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heche

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The author, Miles Mathis, proposes that Anne Heche faked her death, arguing that the news coverage and evidence presented are inconsistent and suspicious. Mathis points to overhead footage showing Heche or an imposter in a body bag seemingly unzipping it and sitting up before being pushed back down by “fake paramedics.” He also notes the lack of visible injuries to Heche’s hair or skin, and her “medically pristine” back. Mathis further questions the abundance of footage of Heche just before the crash, suggesting it was staged to prove her presence in the Mini Clubman. He highlights discrepancies in the car’s appearance, such as the missing license plates and differences in the roof color, and the alleged CGI nature of some videos.

The author then focuses on Lynne Mishele, the homeowner whose house was allegedly destroyed, questioning her sudden appearance with a GoFundMe page and her previous connections to Hollywood. Mathis notes Mishele’s varied addresses and previous employment at Sony Pictures and Citigroup, and her claimed profession as a “Professional Organizer.” He also points out alleged coincidences between Mishele and Heche, such as Mishele owning a tortoise named Marley, the same name Heche played on Another World. Mishele’s employment with Ghostlight Industries and Picture Car Warehouse, companies involved in film props and vehicles, and her Pratt degree in film are also cited as links to Hollywood. Mathis suggests Mishele may even be a relative of Heche, noting a family resemblance.

Mathis scrutinizes the location of the crash, using Google Maps to show how the Mini Clubman could not have entered Mishele’s house as depicted, citing the presence of hedges, a stone wall, and a fire hydrant that would have obstructed the car’s path. He analyzes photos of the hedge and a concrete border, arguing that the damage indicates the car was pulled out, not driven in. Further evidence for the staged event, according to Mathis, comes from a photo showing the car in the living room, suggesting it would have required a ramp to enter without significant damage to the house’s foundation. He also dismisses a fire department photo as a paste-up due to inconsistencies in shadows, focus, and an improperly erased figure. Mathis criticizes the depiction of the house’s interior damage, stating it looks like an “unburned trash heap” rather than the result of a car crash and fire.

The author questions the timing of Heche’s alleged death, noting that she had just completed eight film and TV projects, suggesting it was planned. He speculates on various reasons for the alleged faking, including insurance policies, CIA involvement, or Heche’s desire for a new life. Mathis also links Heche to a vast network of influential families, including the Stanleys and potentially Adolf Hitler, through her ancestry, suggesting a deeper conspiracy. He argues that the event was used for misdirection by the media to distract from more important issues like vaccine genocide and to promote a narrative of “women are pigs.”

Finally, Mathis points to a worn-down stop sign at the crash location as another clue, and notes the coincidence of Heche’s alleged death occurring on the 60th anniversary of Marilyn Monroe’s death, who Mathis also claims was connected to the Stanleys. He dismisses theories of murder or Satanic ritual, suggesting that Heche purchased a red wig that morning to go incognito. He also analyzes logos and company names associated with the event, interpreting them as hidden messages related to CIA operations and the targeting of males. Mathis also brings up Alex Jones and his theories about 911, and questions Tom Hanks’s apology for playing a gay man. He concludes by suggesting a fabricated scenario where only robots or non-human actors could fulfill the diversity requirements in Hollywood.

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