Private
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I texted it to you.
Prepared for you · August 2026 · Confidential
Up to $1,100 a month, cash. $875 for the scenes we shoot together each week, $150 for a daily solo video, $75 if you want the golf. Your face never appears in any of it, I do every other part of the work, and you can walk away at the end of any month without owing me a thing. The whole weekly ask fits in one afternoon — or two and a half minutes a day. Every piece is separate: take one, take two, take all three.
The deal, in one box
Your face is covered on every frame of all of it. That's not optional, it's the default.
You're the talent. I'm the machine behind you.
The money
$875
Scenes with me, weekly
The seven-a-week rotation. Doesn't move with views or sales — if a month flops that's my problem and you still get paid.
$150
Daily solo video
Priced separately, so if the daily rhythm doesn't fit your life you can drop just this and keep the rest.
$75
Golf, optional
Go golfing, show up as the sidekick on the channel, spend some time approving what the AI cuts. Add or drop any month.
That's $13,200 a year ($12,300 without the golf), plus 100% of whatever your own page makes, a cut of what I make, bonuses if you bring a friend in, and two Friend Dates a month where we do whatever you want and film absolutely nothing.
The quota
Daily sounds like a lot until you look at the clock on it. Here's the real number.
How this runs
The part that matters most
The honest bit: a blurred face isn't a disguise. Tattoos, voice, hands, a window, a person who knows you — those can still identify someone, and no software fixes that, including mine. We work that list together before we shoot.
The fair question
Binding on me
The long one has the full quota spelled all the way out, the bonuses, the golf add-on, the Friend Dates, and a tour of everything I've already built to make this work. Read it before you answer — especially the quota.
Text me yes and we'll sit down this week and write your limits down first.
Text me your questions. All of them, including the uncomfortable ones.
Just say no. I'll drop it, and nothing between us changes.
— S.
01 · The short version
Your face is covered on all of it, by default, always.
You are the talent. I'm the machine behind you.
02 · The money
Three separate pieces, priced separately on purpose — so you can take one, two or all of them, and drop any of them later without renegotiating the rest. Cash, on the same day every month, whether that month went perfectly or fell apart.
$875
Scenes with me, weekly
The seven-a-week rotation. The biggest piece of the money and the biggest ask, which is why it's priced as the main thing rather than buried in a total.
$150
Daily solo video
One a day, ninety seconds up. Separate line item so if the daily rhythm turns out not to fit your life, you can drop just this and keep everything else.
$75
Golf, optional
Go golfing, show up as the sidekick on the channel, spend some time approving what the AI cuts. Add or drop it any month.
100%
Of your own money
Your anonymous page is yours. Every subscription, tip and custom. I build it, run it and promote it — and take nothing out of it. Ever. Same for any cam money if you ever stream.
20%◆
Of what I make, on top
When the agency side earns off your content, you get a fifth of what's left after costs — on top of the base, not instead of it. Books open to you whenever you ask.
Bonus
For bringing a friend
Paid when someone you introduce signs and delivers, and again for shoots you do together. Detail in the bonuses section.
Worth saying plainly: all three together is $13,200 a year — $12,300 without the golf — before your own page earns a dollar, before the cut of mine, and before any bonuses.
The recorded footage adds up to roughly two and a quarter hours a month (about 90 minutes of scenes, about 45 minutes of solo). Shoot days are obviously longer than the footage that survives them — but measured against what actually gets filmed, that's in the region of $490 an hour.
And for scale: a typical agency takes a third to half of everything a creator earns, forever. I take zero of yours — and month one is in your hand before a single post has gone live. I'm paying to prove it, not asking you to.
03 · The quota
This page exists so you can see exactly what's being asked before you agree to anything. Everything below is the complete "you give" side of the deal. If it isn't on this page, it isn't part of the quota.
There are fourteen scene types in total, split into two sets of seven. We shoot Set A one week and Set B the next, then swap back. So it's seven scenes in any given week, and across any two weeks you've covered the whole library once. Different acts, different angles, different energy — that variety is what actually makes a catalogue sell rather than one thing repeated.
