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Botched Patient Sheyla Has Had 32 Breast Surgeries & Still Isn’t Happy! Hear All About Her Case



Related: 5 More Unusual “Botched” Breast Surgery Stories

Ready for a reduction.

On tonight’s all-new Botched, new patient Sheyla turned to doctors Paul Nassif and Terry Dubrow for help with her plastic surgery habit. Namely, after getting her first procedure at 21, the Brazilian-born New Jersey resident found herself going “under the knife every 6 months.”

“It became a habit! It was like going to get my nails done at a nail salon,” Sheyla explained in a confessional. “I have had 32 plastic surgeries in my breasts. I had all the CCs you can even think of.”

After rattling off her various breast sizes, which maxed out at 5,500 CCs, Sheyla revealed she finally stopped once she became pregnant with her daughter Victoria. Although Sheyla had a reduction done in order to breast feed her daughter, she later, once again, increased her implant size.

Unfortunately, in recent years, Sheyla developed “chronic back pain.” Thus, it was time to part ways with the “unnecessary weight.”

“The smallest I can go is 1,000,” Sheyla told the Botched camera before her consultation.


Botched Patients Before and After: Shocking Transformations!

During her consultation with the doctors, Sheyla shared more from her case file, including her every 6 months surgery schedule.

“Surgery every 6 months, that’s not something I would recommend,” Dr. Nassif sounded off. “The more times you have surgery, the higher the frequency of encountering a surgical or anesthetic complication.”

As Sheyla continued, she revealed that she convinced one surgeon in Brazil to stack implants by showing the doctor a clip from Nip/Tuck. Yes, the fictional medical show by Ryan Murphy.

Unsurprisingly, that surgery had complications and required the implants to be removed. Eventually, Sheyla underwent one last surgery.


“I’m really interested in helping Sheyla,” Dr. Dubrow remarked in a confessional. “The problem is that when you take a patient who’s had a history of so many previous operations, like Sheyla, it makes you wonder whether you can ever truly make her happy.”

In the exam room, Dr. Dubrow proposed reducing Sheyla’s implant size, closing up her pocket and doing a lift.

“I think I sort of have to take your case because this is very high risk and I’ve done this before,” Heather Dubrow‘s husband said.

Of course, Dr. Nassif asked Sheyla to make sure she was mentally prepared for the decreased breast size.

“I am 100 percent ready,” Sheyla assured both doctors. “I can’t wait.”

Related: Most Unusual “Botched” Breast Implant Stories

Yet, Sheyla wasn’t feeling this way post-surgery. Amid the operation, Dr. Dubrow discovered that Sheyla only had 1,000 CC implants, despite her belief they were bigger.

In order to help with her back pain, Dr. Dubrow had to make the call to put in only 500 CCs in each breast.

“I’m feeling flat chested right now and I’m very, very upset,” Sheyla lamented to the Botched camera. “There is no way in hell that I will keep 500 CCs.”

Although Dr. Dubrow explained that he did what he “needed to do,” Sheyla begged for the doctor to go back in and increase the implant size.

Eventually, after much-needed rest and healing, Sheyla embraced her new breasts–and even offered Dr. Dubrow an apology.


Paul Nassif & Terry Dubrow’s Bromance

“I came to realize how many doctors I’d been through and you were the only one that ever said no to me,” she concluded. “And my back thanks you so much.”

For a closer look at the other Botched cases, including Andre‘s non-stop growing keloid, watch the full episode here.

Source : E!News Read More

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Netflix is developing a live action ‘Assassin’s Creed’ show



Netflix announced this morning that it’s partnering with Ubisoft to adapt the game publisher’s “Assassin’s Creed” franchise into a live action series.

The franchise jumps around in history, telling the story of a secret society of assassins with “genetic memory” and their centuries-long battle the knights templar. It has sold 155 million games worldwide and was also turned into a nearly incomprehensible 2016 film starring Michael Fassbender and Marion Cotillard, which underperformed at the box office.

The companies say that they’re currently looking for a showrunner. Jason Altman and Danielle Kreinik of Ubisoft’s film and television division will serve as executive producers. (In addition to working on adaptations of Ubisoft’s intellectual property, the publisher is also involved in the Apple TV+ industry comedy “Mythic Quest.”)

“We’re excited to partner with Ubisoft and bring to life the rich, multilayered storytelling that Assassin’s Creed is beloved for,” said Netflix’s vice president of original series Peter Friedlander in a statement. “From its breathtaking historical worlds and massive global appeal as one of the best selling video game franchises of all time, we are committed to carefully crafting epic and thrilling entertainment based on this distinct IP and provide a deeper dive for fans and our members around the world to enjoy.”

It sounds like there could be follow-up shows as well, with the announcement saying that Netflix and Ubisoft will “tap into the iconic video game’s trove of dynamic stories with global mass appeal for adaptations of live action, animated, and anime series.”

Netflix recently placed an eight-episode order for “Resident Evil,” another video game franchise that was previously adapted for the big screen. And it also had a big hit with its adaptation of “The Witcher,” which is based on a fantasy book series that was popularized via video games.


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Original Content podcast: ‘Lovecraft Country’ is gloriously bonkers



As we tried to recap the first season of HBO’s “Lovecraft Country,” one thing became clear: The show is pretty nuts.

