The Model Murders – review (Netflix)

Brief synopsis: a young woman, desperate to become a model, replies to an advert that seems too good to be true. She ends up in a remote location locked up and forced to perform live pornographic shows. Her mother and boyfriend search for her desperately. 

Is it any good?: nope. Nah. Not at all. The Model Murders or A Model Kidnapping is so much hokum. Apparently, it is based on a true story – it is probably pulled from several similar stories – it is neither well-told nor engaging. The acting is poor, the script is poor, leaving the music to do all the heavy lifting, trying to inject some atmosphere into proceedings. The Model Murders is trash. 

Spoiler Territory: A woman run through the woods, trying to escape an unseen pursuer. He catches up to her and as she begs for her life, plunges a syringe into her neck. 

Aspiring model, Grace (Lucy Loken), is having photographs taken. The photographer is not happy with what she is giving him. She pouts a bit and moves her shoulders. She is quite rubbish at modelling. 

He tells her she does not have what it takes to become a model. She is too vanilla. She needs to be more dangerous. She asks him what does she need to do. He tells her she needs to show more skin. Take risks. Grace, always willing to take direction, removes her jacket. Ooh, bare shoulders! The photographer seems happy. 

He starts snapping away again. She is no better than before but he seems happier. He asks her to take her top off. Grace is aghast. Take her top off? The pervy photographer tells her he could make her rich. She is not interested in anything pornographic. She leaves. 

Later, Grace is discussing her distressing day, with her boyfriend, Matt (Michael Uribe). He shows some sympathy but then tells her he cannot understand her desperation to become a model. 

Especially as she is such a talented artist. Whether that is with paint and a canvas or singing is not particularly clear. Whichever it is, she should go to college and pursue it, Matt thinks. 

Grace tells him that she felt invisible as a girl and aspired to the girls she saw in fashion magazines. Grace is obviously not a girl who watches the news. Modelling as a career does not have the best reputation. Still, it’s what she wants. Matt, the dumb hunk, says okay and tell her he loves her. 

Grace is all about the model life and does not respond in kind. She is not ready to voice her feelings for him. Grace’s mother, Megan (Kiki Harris), works at the diner. 

Grace asks her if she is ready to leave. She tells her daughter she still has an hour to work. She asks Grace how the shoot went. Grace lies, telling her it went well.

Mother Megan, quite rightly, has little faith in her daughter making it in fashion modelling and tells her she should enrol in college. They get into disagreement and Grace tells her mother that she will see her at home. At home, Grace immediately starts scouring the internet for more modelling gigs. There is no helping stupid. 

After reading through her umpteenth rejection, she sees an advert. A photographer is looking for models and the job offers free accommodation. She thinks it is too good to be true but applies for it anyway. The next morning the photographer calls her. 

Grace is no mug and asks the photographer to send her examples of his work. She doesn’t look him up in this age of the internet but why would she?

Anyhoo, he sends through the photos and Grace is thrilled. She gets on a train and heads to Miami. She leaves her mom a letter. Very old school. She texts Matt from the train. 

In Miami, she is picked up at the station by Nicole (Katherine Diaz). Nicole drives her to the studio, about an hour outside of Miami. Grace asks where the models’ house is. Nicole tells her it’s downtown. The photographer, Hunter Kelly (Wes McGee) – why he gets a first and last name is anybody’s guess – meets Grace at the car. 

He is cordial and friendly but is suddenly brusque to Nicole when he spots a nut-based bar in her pocket. He reminds her that he has one rule – not exactly true – but he repeats it to her. Nicole apologises and throws the bar away. He tells Grace that he has a deathly nut allergy. Shouldn’t have told her that! 

He continues to entertain Grace, preparing her dinner. He sends Nicole out to get some more wine, telling Grace that she will drive her to the models’ house when she returns. 

The evening continues and Nicole does not return. Hunter tells Grace that she texted him to tell him that she was feeling unwell and has gone home. Alarm bells? Nothing? Okay…

Hunter tells Grace that she can stay in his guesthouse. No alarm bells there. Grace reluctantly concedes that she can stay for a night. Hunter takes her to the guesthouse and shows her the bedroom, with en-suite bathroom no less. 

He leaves her to settle in, closing the bedroom door as he leaves. Grace realises that she does not have her luggage snd goes to leave the room. The door is locked. She goes to the window, trying to get Hunter’s attention but he cannot hear her and does not look back. 

