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neptuneiris · 4 months

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Behind the Scenes (04/05)

Behind the Acceptance

pairing: actor!aemond × fem!reader

summary: there are new changes for you and Aemond, he wants to rectify himself for past mistakes and you get used to your new life with the father of your son present.

word counter: 10.2K (consider it as a christmas gift, love you all❤)

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I'M SO SORRY!

i know the wait has been too much and you don't know how sorry i am. i experienced stress during my last week of uni before leaving for vacation and i got a new job, which consumes my time and i couldn't edit or do any writing, but i managed to find small times to write and that's why it's taken me so long. i appreciate your understanding, really🥺

I would like to wish you all merry christmas and a happy new year, my best wishes to all of you and also to your families, have a great time and God bless you all beautiful people, you are amazing and truly thank you for so much🥰

now yes, enjoy!

warnings: aemond dad melting our hearts and that's it:)

When Aemond told you to please go back to work and stop running away so that the two of you could face all this together, you didn't quite understand what he meant by 'go back to work'.

However, the next morning after waking up and starting to prepare breakfast for Aenar, you received an unexpected call that answered your question.

It's an unknown number so you accept the call with some caution.

"Y/N speaking? This is Michelle Watson, from the Warner Bros studio production department," she says and your heart jumps.

"Hello?"

You speak on the other end of the line, holding your phone to your ear.

It's HBO, who Aemond is working with right now and where you left your job thrown after unexpectedly meeting him again.

Nerves soon set in and you hold your breath, already feeling ashamed for leaving the shooting set like that without saying anything to anyone and creating a complete circus the moment Aemond called your name in the trailer in front of everyone.

"Yes, she speaks," you reply nervously.

"We want to inform you that despite what has happened, we understand it and the circumstances that led you to leave unexpectedly during your working hours," she tells you in a soft and formal voice, "And we will expect you tomorrow without any problem to resume work."

You frown completely, hesitate a little and blink several times in disbelief, not quite understanding.

"I'm sorry… what do you mean by resuming work?" you ask, barely able to contain your own surprise and disbelief.

"Some conversations took place," she explains, "Mr. Targaryen was quite insistent on convincing the production team to reconsider your situation. He advocated on your behalf, explained the circumstances and your entire track record as an excellent professional makeup artist so that you could continue to work with us."

With your lips parted and your eyes wide open, you are speechless for a moment, staring at a spot in your living room with your heart pounding, definitely not expecting to hear any of this after everything that has happened on this day.

You didn't even expect Aemond to decide to do this for you after everything that happened with him and Criston.

And just when you were starting to worry about how you were going to pay the rent for this apartment and even started to make a schedule in your mind to go get a job somewhere else tomorrow or even today.

"So if there's no problem and everything is fine with you, we'll expect you tomorrow at 7:00 A.M."

Completely speechless.

You can't even control your own heart rate.

But in spite of that, you can't help but feel a huge relief run through your entire body, where you still feel overwhelmed by the generosity and gesture of trust they are offering you, but you definitely feel completely relieved and grateful.

"Yes, yes, of course," you hasten to say, trying to control your emotions, "I'll be there. Thank you so much."

They give you a few more details, you ask few more questions and finally end the call, which leaves you with mixed emotions as you silently contemplate that you still have this new possibility of a better life for you and Aenar.

But you also think about Aemond.

And you will also wait to see how Aemond's integration into your son's little life will be now.

You really appreciate this gesture, you know that only he can do something like this with his influence and connections.

And in fact it gives you the confidence that he will keep his word that no one else will interfere in your and Aenar's life, only the two of you will make the decisions.

Arriving at the recording set, you leave Aenar in the nursery and then you enter the corridors of the whole big production, which is buzzing with its usual atmosphere with its twinkling lights, technical equipment with the huge cameras, microphones and all the sets ready.

You honestly feel nervous knowing that tomorrow you and Aemond will be working in the same place again, like in the old days.

But that's why you try to be as prepared as possible and you won't let all kinds of personal matters interfere with your work.

And once you arrive, you take a moment, take a deep breath and push open the door, where that familiar atmosphere once again envelops you.

You don't even know why but your heart is pounding as you walk down the halls and every step leads you to your area, the makeup and wardrobe trailer.

You assume it's out of shame after what happened yesterday.

Unfortunately your entrance doesn't go unnoticed and as you close the door behind you as you walk just a little into the trailer, some curious faces turn to see you, including Jess, who stops her usual routine and rushes over to you, her eyes wide with surprise.

You hug her back gently, feeling relieved and less tense by the warm welcome from Jess who, even though the two of you don't know each other very well, she actually seems like a very nice person and her personality shows you that.

"Ah Y/N, what a relief to see you again!"

She exclaims with her tone full of joy.

"God, I thought you wouldn't come back," she says as she hugs you excitedly, providing you with some comfort.

"I'm so sorry about yesterday," you say with a regretful gesture and you both break the hug, "I shouldn't have left like that and you don't know how embarrassed I feel. I'm really sorry."

"Oh no, don't worry about it," she assures you instantly, making a nonchalant gesture, "That's all in the past. The important thing is that you're back and I can't tell you how much I appreciate it," she comforts you with a small smile, "We have a lot of work to do today and we need to get you up to speed right away."

Jess, full of energy, ushers you further into the trailer while you greet your other co-workers. Then she explains the day's itinerary precisely, pointing out schedules, wardrobe changes and other important details.

All the while you nod, thanking her for her guidance and trying to keep up. In the midst of all the preparations, the huge door opens again and Aemond is now the one who makes his presence known.

Your gaze meets his and you see the obvious and unexpected surprise in his eyes at seeing you again, but there's not much reaction from either of you as instantly the makeup artists call him over and guide him to start prepping him for today's filming scenes.

And Jess also takes your arm, guiding you to the back of the trailer where the dressing rooms are located explaining what you will be doing, forcing you to look away from him.

And you can only feel Aemond's gaze on you until he loses sight of you.

Jess continues to explain to you, but you can't help but think and wonder certain things, like if everyone here, even Jess, knows about you and Aemond... what you once were and that you have a child together.

The behavior of both of you yesterday was very obvious, that's what you would think if you were an expectant one, so surely there must be some speculation.

And at that moment you remind yourself that your priority right now is your work and that the personal should be kept out of your work environment, so you shouldn't even think about it.

Finally you focus on following Jess's directions, putting aside distractions and preparing for the day.

Jess leaves you alone to take care of her own work and you start with yours, where you spend about an hour still in the back of the trailer, where you check and prepare the costumes that already have to be ready for the scenes that will be filmed soon.

When in the middle of everything, you hear some footsteps approaching behind you and thinking it must be one of the other actors or one of your co-workers, you turn around and the first thing you notice is that silver hair.

Aemond enters this section of the trailer a little unsure, without saying anything, while you also watch him without saying anything.

He is ready to record his scenes with that scar on the left side of his face that his character has and he only lacks the costume.

Until finally he speaks first.

You knew that having a conversation with him again would happen soon, so you're not surprised.

But for a moment there is a tense silence and a slight nervousness and insecurity on the part of both of them, where a clash of emotions is reflected in each other's gazes.

"Hey," he says in a soft, low voice, taking a couple of steps towards you.

You try to smile a little in his direction, not knowing exactly what to say or what to do.

"Hey," you wave back.

There is an awkward pause before Aemond again takes the initiative, taking a few cautious and slow steps towards you.

You bite your lips and lower your gaze for a moment, as he puts a hand to the back of his neck and looks so insecure and nervous standing there, surprising you a bit, as that behavior in him is unusual.

He usually always has that confident attitude in everything he says and does.

"I'm glad you're back," he admits to you, his low tone full of sincerity, "It's good to see you around again."

His words and that friendly gesture take you a bit by surprise, and although you still feel overwhelmed by the unexpected situation, you appreciate the way he is leading in handling all of this to start working together for Aenar's well-being, leaving past tensions behind.

"Thank you," you reply, feeling that sense of relief in your chest again, "Oh, hum… and thank you for talking to production so I could come back," you say a little shyly but gratefully, "You didn't have to."

He lets out a scoff in a nonchalant and also absurd gesture, frowning slightly his nose and forehead.

"Please, it was the least I could do," he tells you softly and with a warm tone, "Besides, it was nothing. I was just afraid you'd decide not to come back."

You hum in understanding.

"I thought about that," you confess to him, lowering your gaze for a moment, "But things were going to be easier for both of us with Aenar if I came back here," you explain, "Still, it was a very kind gesture of you."

Aemond nods, his gaze conveying a mixture of emotions that reflect both relief to see you back here, understanding, and also regret for the past that still haunts him. But he doesn't let those thoughts invade him too much at that moment.

Again there is silence in between for a few seconds, when he speaks again.

"How is Aenar?" he asks in a voice charged with a mixture of happiness, nostalgia and longing for his son.

"He's fine," you say in a soft voice, "He's in the studio nursery. Mary takes very good care of him," you add, wanting to reassure him that his son is being properly cared for.

He nods slowly, humming in response, trying to hide the intensity of his emotions in his gaze.

"That's good, I'm glad to hear that," he replies, vulnerability in his tone and gaze.

The air between the two of you still lingers, charged with emotions that neither of you dares to express openly. However, taking advantage of the conversation, Aemond decides to propose something.

He just met him yesterday and can't wait to see him again, to be in his company.

Yesterday's hours were simply not enough. And knowing that his son is well brings him relief and a feeling he hasn't experienced before since he found out he is a father.

"If you want, I can pay for a trusted babysitter for him," he offers and this gets your full attention, "I'm just saying… so you don't always have to bring him with you to work," he says with a hesitation, his tone betraying his insecurity about his proposal.

You remain silent for a moment, not knowing what exactly to say, in fact processing the unexpected offer. And Aemond can't help but feel even more unnerved by your silence.

"I-I… I don't know," you murmur, hesitant.

This nursery in the set is at least in the same place as you and that gives you relief that whatever happens, you can rush to him right away.

The idea of a babysitter strikes you as a mixture of relief and concern.

In the morning you'd have more time getting ready to come to work and it wouldn't be as much of a burden on you, yet you've never left someone to take care of Aenar while you're away.

But leaving him at home and coming all the way here to work, that causes you hesitation, besides the fact that you have to know the person who will take care of your child perfectly, as well as have confidence in her, above all.

"Only if that makes you feel more comfortable," Aemond adds softly, "But if that's not what you want, that's fine."

You bite your lips, feeling uneasy at the thought of someone else caring for your son and having him away when you're working.

"And you know someone who might be trustworthy?" you ask attentively and still with hesitation in your gaze.

"Yes," he tells you immediately, softly, "Rhaenyra has an army of babysitters to take care of my younger nephews. I can ask her for help with that and I know she'll say yes," he assures you.

"And they are professional babysitters?"

"Yeah, yeah, Nyra is also very careful with the selection and the babysitters she has hired have years of experience and so far several of them have worked with her for a few years now."

And after a moment's reflection, you agree.

And as convincing as the information is, still a mixture of worry and resignation envelopes your body.

But you knew that sooner or later you would have to face the situation of balancing your job with the responsibility of caring for your little one, accepting the idea that you won't always be able to have him with you.

"All right," you nod to him, "But I'd like to do some interviews first."

"Yeah, of course. I'll take care of that, don't worry," he says softly, nodding to you and you nod back.

"Thank you, Aemond."

"You don't have to thank me, Y/N, it's for our son. And if he or you need anything, please just let me know."

Seeing Aemond so willing to be a present father and his desire to be involved in his son's life, to some extent relieves you and surprises you a little, clearly because of what happened at first when you found out you were pregnant.

But so far… he has really shown you that he wants to be present and without having Criston and all his team around anymore.

