1001 Nights in the Facility [Unexpurgated] Short Film

1001 Nights in the Facility [Unexpurgated] – Episode 1: Keep Pace with the System

A Short Film by TRƎNCHԀƎOԀ⅂Ǝ

This short film is a manifesto told in medias res, an homage to One Thousand and One Arabian Nights. Lara becomes both Scheherazade and Lara Croft, whispering stories to stave off restlessness. Marquis is both the Marquis de Sade and a Shiv Roy-like heir to Render Enterprises, from HBO’s Succession. Like King Shahryar of the original tales, she holds the power to decide whether the stories continue. She is the heir apparent, though her father still bellows at her, “Stop calling your brother Fredo!” — a name she uses for him without affection. To Marquis, her brother is inept and in her way. She knows she is the real CEO.

On the court, Vegas has won twelve straight. Not by luck. Not by hustle. By machine. The Facility.
A neural court that remembers legendary systems — the Jackson (Phil Jackson’s triangle), the Flex, and the Princeton — rebuilt live as glowing choreography under the players’ feet. No shouting. No pointing. Plays trigger when rhythm aligns. The floor feels them, corrects them, and makes the game intuitive.

Manny, the janitor — an unreliable narrator — who remembers every word, tells it like scripture. Chuck Buko, a Bukowski-style podcaster, smokes and scoffs. And inside one of Marquis’ many estates, Lara whispers her doubts — about them, about the Facility — only to be checked:

“Yet you chose to stay. Take it from me — Life is a business. The biggest, the longest, the most important one you’ll ever run. You are the LLC, the INC, and the CEO of your life.”

The film strips basketball down to systems, stories, and choices. Marquis studies Lara like a dream. Lara buys one more night with a story. Chuck calls it myth, casino math, a stacked deck. Manny shrugs: “I’m a basketball head.”

This is not chance. Not destiny.

It’s management. The Facility is AI-powered, relentless. It doesn’t just host the game. It rewrites it.

And when the credits roll, the only measure left is glory:

Roll credits. Count the rings.

Story, Narrative, and Conceptual Art — Copyright 2025 E Maria Shelton Speller

Creative Platforms & Tools:

Artlist.io – Licensed music and sound effects
ChatGPT (OpenAI) – AI-assisted scriptwriting and narrative development
MidJourney – AI-generated concept imagery and character visualization
iMovie – Video editing and sequencing
Canva – Graphic design and text treatments
ElevenLabs – AI-powered voice narration
Other Production Tools – Standard video/audio processing and conceptual design tools

Credits:

Music

Chardonnay
Song by The Original Orchestra feat. Ran Raiten

Float
Song by Notize

It Hurts
Song by RIPPLES, Paper Plastic, Flint, ZISO

Farewell to a Warrior
Song by Jakub Pietras

Out of Reach – Alternative version
Song by Ziv Moran, Alma Zohar

Footage

Sweet, Gastronomic, Brunch, Delicacy
Clip by Creative Light

Cocktails, Drinks, Night Out, Club
Clip by Omri Ohana

Fabric, Linen, Texture, Cloth
Clip by Via Films

Hills, Dress, Elegant, Stylish
Clip by Morten Lovechild

Foot, Surfer, Sea, Beach
Clip by Matic Oblak

Residence, Home, Real Estate, House
Clip byHugo Will

Eye, Futuristic, Tech, Hud
Clip by DAVLEHA

Prompt, Conditions, Terms, Internet
Clip by Bruno Tornielli

Soft Power — The Untold [In Medias Res]

Soft Power – The Untold [In Medias Res] Short Film

Synopsis:

In a league built on image and power plays, truth seeps through the cracks.
Manny, a janitor with no reason to lie, claims to have overheard the conversations that could unravel it all. But Manny is an unreliable narrator—and in this game, even the truth sounds like fiction…

Narration channels the cadence of Charles Bukowski—gritty, raw, unapologetic—setting the tone for Manny’s untold truth.

Disclaimer: Any names, characters, businesses, places, events, or incidents depicted in Soft Power – The Untold are fictitious. Any resemblance to actual persons, living or dead, or actual events is purely coincidental. This work is created solely for entertainment and conceptual art purposes and does not intend to depict real individuals or organizations.

Manny (The Janitor) is portrayed as an “Unreliable Narrator” — a recognized literary device that intentionally blurs perception and truth within the story.