And they're quick. Each one runs the length of a song, and seven of them is barely twenty minutes of actual footage. Run them back to back and it's one fun afternoon a week; do one a day and it's 2:30. Whichever suits the week you're having — you never have to pick one and stick to it.
Every scene is built around a song you pick — any artist, any genre, whatever puts you in the mood, minimum 2:30. The scene runs the length of the song. You choose it, you queue it, and when it ends the scene ends.
Say you queue Star Girl — that scene runs exactly as long as Star Girl runs. Not a second longer. If you want a short night, pick a short song.
That's the clock, and it's in your hands the whole time.
Seven scenes is about 21 minutes of footage, and how you get there is entirely yours. Shoot all seven back to back and the week is done in one afternoon. Or do one a day — a single song, as little as two and a half minutes. Both are the same quota. Nobody is checking which way you did it.
Exactly the same as the solo content. These go through the cover before they exist anywhere but my drive. Masks and wigs stack on top if you want the extra layer.
Reusing a song across different weeks is completely fine. Same scene type with a different song every week is the entire point — it's what keeps fourteen types from feeling like fourteen repeats.
Same rule as everything else here. A bad week rolls into the next one. Nobody is counting scenes at you on a Sunday night.
Before you read the list, hold one thing: every scene on it sits underneath the limits you write in week one, and nothing on this list outranks your no — not once, not ever. Read it as a menu, not a contract.
None of these take long, and the pace is completely yours. Every scene is one song — two and a half to four minutes. Run all seven back to back and the whole week is finished in one afternoon. Or do a single song a day and it is as little as 2:30 daily. Same quota either way, and you can switch between them week to week depending on what your life looks like.
Set A — week one, three, five…
Set B — week two, four, six…
Plainly what each one is, so nothing catches you out later — and honestly, why each one is going to look so good on you. You are stunning, and the entire point of this is that it shows. They're all short — one song each. Do the whole set in one afternoon, or one song a day at 2:30. Entirely your call.
Anal is not on this list and isn't coming back onto it. It was deliberately left off and it won't be raised again later.
One video a day, every day, at least ninety seconds long. Longer is always welcome and never required. That's the entire daily ask — a minute and a half of footage, which for most days is one take and you're done.
You, on camera, alone. Lingerie, shower, mirror, POV, fully nude, dressed-and-teasing — any format you'd normally shoot. Masks, wigs and costume all count and are encouraged. Your creative call every time.
Usable. If you'd be willing to post it yourself, it counts. I'm not grading you, and I'm not sending anything back saying "reshoot this."
Seven videos in one Sunday afternoon counts as a full week. The quota is thirty videos a month, not thirty separate days of effort. However you want to get there.
Sick, period, exhausted, having a life — a missed day rolls forward inside the same week. That's expected and built in. This isn't a punch clock.
Every frame of every video goes through the cover before it exists anywhere but my drive. You never have to remember to protect yourself — it's the default, not a setting.
Drag the files into your private upload link from your phone. No account, no app, no 3GB video dying in a text. Thirty seconds and it's with me.
One set a week, roughly four a month. A "set" is a themed batch from one sitting — one outfit, one location, one idea — not a fixed number of frames. Shoot until you've got the idea covered, then stop.
Cosplay, lingerie, artistic, seasonal, whatever you're in the mood for. If you want ideas I'll bring you a list every month, but you're never handed a brief you didn't want.
Comes back covered, edited, colour-graded, watermarked, resized into full / teaser / thumbnail versions, and captioned per platform, then goes out on the schedule.
Every photo carries hidden data — GPS location, camera, timestamps. All of it is scrubbed automatically on every file. Nothing that says where you live survives.
A missed week rolls into the next one. Four sets a month is the real target, not a rigid weekly deadline.
The honest read on this: thirty videos a month sounds enormous written down and it's genuinely small in practice — about forty-five minutes of footage across a whole month, plus four photo sets. The hard part isn't the volume, it's the habit. If you can make ninety seconds a normal part of your day, the rest of this works. If you can't, tell me now and we'll set a smaller number instead of watching you quietly fall behind and feel bad about it.
