Search results
Results from the WOW.Com Content Network
Ruby Franke, the Utah mother of six who branded herself as a parenting expert and garnered millions of subscribers to her now-defunct YouTube channel, "8 Passengers," was driven by "religious ...
Jodi Nan Hildebrandt (born January 17, 1968) is an American convicted child abuser, former counselor, retired businesswoman, and YouTuber.On August 30, 2023, Hildebrandt and Ruby Franke were arrested in Washington County, Utah, and charged with six counts of aggravated child abuse of two of Franke's children under Utah law, four counts to which she pled guilty.
Franke ran the YouTube channel "8 Passengers" that garnered over 2 million subscribers. The channel has since been deleted. "Things can get crazy with six active kids, but we can find true joy in ...
In early 2015, Franke created a YouTube channel called 8 Passengers in which she documented her family life in Utah with her husband Kevin and their six children. [6] [7] [8] She originally posted five days a week at 6:00 a.m. [6] As of June 2020, the channel had around 2.5 million subscribers [9] [10] and amassed 1 billion views. [11]
Ruby Franke, the Utah mom behind the now-defunct family YouTube channel "8 Passengers," was arrested Wednesday on child abuse charges after authorities found a malnourished minor with open wounds ...
Stunning is a dramatic stage play written by American playwright David Adjmi. [1] The play tells the story of sixteen-year-old Lily, who lives in a Syrian-Jewish community in Brooklyn with her much older husband. Her worldview changes after an unlikely friendship with her African-American maid. [2]
The former first started her YouTube channel 8 Passengers in 2015 as a parenting advice account. It ran for seven years before she ended it and started up a new channel with Hildebrandt focused on ...
Kroetz may not have meant to leave a loophole [with the ending], but it only enriches his play." [5] Katie Mitchell has called it a "difficult, beautiful play." [7] A writer noted in The Herald that in 2011, the play continued to enjoy a level of attention uncommon for works by German writers of Kroetz's generation. [3]