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01zfan · 4 months

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vice | p. wb

stylist!wonbin x actress!reader | 5.7k words

why was this so fun to write LMFAOOO maybe i’m insane for real you guys. this was a request kinda but i went off on my own. needy lil freak wonbin we love you.

contains: metaphors and allusion to drugs, power imbalance (wonbin works for the reader)

at first to wonbin you were like dessert. a sweet treat for the end of the night to take the edge off of his long days.

he first met you after a long bout of unemployment, something that was common in his line of work. stylists were in an abundance these days, and each time wonbin thought he had a gig it fell through. because of his desperation for work, he ended up agreeing to take a job offered to him by his friend. the pay was shit, the photoshoot was in a studio that would take an hour to get to on public transportation, and wonbin was taking a professional step backwards by joining the team as an assistant stylist. he knew he couldn’t afford to say no so he agreed, not even bothering to ask who the subject of the photoshoot was.

when wonbin arrived the next day, he was greeted by the friend that got him the job. like always, wonbin got the rundown of the day and heard that several things had already gone terribly wrong. he nodded and followed closely behind shotaro, trying to understand what the concept of the photoshoot was and what brands they were allotted to use.

wonbin saw you for the first time when shotaro guided him behind the wall where he saw flashing lights and heard camera shutters. he barely got a glance at you, his view obstructed by a photographers and the makeup team that swarmed you between each camera click. wonbin was amazed at the amount of people, nothing like the low-brow photoshoot he was expecting. when he finally weaved through the crowd of people he caught up to shotaro and asked him who you were.

shotaro was taken aback by his question. wonbin saw his friend stop going through the clothing rack to turn towards him with his eyes wide. wonbin was informed through a tight-lipped whisper that you were an up and coming actress, one of the biggest new names on the scene. shotaro told wonbin that he was lucky to land such a good gig and if he was able to get a permanent role on the team he would be more than well off. wonbin looked back to you as he got a fast explanation and rundown of all the things you were featured in. he could see your side profile, how your hair blew in the artificial wind of the fans.

“you know i don’t watch movies.” wonbin said, still looking towards you.

“i suggest you at the very least watch hers.” shotaro looked back to the clothing rack, pulling the next outfit off its hangers to have it ready. “she’s pretty talented.” shotaro says.

wonbin found himself more interested you the longer he looked. you knew your angles, working them well for the camera as the raw photos appeared on the prompter. wonbin watched each one come out flawless, how you took the photographers pointers and acted on them immediately. he had seen too many actors in his time know nothing about posing for a camera, treating every photoshoot like it was a movie. but you did it well, maybe a little too well.

wonbin was only pulled away from you when he heard the director of photography call for the next outfit. wonbin turned to shotaro quickly, recalling all of his prior experience as the assistant stylist. shotaro carefully laid the clothes across wonbin’s outstretched arms and wonbin made his way over to you.

when you looked up at wonbin from the white block you posed on, he was taken aback. he could admit he wasn’t the best judge of character but something about you just seemed to pull him in. you tilted your head and thanked him for the clothes, motioning for him to lay them beside you. wonbin complied immediately, letting the clothes rest in the free space before bowing away back to shotaro.

the rest of the day was spent like that. wonbin running around like he was a newbie again, doing everything shotaro needed. the only relief he felt was when he would steal your attention for a moment and when he would be your only focus for a second. each time you thanked wonbin he could feel the heat across his cheeks. he didn’t know what it was, everyone else seemed to be fine around you. you had even built up a rapport with shotaro and the rest of the crew. but when it came to wonbin he was a mess, reduced to deep bows and nods of acknowledgment anytime he got your attention.

wonbin pat himself on the back when the work day was over. he came to the conclusion that being in your presence was inherently embarrassing, that he would never be able to overcome his reddening cheeks or hesitant movement when it came to you. wonbin was excited to go, but when shotaro asked him to come in the next day per your request, something in his mind shifted. he suddenly remembered your lingering looks, the way you grazed his hand and said a shy sorry afterwards. wonbin agreed faster than he should’ve, reasoning that he was just grateful to have a job for another day.

when wonbin first saw you outside of work he was experiencing another late night scouring job listings and watching youtube videos to play in the background. you came on his television due to autoplay, something only slightly related to what he was watching prior. regardless, you came on his screen bright eyed with a wide smile, and a bubbly lift to your voice as you introduced yourself to the camera.

wonbin tried to ignore you at first, to banish your voice to the backburner of his mind as he focused on more important things. you were meant to purely be white noise to occupy his overactive brain but he kept hearing you. the sentences wonbin typed into his job applications turned into whatever you were saying on his television. so he took a break, closing his laptop as he turned his attention to you. he watched a full thirty minute video of you breaking down scenes of a movie you were in. wonbin watched the whole thing intently with zero prior knowledge of the film. the way you spoke was sweet and expressive, the complete opposite of how you treated him.

he reasoned with himself that he pulled out his phone to figure out more about you. shotaro’s advice to watch a movie of yours played in his mind as he saw the prices to rent your most recent film. he spent twenty dollars he didn’t have to rent it, and he watched the whole thing curled up on his loveseat.

he was becoming obsessed and before he knew it, wonbin’s whole day started revolving around you. the next day wonbin came to work early with a new appreciation for you. he found himself desperately wanting to make a good second impression, to show you that he was really grateful for the opportunity to work under you. wonbin didn’t know why he wanted to show the good side of himself to you so badly, but he arrived to the studio long before your team came. he found himself lingering outside of the studio waiting for shotaro to park his car, but his friend was forgotten when your sleek black car pulled up to the curb.

wonbin watched you hop out of the car in an outfit to match. he watched you walk through the parking lot with your entourage huddled around you like fans. you were unbothered with your black shades that you only lifted when you made it past the entryway of the studio. you casted a glance to wonbin at the last second, and he continued to turn his head to follow you. he understood in that moment why you were up and coming, you had something that could only be described as it. wonbin realized the second day how refined you were, how much you advocated for yourself. you could wear anything, from the all black street style to the colorful designer brands they had you dressed in for the photoshoot.

when he got home after working for you he would scour the internet looking for things about you. in an effort to figure you out wonbin had seen your entire filmography within the month and he could recite almost all of your interviews. it had gotten to the point that you were getting in the way of the work he was trying to do and he was almost alarmed that he didn’t care in the slightest. he was lucky that he had been offered a position as your permanent assistant stylist after shotaro put in a good word for him.

as time went on, whatever wonbin had with you had gotten out of hand. he was able to convince himself that he was just learning about you, but he found that he needed more and more. niche interviews didn’t cut it anymore, he was searching the internet high and low for deep cuts of you. that’s when wonbin began to admit to himself he never had much of a sweet tooth. something as sugary as icecream sated his need after a bite or two. if he had to compare his relationship with you now he would compare you to the bottles of liquor or the powdery white substances that he always saw at the parties you steered clear from. you were something he got hooked on and by the time he realized it was too late.

he couldn’t blame you for being addicting, you were simply existing the same way all vices did. if anything it was wonbin’s fault. he wasn’t diligent enough, he didn’t administer you in small doses. drugs weren’t necessarily was bad if you did it in moderation. but your personality and proximity to wonbin made that impossible. he was all in, up to his neck in you and he was only sinking lower and lower.

you were just so much like him and you didn’t even know it. wonbin blamed it on the fact that he couldn’t wear the clothes he actually wanted to wear at work. he had to make sure that he was comfortable, that he could move the way he needed to when gathering clothes or running around on set. what wonbin really wanted to wear to work was the clothes he had in his closet that you also happened to own. he was able to convince himself that it was always completely by coincidence that the clothes you would wear would appear in his closet in his size. like there was someone else blowing his paychecks to have your exact wardrobe. but wonbin wore it well, and he believed that you would agree with him.

you were mysterious just like him, a little off-putting but alluring nonetheless. you were his carbon copy—if only he could get the words out to tell you that. wonbin was only able to confess to you in his moments of solitude, when your face would flash through his mind like a bolt of lightning. he got used to whispering your name over and over again at night, just to take the edge off. you were all consuming and you didn’t even know it, the same way all vices were. wonbin believed that if he didn’t have you it would only be something worse.

as wonbin stayed on your team as a stylist, you eventually took off. you booked important movies projected to be blockbuster hits, you were constantly booked for photoshoots and interviews. he was able to stave off his addiction to you by working for you. he was forced to be the most respectful version of himself to be in your good graces. he was lucky you had taken a liking to him to the point that he became your personal assistant. this meant wonbin got the privilege to follow you around all day like a lost puppy, doing your chores and walking your dog when it visited you on set. he fetched your food when you didn’t feel like getting up. wonbin had become your servant, and he didn’t want anything else.

being your servant meant he got to see the most intimate aspects of your life. he knew who was in your phone, what you wore and where you ate. he was able to see the things you shared in common and the things he suddenly felt himself taking a liking to.

the best perk was that he was able to sit in your trailer with you while you napped. after everyone else on the stylist and makeup team was shooed out of your trailer for lunch he had the unspoken permission to stay. truthfully it was because you needed someone to be there to wake you up in time. but you were nice enough to let wonbin take a nap on your tiny couch. you retreated to your bed in the back of the trailer while your manager reminded wonbin what time he needed to be back on set. wonbin nodded gently, settling deeper into the couch as his phone vibrated in his hand.

right as the door closed wonbin slid down his notifications bar to see what it was. a new interview of yours had just dropped, a picture of you in thumbnail smiling wide with your things spread out in front of you. wonbin looked into your area of the trailer over his shoulder. he saw your feet gliding across the mattress as you laid in bed. he wondered if you were on your phone watching videos like he was. whatever you were doing, he just hoped you were distracted enough.

wonbin knew better than to watch your videos while you were in the other room. he had picked up the nasty habit of losing himself when you appeared on the flat dimensions of his phone. it was like you were in the palm of his hands, the adrenaline of feeling you talk right to him made him lose all self control. he would’ve been able to talk himself out of doing something so bold especially when you were less than a yell away. but that’s what happens when people have addictions—they do stupid things because enough is never enough. that’s why even when wonbin was on the job where you were the topic of every sentence you weren’t talked about enough. in the moments when he would literally on his knees fixing your garment he wasn’t worshipping you enough. he needed his fix and he couldn’t wait another moment. so while wonbin chewed on the nail bed of his index finger he clicked on the video with his thumb.

