REALITY MOVIE 2035 – 1 by Regis

Disclaimer: The following is fiction. The content of the story is not representative of the writer’s beliefs, opinions, or attitudes. This story is intended for adult entertainment only. The characters and events depicted in this work are fictional. The author does not condone or promote any unlawful activity such as is depicted in the story. By continuing to read this work you acknowledge that you are an adult who wishes to read works of fantasy and fiction for the purpose only of fantasy. All the characters in this story are adults. They may play different ages for the fictional character that they are depicting but they remain at all times adults.

Feature Writer: Regis

Feature Title: REALITY MOVIE 2035 – 1

Published: 28.12.2023

Story Codes: Erotic Horror, Snuff, Young Ones, NC, Gore

Warning: Readers are forewarned they may find some or even many elements of this story deeply disturbing.

Reality Movie 2035 – 1

In The Disturbingly Near Future

THE PREMISE

Forty-five years ago, in the early ’90s, Reality Television had started a movement that had gradually but irreversibly grown its own legs. The “reality television” entertainment shows that began in the last decade of the twentieth Century and grown through the first two decades of the next millennium had by 2027 begun a natural transformation, and by 2030 the phenomenon had, apparently irreversibly, begun to spread into the film industry.

By 2032 the genre, even the most violent, was well established as an accepted part of the motion picture industry, following a rapid spurt of activity and then some very important test cases that established the viability of what were quite naturally referred to as Reality Movies.

This growth was the natural evolution of the format based upon the premise more of everything is better, and that boundaries are present just to be tested, pushed and, by various means, moved. And move they did, with the loss of power of the censors, followed by the abolishment of the censorship boards.

Playboy Magazine had progressed from their first few years of publication, with the private parts of its uncommonly buxom models totally hidden, and all of them over the age of 21 and excluding even a suggestion of pubic hair, to the gradual introduction of bits of hair showing, shocking everyone.

They soon followed the more open approach of their competitors to show the vagina, to the contemporary editions in stores today where centerfolds have no hair because they are never older than eleven, a few of them with just the slightest suggestion of breast development, and their cuntlets fully exposed.

Within another year all of the naked little girls, some as young as seven, posed in full active intercourse with steroid-enhanced studs, stuffing either their tight vaginas or stretched rectums with enormous erections, with the raped children always smiling enticingly and invitingly at the camera.

In the past year they have pushed the envelope even further, and run a six-page spread of an eight-year-old beauty recruited in Atlanta being introduced to the joys of sex with an eager monkey sporting a ten-inch erection. The magazine included a Blue Ray so that people could enjoy the startling event as it unfolded.

The beast penetrated her little virgin cunny, ripping her cherry and thrusting in most of its length, then the horny beast found her little rectum, clearly getting much more enjoyment from its full-length penetration of her tight little kiddie bumhole squeezing the base of its erection, to thrust deep into her colon.

The men’s magazine was simply, a follower rather than a leader, providing its audience with the kind of action now commonly available on television and in movies. The only additional value was the exceptional beauty of the little blonde girls, following the ages-old Playboy tradition of featuring only the very best in physical attraction.

What was depicted was no longer outside the range of normal behavior, at least in the field of entertainment. Children were no longer exploited; the very best little girls and their developing sexuality were now, with the full cooperation of their anxious, eager, and proud mothers, openly celebrated.

People generally believe a trained monkey, which had become used to sharing the sexual affections of human females, has as much right as a man to pluck the flowers of a little bouquet if its handler wishes it to do so. The magazine has now advanced to depict the little darlings screaming in pain and horror at the advanced levels of rape depicted.

What television had done was to take a leadership role in setting public norms on such topics, modernizing public morals, and setting bold new standards of acceptability by systematically extending the range of “acceptable” community standards. Rape of the little naked darlings is now the norm.

They have moved the bar by finding the ever-shifting edge of acceptability, crossing it repeatedly, and then sprinkling some fairy dust on it with constant repetition and praise until what was once forbidden territory becomes an accepted norm. A rape is no longer considered complete unless vaginal or rectal bleeding is presented to the cameras.

Following the same process as the men’s magazine, but from the front of the pack rather than from behind, reality shows on television shifted from tame staged adventures in the early 1990s, with fake danger to buxom young ladies in short shorts and lots of cleavage, to the high risk and almost guaranteed loss of life for extremely daring young buxom females wearing nothing but internal vagina expanders, and, in a single episode, losing everything.