She picks up the phone and calls the emergency services. Hunter answers. He tells her she is going to be there for a while. Bwah hahaha! Bwah hahaha! He didn’t laugh but he should have. 

Back home, mother Megan and Matt are beginning to get worried, not having heard from her at all. The next day, Hunter brings the trapped Grace breakfast. Unsurprisingly, she does not want it. 

She just wants to go home. She even promises not to tell anyone that he kidnapped her. Does that ever work? Well, it doesn’t work this time either and crazy Hunter tells her they are going to make films. 

Ever the prude, Grace says she would rather die than do porn. Hunter shows her a live stream of her mother at work. He asks for her phone’s password. Grace is defiant once again until Hunter reminds her that he can get to her mother. Short memory that girl. Like a goldfish. Hunter tells her that they are doing a live stream in fifteen minutes. 

He tells her to put on a cheerleader uniform for the show. He then replies to a text from her mother and one from Matt. He signs Matt’s text off with “I love you.” Rookie mistake. 

Matt is perplexed and mystified by the text. Back in Miami, Hunter directs Grace by video as she does the least provocative live stream in human history. 

She tries to scream for help at the watching audience but Hunter cuts the stream. He tells her the stream runs on a delay. Hunter comes and tells her he has a few rules – I knew there were more! – one of the rules is no screaming for help during the live stream. That one could not have come as much of a surprise to her. 

Mother Megan tries to call her and gets her voicemail. Hunter returns to the room with a tray and some booze. The scared cheerleader was a hit. He wants to celebrate. She throws one of the glasses at the wall. Hunter shows her a picture of the model he killed before. If Grace had not realised she was in a bad situation, she knew it now! 

Outside of the bedroom prison, Nicole is pouting. She thought Hunter was going to spend less time with this model. Hunter tries to make it up to her, getting amorous. 

Their potential bedroom antics are abruptly halted when he calls her Grace. The next day, Grace is dancing in front of the camera, better than the first performance – not hard – but still pretty terrible. 

Grace is doing multiple shows, in various outfits, every day. She is still as sexy as a dancing mailbox. Hunter seems happy. As he and Nicole watch her, he tells Nicole he is going for a run. So not that happy then. Jealous Nicole takes the opportunity of his absence to confront Grace and tell her to stop leading Hunter on. 

Grace thinks Nicole has come to help her escape but realises she is just dumb and in love. She kicks Nicole in the stomach and tries to run. The two women end up scuffling. Before Grace can escape, Hunter returns from his run, around his house I assume because he wasn’t even gone for ten minutes. 

Mother Megan and Matt go to see the least helpful detective in the history of detectives, Hogan (Gary Bristow), who dismisses their worries as being unfounded. There is no evidence, so he will be of no help, so get out! 

Mother Megan vows to go to every photographic studio in Miami to find her daughter. That’s love right there. And a little misguided. 

Back at the prison house, Hunter gives Grace a, frankly, ugly negligé to put on. As he admires her in the thing, Nicole watches the whole scene via the video link. 

She’s a redhead. Hunter is really making trouble for himself. The next day, Grace asks Hunter if he would take her out as she needs art supplies. No idea what for. 

Nicole asks Hunter if he wants to go out, as they have a few hours before the live stream. He sends her to go and get the art supplies. Hunter then decides to take Grace out. 

In a clothing store, Grace tries to get the sales assistant’s attention and then writes help in blood on the mirror in the changing room. Hunter realises something is wrong and takes her out of the shop. 

Grace steals a bracelet as they leave. The assistant runs after them but backs down when Hunter faces her. Back at the prison house, a furious Hunter puts her back into the bedroom. 

Hunter leaves her in the bedroom. She has to be punished. Nicole comes into the bedroom in a dominatrix outfit. She proceeds to whip Grace. 

Matt’s roommate, Greg (Chris Kelly), comes and shows him the live stream of Grace getting whipped. Matt asks Greg, who is a computer major – obvs -, if he can track the IP address. Hunter tells Nicole to stop whipping Grace. 

Matt texts her asking about the video. Hunter makes her call him to try and pacify him. She ends the call telling him she loves him. Matt, who was already alarmed at seeing his girlfriend getting whipped, is more alarmed by the pronouncement of love. Something is definitely wrong. 

Nicole, who was snooping through Hunter’s computer, confronts him about the previous models they had found, realising that he had killed them. Hunter tells her she cannot say anything as she is his accomplice and a murderer herself. Okay then. 