the orientation lock was already off from the night before and automatically went to landscape mode. the intro music crackled through his speakers in the split second it took him to turn it all the way down. wonbin looked behind him quickly to see that your motions had ceased on top of the bed. he sunk further into the mattress and spread his legs trying to keep up appearances for the invisible audience in front of him. wonbin was solely just doing his job, looking closely at your eyes to make sure the makeup came out well on camera and that your hair was styled right. he cursed himself for letting his bluetooth earbuds die, he needed to hear your voice even though he had been hearing it all day. he was forced to settle for the subtitles and reading your lips. glossy and plush, drawing into a smile each time you sheepishly explained another item in your bag. wonbin felt the urge to look over his shoulder again but he didn’t want to miss a moment.

he abused the rewind ten seconds button while he pushed down on the tent that always formed in his pants like muscle memory. he brought his leg over the other when he saw you pull out the same sunscreen he owned.

wonbin was always in a negative feedback loop when it came to your videos. he would find a part he liked the most, a little moment of you looked at the camera with big eyes when you were asked a question or a small reaction where you would chew on your lip while in deep thought. no matter how short it was wonbin became obsessed, he would rewind it again and again. he saw you look up to the staff behind the camera for approval a million times, rewinding the video just to have it seared into his eyelids. he watched your delicate hands fiddle with each item as you pulled it out of your bag, how you took the time to sincerely explain each one.

he was too distracted by you that he didn’t know you were right behind him, watching him rewind the same part over and over again. as soon as he felt like something was behind him he heard your voice right next to his ear.

“you really are obsessed with me, huh?” you said.

wonbin instantly let his phone drop to the ground and yelled. it was the loudest he had ever been, the sound bounced off of the walls of your trailer and even made you jump. wonbin stood up from your tiny sofa quickly, rubbing his sweaty hands down his pants as he tried to think of an explaination.

“i was just making sure…” wonbin stammered.

all the excuses he had made up in his head for this exact moment were leaving him. he couldn’t think of anything when you cocked your head to the side with that knowing smirk.

“just making sure what?” you mocked.

wonbin felt red hot shame bloom over his entire body. his eyesight felt like it was blurry even though he wore his glasses and he felt short of breath. he was sure you saw the tips of his ears turn red and his hands instinctually clenching.

you only watched him, not saying anything else as wonbin pathetically tried to think about anything else other than the churning feeling in his stomach. being underneath your scrutinizing gaze only made everything worse. when wonbin tried adjusting his pants your eyes immediately flickered down to what he was so desperately trying to hide.

he didn’t have the time to decipher the look in your eye. he just knew he had to get out of there as soon as possible. wonbin got up from the couch and headed to the door, pulling down his sweater as low as it would go.

“wait.” you said calmly.

wonbin turned around to see that you held his phone in your hand. he could see your video still playing on his screen, your demeanor on the screen completely opposite of your expressionless face. you held out wonbin’s phone slightly, moving it back and forth for emphasis.

“don’t forget this.” you said casually.

when he reached for his phone you let it fall from your hand. wonbin watched his phone fall to the floor, making a dull thud when it made contact with your carpet. he looked up to you, trying to figure out what you wanted from him. the shame coursing through his veins turned to fire as he watched you settle into the same spot wonbin was in on your couch. his phone was right by your foot, a silent dare for him to come closer.

wonbin wasn’t sure if he was still reeling off of you causing his mind to make up things. was your hand that moved to rest on your knee beckoning to him? were your eyes staring at him with intent or disgust? he didn’t know what to do anymore. he felt himself getting weak, getting closer and closer to the ground until he was on his knees in front of you.

he couldn’t mistake the smile that spread across your face as your eyes followed him all the way to the floor. wonbin remembered seeing that exact smile in the first interview he ever watched of you. it was even more intoxicating in person, the different intent in your curled lips made the churning in his stomach worsen. you looked down quickly to his phone that was by your foot and back to his widened eyes.

“come here wonbin.” you moved your foot to lightly hit the edge of his phone where the video of you still played. “come get your phone.” you said.

your words were innocent and you had genuine curiosity across your face when wonbin stayed in place. you’re one hell of an actress wonbin thought to himself. you played the role of someone who was as non-assuming and confused. he tried to figure out what his role in all of this was, who you needed him to be in your movie. he remembered that he was your loyal servant who heeded your every request. so wonbin slowly started closing the space between his body and his phone, crawling on his hands and knees slowly.

when wonbin was close enough to reach his phone he was beside your leg. he kept an eye on you the whole time, now afraid to move an inch underneath your gaze. when you leaned back on the couch wonbin drew in a breath. you opened your mouth and his body straightened and his eyes widened.

“what do you want to do to me?” you ask.

when wonbin didn’t have the words you tilted your head to the side and batted your eyelashes. you looked so perfect from down here. pure and unsullied like snow. wonbin wanted to lean forward and take you in deep through his nose.

“i want to smell you.” wonbin sniffled.

when you spread your legs further wonbin couldn’t stop himself from shuffling forward on his knees, almost falling to his hands in desperation. before he could touch you, you put up a hand. wonbin stopped instantly, his shaky gaze going up to you.

“you have to be quiet.” you said, holding up a single finger to show that was your one rule.

when wonbin went back on his haunches to nod eagerly. you waited a beat before nodding to wonbin, hands creeping up your legs until they rested on your waist.

instantly wonbin closed the space between your legs and his body. he attached himself to one of them, kissing your jean clad knee before breathing you in deeply. he couldn’t stop himself from groaning, knowing exactly which perfume you had over your body.

“you smell like me.” wonbin murmurs.

“no.” you lift wonbin’s chin so he looks up at you. you see the blush across his cheeks when you shake your head. “you smell like me.”

you lean back on the sofa and wonbin lets his head drop, cheek resting on your knee. you can hear the whimpers bubble from his mouth, how they turn into whiny little groans when his crotch makes contact with your leg.

“i can’t tell if you wanna fuck me or be me.” you scoff.

wonbin knew he was told to be quiet but he couldn’t help himself. not when he could feel the patchwork of your jeans rub against the most sensitive part of him. he remembers scouring the internet high and low for your pants only to find out they were custom made, one of a kind. something that was previously so unattainable was in the palm of his sweaty shaking hand.

wonbin pressed his fingers deep into your leg as he shuffled forward to straddle your foot. he felt your skin dimple underneath his grip and you hissed before jolting your leg. the sudden movement made wonbin cry out pitifully, the pleasure of your leg moving against his crotch was so intense it was nearly painful. he moved his head to hang between your two knees as he stilled to catch his breath. he panted while pressing his forehead into the cushion of your sofa, trying his best to regain his composure. you only watched him and laughed, reaching down to manually loosen the white knuckle grip his fingers had on you.

“don’t leave a mark.” wonbin instantly loosened his fingers at your order. “i have a photoshoot tomorrow.” you said.

wonbin nodded because he knew. vogue italia. you were going to be on the cover, you and your costar were going on the spread. they were dressing you in missoni. the direction was were going for was young and fresh, marking a new generation of actresses and you were the leader. he knew and here he was, holding onto you so tight you could break.

“sorry.” your hand wedged between wonbin’s chin and the couch cushion to lift his gaze again. he looked into your dark eyes, having to swallow to try and mend his meek voice. “sorry.” he repeated.

wonbin didn’t move his hips against your leg again as a way to punish himself. he wanted to show you he had some semblance of control, that he was able to follow orders. he didn’t mind acting becoming your dog—by the way he was panting and whining he was already half way there.

“it’s okay.” you said after a beat.

he was positive you liked torturing him. the glint in your eye never went away, and your lips were stuck in a permanent smirk at his state. wonbin was sure you tsked at him just to see the dejection across his face, that you responded only after short silences to see his pupils shake. he was sure that you unbuttoned your shirt just to watch the color drain from his face and to see his adam’s apple bob as he swallowed nothing. you took the underside of your chest in your hands, pushing them upwards for wonbin to see.

you were making a show of it just to see him become even more pathetic. you started slowly raising and lowering your leg and pressed your shin into wonbin’s crotch. he looked down at your moving leg, resisting the urge to move his hips by biting his lip.

“keep going.” you said after planting your feet into the ground.

you leg went back to not moving, but wonbin didn’t mind. he made up for it three times back, dragging his crotch on the bottom of your foot and then against your shin.

it wasn’t long before wonbin was unraveling again, humping your leg like the dog you were turning him into. he didn’t remember what he was like before this, if he was always this desperate. he didn’t remember ever needing something as bad as he needed you. even though he would eventually get off he could tell that he would need more. you opened wonbin’s world simply by sitting in a chair, he knew that he would leave your trailer he’d be thinking about his next high.

the thought of you declining something like this happening again made wonbin want to savor it. he listened well this time, one of his hands clutched the armrest of the couch and the other gripped the cushion between your two knees. he looked away from your chest, afraid that too much of you would lead to an overdose. with his cheek pressed into your knee again wonbin started rutting his hips against your leg, trying to find any stimulation possible.

“look at me wonbin.”

he brought his chin to rest on your knee, eyes closed as the even tone in your voice made him feel even more pathetic. it was as exhilarating as it was embarrassing, wonbin switched from rutting is hips back to the slow circular motion he started out with. the pain in his pants made him shudder, his straining dick had at some point made it out of the fly of his boxers and pressed into the cold metal of his zipper. he needed to keep his eyes closed, atleast long enough to focus on only one sensation so he didn’t start crying.

“i said look at me, bin.” you ordered.

wonbin opened his eyes, he could tell they were watery by the stinging feeling of tears threatening to break past his waterline.

his face must’ve been pitiful, because he saw the smirk go away as you tilted your head affectionately. you even looked at wonbin like he was a helpless dog. your hands went to his face, and wonbin preened his head off your knee towards your hands to feel your touch faster.

