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Published: 15:05 BST, 5 February 2019 | Updated: 19:37 BST, 1 November 2020
A 21-year-old woman has been charged with incest after competing with her half-sister over who could have sex with their father first.
Samantha Kershner and her 39-year-old father Travis Fieldgrove were both arrested last week in Hastings, Nebraska after police received a tip about their sexual relationship.
Police said Kershner and Fieldgrove both admitted to having a romantic and sexual relationship even though they knew they were biologically related.
They got married in October - just one month after finding out police were investigating them.
Samantha Kershner and her 39-year-old father Travis Fieldgrove were both arrested last week in Hastings, Nebraska for incest after police received a tip about their sexual relationship
They met for the first time three years ago when Kershner, then aged 17, told her mother she wanted to know who her father was.
Kershner and Fieldgrove met and maintained a father-daughter relationship for three years.
They told police they had sex for the first time in September last year. The pair would not reveal how their father-daughter relationship turned sexual.
According to charging documents, Kershner told police that she had a 'jealous competition' with her half-sister about who could have sex with their father first.
Kershner's mother notified police about their relationship in September.
Fieldgrove married his daughter the following month at the Adams County Courthouse after they found out they were being investigated for incest.
Police said Kershner and Fieldgrove both admitted to having a romantic and sexual relationship even though they knew they were biologically related
When they were questioned by police, Fieldgrove (above) said he didn't believe Kershner was his daughter because his name wasn't listed on the certificate
Marriage licensing requirements where they married state that both parties need to provide the full names of their parents before it can be approved.
Fieldgrove is not listed as Kershner's father on her birth certificate.
When they were questioned by police, Fieldgrove said he didn't believe Kershner was his daughter because his name wasn't listed on the certificate.
A paternity test that Fieldgrove and Kershner agreed to have in January found that there was a 99.999 percent probability that he was her father.
They were each charged with one count of incest and are both being held at Hall County Jail.
Fieldgrove's bond was set at $100,000, while Kershner is being held on a $20,000 bond.
They each face eight years in prison if convicted.
The pair told police they had sex for the first time in September last year. They would not reveal how their father-daughter relationship turned sexual
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Published by Associated Newspapers Ltd
Part of the Daily Mail, The Mail on Sunday & Metro Media Group

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"The girls arrive at their new house."
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Andy Muschietti (story) (screenplay) Barbara Muschietti (story) (screenplay) Neil Cross (screenplay)
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When Annabel hears the girls playing, she goes into their room to tell them how late it is and to go to sleep - but it's light outside. There are about 3 other times when it's supposedly nighttime and the light is streaming in through the windows.
Missing Pieces ® 2012 by Third String Tunes/EMI Music Publishing Ltd. Edición autorizada para España a EMI Music Publishing Spain S.A. All rights reserved. International Copyright secured. Performed by Jack White Courtesy of Sony Music Entertainment España, S.L. Courtesy of XL Recordings Ltd By arrangement with Beggars Group Media Limited
The title may be tacky, but this Canadian-Spanish co-production, with Guillermo del Toro lending his name as producer, is one of the better horror films to have come out from the West in recent years, despite being filled with the usual clichés, actually contain a proper story, and delivered really well in terms of chills, thrills and everything that's necessary to creep you out and make you jump at your seat. Co-written and directed by Andres Muschietti, Mama shows how it boils down to story, building upon his short film of the same name some 5 years ago, and a solid cast to gloss over the expected bag of tricks. Many of the clichés were put to good effect, which in some ways you'd come to expect certain things to happen in a certain way, and they did. While it may be blunted in terms of anticipation and build up, it didn't shy away from delivering that sucker punch when required, and kept good work in framing and editing for maximum impact when the moment called for the unabashed dip into tried and tested elements. One thing you'll note is how assured Muschietti's direction is, as if doing it all for the very first time, with the aim of wanting to stir up its scares really well. Liberal use of CG also helped, but never done in slip-shoddy fashion, which added a layer of positive production values to the film. I mean, there's creepy children, a ghoul that gate-crashes a reunion of sorts, and the usual spooky house no thanks to noises during strange timings, and the rote blinking of lights. All