Contestants were at first amateurs carefully screened as performers taking very unrealistic risks or doing unconventional things not only for a big cash payoff but also for the flash of notoriety that often followed. It was considered cool for a girl to be seen taking extreme risks, and sometimes failing.

As the television genre matured the shows started to feature specially recruited beautiful people with full-frontal nudity taking outrageous risks for big money, in stunts that sometimes, to the delight of television audiences, went wrong, with tragically fatal consequences for the ladies, but inversely providing handsome profits for the program producers.

With the transformation of television shows from scripts to planned raw and unpredictable violence, the expectations of audiences also became greater. Things that were at first considered risqué became, from common usage and familiarity, normal. The world was evolving.

That was also the process by which, by 2020 nudity of children on television became acceptable, followed by progressively younger girls being used in bizarre sexual acts, until in 2028 girls as young as seven could publicly fornicate in theatres, show bars, in “adult” television and in motion pictures, with men or animals.

All they required was a note from their mothers or guardians, and the promotion of the event had to include a ‘some sexual activities depicted may offend some viewers’ warning, which drew in fans like a magnet. People flocked to witness extremes, often bringing harm to the naked participants.

As increasingly violent television programs became more and more accepted, those programs that failed to produce shocking injuries and/or fatalities on a fairly regular basis fell quickly in the ratings and were just as quickly dropped from the schedule. Girls who said they’d die to take often part got their wish.

Television shows were into extreme and ultimate violence as an entertainment value, moving rapidly down a one-way road as various forms of violent, brutal sex were simultaneously incorporated into prime-time programming, as long as the segment held a warning that some content of the program might offend some viewers.

That warning proved to be the switch that guaranteed viewership in ever-increasing numbers. There was no mention of what you might expect to see, and there was never a warning that what was to follow might be inappropriate for viewers under the age of twelve. It was the youngsters that were most enthralled by what was presented.

CHAPTER 1

The most outrageous of these pioneer TV shows was a program called “What a Girl Will Do for Fame!” which premiered back in 2026. Each week a voluptuous woman or highly charged erotic teen girl would commit herself to unbelievable risk on a dare. Things regularly went very badly for her, and most female participants failed to remain alive past the end of the program.

Its most definitive episode, entitled “You Won’t Believe Your Eyes”, was one that featured an unbelievable magic act. In it a gorgeous fifteen-year-old girl danced, slowly and erotically stripped entirely nude, displaying her impressive breasts, her very slender waist as well as every intimate detail of her most valuable assets between her shapely legs.

She then lay on a magician’s table, her clean-shaven vagina visibly quivering with anticipation of what was to follow. The pretty young cuntlet was highly stoked on uppers, which was standard procedure when a naked young girl was placed in incredible danger.

A short wooden box was placed over her torso covering her midsection, with her marvelous breasts exposed at one end and her gorgeous legs spread to display her cleanly shaved genitalia at the other. The magician’s box was only eighteen inches long and covered only her midriff.

The magician chained her wrists and ankles to the legs of his table, providing banter to the audience as he worked.

”I’m going to show you the wonders of magic, and how it can fool the mind! I’ll demonstrate how the mind can be fooled into believing a young girl’s waist can be cleanly divided!”

Once the naked teen was immobilized he fondled her breasts, squeezing them and admiring their youthful firmness as he spoke, then exploring her vagina, and thrusting fingers into her womb and rectum at the same time. He reported on how delightfully moist and tender he found her interior.

“This is an amazing young woman,” he said, “And is definitely an amazing risk-taker if I ever got my fingers into one!”

The magician withdrew his fingers from her sex organ, licked them clean, and then produced a long logger’s saw, the type with a wooden handle on either end. A pair of lumberjacks wearing only tiny vests, logging boots, and raging erections, each took hold of the handles on each end of the vicious saw.

Before a live studio audience as well as the television cameras, the men began to work the saw, with its large-toothed blade placed in a special slot in the box covering the girl’s tiny waist. She smiled nervously, and without being aware of it, the girl demonstrated her level of anxiety.

She involuntarily spurted out a spray of her warm urine for the cameras, expecting that, they caught the delightful accident. Suddenly a sharp squeal from her abruptly turned into a studio-filling scream as the big teeth on the saw found the meat of her tender flesh.