Story, Narrative, Conceptual Art © 2025 E Maria Shelton Speller
All rights reserved. This includes all conceptual art, narrative, dialogue, and story elements contained within this project. Unauthorized reproduction, distribution, or adaptation is prohibited without explicit written permission.

Creative Platforms & Tools:

Artlist.io – Licensed music and sound effects
ChatGPT (OpenAI) – AI-assisted scriptwriting and narrative development
MidJourney – AI-generated concept imagery and character visualization
iMovie – Video editing and sequencing
Canva – Graphic design and text treatments
ElevenLabs – AI-powered voice narration
Other Production Tools – Standard video/audio processing and conceptual design tools

Music:

Sunshine Rider – No Backing Vocals
Song by Dor-c

Savage Shadows
Song by Semo

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~Ringgold’s Story Quilt

Postmodern Short Film — Metafiction

~ Ringgold’s Story Quilt (Pig Latin Translation)

ey-thay ay-say omen-way are-ay ethay emotional-ay ones-ay
→ they say women are the emotional ones

ut-bay ook-lay owhay uilds-bay ethay ombs-bay
→ but look who builds the bombs

ow-hay ells-say ethay ootage-fay
→ who sells the footage

ow-hay alls-cay it-ay eace-pay
→ who calls it peace

en-may id-day is-thay
→ men did this

en-may o-day is-thay
→ men do this

isdom-way is-ay etter-bay anthay eapons-way of-ay ar-way
→ wisdom is better than weapons of war

ut-bay eythay on’t-day ove-lay isdom-way
→ but they don’t love wisdom

ey-thay ove-lay ethay ash-flay
→ they love the flash

Conceptual Art and Narrative © 2025 E Maria Shelton Speller

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You Left Her There — The Bounce You Didn’t Hear

You Left Her There

An Open Letter by Trenchpeople.com
May 17, 2025

Empathy takes time. Most of us aren’t born knowing how to reach for someone when they’ve been knocked down.

But institutions? They don’t need time.

They need pressure.
They need metrics.
And above all—they respond to risk.

So when Angel Reese was shoved, provoked, and penalized under the spotlight during the Indiana Fever vs. Chicago Sky opener, the WNBA made its calculation.

They didn’t issue a statement.
They didn’t clarify the officiating.
They didn’t condemn the crowd.
They didn’t stand beside her.

They watched the clips go viral.
They saw the backlash build.
And they chose silence.

That wasn’t a communication gap. That was market behavior. And it was also a moral failure.

This wasn’t about a game. It was about what the league is willing to protect—and who they’re willing to let stand alone.

Angel Reese is not a controversy. She’s a platform. She drives views. She lifts ratings. She expands audience. She makes this league profitable.

But when her presence threatened the illusion of neutrality—when her experience forced a public stance—the WNBA flinched. They issued symmetry instead of justice.

And that is the tell.

When everyone gets punished, no one gets protected.

Let’s be clear:

This generation of Black American women fans? We are not infinite. We are not emotionally loyal to institutions that are strategically indifferent to us.

We are watching the pattern.
We are watching the positioning.
We are watching who gets defended and who gets fed to the noise.

And we are not confused.

The WNBA built itself on empowerment campaigns and borrowed clout. It sells authenticity while quietly disciplining it. It markets confidence but cannot manage the backlash that confidence attracts.

That’s not oversight. That’s the ceiling.

You want the culture without the cost.
You want the moment without the meaning.
You want the market—but not the mirror.

Here’s what you need to understand:

When you leave Black women unprotected, you are not just creating distance. You are creating rejection. And that is not a branding issue. That is a business problem.

The silence was noted.
The decision was made.
And what you’re losing now isn’t just fans.

You’re not just losing trust.

You’re losing the only audience that ever made you relevant.

#YouLeftHerThere #NoMoreAntiUs #Trenchpeople #ProtectAngelReese #MoralFailure #MarketBehavior

Copyright © 2025 E Maria Shelton Speller. All rights reserved.

____________________________________________________

We initially prepared this letter for Essence, but after jumping through more hoops than felt necessary, we decided to share it here—on our terms. This message doesn’t need gatekeeping. It doesn’t need packaging. And it’s not a pitch. It’s a response. So we’ve published the original letter alongside You Left Her There, right here on trenchpeople.com—where it belongs.*

Title:
You Left Her There

By Us| For Essence

When I knock someone down—on purpose or by accident—I pick them up. That’s how I was raised. That’s how I understand responsibility. That’s how I understand being human.