The slight tension in the air is felt again as you and he continue to navigate the terrain of this new dynamic, which feels a little weird and you feel very nervous, though you don't even know why, while he at all times seems unsure.

And in an attempt to diffuse the tension, now you're the one who speaks first.

"Okay," you nod, "And if you…" you try to say a little nervously and with some caution and insecurity, "If you want to go see Aenar at the nursery or even at the apartment, you can," you assure him with a soft tone, "I never said you couldn't visit him and I don't plan to take that right away from you."

Vulnerability is reflected both in your words and in Aemond's expression, who with his soft face and with his gaze full of various emotions, places a small gentle smile on his lips.

"I'd love that."

Your words mean more to him than you probably realize. That sincere gesture of openness on your part, Aemond deeply appreciates.

Just as he appreciates that the conversation has reached a level of understanding and cooperation that neither of you had anticipated, but that you definitely appreciate. It doesn't end there yet, though.

"Can I ask you something?"

You nod, with no problem.

"Sure."

"What will you be leaving work on when your shift is over with Aenar?" he tells you interested and attentive.

"Um… well, yesterday I took the bus," you explain, considering that just yesterday was supposedly your first day, "And I had already planned that if I finished late, I'd take an Uber. Like now in the morning I was running a little late and took an Uber," you reply, trying to explain your transportation routine.

In fact there is nothing wrong with moving this way, many people do it, besides you don't have many options.

But that's what Aemond doesn't want, he wants to make your life a little easier, especially since Aenar lives with you and he doesn't want to risk something bad happening to both of you one day with public transport.

"Well, if you want, I can take the two of you," he also offers without hesitation, "Or if it seems too much, I can ask my driver to pick you up and take you wherever you need to go, without problem," he assures you, "I just don't want you to move that way with Aenar or by yourself."

This new unexpected offer from Aemond also surprises you, that you even think about turning him down, telling him it's not necessary.

Mostly you see it from Aenar's safety side.

But his concern is genuine and also you know that then moving you will start to be a problem.

You know you can't afford Uber every day, the fares aren't exactly cheap and there are other needs you have to take care of, besides taking the bus late could be dangerous.

"Well…" you look at him hesitantly and a little embarrassed, "You won't have a problem with that?"

"No, of course not," he answers you instantly.

You nod in his direction, grateful for his consideration.

"Yes, it's fine and seriously thank you for this too," you can't help but say, "Sometimes transport is complicated."

"Don't worry, it's fine."

He is about to say something else when a third voice interrupts him, entering the same space as you.

"Yeah, I know, sorry, I'm already on it," he assures her instantly.

"Aemond, are you ready now?"

Enters one of your co-workers, watching him intently and instantly with concern at the sight of him still in his civilian clothes.

"For God's sake, why aren't you dressed yet? Your scene is going to shoot in less than fifteen minutes!"

"I'll be back in ten minutes. Hurry up, please," the worried girl says and hurries away.

You instantly at that moment decide that the two of you can talk later and hand him his clothes from the scene he'll be shooting soon and he thanks you, heading for one of the small dressing rooms quickly.

When he finishes putting on his clothes, you quickly help him look perfect for filming the scene.

"I'll be seeing you," he tells you before leaving and you nod.

"Sure."

And from that moment on, over the next few days, everything changes as much for Aemond as it does for you.

He kept his word to drive you and Aenar back home every time your shift ended. And if he was still filming scenes, he would send his driver to take you instead of him, also to bring you in the mornings.

The relationship is cordial and collaborative and while there is no romantic reconciliation involved, there is a determination to build a more stable and secure future for Aenar, as well as prioritizing his well-being above all else.

At work, too, the dynamic between the two of you changes completely. Communication is professional, as it should be, but in every interaction there is a complicity that seems to have evolved.

There is a quiet understanding, a new focus on cooperation and mutual respect that is taking shape.

Also Aemond kept his word to hire a fully trusted babysitter and while he took care of that, sometimes you found him in the nursery with Aenar, keeping him company and playing with him.

At first this caused you some noise and also confusion, since Aemond is under the public eye spending quality time with his son and doesn't bother to hide it, so you wondered if already everyone working here, also Aemond's co-workers, knows that he has a son with you.

Again that sight couldn't help but make you smile with a certain nostalgic look, watching the interaction of those two silver-haired heads in their own world.

But it made you feel happy to see your little boy laughing and playing with his father.

And if so, you doubt that it will come out soon, because working in this production of whatever position, there is a confidentiality contract for everything, even for the personal life of the actors.

But when the shooting of this show is over, everyone is probably going to know about it. Although it seems that Aemond doesn't even think about it and doesn't really care.

So you decide not to ask him anything about it and how Criston and his whole team is going to take it.

You honestly don't know what Aemond has done with him, what they have talked about and what exactly happened for him to leave you and Aenar alone.

And you don't want to know. You've had enough of him and everything he did to you. And fortunately you live in peace and feel safe to have Aemond on your side this time.

And before you can say anything, Aemond steps forward with a soft little smile.

When one day on your day off you find yourself making dinner while Aenar watches his favorite cartoon in the living room and you supervise him occasionally from where you are, there's a knock at the door.

You're traumatized with the thought that maybe it's Criston and something bad is going to happen, but when you open the door you find Aemond with a woman by his side.

"Hey."

"Hi," you try to smile, a little confused.

"Are you busy? I-I didn't know and thought I'd just come over," he says, "And I'd let you know but I don't have your number or-or something."

"No, no, it's fine, I'm just making dinner," you hasten to say.

"I came because I wanted to introduce you to Elinda Massey," he tells you, pointing to the woman next to him and she looks at you with a warm smile, "One of the babysitters Rhaenyra recommended to me to take care of Aenar."

"Oh," you nod, now understanding.

You watch Elinda and she radiates warmth and assurance in her gaze, instantly feeling comfortable with her presence.

"It's nice to meet you, Elinda," you say with a small smile, extending your hand to her.

"Same to you, Y/N," she replies, shaking his hand with yours, "Aemond has told me so much about you and Aenar. I'm very excited to meet him as well."

Aemond beside her nods, his expression calm.

"Elinda is professional and very experienced. I wanted to introduce you to her and thought maybe we could do a little interview together, just to get to know her and see how she gets along with Aenar."

You instantly nod again.

"Oh yeah, yeah, sure, come on in," you step aside, allowing them to pass, "Aenar is watching his favorite cartoon," you say as you close the door behind you.

Aemond instantly walks towards him, making a sound of surprise, catching his attention and Aenar instantly notices him, smiling big at the sight of him, his huge blue eyes lighting up and reaching out his little arms towards him.

Both you and Aemond know Elinda better and you realize that she is a woman who has all the necessary experience and training. Besides the fact that when she approaches Aenar, he instantly laughs and plays with her.

Aemond laughs and takes him in his arms, starting to leave a bunch of kisses on his huge chubby cheeks, making him laugh as he holds him against his chest and speaks to him in a honeyed tone.

And you again can't help but smile as you watch the scene.

There is still that feeling of worry in you knowing that you will have to leave Aenar in someone else's care.

But Elinda shows you so much in so few hours, she tells you about her experience, shows you letters of recommendation, first aid certificates, as well as other care and Aenar has fun with her.

Aemond stays a few more moments in Aenar's company, playing games and watching the cartoons he likes, while you finish dinner and cleaning the kitchen.

The three of you establish a work schedule for her, as well as you tell her some recommendations and observations regarding Aenar.

And once everything is ready and clarified, she leaves and Aemond tells you that he has already taken care of all the payment details with her.

Every now and then you hear how Aemond asks him questions in a honeyed tone and repeats the same expressions he does when he sees his favorite character on TV, and then both start laughing.

Those sounds, the sound of your son's laughter and also Aemond's expressions, unconsciously make you smile and you watch from the kitchen as Aemond makes funny gestures or faces to make him laugh and attacks him with a lot of kisses all over his face or tickles.

Then you walk him to the door once he is ready to leave.

And there the two of them make themselves comfortable on the couch, eventually Aenar falls asleep on Aemond's lap, his back and head against his chest. He cautiously gets up holding him gently and puts him to sleep, while you thank him.

"Oh, right, I almost forgot," he says stopping in front of the door and turns to you, "This is for you."

You see him take his wallet from his back pocket and inside it, he pulls out what appears to be a black card and holds it out to you. This catches your attention and also confuses you, taking the card with that confusion, not understanding.

And only when you take a good look at it in your hands do you realize that it is a bank card.

"It's yours."

He says and you frown more, then raise your gaze to him asking for an explanation.

"I can only send money to it, I don't have direct access. You'll get the PIN from the bank, tomorrow after the shoot, I'll take you to activate it," he tells you, "You know, it's in case you need money to buy something for Aenar or for you, whatever you need."

Then when you fully understand the explanation and the purpose of this, you start to panic.

"Aemond—

You try to say feeling the lump in your throat and your heart starting to pound.

"I know I didn't tell you about this, but please, I want to do it," he interrupts you with a pleading tone so you won't reject him or reproach him about it, "Besides, this is necessary. Sometimes I will have to travel to other cities for shootings or events and I won't be able to see you or him and I want to make sure you don't lack anything. So just accept it, please."

"But—

"Please," he insists.

This really seems too much to you and you have an idea of the amount of money the card must already have. And no… in spite of everything, you don't want to accept this and feel that you are taking advantage of him.

You watch him still with hesitation and worry on your face, tension hanging in the air as you and he stand in complete silence, saying nothing for a few seconds.

You look back down at the card in your hands and Aemond follows your gaze, both of you standing face to face.

And it just seems that Aemond reads your thoughts by the hesitation and insecurity on your face.

"If you don't want to use it to also buy things for yourself, use it just to buy Aenar whatever he needs," he tells you softly, "After all, I was going to do this sooner or later, wasn't I? It's my responsibility to make sure he doesn't lack anything and that's what I'm going to do."

You let out a long breath, beginning to feel less of the weight of the luxurious and clearly exclusive black card in your hands, with his words beginning to soften your chest at the mention of Aenar.

"Fine," you mutter finally, letting out a sigh and raising your gaze to him, "B-but I'll only use it for things that Ae-

This gesture from Aemond is a clear sign of concern and responsibility he feels towards you and his son. And you truly feel that genuine desire that he wants to contribute for the welfare of both of you.

You try to clarify but he quickly speaks up.

"Yeah, okay," he nods at you, "Don't worry. Just… use it."

You nod again.

"Thank you, Aemond."

A slight flicker of concern appears in his gaze and he quickly tries to be able to struggle to find the right words to be able to explain himself so you don't misunderstand him.

"I don't want you to feel like I'm trying to—

"No, no, I don't think so," you tell him softly, with understanding, "This…" you look back down at the card in your hands and let out a sigh, "This is actually necessary and very helpful…. you really don't know how much I appreciated it."

He nods, his expression relieving a bit as he sees your behavior and also as you accept his support.

"Easy, it's okay," he assures you in a soft murmur.

"Also…" he starts to say with some nervousness but definitely more confident, "I wanted to ask you if you have social security for Aenar and you," he says with a serene expression, looking directly at you.

Again silence settles between the two of you but the air is different, calmer and less tense, feeling the mutual understanding.

And Aemond, after the two of you say nothing for another long few seconds, thinks it best to talk at this point about another plan he has in mind.

This also immediately catches your attention and you watch him warily, tilting your head to one side and starting to get an incredulous look on your face.

"You're not seriously thinking that—

"Y/N, please," he interrupts you, "This is no problem for me, really," he insists, "I just need to know."

"But—

"This is also important and I can pay for it."

"But it's a lot of money and I don't think—

"Do you really think I'll let you and Aenar go through life without being covered?" he asks you incredulously, "I can handle this. I really can."

