Animation Hub / curvelle-side-effects-cartoon-nightmare-v2-2026-09-30

# curvelle-side-effects-cartoon-nightmare-v2-2026-09-30 — cartoon-h3 storyboard (Fish review BEFORE canvases)

VO: 100.78s, 317 words, 3.15 wps · 39 beats · 19 batches (≤15s, ≤4 panels, reveal/CTA ≤3)

Beat times come from the ElevenLabs word timings of the trimmed VO. A batch = one MiniMax H3 generation (canvas + hero refs + this batch's VO slice). Batch boundaries fall on pack-line ends only.

## Table storyboard

| Beat | Scene | Start–End (s) | VO | Visual | Env | Transition-in |
|---|---|---|---|---|---|---|
| 1 | 1.1 | 0.04–3.08 (3.0) | If your family tells you to eat something at every dinner, | At a crowded family dinner table, the narrator sits with a full plate in front of her, thin arms resting near the edge, round stomach pooch pushing over the waist of her jeans. The aunt leans in, spooning more food onto the plate. The narrator gives a tight, strained smile. | dinner-table | hard cut |
| 2 | 1.2 | 3.23–5.33 (2.1) | these drops come with side effects. | Close on the same dinner table: the grandma points a finger at the narrator's thin arms while the aunt keeps spooning food onto the overloaded plate, both talking at once. The narrator sits stiffly between them, her tight smile fixed, eyes moving from one relative to the other. | dinner-table | camera pushes in toward the narrator and the two relatives |
| 3 | 2 | 5.72–6.87 (1.1) | Side effect number one. | A bold number card reads as a graphic overlay on a softly blurred, out-of-focus hold of a family dinner table: plates, glasses and serving dishes in warm light, with blurred figures seated around it. The camera holds steady, no one moves, the mood calm. | dinner-table | hard cut |
| 4 | 3 | 7.14–11.06 (3.9) | The people who told you to eat something are going to run out of things to say. | At a family dinner table, the aunt sits leaning forward with her mouth shut and eyebrows raised, frozen mid-sentence. Beside her the grandma stares back with lips parted, equally stuck. Across from them the narrator sits watching with an amused half-smile. | dinner-table | hard cut |
| 5 | 4.1 | 11.34–13.19 (1.9) | Your aunt. Your grandma. | Across a dinner table, the aunt leans forward mid-sentence with her arm extended, finger pointing straight at the narrator. Beside her the grandma nods slowly. The narrator sits opposite, her jaw tightening and brows drawing together in visible irritation. | dinner-table | hard cut |
| 6 | 4.2 | 13.34–15.40 (2.1) | The coworker who called you a stick. | A small inset frame shows the coworker at an office desk, raising both hands to make air quotes as she speaks. The dinner table scene stays visible around it, with the narrator's face tight with irritation, lips pressed and eyes narrowed. | dinner-table | an inset window opens in the corner of the frame, showing the office desk |
| 7 | 5 | 15.67–18.92 (3.2) | At the next family dinner, they're going to ask what you've been doing. | At the family dinner table, the narrator sits upright and relaxed in her chair, small waist, full round backside, flat stomach, a calm confident smile. Across from her the aunt and grandma lean far forward, eyes wide, pointing at her and asking questions with open mouths. | dinner-table | hard cut |
| 8 | 6 | 19.19–20.26 (1.1) | Side effect number two. | Static title card: a bold block-letter number two with the words side effect beside it fills the center of the frame, set over a softly blurred bedroom closet with hanging clothes, a shelf of folded sweaters and a half-open door. The blur drifts slightly. No people appear. | bedroom-closet | hard cut |
| 9 | 7 | 20.53–22.47 (1.9) | You're going to lose your hiding spots. | Inside a bedroom closet, the narrator, with a full booty and flat stomach, pulls an oversized grey hoodie off its hanger and tosses it into a donation bag on the floor. She grins with satisfaction, the emptied hanger swinging on the rail beside her. | bedroom-closet | hard cut |
| 10 | 8.1 | 22.74–23.85 (1.1) | The hoodie in July. | In bright summer daylight, the narrator, a young adult woman with a round stomach pooch and flat backside, pulls a grey hoodie down over a tank top. Her shoulders are hunched and her jaw is tight as she tugs the fabric over her stomach. | bedroom-closet | hard cut |
| 11 | 8.2 | 24.00–25.65 (1.6) | The leggings under your jeans. | On the bed, a pair of folded leggings is being pulled up and layered under a pair of jeans. Her hands smooth the denim over the fabric. Her face is tense and hurried, her eyes fixed on the waistband. | bedroom-closet | hard cut |
| 12 | 8.3 | 25.80–27.43 (1.6) | Showering with the lights off. | In a dim bathroom, the narrator's hand reaches for the light switch and stops just short of flipping it on. Her fingers hover against the wall. She lowers her arm, her face tired and resigned, and steps toward the shower. | bathroom | camera pans right to reveal the dim bathroom |