04 · How this actually runs
Two things that sound like opposites and aren't. Outside the work you are a partner and a friend whose opinion carries weight. Inside a scene, I lead. Both are true at once, and being clear about it now is better than us discovering we assumed different things.
You get a say in direction, concepts, scheduling and money. You see the books whenever you ask. Nobody talks about you as "the talent" in the third person. Your name goes on the work you're proud of, and off the work you aren't.
When we're shooting, I direct. I call the scene, the pace, the angles and when it ends. You don't have to plan, produce or drive any of it. That's the part most people find is a relief rather than a cost — you get to stop managing and just be in it.
Someone leading only works if the edges are drawn before you start, by you, in writing. That conversation happens in week one, before a single frame. Anything you rule out is ruled out permanently, and it outranks anything I might want in the moment.
Leading is not the same as overriding. A no from you stops the scene instantly, no explanation, no discussion, and it doesn't count against the quota. The control I have is the control you hand me, and you can take it back at any second.
Put simply: you are a partner in the business and you're mine on set. The first one is permanent, the second one has an off switch that only you hold.
05 · The part that matters most
This isn't a promise I'm making with my mouth. It's a machine I already built, already tested, and already use on my own content to keep my face out of my work. Here is exactly how it works, in plain words.
The blurring runs on the graphics card in my desktop, in my office. Your raw footage is never uploaded to a cloud service, an AI website, or anybody else's server to get processed. There is no third party in the chain, because the chain is one machine sitting in one room.
I enroll your face once. From then on the software knows the difference between you and everyone else in the frame — it covers yours and leaves theirs alone. I've tested exactly this: two faces in one video, one covered completely, the other untouched.
Most blur tools go frame by frame and miss you the second you turn your head or the light changes — that one missed frame is how people get identified. Mine plans the whole video first, tracks you across every frame, then fills in any gap where it lost you before it renders anything.
This is the important one. If a face shows up near where you were and the software can't confidently say "that isn't her," it covers it. The default answer is always hide it. It would rather over-blur a stranger than under-blur you.
The software is the floor, not the ceiling. A mask, a wig, a different hair colour, coloured contacts, a costume — any of it layers on top of the cover and makes the whole thing dramatically harder to unpick. It also means that even in a still frame someone screenshots, there's nothing underneath the blur to guess at.
There's a second benefit that's actually commercial: a recurring mask or wig becomes a look. Plenty of the best-earning anonymous creators are recognisable precisely because of the mask — it's a brand, not a compromise. We can build a whole visual identity around one and it'll outperform a plain blur.
Every file that goes through the line gets its hidden data stripped — the GPS location, the camera model, the timestamps that quietly ride along inside a photo and tell a stranger where you live. That's automatic, on everything, not something I have to remember to do.
The software writes an honest report on every file and flags anything it wasn't confident about, and I watch every flagged clip myself before it goes anywhere. The machine catches almost everything; I'm the backstop for the rest. And if you ever spot something that got through, tell me and it comes down that day.
A blurred face is not a disguise, and I'm not going to pretend otherwise. Things that can still identify a person: tattoos, scars, birthmarks, piercings, jewelry you always wear, your voice, your hands, a bedroom window, a recognizable street outside it, or somebody who simply knows you well. No system fixes all of that, including mine.
What I can do is work the rest of that list with you before we shoot — cover or frame out identifying marks, kill or change the audio, shoot in a neutral space, strip metadata on every file, and never post anything that ties the anonymous account to your public site, the golf channel, or to you. And if at any point it stops feeling safe, we stop. Not "we discuss it." We stop.
If after all that the anonymous side still isn't for you — say so and we don't do it. There's no version of this where I talk you into something you're scared of. It's a real option to walk, not a test.
06 · The fair question
You're being asked to hand someone the most sensitive material you'll ever make. That deserves a straight answer, not a reassuring noise.
Long before any of this had money attached to it. You know my family. I know yours. This isn't a stranger with a camera and a business plan — it's the person you already call when something's funny or something's gone wrong. That history is exactly why I'd rather over-explain this than have you find out something later that you didn't sign up for.
Your site. Your whole members' world. The Discord bot. The camera setup at your house. Every one of those I built and paid for before you had ever given me a dollar, and I never asked you for anything in return. That's the actual evidence, and it's better than anything I could promise you on this page.