Her rapid short screams appeared to be real as suddenly blood began to appear on the saw blade, and within a matter of seconds, her crimson essence and bits of her flesh were drawn out of the box with each forceful stroke of the ferocious saw. This was an amazingly realistic demonstration of magic.

The outrageous performance had the total attention of the breathless studio audience who were enthralled, as well as that of an estimated forty million people watching the program on television and live streaming around the world. When at last her screams faded and ceased, the table was parted, and so too was the young woman.

It was an amazing sight. She was now a completely split personality! The two portions of the box, also divided by the saw, were removed, and the audience was shocked to see a clear view of where the men had cut the young girl in half, slicing right through her slender waist!

The studio audience took a moment of stunned silence to grasp what they had just witnessed, then they burst into sustained applause as her purple and white viscera tumbled from inside the girl’s halves to the stage floor, accompanied by sizeable jets of the girl’s blood spurting from her.

They couldn’t believe the audacity of the production company to actually commit an intentional gory murder of the terrified young girl right there in front of them. The highly skilled and famous magician had completely fooled them as he had his beautiful and innocently naive young subject.

The studio and television audience had believed they were watching a very sophisticated magic trick, with the girl’s open nudity the main attraction, and instead, they were treated to witnessing the entirely intentional bitch-killing of a pretty, and buxom, naked teenage girl.

The network had done its homework, and nipped any possibility of criminal charges in the bud, producing overwhelming evidence that the program was created and broadcast entirely in the interests of public education, revealing the extremes a young woman would go to for her moment of notoriety, which of course was the entire intention of the program.

The gorgeous young subject had signed, with video recording it, more than two dozen documents she was far too excited to read, as well as the mandatory release forms. Included was a statement that she read aloud before signing, in which she declared she was entering into an act she fully understood would divide her in two at the waist.

She further stated she understood and fully agreed with the stipulation that, because of insurance concerns, no surgeon would attempt to restore the integrity of her torso, should it divide. That part was so outrageous she thought it was a joke. An amazing step had just been created for network television, and audiences around the world loved it.

The program had gone to air live, “as is”, and although they had a powerful political lobby, the Religious Right was powerless to stop it or the succession of equally brutal violence shows that followed, with helpless young women and girls as the eager naked victims. Television had at last come of age, had found a huge and broad new audience, and became overnight an entirely different communications medium.

The cost of this television phenomenon to theater box office sales in the motion picture industry was staggering. Young people no longer flocked to horror shock movies when they could bring up, at their convenience, what appeared to be real terror, horror blood, and gore programs in their own homes, or watch them on big screens as they drank in bars.

Teenage parties were arranged to replay recordings of their favorites or to view a newly advertised Reality TV event. Girls flocked to Hollywood and the studios, hoping for the chance to take part in these very realistic-looking programs and to experience their own fifteen minutes of fame. Most of them had no idea they were putting their young lives at extreme risk.

The Reality TV shows were considered very cool to teenage high school kids as well as the college set and were building an enduring following. The girls from their early teens onward did not fully believe what they were seeing on television was real, but they loved to see the violence so readily available.

Because what they were seeing was so new and so radical, it was cool to watch, and many of them wanted to take part, just to prove they had the guts to do it. If somehow what was happening was real and spilled their guts, that would be amazing.

When the subject was a girl in her early teens, youngsters watching the program were known to scream with orgasmic pleasure, and would commonly lose bladder control because of excitement with what they were watching. Once loss of control had become a known response, girls would start screaming early in the program and urinate in their panties just to be cool.

Girls as young as ten were allowed to drink beer in most states, and to enter bars and pubs, but could not be served hard liquor until the age of fourteen. They would put down a couple of pints, which at their tender age was sufficient to get them tipsy, losing control of their basic restraints.

There was no way the owner of the establishment could prevent these youngsters, during their excitement, from pulling down their panties and peeing on the floor, enhancing for the hip young audience the excitement they were experiencing from watching the outrageous mayhem and gore on the screen.

All girls under twenty were required to put on free little diapers provided in most bars before these reality shows were put up on the big flat-screen televisions, to reduce the clean-up required after every showing. It was not uncommon for the young girls with their panties already off, to also defecate, dumping some shit on the bar floor as well.

The bar owners could handle the excessive screams of excited girls watching the startling shows on television, but the frequent pissing and dumping of their poop on the floor was too much and had to be contained. Some bars recorded the shows and played them twenty-four hours a day.

