“Sometimes when things seem too unbelievable to
be true, they are just that: not worthy of belief.”
The Grand Punk Part 10: Joining a Weird Trip,
New Evidence, and Life in the Rabbit Hole
In Part 6 of the Grand Punk, we reviewed the provable evidence in the Kristen Stewart “cheating “scandal”. In Part 7, 8, and 9, we stacked that available evidence against eleven different scenarios that purport to explain what happened in it. That review led to the conclusion that Scenario 6 The Grand Punk best fits the evidence, that Scenario 11 The Former Romance explained some of but not all of the evidence, and that the rest could be comfortably rejected as not being supported by the evidence. See those details in previous editions of The Grand Punk.
As I stated in closing Part 9, the truth is in the details. And at times the only way to get to the details is to join a weird trip. Which is exactly what I did. A fortuity in some consulting work I was involved in took me to San Diego with a follow up meeting in Los Angeles two days later. Thus leaving a 24 hour gap and a grand opportunity to travel first hand down the rabbit hole in La La Land, the home of the tabloids, the celluloid fantasyland. And more importantly, a chance to observe some of the places I had been writing about and thinking about first hand, including touring the proverbial “scenes of the crime”.
Its taken some time to fully digest everything that I learned there. In this short visit, I was able to establish the locations of some more of the PopSugar photographs and the likely location of many more, reach some important conclusions about many of those photographs, and discover irrefutable evidence that many of the infamous Car Make Out and Guardrail Make Out photographs have been digitally manipulated. All of which has significant impacts on the eleven scenarios and has led me to more strongly believe that this “cheating scandal” was faked.
In Part 10, and 11 to follow, I will report on the findings of that trip, discuss some newly discovered evidence, confirm and expand upon some previous observations I have made in this case, and explore the implications of all of it on the previously described eleven scenarios. In the process I will also identify and discuss some additional PR scenarios that have gained popularity of late and why they are off track. My apologies again for the length, but sometimes it takes longer to correct a lie with the truth.
[Note: Click on any diagram or photograph to enlarge it.]
“The New Evidence”
2272 S. CENTILENA AVENUE, SANTA MONICA, CA
Let’s start our examination of some of the new evidence at one of the “scenes of the crime”, the location where Kristen is pictured behind the wheel in her Mini Cooper with Rupert Sanders in PopSugar #26/37. We had previously established that the location is 2272 S. Centinela Ave. in LA (technically located in Santa Monica). Which is right around the corner from MJZ Productions at 2201 S. Carmelina Avenue where Rupert Sanders is listed as a director. See the photo and an aerial Goggle Earth image of the area below.
They say a picture is worth a thousand words. But actually being at a place, walking through it, and looking at it, that’s worth volumes and puts a mere picture to shame. As a result of the above described fortuity, I found myself being able to see that parking lot with my own eyes, to walk through it, and to examine the areas around it. And this is what I found:
First, there is absolutely no question that this is the site of where this particular photograph was taken. The physical location is in fact a complete match, something I have argued for weeks based on a Google Earth image comparison with PopSugar #26/37. Now see that comparison with the image I took at the lot below. Once again, a complete match. This is the place.
Second, there is also no question that the photographer of PopSugar #26 was at ground level and obviously within the parking lot at the time he or she took it, and that the camera was about 55 inches from the ground when it was taken. Why is this true?
- The parking lot is remarkably small when you are actually there. It is less than 100 feet long from the entry to the building and no more than 50 feet wide (roughly the length of four Mini Coopers end to end). It is a very small space.
- The white wall surrounding much of it is tall, well in excess of seven feet, making it impossible for an over the top of the wall shot to be taken because of the angle of view that would be involved. Similarly, a shot from the street through the opening where the sliding gate is located (the above view) is also not possible, again because of the angle of view. Also note in the blowups below the two distances marked A and B.
- The distance of (a) is significantly longer than (b) in the picture to the left that I took from through the opening from across the street. Note also the lamp near the red letter (a). In PopSugar #26 on the right, the lamp and a much greater portion of A is obscured (B is now much longer than A) because this PopSugar photo was taken from a point significantly more to the right of the opening and thus within the lot, since the street- side wall to the right of the opening would have made it impossible to see into the lot.
