secret link

Ejected
Unrequited Love and the
Code of the Samurai

secret link

Ejected — Unrequited Love and the Code of the Samurai [Short Film]

Dive into a poetic exploration of unrequited love through the lens of the samurai’s unwavering code of honor. This conceptual work blends raw emotion with the stoic resilience of ancient warriors, creating a powerful narrative of loyalty, sacrifice, and inner strength.

Through evocative imagery, subliminal suggestion and compelling storytelling, “Ejected” examines the parallels between the discipline of the samurai and the vulnerability of the human heart, capturing the essence of devotion in the face of rejection.

Discover:

The intertwining of historical philosophy with modern emotional struggles. How the samurai’s code provides profound lessons in resilience and self-respect.

A poetic journey that challenges our perceptions of love and duty.

Conceptual Art, Story and Narrative © 2025 E Maria Shelton Speller Mixed Media — Music, AI, SFX, Footage, MidJourney, ChatGPT, and Artlist.io.

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#Poetry #SamuraiCode #UnrequitedLove #Storytelling #Resilience #Unrivaled #WNBA #ESPN

As if Ejected–Unrequited Love and the Code of the Samurai were reviewed by Rotten Tomatoes, Rolling Stone, Vice, Vibe, ESPN, Sports Illustrated and Aeschylus—An AI-Powered Parody of Critical Takes:

Rotten Tomatoes-Style Review
Critics’ Score: 91%
Audience Score: 87%

There’s a moment in Ejected where everything unspoken weighs more than anything said, a tension so thick it’s less about what happens and more about what isn’t acknowledged. The film operates in an unusual space between intensity and detachment, ambition and interference, crafting a protagonist who isn’t tangled in emotions but in the game itself—one where the stakes are always money, control, and victory.

Yet, even when locked into the bag, the game, the grind—there are forces moving in the background. The antagonist, almost spectral in presence, isn’t chasing attention but has already played the decisive hand before the protagonist even realizes. The ejection isn’t the moment of clarity—it’s just another moment in a season that doesn’t stop. Whether audiences read Ejected as a sports allegory, a study in perception, or a meditation on dominance and indifference depends on what they bring to it. Either way, the film doesn’t force its message—it lets the viewer play it out.

Apple Music-Style Review
Rating: 4.5/5

If Ejected were an album, it wouldn’t be a love song—it’d be an anthem of discipline, dominance, and the singular pursuit of greatness. The film moves like a carefully curated playlist, shifting between the sharp tempo of ambition and the slower, almost dreamlike sequences of a world outside the protagonist’s focus.

The sound design, pacing, and visual composition feel like a drill track layered with classical composition—raw, unrelenting, but elevated with deliberate artistry. The game is the hook, the ejection is the bridge, but the question remains: is she even listening to the verse playing in the background? Ejected is less about emotional resolution and more about the rhythm of action—playing forward whether you hear the song or not.

Rolling Stone-Style Review
“A Fever Dream Wrapped in Elegance and Obsession”

In Ejected, the story isn’t what’s told—it’s what’s ignored. The protagonist is locked in—driven, calculated, tuned into one frequency: the bag, the game, the win. That kind of tunnel vision doesn’t account for outside noise. But the antagonist isn’t noise—she’s the wind in a closed room, shifting everything without being noticed until it’s too late.

The film’s pacing, like a stretched-out possession in overtime, plays on this disconnect between action and realization. You expect the protagonist to react—to acknowledge something outside of the game—but that moment never comes. And that’s what makes Ejected so compelling. It refuses to give the easy catharsis. The ballplayer at the end, the architect of the ejection—she isn’t waiting for recognition. She’s already done what needed to be done.

There’s something almost brutal about Ejected’s lack of sentimentality. It doesn’t romanticize ambition. It doesn’t demand resolution. It just lets the game play. And for that, it’s one of the most subtly relentless films of the year.

Vice-Style Review
“Obsession, Artistry, and the Places the Mind Wanders”

Some people watch a film and wait for an emotional arc—the moment when realization dawns, when impact is felt, when something changes. Ejected is not for those people. Instead, it asks what happens when nothing shifts—when focus is so sharp that outside forces move without acknowledgment.

This film is a study in control, not conflict. The protagonist is untouchable in her element, moving through the narrative without hesitation, without distraction. And yet, outside her focus, the game is already being manipulated. The antagonist isn’t the opposing team—she’s the ref, the quiet architect of the ejection, the one who already knew how this would play out.

That’s what makes Ejected different. It’s not about what happens—it’s about what should’ve happened but never did. It’s a film that thrives in its negative space, in its refusal to fill in the blanks, in its confidence that the story will tell itself.