As long as people kept ordering drinks, they could watch as much of the sexually violent and murderous episodes as they could handle. Junior high school girls were the most common fans, and girls from grades five and six would sneak in to drink beer, pee, poop, and see what was playing on the big screen.

The smart bartenders offered the little girls a free beer if they would sit up on the bar to remove their soiled diapers, and the diapers with a little lump of poop and with moist yellow stain in front, the undisputed property of the establishment, became a surprise source of revenue when some men, for reasons unknown, offered to buy them.

When men favored the diapers that had been messed as well as moistened, girls caught on fast, and readily soiled their thin adult diapers, sometimes while taking them off, and that practice became known as “logging”, as they were producing for the men watching a firm shit log.

Girls who practiced logging always carried a roll of Tums with them, and they were also available beside the peanuts at bars that showed horror videos. The carminative antacid greatly reduced the production of methane gas in the intestine, the primary source of the foul smell of their offal.

With relatively odorless stools, girls were much less reluctant to change their diapers in public or to allow the bartender to sell their freshly adulterated little panties, soaked in front and bearing a fresh relatively odorless turd in the back. Logging became a sport, quite separate from the horror programs.

Young girls would go to nightclubs or to weddings and take several pairs of inexpensive thin and usually transparent little panties that were specially made and sold by the dozen for that very purpose. The young girls would squeal in excitement as they “logged” onto the dance floor, filling their panties, to the delight of their dance partner.

As the quirky sport evolved girls became quite good at dropping just a little turd, like a deer pellet, and those young ladies became known as logging deer. This meant nothing to those not in the know, but everything to those who knew of the naughty sport that even little girls engaged in.

In this and many other ways, Reality TV changed permanently both American and European culture. The sales of Tums and Rollaids both skyrocketed as a direct result. All of this came about due to the advent and popularity of inhuman violence on television screens anywhere in the world.

CHAPTER 2

A group of renegade independent filmmakers who specialized in “slice and dice” gore films made a rapid switch to the real thing in their films, creating what they called the True-to-Life Shock genre, which was particularly sparse in storyline and huge on shock and gore value.

True-to-life events were easily defined; they were filmed with real rather than faked horror scenes. In these films, lovely young amateur actresses performed scenes nude in which they were maimed, mutilated, dismembered, disemboweled, and finally slaughtered for the cameras.

None of the eager young girls had any prior knowledge of the serious consequences of signing off on what proved to be their lives. Audiences were sure it was all fake, but they also loved how real it all looked. It looked like Reality Movies were here to stay, to develop in intensity and shock value.

Their very first project to completely abandon the fake ripped limbs and bloody evisceration in favor of the real dismemberment, ripping, immolation and total impalement of voluptuous naked young women and little girls started with a bizarre accident on set captured by their cameras.

A bit player was given a chainsaw and was supposed to fake taking off a gorgeous limb of a chained-up woman. This was to be the master shot, later to be altered in post-production to add in fake gore, but as he raised the device he slipped with the noisy saw running, and the screaming naked bound lady was suddenly short a major limb.

The actor ran from the set, screaming in horror at what he had just done, but an alert assistant director yelled at the cameramen to keep rolling, grabbed the chain saw, and continued the job just started, working according to the sequence of damage required by the script.

The woman had willingly signed a comprehensive waiver, not believing things could become this serious on a movie set. The gorgeous amateur cunt, who was a fitness instructor hoping for a shot at the big time, was new to this producer and director and was learning the ropes in the business the hard way.

Once the assistant director took over with the saw, she had in short order been reduced to a torso with a screaming head and four short blood-spurting stumps that she rapidly wagged in abject horror until within a few minutes she bled to death. She was just one more casualty of the quickly evolving business.

Just for good measure, the guy with the chainsaw sliced into her groin, joining her vagina and rectum before ripping her open up the middle to expose her pack of viscera. The whole thing was pretty spectacular, the kind of work they paid artists big money to draw for “slash and gash” magazine covers.

The digital video of the horrific sequence was immediately put onto the big screen for assessment, and the producers and director were so excited at the prospects of what they had on their hands, and the enormous savings in cost it represented, the very next day they wrote roles for a buxom teenage girl and her mother into the script.

Their casting director procured a pair of appropriate beautiful actresses from their extensive gallery of enthusiastic applicants, auditioned them with a violent rectal rape scene conducted by the director, hired them both on the spot for their shrill natural screams and promised the two shapely females instant stardom.