“i bet you would’ve fucking killed anyone who got the job if it wasn’t you.” you cooed.

wonbin closed his eyes to remember the feeling of your fingers holding his face then opened them just as fast. he was nodding at your statement even though your question was fuzzy in his mind.

“that’s what you wanna hear?” wonbin nodded again, not sure what he was agreeing to—he just needed you to keep talking “you probably shouldn’t even be near me.” you say.

for the first time wonbin found himself disagreeing with you. he didn’t know where he was meant to be, he lived day to day and paycheck to paycheck as a freelancer in a highly competitive profession. but he had no doubt in his mind that he was where he was meant to be, desperately humping your leg in your hotel room biting his lip to stay quiet. he just wished he could’ve articulated this to you—or at the very least shook his head. but wonbin was so caught up in that familiar tightening in his stomach that he continued nodded as he started rubbing against your leg faster.

wonbin nestled into your soft hands. he could smell the shae butter and the minty smell of the medicated ointment your coated on your nail beds. he took in another shaky deep breath that he let out when you tucked a piece of hair behind his ear.

“i can’t deny that you’re cute though.” you said.

you pulled your hands away from wonbin and propped your elbows on your thighs. you looked down at him, how he was so close to tears. you could see his large eyes begging you for more, not even bothering to hide it. there was no way this was the same quiet, elusive, and mysterious wonbin shotaro talked about constantly.

wonbin watched you lean forward until chin rested in your hands. his breathy pants got louder and he dug so hard into the cushion he felt his nails starting to bend. as you leaned closer wonbin strained his neck to get closer to your face before letting it fall back to your knee. you were testing him by bringing your face so close. wonbin could see the blemishes in your skin and the eyebags that were beginning to set it from lack of sleep. wonbin wanted to reach out and caress the apples of your cheeks that glowed in front of him.

“you’re beautiful.” your voice is sweet, and wonbin’s eyes look like they are shimmering for you. “you’re the prettiest thing i’ve ever seen actually.” you coo.

wonbin kissed your knee and you can see the drool seeping past his lips in between his heavy moans. you can tell he’s close, his desperate hips move even faster than before and you can see his knuckles turn white from the way he grips the cushion. you rack your mind for the final blow, trying to think of the thing wonbin needs to hear to get him to make a mess in his pants. he parts his swollen lips, a tiny exhale slipping past before he strings his declaration together.

“i’m close.” he whimpers.

“mhm.” you lean close to wonbin, adjusting yourself off the couch so you can whisper directly into his ear. “we’d make a pretty cute couple, don’t ya think?” you smirk.

almost instantly, a prolonged whine erupts from wonbin’s throat. it’s high-pitched and bounces off the walls of your trailer. you feel his hips still against your leg, and wonbin pulls away from you to press his face into your leg. he muffles out the rest of his whines in your denim, and you can feel the drool filtering through the thick fabric to wet your leg. you would tell wonbin that they’re custom made and he needs to be careful, but your sure he already knows that. you only pull away and lean back into the couch to watch the man get lost in pleasure. he gives your leg a few final thrusts, and then he slumps completely against you.

when wonbin pulls away from your leg to look back up at you, his eyes are still blown out and glassy. his chest rises and falls quickly, but he doesn’t move himself from against your leg. you start buttoning up your shirt and you can tell so clearly that wonbin wants to help you. when you let your hands rest at your sides wonbin gets the hint quickly. he stands up from his spot on the ground with shaking legs, and puts his fidgeting hands to your blouse. he focuses on the fabric as he buttons up your shirt, and you laugh at wonbin finally showing you a shred of shame. when you look up to him you purposefully bat your eyelashes and bring your hands to gently hold his bicep. he freezes against your hand and bites on his bottom lip quickly. when his unsteady hands successfully button your blouse he pulls his hands away quickly and stands in front of you. you can see the small dark splotch in the front of his pants. you motion towards the spot and wonbin looks too, awkwardly shifting on his feet when he notices.

“do you want me to send you home early?” you ask.

wonbin shakes his head no and adjusts his pants but pulling at the material gathered at his upper thigh.

“i’m okay.” wonbin says.

“you know.” you cross your legs and look wonbin up and down. you’re sure you could eat him whole and you’re positive he would let you. but you’re better at hiding your desperation behind smirks and shoulder shrugs. “maybe if you’re good we can do a little more next time.” you say nonchalantly.

wonbin adjusts his pants again when there’s a knock at your door. a moment later your shotaro comes in, takes a look at the both of you and checks the time on his phone.

“lunch is over, are you ready?” he says.

you get up quickly, shaking yourself off and casting one more look to wonbin before looking to shotaro.

“i’m ready.” you say, grinning ear to ear.

#requestz #01zfan: wonbin #wonbin smut #riize smut

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dailylooneys · 2 years

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Happy 112th Birthday Norm McCabe

Another one of the least known cartoon directors at Warner Bros’ Termite Terrace.

Starting at WB, he was hired as an in-between during the Harman and Ising days in 1932. McCabe even went with both Bob Clampett and Chuck Jones to assist Ub Iwerks to complete two of Iwerks WB shorts, which was Porky and Gabby and Porky’s Super Service.

McCabe later became an animator for Frank Tashlin, then Bob Clampett, animating some of the most famous shorts of all-time, such as Clampett’s beloved, overtly surreal Porky in Wackyland.

He would later take over Clampett’s old unit.

His first directors credit: The Timid Toreador (1940) co-director Bob Clampett

His solo directional debut: Robinson Crusoe, Jr. (1941)

In a similar manner of Robert McKimson and Arthur Davis, McCabe gets the short end of the rope. He directed nothing but black-and-white Looney Tunes shorts, never the later color Looney Tunes or Merrie Melodies. Much like Clampett and Tex Avery, McCabe would have a habit for the use dated topical humor relating to the world of the early 1940s like WWII, and his notoriously politically incorrect shorts, such as “Tokio Jokio” (his final short) and even the best ones like “The Ducktators” and “The Daffy Duckaroo”, was probably what set him back in his status.

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Regardless, McCabe still did some great shorts. His directional style, I would say, was a mix between Freleng and Tashlin, razor-sharp timing, topical satire and insane wacky gags. He had quite easily THE shortest-lived directing job at WB, with only Tashlin and Arthur Davis out beating McCabe who directed only 12 short films.

The reason for McCabe’s short-lived directional career at WB was due to being drafted. When he returned, he would try to get his job back as a director, but Eddie Selzer wasn’t so easy on let him back in.

McCabe was the longest-living WB cartoon directors up until his death in 2006. He worked in commercial illustration for Bozo the Clown such as children’s book and educational films. He later continued his animation career, animated on Disney’s Bambi, revisited WB once again in the 1960s, went to Filmation, then DePatie-Freleng Enterprise, was an animator on Ralph Baskih’s Fritz the Cat, and did his second revisiting to WB again in the 1980s and 90s, as an animator on The Night of the Living, The Duxorist among other things, was a sheet timer and timing director on Tom Rugger’s Tiny Toon Adventures, Animaniacs, Freakazoid! and Taz-Mania, and The Sylvester & Tweety Mysteries, and even was an animator on the infamous 1993 Pink Panther TV series at MGM, a director on Bobby’s World for Fox Kids, a sequence director on 1987 Teenage Mutant Ninja Turtles show. Surprisingly, McCabe admitted to hating his work at Termite Terrace once he met up with animator Mark Kausler, screening his shorts. According to Kausler himself, McCabe was “incredibly modest about his Looney Tunes, he hated them all!”, once had a screening in North Hollywood, pleading to everyone “oh turn those off, I can’t stand looking at them”. Well, whatever the case was, your cartoons were the best Norm!

#Norm McCabe #looney tunes #merrie melodies #warner bros.#birthday #wb directors #the ducktators #the daffy duckaroo #world war 2 #wwii #1940s #short films #film directors #animators #animation director #animation #tom rugger

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blogynews · 11 months

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"Exclusive: Calcutta HC's Astonishing Twist in ED Officer's Enquiry - Unveiling a Revelation That Shakes the Foundations in WB Cases!"

The Calcutta High Court has made modifications to its previous order regarding the involvement of Enforcement Directorate Assistant Director Mithilesh Mishra in investigations related to West Bengal. Justice Amrita Sinha, on September 29, directed the ED director to relieve Mr. Mishra from the school job scam investigation and prohibited his assignment to any West Bengal-related case. During the…

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blogynewz · 11 months

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"Exclusive: Calcutta HC's Astonishing Twist in ED Officer's Enquiry - Unveiling a Revelation That Shakes the Foundations in WB Cases!"

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gouracademy · 4 years

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Post of Assistant Director Recruitment 2021 @https://wbpsc.gov.in

Post of Assistant Director: নিম্নলিখিত যোগ্যতা সম্পন্ন ভারতীয় প্রার্থীদের কাছ থেকে অনলাইনে Post of Assistant Director পদে নিয়োগের জন্য Public Service Commission, Government of West Bengal-এর তরফ থেকে নোটিফিকেশনের মাধ্যমে আবেদন করার জন্য আমন্ত্রিত জানিয়েছে। Post of Assistant Director Recruitment 2021: গ্রাজুয়েশনে অন্তত 60% শতাংশ নম্বরসহ বাংলা বলতে, লিখতে ও পড়তে পারা যেকোনো প্রার্থী Post of…

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#Assistant Director #Assistant Director Jobs #Assistant Director Jobs in WB #Assistant Director of Technical Education and Training #Government of West Bengal #Govt Jobs #Govt. of WB #Post of Assistant Director #Post of Assistant Director Jobs #PUBLIC SERVICE COMMISSION #Technical Education #Technical Education & Training #Training & Skill Development #wb #WB Govt Jobs #WB Govt Jobs 2021 #West Bengal General Service #West Bengal Govt Jobs

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nealcassatiel · 4 years

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Supernatural and Russia and the mess of Television Legal Contracts

One of the most important aspects of a television series’ life cycle is its distribution. It is in the stage of distribution when the production companies/studio recoup the largest amount of costs.

By looking at who distributes the show, as well as which companies stand to gain the most from distribution profits, we can gain greater understanding of the various complex agreements and finances at play.