I'm not going to claim I'm a saint. I'll give you the practical reason instead: I'd be trading a years-long friendship, my reputation with everyone we both know, and a business I've spent years building — against a few hundred dollars. That's a stupid trade. You should trust the incentives even if you're having a bad day about trusting people.
A promise is only as good as the person making it. So most of your protection here isn't a promise — it's how the system is physically built. Your footage can't leak from a cloud service because it never goes to one; the covering runs on a machine in my office with no internet in the path. Your face is covered by default rather than by me remembering. You hold your own passwords from day one. And you can leave at the end of any month.
I know what that did to you, and I'd be insulting you if I wrote a page about anonymity and just quietly left it out. What happened to you was a genuinely unusual situation. That is not the normal outcome of being a person on the internet, and it isn't the thing that happens to most creators — but I understand completely why it's the first thing your brain goes to when someone says "adult content."
So here's specifically what's different this time, mechanically. The anonymous side carries no face, no name, no location data, and no link back to your public site, the golf channel, or anything else that is publicly you. Separate accounts with nothing cross-referencing them. Every file stripped of the hidden data that says where it was taken. Masks and wigs on top of the cover if you want another layer.
And the part that matters most: you are not the front door this time. The messages come to me. The comments come to me. If someone gets strange, you don't have to read it, reply to it, or decide what to do about it — I handle it, and I block first and ask questions never. Last time you were out there on your own. This time there's someone standing in front of you whose actual job is that.
What I won't do is promise you that nobody will ever be weird on the internet again. Nobody can promise that and you'd be right not to believe them. What I can tell you is that the specific thing that made it possible — being findable — is the exact thing this entire setup is engineered to remove. And if you ever feel even slightly unsafe, we stop everything that day. Not discuss it. Stop it.
07 · Your side of it
Editing. Colour. Covering your face. Cutting verticals. Writing captions. Building the calendar. Uploading to every platform. Listing on the clip sites. Watching the analytics. Answering the DMs if you want me to. You have never once enjoyed that half of it — so you don't do that half of it. You shoot, and you're done.
I'm not your agency and I don't want a percentage of you. The anonymous page is yours outright — I set it up, run it and promote it, and every dollar it makes lands in your account, not mine. I take a cut of my revenue, never yours.
Your site, your members' world, your funnels, your growth — I keep building all of it and I don't bill you for any of it. That includes your hand-drawn art: the colouring book, the shop listings, the print files, and whatever art projects you want to chase next. I'll build and run those the same way, at no cost to you, and they stay yours outright.
And if you want it, a full model portfolio site as a signing gift — properly built, yours to keep, whether or not this arrangement lasts a single month.
Most people starting this spend their first year learning editing software, getting locked out of platforms, losing files, forgetting to strip metadata, and posting into an audience of nobody. You'd start on day one with the machinery, the accounts, the traffic and the paperwork already in place.
You get a cut of what this earns me on top of your base, so if it gets big you get bigger with it. But your $875 never depends on that. Growth is your bonus and my problem. That asymmetry is on purpose — I'm asking you to bet your time, not your rent.
No agency taking 40%, no manager you can't get on the phone, no platform that can deplatform you and keep your audience. The person running your operation is someone you can text, who you've known for years, whose work you've already seen, and who you can fire in thirty days.
And it compounds. Six months of this quota is 180+ videos and two dozen photo sets sitting on a page that's yours, earning on nights you're asleep. Every week you shoot, the machine gets a little bigger and your cut of it does too. That's the part a monthly number doesn't show.
08 · Bonuses
The base pays for the quota. These are the levers on top of it, and every one of them is optional.
If you talk someone into joining — anyone you trust — you get a bonus when she signs and delivers her first month◆. You'd be doing me a genuine favour, so it's paid like one. She gets the same protections you do, including the face cover, which is usually the thing that makes a nervous friend say yes.
Any content you make with a friend you brought in earns a bonus per shoot◆ on top of your base, for both of you. Two-person content sells for meaningfully more than solo, so there's real money in it — and it's usually the most fun part of the job. Completely optional, and never a condition of anything.