Both were in and were very pleased to be, enthusiastic to begin, with no idea that their first starring roles would also be their last. In four long days of shooting, they then shot all the footage necessary to build the two new stars into the sketchy horror storyline, with most of it consisting of inane conversations and sequences of them trapped naked in a dingy deserted hotel, alternately sneaking around and screaming in horror.

On the fifth day of shooting the mature woman, cast as the teenager’s mother, was confronted by an insane has-been actor who systematically hacked her to death with a machete, captured in gross detail by six cameras. Then after lunch, a pair of nude black burglars appeared and raped the teenager.

The two then finished the job with razor-sharp switchblades, both stabbing and slashing her until her meat was radically partitioned and entirely coated with her blood. To complete the sequence, one of the men gave her a power fuck up the butt while the other used his knife to slowly and painstakingly remove her head, with her beautiful teen face locked in an energetic scream.

The finished film ran only seventy-two minutes, but its release in small old repertoire houses proved to be exactly the right strategy. No mention was ever made in the publicity that real killings were the sole backbone of the film, that it was nothing but an expensive snuff film, but the horror fans quickly caught on.

The hardcore “slice-and-dice” fans had seen too much action not to recognize the difference. Word of mouth rapidly took this first of the True-to-Life Shock films to instant hit status, producing more than five hundred times its modest production cost in gross revenues in the first month.

The adventuresome fringe film producers got seven such films into theaters before the brother of one of the girls butchered in the second in the new series was in the audience to see the fifteen-year-old beauty’s violent demise as she was brutally fucked to death by a raging stallion on the big screen.

It was set as a racetrack film, and much worse happened to young starlets in it, but none with their brother watching. Because production company names and addresses change for each feature produced, another 8 such films from this company were in release before authorities found and arrested the producers and the director.

All fifteen of the “true-to-life” shock films were immediately pulled while lawyers scrambled to see if those movie houses displaying them were at risk, and when they determined the exhibitors bore no responsibility for the content of films they screened, the highly popular films quickly found their way back into the underground theaters, and the “true-to-life” shock genre had established its place in film history.

Every theater manager wanted them, because they played to packed houses, and they got to keep a portion of the extended ticket prices charged to the eager crowds of teenagers, whose ranks were gradually bolstered by college students and young professionals, the audience of the future.

Movies were back, big time, thanks to the amazing “true-to-life” gore and death of naked teenage girls and younger, features were being pumped out faster than the B-Movies of the 1940s, 50s, and ‘60s. Demand forced more supply. Most teenage kids in the audience saw every gore flick at least twice, and all of the projectionists became numbed to the violence they saw.

CHAPTER 3

During the highly publicized trial of the gang of “true-to-life” filmmakers, held in Mississippi, several scenes were examined frame by bloody frame in the darkened and packed courtroom for weeks by the prosecution, who attempted to verify that the killings were real. The judge had to admonish several young ladies from practicing logging as the shocking scenes were replayed.

The same footage was then re-examined frame by bloody frame in the same detail by the defense, who argued strenuously that what was on the screen was simply movie magic. Footage from an old mainstream film from the 1970s, The Stuntman, was run in convincing rebuttal.

In that film, the audience saw extreme damage to soldiers done with machine guns mounted on a small airplane. Several of them had horrific wounds, and some were dismembered. As the scene ran the men got up from the sand, removing false shattered limbs and rubber open wounds, startling everyone in the courtroom.

The producers had wisely completely disposed of the remains of the three actresses they had killed for their movie under examination, along with any weapons that might be recognized or carry traces of the victim’s blood, which could provide DNA. All of the actors who had committed the killings onscreen had also mysteriously disappeared.

The producers wanted to leave no trace of what occurred on their set, and there was no way to find any such evidence or witnesses since they all lay buried deep under roadbeds in new highway construction. The trusted crews who worked behind the cameras all had assumed new names for the credits, their screen names drawn from the fifty-year-old archives of the obituary section of the Los Angeles Times.

The jury deliberated a full three weeks before deciding that the accused, tried together, could not reasonably be found guilty. They were convinced that murders had likely been committed, but without bodies, weapons, or witnesses, and the compelling arguments made by the defense, there were no grounds upon which they could reasonably convict.

The proof, entirely visible on screening of the movies, was not sufficiently substantial to support a guilty verdict, according to the instructions from the judge, because of the brilliant counter-evidence presented. The Supreme Court of Mississippi refused to hear appeals on this decision, the masturbating judges swayed by the argument of movie magic. The case was finished and an enduring precedence was set.