Viewing Statistics in the USA, Russia, and other International Territories

Let’s take a look at where Supernatural is distributed, and it’s popularity in the countries in which it airs.

After the US, in the past 30 days, Supernatural’s next biggest market is in Russia. The next is in Brazil.

This got long - more under the cut (I’ll be talking about cuts shortly)

In Russia, Supernatural has been in the top 0.2% watched shows in Russia (link) . This is also the case in Brazil.

In 2019, a modest survey was done on urban and rural Russians asking them what foreign television they watch. Supernatural was the 6th most mentioned foreign television show (link).

In 2017, Supernatural was three times more popular in Russia than it was in the US (link - this article has just a whole other host of information about it being popular amongst urban and rural US residents, as well as popular amongst both Republics and Democrats, however i haven’t looked further into that data so not going to discuss it much here)

So selling Supernatural to Russia and airing it in Russia is going to bring in a lot of revenue for The C*W and the production companies. That is a lucrative distribution territory and of a huge amount of importance to the network. Russia will air both new episodes, and reruns. Of course, if Supernatural made a queer love story a central premise, then execs are going to get scared that not only will the finale may not be aired in one of their biggest, if not their biggest market: Russia, but that the broadcasters who distribute the show in Russia might also pull the rest of the show and stop broadcasting reruns too. That’s a shit tonne fo distribution profits gone for The C*W, and who knows, maybe their relationship with Russian broadcasters who air their other shows will be on the rocks. After all, trying to sell gay tv to Russians right now is, sadly, never going to happen. This is not an indictment on the Russian viewers, but me saying that the show won’t be sellable to Russian broadcasters if it is too queer.

A huge huge majority of US Supernatural fans are progressive and wanted the more queer focused and found family ending. But the C*W and Warner believes that there are still enough US fans who don’t want something that progressive to be shown. They also know that one of their biggest markets is Russia, and Dean being shown to be bi will not go down well there. I’m just speculating, but The C*W may have looked at those chunks of audience who give them money and decide that they only care about those profits.

The frustrating thing however, is that no matter the power of Russian Supernatural audiences, looking at the other progressive countries and the popularity of Supernatural there - these numbers as a collective outshine those of Russia. So maybe Russia isn’t that important. Or maybe all The C*W needed to think was ‘we don’t want to stop profits from our biggest international viewership’ and so they never even went further and thought about the collective viewership of the audiences from progressive countries. As I said at the start, distribution is where the companies who invested into making a show recoup the most costs. All the money that comes from distribution is incredibly important.

DISTRIBUTION AND CO-PRODUCTION AGREEMENTS

The writers, the crew, the actors, don’t really get the distribution profits. They may get small cuts of things or bonuses here and there, but they’re all essentially employed by the production company. It is the production company and studio who has sunken money into making the show who will get a cut of the distribution profits. So the production companies and co-production companies, the creator (maybe still if they had a good agent when they first sold the pitch), the network are all going to be the ones to care about how much a finale will matter to profits from showing reruns in less progressive countries. Dabb is an employee - he personally will be paid a fixed sum which is given to him by the production company. He does not care if SPN can’t be aired in Russia - that has no personal affect on him. He was paid to showrun the series and he’ll get nothing more even if it becomes the most watched anti-gay homophobic celebrated show in Moscow. He has no financial reason to cater to anyone. He’s just an employee.

But if information like this, the knowledge that for multiple years TPTB have wanted Supernatural to cater to a non-progressive international and national audience for the sake of distribution profits, then the show should have never have taken the narrative to a place whose ending could not be green-lit.

If for the sake of these pofits and other secondary rights, for the sake of appeasing rural/southern USA viewers, and trying to keep an audience for Walker, The C*W derailed the final two episodes, then I still don’t fully understand why the ending was heading towards destiel when all of this distribution finance information has been known for many many years.

It makes sense why such a terrible finale would happen, but it doesn’t make sense why up until episode 18, the entire narrative of the show was leading somewhere completely different? Why were the writers of SPN heading straight towards one thing, if they knew they always knew that they’d have to have a completely different ending?

The Right of Final Cut / Final Cut Privilege

The answer may lie in the fact that The C*W wasn’t really paying that much attention to SPN, they couldn’t really see all the subtext, but suddenly the subtext all was going to become text and they were all twiddling their thumbs and looking for something to do during COVID when the industry shut down, so they suddenly got way more involved.

Let’s quickly clear up who The C*W is and how they relate to SPN as a company. Supernatural lists The C*W as one of it’s distributers, but lists Warner Bros Television as a production company. When SPN started it was made by The WB (which is now The C*W). It’s all under Warner Media anyway, but we can basically say that Warner Bros Television (listed as a co-producer of SPN) is the sam as The C*W who is listed as a distributer of SPN. They’re essentially the same so The C*W is both producing and distributing SPN, as well as owning the format rights to the show - sorry that’s all complicated anyway The C*W are the big dogs who own Supernatural and have done from the beginning back when they were called The WB)

Essentially, The C*W have a co-production and distribution agreement for SPN. The power they have from that first agreement when they bought the show off Kripke is almost certainly still MASSIVE today. They are not only the ultimate distributers, but the ultimate producers with all the agreements and all the rights.

Anyway, back to that first agreement: This was Kripke’s first big deal, and he almost certainly gave Warner Bros/The C*W a whole host of creative control in exchange for them sinking a shit tonne of money into making the show. Which makes me wonder if The C*W has something in entertainment law called “the right of final cut/final cut privilege”. If a studio or distributer has sunken a heck tonne of costs into making the series and are the ones who most need to recoup the distribution costs, then in their contract they may try to give themselves the ‘final cut privilege’ - essentially, this is the final edit. There’s the Director’s Cut, but then after that there is the Final Cut. The Final Cut is what is broadcast. Nowadays, most series and films don’t allow the directors to have final cut privilege anyway - it’s fairly rare from my understanding (one of my hats is a television legal contracts assistant, and all of these contracts still confuse me even though it’s an element of my job - I’m not trained in this outside of work so i apologise if this isn’t clear). The studio or distributer doesn’t even need to clear their final cut with the writer/director/producer. They can just do it. Cut it up and broadcast it, because they’re allowed to in their contract.

So with the finale episode being so short, a mess of montages, Carry on My Wayward Son versions back to back, a narrative mess, the pacing completely off, some scenes way too short and others way too long - this really could insinuate that the stupid clause of ‘the right of final cut’ was utilised by The C*W and without the need to get the permission or allowance of Dabb or even the other production companies, they edited everything they didn’t like out of the finale, citing their contract and the fact that they’re the ones who need to recoup distribution costs, and they don’t want to piss off large swathes of their national and international audience.

In Conclusion

So positives? Well, now that SPN is done and dusted, if there is a spin-off then this shouldn't affect distribution deals in Russia or Brazil. If whoever buys the format rights for Supernatural, allows The C*W to still sell the old series distribution rights, then market the new season of SPN not as a new season but a spin-off, then this will give them more freedom to not cater to the conservative international and national audiences SPN was beholden to due to distribution profits. What I’m saying is - a spin-off could free itself from catering to anyone who isn’t progressive. The old audiences can carry on showing reruns of SPN and completely ignore the new ‘fake’ gay spin-off. They can say that it’s a different production company, a different network - and therefore not the legitimate show. Great. Free SPN.

A new format agreement could also mean that the new producers could ensure that not the distributer, but the director, or the new trusted production company themselves gets the Right of Final Cut. If another agreement is made, please please please take that right away from The C*W/Warner.

The difficulty in getting the SPN rights would be caused by the mess of a Format Agreement to even get those rights... Supernatural is co-produced by Kripke Enterprises, Warner Bros. Television, Supernatural Films, and Wonderland Sound and Vision. I’m assuming Kripke Enterprises and Supernatural Films may be under Warner Media (as Warner Bros and The C*W itself is). If Jensen wanted to produce the new spin-off then his new production company is under WB/Warner Media too... so. Disentangling meddling and shitty Warner Media execs from a spin-off would be difficult because they own everyone.

All in all, it’s easy to see now with that mess of a finale that this was caused with whoever has “The Right Of Final Cut/Final Cut Privilege’. And I HIGHLY doubt Singer or Dabb or any mere employee on the show has it. It’s more and more obvious to me that this power lies in the hands of The C*W/Warner and they didn’t even try to loop Dabb or the main cast in when making the final edits. I’m sure the C*W started to get involved at episode 19 and in the development stage of episode 20, but i’m certain they had a hand in the disastrous final cut.

I hope we’re able to pry our beloved show out of the hands of those who don’t care about its narratives, but have more power than anyone to change the show’s narratives. Thanks for coming with me on this essay/me working out this complicated mess. It’s 00:50 and I'm super tired so I hope all this makes sense. Television contracts confuse me and I work with them so i dunno how clear any of this is.

Anyway - I hope it was totally boring.

#spn #supernatural #spn statistics #spn analysis #fuck the cw #fuck the finale #viewer statistics #i dont know if i find contracts interesting or dull #i haven't worked with contracts since covid happened #so i may be kinda rusty on my knowledge #but hope this was of interest nevertheless and sorry for any legal errors #supernatural finale #spn finale #tv industry #industry stuff #final cut privilege

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veronicamarsconfessions · 3 years

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Joel Silver, The Ruthless Producer (But He Wouldn’t Allow Logan To Be Killed)

This blog talks a lot about Joel Silver and his influence on pop culture (especially his role in Veronica Mars). He is well known as one of the “Bosses From Hell” in Hollywood and yet he is the lesser evil from other producers like Harvey Weinstein and Scott Rudin. Which is not a compliment whatsoever. But he is known as very protective with his assets such as his TV shows.

It is surprising that we hardly heard about sexual misconduct allegations against women/men (yet) especially during this decade alone. According to many, he is not interested that much in sexual hedonism as he is more concerned with being on top of the food chain. He is a married flamboyant producer who is deeply serious about his investments. He is always at the movie/tv set, watching everything like a hawk, making sure that everything is working accordingly. He dislikes unprofessional behavior from actors or showrunners, and most of the time, he just loathes writers. “Writers sometimes don’t know what works and what’s not. I don’t care if you are a brilliant writer, but I know better than anyone else in this business.”