His words continue to reflect that genuine commitment and you, despite your concern, feel something warm invade your chest, especially the gentle and willing way he is looking at you.

After all that has happened, seeing Aemond so determined to contribute to your son's well-being gives you a new hope and opportunity for Aenar's future.

The costs are too much, nothing you could really afford, not even for Aenar, since your salary was not much and had to cover other needs. You couldn't even afford it on your current salary.

You have always worked very hard to try to give Aenar everything he needs. Among them, paying for a social insurance for him, in case of anything.

But you could never afford it.

And that suddenly Aemond is offering it to you so easily, clearly because he can afford it, you feel somewhat overwhelmed and also feel that it is too much.

"And you're completely—

"Yes, I am," he interrupts you again, being very clear and honest with you, "This won't be any trouble, really," he assures you.

You want to tell him thank you, but the words get stuck in your throat. However, Aemond sees the gratitude is visible in your gaze, along with your concern and how you find yourself overthinking it.

So he just gives you a look of understanding and total reassurance.

"I'll be leaving. You need to rest. I'll see you tomorrow, okay?"

You let out a long breath, bite your lips and nod in his direction.

"Okay."

"Good night," he says softly as he opens the apartment door again.

"Good night. Drive safe."

Lately the days have been more… peaceful.

But as the days progressed, you realized that it was useless to feel that way because when you returned to the apartment, everything was absolutely fine. And also everything is easier when you transport yourself with Aemond's help or with the help of his driver.

Having Elinda as a babysitter, your mornings are easier and she does an excellent job with Aenar, so you have nothing to worry about.

At first you would leave home feeling horrible and your whole body tense, always alert to your phone and exaggeratedly paranoid.

Aemond also one day told you the same thing, that lately things have been quiet, even the recordings have not been heavy for him compared to other days or other jobs.

And for the same reason that he is busy filming, he hasn't attended any events or interviews, that happens rather after he finishes filming a new show or movie and there is still time left for that.

Aemond drives in silence and the soft background music on low volume fills the entire interior of the car while you watch the city through the windows and Aenar sleeps secured in one of the back seats.

So on this one day and for one occasion only, Elinda had an important commitment that she couldn't postpone, so she didn't show up for work and you didn't have any problem, since you can bring Aenar to the nursery on the set.

And now it is Aemond who is driving them home after your shift ended almost at the same time he finished filming his scenes.

He and you haven't talked much during the whole drive, only about work, but even so the silence is comfortable and you can't wait to get home to cook a nice dinner.

The cityscape soon transforms into familiar and somewhat… careless streets, as you approach to your apartment.

He parks in front of your building and watches you.

You know this isn't a luxurious area and there's a lot of detail to look at, but it's what you can afford right now.

And that's just what Aemond thinks as he looks around the neighborhood, hating to leave you and Aenar here when he can get you a much better place. But he knows you'll say no.

"Will you stay here any longer?" he asks you softly, "I mean, will you continue to pay rent?"

"For now yes," you nod to him, "I'm saving up to move to a better place, to an apartment in a different area and that's close to work," you let him know, "It's just taking time because of my paycheck."

Aemond stares at you intently for a moment, thinking and pondering your words, with a thoughtful look on his face, while you make sure you have all your belongings with you before getting out of the car and carrying Aenar.

And just as he is about to speak, a familiar sound interrupts him and his son's crying is heard throughout the car.

You follow him too with all your things in hand, walking over to both of them.

You quickly turn to him to attend to him, trying to calm him down, while Aemond reacts and quickly gets out of the car to open the door to the back seats.

It takes him a little while to unfasten the seat belts, but once he's finished he takes him in his arms and whispers comforting words in his ear to make him stop crying.

"Shh, my little one," Aemond whispers, holding him against his chest and stroking his silver hair, "Hey, it's okay, it's okay," he murmurs, leaving a soft kiss on his forehead.

You move to his side and run one of your hands over his wet cheeks, watching you for a moment with teary blue eyes only to close them tightly and continue crying.

"Either he wants to sleep in his room or he's hungry," you say, stroking his face to try to calm him as well.

"He didn't eat?" he asks you attentively.

"Yes, Mary said yes."

"Then he wants to sleep," he says, trying to wipe the dried tears from his cheeks, "Come on upstairs, I'll take him," he tells you and you nod.

All the while Aemond tries to comfort him until they reach the door of your apartment, but when he lays him down in his crib, Aenar cries more and he carefully holds him in his arms again, trying to soothe him while you quickly stop in the kitchen and prepare a baby bottle, hoping it will help.

And when you hand it to Aemond, he stands gently pacing around the room holding Aenar with one arm while the other hand holds the baby ottle for him against his mouth, hoping it will soothe him and he will fall asleep.

You take the bottle and Aemond carefully lays him down to sleep in his crib, leaving a soft kiss on his forehead to finally let him rest.

Aenar eventually calms down as he drinks from the baby bottle and watches with his blue eyes Aemond above him, who is still gently walking him around the room.

And little by little, wrapped in the safety of Aemond's arms, he falls asleep.

He sits up and turns to you, where you both look at each other without saying anything for a moment, sharing a silent connection.

"Thank you," you whisper to him.

"Don't worry," he says back to you in the same way.

Together you leave Aenar's room without a sound and gently close the door.

That night Aemond drives to his apartment with a new thought in mind, one of which is to always provide a better life for you and Aenar.

That's why, without telling you anything and taking advantage of the fact that it's your day off, he manages to leave the recording set early, he tells you to accompany him to the mall to buy new clothes for Aenar and you accept without thinking about anything else.

During the ride, so far you haven't questioned him about anything and that relieves him, but when you finally pay attention to the streets he is driving through, that's when your confusion appears and Aemond is thankful that you are about to arrive at the real place he wants to take you.

"I don't think there's a shopping mall around here, Aemond," you tell him confused, watching the streets carefully.

You realize that he is actually driving through a private residential neighborhood, with the streets lined with luxurious homes or rather mansions that would catch anyone's attention and you are clearly no exception.

And remembering your locations, you can tell that this neighborhood belongs to the Visenya Hill area, the most exclusive and prestigious area of King's Landing.

"Aemond, where are we going?" you look at him completely confused and questioning.

"I want to show you something," he tells you without giving you any more detail, generating more confusion and despair in you.

"But you said we were going to the mall."

"I know, but I lied to you," he says with some regret and you frown, "If I told you I wanted to show you a house where you can live with Aenar, you wouldn't have come."

"What?"

You inquire in your completely incredulous, serious and questioning voice, watching him with your eyes wide open.

"Surely you're joking," you tell him absurdly, shaking in his direction and watching him completely intently and seriously, really wanting to believe this is a joke.

"No, I'm not," he says letting out a small laugh, watching you for a moment to turn his gaze back to the road.

"Aemond," you start trying to warn him, serious.

"We're here," he announces out of nowhere, alerting you more fully.

You watch with your lips parted and completely attentive at all the windows, as the car comes to a stop in front of an impressive house, whose high ceilings and elegant white columns stand out in the neighborhood.

The front garden with the green lawn, a beautiful fountain and flowering bushes only make it stand out more, besides the elegant entrance, its huge windows and the dimension of the whole house that makes you continue to stare at everything with your mouth open.

In comparison, Aemond looks at the house with a hopeful expression and feeling genuinely happy and excited. But at the same time, he is worried about your attitude and what you will tell him about all this.

At first you refuse to get out of the car, still incredulous and surprised, telling him this is crazy, but Aemond makes you get out and also gets Aenar down from the back seats, instantly on this rare occasion preferring your arms instead of his father's.

"Aemond," you try to say, worried and still unable to believe it.

"Easy. Come," he tells you completely unconcerned, leading you to the entrance of the house.

You observe everything, unable to help yourself, as there is even furniture and everything looks too expensive but too beautiful at the same time.

You watch as he holds the fucking key in his hand and opens the beautiful, gigantic door for you, without giving you a chance to say anything else.

And as you enter, the entire interior of the house spreads out in front of you, illuminated by the daylight filtering through the windows and highlighting every majestic detail of the property.

The simple entrance is large with a crystal chandelier above you hanging from the high ceiling, the living room is spacious and there is also a small decorative fountain. Further on there is another living room that you can observe from the spacious and eye-catching kitchen.

And the entire upstairs also completely grabs your attention, having three huge bedrooms, the master bedroom being the largest of them all, each with its own bathroom and closet.

The bathroom down here is ridiculously large for a bathroom. The pantry is also a ridiculously large room for a pantry.

The garden is lovely and has a swimming pool which, according to Aemond, can be automatically closed off for Aenar's security. There is a laundry and drying room as well.

"It's perfect, don't you think?"

Aemond tells you slightly excited as you walk down the stairs behind him, with Aenar in your arms and who also looks at everything around him with a twinkle in his eyes.

"Work is nearby, my apartment is nearby and Elinda has come to this area to work before, so it won't be a problem," he tells you with that little smile, turning to you, looking with that gleam of hope compared to you.

He clearly expects the same reaction from you and even having already seen the house, you let out a sigh and look at him with a serious and confused expression.

"Aemond, what do you think you're doing?"

"Well, it's for you," he tells you, pointing to everything around him, still not seeing how much this is costing you, "It's perfect for you and Aenar. And a chance for him to live and grow up in a nice, spacious, safe place."

You are speechless for a moment, feeling that heaviness in your chest and your heart pounding as you press your lips together and briefly observe everything around you again.

"Everything will be taken care of by me, you won't have to worry about anything," he assures you softly, "Aenar's room is big, the kitchen is big, there are two living rooms and..." he shrugs, "Like I told you, everything is close by."

"Tell me you haven't already bought all this," you say slightly concerned.

And then all emotion from Aemond slowly fades.

"But why? What is it that—

"Aemond, this is too much," you interrupt him incredulously, shock in your eyes, "How do you think I'm just going to accept this just like that?"

He steps closer, with the slight concern in his gaze, trying to convey calm, but his eye reflects the urgency of his purpose.

"Y/N, please. I only want what's best for you and Aenar. Besides, you said you're moving soon and—

"Yes but to an apartment, not a house that costs millions of dollars," you tell him absurdly.

"Yes, I know, but—" he bites his lips, nervous, "I wanted to do this. I wanted to give this to you and Aenar," he says insistent, "A safe place in a quiet neighborhood, where you can also have your space without having to worry anymore."

You shake your head.

"But—

"Look, just..." he tries to find the right words, trying to work on your willing attitude for not accepting this, "Consider it, yes?" he insist, "You don't have to make a decision right now, for now I just wanted to show you around, nothing more," he says calmly, though you know that behind that calmness is an obvious longing.

"But it's just that this is too much and... no," you look at him with slight concern, "I don't need to consider it because no matter how much I think about it, my answer is no."

"Aemond, this..." you begin to say with restrained sadness, hesitating, "This won't change the past. This won't make it so I can forgive you," you tell him resignedly, "This isn't about me and Aenar, it's about Aenar nothing else and her well being," you tell him in a broken voice, "But this... this house... it's too much."

"Y/N..." he says, taking a couple more steps towards you, wary, "Two years ago, I was the worst shitty boyfriend," he says with sadness and regret, "I had to support you, be there for you completely, I shouldn't have let Criston talk me into his plans, accept in the beginning to hide you and hide my responsibility."

He says as he looks nostalgic at Aenar in your arms.

"And now that you've given me this second chance, I just want to make things right....I want to do what I should have done in the beginning."

Aemond's expression, although he himself tries to remain expressionless, still feels as if he has been hit hard in the stomach when he hears your words.

And all illusion disappears, as well as his enthusiasm.

He resignedly steps back, leaving a space between you and him, not wanting to overwhelm you any more than he already has.