The Supreme Court also had the case of a state politician convicted of the rape of a nine-year-old black girl to be heard, and in their minds the rape case took priority. The voluptuous child had dressed provocatively, wearing only pink little underpants because of the particularly hot day.

The precocious child had shamelessly lured the politician to the side of the road with her little lemonade table right beside those big lilac and magnolia bushes, and he had paid the child twenty dollars, in a roll of one dollar. bills tucked into her cum and blood-slicked little love slot after finishing his forcefully applied mating business with her behind the bushes.

The only evidence in the case was his DNA from the bills soaking in his sperm on the bills retrieved from deep in the pretty young black girl’s invaded vagina, and her little panties found in the glove compartment of his car, but his explanation that he had found them lying on the road and had stopped to pick them up rather than leave such trash on the street sounded completely reasonable.

The prominent politician swore he had not stopped at that particular lemonade stand, and had certainly he had certainly not gone behind no flower bushes, handy as they were, to rape a dirty little nigress, and if he had, he swore he would have strangled the tempting little pussy.

He further stated he would have crammed those pretty little pink panties of hers down her throat so she wouldn’t be able to tell stories about her wonderful adventure, being mounted and ridden by such a magnificent stud. The fact that she was alive, and in the courtroom, he said, provided proof beyond question that he had not personally been involved in the despicable though very interesting crime.

DNA evidence was never a full one hundred percent positive, his lawyer proclaimed, and certainly not after being contaminated in the back of the cutlet of a black child. The word of an lying little nigress should never be allowed to take down such a pillar of the community.

The Mississippi Supreme Court had its priorities straight, and the damned liberal judge should have his unfounded decision overturned promptly, and maybe the tree-hugging prick should be hanged from a stout tree or having made it. After all, had the Confederacy been entirely for nothing?

The rape case really should take priority over a frivolous movie case, the Supreme Court decided, and the groundwork was complete to support the radical new form of reality movies. By the time “reality” became a regular part of the film industry, audiences expected and got real rather than staged enactments of sexual violence.

Just through common usage, a whole new chapter was opened in the ongoing development of the motion picture industry, and how they told their stores. Throughout the history of motion pictures, people had, like in any large industry, died frequently in the making of dangerous scenes, but now the deaths have become entirely intentional, and producing them a craft in its own right within the industry.

Intentional snuff had officially moved out of the dark underground and into the bright lights. It would not likely be long before the Academy of Motion Picture Arts and Sciences created and presented the first Academy Award for a spectacular sex killing in a motion picture.

Certainly, the victim would be a beautiful young woman or girl, and she would definitely be naked for her death scene. The evolving levels of reality and brutal, unforgiving outcomes, brought about the need for innovative recruiting techniques, and also the use of special production techniques.

There was a shift to a visual style developed decades before in the documentary era, when due to the content, retakes were seldom possible. Additional camera angles on progressing action were achieved by the use of multiple cameras, all of them working simultaneously. This was an expensive process, and it pushed up production costs.

To keep budgets under control, the level of risk was always undersold to the participants, the high and enticing fees offered them were seldom paid out in full, if at all, and all contracts included in the fine print a non-payment clause for people who did not survive a day of shooting.

Young women proved to be as gullible as ever, even among the well-educated young ladies who were the first to apply. The underlying feeling of security participants felt came purely from denial, with the belief the horrors on the screen, although they looked real, were probably faked.

The participants reasoned that even if the horrific events that were depicted were real, as most audiences believed, each eager young recruit believed it could only happen to someone else, never to her. The big money was always dangled before eligible recruits as an incentive to participate.

Real payouts were awarded only to the very few who somehow survived, to give some credibility to the amazingly high cash enticements promised. For most of the excited young girls who rushed to be recruited, the only payoff was a surprise violent death for the entertainment of audiences of their peers, who demanded the finest shocking action in Reality Movies.

Because the entertainment business had to constantly exceed the expectations of its customers if it wished to remain in business, it had to offer more shock and more inventive ways of presenting gore in every production in the genre. Like every innovation, the newness of it all required craftsmen and women to come up with new creative ways to do things.

Now that it featured real blood and gore on the silver screen, the mass entertainment business had come full circle, returning to the bloody human carnage in the arenas during the heady days of ancient Rome! Having survived so much opposition, the Reality Movies were here to stay.

THE END OF CHAPTER THREE