That is the young Joel Silver, playing a frustrated director named Raoul in the movie 'Who Framed Roger Rabbit'. According to interviews, Raoul was based on himself but more tamer.

Joel Silver was a type of producer who likes to change a lot of the source materials, to the chagrin of the creators. Many just saw him as this tough guy producer who is very meticulous and wants the job done properly. Sources said that he liked to yell a lot, but hardly physical towards his employees (unlike Scott Rudin).

This is why it was so shocking that he and Rob Thomas had a fistfight argument at the Veronica Mars set. Rob must’ve pissed him off so bad that he resolved to a fistfight. According to a TVGuide interview, Rob said that Joel wanted to have Tara Reid as Trina Echolls and Paris Hilton to be put in the show as a guest star while promoting the House of Wax movie. Rob hated the idea and Joel didn’t take it lightly. Their brawl was reported to many blogs and forums back then.

Joel was frustrated and furious that Rob was adamant about his vision, citing that he knows more about what works and what’s not in the industry, and that includes casting and storylines. Rob insisted that Veronica should be with the love of her life, which was Duncan Kane. Both Joel and Rob head-butted about this because Joel knew that Logan was more a compatible and popular character than Duncan. Not liking the idea of being blackballed all the time, Rob wrote Logan as insufferable in season 2, hoping that fans would turn against the character.

The plan backfired as the fans at the time rejected Duncan instead. Diane Ruggiero even admitted that they were reading the feedbacks especially from Television Without Pity and she said that they didn’t have a choice but to get rid of Duncan. At the time, they also didn’t know whether the show was going to be renewed or not in season 3, especially during the merger between UPN and WB to form The CW. The fans’ voice was clear: they wanted LoVe (Logan & Veronica) to be together. This didn’t bode well with Rob, but the fans (and Joel) have spoken. He finally got rid of Duncan by sending him off to Australia with his baby. And that was it, the end. Logan and Veronica got back together.

But season three came, and another obstacle came in a form of Dawn Ostroff (the president of CW) who wanted some changes in the show for the network to be more teen-friendly. Gone the whole Noir and mystery style, they focused more on the white teen drama and a love triangle. At this moment, Joel decided to stay behind the scene. He was no longer hovering, he had other projects, other money to pursue. He still co-owned Veronica Mars. But he was no longer involved much.

When Veronica Mars was canceled, Joel immediately snatched Jason Dohring - he approached Jason "out of the blue” and said, “There's a role, and I'm making it younger". Joel offered the main role of the CBS vampire procedural series Twilight to Jason before it was changed into Moonlight. Jason read two pages of the script featuring Josef Kostan and was interested in the character's "dark" and "sharp" personality. Jason had to go through the normal audition process and was not sure he would have gotten the role without Joel Silver, who had "pushed it through to the end". Joel noticed very early that Jason had a main protagonist charisma so he fought for him to be cast as Josef Kostan. Jason’s performance was praised by many critics and fans alike as this sarcastic manipulative vampire. Unfortunately, the writing of the show was atrocious and the rating was abysmal because of the Writers Guild strike and they had to hire ghostwriters to keep going. After one season, Moonlight was canceled and it was another money down the drain for Joel.

When the idea of a movie was pitched, Joel said the movie would NEVER HAPPEN. “There are no fans for this market. Sales of DVDs and merchandise are nonexistent.” Joel was thinking as a producer; no sales for the merchandise = no fans, which is wrong, obviously. But that was the way many producers thinking at the time, and still are. After his company severing ties with the Warner Brothers, Joel was no longer interested in any mention of the Veronica Mars movie. Knowing that Joel would not approve of the Kickstarter, Rob and KBell decided to go straight to Warner Bros head honcho Kevin Tsujihara and asked for a chance to get a Veronica Mars movie funded by the fans. The movie then was made, and Joel was proven wrong for this particular moment.

Sharks however started to circling Veronica Mars movie - a lot of producers started to take an interest in the Kickstarter when they found out that it became successful and a phenomenon — notorious producer Harvey Weinstein wanted to grab the rights of Veronica Mars and he boasted that he could make it more successful under his Miramax banner. But his rival, Joel Silver, wouldn’t have any of it. Joel might not be responsible with the Kickstarter, but he sure the hell would burn a swimming pool first before Miramax steals VMars.

Rob and Joel have a “good work” relationship - they definitely aren't friends in real life, but most of the time they avoid each other except in public events and red carpets. Their relationship is mostly being tolerant of each other. Joel didn't even bother to come to the Veronica Mars movie red carpet even though he was the executive producer of the movie and this franchise was a part of his life. Many thoughts for him not attending the red carpet were to avoid any embarrassment because he said that there were no fans of Veronica Mars. If it was allowed, Rob would say ‘fuck you’ to Joel as he strutted on the red carpet during the premiere of the Veronica Mars movie at the Chinese Theater.

However, when HULU took an interest in a VMars miniseries, Rob asked Joel for a favor, which is to get Kristen Bell to work around NBC The Good Place contract. As HULU is a part of Viacom and also an umbrella company for CBS and CW where VMars reside, technically she couldn't and was not allowed to be working with a rival company. So Joel helped Rob by calling the NBC president Noah Oppenheim to lend Kristen Bell to HULU temporarily. No words or interview about how Joel thinks about season 4 and how they killed off Logan Echolls; a character he protected during his reign back then. It is obvious if he was in charge of Veronica Mars season 4, he would scold Rob Thomas for killing the Golden Goose or maybe already stopping him before it happened. He might have a soft spot for Jason Dohring himself, calling him a “talented actor but too quiet for this industry”.

Joel Silver seems to have moved on from Veronica Mars and its tumultuous relationship within. He has a bigger problem than handling a franchise that has crashed and burned because it flew too close to the sun; namely being sued for the death of an assistant and the fact that he was kicked out from his own company (Silver Pictures) by the company CFO Daryl Katz, and also he is a bit struggling with financial means. But no matter what, Joel Silver was a part of Veronica Mars with its complicated history. And he definitely has no problem keeping going - after all, he is one of the notorious bosses in Hollywood.

#Veronica Mars #Joel Silver #Rob Thomas #Logan Echolls #Josef Kostan #Moonlight #tv

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dizzymoods · 4 years

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I need you to go into more detail on your take on this vertical monopolization of the theater industry. From my layperson's perspective it looks like it's going to screw a bunch of potential up and coming, soon to be rich and famous people and I couldn't care less. But I want to know how this is going to affect say a career gaffer or something like that. How will this affect people for whom making movies is a much needed job job.

my major point for that post was that a telecomms company like ATT (which owns HBOMAX & WB) has a vested interest in driving consumers to use their telecomms technonlogy and to discourage them from going to other avenues (theaters). And how the biggest media conglomerate in the world, Disney, just announced that much of their future slate will be available on their streaming service day and date. They tested the waters with charging $30 for Mulan earlier this year (even though i think it’s free for D+ users now?). So, I’m not necessarily talking about vertical integration of theaters so much as how this very sudden pivot to streaming/tech, understandably exacerbated by the effects of the pandemic, is shortsighted and a guise for these media conglomerates to abuse workers. I was framing my post from the perspective of an independent director to kind of vent my frustrations as I seek funding for my next movie. and how this news is going to affect the financing of independent american films. And which kind of films get greenlight, accepted to festivals, and picked up for distribution etc. A friend of mine was in talks with an indie producer to make their film this year (obviously didn’t happen) and now that productions are happening again the producer gave notes last week for them to restructure scenes/runtime that might make it more appealing to amazon/netflix. This is an indication of the flattening of artistic expression in american cinema. The kind of sameness of a lot of recent movies from these streaming giants and the boutique companies like Annapurna or a24. This trickles into representation as only certain forms of blackness or femininity or queerness or disability are useful to the algorithms (ex. Black Death). Which is why I said this is a blow to the quality of all american cinema.

I’m also thinking of an increase in situations like w Garret Bradley’s Time which is a phenomenal look into how america’s prison system affects families but is distributed by Amazon Studios, whose parent company is invested in the carceral technologies that lead to the very same fracturing of families the film highlights. But also we are talking about film/media conglomerates so we should also not just be thinking of on set workers like gaffers but also interns, office PAs, assistants, secretaries, etc. My friend was just laid off from Disney. She was a middle manager’s assistant. Pre-pandemic the company was doing bs like not honoring OT, coercing her to do stuff that isn’t her responsibility and reprimanding her if she failed such tasks. With the first wave of layoffs her workload got much more demanding and with the pandemic it became more difficult too as she worked from home with restricted access to their programs (for cybersecurity reasons). These kind of restructuring layoffs put more stress on the people who remain at the company as they are coerced to take on the workload of those who were terminated.

I have another friend who edits video content for ViacomCBS. The merger and subsequent re-launch (re-introduction?) of CBS All Access increased their workload in preparation for that (and now even more as they rebrand it to Paramount+) in addition to the increased demand from the company to push out more online content bc of the pandemic despite laying off over half the team during last years’ merger.

This article from THR details how bad the Disney layoffs have been recently as they restructure to be more stream heavy. Additionally, a lot of these older media congolmerates are taking note from netflix, which has notoriously bad working conditions.

Where I work, our gaffers are being reduced to grips (less pay) and many are working multiple sets (which overworks them and provides less opportunities for other workers) as we invest in digital lighting technologies and post work. There’s talk that next year that we’ll merge our digitechs & retouchers into one job and downsize the numbers in both depts. My parent company has also invested into AR which will eventually make my team (ecomm) obsolete.

Our freelance stylists talk all the time about being replaced by digitechs in fashion who can just digitally add a watch or shoe or dress to a model.

Unreal Engine’s Project Spotlight can mean a future with less G&E, set builders, people in props department, etc. This isn’t necessarily going to happen overnight but look at how quickly and how many film developers and projectionists etc lost their jobs due to digital filmmaking.