Mother Megan, who had been traipsing from one photographic studio to another, goes to see the world’s worst detective. Hogan points out to her that she told him that the boyfriend had received a phone call. 

Matt looks for similar adverts to the one that attracted Grace. Grace tells Hunter that she will do whatever he wants her to do. He wants her to do the art project. Full nude. Oooh. 

Back with who-cares? Hogan and he is telling mother Megan that the last ping her daughter’s phone got was two weeks before. 

In an age when teenagers are glued to their phones, he does not think this is that out of place. Matt arrives at the police station just as who-gives-a -sh*t Hogan tells them he cannot devote any more manpower to finding Grace. What he actually meant was any, as he had not tried to find her anyway. 

Grace does her paint show. Hunter directs her to paint her breast. Grace breaks down. Never thought paint could cause trauma. As night falls, Grace, who it turns out had a cunning plan, uses her high school chemistry knowledge to start a fire and set the fire alarm off. Could have just pressed the test button…

Hunter comes to check what is going on. Grace stabs him with a stiletto in the eye and escapes the guesthouse. She calls the police but Hunter, barely slowed by having a stiletto punched into his face, cuts the line. He drags her back to the guesthouse. A policeman, Mark Harding (Seth Goodfellow) – another character given a first and surname. They don’t even use his name! – turns up at the house. 

He quickly checks around the property but does not see Grace. He gets called to a serious traffic accident. Grace bangs on the window to no avail. The policeman drives off. 

The next day, Greg has found a similar advert to the one that lured Grace. They email Hunter and send him a picture of a hot girl. Back at the prison house, Hunter is digging a shallow grave in the grounds. 

Returning to the house, he sees the email and replies, inviting the girl to a photoshoot. He tells Nicole to go and meet her at the train station. 

Nicole goes to the station and – horror of horrors – there is no girl. Matt is there though. Yes, he is! He sees Nicole and realises she is there to meet their fictitious girl. 

Nicole calls Hunter and tells him she is not there. She heads back to the house. Matt follows her. He calls mother Megan and tells her he is going to rescue Grace. Yey! He does not tell her where he is. Hunter tells Grace that he has dug her grave. He decides, at that moment, to make it a snuff film. Nicole returns. Matt sees the house. 

As night falls, Matt sneaks up to the house. Inside the house, Nicole greets Hunters triumphant news that he is going to kill Grace online with the incredulity it deserves. Matt finds the guesthouse but Hunter sees him and hits him with a spade. He ties him up and plans to have Grace dance in front of him. 

He tells Grace to go and get dressed for her incapacitated boyfriend. He pushes her into the closest. Grace eats a nut bar and comes back out dressed in a negligé. She kisses Hunter. He begins to have an allergic reaction, gagging and choking as his allergy kicks in. Grace unties Matt and they run. 

Hunter staggers back to the main house and begs for his Epipen. Nicole throws it into the waste disposal. She grabs a kitchen knife and Hunter wrestles with her. She ends up getting stabbed. Matt has lost his car keys so Grace goes back to the house to get the keys to Hunter’s car. Hunter dies on the front porch. 

A year later, Grace’s life is different. She is an award-winning designer and mother Megan is studying law. Matt is still around as well and she loves him and tells him so. The end. 

Final thoughts: The Model Murders is utter bollocks. It is only ninety minutes long but feels longer. The story is so lazy that to say it is based on a true story is an insult to cop-outs. 

The premise is a nice simple one; aspiring model gets kidnapped and coerced into live porn. Unfortunately, it is executed so badly and with such little flair that one just does not care what happens to anybody in the film. 

Lucy Loken, who appeared in the equally awful My Teacher, My Obsession, is just as underwhelming in this film. Written by Andrea Canning and Lynn Keller and directed by Damián Romay, there is nothing to recommend about this film. 

The film is so bad that the IMDB synopsis of it is completely wrong, making it sound like a more interesting film than it actually is. It is not. Avoid.

Girl on the Third Floor

Brief synopsis: a man moves to a rural townhouse as part of a deal with the federal authorities. The house is old and the man plans to renovate it before his wife, who is expecting their first child, moves down from their old home in Chicago. Strange things start happening around the house.

Is it any good?: Girl on the Third Floor is terrible. The acting is horrible. The pacing is cold molasses-slow and the directing is awkwardly basic. How Netflix keep finding films of such mediocre quality is some sort of talent in itself. Just awful.