Twenty percent◆ of what the agency side clears on your content, after costs, paid on top of the base. If this gets big, you get bigger with it. Books open to you whenever you want to look.
Not technically a bonus, but it's the biggest number here long-term. The anonymous page is yours outright and I take zero. I build it, run it, promote it and point traffic at it — and every dollar it makes is yours.
09 · Friend Dates
Twice a month we go do something you want to do, and we film absolutely nothing. No cameras, no content, no work talk unless you start it. You pick the thing — food, a drive, a movie, thrifting, an aquarium, something stupid.
Both of them. I don't get a veto and I don't get to make it "efficient" by bolting a shoot onto the end of it. If I ever show up with a camera on a Friend Date, that's me breaking the deal.
The daily video doesn't apply on a Friend Date. That day is off. It doesn't roll over and it isn't owed back — it's just off.
Because the fastest way to wreck a friendship is to turn every hangout into a work meeting. Putting this in writing means the friendship is a term of the agreement, not a casualty of it.
Whatever else we're doing on a shoot day, these two days aren't that. No cameras, no work, no shop talk. Exactly the hangouts we already have — just protected on the calendar now so the business can't quietly eat them.
10 · Optional add-on
This is the easiest money in the entire document and it's completely optional. You already love golfing. I already take you golfing. The add-on just means I get to put you on the golf channels for it, and you get paid an extra hundred a month.
Same as we already do — you come out, you're funny, the cameras run in the background. Nothing about how we play changes. If it stops being fun it stops being a thing, and you drop the add-on with no effect on the rest of the deal.
Being straight about the role: it's my channel and I'm the one carrying it. You're the recurring second character — the person who turns up, makes it funnier, and that people are glad to see. The add-on is simply permission for me to post you on the golf channels, which is the one thing I can't do without your say-so. This side is face-on, under your own name.
This is the real obligation and I want it stated clearly. The system cuts clips, writes captions and builds posts automatically — and machines have no judgement about what makes you look bad. So you dedicate real time each week to going through what it made and killing whatever you don't like. That review time is the job.
Exactly the same rule as everything else. Every golf clip you're in goes onto the approval board first. A no is permanent. The AI is fast and occasionally tasteless, which is exactly why you hold the veto.
Net effect: you get taken golfing, you get to be the star of it, and you get $75 a month for something you'd cheerfully do for free — in exchange for some honest review time and permission to post you. Take it or leave it independently of everything else on this page.
11 · Also optional
Not part of the quota, not expected, and not something I'll keep asking about. But it's further along than you probably realise, so you should know it's available. In June I built and installed a private streaming rig at your place — the little Pi computer and the wifi camera.
The Pi is installed, on your wifi, and reachable by me remotely so I can maintain it without coming over. The camera's alongside it. The last hop — the private tunnel and the approved-viewer list — is a short job, not a rebuild.
Nothing records. Ever. It's a live window or it's off. There's a visible LIVE indicator so you always know, and only people on an approved list get in — everyone else is stopped at the door.
If you ever do paid streams, every tip and every private show is yours. I don't take a cut of live. The audience it builds is the only thing I get out of it.
How often, how long, what's in frame, who's allowed to watch. You can shut a stream down mid-session for any reason and I'll back you without asking what happened.
Live is the one place my face-cover can't protect you. It works by watching a whole video twice before rendering it — and it can't watch something twice that hasn't finished happening yet. Any real-time blur is a single-pass guess, and a single-pass guess drops frames. I'm not going to sell you one and call it safety.
So live is honestly one of two things: face-on, as yourself, on your own brand where you're already public — or shot with framing, masking or costume that keeps your face out of the picture in the first place, which is a real technique plenty of anonymous creators use well. Those are the two real options. Pick either, or pick neither. Streaming is the most optional thing on this entire page.
12 · The setup
This is the difference between "my friend has an idea" and "my friend has a factory." None of what follows is a plan. All of it exists right now, runs right now, and is pointed at other people's content. I'm asking to point it at yours.