- The photograph of PopSugar 26/37 lines up perfectly for a shot within the parking lot and to the right of the wall. The height of a Mini Cooper S is 55 inches. Since we can see across the roof of the car in the PopSugar photograph, this is the approximate height of the camera. If it were lower, we wouldn’t see the top of the roof. If it were significantly higher we would see the entire roof including the far side as it curves downward and we would see a lot lower into the inside right of the car, which we don’t. See PopSugar #37 below for a more detailed look at what I am describing.
- Note also the reflection in Kristen’s door of the plain white wall (the left side wall of the parking lot), the lack of any vehicles in it, and the reflection of the double lined parking space markings within it, which corresponds to the parking spaces that appear on both sides of the parking lot.
- Also note the reflection of two telephone poles and a white sign in the side view mirror in this blowup of the above image. Note that because this is a reflection, the image is flipped left to right. What you are seeing are the two white walls towards the opening and the two telephone poles and the large white sign for LA Fine Art & Wine Storage, the business next door. Because of the curvature of the side view mirror, the chrome on the side view mirror acts as a wide angle lens giving us a wide sweeping view of the area. Below I have blown up this area circling the poles and sign. Next to it is the image flipped right to left to account for the mirror effect. What’s on the mirror in that photo shows what the area looked like from the point of view of the mirror.
Shown below is the photo that I took October 3rd, from across S. Centinela Avenue and this image below further confirms that this lot is the place of that photo.
Fourth, and finally given the location of the car and Kristen within it, the angle of the shot, the constricted space within the lot, and the rough location of the camera, it irrefutable that Kristen had to have seen the photographer when he took it unless she was driving with her eyes closed at the time.
But What of the Other Car Make Out Photos?
But what about the other Car Make Out photos, were they taken here in the same parking lot as many have tried to argue on this blog, or were they taken elsewhere? Let’s start with the elsewhere first. To date, no has been able to identify any other location in Los Angeles as the place where the Car Make Out photos were taken. While in Los Angeles, and particularly in Santa Monica, I was able to examine a number of other warehouse and parking lot areas and was also unable to locate an alternative site for these photographs.
I was also able to eliminate several other areas in the immediate vicinity of 2272 S. Centinela Avenue as potential sites for the rest of the Car Make Out photographs. I was able to do that because I was able to drive through these areas that we couldn’t see in a Google Earth street view before. See the Goggle Earth aerial image below for those areas which I have circled.
While at the site I drove through these areas. See the Google Earth image below where I have identified by number where I took photos and the corresponding photographs that follow. None of these areas match up for what I was looking for, and as a result, I was able to exclude these areas as potential locations for any of these other photographs.
My corresponding photos of those places appear below.
Now back to the parking lot. I have been stymied for weeks trying to identify this lot as the location of the rest of these photos because I was looking to match up the following features within those photographs to this site. See the image below for what I was looking for. The image happens to be PopSugar #49, but if you look at all of the Car Make Out photos, they all bear the same features, with the exception of the Vertical Wall Seam which only appears in the wider view PopSugar #49 image below.
Interestingly most of these features are present in some form at the parking lot of 2272 S. Centinela Avenue. The easy ones are the White Wall, the Vertical Seam in the wall, and the double edged Parking Space Lines. See them in the photos I took at the scene below.
The harder ones are the three Faint Black Lines cutting across the PopSugar photographs and the Two Telephone Poles & the Large White Sign but even those are present. See the photos I took below, the first being three parallel telephone lines connected to the above mentioned telephone poles, and the second showing both poles and the adjacent large white sign.
The most difficult image to match, however, was the right side mirror image, but even elements of that one are present.
See the photo below that I took.
This photo is from the lot immediately next to 2272 S. Centinela Avenue, a lot belonging to LA Fine Arts & Wine Storage. The marked white space, brick, and red banding are visible from the adjacent parking lot. The brick, however, looks redder here than what we see in the side view mirror and is actually more akin to what we see from within the parking lot on the lower half of the building.