There’s a lot going on in media production right now and the pivot to streaming animates anxieties in all these ways (and more). This is to say nothing about the many, many people who will lose their jobs as these tech companies try to make theaters obsolete (ticket checkers, concessions, projectionists, custodial staff, etc)

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the-afro-belle · 5 years

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I live in New Orleans.

This is a harsh reality for us. We have experienced 4 major flash flooding events since Mother’s Day. Many of my friends, family & colleagues have all lost their cars & personal property. Some twice in just a few weeks. Our insurance rates are through the roof. Though my car stalled yesterday, I was able to get it to move. I’m not sure of the issues I will have with it later on, but I guess we’ll just have to cross that bridge when we get to it.

I’m not asking for sympathy or whatever, I know it’s not yalls problem. And no, I don’t have a gofundme and I’m not asking for donations. But I’m asking everyone who follows me or sees this post to reconsider visiting New Orleans until our mayor and protection agencies do right by us. Our city caters to tourists and we love y’all. You are a huge part of our economy and we love sharing our culture with you. But there’s a couple things y’all need to be aware of.

Here in New Orleans, we have an intricate system of pumps and levees to protect us as we’re sitting comfortably 6 feet below sea level; as far as 8 below in some areas. Our levees protect us from the bodies of water surrounding us: Lake Pontchartrain, the Mississippi River, the Gulf of Mexico, etc. The New Orleans Sewage & Water Board operates our pumps, which are used to remove water that accumulates during storms, since we’re pretty much living in a bowl. 120 pumps are spread across 78 stations to protect all 400,000 of us across the metro area. The pumps are designed to flush out 1 inch of water in the first hour, and one half inch each hour thereafter. Yesterday we received 5-6 inches of rain in less than 90 minutes, thus proving once again that our system is completely ineffective.

New Orleans has rallied for a change since forever. Flooding is a huge part of my childhood memories. I remember the May Flood especially. I was in elementary school and my dad had to swim to get to us. As a child, we splashed in the water and played games, with no idea how dangerous and irresponsible our leaders are. There’s been protests, city council meetings & an overwhelming public outcry for this issue to be rectified. Hurricane Katrina left us all devastated some 14 years ago, and though we’ve had a few storms since then, nothing has been as significant and as frequent as the flash flooding we’ve experienced this summer.

Why won’t they upgrade the system? Why don’t we have more pumps, or at the very least more effective pumps? WHAT ARE WE TO DO IF A HURRICANE COMES AGAIN?

LaToya Cantrell & the New Orleans Sewage & Water Board enjoy your money. But they are not using it to protect and preserve our precious home.

Not all of us live in the French Quarter.

I work in a hotel that I can’t afford to stay in. I love my job & I love being able to be a part of sharing our culture. Im just asking that before you consider spending $4,000 per night, ask Mayor Cantrell what her plans are, since this was a MAJOR part of her campaign.

Mayor LaToya Cantrell can be reached at (504) 658-4900 and [email protected]

Her office is located at 1300 Perdido St., New Orleans, LA 70112.

Gloria Smith is her executive assistant, and Sharmaine Russ is her briefings manager.

District B City Councilman Jay H. Banks is sitting director of NOLA S&WB and served as the king of Zulu for Mardi Gras 2016. He can be reached at (504) 658-1020 and [email protected]

Other S&WB board members include:

Tamika Duplessis, Ph.D. - Executive Dean at Delgado Community College (504) 941-8500

Alejandra Guzman - [email protected]

Joseph Peychaud - (504) 529-2837

#new orleans #nola #flood #nola 300 #latoya cantrell #beyonce #amazon #vmas #cardi b #french quarter #loyola #tulane #travel #504

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atlantisking · 6 years

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( this is all i have to show for it, - i blurred my name out - but tbh i’m a wuss and after signing a contract on not leaking things, i didn’t want to lift my camera high enough to people to even have the doubt that i might be taking photos because i don’t want to be sued by WB thank you very much... the second photo i posted before, but the significance of the corner of that white tent is that it was literally the tent where Gal was changing from scene to scene. our little open tent was right next to hers where we could sit if we wanted and we had a monitor, that’s pictured, where we could watch what the actual scene looks like filmed, but most of the time we’d rather walk to the side of the set to watch it live )

anyway... so this will be vague and spoiler free because what’s fun about already knowing some big twists before you’ve even seen it? okay like i don’t know the biggest twists either, but we were shown some definite spoilers. the only person i talked to about this in fuller detail was husband, because i trust him not to tell anyone, but tbh even to him i said things where he said ‘i didn’t want to know that!’ so yeah i’ll be vague.

if you don’t know what my job is, this is probably weird, but for those who do, they probably understand why i got so lucky to go to the set. so my morning was really crap as i’m sure you’ve seen from my post, i had to be at the studio by 10am, so i actually picked a really early train that would get me there just after 9 so i’m definitely not late. but life wanted to fuck with me, so when i got to the train station they immediately cancelled the train i needed to take, and then shortly after the train that was half an hour later as well to make sure i definitely don’t get there on time. so immediate stress at 7 in the morning. but i wasn’t gonna give up, so i went to the other train station in town to get an alternate route. i live about 40 minutes outside of london to the south west, whereas the studio is on the north of london. so through my alternate route i got to london by 9 but by train getting to the studio would’ve been another 1,5 hours, so i sprinted to the taxis and jumped in the first one and wow that’s expensive and let’s never do that again (at least i can claim it back from work), but the guy at least got me there by 9:57 so... success. although i left my hat in the taxi but fuck it...

i was given passes for myself and my fellow visitors, who arrived not long after me and we went inside a place that i think they call the war room, but i might be saying bollocks anyway, this room is full of pictures categorised by the main themes and chapters of the film, all having photos that you probably have seen and many that you haven’t. even to us they blocked out the last few chapters just so we still get a lot of surprises when we watch the film. what can i say, once again everything looks gorgeous. after that we were given the contracts to sign so yeah i keep repeating i won’t say anything even remotely spoilery here...

our next stop was the costume department, we actually saw lindy hem.ming for a very short moment where she said hi before we were given a tour from another member responsible for the costumes. the room we were led to had some of the main outfits on mannequins with accessories next to them spread out on a table and pictures of the costumes in action behind them. obviously the first one was the iconic ww costume, redone for this film, as we have already seen it’s a lot more colourful and we got to touch it and wonder tbh at the fact that it all looks like metal but the materials they work with are super light. the inventiveness for replacing materials is really cool, we have been given many examples that are more spoilery. fun fact, because of wear and tear, the main costume they have made about twenty of. i have seen the outfit from that image of steve tre.vor with the fanny pack and the black jogging outfit, and some outfits of pedro pas.cal’s character, and some bar.bara mine.rva things but i won’t go into detail. we were in awe already tbh and then we had a short visit to the workshop where they create and mould some of the armours and weapons.

then we were moving on to visiting some of the sets, we walked past some extras already dressed up in full on 80′s style, the attention to detail is amazing but i could say that every two seconds, like you can get why it takes so long to make a film, because they really think of every small bit that you might never notice because it’s gone in a second, but it’s there. so we visited the set of diana’s workplace which i can’t remember if it was revealed yet so i won’t say it, but because they weren’t filming there, the light were taken to somewhere else so it was literally pitch black, we had to use our phones to light our way. but when you walk onto set, it’s like you just travelled through time and space and you find yourself in a different world... we also got to see diana’s office there. you could look through her bookshelf, see what she’s working on, some artefacts lying around... it’s indescribable. then we went onto see her apartment! fun fact, the actual apartment they found in the US but then they built the interior in the WB studio, so in the film when you’ll see her out on the balcony, that’s in the states, she walks inside and suddenly she’s in the UK in that studio. once again we could walk through her rooms, see some files she’s been working on left on the coffee table... it was really cool, i’m just fangirling really. fun fact, because there’s only one shot in her bedroom (i don’t think that’s a terrible spoiler), they actually didn’t build the right wall so we walked through there.

we then saw some stunt doubles doing a fight scene with the cgi dots on their faces so later they can add the actors’ faces. saw some scenes where people were slammed through walls and such, very intense!

then came the even more surreal part, got in cars to drive to the back lot, our cars just slowed to a stop when a woman ran across the road towards a set nearby, we only saw her back but we already knew it was pat.ty jen.kins. so we walked up there and were introduced and once again sorry, won’t describe the scene but film sets are the coolest... of course there are massive blue screens around, as far as the street scene goes, they create the perfect atmosphere for a foreign country. then walking on the set, ready to film was suddenly gal... so tall and beautiful, full of smiles and a nice word for everyone, she is a literal sunshine like her energy is absolutely infectious i can’t even describe but you can’t help but for in love with her at least for a few seconds. she was in full hair and make up, wearing the tiara but with a purple dressing gown because it wasn’t that warm so she would freeze to death running around in that tiny costume otherwise. then the filming began and i have to say, it might seem glamorous but it’s the slowest process and you need real patience for it. we saw really small scenes being filmed without dialogue, but even these moments that won’t be longer than 5 seconds in the film, take hours to create. every scene has to be set up, so pat.ty sat up the angles and what she’d like to see, then they rehearse with the extras a couple of times, every single time they have to reset cameras and rearrange the terrain and make sure everything looks the same as it was at the start of the take. then with simple scenes the actor comes along and again they do the take at least five times or until pat.ty is happy with the result. we saw a scene filmed where it was literally just diana walks into the shot, looks around, looks at a tv then runs off. and that over and over again.

then if it includes some kind of stunt, same process, but they first test it with stunt double, they rehearse with her for like five times to perfect the shot and then gal comes along and she does it however many times it takes. in this case it was just her doing a running jump, involving a harness and cables as she leaps up into the air. but once again you can’t not love her... the way she laughs and has fun take after take, like you can’t fake that, but i don’t want to gush.

we had lunch sometime inbetween takes, the whole massive maze of a set is so impressive and surreal, you have all these extras in full costume and make up, then all the set team members with their walky talkies looking very important, but let me say everyone is so damn nice. the amount of people it takes to create these scenes is insane from people who rake the terrain to the assistant director to the camera man to the five dudes to push and pull the camera for dynamic shots to people who operate these big construction vehicles to put lights and blue screens in place... i kind of suddenly really wanted to be a part of this massive family, but at the same time this is literally their life, up like 5 in the morning and not stopping until who knows how long...