A private studio running on the RTX 3090 in my office. Enroll a face once, and it covers that person and only that person — two-pass tracking, gap-filling, fail-safe covering when it isn't certain, feathered edges so it looks deliberate instead of cheap, and the original audio put back intact. Nothing touches the internet.
For you: the anonymous page becomes possible at all.
Your daily video lands in one folder and comes out the other end finished: watermarked so leaks point back to you, resized into a full version, a teaser and a thumbnail, hidden location data scrubbed out, captions written for each platform's own style, and a week of posting times laid out.
For you: ninety seconds of filming becomes a week of content.
Posts finished clips out to the paid clip sites — ManyVids, Clips4Sale, iWantClips. It keeps a notebook of what's already gone where so nothing double-posts, it fills in every form field itself, and then it stops and waits for a human to approve before anything actually publishes.
For you: the same video sells in several places at once.
A private upload page that's just yours. You drag your files in from your phone and they land straight in my storage — no account, no app, no 3GB video dying halfway through a text message. It's buffered, so a flaky signal doesn't lose your upload.
Or, if you'd rather not think about it at all: hand me your iCloud login once a week for both phones and I'll pull everything down and sort it myself. You'd never upload a thing. Completely your call — some people would hate that idea and some would rather never touch a file again.
For you: delivering the daily quota takes thirty seconds.
A review board where finished posts show up as cards to be swiped yes or no on a phone before they can reach a queue. It's already built and already running — it's what the golf channel uses.
For you: this is the board you'd use for the golf side.
Your main site is built and live. Your members' world — the public page, the sanctuary, the Discord bot with your persona, the devotionals and rituals that post themselves — all built and running. Every one of those I built before you ever paid me anything.
And none of the new work touches any of it. The anonymous side lives on its own accounts, its own storage and its own funnels, with nothing linking back to your public site, your community or the golf channel. Your public brand carries on exactly as it is now — separate names, separate audiences, no cross-posting, no shared logins. The two never meet.
For you: the free sample already happened. You've seen the work.
There's more underneath it — the servers, the nightly backups, the job board, the AI image and video tooling. But you don't need to care about any of that. The only thing that matters to you is: the boring half of being a creator is already automated, and it isn't automated by a company that can ban you — it's automated by your friend, on his own machines.
13 · Non-negotiable, from my side
These aren't perks I can quietly drop in month four. They're the deal. If I break one of them, you're free and you keep the money.
14 · If you said yes tomorrow
You tell me your hard limits, your maybes, and your absolutely-nots, and I write them down in your words. Then I enroll your face and we run a test clip together so you can see the cover work with your own eyes before you shoot anything real. If it doesn't convince you, we stop there and no harm done.
First daily videos, first photo set. I hand you the $875 for month one that week — before you've seen a single result, before anything has earned a dollar. You get paid for showing up, not for how it performs.
Everything comes back covered, edited and captioned, and I'll show you how it turned out so you can see the cover working on real footage rather than a test clip. Then it goes onto the schedule. The anonymous page goes live once there's enough to launch with.
I show you everything — what went out, what it did, what it earned, what my costs were, and honestly whether the daily quota felt survivable. Then you tell me whether there's a month two. If the answer is no, we shake hands and I'm still your friend on Saturday.
15 · The things you're already thinking
It's ninety seconds of filming. The volume isn't the hard part — the habit is. And you can batch: shoot seven on a Sunday and the week is done. Missed days roll over inside the week, and Friend Dates are days off entirely. If after month one it genuinely doesn't fit your life, we lower the number rather than have you quietly fall behind and feel bad.
We talk about it like adults and you still get paid for that month. I'm not going to dock a friend's cash over a rough week. If it becomes every month, that's a sign the number is wrong and we change the number — or we stop, with no hard feelings either way.
Me, once, to check the cover worked. That's the entire list. It isn't in a shared cloud account, it isn't on a service that scans it, and it never gets shown to anyone as an example of anything. The covering happens on my own machine specifically so no third party ever holds an unblurred frame.
We take it all down the same day — every platform, every mirror I control — and the anonymous page dies permanently. No debate, no "let's wait and see." And I've been honest above about what a blur can and can't cover, so you're going in knowing the real risk, not a sales-pitch version of it.
