Netflix air heartbreaking call about Amy Bradley's final moments before she disappeared
In 1998, a young woman's disappearance on a cruise ship sparked an enduring mystery, now the focus of a gripping new Netflix documentary aiming to rekindle public intrigue.
Amy Bradley Is Missing launched on Netflix delving into the perplexing circumstances surrounding the 23 year old's enigmatic disappearance. The documentary features footage of her last known moments, dancing in the ship's nightclub with a cruise entertainer before returning to her cabin.
Her final sighting was by her father on their cabin's balcony in the early morning; he later woke to find her missing, and she has not been found since.
Alister 'Yellow' Douglas, a member of the cruise band who was one of the last to see her that night and shared a dance with her, was interviewed by the FBI. Despite no evidence implicating him in Amy's vanishing, and voluntarily taking a lie detector test to prove his innocence, the mystery remains unsolved.
His daughter Amica expressed the frustration of the case being a "puzzle you can't put together" and sought clarity on the events. She recounted a significant argument between her parents post-cruise and, in a dramatic moment in the Netflix series, she confronts her father on camera, reports the Mirror US.
During the call, she implores, "I would wish that you put yourself in my shoe and understand how I feel about this," seeking empathy for her quest for answers.
Alister responds: "Amica, they brought the FBI on immediately. And then he said to me that they're trying to find this girl that I was seen dancing with her. Everybody that had anything to do with cleaning her room, serving her drinks, we were grounded.
"When they realised nothing was involved, we continued to work. And I continued to work on the cruise ship until two years later."
Following Amy's disappearance, numerous unverified sightings emerged, including allegations she was spotted with someone matching Alister's description. Probing deeper, Amica questioned: "Why am I hearing that you were seen on the beach with her like months later?"
Alister replied: "Which beach they saw me on? Because I don't like beaches. Amica, we danced at the club, like I danced with many people at the club. I did nothing... I'm sitting there, my name was called, I'm being questioned about something I don't know."
Amica then confessed: "It's hard to hold this conversation with you because you get upset," before putting the question to her father: "If this happened to me, how would you feel?"
Alister revealed: "If you were missing I'd do everything in my power to find out where you are. I understand that her family is trying to find her all these years and I'm in sympathy with that but I had nothing to do with that, nothing at all," before ending the call.
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Famously, the 1971 Stanford prison experiment had to be shut down early after students who were cast as guards got far too excited about abusing their prisoners. The sort of people who pay actual money to play this kind of game are expecting to be made to feel things. They're expecting high stakes and horrible choices and wildly dramatic twists. The Death Game trope is an easy way to deliver all of that. Mine forced players to pick one of their friends to 'murder on live television'. It's a five-hour nightmare about social scapegoating with a pounding techno soundtrack. I had a lot going on at the time. I swotted up on Hobbes and Hayek. I took notes on Squid Game and its infinite derivatives. I gave the players character archetypes to choose from – the Diva, the Flirt, the Party Animal – and got them to imagine themselves in Big Brother if it were produced by actual George Orwell. I wrote and rewrote the script to make sure players wouldn't be able to opt out of picking one person to bully to death. I thought that it would be easy. Instead, I learned two surprising things. The first was that it's harder than you'd think to design a scenario where ordinary people plausibly hunt each other to death. Every time, my players tried their very hardest not to hurt each other, even when given every alibi to be evil. I created a whole rule system to punish acts of altruism, spent ages greasing the hinges on the beautiful hellbox I'd built for them, and still the ungrateful bastards kept trying to sacrifice themselves for one another. Even the ones who were explicitly cast as villains. Even when it was against the rules. It takes a lot of fiddly world-building to make violent self-interest feel reasonable. It takes a baroque notional dystopia and a guaranteed protection from social punishment. 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