The story begins by sending Atticus “Tic” Freeman (Jonathan Majors), his friend Leti Lewis (Jurnee Smolett) and his uncle George (Courtney B. Vance) on a road trip across mid-’50s America in search of Tic’s missing father. You might assume that the search will occupy the entire season, or take even longer than that; instead, the initial storyline is wrapped up quickly.

And while there’s a story running through the whole season, most of the episodes are relatively self-contained, offering their own versions on various horror and science fiction tropes. There’s a haunted house episode, an Indiana Jones episode, a time travel episode and more.

The show isn’t perfect — the writing can be clunky, the special effects cheesy and cheap-looking. But at its best, it does an impressive job of mixing increasingly outlandish plots, creepy monsters (with plentiful gore) and a healthy dose of politics.

After all, “Lovecraft Country” (adapted form a book by Matt Ruff) is named after notoriously racist horror writer H.P. Lovecraft, but it focuses almost entirely on Black characters, making the case that old genres can be reinvigorated with diverse casts and a rethinking of political assumptions.

In addition to reviewing the show, the latest episode of the Original Content podcast also includes a discussion of Netflix earnings, the new season of “The Bachelorette” and the end of Quibi.

You can listen in the player below, subscribe using Apple Podcasts or find us in your podcast player of choice. If you like the show, please let us know by leaving a review on Apple. You can also follow us on Twitter or send us feedback directly. (Or suggest shows and movies for us to review!)

And if you’d like to skip ahead, here’s how the episode breaks down:
0:00 Intro
0:36 Netflix discussion
3:18 “The Bachelorette”
6:30 Quibi
14:35 “Lovecraft Country” review
31:32 “Lovecraft Country” spoiler discussion


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The short, strange life of Quibi



“All that is left now is to offer a profound apology for disappointing you and, ultimately, for letting you down,” Jeffrey Katzenberg and Meg Whitman wrote, closing out an open letter posted to Medium. “We cannot thank you enough for being there with us, and for us, every step of the way.”

With that, the founding executives confirmed the rumors and put Quibi to bed, a little more than six months after launching the service.

Starting a business is an impossibly difficult task under nearly any conditions, but even in a world that’s littered with high-profile failures, the streaming service’s swan song was remarkable for both its dramatically brief lifespan and the amount of money the company managed to raise (and spend) during that time.

A month ahead of its commercial launch, Quibi announced that it had raised another $750 million. That second round of funding brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

“We concluded a very successful second raise which will provide Quibi with a strong cash runway,” CFO Ambereen Toubassy told the press at the time. “This round of $750 million gives us tremendous flexibility and the financial wherewithal to build content and technology that consumers embrace.”

Quibi’s second funding round brought the yet-to-launch streaming service’s funding up to $1.75 billion — roughly the same as the gross domestic product of Belize, give or take $100 million.

From a financial perspective, Quibi had reason to be hopeful. Its fundraising ambitions were matched only by the aggressiveness with which it planned to spend that money. At the beginning of the year, Whitman touted the company’s plans to spend up to $100,000 per minute of programming — $6 million per hour. The executive proudly contrasted the jaw-dropping sum to the estimated $500 to $5,000 an hour spent by YouTube creators.

For Whitman and Katzenberg — best known for their respective reigns at HP and Disney — money was key to success in an already crowded marketplace. $1 billion was a drop in the bucket compared to the $17.3 billion Netflix was expected to spend on original content in 2020, but it was a start.

Following in the footsteps of Apple, who had also recently announced plans to spend $1 billion to launch its own fledgling streaming service, the company was enlisting A-List talent, from Steven Spielberg, Guillermo del Toro and Ridley Scott to Reese Witherspoon, Jennifer Lopez and LeBron James. If your name carried any sort of clout in Hollywood boardrooms, Quibi would happily cut you a check, seemingly regardless of content specifics.

Quibi’s strategy primarily defined itself by itself by its constraints. In hopes of attracting younger millennial and Gen Z, the company’s content would be not just mobile-first, but mobile-only. There would be no smart TV app, no Chromecast or AirPlay compatibility. Pricing, while low compared to the competition, was similarly off-putting. After a 90-day free trial, $4.99 got you an ad-supported subscription. And boy howdy, were there ads. Ads upon ads. Ads all the way down. Paying another $3 a month would make them go away.

Technological constraints and Terms of Service fine print forbade screen shots — a fundamental understanding of how content goes viral in 2020 (though, to be fair, one shared with other competing streaming services). Amusingly, the inability to share content led to videos like this one of director Sam Raimi’s perplexingly earnest “The Golden Arm.”

It features a built-on laugh track from viewers as Emmy winner Rachel Brosnahan lies in a hospital bed after refusing to remove a golden prosthetic. It’s an allegory, surely, but not one intentionally played for laughs. Many of the videos that did ultimately make the rounds on social media were regarded as a curiosity — strange artifacts from a nascent streaming service that made little sense on paper.

Most notable of all, however, were the “quick bites” that gave the service its confusingly pronounced name. Each program would be served in 5-10 minute chunks. The list included films acquired by the service, sliced up into “chapters.” Notably, the service didn’t actually purchase the content outright; instead, rights were set to revert to their creators after seven years. Meanwhile, after two years, content partners were able to “reassemble” the chunks back into a movie for distribution.


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