Vibe-Style Review
“Dripping in Style, Layered in Meaning”

Ejected doesn’t give you the story—it gives you the energy. This is about presence, about dominance, about a world where ambition leaves no space for outside variables.

The protagonist moves through the game with the quiet confidence of someone who already won before stepping on the court. The antagonist? She isn’t chasing attention—she’s shifting the floorboards before the game even starts. That’s what makes this film so potent. It isn’t about the moment of realization—it’s about the absence of it.

The visuals flex between gritty realism and dreamlike metaphor. The ballerina, the horses—imagination, movement, projection—all of it serves as an unspoken contrast to the raw reality of the money sequence, where the stakes are tangible.

This is more than a film—it’s a statement. And the statement is clear: the game moves, whether you notice it or not.

ESPN-Style Review
“Mental Toughness in the Arena of Emotion”

There are two kinds of players: those who react and those who don’t have to. Ejected is about the latter. The protagonist isn’t looking for signals, doesn’t need to scan the court for dynamics—she’s already locked in.

But what happens when the game isn’t about what’s in front of you, but what’s happening outside your peripheral vision? Ejected moves like a championship match where the real play happened before the whistle blew. The antagonist isn’t fighting for a moment—she already dictated the outcome.

This isn’t about heartbreak. This is about control. And in Ejected, the most powerful move isn’t an action—it’s the absence of one.

Sports Illustrated-Style Review
“A Film That Moves Like a Season in Review”

The biggest plays aren’t always about the moment—they’re about what led to it. Ejected doesn’t frame its story around conflict—it frames it around what goes unnoticed until it’s too late.

The protagonist? Pure tunnel vision. She’s about execution, about the next move, the next play, the next win. But the antagonist? She played her role long before the protagonist even saw the floor.

That’s the brilliance of Ejected. It’s a film where the most pivotal action doesn’t happen in the game—it happens outside of it. And that’s what makes it legendary.

VOGUE-Style Review
“Ejected” and the Art of Indifference”

Fashion is control. It’s knowing when to be seen and when to let the room respond to your presence before you’ve spoken a word. Ejected is a masterclass in narrative detachment—luxurious in its restraint, impossibly precise in its construction. The protagonist moves like a runway model mid-turn—her gaze locked forward, her awareness only for what lies ahead. The elegance isn’t in grand gestures but in the deliberate choice to ignore what does not serve her.

And then, there’s the shadow figure. She moves off-ball, an unseen hand sculpting the moment, waiting for the exact beat when the balance shifts. It is not an interruption. It is an inevitability. Like a cut of couture—designed, tailored, and stitched into place before anyone even realizes what has happened.

It is power—not performed, but assumed. And what is more fashionable than that?

The New York Times-Style Review
“Ejected: The Distance Between Awareness and Outcome”

There is something unsettling about Ejected. Not in its imagery, which moves between sharp realism and dreamlike abstraction, but in its emotional architecture—how it refuses to offer resolution, how it thrives on the unspoken.

The protagonist is a presence built from purpose, ambition distilled into movement. She does not see what she does not need to see. The world beyond her focus exists, but it is not part of her equation. That world, however, does not need her attention to shape the outcome. It has already done its work. The moment arrives as if it had always been there, waiting.

What Ejected understands—and what so many films fail to grasp—is that power does not require acknowledgment. And so, it doesn’t ask for it. It simply plays.

The Ghosts of Old-School Criticism

Pauline Kael-Style Review 
“So What Happens When Nothing Happens?”

There’s something almost brilliantly frustrating about Ejected. It acts like it’s unfolding, but it has already happened. The protagonist is an athlete, a strategist, an operator of mechanical precision. She’s locked into the game because the game is all that matters. But what’s more fascinating is who and what she doesn’t see.

The antagonist—if we can even call her that—exists outside the frame of engagement, like a ref who made the call before the players even knew the foul was coming. It’s a film about the absence of reaction, which in itself is a radical choice. It leaves the viewer in a strange place—waiting for an emotional beat that never arrives.

Is that brilliance? Or is that just Ejected having the audacity to say, “You figure it out.” Either way, I respect the nerve.

R.D. Laing-Style Review
“What If You Were Never Meant to See It?”

There’s an experiment in psychology where a subject watches a video of people passing a ball. They’re asked to count how many passes occur. What they don’t see—what almost no one sees—is the person in a gorilla suit walking through the scene.They don’t see it because they were never looking for it.

Ejected operates in the same way. The protagonist is locked into her own reality—not because she chooses to be, but because the structure around her has dictated what is relevant.

The antagonist moves off-ball, a presence she was never conditioned to register. The ejection is not an injustice. It is not a betrayal. It is simply the execution of a process that existed before she did.