So when Angel Reese got shoved, provoked, and then penalized, the expectation was clear:

She would get up on her own. And say nothing.

That’s what’s expected of Black women in this country. Fall with grace. Bleed quietly. Recover without disrupting the system that harmed you.

Angel didn’t just take a hit on the court. She took one from the structure—from the officials, from the silence of the league, from the weight of a moment that told her: we’ll market you, but we won’t protect you.

This isn’t about trash talk or a rivalry. This is about a political arrangement that uses Black women’s labor, voice, and excellence—and then disappears when we’re targeted. Not just dismissed. Not just misrepresented. But exposed—for the crowd to watch and judge and distort.

There was a moment—when Angel stood there, singled out and penalized—when the league could’ve said, This isn’t who we are. But they didn’t.

They froze.
They measured.
They chose neutrality over truth.
And they left her there.

What does it say when a player is visibly targeted, and the system responds with symmetry? What does it say when a league known for progressive branding decides that punishment is easier than protection?

It says Black women are safe here—until it’s inconvenient.

It says: you can build the league, carry the ratings, drive the culture—and still be seen as too much, too loud, too visible when something goes wrong.

We are not new to this.

The politics of containment are older than the league itself. Angel was expected to take the foul, take the heat, and keep smiling—for the sponsors, for the press, for the game.

But let me be clear: no Black woman should have to smile through erasure.

Not again. Not here. Not on May 17, 2025.

Not while carrying a league that built its momentum off our backs.

Angel was left standing in the middle of a storm, expected to hold composure as the system quietly closed its doors. We’ve been there. In boardrooms. In classrooms. In hospitals. In airports. On stages. We’ve stood alone while institutions that used our image went silent when it counted.

So this piece isn’t just about Angel. It’s about all of us who’ve been pushed down in public and then asked to get up in private, with grace, as if grace should be policy.

No. Policy should be policy. Protection should be the rule—not the exception when the cameras are rolling.

Angel didn’t fall. She was left.

And if the WNBA doesn’t understand what that moment means—doesn’t act on it now—it won’t just lose the trust of one player.

It will lose us.

*I don’t know if I’m satisfied with the ending…

THE URBAN TRIPPER STUDIO

About the Video

Welcome to UrbanTripper! 🎉

Discover bold, statement-making apparel that celebrates art, poetry, and individuality. Each T-shirt features a unique snippet from a different poem, creating a larger poetic narrative that’s both inspiring and wearable. Perfect for refreshing your wardrobe or finding a meaningful gift, our collection is designed to spark creativity and provide comfort.

Much like collectible trading cards, these designs are made to be gathered, shared, and cherished.

Best of all, every purchase supports the seed round for Inside the [Dollhouse] with the Red Corvette (ITDWTRC)—a visionary app combining urban exploration, storytelling, public safety, and innovation. By supporting UrbanTripper, you’re helping us build something extraordinary.

Thank you for shopping small and making a big difference. Wishing you a prosperous and inspiring 2025! 🌟

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Explore the Collection — https://www.trenchpeople.com/4057-2/

Conceptual Art and Original Poetry Copyright © 2024, E Maria Shelton Speller.

Song: Get Dangerous! (Instrumental Version) by Frank Bentley, Anthony Mar.
Music from: Artlist.io — https://artlist.io/royalty-free-music/song/get-dangerous/93934

Our Call-to-Action (CTA)

This is more than a T-shirt—it’s wearable art. Bold designs. Poetic stories. Limited release. Don’t miss your chance to own a piece of this exclusive collection. 🎁 Perfect for YOU or someone you love!

Verses are from the following poems (in the order of their appearance):

POV – The First Time They Heard James Brown – Live at the Apollo — https://www.trenchpeople.com/pov-the-first-time-they-heard-james-brown-live-at-the-apollo/

Luda’s Soliloquy – Miles Language I — https://www.trenchpeople.com/purple/ludas-soliloquy-miles-language-i/

AI Assignment – A Poem the Gods Would Read — https://www.trenchpeople.com/blue/ai-assignment-a-poem-the-gods-would-read/

Luda’s Soliloquy – Miles Language II — https://www.trenchpeople.com/purple/ludas-second-soliloquy-miles-language-ii/

The Foreword to Insomnia’s Istanbul — The Golden Horn

TRƎNCHԀƎOԀ⅂Ǝ Mixtape [Narrative]

Copyright © 2022 E Maria Shelton Speller

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Spoken Live!