| 13 | 9 | 27.70–28.79 (1.1) | You won't need them anymore. | In a bright morning bedroom with the lights on, the narrator, a young adult woman with a full backside and a flat stomach, walks straight toward the camera in a fitted tee and jeans, no hoodie. She looks ahead with a calm, confident smile, passing an empty hanger on the closet rail without a glance. | bedroom-closet | hard cut |
| 14 | 10 | 29.06–30.23 (1.2) | Side effect number three. | A soft-focus bedroom mirror fills the frame, its glass and wooden edge blurred into pale shapes. Nothing moves and no one is visible. A bold title card with the number three sits centered over the blur, held steady, the mood calm and expectant. | bedroom-closet | hard cut |
| 15 | 11 | 30.50–33.23 (2.7) | You're going to stand sideways in every mirror you pass. | In a bedroom, the narrator, a young adult woman with a small waist, flat stomach and full round booty in tight jeans, stands before a full-length mirror and turns sideways. She checks her side-profile reflection over her shoulder, a pleased smile spreading across her face. | bedroom-closet | hard cut |
| 16 | 12 | 33.50–36.60 (3.1) | Your jeans get tight in the back first, and you'll keep checking. | Close shot on the back pockets and waistband of the narrator's jeans as she turns in front of the bedroom closet mirror. The denim is visibly snug across her backside. She glances back over her shoulder, half-laughing at herself, cheeks lifted in an amused smile. | bedroom-closet | hard cut |
| 17 | 13 | 36.87–39.42 (2.6) | Side effect number four, and this one's real. | A blurred kitchen fills the frame: soft-focus counter, cabinets and a table in warm out-of-focus tones, with no people in view. Bold flat title-card style lighting sits over the blur, and the camera holds steady on the empty room as the scene settles. | kitchen | hard cut |
| 18 | 14 | 39.69–40.94 (1.2) | Some women eat a little more. | In a dimly lit kitchen at night, the narrator stands at an open fridge, its cold light washing over her. Her full booty and flat stomach show in profile. She holds a snack in one hand, turns toward the camera, and shrugs with a light, unbothered smile. | kitchen | hard cut |
| 19 | 15.1 | 41.20–41.79 (0.6) | Fine. | A simple glowing side-profile silhouette of the narrator stands in the empty space where the kitchen was, outlined in soft light. Beside her floats a cluster of plain food shapes. She stands still, chin slightly raised, with a resigned, flat expression. | kitchen | hard cut |
| 20 | 15.2 | 41.81–43.51 (1.7) | The order decides where it goes. | Bright arrows leave the cluster of food shapes and split into two paths. One arrow curves down to the glowing silhouette's hips. The other stops short at her stomach. The narrator's silhouette stays still while the arrows move. | kitchen | camera pushes in on the food cluster as the arrows burst outward |
| 21 | 16 | 43.78–44.44 (0.7) | Here's why. | The narrator, a young adult woman, stands facing the camera and extends one open hand toward a softly glowing silhouette diagram floating beside her like a whiteboard. Her eyebrows are lifted and she smiles warmly, inviting the viewer to look closer. |  | hard cut |
| 22 | 17 | 44.71–46.29 (1.6) | Your body has a storage order. | Two side-profile silhouettes stand side by side against a plain dark backdrop, each outlined by a faint warm glow. The left silhouette is full and rounded at the hips and thighs. The right silhouette is full only at the stomach. Both stand still, facing the same direction, calm and neutral. |  | hard cut |
| 23 | 18.1 | 46.56–48.61 (2.1) | Some women gain in their hips first. | Two side-by-side silhouettes stand in front of a plain backdrop. Golden particles stream into the first silhouette and gather warmly at its hips, where a small arrow points to the glowing spot. The silhouette stands still and calm while the particles settle. |  | hard cut |
| 24 | 18.2 | 48.76–52.91 (4.2) | If you're skinny with a little stomach, you gain in your stomach first. | The second, skinnier silhouette fills the frame beside the first. Golden particles stream into it and collect at its stomach, where a small arrow marks the glowing spot. The silhouette stands still while the particles pool and brighten. |  | camera pans right from the first silhouette to reveal the second, skinnier one |
| 25 | 19 | 53.19–58.57 (5.4) | That's why the shakes and the 'just eat more' gave you a belly and left your butt flat. | On a kitchen counter, a white plastic shake tub with a red lid stands beside a clear shaker cup. A stream of glowing particles pours from the tub and lands only on the narrator's stomach silhouette. Her hips silhouette stays empty behind a flat-backside outline. Neutral, flat mood. | kitchen | hard cut |
| 26 | 20.1 | 58.84–60.94 (2.1) | Weight gainers don't change the order. | A white plastic shake tub with a red lid slides along a kitchen counter, pushed away from the narrator toward the far edge. She stands at the counter, arm extended, watching it go with a flat, unimpressed expression. A thick stream of particles rises from the tub. | kitchen | hard cut |