Here’s the view from the 2272 S. Centinela Avenue, but note, the elements still aren’t lined up properly in relationship to each other in any of these views.
And more broadly, the problem is that you cannot match up all of these Identifying Elements exactly with how they would appear at this scene. They are scrambled in a way that is not actually representative of reality. For example:
- If her car was parallel to the left side wall of the parking lot near the Vertical Seam (hence the PopSugar #49), the Car Door Reflection should be the right side wall of the parking lot, an all white wall. It’s not, note the reflection in the car door in PopSugar #49 above.
- If her car was parked across the lot parallel to the telephone lines, that could explain the reflection of the three Faint Black Lines running parallel lines across the images, but the background of the photo would then be the building at the end of the lot, not the white wall as it is. (Note any of the Car Make Out Photos).
- If the side view mirror is reflecting something from this scene, where is it? Nothing matches these elements in their proper relationships to each other.
- And if you align the car so that it is parallel to the parking space lines, potentially matching the spaces appearing in the car door reflection, the background once again doesn’t match the scene shown in the photos.
Hence our conundrum: this looks like the probable place of the pictures, but something is out of kilter with the photographs. But the answer is really quite simple. Either 1). these pictures were not taken here and all these elements being present is merely a coincidence or 2). the images cannot be matched up because they have been DIGITALLY MANIPULATED so they no longer match up to the real scene completely.
I am reasonably certain that it is the later that is the case here. While everyone was so hung up and busy staring at the subjects of the pictures (Kristen & Rupert) and what they were or weren’t doing, we were missing what was obviously going on right before our very eyes in the foreground and the background elements, hiding in plain sight. These images have been digitally manipulated and it is really quite obvious.
Viewed in this light, the conundrum is solved and we can safety say that the rest of the Car Make Out Photos were in all probability taken here, but all of them show some evidence of digital manipulation, the right side view mirror image being the most common one. It’s hard to tell where the real images end and where the manipulation starts, but that conclusion is inescapable. The question then becomes, why were these images so obviously altered? More on that later.
“More New Evidence”
2800 COLORADO AVENUE, SANTA MONICA, CA
Taking that important lesson from S. Centinela Avenue, I then sought to confirm a working theory that I have had for months about where PopSugar #33 was taken. PopSugar #33 is an odd photo in that it does not appear to be related to any other photo in the PopSugar set in terms of where it was taken. See PopSugar #33 below.
From the S. Centinela Avenue parking lot location, if you travel north and make a left on Olympic Blvd., you arrive at Stewart Street (ironic isn’t it?) in about a minute. Turning right, in less than another minute you run into the intersection of Stewart & Colorado Avenue where Summit Entertainment maintains two buildings, 2800 Colorado Avenue and the other adjacent to it, 1630 Stewart Street. The entire drive is remarkably short and is filled with businesses that you would recognize by name from the entertainment industry. Just down the street from the Summit properties on Colorado Avenue are Lionsgate and MTV and a block further up, a big office of Universal Studios. This is not an abandoned warehouse district in Los Angeles. A Goggle Earth aerial image of the path I traveled appears below.
See also below a Google Earth aerial image of the intersection and the two Summit properties and a Google Earth streetview image of the intersection looking towards the properties. In the streetview image, the building pictured towards the right is 2800 Colorado Avenue, the building towards the left is 1630 Stewart Street.
See next below, two photographs of the properties from across Stewart Street that I took during my visit. The building on the left is 1630 Stewart Street. The building on the right is 2800 Colorado Avenue.
And below see a photograph I took on October 3rd looking from across Stewart Street cutting across the corner towards Colorado Avenue and a Google Earth image below it showing the general direction of the camera shot.
Below is a photo I took from the Colorado Avenue side looking back towards where I took the previous image from, with the general direction of the previous camera shot shown.
Now let’s compare PopSugar #33 and my photo once again.
As a result of my observations at the scene, I am reasonably confident that PopSugar # 33 was taken at roughly the location of my photo above. Note the black metal fence that appears in the immediate foreground beyond Kristen’s right windows, and a further fence than runs at an angle to it in the background all the way across the picture. Notice also the reflection of a large tree in her front windshield and of the trees reflected in her side door. Note also the “bunched” fencing at the extreme left of the picture near the top right of Kristen’s windshield.