So the real question is—was she blind to it? Or was she never meant to see it in the first place?

James Baldwin-Style Review
“The Game Was Never About the Ball”

There is something profoundly, unmistakably true about Ejected. Not in its plot—because plot is irrelevant here—but in its understanding of how power moves.

The protagonist does not see. The protagonist does not look. She does not need to. She exists within the parameters set before she arrived, and she plays her role with the precision of someone who knows the world will not wait for her to hesitate.

The antagonist is no villain. She is not angry, nor is she seeking vengeance. She moves with the ease of someone who understood, long before anyone else, what the rules really were.

And so, the ejection does not come as a shock. It does not break the world—it merely confirms what it always was.

To those who expect resolution, Ejected offers nothing. But to those who already know how the game is played, it does not need to.

Octavio Paz–Style Review
“A Shimmer of Images in Stillness”

Ejected unfolds like a poem that withholds its final stanza until the last breath. The bouncing ball becomes the pulse of a hidden ritual, echoing through a space where every step seems to float between silence and intensity. Bright glimpses—a ballerina’s delicate turn, fleeting shapes that tremble at the edges of sight—drift like petals in a half-remembered dream.

Yet Ejected never unravels into chaos; it subsides in a single, graceful sweep—an ejection as serene and sudden as the hush at the end of a long echo. In this gentle finality, the film suggests that the most powerful currents of longing and resolve may remain unspoken, woven through phantoms of motion. The beauty lies in how the story lingers, like an afterimage left on the eye, reminding us that sometimes the deepest truths reveal themselves in what is withheld rather than what is declared.

Joan Didion–Style Review
“A Dissonance Between the Seen and Unseen”

There is a moment in Ejected where the act of competing becomes something else—an almost silent choreography of detachment. The protagonist stares straight ahead, oblivious to that brief flicker of a ballerina off to one side, the glimmer of a half-formed yearning just beyond her peripheral vision. You sense that she prefers this distance; it’s safer not to see what you can’t process.

Then the call is made, and the ejection comes without sentiment, like an appointment arriving on schedule. No one shouts. No one objects. The tension evaporates as if it were never there. It’s in that vanished tension, that gap, that the real story unfolds: a discrepancy between ambition and the quiet inevitability of an outcome decided days or years before anyone took the floor. Ejected is a study in what happens when drive meets a silence so complete you can almost feel its echo.

Octavia Butler-Style Review
“You Can’t Escape a System You Don’t Know Exists”

There’s a reason people misunderstand power. They think it announces itself. That it roars. That it comes in loud, obvious ways.

But Ejected does not roar. It does not ask to be understood.

It understands that the protagonist is not the architect of this world—she is a product of it. She is not powerless, but she is also not separate from the mechanisms that shape her path. She is as much a result as she is an agent.

And what of the antagonist? She is not some great force imposing her will—she is merely the one who understood how the system worked before the game was played.

In the end, Ejected offers no escape because escape is only possible when one realizes there was a trap in the first place.

Oscar Wilde-Style Review
“The Art of Being Unbothered”

There are two great tragedies in life. One is not getting what one wants. The other is getting it.

But there is, of course, a third—not realizing the play has already ended.

Ejected is not a film in the traditional sense. It is a performance of indifference, a study in control executed with the carelessness of someone who knows she will never need to explain herself. The protagonist is no fool; she simply has no interest in an audience.

The unseen hand that moves against her—does she recognize it? Of course not. Recognition is an act of submission, and no well-dressed tragedy should ever acknowledge its antagonist.

The game was played, the move was made, and yet she walks away without so much as a glance behind her.

And that, dear reader, is what makes Ejected beautiful. Not in its struggle, nor in its conflict, but in its quiet insistence that the only true power is never having to notice who defeated you.

Toni Morrison-Style Review
“What Was Never Meant to Be Seen”

There is something about Ejected that refuses to explain itself. That does not offer solace, or certainty, or even the illusion of choice.

This is not a story about what happens when someone is removed. This is a story about what was always going to happen.

The protagonist does not see. That is not a flaw; it is a condition. She is not distracted, not absent-minded, not careless. She is not supposed to see.

And yet, something moves. Something unclaimed, unseen, slipping through the margins of awareness. The thing behind her is not fate. It is not villainy. It is not even a player in this game. It is the mechanism itself. It is the thing that knew before she knew. It is the wheel, already turning.

The ejection is not a moment of realization. It is the moment where the realization never comes. And that is what makes Ejected powerful. It does not seek to reveal—it reminds us that some things were never meant to be seen at all.