| 27 | 20.2 | 61.09–63.00 (1.9) | They add more to the front of the line. | Close on the same white tub with the red lid near the far counter edge. The particle stream from it grows thicker and pools only at the narrator's stomach, gathering there in a dense cluster. Her hips stay clear of particles. She looks down at her stomach, jaw tight. | kitchen | camera pans right to reveal the narrator's torso as the stream thickens |
| 28 | 21.1 | 63.27–65.86 (2.6) | You can't pick where it goes. Your hormones pick. | The narrator stands at the kitchen counter beside the glowing mechanism silhouette diagram, one hand raised palm-up as if explaining, her expression earnest and slightly frustrated. The counter beside the diagram is empty. She looks straight into the camera. | kitchen | hard cut |
| 29 | 21.2 | 66.01–67.76 (1.8) | Curvelle works on the picker. | The narrator smiles with quiet confidence at the kitchen counter as a brown amber glass dropper bottle with a black ribbed screw cap and black rubber bulb, beige label reading CURVELLE BOOTY DROPS, sits set down beside the glowing diagram, label facing camera. She rests one hand beside the bottle. | kitchen | camera pushes in slightly as the bottle is set down on the counter next to the diagram |
| 30 | 22 | 68.03–69.72 (1.7) | Stomach last. Shape first. | A glowing side-profile silhouette of the narrator stands centered against a dark background. A bright arrow at the stomach is struck through with a glowing red X. Two arrows light up and stay lit at her hips, thighs and booty. Her body does not change. |  | hard cut |
| 31 | 23 | 69.99–72.20 (2.2) | Ashwagandha quiets the front of the line. | Close shot of a small pale ashwagandha root resting on the kitchen counter. Behind it, the narrator's side-profile silhouette stands still. A soft calming glow washes over her stomach area, and the stream of particles at her stomach side slows and quiets. Her posture eases. | kitchen | hard cut |
| 32 | 24 | 72.47–78.58 (6.1) | Helba, the herb Moroccan women have used for generations to fill out before their weddings, opens the shape. | Close shot of a clear glass jar with an open brass lid on a kitchen counter, filled with small golden seeds. A brief warm sepia flash shows an older Moroccan woman pouring the same seeds into a young bride's cupped hands, then color returns and a warm glow spreads across the hips and thighs of the silhouette. | kitchen | hard cut |
| 33 | 25 | 78.86–80.26 (1.4) | Beetroot carries it there. | Close shot on a kitchen counter. A deep red beetroot sits beside the helba jar. A soft red glow rises from the beetroot and carries a stream of small particles downward into the narrator's silhouette, where they settle in her hips and glutes. She stands still, calm and attentive. | kitchen | hard cut |
| 34 | 26 | 80.53–84.40 (3.9) | One dropper a day. No shakes. No syrup. Nothing to force. | Close-up on a morning kitchen counter: the narrator's hand holds a black-capped dropper above a glass of water and squeezes one drop in, her face calm and satisfied. Beside the glass stands the brown amber CURVELLE BOOTY DROPS bottle, label toward camera; a closed white tub sits pushed to the back, untouched. | kitchen | hard cut |
| 35 | 27 | 84.67–86.25 (1.6) | So those are the side effects. | In her kitchen, the narrator, a young adult woman with a full rear and a flat stomach, turns toward the camera and faces it directly. Her arms are loosely crossed over her chest. She has a small knowing smile. The counter and cabinets behind her are plain and empty. | kitchen | hard cut |
| 36 | 28 | 86.52–88.64 (2.1) | Gain it where you want it. Not your stomach. | The narrator, a young adult woman with a curvy figure, stands upright in the center of the frame facing the camera with a confident smile. She extends one open hand, palm up, toward her own hip. Her body is unchanged from the previous moment. A blank bright space sits beside her. |  | hard cut |
| 37 | 29.1 | 88.91–92.57 (3.7) | If you can handle your family asking what you did, it sells out all the time, | At the family dinner table, the aunt and grandma lean in toward the narrator with curious, raised-eyebrow expressions, asking what she did. The narrator sits between them, smiling and shrugging one shoulder, relaxed and unbothered, same framing as the earlier dinner scenes. | dinner-table | hard cut |
| 38 | 29.2 | 92.72–97.93 (5.2) | it's up to seventy-one percent off right now, and you get 60 days to see it or every dollar back. | Same dinner table composition: the aunt and grandma still lean in, the narrator still smiling and shrugging. A flat offer card fades in over the corner of the frame, reading "UP TO 71% OFF" and "60-DAY MONEY-BACK GUARANTEE", while the three women stay in place. | dinner-table | the offer card fades in over the corner of the frame while the table stays unchanged |
| 39 | 30 | 98.20–100.55 (2.3) | If you'd rather keep the hoodie, keep scrolling. | The narrator stands facing the camera in fitted jeans, holding the brown amber glass dropper bottle with black ribbed cap up beside her face, beige label toward the lens. She gives a playful smirk. Behind her, a folded grey hoodie sits in a bag. |  | hard cut |