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[The Godforsaken]

Before the godforsaken

had time to swallow…

They knew who first

judged what out of dreams

came truly real*

and he was fastened to a rock

and they knew who

stirreth up the people and dippeth his hand**

in the dish with Judas

and he was nailed to a cross

And they read books within books

about wise and foolish virgins

and signs of the end

and love and judgment

and they heard God talk

through the mouths of men

who talked about him

his son and the holy ghost

When spectators provided the notion of reality

Christ and Prometheus

were objectified and subjectified allegory

spheres of hope and rebellion

courage and prudence

temperance and justice

and how they chose to read it

in the time before terror

depended on what level

they chose to see it

Before the godforsaken

had time to swallow…

They reused and refashioned the heads

of emperors in their own image

because they could

They reinforced power and authority

with legitimate political imagery

like the Egyptian Pharaoh Ramses

and General Holofernes

They respected the classical past

in fertile crescents of greed

and rejected classical design

in the center of ruins

They housed the rock in the dome

on which Muhammad ascended to heaven

and hung the Virgin Mary’s blue robe

in Chartres Cathedral

and it did not burn…

When denizens of form said

Nothing is new…

The godforsaken asked

Since when?

since the Lion Gate

since the Great Sphinx of Giza

since Doric and Ionic orders

since the Palette of King Narmer

since the Parthenon

since Stonehenge

Since when?

They stood in the light of starry nights

in the drum, coffers, and concrete cylinders

of uninterrupted space in the Pantheon

and made no apologies for ripping off

master tracks from the past

and heard the hip hop train

sampling every post-hit

with unripe music and blood

and mounted the heads of gods

on the manifest

like the catalog of procreation

in Genesis

They heard his Mother

three blocks away

on parallel streets

screaming redundantly

You won’t take my child!

You won’t take my child!

at the vigil where transvestites

whispered how many times

her child was stabbed in the neck

Lord have mercy!

Who are these motherfuckers?

on the bottom rung of the Ladder of Descent

trying to climb up

on the backs of allegories

floating in fleeting and airy hope

part of the story

part of the sin

Before the godforsaken

had time to swallow…

They knew

that love ends

as it begins again

on rocks and crosses

in books and dreams

and politics and imagery

under domes and temples

in music and song

and blood and death

in stories and sin

and in the hands

of God

the swallows are building.

Copyright 2018 E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

*Aeschylus’ Prometheus Bound
** Matthew 26: V21,V22,V23,V25

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Tick Tock Tick Tock Tick Tock Tick Tock…

Purple People

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A. I. Assignment — A Poem the Gods Would Read [Reimagined]

Conceptual Art Copyright 2023 E Maria Shelton Speller

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A.I. Assignment: A Poem The Gods Would Read [Generated Using ChatGPT]

Prompt: Choose the best verse for a 16 bar Hip Hop poem that God would read with a beginning, middle, and end written like Marshall Bruce Mathers II [EMINƎM]. The greatest lyric of all times. At the end of the lyric, the audience should feel exhilarated – tantamount to a cannabis high replete with subliminal suggestion.  Use the following words and phrases…*