Take a look below at another photo I took from the scene from the Colorado Avenue side looking towards Stewart Street. I believe that several identifying features correspond to those in PopSugar #33.
Note how the fence upright posts in my photo above at a distance appear closer together, a perspective compression effect. This explains the “bunched” fence effect in PopSugar #33, because it is the farthest away from the camera in that view. Also note how the fence running parallel to Kristen’s car would run straight across the picture. Note also how the fence running at an angle to Kristen’s car would also appear to cross the picture at an angle in the background from that perspective. Note also that wider fence posts and the parking meters could be “eliminated” by strategically placing Kristen’s car to obscure them and carefully cropping the picture left to right. Finally, also note the trees on both sides of Stewart Street. The far side trees are consistent with those in the car door reflection of PopSugar #33 and the large ones on the near side trees could cast a reflection on Kristen’s front windshield, again consistent with PopSugar #33.
But as with the previous discussion concerning the Car Make Out photos, it is not all that it appears to be. The door reflection in PopSugar #33 does not match up with the building that appears across the street. See below my photo of the area that the reflection should match.
I believe that portions of that the door reflection have been photoshopped in. Note in PopSugar #33 the oddly compressed low lying building with what appears to be a Spanish tile type roof. This is not an image that would be difficult to photoshop in.
Note also what appears to be the word “Summit” that appears on the curb just ahead of Kristen’s rear right tire in PopSugar #33. Given the distinct dark line of the undercarriage of the car, this curb area is also very easily photoshopped into this image, which potentially is why the curb doesn’t match to the curb in my photo above. And ask yourself, why does the word “Summit” appear in PopSugar #33 at all? The photographer is toying with us.
Note also the relatively distorted background in the PopSugar #33 image that likely results from using a telephoto lens and a large aperture size such as f2 or f4. Using such a lens with such an aperture setting shortens the depth of field of a shot, throwing the background out of focus. That’s why photographers frequently use them in portrait shots because they eliminate distractions from the background from interfering with the subject. Note also that this photo has the flattest depth of field (shortest zone of sharpness front to back) of all of the photographs in the 55 pictures in the PopSugar set. Photoshopping things into this background is easier, as it is already blurry from being out of focus.
Note also how tightly cropped the image is from left to right, again eliminating identifying characteristics such as the wider fence posts and the parking meters that run along the street. I believe that this image was carefully cropped and the background and foregrounds have been digitally manipulated to make it more difficult to establish that it was taken near the Summit offices at this location. But enough has been intentionally left in to make this connection. And the curb marking shows us the way to Summit. Again, the photographer is playing with us.
And then finally look at photo itself. It’s not even clear if this photo was taken on the same day as those in the rest of the PopSugar set. Note the left strap of Kristen’s top, its either dark brown or black just under her hair on her left shoulder. Go to the PopSugar site and look at it carefully if you don’t believe me. Gone is the obviously neon yellow bra strap that is so apparent in all of the rest of the PopSugar photos, even when she is in the shadows.
And while we are at it, what of the sun glasses? Are they the same, or do the ones on the right appear rounder across the bottom whereas the ones on the left appear flatter. See a close up of these two images below.
As I said, I am reasonably certain that this is the site of this PopSugar #33, despite a rather feeble attempt to disguise it. Feeble because it was never intended to completely cover up its location. Perhaps not certain beyond a reasonable doubt, but certain enough to satisfy the provable evidence standard we have applied to everything else in this review (that standard is described more fully in The Grand Punk Part 6).
“Even More New Evidence”
ADJACENT TO 2600 LARMAR ROAD, LOS ANGELES
One nagging concern about the photographic “evidence’ is the location of the Rupert walking photographs, PopSugar photos #34, # 38, #42, and# 29. Although we had previously established that a fifth photo, # 53 was probably taken immediately across the street from Rupert’s house on Carman Crest Drive and that #42 is an identical blowup of #38 (they are the same), we had not yet established the location where these other photos were taken. See the set of Rupert Walking Photos below.