## Batches

- **Batch 1**: beats 1–2 · 0.04–5.33s (5.3s) · 6s generation · 2 panel(s) · ends on "…with side effects." 
- **Batch 2**: beats 3–3 · 5.72–6.87s (1.1s) · 5s generation · 1 panel(s) · ends on "…effect number one." 
- **Batch 3**: beats 4–6 · 7.14–15.40s (8.3s) · 9s generation · 3 panel(s) · ends on "…you a stick." 
- **Batch 4**: beats 7–7 · 15.67–18.92s (3.2s) · 5s generation · 1 panel(s) · ends on "…you've been doing." 
- **Batch 5**: beats 8–8 · 19.19–20.26s (1.1s) · 5s generation · 1 panel(s) · ends on "…effect number two." 
- **Batch 6**: beats 9–9 · 20.53–22.47s (1.9s) · 5s generation · 1 panel(s) · ends on "…your hiding spots." 
- **Batch 7**: beats 10–12 · 22.74–27.43s (4.7s) · 5s generation · 3 panel(s) · ends on "…the lights off." 
- **Batch 8**: beats 13–13 · 27.70–28.79s (1.1s) · 5s generation · 1 panel(s) · ends on "…need them anymore." 
- **Batch 9**: beats 14–14 · 29.06–30.23s (1.2s) · 5s generation · 1 panel(s) · ends on "…effect number three." 
- **Batch 10**: beats 15–16 · 30.50–36.60s (6.1s) · 7s generation · 2 panel(s) · ends on "…you'll keep checking." 
- **Batch 11**: beats 17–17 · 36.87–39.42s (2.6s) · 5s generation · 1 panel(s) · ends on "…this one's real." 
- **Batch 12**: beats 18–18 · 39.69–40.94s (1.2s) · 5s generation · 1 panel(s) · ends on "…a little more." 
- **Batch 13**: beats 19–22 · 41.20–46.29s (5.1s) · 6s generation · 4 panel(s) · ends on "…a storage order." 
- **Batch 14**: beats 23–25 · 46.56–58.57s (12.0s) · 13s generation · 3 panel(s) · ends on "…your butt flat." 
- **Batch 15**: beats 26–27 · 58.84–63.00s (4.2s) · 5s generation · 2 panel(s) · ends on "…of the line." 
- **Batch 16**: beats 28–30 · 63.27–69.72s (6.5s) · 7s generation · 3 panel(s) · ends on "…last. Shape first." REVEAL product
- **Batch 17**: beats 31–33 · 69.99–80.26s (10.3s) · 11s generation · 3 panel(s) · ends on "…carries it there." 
- **Batch 18**: beats 34–36 · 80.53–88.64s (8.1s) · 9s generation · 3 panel(s) · ends on "…Not your stomach." product
- **Batch 19**: beats 37–39 · 88.91–100.55s (11.6s) · 12s generation · 3 panel(s) · ends on "…hoodie, keep scrolling." CTA product