Sunday, 21 September 2025

Veins

 The first sign was a whisper, a faint spiderweb of violet against the pale canvas of Elara’s calf. She dismissed it as a trick of the light, a common, harmless little thing. She was active, healthy, too young for such trivialities. But then came the tendrils, faint at first, then thickening, rising from the surface of her skin like subterranean roots pushing through dry earth. They were faint blue lines that felt like nothing, mere shadows.


Soon, the shadows gained substance. They became ropes, twisting and coiling beneath the thin, translucent skin. Her left leg, then her right, began to resemble an anatomical diagram, only rendered in grotesque, living detail. The veins, once hidden, now pulsed with a sluggish, insistent rhythm, dark rivers winding their way up her calves, behind her knees, and creeping, inexorably, up her thighs. They were thick, gnarled cords, the colour of bruised plums and old blood, forming tributaries and deltas that distorted the very shape of her limbs.


The ache began as a dull throb after a long day, escalating to a constant, burning pressure that never truly receded. It was as though her legs were perpetually encased in an invisible, tightening vise. She’d lie awake at night, listening to the insidious thump-thump of her own circulation, a trapped, struggling thing within its failing channels. Closing her eyes didn't help; she could still feel the internal landscape of her legs, the blood pooling, struggling against the collapsed valves, a viscous, heavy tide rising and falling.


Her skin, once smooth and supple, began to change. It became thin and papery over the most prominent ropes, stretched taut and unnaturally shiny. Elsewhere, it darkened, a mottled, angry red-brown, like ancient, sun-baked leather. The itching was relentless, a crawling torment beneath the surface, driving her to scratch until her nails left angry, red welts that refused to heal. Each scratch felt like a tiny violation of the fragile barriers separating her from the pulsing network beneath.


Then came the weeping. Tiny pores, overwhelmed, began to exude a clear, sticky fluid. Her socks would cling, damp and unpleasant, and the smell, initially faint and metallic, grew sharper, a cloying sweetness that hinted at stagnation and decay. She started wearing long skirts, even in summer, not just to hide the horror, but to contain the constant dampness, the faint, sickening scent that she imagined everyone could discern.


One morning, she found it. A small, innocent-looking red patch on her shin, where one of the thickest ropes snaked beneath the skin. It wasn't just red; it was angry, warm to the touch. By evening, a blister had formed, filling with the same weeping fluid. She knew, with a cold certainty that settled deep in her bones, that this was different. This was the turning point.


The blister burst, not with a pop, but a sickening squelch. What remained was a crater, shallow at first, but deepening with each passing day. The edges were ragged, the base a sickly yellow-grey, rimmed with the angry red-brown of dying flesh. It was an ulcer, a gaping mouth on her shin, refusing to close. It bled sporadically, a dark, viscous ooze that stained bandages and clothing, carrying with it a new, more profound odour of infection.


She tried to clean it, to sterilise it, but every touch sent agony lancing up her leg. The pain was no longer a dull ache; it was a constant, searing burn, radiating from the raw, open wound. It pulsed with her heartbeat, a rhythmic torture that never let her forget its presence. The other leg, not to be outdone, began to sprout its own horrors: more darkening patches, more papery thinness, and then, inevitably, more ulcers. They appeared without warning, small pinpricks that widened into craters, some shallow, some deep enough to hint at the structures beneath.


Her legs were no longer hers. They were grotesque parodies, monstrous things that sagged and swelled, covered in ancient, rope-like veins, mottled skin, and an ever-increasing number of weeping, festering wounds. They were heavy, dead weights, refusing to cooperate, each step a testament to the agony she was forced to endure. She could feel the blood, black and thick, struggling to move, the pressure building, building, always building within those failing conduits. It felt like something was being pumped into her, rather than flowing through her.


Sleep was a luxury she rarely afforded. When she did drift off, she was plagued by nightmares of her veins ripping free, of her skin sloughing off in great sheets, of the blood inside her legs turning to sludge, solidifying into inert rock. She would wake with a scream, tearing at the bandages, convinced she could feel the tiny, unseen creatures that must surely be feasting on her deteriorating flesh.


Her world shrank to the four walls of her room. The smell of antiseptic, pus, and old blood clung to everything. She couldn't bear to look at the mirror, knowing what awaited her: a gaunt, hollow-eyed woman with limbs that didn't belong to her, limbs that were rotting while still attached. The varicose veins, once a minor aesthetic concern, had become sentient, malevolent entities, slowly, deliberately consuming her from the inside out. They were no longer just veins; they were a living, sprawling disease, an invasive network that held her captive.


There was no cure, no relief. The doctors had shaken their heads, muttering terms like "chronic venous insufficiency," "stasis dermatitis," "intractable ulcers." They offered palliative care, antibiotics for the inevitable infections, but the underlying horror remained, an expanding, irreversible blight.


Elara lay on her bed, her legs propped up on stained pillows, the only position that offered a fleeting respite from the pressure. Her room was dark, save for a sliver of weak morning light that dared to pierce the gloom. She shifted slightly, and a fresh wave of pain shot through her shins, where the deepest ulcers gaped, oozing their putrid secretions. She could feel the cold, clammy film of fluid on her skin, the constant, sickening dampness.