Jack Kerouac–Style Review
“Fast-Drifting on the Bright Painted Court”

It starts with the heartbeat bass thump of sneakers and the snap of the ball in a humid gym, everything swirling like a sax riff echoing against concrete. The protagonist, all lean confidence and forward-charging muscle, never once peers off the lane, just keeps going, because that’s the only direction she has ever known. The whole place feels like a big jam session and each player is caught up in the rhythm, but the antagonist is off to the side, shaping the way the notes slide.

She holds a quiet longing that turns into the real arrangement, the chord changes nobody else recognized. There is no big revelation or meltdown, just the hush of an outcome that was always in the making, like a solo you see coming right before the beat drops. The scene unfolds with a warm hush, and then the whistle goes, a cutting moment that stops the flow. The ejection happens, and the world turns again, fast and cool like the city at night when headlights blur in the rain.

The film doesn’t chase redemption or forgiveness—it basks in the fact that the unstoppable forward motion was never truly unstoppable after all. Everyone is caught in the flow of the jam, and nobody bothers to look back for more, because the game hums on, headlong into the next neon-soaked horizon. The unspoken love is there, the power is there, the hush that says it was always going to play out this way is there, and then the buzzer sounds.

Chinua Achebe–Style Review
“When the Heart’s Murmurs Steer the Dance”

In Ejected, the ball’s steady rhythm echoes like a communal drum, keeping everyone focused on the contest at hand. Yet there is another force at work—unspoken, yet deeply felt—that conjures fleeting visions: a ballerina poised in a world of silent grace, delicate shapes trembling with emotion. These apparitions arise from a devotion the central figures never openly recognize, though its influence quietly steers the course.

When the decisive moment arrives, it does so with neither quarrel nor spectacle, halting the game in an unwavering instant of authority. Ejected finds its power in that silence, suggesting that the deepest stirrings—the ones left unvoiced—can determine fates more firmly than any loud declaration. The film leaves us sensing that sometimes it is the murmured longing of a single soul that propels the final outcome.

Aeschylus–Style Review
“The Law Was Written Before the Contest Began”

The eldest of the gods do not speak in words; they speak in cycles, in oaths sworn long before mortal eyes could behold them.

Thus, Ejected is no mere tragedy of action—it is a tragedy of predestination. The law was pronounced ages ago. The moment of conflict is not a decision but an inescapable event, a shadow cast long before dawn’s first light.

The protagonist believes she commands the game and dictates her path. Yet she steps upon a floor laid out before she ever arrived, bound by rules she did not inscribe. The hand that rises against her embodies no malice or spite. It is the impartial enforcer of an order rooted in ancient bonds, so the ejection is not retribution but the inevitable outcome of that binding decree.

There stands also the figure who set this all in motion—the one who perceived the structure for what it was, who made the move before reaction was possible. She is not a god, nor is she a villain. She is simply the one who knew.

Yukio Mishima–Style Review
“The Dance of Restraint and the Beauty of the Unseen Blade”

There is an elegance in Ejected that calls to mind the disciplined spirit of the warrior—a spirit unclouded by indecision. The protagonist enters the arena with the calm assurance of a samurai stepping onto sacred ground, her every step imbued with a sense of invulnerability. She neither wavers nor looks aside, too focused to notice what might shift in the periphery.

Yet, within that unswerving commitment lies the quiet paradox of beauty and danger. The antagonist, bound by a devotion that never found voice, enforces a code of order older than the combatants themselves. She wields no drawn steel; the sword remains secure in its scabbard. Instead, her power moves within the structure of the game—its rules becoming the silent blade that cannot be parried.

Ejected transforms the ferocity of ambition into a still but lethal ritual. The film’s defining clash is not found in swords crossing but in the interplay of presence and absence, in longing left unexplored and duty strictly observed. The protagonist’s strength emerges from her unwavering forward motion, much like the pure focus of the samurai who sees nothing but the path ahead. Yet true control belongs to the unseen hand that sets the rules and understands them before battle is joined.

In the end, the ejection arrives as naturally as a flower opening at dusk—a testament to unbending law rather than a personal vendetta. No sword leaves its sheath; the cut is metaphorical, enacted through the simple enforcement of what was always fated. Ejected finds its power in that restraint, rendering the quiet inevitability of the outcome as graceful and inevitable as the bloom of a night-blooming blossom.

Story, Narrative and Conceptual Art © 2025 E Maria Shelton Speller

🎬 EJECTED – CREDITS

🎵 Music Credits

🔊 Sound Effects (SFX) Credits

📽️ Footage & Clips Credits

 

This production includes AI-generated imagery created with Midjourney, including character renderings, basketball sequences, and abstract visual elements. While some visuals may be inspired by real-world figures, they remain artistic representations and are not intended to depict actual individuals.

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