That mystery is now also solved for photo #34 and photo #38/#42. I am reasonably certain that they were taken adjacent to 2600 Larmar Road, near the intersection of Carman Crest Drive and Larmar Road, in Los Angeles because I also went to that scene. It is located near the area of Rupert’s house and not far from the area of the Guardrail Make Out Photos on Pacific View Drive. See the diagram below for the relative locations of these areas.
Starting from the Pacific View Drive location (the Guardrail Make Out photos) you turn onto Pacific View Trail a short distance and then make a left at Mulholland Drive, taking it to Outpost Drive where you turn right and after another short distance, turn right on Outlook Cove followed by a left on Carmen Crest Drive which takes you down to the scene of these photographs. The total distance traveled is about 7/10ths of a mile and it takes about two minutes. If you continue from there and through the intersection with Larmar Road, Rupert’s house is less than 300 yards away. Taking this path is necessary because it’s the only road in, a steep dropoff next to Mulholland Drive, and the need to go avoid going through multiple private properties. Once you enter off of Outlook Drive, all of the streets eventually end in dead ends.
Next see a Google Earth aerial view of the area of these photographs. The large house to the left of the yellow pushpin is 2600 Larmar Road.
See next a Google Earth street view of the area looking towards the intersection of Larmar Road and Carmen Crest Drive towards the Rupert walking photos site. Note that Carmen Crest Drive in this area is relatively straight and flat and provides for very little cover for a photographer.
See next a Google Earth street view of the same area taken from roughly the intersection of Larmar Road and Carmen Crest Drive
See next a Google Earth street view image below for a close-up of this area adjacent to the address and an identical view below it showing potential identifying characteristics marked.
Now compare this picture with a picture I took of this general area myself on October 3rd. Only major changes from the Google Earth image are the plantings at the end of the fence, they apparently didn’t make it, and some differences in the sizing and thickness of vegetation. Also note there are five wider posts from the end of the fence to where you hit the planting gap and the rough location of the tree.
Now compare it to Pop Sugar #38 and #34 below.
The evidence in Photo #38 shows the same 17 narrow posts between the wider ones (go to PopSugar to confirm if you don’t believe me, the resolution is better there); the same general kind of planting in front of fence (it blooms purple flowers earlier in the year, gone by the time I was there, I grow the same plants); the same branching pattern in the tree (Rupert is obstructing wide post 5 of fence on the right and nearly the wide post 6 on the left and the trunk, but note the upward curving branch below his left elbow); the same gap in planting ( it’s difficult to see most of it because of Rupert’s leg and the camera angle and the overhang of adjacent plants); the same left turning fence rising up the hill; the same general shade of the pavement; and all within 300 yards of Rupert’s house.
Same features in PopSugar #34 only Rupert appears to be more lined up where the fence post makes its turn. But still the same wide post/narrow post pairings and the same ground plants. There does appear to be a tree of some sort that has been removed to the right of Rupert in the photo. My more recent photo doesn’t show it well but when I was at the scene taking my photo-graphs I noticed a fair amount of reasonably fresh woodchips at the end of the fence and into the adjacent yard. That tree that appears to the right of Rupert in Photo #34 in all likelihood was more recently removed which explains why is that is gone in my recent photo.
As I said, I am reasonable certain that this is the site of these photographs. Not certain beyond a reasonable doubt, but certain enough to satisfy the provable evidence standard we have applied to everything else in this review.
But now for the more important point. There is no question that Rupert knew he was being photographed and it is nearly impossible that he was taken by surprise. These were staged photographs. Why do I say that? First, these photos are not consistent with being taken by a super telephoto (i.e. 400mm+) from far down Carman Crest Drive. (See the earlier Google Earth image). They are much more likely to have been taken by a short range telephoto (i.e. a 75-200mm) lens cropped all the way in and shot with a relatively large aperture (f4 or f5.6). That is what accounts for the mild blurring of the background due to the reduced depth of field from such a lens/aperture combination.