She closed her eyes, but it did little good. The horror was not outside her, but within. She could feel the pulse, the slow, thick beat of blood struggling in its ravaged pathways, the burning, itching, throbbing symphony of her own decay. Her legs were no longer a part of her, but a separate, monstrous entity, dragging her down, consuming her in a slow, agonizing process. There was no escape, no peace, just the relentless, unforgiving progression of the veins. They had won. And tomorrow, they would continue their victory, one painful, weeping, rotting inch at a time.

The Flight Of The Good Ship Clarissa


 

NWO


 I brought this retro wrestling t shirt as I loved the original version of this group in WCW.

So technically I now a member of the NWO

Tuesday, 16 September 2025

Storytime 7


 

Richard John Hatton Rest In Peace

Richard John Hatton (6 October 1978 – 14 September 2025), also known by nicknames such as "the Hitman" and "the People's Champion", was a British professional boxer who competed between 1997 and 2012, and later worked as a boxing promoter and trainer.[6][7] During his boxing career he held multiple world championships in the light welterweight division, and one at welterweight. In 2005 he was named Fighter of the Year by The Ring magazine, the Boxing Writers Association of America, and ESPN.


In 2000 Hatton won the British light welterweight title, followed by the World Boxing Union (WBU) title the following year; he made a record fifteen successful defences of the latter from 2001 to 2004. He reached the pinnacle of his career in 2005 by defeating Kostya Tszyu for the International Boxing Federation (IBF), Ring and lineal titles. This was followed up later that year with a victory over Carlos Maussa to claim the World Boxing Association (WBA) title (Super version), thereby becoming a unified light-welterweight world champion.


Making his welterweight debut in 2006, Hatton won a tough fight against WBA champion Luis Collazo to win a world title in his second weight class. A return to light welterweight in 2007 saw him win the vacant IBF title for a second time, as well as the International Boxing Organization (IBO) title. In the same year, Hatton had his career first defeat against Floyd Mayweather Jr. in an attempt to win the World Boxing Council (WBC), Ring and lineal welterweight titles. This defeat took a severe toll on Hatton's wellbeing, as did a second defeat in 2009 when he lost his IBO, Ring and lineal light welterweight titles to Manny Pacquiao.


After Hatton's career was put on a long hiatus, rumours of a comeback continued to circulate in the media over the next several years.[8][9] In 2011, Hatton announced his retirement from the sport,[10][11] but in 2012, more than three years after his last fight, he confirmed his comeback.[12] A loss to Vyacheslav Senchenko in his first match back prompted Hatton to immediately announce his final retirement.[13] He remained retired for 13 years before announcing a comeback in July 2025. Hatton died before he could make his ring return.[14][15]


Hatton has been lauded as one of the most beloved and popular British boxers of all time, with a raucous fan base that travelled in their tens of thousands across the Atlantic to support him.[11][16][17] He was inducted into the International Boxing Hall of Fame as part of the class of 2024.[18]

 

Charles Robert Redford Rest In Peace

Charles Robert Redford Jr. (August 18, 1936 – September 16, 2025) was an American actor, producer and director. He received numerous accolades such as an Academy Award, a BAFTA Award, and two Golden Globe Awards, as well as the Cecil B. DeMille Award in 1994, the Screen Actors Guild Life Achievement Award in 1996, the Academy Honorary Award in 2002, the Kennedy Center Honors in 2005, the Presidential Medal of Freedom in 2016, and the Honorary César in 2019. He was named by Time as one of the 100 most influential people in the world in 2014.[2][3]


Redford started his career in television acting in Alfred Hitchcock Presents and The Twilight Zone before making his Broadway debut playing a newlywed husband in Neil Simon's Barefoot in the Park (1963). Redford made his film debut in War Hunt (1962) before reaching finding leading man stardom acting in films such as Barefoot in the Park (1967), Butch Cassidy and the Sundance Kid (1969), Jeremiah Johnson (1972), The Candidate (1972), and The Sting (1973), the later of which earned him a nomination for the Academy Award for Best Actor.


Redford's stardom continued with roles in films such as The Way We Were (1973), Three Days of the Condor (1975), All the President's Men (1976), The Electric Horseman (1979), Brubaker (1980), The Natural (1984), and Out of Africa (1985). He later acted in Sneakers (1992), All Is Lost (2013), Truth (2015), Our Souls at Night (2017), and The Old Man & the Gun (2018). Redford portrayed Alexander Pierce in Captain America: The Winter Soldier (2014) and Avengers: Endgame (2019), the later of which served as Redford's final on-screen appearance.


Redford made his directorial film debut with the family drama Ordinary People (1980), which won four Academy Awards, including Best Picture and Best Director. He went on to direct 8 feature films including the drama The Milagro Beanfield War (1984), the period drama A River Runs Through It (1992), the historical drama Quiz Show (1994), the neo-western The Horse Whisperer (1998), and the sports fantasy The Legend of Bagger Vance (2000). Redford co-founded the Sundance Resort and Film Institute in 1981. He was also known for his extensive work as a political activist where he was a champion of environmentalism, Native American and indigenous people's rights, and LGBT rights.

 

Scary For Kids Blood Stains


 

A-C-old-Greeting