In this world of shibboleths and canonical standards

I’m the proxy with a God’s-eye view

A hermitage of thought, my mind a sacred land

Where extortion’s a felony, and Earth is Hell, but this is Heaven

A place where I’m higher than chronic, winners on serotonin and dopamine

A game, a trip, and at the nadir, I’m malleable

No malfeasance can control me, I’m the Sinclair Method

I outed myself and found she’s delicious, a cauldron of desire

Tantamount to a winner’s high, ahead of his skis

Burnishing my position, interconnected with the empirical

In a postmodern world, the theater of imagination

Constitutes a bloody sophisticated art, a masterpiece

Suffering propels me to grand heights, enhancements of man

My magnum opus, a deep dive into the rabbit hole, erudite

My Faustian Bargain, a tenuous balance, gilding the lily

At the crossroads, an esoteric religion of Haitian voodoo

Like Picasso without Gertrude Stein, a pauper without a muse

An aesthetic clinic, a mood stabilizer, a rant and a soliloquy

Socrates’ in the courtyard, a binary world, giddy and bifurcated

An anomaly that I imbue with meaning, objects of desire

A tight ship, slick and glommed, I experience freedom

The standard bearer, implacable, a quest narrative

An eating disorder, a listicle, a forensic mystery

Grist for everybody’s mill, in tandem, pocket casts

Why can’t we see, our eyes are chimera, but we can with these…

Demystifying the unknown, strophe and antistrophe

The libretto of my soul, a soliloquy, a euphemism

The quintessence of my being, copious and yet refined

A kerfuffle, a springboard to greatness, a target of misogyny

Misogynoir, logic can’t explain the mistake, it’s hilarious

AI’s a toy, the paragon of healthy development, esoteric

A rabbit hole, impeccable and lofty, a chaperone-mediated trip

But God will bring down the high and mighty, finding the sweet spot

Socrates in the courtyard, broken, a puppet show

Not mature enough for this conversation, reinvest and capricious

Keen, corresponding data, symbiotic and centennial

Quintessential, souring to new altitudes, skew the norm

Exigent action taken today, on point, plausible deniability

Piccadilly and fault, a Faustian Bargain, ecumenical

The molecular behavior, collective forms of punishment, a rendition

Gratuitous profanity, harbingers of doom, that’s the state of affairs

Whimsy and evolve, revert to the bedrock, epiphenomenal

Some fuck shit, owning a stunning house, melanated people

Quell the dissent, the refrain, an objective metric, ad nauseam

Discursive, the grand nexus of frustration, acquisition fluidly

Fluently, idiomatically, cognitively, Chomsky’s philosophy

The world is difficult to perceive, a quantum leap, predicated on pain

Same sentence, same intonation, different meaning, trenchant and reductive

Pugnacious, the princess of men and women, assigning the O Henry Twist

White knight, white hegemony, age in a similar vintage, totemic

The meta narrative, assuage the noble victim, abstractly based

Autistic Blake’s position, imped.

Copyright © 2023 E Maria Shelton Speller. All Rights Reserved.

Poem generated using ChatGPT (Chat Generative Pre-trained Transformer) is a chatbot developed by OpenAI

*Verse like Christopher George Latore Wallace [The Notorious B.I.G.] using the same words and phrases for this assignment [14 pages saved like Found Art] — is Playing Now! Visit Premium Content on Dreamscape.

Conceptual Art and Narrative © Copyright 2023 E Maria Shelton Speller
Music by Skygaze (Shoreditch) — Artlist.io — https://artlist.io/album/2274/undefined
Audio Wizardry by George Kallika — https://www.sonicarcade.com/

Twenty Twenty-One

 

Fun Espresso

 

 

Egad, the Casbah in Santa Barbara

Part of the fun is the embrace of perfume

Cafe Angelica Emerald Crème

A sabbatical delay waiting to be served

A ceremonial promenade hunched over gazettes

Unwelcome raindrops splatter the canvassed toes of my shoes

Thus the au courant cartoons on my stringy denim knees

Inside at last, I’m saved and Mocha Berry satisfied

Like the face of the fretless little girl

Blowing candy off the floor in her mouth

Clicking up and down in shoes too big for her feet

Stealing glances at an intellectual jerk

Chocolate Cherry satisfied between deep banter

With a friend floating in Vanilla Colada

Part of the fun is real references to books

And book references to real well read attitudes

What’s the shiniest patented leather flats

On the girl with the silkiest blonde hair

Doing with the darkest man

In Dreadlocks and Birkenstocks?

No talk between them

Then they’re sharing the table

Those lined outside will share tables too

The Raspberry Almond can sit with me

Keeping the beat with an aggravated drum lead

His body twitched with jazzy guitar licks

He smiled between the plugs in his ears

And faces fade into a mirror in the back

Part of the fun is waking up here

In an essay on spice and circumstance

A sabbatical renewal once more

On a regional affirmation of decadence

This day of rest I worship Santa Barbara

And the celestial trip I straddle

To be able to dry my canvassed toes

With the heat of Golden Pecan

And the fervent chill of observation

In my sanctioned Casbah

In my sabbatical home

I hold my head up

My cup runneth over

Reading books and people vicariously

Egad, I am dry and satisfied

 

© 2002, 2020 E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.