He thought this would be a good idea, that by the time the three of you were here, looking forward to the idea of a new home, you would understand and accept.

But there are still many open wounds from the past and he knows they cannot be healed with these sudden gestures.

"I know, it's just that I-I..." he tries to say with his voice laden with regret and deep remorse," I didn't expect this... a house or an apology to just fix things," he says sincerely and with disappointment, "I just wanted to give Aenar stability and offer you a safe place for the both of you, give you a better life."

Silence envelops you both, dense and charged with mixed emotions.

Aemond tries to find some sign on your face, wanting you to see his true intention, longing for some small indication of hope or acceptance.

And you feel the overwhelming weight of responsibility and emotions inside you. All of this is tempting, though your heart is still scarred by past pain and also distrust. And you are torn between caution and the opportunity to give Aenar the stability he deserves.

Aemond remains silent, respecting your space and your time to process the situation. But the indecision in you is all too obvious.

"Y/N, I promise you that all this is for Aenar and nothing else," he tells you seriously and sincerely, "I promise I won't try anything, except to take care of him and make sure he lacks nothing," he insists, "At least stay in this house until he grows up a little more and if you still think it's too much, we can find a smaller place," he proposes.

His words are left floating in the air, while you continue to think too hard. His proposal echoing in your mind, plunging you into a sea of thoughts, with indecision.

Aemond seems to have put his heart on the table, but your emotions continue to struggle between caution and hope, as you cannot ignore the possibility of offering Aenar a more secure and stable life, which is all you wish for him since you could not give him that at the beginning.

And it is also what Aemond desires, that is why he is so insistent and you see his true intention to give this to Aenar, without any other intentions in between.

But is it right to trust him again? What if Criston and his team try to intervene again? This time they would do it more easily.

Maybe it can be different this time.

You honestly feel like you're taking a big risk by agreeing. It's a big bet to open your life and Aenar's to this new opportunity, but you also see how he's striving to give you something better.

And that's exactly what has you questioning and wondering: should I give this a chance?

"All right," you finally say in a soft voice with a mixture of nervousness, "But only for Aenar."

Aemond looks at you with surprise and hope.

"Really?"

You nod, swallowing hard and Aemond lets out a long breath, visibly relieved and then, avoiding smiling big, takes the house key from his front pocket and holds it out to you, to which you take it a little confused.

"Don't you have to give it to the real estate agent?"

"Actually, I already bought it," he says with a nervous but innocent gesture at the same time, scratching the back of his neck, "Well, I haven't paid the whole amount, but I've paid most of it. So it's yours."

Seven fucking Hells.

You can't help but think as you close your eyes for a moment and let out a sigh, unable to believe it.

The new house soon began to have that warmth the moment you started settling in with Aenar. Every room radiates a sense of peace and comfort that you haven't experienced in a long time.

The move wasn't difficult at all, the only thing you had to transport from the old apartment with the help of Aemond and his driver was your clothes, Aenar's clothes, her toys and her crib, nothing else.

The house already had furniture, beds, decorations and even televisions already installed.

The high ceilings allow natural light to flood in, while the white walls set off the black and gray furniture and Aenar toys, creating a warm and cozy atmosphere.

Aemond builds Lego block forts together with him, buys him toy dragons, cars, stuffed animals and they both watch Aenar's favorite cartoon or movies, getting cozy on the shag carpet or on the couch.

Because Aemond's apartment is close by, his commitment is more accessible, so there is never a day that goes by that he doesn't visit Aenar.

Special moments between father and son are spent in the living room, where toys scattered on the floor become Aenar's playroom area.

Also some evenings the three of you have dinner together, where Aemond offers to feed Aenar and eventually the dining room fills with laughter and smiles as you focus on him.

The backyard also becomes a realm of adventure, where they both even plan picnics and invite you over.

They also both sometimes spend afternoons exploring with laughter and playing with the plastic cars on the lawn where Aenar imitates the sounds Aemond makes from a car.

The new house is filled with happy and warm moments, forming the perfect setting for Aenar to begin to grow up, having both of his parents looking after him.

The proximity of work and Aemond's apartment made the daily routine easier. The routes are short and convenient, allowing more time to enjoy time together.

And above all you definitely feel more at ease having Elinda taking care of Aenar while you are considerably closer to home from the set.

When one day at night, you had already received a message from Aemond telling you that he would be a little late to visit Aenar, as usual, and you replied that it was fine, even though tomorrow is your day off and you have no problem with sleeping late.

But the clock is almost half past eleven at night and you think he is not going to arrive, when just at that moment you hear the doorbell ring and you go to the door, checking from the IPad the cameras of a program that Aemond installed to record Aenar while he sleeps and also monitors in case of anything and so you can make sure he is okay.

And finally you open the door, watching Aemond carefully.

"I thought you weren't coming anymore," you tell him in a low, warm tone, but also worried.

Aemond nods, letting out a sigh.

"I finished later than I thought. It was a hard day," he tells you heavily.

You nod softly and understandingly, stepping aside to let him pass.

"Aenar is already asleep."

"Yes, that's what i thought," he says calmly, "But it doesn't matter, I won't wake him up, I just want to see him," he watches you with tired eye, "You should go to sleep too," he says as he places one of his hands gently on your shoulder, "I'll lock up and set the alarm when I leave."

Hesitation shows on your face for a moment, watching him intently and with a flash of concern.

"Are you sure?"

"Yeah, don't worry," he nods at you with a small soft smile, "Go get some rest, I'll take care of it."

"Fine, but anything tell me, no matter what it is, okay?"

"Okay."

With a soft nod, you both head up the stairs and down the hallway to the rooms, you wave goodbye to him before entering your room and he enters Aenar's room.

And once in your room, you cover yourself with your sheets and thinking that you would fall asleep the moment you were in the comfort of your bed, you suddenly stare at the ceiling for a long time unable to close your eyes and clearly unable to sleep.

He hasn't left yet, as you haven't heard that soft 'click' of the door or his footsteps in the hallway walking away.

You try to find sleep any way you can, but the thought that Aemond is still in the house is what keeps you awake.

And it's not because you don't trust him, on the contrary, you look at the time and feel remorseful and worried that he has to drive back to his apartment so late.

Minutes pass and suddenly you find yourself restless, sleep refusing to invade you. So with quiet steps, you approach Aenar's room, where the dim light of a night lamp reflects through the frame below the door.

Carefully and determined, you gently open the door, first peeking your head and then your body, catching the attention of Aemond who turns his head towards you, sitting near Aenar's crib and gently and very lightly stroking his hair so as not to wake him with a look of affection that does not leave his face despite the interruption.

"Can't you sleep?" he whispers to you, watching you with a soft gaze.

You nod softly, folding your arms as you look down at sleeping Aenar with palpable tenderness.

"It's late and I thought maybe... if you want, you can sleep here," you say with a warm tone but your hint of shyness in your voice is noticeable, as well as your hesitation to suggest such a thing.

It's no problem for you, it's just that he's never slept over before and you don't know what his reaction will really be to you proposing that, whether he'll say yes or no.

"And you're okay with that?" he observes you thoughtfully and softly.

"Yes, of course I am," you assure him completely nonchalantly, "It's totally fine with me."

He nods at you with a gesture, without wiping away his soft little smile.

"Thank you."

And then both his gaze and yours return to watching Aenar asleep in his crib. And Aemond resumes the smile of tenderness on his lips, again sliding his hand over his hair.

"He's beautiful, isn't he?" he whispers with a flash of pride in his gaze.

You hum in assent, slowly moving closer toward them both.

"Yes, he is," you reply, gazing at your little one with indescribable love.

A brief silence envelops you for a moment, only hearing the soft hum of the spinning lamp projecting images on the ceiling, creating a peaceful low-light scene of animals and stars for Aenar.

This usually helps him sleep and also calms him down a bit if he wakes up crying in the middle of the night while you wake up and rush over here.

"For a while I imagined how he would looked like, whether boy or girl..." he murmurs in a soft, warm, low, wistful tone, "No matter what you decided to do when you left, I always thought about it," he gives you a meaningful look, guilt on his features and you nod, watching him with understanding.

Aemond clenches his jaw and looks at Aenar again, while you remember those days, where fear and uncertainty lived inside you every day.

You wish you had them, those happy moments that a new mom should experience, but that was not the case for you and yet... you cannot imagine a life without your little boy, it is impossible.

What is supposed to be happy news, was not happy for you and Aemond.

There was no single moment of joy at the beginning, when you learned of your pregnancy. Nor did you experience that feeling the first few months, when you ran away and went back to building a new life.

And Aemond feels the remorse most in these kinds of moments, when Aenar is asleep and he looks at him, not being able to believe and wondering over and over again how it is that from the beginning, he supported the idea of just getting rid of him.

And now he sees only him and cannot imagine a world without him.

Shame overcomes him, guilt also and he even wants to cry with anger as he thinks of all that you must have gone through, without his support, trying to make a living for you and his son, all alone in a new and unknown place.

And he knows that this, allowing you to be in Aenar's life, is a great opportunity that he doesn't deserve and yet you have given it to him.

"I know you said you can't forgive me but... someday can you? For how I reacted and for the decision I supported in the beginning?" he asks you, unable to help himself and needing to know.

His tone is charged with a mixture of regret and longing as you feel a pressure and a slight sharp pain in your chest at his words.

Silence stretches for a moment throughout the room, Aemond respects your silence and though there are many reasons why you should never forgive him for what happened, you still decide to be honest.

"I don't know," you whisper in a low, sad and vulnerable tone.

The words echo through the room, enveloping the space with palpable tension.

Aemond feels his heart pounding, filled with overwhelming regret. He lowers his gaze, unable to bear the weight of his mistakes and your words are like a dagger in his heart, but still, he understands you completely.

He nods with compression, letting out a regret-laden sigh, still gently stroking Aenar's hair.

"I understand," he murmurs with a tone of melancholy and fragility, as well as in his gaze full of pleading and remorse.

"Does your family know about him?"

And you with your sad eyes full of regret, you watch him out of the corner of your eye.

And you see all those emotions in him, all his thoughts reflected in his gaze, trying to stand firm and on the sidelines as he continues to watch Aenar.

You can't help but ask, trying to calm the atmosphere a little, though it's useless, as that slight tension is felt and also that physical and emotional distance from both your side and him.

"I've wanted to tell them, only Nyra knows but I asked her not to say anything," he confesses to you in a low voice, trying to speak firmly but the nostalgia is clear, "Even though I know my mother and siblings will be disappointed in me when I explained what happened two years ago, yes I have wanted to tell them," he nods, "But first I wanted to discuss it with you," he says looking briefly at you over his shoulder.

And now it is remorse that comes to you.

"Tell them, Aemond," you tell him firmly with a soft tone, "They deserve to know."

general taglist:

@imaegonstargaryenswife0 @bellstwd @gibbsgirl7 @toodlesxcuddles @imsoshygirl @croatianprincess @gemini-mama @a-little-roony-mara @mysteris-things @zenka69 @at-a-rax-ia @fan-goddess @duds31 @urmomsgirlfriend1 @eternally-passionate @bellaisasleep @ttkttt @aemshaircare @mellowdreamlandpost-blog @noodle81937 @mooncalvin @queenofshinigamis @n4tforlife @vexladin @dixie-elocin @wotcherpeak @watercolorskyy @shiny-trashs-blog @strangersunghoon @elysian0612 @skzenhalove @iloveallmyboys @cakescupcakesminicookies

next part:

@hypocritic-trash-baby

#aemond targaryen #aemond targaryen fanfic #aemond targaryen x reader #aemond targaryen x you #aemond fanfiction #aemond targaryen x y/n #hotd aemond #aemond x fem!reader #aemond x oc #aemond x reader #aemond one eye #modern aemond #aemond targaryen angst

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hotvintagepoll · 2 months

Text

Propaganda

Rosaura Revueltas (Salt of the Earth)—She was a Mexican actress who is best known for starring in salt of the earth, an amazing pro-labor movie made by blacklisted filmmakers. She also starred in the Mexican remake of madchen in uniform, one of the first representations of lesbian romance onscreen. She was really dedicated to making progressive films and was also such an incredible actress and artist I truly believe more people should know about her and her work.