Spoiler territory: Don Koch (C. M. Punk) moves into a large old abandoned house, in the suburbs, Portsmith, planning to renovate it before his wife, Liz (Trieste Kelly Dunn), who is pregnant with their first child, moves down from Chicago to join him. For company, Don has his dog, Cooper. Don plans to stay in the old house whilst he renovates it.

He finds gunk behind a wall and leaves it. Okay. A marble comes out of the wall in an upstairs room and rolls down the stairs. The dog eats it. Makes no difference to the film or plot but it introduces the marbles.

The first person he meets is the local pastor, Ellie Mueller (Karen Woditsch), who rings the doorbell and welcomes him to the neighbourhood with a drink. Don tells her he moved there because they feel it will be a good place to raise a family. He tells her they are not particularly religious. Not that it matters because that plot strand does not go anywhere either.

The next day, Don calls Liz and, speaking to her via video phone, shows her the house. He never turns the phone around mind, so I’ve no idea how she sees the house. He decides to fix the oozing wall. As he is working, the power drill fails, its battery dead.

Don, obviously a person with anger management issues, rages as he goes to put it to recharge. He steps on a marble – a bit of a theme, marbles in this film – and that triggers another explosion of expletives. There is a knock at the door. It is attorney Manny Bharara (Anish Jethmalani) and he has some documents for Don to sign. He seems unreasonably disdainful of Don who, it transpires later, defrauded a lot of people out of money.

Later, Don goes into town to get some food. He goes to the local bowling alley. He meets the owner, Geary McCabe (Marshall Bean). He tells Geary that he has moved into the old house. Geary asks him if he is gay, as straight men tend to suffer in that house. Don, angered – there’s a surprise – by the questioning of his masculinity, says he is having a child. Geary is nonplussed.

Don returns home and is scared by Cooper moving around the house quietly. He is a dog. Not likely to be partying. He speaks to his wife by video and gets a peek at her cleavage – highlight of the film – and turns in for the night. The next day, whilst working on the plumbing under the kitchen sink, in perhaps the tightest space it is possible for to get one’s head into, and banging around with a mallet – a plumbing expert. Not. – smashes into a wall that releases black gunk all over him.

Don goes outside and washes himself off at a standpipe. While he is trying to clean himself, a woman starts giggling. He turns to see a young woman. He asks her why she is there. She tells him she likes the old house but it is usually empty. He tells her that he has bought it. She flirts a little more and leaves.

Don goes for a run. When he gets back and tries to use the shower, an old creaky, partially rusting shower, that he has just decided to stand under without testing, it all goes wrong and he ends up raging again. Don gets back to decorating. The young woman returns in the evening. Don invites her into the house for a beer. Don and the woman have sex. She leaves, Don, seeing her out.

He returns to the house and hears a loud crash. A ceiling in one of the upstairs rooms has fallen in. Don talks to Liz and, once again, shows her the damage without ever turning the phone. The next evening the woman returns. Don politely declines her advances. She leaves. Don goes to sleep and has a vivid dream about his wife and the young woman and is shocked awake by the same woman changing to a horribly disfigured woman.

It is the weekend and Milo Stone (Travis Delgado), a friend, comes to help Don. He looks at the collapsed ceiling. He does not think Don has enough tools. They get to work on the ceiling. Later, the two men head to the, now strangely bustling, bowling alley. Milo meets Geary and tells him how Don was a bit of a high roller in Chicago.

Geary jokes that Don swapped the penthouse for a whore house, telling them how the old house he has bought used to be a house-of-ill-repute. Don scoffs, noting that it has not been a brothel for over a century. The next day, Don wakes to find Milo already working. Milo tells him that his assistant has made coffee.

Don finds the young woman in the kitchen. He confronts her aggressively, finding out that she is Sarah Yates (Sarah Brooks) – everyone in the film is given a surname even though it is never used – asking her why she is there as he had explained his situation with his wife. Milo sees the exchange.

After Sarah has left, Milo confronts Don about his conduct. Don leaves the house, angry at having been called out for his decisions. He tells Milo if he does not like it, he can leave. Milo gets back to work. He hears a noise coming from the basement and goes to investigate. He sees Sarah. She hits him in the face with a hammer. An injured Milo tries to escape the basement. The disfigured girl is at the top of the stairs. Sarah bashes his head in.

