Movie with a trash little little bb girl who is a man in his 30-40s who needs a job, and has a difficult relationship with his child/sibling. Then gets a job as a night guard and everything seems fine, until the night, when the inanimate objects come to live and get quirky. But eventually understand each other and team up to stop the bigger evil.
Any other trans girl out there who plays the bass? x)
Some years ago, I wanted to make a virtual band with my OCs. I've always loved music and had the chance to be in a couple of local bands, but nothing that lasted long enough. I mostly played the drums x) but since then I wanted to make my own project. In this virtual band, Avelyn plays the bass! Elizabeth plays the guitar, and (I hope you know them, but will understand if you don't x) You will soon!) Giselle plays the guitar too, Eris plays the drums, and Valerie plays the piano/keyboard.
This year I want to start making music again, and compose things I'd love them to play! Also because I have a couple of ideas in mind for animations, and I want to make the music for them -u- So I've set a goal on Ko-Fi (https://ko-fi.com/samlizzy71) in case anyone wants to help! As always, donating is completely voluntary! I took the chance to draw this and ask for your help since Lynn's birthday is next month (February 19) so this will also count as her birthday gift <3
Hope you like it, and this will soon be available as a poster at my Redbubble store!
Reasons why Jedtavius is canon but not blatantly expressed
The time of release:
In the first interview which is about the third movie, which came out in 2014 (same-sex marriage was legalized in all 50 states in 2015 btw)
Owen Wilson says,
“There's been a big sort of transition from that antagonism and bickering... flowed into... almost a love, although they'd never admit it.”
In the video you can see Shawn Levy perk up as soon as Owen mentions ‘love’ and is very quick to correct “a brotherly love”
I assume this is because the movie had already been accused of pushing an agenda because of Octavius’ remarks about Lancelot; saying he was “handsome” and had “hypnotic blue eyes”
At the time having a gay character(s) in a kids movie was still considered ‘taboo’ and could lead to some issues causing the film not being able to be shown in certain places.
Last year, I started drawing a comic for this story, but I realized there were many things I had to fix or change, so I rewrote the first chapters before continuing to draw the comic. I will remake the first pages of the comic to fit the new version, too. In the meantime, I hope you enjoy the written version!
You can find it on AO3, and I'll post future chapters there too:
Greta Garbo, with Mauritz Stiller behind her, arriving in Los Angeles, September 1925.
The criticisms of Garbo expressed by the New York executives reached Hollywood and were expanded by MGM employees on the lot. Garbo was called Stiller’s “folly” and his “glad-hand girl,” brought along for sex. Sven-Hugo Borg, Garbo’s interpreter, was appalled by the anti-Swedish slurs aimed at her: “square head,” “flat foot,” “peasant,” “skyscraper.” The individuals making them thought that Garbo didn’t know English, but she knew enough to understand them. Studio flunkies pulled her from movie sets, calling her “the Swede.” If Garbo resisted them, they taunted her, saying that she had been a latherer in a Stockholm barbershop, implying that the job included sex. “Everywhere she turned, people were unkind to her,” Borg wrote. The Saga of Gösta Berling, with English subtitles, was screened at the studio, but the audience laughed at it. The sensitive Garbo was deeply hurt. She was especially insulted by Max Factor, who told her that Swedish women needed to be taught beauty care.
Becoming friendly with Pola Negri, Garbo often visited her at her home. “She would sprawl on the rug,” Negri remembered, “and rail against MGM. She was very tall, almost like a man with her large shoulders, and she would mourn: ‘I came here to conquer, and I guess I have to suffer. Someday I will be like Lillian Gish [MGM’s top actress], and then I will tell them all to go to hell.’” She never forgot how badly she was treated when she first came to Hollywood. […] Soon after The Torrent’s premier, she wrote angrily to Mimi Pollak that the Americans were stubborn; they never understood anyone and they never showed compassion.
In February 1926 Garbo wrote to Lars Saxon that talking to [Louis B.] Mayer was like “hitting your head against a brick wall.” By March, when her sister died and Stiller left MGM, Greta was desperate. She wrote to Saxon: “I don’t understand why God suddenly meant me such harm. It’s as though a part of me has been cut away.”
Hubert Voight, the MGM publicist who had befriended her in New York, was dumbfounded when he visited Hollywood in the spring of 1928 and found Garbo acting like a diva, “unapproachable, stern, haughty.” That persona was important; it became central to her life and her acting, as a way of coping with situations beyond her control. But there was also the childish Garbo, who acted like a clown and dressed in adolescent male clothing, partly as a disguise, but also because she liked to cross-dress and to act like a clown. Or she could be dramatic, crying and raging on request. There was also a depressed Garbo, who exercised to relieve her melancholy, or when life seemed too difficult, simply went to bed.
Ideal Beauty: The Life and Times of Greta Garbo by Lois W. Banner