Romy Schneider (Mädchen in Uniform, la piscine, 10:30pm Summer)— Such a beautiful woman and she has the full range: she can be anything from cute to seductive to tough - and all the time she's elegant. Also you just gotta love how she left Germany and her fame there behind to start all over in France, wanting to break free from always being typecast as the cute (royal) girl. She put an extreme amount of energy into learning French perfectly in just a few weeks so she could prove herself by starring in a theatre play by Luchino Visconti (who put enormous pressure on her). Anyway, everything went well and she could continue her career in French cinema with more complex and challenging roles.

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut]

Romy Schneider:

She only had a brief stunt in Hollywood but starred in many French movies plus of course the role I know her best for, Empress Elisabeth of Austria in the movies Sissi. I see those eyes, I see that smile and of course her voice and just, perfection. Warner Bros. planned to do a movie about her, which was sadly cancelled but there is also a musical about her life, because she is just that great. (According to Wikipedia she told the author of her biography that she was what we would call bisexual these days, but because the source is french I can't confirm it)

need to show the backstage pic of her with alain delon because it makes me insane:

I'm submitting her to have some french representation in the poll, because we got our fair share of pretty vintage ladies over here (well, she was german, but she later acquired french citizenship). And also, just. Look at her.

She’s hottt

Linked gifset

She played in a lesbian movie! During the 1950s! Gif here [link] She worked for some of the best directors : Orson Welles, Otto Preminger, Luchino Visconti, Joseph Losey etc

She will always be Empress Sissi to me.

#romy schneider #rosaura revueltas #big day for the madchen in uniform fans. this was accidental #hotvintagepoll #fuck that old woman #ladies 1

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sjbattleangel · 10 months

Text

Public Service Announcement: There Is No "CalArts Style".

Can't believe I still have to say this!

Despite everything you might have heard, there is no "CalArts Style." It doesn't exist. CalArts isn't an art-style or animation studio, it's actually a university for art and animation founded by the Disney brothers. (Yes, THOSE Disney brothers)

I know there's this image going around of these cartoon characters sharing the same head, eyes and smile...

but that's deliberate, misleading exaggeration. In reality..

They're actually very different from one another. Sure, they share a few faint similarities but overall each character and their respective series have their own style and identity.

Animation with those similarities? (Round eyes, mouthes and bendy limbs) There're actual names for that style of animation: Rubber-Hose, Bean-Mouth, Noodle-Arm, Fleischerian. take your pick.

But to call all animation with those little similarities "CalArts"? It's stupid, lazy and dishonest. CalArts didn't create or popularize the Bean-Mouth. Like all art-styles, it became trendy following the major success of shows like Adventure Time, Steven Universe, ect. And most importantly, there is no uniform style at CalArts. In fact, here, let me show you the work of noticeable CalArts Alumni:

Just look at the diverse art-styles and animation, all from former CalArts students!

On a side-note:

Rebbeca Sugar (Steven Universe) never went to CalArts.

Ben Bocquelet (Gumball) never went to CalArts.

Nate Stevenson (She-Ra) never went to CalArts either! (Something I find hilarious since She-Ra doesn't look anything like the aforementioned Bean-Mouth cartoons but rather a bold, modernized version of Sailor Moon)

Another reason why people must stop using the term "CalArts"/"CalArts Style"? It was coined by none other than disgusting predator John K. Yes, John K, the co-creator of Ren & Stimpy who used his influence to prey on teenage girls. (TW: sexual exploitation, grooming, gaslighting.) He coined the term "CalArts"/"CalArts Style" to bash works like The Iron Giant, Animaniacs, Gargoyles, Les Triplettes De Belleville (which is also ridiculous since Sylvain Chomet didn't go to CalArts) along with the works of Disney, Warner Bros., Dreamworks, Richard Williams and Don Bluth. In simple terms, he was a toxic piece of work who loved tearing anything that didn't meet his standards of zany, off-model grotesqueness.

Here, a friend of mine on social media explains better than I can:

Thanks for listening. Hope I helped.

#animation #calarts #the calarts style isn't real #there is no calarts style #steven universe #adventure time #gravity falls #star vs the forces of evil #gumball #the amazing adventures of gumball #cartoons #screw john k #john k is a creep #psa

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flanaganfilm · 1 year

Note

Hello and Howdy Mr. Mike Flanagan! I'm excited to see you here on our humble hellsite. I have so much to say and ask about your netflix shows but for the moment, I want to ask about Doctor Sleep because I enjoyed that movie immensely - it filled me with a pleasant sense of dread, which possibly makes no sense, or a lot of sense.

What was that creative process like? Reconciling book and movie canons, following Kubrick's legacy, working with Ewan and Rebecca and Zahn and everyone else. I'm obsessed with King adaptations and I'm just fascinated with Doctor Sleep.

Alright! Buckle up for yet another long read.

Thank you for your question, and for this opportunity to go back and talk about DOCTOR SLEEP. It's a very special film to me, and a very special time in my life as well.

It all started with a general meeting with Jon Berg at Warner Bros.

The meeting itself started pretty wild - Adrien Brody walked out of the office as I was waiting to go in. Jon introduced us and we chatted for a few minutes, and I was a little out of whack for the rest of the meeting because I had a very potent "wow that was Adrien Brody" buzz going.

We were meant to talk about DC Comics and see if there was anything to do there. I was really hoping to chat about a horror-slanted Clayface movie, and about my favorite superhero: Superman.

Neither conversation went very far. I had just finished GERALD'S GAME, and Jon was a King fan, so he asked about the production. And then he asked if I'd ever read Warners' script for DOCTOR SLEEP.

I had. In fact, I had tried very hard to get a meeting at the studio when the book was first published. Warners owned the rights to DOCTOR SLEEP outright - it was part of their deal going all the way back to THE SHINING - so they immediately began looking into movie options when the book was published. Akiva Goldsman had written a script, and it was one of the first projects I asked about when I signed with WME as a client years before. "That isn't going anywhere," they told me. "I don't think that movie gets made."

They had tried to get me the meeting anyway, but no one at Warners responded. I never got in the room.

But now, here I was. What did I have to lose at this point?

"I did read it," I said. "I'd take a different approach." Jon sat back and smiled. "I love the book, Rose is one of the great villains of all time," he said. I agreed. He probed. "What's wrong with the script?"

"I don't think it follows the book closely enough."

"What would you do?"

"I'd do the book. Streamline it, combine some characters, and you'd have to rethink the True Knot a bit. But otherwise, just do the book. As long as it's a three-hander between Danny, Abra and Rose it'll work. With one big asterisk."

"What's that?"

"I think you have to bring back the hotel. Kubrick's hotel, I mean."

Jon smiled wider. "Yeah, it's a bummer the hotel burned down. King goes out of his way at the start of the book to emphasize that - no Overlook, look no further."

This was my biggest gripe with the book.

I said "When I read the book, all I could see was Kubrick's hotel. I think you do the book as close as you possibly can, until the big fight at the end. Instead of it taking place in an empty field, let it be in the hotel."

Jon: "Do you think King will be upset if you change his ending? You know how feels about THE SHINING, right?"

Me: "What if we gave him THAT ending? What if we let Danny have Jack's ending? Jack sacrificed himself to save his family and destroy the Overlook - why not let Danny do that? Change the ending, sure, but give him the ending Kubrick denied him."

We shook hands, and I called my producing partner Trevor Macy to tell him it was a good general, but nothing was coming out of my DC meeting. By the time I'd made it back to my car, though, Jon had reached out to Stephen King and asked if he'd be interested in me taking a swing at it. Steve, who had enjoyed GERALD'S GAME, said yes.

I was immediately petrified when the call came in that they might want to engage me on a rewrite of DOCTOR SLEEP, with a directorial attachment. I'd have to rewrite the script from scratch, and I kind of felt like they were calling my bluff. But the deal was made and quite suddenly I was adapting DOCTOR SLEEP.

First order of business was to make King aware of what I intended to do. I had just established a tentative relationship with my hero over GERALD'S GAME, and the last thing - the very last thing in the world I ever wanted - was to upset him. We weren't in direct communication, we spoke through agents and emails at this point - but I had to make him aware of the Overlook thing.

I put together a proposal that outlined what I wanted to do - use Kubrick's visual language, and keep the Overlook standing as a setting for the final battle. The initial feedback we got was "no." King really, really didn't like Kubrick's film, and his priority was to adapt DOCTOR SLEEP - not to revisit THE SHINING.

I told him that if he didn't want me to do it, I wouldn't - I'd walk away from the movie before I made something he hated. But as a last ditch effort, I said "imagine the Overlook, decrepit and rotten. And imagine Dan Torrance having walk in to 'wake it up,' the lights coming on above his head as he walks the halls. He finds his way to the Gold Room. To the familiar bar, where an empty glass is waiting for him. And we see a familiar bartender ready to pour for him, saying 'good evening Mister Torrance.' What if that bartender is his father?"

After a bit of a delay, King got back to us. "Do it," he said.

Writing the script was tough. I immediately felt like I had stepped into a very unsafe space. "This is going to piss everybody off," I figured. Kubrick fans would be livid that the movie was being made. King fans might be angry that Kubrick's imagery was being homaged. There was no way to please everyone, so I set about writing the movie I wanted to see most.

It was a slightly nauseous feeling that would stay with me until the movie came out.

I sat down to write with a hardcover copy of DOCTOR SLEEP to my right, and a hardcover copy of THE SHINING to my left. I read both cover to cover, sticking post-its throughout the pages with ideas, or flagging lines of dialogue (or even prose) that I wanted to protect. I managed to put together a basic outline for the movie, which was intimidating and sprawling.

I finally finished the draft and sent it off to Warner Bros. and King at the same time. I was shooting THE HAUNTING OF HILL HOUSE at the time, and thought it would take a long while and a few more iterations before SLEEP would go anywhere, if it ever did.

Warner Bros. shocked us all by coming back with a green light. I've been told that it was one of the fastest green lights in the recent history of the studio, and I believe it.

It happened so fast, in fact, that Steve hadn't read the script yet. I got an email from him on a Friday saying "I read the first half, and I absolutely love it - my son's getting married, so I'll pick it up in a week or so and finish it, but great so far!" I was nauseous... because I knew everything that King was likely to hate was in the second half.

When he finally did finish reading it, about a week later, he reached out and said:

"I think it's really good. In my experience, this is the kind of script studios don't make, because it's TOO good. Hopefully I'm wrong. But no matter how it turns out, thanks for treating me so well. - Steve"

I had the distinct pleasure of being able to write him back and tell him that Warner Bros. had just greenlit the movie. And we were off to the races.

The pressure was enormous. They were spending a lot of money on this movie, and because of the insane box office success of IT: CHAPTER ONE, expectations were very high.

We were given access to Kubrick's blueprints for the Overlook hotel set, which were still held at Warner Bros. While we set about rebuilding the sets, our attention turned to casting.

For Dan, we met with a handful of actors: Dan Stevens, Chris Evans, Matt Smith, and Jeremy Renner all came in to chat about the movie. But Ewan McGregor, who himself was eight years sober (just like Dan), was the obvious choice. "Let's not talk about the Shining yet," he said. "I want to talk about recovery." He was the guy.