then gal was whisked away to a different set for further hair and make up, but the sight of wond.er wo.man with the beautiful flowing hair and tiara, dressed in a grey tracksuit is pretty weird and hilarious. so then for a while we watched a scene being filmed with just extras a crowd scene that’s all i’m saying. then at that point it was very near 4pm so... it’s been a long day, but before we would leave, we were invited to walk over to another set not too far away, and suddenly we were once again in a different country, a different street. dry ice has been working like crazy to give the street a misty look and a handful of extras were practising what direction to run in and when. gal was there once again, being her lovely self, waiting as they practised, and at one point i turned around, i don’t even know why, but i saw a black car half to a stop and saw this tall blonde man get out of it, and the realisation came that it was ch.ris pi.ne and tbh by that point everyone was pretty chill about being around gal, you get used to it, but then suddenly everyone was star struck once again just watch him walk up to us and say hi and casually chatting while two people started to wire him up for the scene so they can record his dialogue, so... it’s hard not to stare at least a little when they’re hiking his trousers and t-shirt up to place these wires........... then when they were ready we watched one take of that scene, can’t describe it, that’s probably the most spoilery out of all of them and then it was time to go home.

seven hours we spent on set and it was damn amazing, even if it’s tiring to just sit around and watch, trust me it is, it’s lot better to actually do something, it’s really hard to let go and leave. not one part was disappointing, everyone was so lovely and nice and i can’t wait to see these scenes on the big screen and think ‘I was standing around in the background when they shot those!’

tbh once again on my way home my day had to be framed by crap because kings cross tube station was closed because of fire, so i had to walk to euston where suddenly the crowd was insane because everyone from kings cross moved over there so travel was not straightforward, but the memories i made......... i still really wanna work on a film set now........

#🔱 ᵒᶰ ˢᵒˡᶤᵈ ᵍʳᵒᵘᶰᵈ ( ooc. )#[ THIS GOT LONG ]#[ and probably boring ]#[ but it was so exciting to live it ]#[ and i wish i could tell you what i saw ]#[ but at the same time not ]#[ because you should see things for the first time when you watch the film ]

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sail-not-drift · 6 years

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Ok so my tags got cut off on my original post about this but I REALLY WANT TO VENT ABOUT HOW FUCKING PISSED I AM ABOUT THIS DESK SHIT BECAUSE OF ALL THE TIMES FOR THIS TO HAPPEN I REALLY REALLY DIDN’T NEED IT NOW.

So, like, ignoring my living situation shit (WHICH SOMEHOW CONTINUES TO GET WORSE AND WORSE) we moved desks today at work. I used to sit in a hallway/reception type area but now I’m in a cubicle room. Which is fine. But TWO WEEKS AGO I put my name on the cubicle I wanted, which I wanted because it’s the only one where I could position my computer to have my back to a wall and an eye-line on the door. But somewhere in there someone moved me to the back corner, cut off from everything, except my back faces the kitchenette.

I’m pretty sure I got moved because the two programmers need to sit across from each other to ~work together~ or something (I don’t really get why they can’t just share a cube if they work THAT closely but whatever), but, I work really closely with my boss too. He’s at the director level but he’s sitting at what amounts to the room’s reception desk, as far from me as is possible in this room and completely out of my eye-line. And there’s no way for us to have a private conversation. Ignore personal issues; our roles involve really confidential information. Like, protected by federal law and multi-million dollar lawsuit confidential. And a lot of what we talk about involves strategizing on how to work with the people WHO NOW SIT IN THE SAME ROOM.

So not only did my desk get taken so someone could sit next to their boss WHICH IN TURN PUSHED ME AS FAR FROM MY BOSS AS POSSIBLE, but I also don’t feel secure in my work environment. And I don’t want to come across as a whiner but I CANNOT SIT WITH MY BACK TO THE ROOM. I CANNOT SIT ISOLATED LIKE THIS. It’s a recipe for constant emotional exhaustion AND I’M REALLY EMOTIONALLY EXHAUSTED ALREADY.

NOT TO MENTION we’ve been in that room for the better part of an hour and I’m 90% sure I’ve been silently designated in charge of keeping the kitchenette stocked. Which in most situations wouldn’t bother me. I’m the only admin level person in the room; a director, an assistant director, and two IT people who don’t even know what a cost center is aren’t about to spend time surfing WB Mason. But I’m also the only woman in the space. So of fucking COURSE I’m getting duties unrelated to my job description by fucking default. And someone already tried to pull the, “You’re in here with all these guys, you better keep them in line” crap.” I shut that shit down: “Uh, no. They can keep themselves in line. I’m not doing that emotional labor, thank you.”

But. Whatever. It doesn’t matter. All I want is my back to a wall and an eye-line to the door and maybe some fucking access to the ONE PERSON I WORK WITH. That shouldn’t be difficult. And I know I could talk to my boss about it and he’d see what he could do BUT I ALREADY HAVE A GIGANTIC FAVOR TO ASK HIM ABOUT SOMETHING WAY MORE IMPORTANT TO MY LIFE AT LARGE and, again. What’s the line between cool and breezy and “this is seriously going to fuck up my mental health and my ability to do my job effectively”?

Can the universe PLEASE stop taking long wet dumps on my life? Sometime soon? Maybe?

#I FEEL LIKE I DID SOMETHING WRONG ON A KARMIC LEVEL AND THE UNIVERSE IS PUNISHING ME RELENTLESSLY FOR IT #JUST LET ME REST #time to take more benzos than i'm supposed to again so i can get some fucking sleep whoops #i thought i already paid these dues #why does this keep happening

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spideyxchelle · 7 years

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so, zendaya and tom holland were at the oscars this last weekend. and so, uh, this happened. because they looked incredible on the red carpet. mood music

tw: some implied sexual activity

when peter gets into USC for film he cries. that is the home of Spielberg and Lucas, the halls where Ron Howard walked. it makes directors.

he had always wanted to be a director. from the time he was a little kid he sat behind his shitty camera that he dumpster dived for and made dumb movies with his friends. and some of those dumb movies got a bit of a production value jump when he joined the AV CLUB in high school. and some of those dumb movies were good enough to be submitted to USC. and some of those dumb movies were good enough to get him in.

when peter stops crying long enough to breathe, the oxygen that rushes to his brain shocks him into reality. he is going to be going to LA to study film. and maybe, just maybe, one day he’ll be a director.

the four years at USC are gruelling and exhausting and wonderful. everyday is better than the last. he’s surrounded by movie magic.

and then graduation breathes down his back and he’s suddenly terrified because he’s made some high quality students films at USC (the amount of money the film school has is criminal) but students films don’t make him a director. they make him a dreamer like everyone else in Hollywood.

and for some unknown, maddening reason, the closer they get to graduation the more and more it looks like everyone he knows has a plan for post-graduation except him. they have PA jobs, or have lower-level work at studios, or have internships. its like he missed the memo on how to make his dreams into a reality.

which is why he starts writing Until I Fade Out. it’s a character driven film of his own creation. in all his time at USC his writing classes were always a burden to him. he had to take them to graduate but he never liked them. he never felt like he had a voice, like he had something to say. and now all he has is the anxiety and the pressure of making a name for himself by 25 and the horrible nightmare of failing to succeed on paper compared to his classmates.

Until I Fade Out is refreshingly frank and honest and precious to peter. it becomes his refuge to talk about his fears. he graduates and keeps writing. and all of his friends start their industry jobs. and he keeps writing. three months after graduation its done. and he has blown all of his savings on the cost of living. he is jobless.

but he has a script and a vision and his passion is reborn. so he calls Ned, one of his buddies from school that took a job at WB after graduation. he is some executive’s assistant. but he was also one of the best writers he went to school with. he passes the script along to him asking for notes.

and he hears nothing for three weeks. until Ned shows up on his doorstep with a printed out copy of his script. “this, jesus-” he says without a hello, “you have to make this, peter.” and peter exhales. there is some traitorous anxiety he has been holding onto since he finished writing that finally withers away and dies. the fear that his work sucks. that no one would love it or want it. but Ned likes it.

and so, with Ned’s help he gets a relatively young producer to finance the film. and its not a lot of money at all. but people on indie films never have a lot of money to work with anyway, peter reasons. and all peter can hear when he gets the news that he’s been financed is that he gets to make his movie. the particulars don’t matter.

the very next thing he does is call Cindy. they went to school together. she was the cinematographer on all of his student films. and she is doing PA work for some freeform show that she hates. but the money is consistent, shitty but consistent.

so she isn’t convinced quitting her job to work on a three month indie shoot is a good idea. in fact, she tells him she adores him but she doesn’t want to shoot herself in the foot and get blacklisted in hollywood. so he tells her to read his script. and then decide.

and that’s when it happens. when Michelle Jones finds out about the project. Michelle Jones is a relatively popular young Hollywood actress. but she is at the teeny bopper stage of her career. nothing “serious” will look at her. and she happens to be one of the series regulars on Cindy’s crappy show.

and, as fate would have it, Cindy leaves peter’s script on the Kraft services table during lunch. and Michelle picks it up and takes it back to her trailer. she reads it. she loves it. and the watermark on the script has Cindy’s name on it so it isn’t hard for Michelle to find her and approach her about it.