Don returns and thinks Milo has left. Later he speaks to Liz, showing her – well not really, never turning the damn phone – the work they have done. A woman walks past whilst he is talking to her and Liz asks who is there. Don, thinking he is alone, looks around the house. He does not find anything. The next day he changes the locks.

He gets another visit from the pastor. She asks him if he wants to talk. He tells her it has been hard. She replies, somewhat cryptically, that the house is difficult. Cooper hears a noise in the house during the night and goes downstairs – a non-barking dog – to check it out. The next morning, Don wakes up looking for the dog. He ends up in the laundry room and finds the tumble dryer running. The dog is dead inside of it.

Don calls the police. Patrolman Weaver (Bishop Stevens) comes to the house. Don tells him that he thinks it was Sarah. Weaver does not know of any Sarah and there is no sign of a break-in to the property. Don rages. Again. The patrolman leaves his card, telling Don to call him if anything else happens.

Don sits in his front room drinking a beer. A marble rolls towards him. He looks up to see Sarah standing in the room. Don apologises to her for the way he treated her. He tells her he has a present for her in the kitchen. As she goes to the kitchen he smashes her in the head with a hammer killing her.

He wraps her body up and takes it to the basement, planning to bury her in the wall. He is interrupted by a call from Liz. She wants to know what he is doing. Don, the calm individual that he is, rages at her and ends the call. He returns to the basement and the body is gone. He searches around the house for her. He finds a child’s room with strange drawings on the walls.

He drills a hole in his wall and puts a camera into it – yes, I know, barely has tools but has a pinhole wall camera – to see what is in the walls. Something moves and starts giggling in the walls, spooking Don. He grabs a hammer and starts smashing into the wall. He finds Milo in the wall. In the other holes he has smashed in the wall – for some reason he smashes several holes into the wall at random heights – there is something breathing.

He goes to try and contact Weaver. A photo comes up on his phone. It is Sarah giving him the finger and a message: actions have consequences. He turns to see the disfigured woman emerging from a draw. A marble rolls towards Don and gets under his skin. A screaming Don cuts into his leg just below the marble and follows the marble as it travels painfully up his leg. I have no idea why he did not cut above the path of the marble, I suppose it would have shortened the scene.

It runs up to his neck and he puts the knife into his neck. Yeah, he does. He screams, writhing on the floor as the disfigured woman watches him. The marble bulges below his eye and pops out. Don scrambles across the floor screaming at the disfigured woman. She releases several more marbles.

Liz turns up at the house. She has come to surprise Don. She looks around the house and goes down to the basement. As she comes back up she meets Sarah. She is somewhat sceptical of Sarah’s story, that she works for Don. The doorbell rings. It is the pastor. Liz goes to tell Sarah that she is going to talk to the pastor but Sarah has disappeared.

Liz returns to the pastor and invites her in. The pastor tells her she would rather talk on the porch. The pastor asks her about her marriage, intimating that the house test marriages. Liz returns to the house. She sees an eyeball in the sink. She calls Don’s phone and finds it in the house. She goes and sees the pastor.

Liz tells the pastor about Don’s less than salubrious character, telling her he defrauded clients and cheated on her whilst she was pregnant. The pastor, who is not particularly helpful, tells her that some can make the house a home and some can’t. Okay then. Liz returns to the house. The house is a brothel with men everywhere and Sarah putting on a BDSM show. Liz, obviously emboldened and crazed by pregnancy hormones, walks around the house screaming for her husband.

Every room she goes into, something strange is happening. Liz, eventually decides she should leave the house but is stopped by Sarah recounting the history of the house. She then comes after her with a knife. Liz runs into a bedroom and locks the door. A bloodied Don emerges from another bedroom. Liz tells him they have to leave. Don says it is not that easy. He says he is going to change. He slices down the centre of his face and Sarah’s head is underneath his face.

Liz leaves the bedroom. She sees Milo in the wall. He laughs at her. The disfigured woman squeezes out of a hole in the wall but Liz smashes her head with a hammer. Sarah goes over to the corpse of the disfigured woman. Liz leaves the house. She finds the pastor sitting outside the house.

Liz looks to the pastor. She knew. The pastor says she did but everyone has to make their own choice – whatever the heck that means. Liz goes back into the house and bashes another hole in the wall, this time finding a mummified corpse – I’m assuming it is Sarah but there is no explanation and I’ve suffered this film twice! – she and the pastor bury the corpse.