For Rose the Hat, we talked with several actresses, including Anne Hathaway, Nicole Kidman, and my dear friend Karen Gillan - but Rebecca Ferguson knocked our socks off on a 90-minute zoom meeting, and the part was hers.

Finding Abra Stone was more difficult - we auditioned more than 900 girls for the part. We'd narrowed it down to a half-dozen very promising and successful young actresses, including Lulu Wilson (who I'd worked with several times before and adore), but Kyliegh Curran's self-tape audition rose to the very top of the pile. Ewan flew to Atlanta to read with our final picks, and when Kyliegh - who lived 15 minutes from our office, was local casting, and had never booked a job before - finished reading, he turned to us and said "I mean it's her, right?" It absolutely was.

When we cast her, we invited her back to the office after school one day to get oriented. The crew was so excited for her that they decorated the production office in her honor.

As the rest of the cast fell in, we started doing our camera tests and getting excited about what we were putting together. My feeling over overwhelming nausea only got stronger.

We started shooting in September of 2018. The shoot was long, but never exhausting. The cast and crew were uniformly pleasant and happy to be there, and after the soul-crushing slog that had been THE HAUNTING OF HILL HOUSE, it was a relief to enjoy working again.

Kate was pregnant with our daughter Theo at the time. She visited as much as she could, but finally couldn't travel any more. Being away from Kate and our son Cody was hard, but I'm so grateful that we got to share some time on set together.

All things considered, this was a smooth shoot. But something happened for me while we were making it that would change the course of my life forever.

See, THE SHINING is about alcoholism. King wrote it while in the throes of his own addiction, and it is a novel about the anxiety he felt about what he could potentially do to his family if left unchecked. It's one of the reasons he was so upset with Kubrick's adaptation - all of that was taken away. This is a profoundly personal story for King.

When he wrote DOCTOR SLEEP, he was decades sober. The story of DOCTOR SLEEP is the story of recovery. This was something that Ewan knew very well, and why he was perfect for the part. He knew what the journey felt like. He wasn't alone - there were a number of cast and crew members on this shoot that were sober. In fact, just about all of the actors who played main characters were sober. I was still drinking at the time, though it had already become obviously problematic in my life, I hadn't taken any meaningful steps to change it.

This photograph was taken on 10/12/2018. This was taken on the day I got sober. I quit cold turkey, in the middle of production. I was clinging to vices at the time. Note not only the cigarette in my hand (I was smoking almost 2 packs a day), but the ash tray that had been rigged to the top of my viewfinder by the camera department. (I don't smoke anymore either, just about four years without cigs as well... and I still miss them.)

I had been writing about addiction for a decade. It was all over my work, going all the way back to ABSENTIA. I didn't realize just how much I was writing about myself, and I still can't believe it took me this long.

I vividly recall writing the scene between Dan and Jack at the bar. My wife pointed out to me after the fact that she could see it then, that something was changing in me when it came to drinking. Something was waking up, and I was processing a desperate need to sober up. That scene represents an internal conversation that is profoundly personal to me. It's still my favorite scene of the movie.

I've been sober now for over 4 years. DOCTOR SLEEP helped me finally make that decision. I finished the shoot sober, and came home to my life with a lot of uncertainty and insecurity. But with the unflinching support of my incredible wife, and some amazing friends, my life started to really blossom. It was pretty immediately evident that this was one of the best decisions I'll ever make.

Meanwhile, though, I had to finish DOCTOR SLEEP.

I LOVED the movie we'd made, but I was still terrified of what King would think of it - not to mention Kubrick's estate.

When we finished the cut, I flew to Bangor to screen the finished film for Steve. It was the first I'd meet him in person, and one of the most insanely exciting and humbling days of my life.

We watched the movie together, and I was acutely aware of each and every little reaction he had throughout.

(With Trevor Macy, my producing partner at Intrepid)

When the show as over, Steve turned to me and said "You did a beautiful job." And ultimately, he added that this film had made him warm up to the Kubrick movie as well.

A week later, we heard from Kubrick's estate that they had also loved the movie.

With King's blessing, and Kubrick's family, I felt that nausea finally subside. I said to Kate, "that's it. That's all that matters. Doesn't matter if the movie crashes and burns - we already won the important battle."

And then, the movie crashed and burned.

A group of us went to see it opening night at Arclight Hollywood (my favorite theater). We were just about the only people there. And I knew immediately that we were going to have a bad weekend.

The movie didn't perform very well. Warner Bros. was disappointed, and ended up scrapping the Dick Hallorann movie we were planning, as well as the Overlook Hotel prequel.

I was pretty crest-fallen. I'd spent years tossing and turning over whether audiences would be divided between the King and Kubrick camps. I'd been petrified that they'd be furious, venomous, run me out on a rail... I'd never considered that they'd be utterly disinterested. Apathy wasn't even on my radar.

Steve called me the Monday after opening weekend with some words of encouragement. "I remember when THE SHINING bombed," he said. "And SHAWSHANK. Give it some time. It'll find its audience. It's a really good movie."

That has turned out to be true. While it didn't set the world on fire theatrically, the movie has over-performed on VOD and streaming. And when Warner Bros. released the Directors Cut (I'm still so grateful that they did that), it popped even more.

So yes, to answer your question - the pressures were enormous. I hope this paints a little picture of what it was like. The biggest gift I got out of it, though, was sobriety.

I reached out to King a year later, on my first sober birthday. I hadn't told him I was sober, but it felt like time to do it. I got to thank him. "I never told you this, but I sobered up while we were shooting DOCTOR SLEEP, and I don't think I would have done it without your words. Living in that story, and marinading in the concepts of recovery and redemption made it possible. I just want to thank you."

He wrote back his congratulations, and then mentioned "as it happens, I'm off to celebrate 30 years myself. It only gets better and better."

And he is absolutely right.

DOCTOR SLEEP was the perfect project for me after the nightmare that was HAUNTING OF HILL HOUSE. I fell in love with making movies again. And I found a new and wonderful gear for my life. It has only made everything better - my marriage, my work, my experience walking around on planet earth. I'm so grateful for it.

When I think of DOCTOR SLEEP, I think of Ewan sitting at the bar and looking at the glass in his hand. "Man takes a drink, drink takes a drink... and then the drink takes the man. Ain't it so, dad."

Ewan understood those words better than I did when I typed them into the script. I understand them much better now.

There isn't a day that goes by that I'm not profoundly grateful for my time at the Overlook. And for myriad of ways my life has been changed because of it.

#doctor sleep #sobriety #behind the scenes #behind the scene photo #ewan mcgregor #stephen king #rebecca ferguson #grateful #warner bros #the shining #featured

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gentlebeardsbarngrill · 5 days

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04/23/2024 Daily OFMD Recap

TLDR; David Jenkins; Taika Waititi; Samba Schutte; Vico Ortiz; Astroglide; Articles; Fan Spotlight: Cast Cards; Never Left Podcast; OFMD Colouring Pages; Love Notes; Daily Darby/Tonight's Taika

== David Jenkins ==

Chaos Dad popped out to send some love and support today!

Img Src: David Jenkins Twitter

= Taika Waititi =

Well, Taika broke the internet today with his Belvedere commercial. Directed and starred in it. Be sure to open a window because it is hot.

youtube

= Samba Schutte =

Samba has started up a new T Shirt campaign to benefit the charity @everymomcounts that helps to make pregnancy and childbirth, safe and equitable! You can either buy a #CrewForLife t-shirt, or sign up for one of his baking classes/meet and greets!

Our Merch Means Death on Stands

Delicious Chaos with Samba Schutte

== Vico Ortiz ==

Vico starred in a short called Fire F*cking Fire and great news it's headed to the Tribeca Film Festival in June!

Img Src: Vico Ortiz IG

== Astroglide ==

Our besties over at @astroglideofficial put out a word search today with a few words/phrases you'll recognise!

Img Src: Astroglide Twitter

== Articles ==

Warner Bros. Stock Has Had a Rough Year. Why This Analyst Thinks It Will Get Even Worse.

Mark Indelicato Frustrated With Queer Shows Constantly Cancelled

== Fan Spotlight ==

== Cast Cards ==

Our fabulous @melvisik has another cast card for us! Tonight's is another one of the bourgeousie that Frenchie and Olu manageed to include in their Pyramid Scheme! They are the one that Olu told to "Go Away"!

Img Src: @melvisik's Twitter

== Never Left Podcast ==

Next episode of the podcast Never Left is out! This one is Beautiful Princess Disorder Part 5!

Never Left Instagram

Never Left Linktr.ee

== OFMD Colouring Pages ==

More colouring pages from the fantastic @patchworkpiratebear ! Visit their tumblr for more!

== Love Notes ==

Hey there Lovelies. Happy Taika Tuesday! Did you have a good day today?

Dad's comments today brought out a lot of folks sharing their stories on therapy and I wanted to chat about it for a moment.

First of all, if you're delving out for the first time (or trying again after years of not going)-- just know, you're being really brave. Depending on where you come from and your background, mental health may not have been something that your family prioritized (or maybe it was but therapy was never an option). It can be pretty scary to talk to someone you don't know about your inner most worries. You're taking a big step, and I'm proud of you for that.

You've looked at your situation, whatever tough things you're experiencing, and you've decided to prioritize you and your mental health-- and that's amazing. It's a hard decision to make sometimes, and as simple as it should be, it's not that easy. I'm so happy that mental health is talked about and therapy is so much more accepted now a days. Growing up I was in a situation where we "didn't talk about ourselves to other people" and that can be so very lonely when you are feeling really down.

I wanted to mention a couple things that I didn't know going into therapy-- in case they help at all, but obviously every experience is different, so feel free to take or leave the advice :)

Firstly, therapy doesn't solve things overnight. Sometimes it'll take weeks, or months, or years to unpack some of the things you really need to work through. It'll take time. When I went to therapy for the first time, for some reason I thought I'd just be able to dump all my problems out on a table and the therapist would pick one and we'd work on it. Instead it was a gradual thing, where they got to know me, I got to know them, and the more we talked the more we were able to unravel. I just don't want you to get discouraged if it takes longer than you planned, it's definitely a process.

Secondly, something to remember, is not all therapists are going to vibe with you. It took me a few tries before I found a therapist that really worked well with me. If you don't feel like it's helping, consider looking into a different therapist, sometimes it's not the therapy that you're struggling with, but just a mismatched vibe with your therapist. If you can help it-- don't give up right away, try another, I was really grateful that I did.

Thirdly, and if you're like me, this is a tough one. Remember to advocate for yourself. Sometimes a therapist may want to try certain therapies, or exercises, and it's something you've tried and just isn't working for you, or they want to go a medication route and you dont, or maybe they're saying something you disagree with. Remember you're your own advocate here, and they're here to help you, not hinder you from getting to where you want to be. Speak up for yourself if you can.

Lastly, therapy, especially the first few, don't always end in happy feelings. Think of it like a muscle in your leg that you haven't been using for years...and it's atrophied. You have to build that muscle back up, and it can really hurt occasionally during that time. You might leave therapy feeling worse once or twice because you're finally letting out some of that vitriol you've been holding onto for so long. It should feel better later.. maybe the next day, but it may not feel great the same day. That's a perfectly reasonable experience to have, and if you feel awesome, that is too!

Anyway lovelies, not sure if that helps, but I wanted to share it just in case it helped someone.

Whether you're going to therapy tomorrow, or soon, or ever, or never, I am really proud of you. You're doing what you need for you, and that's the most important thing. You deserve good things, and healthy thoughts and positive feelings. You really do. You got this <3

== Daily Darby / Tonight's Taika ==

Tonight's theme is hats <3 Taika Gif Courtesy of the phenomenal @ofmd-ann, Darby gif Courtesy of the lovely @funforahermit

#daily ofmd recap #daily ofmd recaps #ofmd daily recap #ofmd daily recaps #vico ortiz #david jenkins #samba schutte #never left podcast #our flag means death #ofmd #rhys darby #taika waititi #Youtube #Spotify

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robsheridan · 1 year

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Poster for the unproduced 1984 live-action horror adaptation GARFIELD: FIRST BLOOD.

