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We’re on the set, like any other. We’re creating virtual memories for the public’s sensory pleasure. It’s called experia.
I’m a corporeal actress.
We are what people get to do stuff to.
We are the big sisters guiding toddlers through the jungles of a treasure island for the kid-friendly theater. We can be the mothers cradling babies to sleep as we read bed-time stories after the afternoon snack. We become the angry bosses that unsatisfied employees get to murder with a fully-automatic rifle, for the maturely-rated experiences. And we are that 1950s airline stewardess men get to screw at forty-five hundred feet, for the X-rated experia.
As the recording-actress rolls on the sensory-suit, I start going over the script. I have to get all the lines right, this ad campaign is the first commercial for a new product of the Mama Mira Line. My first role since I gave birth. When she’s ready, I look at the suited-actress standing before me. There is a red dot on her camera visor and somebody says “action.”
“Infant stasis technology has reached new, innovating, heights,” I say. “With Mama Mira’s, the Womb-Naper, you get a full-night’s rest with the peace of mind of a healthy baby. Unlike other slumber chambers, the Womb-Naper only provides nutrients from precious breast milk as your little bundle of joy is held in perfect stasis. The Womb-Naper can only be used in certain intervals, but still provides the mother with a five-hour break from the colicky babies that absolutely refuse to go down for nap.”
These are my scripted words. They are honest and genuine and certainly describe a product that saved me from postpartum depression. Before pregnancy, I was Mira Dusani, not Mama Mira. I spent most of my career auditioning for lead-rolls in high budgeted pieces, but was often type-casted into dumb babes for soft-core experias. It was a little demeaning, but my ‘gram got up to a hundred and fifty million followers. Then pregnancy gave me a new opportunity.
I’m holding Annabella’s hand and leading her through the set. As the corporeal, I need to lead the recording-actress to the product. The slumber chamber is seated in the middle of a mock maternity-room. The walls are a pale emerald and there is a window that glistens a bright sunshine. I still have Annabella’s hand in mine. Her sensory-suit reads my warm and gentle grip.
In front of us is a medical stasis chamber next to a mother’s hospital bed. The hospital bed was my very own, in fact, purchased and specialized for my maternity needs. All the actresses were doing it at the time. All the major ones.
Annabella looks towards the stasis chamber.
“This Womb-Naper uses state-of-the-art technology. Originally designed for prematurely-birthed angels, this device uses the medical technology responsible for saving nearly three million infants. There certainly won’t be any premi-syndromes in this magical device.”
I let go of the actress’s hand for a moment. Annabella grazes her fingers over the warm gel-glass the infant-doll is entombed within. Annabella lets the sensors feel the device. Make it real. Make it more than just a commercial.
Then I take her hand again. Annabella accepts my lead as I take her through another door. This time we’re in a rather fabulous nursery. The space is surrounded by lilac-painted walls that hold a number of thinly-framed art-prints displaying silly aliens, majestic unicorns, beautiful fairies, and happy dogs.
“And once you bring baby home, you’ll have the ability to get a full night’s rest,” I say, relinquishing Annabella’s hand. The Womb-Naper is adorned with a fluffy garland along the exterior, as the interior glows a warm yellow. A real baby inhabits this particular Womb-Naper.
Someone on the tech crew opens the device remotely. Little Lily awakens by condition. I pick her up and swiftly put her in the arms of Annabella Rodriguez, who promptly cradles Lily. We get about three seconds before the wailing erupts.
“Cut!”
Recording the experia is now over. The red light on the suit’s camera goes out and Annabella hands Lily back to me. I cradle her for a few seconds longer before placing Lily back in the Womb-Naper.
The stage crew starts to get our next set ready.
Our second ad for the Mama Mira Line will be for senior citizens.
Grandpa’s about to be a star.
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Experia