Seven scenes a week, from a fixed list of fourteen that alternates two weeks at a time. The full list is in the quota section above, and there's an expandable panel that spells out each one in plain words so nothing is ambiguous. Anal is off the list permanently. Everything else is subject to the limits you write down in week one, and anything you rule out there is ruled out for good.
Then you get paid extra for it. If you bring someone in — anyone you trust — there's a bonus when she signs and delivers her first month, and another bonus per shoot you do together. It's optional, it pays well because two-person content sells for more, and she gets the same face protection you do.
It shouldn't, and I'd rather have the friendship than the business if it came down to picking. That's exactly why the Friend Dates are written into the deal instead of left to good intentions — two days a month that are just us being friends, with no cameras anywhere near them.
It's what I can genuinely commit to every month without it ever being late or short, even in a month where I earn nothing back. I'd rather promise a number I can always hit than a bigger one I'd have to apologise for.
Honestly, the golf add-on is built as an extra on top of the main deal, so on its own it's just $75 a month. But if that's genuinely the only part you want, say so and I'll happily take that instead of nothing — I'd rather have you on the golf channel than not.
No. Take a week. Take a month. Ask me anything on this page and I'll answer it straight, including the answers that make the offer look worse.
That's the whole offer
I built all of this before I ever asked you for anything, and I'd keep building it if you said no today. But it works better with you in it, and I'd rather pay my friend properly than keep quietly asking her for favours.
Picture it six months from now: it's a Tuesday, a video you filmed in twenty minutes back in September sells three times while you're at lunch, the base lands on the same day it always does, and your face still isn't anywhere. That's the thing I'm actually offering — not a job, a machine with you at the centre of it.
There are three honest answers and I mean all three of them equally.
Text me the word yes — or scroll down and sign it properly. Either way, we sit down and write your limits first.
Text me your questions. All of them, including the uncomfortable ones. I'll answer straight.
Just say no. I'll drop it and I won't bring it up again, and nothing between us changes.
— S.
If it's a yes
Not a contract — this page couldn't hold one and wouldn't try. It's you telling me, properly, that you're in for month one. The real paperwork happens in person, starting with your limits, before anything else does.
Now make it real:
That message is copied — paste it into our chat and hit send. This page saves nothing and sends nothing by itself. The text you send me is the signature. And if you sealed this and change your mind before we start — that's allowed too. It's a trial, not a trap.
Prepared for you · Confidential
A partnership, spelled all the way out — in slides. The full written version is one tap away whenever you want the detail.
The one-liner
Your face never in any of it · the weekly ask fits in one afternoon · leave at the end of any month.
What you do
What I do
The money
= $1,100 a month. Each piece separate — take one, two, or all three.
Money truths
The scenes
Set A one week, Set B the next, then swap. Each scene runs one song you pick (min 2:30). Queue Star Girl and the scene is exactly as long as Star Girl.
Set A
Set B
How fast it really is
Seven songs back to back and the week is done. Or one song a day. Same quota, your pick, switch any week. Missed days roll over.
Not being asked — ever
How this runs
Partner in the business — books open, real say. On set, I'm your Dom, fully: I call the scene, the pace, the end. Your written limits come first, and your no outranks everything, always.
Your face, kept out of it
The honest bit
A blurred face isn't a disguise. Tattoos, voice, hands, a window — those can still identify someone, and no software fixes that. So we plan those out together before we shoot, strip the hidden data from every file, and keep the anonymous side linked to nothing that is publicly you.
And if it ever stops feeling safe — we stop. That day.
Why trust me
Bonuses
Friend Dates
You pick both, every time. No content, no work talk, and that day is off-quota. The friendship is a term of the deal, not a casualty of it.
The golf add-on
Optional forever. You're the sidekick — the recurring character people are glad to see. I pay for the rounds; you approve what the AI cuts before it posts. Face-on, your name, your call.
Streaming — if you ever want it
Already built & running
The rules I'm bound to
Month one
Three honest answers
All three genuinely fine. Questions get straight answers — including the ones that make the offer look worse. No deadline, no pressure, nothing changes between us on a no.
If it's a yes
— S.