Following the success of CUJO in 1983, studios were scrambling to find the next hit “killer pet” flick. Notorious grindhouse auteur Ron Sharleton, seeking a big-budget movie deal to fund his struggling production of CANNIBAL QUARTERBACK 2, set his sights on the most unlikely of properties: Jim Davis’ beloved comic strip Garfield. Sharleton, a self-proclaimed fan of Garfield who called the strip “a subversive celebration of misanthropy,” believed an “alternative, adult” spin on the character could thrive in tandem with its kid-friendly cartoons. Describing his rationale in an interview later, Sharleton said: “You have all of these R-rated films that come out and become big hits and the studios want to suck every penny out of one idea, so they sanitize it and repackage it as a cartoon for kids. So I said, why can’t we do the reverse?”

GARFIELD: FIRST BLOOD was pitched as a dark, gritty reimagining in which the titular cat, pushed to the brink on a particularly bad Monday, finally snaps and kills Jon’s dimwitted dog Odie. As he tastes Odie’s blood, Garfield is overcome by how good it felt to put a permanent end to something that annoyed him. He then realizes that everything and everyone annoy him, and his murderous rampage begins.

Describing his take on the character, Sharleton said: “Garfield never really sat right with me as a children’s character. He’s so much darker, more complex. You have this cat who is filled with contempt; he looks at the world around him with radical skepticism and scowls at the prison of tedium mankind calls ‘society,’ and he responds with this very self-indulgent nihilism: Be lazy, be a glutton, don’t participate in anything because it’s all bullshit. Garfield looks at Jon waking up early on a Monday and putting on his tie to go to a job he hates, and he sees a pathetic fool. It’s all such a powerful rejection of the Reagan Wall Street capitalist disease that has poisoned the 80s. ‘Work hard, climb the ladder, buy a boat!’ Garfield says fuck that, stay home, eat lasagna, accept no master. But living as an iconoclast in a conformist world has filled him with all this tension. There’s anger in there, you know? So I wanted to examine what would happen if Garfield was finally pushed over the edge. Where’s the line between a passive nihilist and a violent anarchist?”

Warner Bros execs were intrigued by Sharleton’s pitch (and the lucrative cash cow of the Garfield brand) and funded a short “proof-of-concept” trailer, directed by Sharleton, to convince Garfield creator Jim Davis of the idea. The trailer reportedly went “all-in” on Sharleton’s signature “splattercore” horror, including a scene where Garfield grinds up Liz Wilson alive in a meat grinder and bakes her flesh into a lasagna he then serves to Jon. The presentation to Davis was described as “one of the most disastrously miscalculated meetings in modern Hollywood,” with Davis stopping the trailer midway to ask the room “are you people completely fucking insane?” before storming out.

Reflecting on the meeting years later, an anonymous former Warner exec said “we knew it was a long shot, but we really felt like the only way to sell the concept was to push it as far as possible. In retrospect I think yeah, we did let it go too far. We were so absorbed in it that we didn’t realize how jarring it would be for a guy like Jim Davis to just be thrown into this cold. I think it was a mistake to open with the Nermal blender scene, but we wanted shock, and we thought… I don’t know, everyone was doing a LOT of cocaine back then. Well, everyone except Jim Davis."

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UPDATE: T-shirts and poster prints now available!

NOTE: This alternate reality horror story is part of my NightmAIres narrative art series. NightmAIres are windows into other worlds and alternate histories, conceived/written by me and visualized with synthography and Photoshop.

If you enjoy my work, consider supporting me on Patreon for frequent exclusive hi-res wallpaper packs, behind-the-scenes features, downloads, events, contests, and an awesome fan community. Direct fan support is what keeps me going as an independent creator, and it means the world to me.

#rob sheridan #nightmaires #garfield #alternate history #ai art #ai horror #synthography #synthography horror #writing #horror #80s horror #80s

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therealrainbowmadness · 1 year

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The downfall of media representation: a look at the massive cancelation tide of queer-woman-led shows of 2022

A little more than a year ago, I published a piece on what I called “the queer renaissance” where I reminisced on Lexa’s legacy (The 100) and showed optimism on the representation scenario given the variety of shows airing or to be aired with queer woman among their characters, and the grand amount of WLW couples in committed relationships that had on-screen marriages between 2020 and 2021. But even then, when things were still looking up representation-wise, I pointed that a cloud of worry was coming due to the end of many beloved shows that featured queer characters. There, I mentioned Black Lightning (Grace and Thunder), The Bold Type (Kat and Adena), Supergirl (Alex and Kelly), Brooklyn99 (Rosa), Atypical (Casey and Izzie), Genera+ion (Riley and Greta), Dickinson (Emily and Sue), Motherland Fort Salem (Raelle and Scylla) and Killing Eve (Eve and Villanelle). Little did I know that my optimism was foolish and that the worry brought by the end of the above-mentioned shows would only grow stronger after a very disturbing 2022.

The first cancelation tide came in April. When rumors started regarding the selling of The CW, queer fans immediately started worrying for their beloved shows, specifically for DC Legends of Tomorrow and Batwoman. Turns out they had a reason to worry because even before the network was sold by Paramount and Warner Bros. Discovery to Nextstar, The CW axed a long list of names from their portfolio. The shock was evident since The CW traditionally renewed their shows and allowed departing series to have a final “goodbye” season, as they did with Supergirl. But what called everyone’s attention was the fact that Legends of Tomorrow last-airing season (the seventh of their run) had done great regarding to critics and ratings. It also had more views than shows that would get renewed, like Riverdale. Media outlets later revealed that the apparent cause for cancelation was that the uncertain future of the network at that point led Warner Bros. to not want to commit to another long-term lease on the sound stages in Vancouver. The fact that they also did not renew their deal with Netflix for distributing content largely affected their revenues as well. Not to say that any of these issues did not play major parts on the future of our beloved shows, the fact remains that series that were in similar conditions, that is, also shot in Vancouver, also distributed by Netflix, and with similar or lower ratings and approval from critics, were renewed. In contrast, Legends of Tomorrow and Batwoman were not. The difference between then and the ones that got renewed: both were led by woman who loved other woman. And one of then was led by a black woman.

It was not easy moving on from such losses and being left without a proper ending to beloved characters and couples. But the cancelation wave did not slow down. Gentleman Jack was canceled in July by HBO. Despite BBC’s desire to move forward with the show, they still needed HBO as a co-producer and global distributor. It was hypothesized that the gap between the first and second seasons, caused by the pandemic, led to lower ratings and, thus, cancelation. But the untold reality was that HBO somewhat sabotaged the show by changing its time slot to air in the US and not pushing as much publicity for season 2. This kind of approach reminded me of the way Nickelodeon treated The Legend of Korra, constantly changing its time slot and ultimately moving it to streaming for the fourth and final season. Korra was a pioneer in queer representation for animated series.

The Wilds was canceled after a second season mostly focused on new male characters instead of the group of girls that led the first season, including the couple Shelby and Tony. Some shows had briefer runs, like Prime Video’s Paper Girls and Netflix’s First Kill. So short indeed that it makes me believe that genre TV for sapphics is the ultimate streaming queerbaiting. It is worth mentioning that many people, including LGBTQIAP+, stated that these shows were better off being canceled since they were poorly scripted and had terrible CGI. Addressing these issues, I have to say that poor visual effects never stopped series from getting renewed (just see Supernatural) and shows with really horrible scripts are constantly made and renewed by streaming platforms (Netflix’s Elite is a perfect example). However, I do not agree that they are badly scripted at all. Despite heavy criticism, First Kill had an expressive number of views and ranked well in Netflix’s Top 10 in many countries, also showing great numbers on socials which were at least comparable to Heartstopper (already renewed by Netflix).

But it was not enough for Netflix to cancel First Kill, and the news about the cancelation of Warrior Nun hit colder than ice. Warrior Nun was already a beloved show that grew its audience during the pandemic. Although some had reservations for the first season because of a possible queerbaiting, this possibility was erased by season 2 and the beautiful slow-burn romance between Ava and Beatrice. The momentum the show gained by the launch of its second season was impressive and it was impossible to go through the Twitter timeline without seeing some post or photo related to the show or Avatrice. The impact was so big that made people go back and watch the first season as well. Rotten Tomatos season 2 critic ratings were 100% and audience score was 99% with 7925 reviews. In fact, season 2 had the highest Netflix audience rating ever. The audience, already aware of Netflix MO, grew the engagement of the series on social media, despite Netflix showing zero effort for advertising the new season whatsoever. And again, despite the great ratings, views and engagement, the show got axed without much explanation, leaving a passionate audience with multiple unsolved cliffhangers.

Netflix, having one of the largest portfolios among networks and streaming platforms, is naturally the home of many shows with LGBTQIA+ characters. It does not feel like a coincidence that these shows, especially the ones featuring lesbian and bisexual woman, are the main targets for cancelation. The cycle continues: platforms pick up shows with a queer character for producing to fill the diversity box; they offer little to no support for the people involved on the actual making of the show, offering lower budgets compared to other equivalent series; besides the low production value, they also put little effort on advertising these series, making very hard for the show to do well outside the queer bubble; still, some audience, specially queer woman, sign to that platform to watch the series, grow attached to the characters, ship the couples, engage on social media, and do what they can for it to get to as many people as possible, since the network or streaming is doing virtually nothing in this regard; ultimately, the show either performs poorly as far as visualizations, mostly due to the sabotage of their own producing platform that offered a low production and advertising value, or performs well, but never well enough to them. In the latter case, it feels like woman-led shows are always held to a much higher standard than the male-led ones, having to do so much better to get same recognition. Misogyny and lesbophobia are the two words that come to mind describing this heartbreaking cycle.

At the end of the day, what we are left with? Series that give terrible endings to their sapphic characters, like Killing Eve. Series that are giving us kind of a bad type of representation, like The L Word Gen. Q season 3 (destroying character evolution and pushing outdated plots). Series with great representation which we are so afraid to get attached to just so we’d be disappointed again (like A League of Their Own and Sex Live of College Girls). And series that we will never even know the ending (choose any of the above-mentioned series). It is worth pointing out that all the fandoms are fiercely fighting for their shows to get pick up by other platforms and find new homes, as they should. A great example that the fight is worth fighting is Wynonna Earp. The show was canceled after its third season, leaving the audience with many cliffhangers. The fans fought hard and SyFy pick up the series for two more seasons. Ultimately, season 5 never happened, and its only owned to the creator Emily Andras, who did not want to make the same mistakes as season 3 and leave multiple loose ends, that we got a satisfying beautiful ending at season 4. But even with only one extra season, it was so worth it. And one final season could be all we needed to feel a sense of closure for all these falling series.

It is worth highlighting that LGBTQIAP+ representation is so important for so many people to recognize themselves in the characters and feeling less alone in this world, for helping people accept themselves, come out to their families, and just to normalize in general the existence of LGBTQIAP+ people in all sorts of environments and genres. We are currently seeing undoubtedly a major regression on how media approaches representation in general. We started back then being either sexualized or straight up killed, evolved into great characters with diverse well-thought-out plots, only to now have our shows canceled. And, although we are all exhausted, we cannot go down without a fight. A unified fight with all fandoms from canceled shows. As we did in 2016 after Lexa’s death, we need to make our points to major media outlets, go after the sponsors of the platforms, make a fuss in social media, look for alternatives. I still hope that, together, we have the power to make a difference if not for the series that were already canceled, to at least avoid that the shows that are still running or just starting to have a similar fate.