Second, the angle of view from well down Carman Crest drive is wrong. These shots were taken from much closer and angling across Carman Crest Drive, not parallel to it at a significant distance. Having examined the scene, the photographer was likely well closer than the intersection with Larmar Road. They were also taken at a relatively flat angle to ground, that is, the camera was held parallel to the ground and at about shoulder height. My shots above were taken from a similar position at about 60 inches off the ground.
Third, because these distances were relatively short and across the road, not well down it, the angles were flat, and there were no hiding places readily available in the area from where they were taken, Rupert would have been able to clearly see the photographer. Some have argued that these shots were taken with a telephoto lens at significant distances so that although it appears that Rupert is looking at the camera, he actually isn’t. But note PopSugar #34 in particular. This was not a random situation where Rupert just happens to look in the direction of the photographer who was at a great distance away. This was a situation where Rupert looked directly at the photographer from a relatively close range. He knew that he was there.
Some might argue that this location confirms an aspect of the paparazzi’ original claim (The Lucky Paparazzi- Scenario 1). Namely that following their tryst, Kristen drove him to within three blocks of his house and dropped him off, as these show him walking home.
Problem is they would have had to pass him (presumably in their own car/cars) and turn around to set up the shot since once you leave the intersection at Outpost Drive, everything beyond it ends in dead ends. And in effect it was only one block not three. How would they have known where he was going, as they claimed they didn’t realize who he was until they got back to their office? More on the significance of these new findings later.
As a final note, the location of PopSugar #29 remain a mystery.
Busting Bad “Evidence”
2241 N. Beechwood Drive, Los Angeles
Not only was I able to discover new evidence in Los Angeles, I was also able to bust some fake evidence. One of the more ridiculous claims in this whole case was the notion that Rob had thrown Kristen out of the Los Feliz estate after the scandal blew up and that he himself had moved out. Remember this photograph?
It was credited to Bauer-Griffin, the same paparazzi firm that credited the urban myth that Kristen & Rupert were in a long standing affair. (See The Grand Punk Part 6, Scenario 3). It was regularly used by Radaronline, TMZ, and other gossip rags to “prove” that Rob was moving out of his house and had asked Kristen to move out as well. Surprisingly, it is used to this day to establish this “fact”. Only problem is, like before, it is a complete fraud and an urban myth.
See the Temple Hill Drive street sign (partially off the screen) to the extreme right of the picture?
Now lets go to where this Bauer Griffin photo was actually taken, roughly at 2241 N. Beachwood Drive in LA. You can Google Earth it if you want but this is the location and image.
Note the Temple Hill Drive on the right side of the street just to the right of the van. Note also the Hollywood sign up in the distance, the white house just beyond the black car traveling towards you in the left lane, the palm trees in front of it, and the trees beyond it. This is the place of the photo. It’s a little different since the Baeur-Griffin photo is somewhat distorted because its cropped differently and taken with a telephoto lens. But again note the Temple Hill Drive sign again to your right, the house, the trees and the palm trees, a complete match. The moving truck was parked horizontally across this view.
Yet this location is not even close to where Rob’s house is located, as it is nearly two miles to the west. And you can’t even see the Hollywood sign near the street leading to Rob’s house on Aberdeen. Here’s the view from the divided avenue (N. Vermont) leading to the street of Rob’s house. (Aberdeen). Aberdeen is to narrow and twisted to even fit such a vehicle.
You can’t see the Hollywood sign from here. To do so you would have to continue on up Vermont a couple miles, take a twisted winding road up the mountain toward the Griffin Observatory and then from a lookout, look almost due west. Ergo, the Bauer Griffin photo purporting to be taken near Rob’s house showing the moving truck is a fraud. Its not even in the same neighborhood. But why let the facts get in the way of a good lie? Which is what this “cheating scandal” is all about. But it doesn’t end there.
…To be Continued
I have probably worn you out by now. So I’ll save more for the next edition including what I found at the infamous guardrail. Definitive proof that the most of the guardrail photos have been digitally manipulated. But rest assured, there is little doubt that this whole cheating scandal is fabricated. In Part 11, we will explore by who and to what ends and what it means for the scenarios.
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