Six months later and Liz has had the baby and has stayed in the house – because of course, one would – she comes to see the baby, telling it that they are going to the park after its nap. Liz leaves the room. Marbles drop into the cot where the baby is. Don looks down on the baby from a grill above. The end.

Girl on the Third Floor is awful on a level that is hard to explain. It is badly written, woefully acted – except for Dunn as Liz – and makes no sense whatsoever. The directing, especially when it came to verbal exchanges was amateur in the extreme, with each character just saying their line whilst in the shot. No reaction shots, no movement, no change of depth or distance to affect a particular vibe.

The film takes an inordinate amount of time to get going and the victims – Milo; undeserving plus black man always dying first, Cooper; undeserving though a smarter dog might have barked and Don; deserved but you’re beyond caring by that time.

Four people – FOUR – wrote this nonsense – Trent Haaga, Paul Johnstone, Ben Parker and Travis Stevens. Stevens also directs. How four people could read this and think it not only made sense but would make an entertaining film is beyond me. It is difficult to see what sort of story they were trying to tell.

There are – unfunny – elements of humour in the script but in no way could they have been aiming for a horror-comedy. The scene they show in preview on Netflix is one of the best bits of the film and nothing happens in that clip.

Girl on the Third Floor – one really has no idea how many floors the house has and it is a title with no meaning – is a wretched, uninspired, pointless and dreadful piece of cinema. Give the widest of berths.

The Myth Of Equality

Life is not fair. Just want to reiterate that right off the bat. Even the most myopic, optimistic, news avoiding individual, cannot fail to notice that life, for a lot of people,  sucks.
  If you are a bleeding heart, liberal, rose tinted, glass-is-half-full, everything-is-awesome, kind of person, I suggest you stop reading now. This blog post is not for you. Go read one of the gazillion positive quoting, you-are-what-you-think, ‘there’s a reason for everything’ blogs out there and good luck. This post is for the realist and those who cannot quite understand why none of the aforementioned ever sat right with them.
  There is only one absolute: you are going to die. It is unavoidable and non negotiable. I do not care how religious, pious, good, bad, healthy, unhealthy, black, white, yellow, straight or gay or abstaining you might be; you are going to die.
  You may get lucky and die in your sleep or while you sleep – they are different. There is quite a morbid and medium possibility, that you will succumb to some disease. There are accidents, incidents, random happenings and deliberate acts, all of which can result with one’s departure from this mortal coil. Life is not fair. So why do people think it should be equal?
  Equality is a nonsense. Ever since one man discovered he could dominate another by bashing him with a rock, equality has been a lost cause.
  The haves are never – never – going to relinquish power to the have nots. Why would they?  Human beings are, by their nature, avaricious, wanting to claim whatever they can get their hands on. They also, when in power, like to choose. That’s what power affords them.
  Before media and advertising, the fittest and most virile would get together, thus giving the species, or familial line, the best chance of survival. The weaker people died off.   As media began to shape the public view, those considered attractive would get the pick of partners. Riches, whether they be property and finance or, in times past, physical riches, also got the pick of the crop. Nature’s fairness. 
  With the advent of democracy,  the under represented increasingly found a voice. Women since the sixties, have campaigned for equal pay, equal respect, equal opportunities. As have many, non white, minorities. The working classes have long campaigned for equal footing in governance. The have nots want housing they can afford to purchase, as opposed to renting off – thus increasing the wealth of – the haves. These are all legitimate and worthy causes. Some might even say they are reasonable.  Why shouldn’t there be more equality? Let me explain.
  As much as it would be wonderful for all things to be equal, they are not. Men are generally stronger than women, women tend to live longer than men. Sprinters tend to be black; classical musicians tend to be white. Third world countries are all in the non white parts of the world. These are just a few general inequalities.  There is more. Bill Gates is richer than you. He’s probably smarter too. As is Richard Branson, Oprah Winfrey and The Queen. Three of them worked hard to accumulate their wealth, the other was born to it. Not equal, not fair.
  There are countless couples, pairings, around the world who, for whatever reason, are unable to have children or a child. Yet we can regularly read about people who have more children than they know what to do with, living off of the state or worse abusing their offspring.
  Some people are smart, a lot are dumb. Some are charismatic,  most are not. Traits amongst the populace are not apportioned equally. The world is amazing, a truly mind boggling place. So many terrains, creatures, climates, quite astounding. What it is not, is equal.