#lgbt #lgbt community #queer #representation #lexa #clexa #avatrice #warriornun #firstkill #calliete #gentlemenjack #batwoman #legends of tommorow #papergirls #wynonna earp #sex lives of college girls #a league of their own #the l world generation q #killing eve

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paladin-of-nerd-fandom65 · 1 month

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'Who am I to Complain?'

As part of my own contribution to this year's first day of Spring 2024, aka the in universe birthday of one Richard John Grayson-Wayne, the First Robin and the crime fighter known as Nightwing, I would like this opportunity finally....FINALLY...posting up for you all a fic that's been in my drafts for pretty much the better part of any entire year. Originally meant on being released last Christmas, various forms of delay, writer's block and other general distractions have prevented me from finally finishing such a project. Well finally after such anticipation at least on my end, I have managed creating a final form for this story I think can satisfy.

For very quick context, this story is a component of my long running idea proposing and lore building of my own version of the DC Comics Universe. In particular, it takes within the long storyline both @thattimdrakeguy and I have crafted for the better part of two years, the first part being involved within the hypothetical Nightwing solo book, 'Clipped Wings' and its follow up crossover with Detective Comics proper, "Blue Hawk Down'. For more information regarding the general summaries of events, check out the links here and here.

I shall like to dedicate this story to my mutuals and friends @adalineozie @meara-eldestofthemall @nightglider124 @faesystem @confusedhummingbird @spider-jaysart @mothnem @lightdusk96 @camo-wolf @sbd-laytall @theredheaded-stuff @celaenaeiln @starlightbelle @shootingstarssel @avaraydrake @pin-crusher2000 @sillymanwithocs @batboyblog @bluegarners @tarisilmarwen @orange-s-mario @altinyns-multimedia-museblog @katmaatui and so many others

Constructive Criticisms are Generally Welcome; Replies and Especially Reblogs are greatly appreciated

The Following May Contain Graphic Scenes of Violence, References to Sexual Assault and other themes not suitable for a Young Audience. Viewer Discretion is Heavily Advised

As per usual, All Rights and Copyrights to Characters and Concepts seen in this work are owned by DC Comics, Inc, a subsidiary of DC Entertaiment and Warner Bros. Discovery

With all that....Happy Birthday Dick Grayson....Here's my gift of Grade A angst for you

Sigh. Cough Cough

Look at yourself. Just Honest to God, Dick, just look at yourself.

Take a good look at those cuts, that blood all over your ugly as hell face, that blood pouring out of your stupid, big fat hole you call a mouth. You wanna know who’s Goddamn fault it was for all this? You wanna know who's responsible for you being more pathetic and a freak than you already are? Cough Cough

You.

Don’t try to deny it. Why should you?

After all, you allowed this to happen to you, right? Not just with what happened tonight but over these last few weeks. You know what I’m talking about. Losing your home and failing to find out how despite insisting you paid for it. What will Kory Cough say now when she comes back and sees that home you wanted to allow her into isn’t even yours anymore? What kind of fiance are you to allow that?

Why stop there? Here you are, without any place to call a house, your face gushing and oozing red as it had been lately, broke, nobody likes you, not a single damn soul cares about you. You wanna know who’s fault it is? Yours. In fact, as you right now are flinging that bottle of peroxide into your ugly face and stinging from it as you deserve, how about we explore what even happened tonight that led to this, shall we?

I think I should…Cough

Three Hours Earlier….

BAM

“Ack!”

“Tell Us Goddamnit, You Blue Wearing Cunt!!”

As if I would. How do I tell these bastards where the hell Bruce is if I wasn’t even able to speak to him for weeks by now?

I know what you’re thinking, ‘but are you his…’

Stop right there right now. If you’re gonna pull that whole ‘you’re his son’ bullshit on me, for one thing, at the very most I was adopted, I ain’t his real kid. I never deserved being his real kid at all given who we are. Another thing too; if he were to come to my help, he would’ve done so about…God knows how many times by now lately. I would handle it anyways, what kind of person needs any sort of father or even friends when it was their own damn fault they wound up taking two bullets to the hamstrings?

Why yes, that’s what I’m going through and yes it was my Goddamn fault being this utterly stupid and an utter embarrassment with my training for getting caught by those sickos like I was. Now you are thinking, everyone has an off day and…

BAM BAM BAM BAM

Crap! Two on the calves and two more on my hamstrings, I can tell.

“Motherfucker….” Damn it all they weren’t supposed to hear that. Great, now they laugh at it.

The hell’s wrong with me? There’s no time to let them know what’s going with my nerves acting up.

“You know, guys” (Cough) Keep it in, Grayson! You got something to say these assholes need to hear Damnit! “ You’re getting absolutely nowhere right now. If I knew where Batman was, I still wouldn’t tell you. So what the hell makes you think I do then after an hour and…”

“Shut the fuck up, Birdfreak!”

BAM

A kick right to my face? Yeah, another in my long line of failures and that one was justified; I should’ve seen that one coming. Hey, compared to the bullet holes though, it’s nothing really. Besides why even be hurt by that when I have this lowlife staring directly at my ugly mug of a face right now?

“You know him, more than us here! You have to know where he went! We got a sweet little gig here and I ain’t rushing to see that pointy eared son of a dick trying to ruin it! ‘Sides, you’re in our hands now, so you see; once we’re all done here one way or another, we can get that dough from the cops since they’re looking for you more than us! Now you tell us if he knows about this place and if he’s coming, will ya?! We ain’t got all night and I’m missing my game!”

Sweet little gig? As in the child trafficking operation they got here right now? Some of those children right behind me behind a cage like animals, forced to see me pinned on my torso and face, taking crap in many ways from them? They call that ‘sweet’ in mine and their faces?!

“You calling that a game? Selling kids to sexual slavery? I really hate to see what’ll be your idea for a movie if that’s what you.re saying” That quip, I couldn’t help, it was damn true and these creeps needed to hear that. It was about as much a fact as Bruce hates me right now and rightfully so.

Yet all they do is laugh even harder than before. They’re really….really starting to get on my nerves.

Their ringleader grins ever so much in my face. His disgusting and unbearable cigarette smoke billows in my face. “So what?”

So what? So what?? Is that really your best retort to me? It’s unbelievable, just what kind of devils and evils dwell in this city. But it’s evil I hunt for every single night. No one around me sees what I have to or does what I do around these parts. Not Bruce, not Tim, not Kory, no Donna….no one. On that note, no one should have to. Maybe it’s my failure to stop evil like this and everything I do, everything so wrong and never good enough, that’s why I’m certain Bruce decided just to cut me off.

No job, no place I can call a house or a home to stay in, no money, no spare clothes, no answering my calls, nothing. It’s been about three months of this so far, a three month test to see if I break if I had nothing, only for the big bad bat wanting me to literally cry my way back home to him. You know what? Screw you too, Bruce. Or whoever was doing all this. I know that, even for you Bruce, ins outs of everything, even you normally won’t stoop this low. It’s not just nothing I’ve been trying to figure out suggests otherwise. Maybe it’s just this….paranoia….no I can’t be paranoid. What’s happening is real and I need to deal with it and…

“Hey Cockscuker, you listening to me??”

Oh right, this asshole.

Looking at him, I can’t help myself but make my eyes go towards his own. What does he think would work now to make me talk?

In his hands was some sort of object. It looks bladed, I can tell based on the glistening of the steel coming from the moonlight coming in through the window. Once he gets a bit closer, I see it now….oh of course….a damn pizza cutter. Oh and just my luck too, in his other hand is a goddamn cheese grater. I guess either this warehouse is for kitchen tools or just my karma telling me how much I fucking suck and rightfully so again. Maybe the latter.

The asshole only grins at me. “Okay then, maybe some…slices can get ya to talk. What do you say?”

I take a deep breath and brace my teeth within my mouth. No use crying out, screaming or any of that weakness than I already showed earlier . This frankly I deserve, and come on.

I’ve taken a few swings from a baseball bat from Two Face, got injected with Slade’s nanoscopic probes that were shredding my cells inside and out, got blasted by an alternate Luthor, forcibly swallowed a heart paralyzing pill by Slade and the actual Luthor (that bald cunt)….and now just a circular blade and a metal sheet with blades on it on my forehead and face?

Seems fitting enough to take; whatever I’ve done and didn’t do in my vow to protect the innocent and never strive off the path of justice, being a terrible friend, never good enough for Batman as I had always been, letting the only two people that actually had any right to care for me fall to the sandy and hard floor, shattering almost every bone in their bodies when I had only one job to do which was catch them….yeah this is appropriate. This is exactly what I deserve after all of that. Losing my home, my job, and my means to do basically anything for myself, I deserve that.

Who am I to complain, really?

Back at the Present Day….

Sssszzzz….

“Ah Fuck!”

Peroxide…it never fails to emit any sort of sting on any sort of cut, don’t it, Dick?

Oh but you gonna start cussing and feeling it now? What the hell’s wrong with you? You can’t handle just a tiny sting of this shit without any yells?

Suck it up, will ya? You’re acting like a spoiled brat.

Who are you to complain about really?

Oh and by the way, there goes the last of our Peroxide, just circling down this old bathroom sink drain into God knows sewer pipes along with the blood it splashed off. You're gonna have to fetch some more, Dick. It’s not like Bruce is gonna get us anymore.

Fuck Him.

We’ve been putting up with his shit every since we lost are damn place to stay in, then our jobs all over this city, villain after villain breaking out, us being blamed for the Mayor, his wife and girl getting ripped to shreds and blood all over one day with one of your Wingdings, making you hunted down from pretty much everyone (for what only $1.5 Billion Alive? Oh c’mon that's too generous of a bounty for you. I’d put myself at about only 25 cents given your piss poor track record); You know for sure Bruce did all this, all behind the scenes, pulling every string he can to get us like this.

And why? Letting him know that you can take care of ourselves that one time and him being this offended by it? Well, fuck it, You’ve been showing him alright! Things are shittybut maybe that’s just how he likes it for you. Nothing gonna change that anytime soon; might as well make it the best for you, because it’s all you can do by now.

So now, no shoes, no fucking good socks at all, only one pair of torn sweats, that black tee, suit and toothbrush in your bag, here in this damn blizzard….every breathe getting…heavier….kinda….getting hard to stay awa…Cough Cough Cough

Hey! Cut it out, Dickface! Cough Keep going at least somewhere! Anywhere out of this snow…so much of it….Wait, that spot there, in this alley. That’ll work for now.

You hear that, laying on this backpack now….yeah this’ll work….at least not being out in that wind, though…..so much snow….it’s everywhere. It’s been everywhere these last few days. Fitting really, since well you do hear that right?

C’mon pick it up, Dick, your ears can’t be that piss poor

Cough

“May I, as your new Mayor, wish us all in this dear Bludhaven…..”

Yeah, there it is…..old Mafia boss now politician giving his speech for what today is.

“A Good…Merry ... .Christmas…!”

Okay, you get the idea. At least that’s one thing you got right….

Getting sleepy now….

…...pretty cold…..tomorrow might be better….

But at least that’s one thing, Dick….

…this damn city….all of its people….they got a good Christmas….

Gotta close your eyes now…..

Wait….that the Redbird….isn't that….can’t be Timmy…..

Cough Cough

Heh…looks like he tripped…Not real though….can’t be…..Bruce doesn’t care….you don’t need him…..but yeah….need rest…..you gave them a good Christmas

Who…am….I….to….Cough…..Complain?

#dick grayson #my posts #first day of spring #fanfic #content warning #cw violence #cw self loathing #cw gore #cw blood #cw self deprecation #cw child abuse #sfw #viewer discretion is advised #cw language

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