ingredients that you've seen utilized to the death in various horror film productions, but coming together really well in Mama, playing to the strengths of these elements while fiercely ignoring the negativity associated with lazier filmmakers who just slap these elements together, expecting them to work. It's not a special effects extravaganza when it's not required, and Mama showed just how its story and characters were allowed to lead, rather than to have strangely illogical moments, even for a horror film, fall coincidentally into place. Jessica Chastain may be the latest IT girl in Hollywood, and it's encouraging to note she's really going all out to take on various roles in different genres, despite her more recent art house leanings of late. Here, she's the quintessential scream queen, albeit only just, given her role of Annabel being a rock star wannabe, sporting almost full body tattoos that betray a rather soft demeanour, when her maternal instincts get called upon to look after the nieces of her boyfriend Lucas (Nikolaj Coaster-Waldau). They were found after having disappeared for five years, which the opening sequence and credits would have pointed to an unnatural upbringing under the hands of the titular Mama ghoul. Battling for custody, it is with reluctance that the couple take the children under their wing, probably because Annabel knows she'll eventually be dumped with the kids, which did happen. And the entire middle act is when the fun begins, for fans of horror films forking out good money to be entertained with the roller coaster ride of scares. Muschietti and his story collaborators Neil Cross and Barbara Muschietti managed to keep an entire back story up their sleeves, to reveal them in teasing fashion, which worked to keep you engaged throughout. And credit must go to Muschietti and his DP Antonio Riestra for having framed the initial introduction to the ghoulish elements that went for maximum WTF surprises, especially with sleight of hand techniques that didn't jar the narrative, nor relied on the necessity of a jump cut edit to hammer home its creepier moments. It grows, slowly, and that's one master stroke Mama had that worked wonders. This is the second film in a row that had its child actors provide top notch performances. Megan Charpentier and Isabelle Nelisse play sisters, who with the aid of CG move around complete with unnatural mannerisms, having it in term to creep you out, before having to develop their characters into emotional cores that added a lot more depth to this film as it steamrolls its way to the finale. Andres Muschietti is the name to watch now for taking something that's expected to be cliché in a horror film, but fulfilled more than you'd bargain for. A definite recommend!
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After a young couple take in their two nieces, they suspect that a supernatural spirit named Mama has latched onto their family. After a young couple take in their two nieces, they suspect that a supernatural spirit named Mama has latched onto their family. After a young couple take in their two nieces, they suspect that a supernatural spirit named Mama has latched onto their family.
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After the credits are over there is a brief clip where Lolita is shown
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Having not seen Kubrick's version, I can only say...
I fell in love with Nabokov's masterpiece. Upon hearing that there was a movie adapted from the novel (I am of a younger generation) I found it hard to believe that anyone could put into visual images and dialogue what had appeared in my mind as flawless. After seeing this remade version, I came away satisfied. Hearing what countless critics had to say has never changed my view. Of course, it can never come even close to the novel, but watching Lyne's version unfold in quiet and somber light brought to mind the exact same feelings I was experiencing reading the book. Certain things did bother me. Lolita's mother in particular. Hearing Melanie Griffith deliver lines as if she were reading to a group of school children set my teeth on edge, although she went down in fine style. And having the sole reason for Humbert's obsession with nymphets wrapped up in one neat reason(Annabel) was also hard to swallow. But Dominique Swain was nearly the perfect picture of the Lolita in my mind. Wistful, vulnerable, and a fierce manipulator all at once, it's hard to believe she'd never had acting experience beforehand. Perhaps a bit too old in certain lights, she still managed to carry off a difficult role and steal every scene she was in, much like Natalie Portman in "Beautiful Girls". Certain expressions were incredibly poignant. (Think of Lo's face when Humbert denied permission to be in the play. Think of her lipstick smeared smile after being caught going out when Humbert went to the market). The essence of this movie is what formed my opinion that this was a good film. The pacing, the comparison to Kubrick didn't matter when the mood of the entire film was left. Maybe the critics are right, and I'm missing something. But when the final scene appeared, that dreamy image of Lolita's face, I was completely satisfied that Lyne did the best job anyone could have.
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