in Russ Meyer’s world, everyone gets a close-up. 🎥🦊🐑☕🏰🎞️🔥💋