Cindy has been looking for the missing script all afternoon when Michelle hands it back to her, “looking for this?” Cindy exhales and then gets immediately star struck, “uh, yes. Thank you.” “what’s this?” Michelle asks. Cindy is alarmed by a starlet of any caliber talking in her direction, “my, uh, friend Peter’s movie. just got financed by some guy at WB. but, like, its not a WB film. it’s a little indie film. like, the producer put his own money in it. I’m sorry, I, uh, didn’t even know you knew my name.” Michelle smiles warmly, “uh, you get my coffee for me, like, five times a day. I’d be a dick if I didn’t. besides, there are practically no women on this set so I make it a habit of learning all their names. so, why do you have the script?” Cindy gawks, like she cannot believe this whole day is happening to her, “he wants me to be the cinematographer on it.”

without blinking, Michelle advises her, “do it.” Cindy sputters, “excuse me?” “its good,” Michelle glances down at the script in Cindy’s arms, “and tell your friend, Peter was it? tell him if he’s looking for someone to play Tisha, well, I’ll make the time.”

when Cindy recounts this story to peter, all three of them (cindy, peter and ned) all freak the fuck out. and then, almost immediately peter comes to the conclusion that she was just being nice or whatever. because there is no way michelle jones is going to sign to his nothing of a movie.

except that is not what happens. when cindy goes to work the next day to quit because she has a little film she wants to be the cinematographer for, michelle stops her on her way walking off set. her hair is halfway done and she’s out of breath. “fuck,” she groans, “you move fast. I’ve been calling your name for like two whole minutes.” Cindy stares at her, “um. Sorry?” “no,” michelle shakes her head, “its cool. look, I saw you leaving and I have to ask. are you doing that movie?” cindy nods. Michelle grins, “that’s good. great even. I’m happy for you. and uh, hang on, take my number. if he can’t find anyone for Tisha…please…call me. I’m in the middle of shooting the season but I’d shoot on the weekends or late nights. whatever. just, keep me in mind. don’t forget.”

and peter hardly believes it. but he does forget about the Michelle Jones encounter. because they have two and a half months of preproduction that have to happen. they have to hire crew and scout locations and rent equipment. and all on a tiny ass budget. but once it looks like the movie is actually going to happen, peter remembers he needs to hire actors.

because he needs to put people in front of the camera and, for some stupid reason, he can’t help but remember michelle. its been nearly three months. and shooting for her show should be going on hiatus soon. the thought of her actually working on his movie sounds…feasible.

so he does something recklessly stupid—he calls her.

the first conversation he has with Michelle Jones is awkward. because she is immediately on the defensive. when she picks up he says, “michelle?” and she snaps, “how did you get this number.” he flushes and tries to correct his mistake, “no. uh. I’m peter. peter parker. you know cindy. I mean gave cindy your number.” “who?” “Cindy- nevermind. look, she was a PA on your show. and you read my movie. and you told her you were interested in being in it. and I just…I shouldn’t have called.” he goes to hang up but she nearly shouts, “no, wait. I remember now. I remember your movie. Until I Fade Out.” “yeah.” “yes,” she says. “oh sorry, of course, yes.” “no,” she laughs and his heart stops, “I wasn’t correcting your yeah. I was saying I still want to do it. if that’s why you’re calling.”

he must black out for longer than five seconds because she starts repeating his name until he snaps back to reality. “I’m sorry,” he laughs, “did you just say you want to do my movie?” “yeah,” and he can hear the smirk in her voice, he can almost imagine it, too, “I go on hiatus in two weeks. if you can wait that long.” “yes,” he immediately says. and its not exactly true. they start shooting in five days. but he’s the director. and even if the rest of the crew hates him maybe they can adjust the schedule so they shoot scenes without her for the first week or so.

like he is in a city of dreams (because maybe he is), he makes plans with michelle jones to be in his movie. ned is going to have to help him with the legality of it. she’s union, after all, and she warns him that her agent is going to be furious. but she is going to be in his movie.

and her agents are not the only people that are furious. his crew is furious that he is moving the shooting schedule around to accommodate an add-on. and the friend of his from school that thought she was going to play Tisha is not thrilled either but these are the decisions a director makes.

oh fuck. he’s a director.

that really hits home when he walks on set the first day. and its barely a set. there are lights rigged and a camera set up in someone’s living room. but there are twenty people that all look at him like he’s the boss and that means he must be.

peter pulls off his baseball hat and smooths back his hair, “hi everyone.” they all smile at him. and he feels the same pressure he imagines every director must on their first day. but he pushes through those nerves and keeps it brief, “thank you all for joining me on this adventure. now, let’s make a kickass movie.” and just like that, he is directing a movie.

and Cindy makes every shot better than he could have ever imagined. her vision, her eyes, give every scene a heartbeat. he nearly kisses her at the end of the first day. instead, he buys her a drink and makes a toast between the two of them, “to our movie.” the smile she gives him back makes him feel like he can do this, they can do this.

after nearly a week of shooting, the crew already feels like a family. there is a lot of work that goes into every shot. people in hair and makeup have made it a fun little game to try and swipe glitter on the back of peter’s neck at the start of the day. the whole crew gets on the joke.

he loves his life.

and then, michelle jones shows up on set. she drives to the house they have been shooting a majority of the interior shots in. and when she steps out of her car, peter can hear his heart beating. he wonders if the rest of the crew can, too. it is early, she hasn’t been in HMU (hair and makeup) yet, so she looks like anyone else. if they were crafted from diamonds. “hi,” he nearly chokes, “I’m peter.” she grins from ear to ear and shakes his hand, “mj.” “mj,” he raises his eyebrow and stupidly keeps shaking her hand. she has to awkwardly pull her hand out of his, “yeah, no one really calls me michelle. at least not my friends. and we’re gonna be family the next three months so—” his chest melts, “lemme introduce you to everyone.”

and the crew loves her. it takes her exactly three shots for her to pick up on the put glitter on peter game. except she sucks at it. because every time she touches him, his flesh tingles and so he knows it was her. without even having to look.

as an actress she is receptive. as a member of the crew, she is a delight.

and peter waits only five days before he groans into his pillow and admits to himself that he has a major crush on her.

the movie is goes well. better than he could have ever imagined. the scenes are clicking. the crew is bringing to life his vision. and he starts to dread it being over. because nothing could ever be better than these three months. it makes him feel at home. they feel like home.

after shooting one night three days before the end of the shoot, michelle invites everyone back to her house. she lives in the Hollywood Hills. Ned makes a joke about her being afraid of the fires in the mountains. she raises her eyebrow and dares him, “you scared?”

everyone packs into cars and goes to address given. it is not a surprise to anyone that the house is incredible. not needlessly opulent but large and open, like it was always waiting for the crew to fill it with their love.

peter sits next to Cindy and she leans against him. when everyone is drinking and laughing and swapping stories, she whispers to peter, “thank you.” he looks down at her, “what?” “this experience has changed my life. I’ll spend forever chasing this, these moments.” peter sucks in a breath and squeezes her hand. “so thank you,” cindy adds. Peter shakes his head, “no, thank you. you’re behind the camera. I could never…I could never have done this without you. and I never want to. if we…if we get lucky enough to keep doing this…we should do it together. me and you. partners.” Cindy sits up and blinks at him in awe, “you mean it?” he nods, “you’re my eyes, cindy. I can’t work without my eyes.”

the moment is magic.

like, if he has cindy on side he could hold onto this kind of magic forever. he knew from the beginning she was the key. whatever he was looking for in his writing. she was the key to getting it filmed.

he catches mj’s eye across the room and she smiles. he becomes eternally grateful to cindy in that moment, too. because he brought michelle into his life.

he squeezes cindy’s hand and she gives him a knowing smile as he crosses to mj. michelle ducks out of the room and heads to the balcony overlooking Hollywood. he stands beside her and they are both quiet.

peter tries to come up with something meaningful to say but standing her with in silence is more than enough. he takes her hand on the railing and she sucks in a breath.

neither of them look at each other.

michelle speaks, “I’m glad I read your script that day.” “you mean when you stole it?” he jokes. he does not look at her but he knows she rolls her eyes, “agree to disagree on specifics.” he squeezes her fingertips, “me too.” she is breathless when she says, “isn’t this cliché? the director and his leading lady?” he finally does look at her. and she looks scared. it startles him. because mj is always so fearless. this is the same girl who, on set, tries to learn every department when she isn’t shooting. the same girl that has a secret handshake with the gaffers. she is michelle jones.

and she looks afraid. “what is it?” he whispers. “it won’t always feel like this,” she whispers, “we spend every day together but set isn’t like real life. when the movie ends you’ll…forget about me.” “no,” he shakes his head. she nods, “you will. and whatever this feeling you think you have now will fade. this is your first movie. you can’t tell the difference yet. but you will.” “mj, I won’t. I…you…I mean, wow.” she smiles sadly but unlocks their hands and heads inside without another word.

devastated is not a strong enough word for what he feels. but he has three days left to shoot and, damn it, he is going to do it. he is a professional. and if it hurts to look at mj sometimes, well, that is just the price of making art. your heart should always be in danger of being broken. otherwise it never matters, its never true.

the last shot they film of the movie, is a scene halfway through the script. Tisha and Bill, his protagonist, are just talking. they sit beside each other on the front steps of a house. and Bill talks about feeling stuck, about how he looks around at all of his friends and they all seem to have life figured out and he is desperately behind. these are peter’s words. the scared boy that wrote them just after graduation is now a man a little less than a year later. and he remembers how the words used to scare him, but they don’t anymore.

he watches michelle the entire last shot. he knows he shouldn’t. he should be watching for a hundred other things, but she captures him. and when the scene is done…he does not speak.

the whole crew looks at him. the actors stay in the moment, suspended and confused. and then, peter remembers himself and yells cut.

when he watches playback, cindy is crying and she wraps an arm around him. he squishes her back. their movie. they did it.

with a heavy heart, he looks at the crew and shrugs, “well, that’s a wrap.” and everyone applauds loudly.

they didn’t have money in the budget for a wrap party. so they turn set into their farewell. someone starts playing music and someone, he suspects wardrobe, pulls out drinks. and the night is nothing short of perfect.

once the set is broken down and everyone is spectacularly drunk, there is nothing left to do but say goodbye.

he saves michelle for last.

she approaches him for a hug and he eagerly complies. they cannot seem to let the other go. and he takes the moment to whisper in her ear, “thank you.” when they pull out of their hug she looks so startled it makes him smile. but only for a moment because then she is smiling back and knocking into his shoulder, “you did good, Parker.”

and in the next few months in post, he learns, fuck, he did. the movie is incredible. Abe, another friend from school, puts together a small post-production office. and with the help of that team and cindy, they cut together and mix a wonderful film. when they show it to their backer, the small time producer named Happy Hogan, he cries. and he asks for a copy to send to his boss, TONY FUCKING STARK.

Peter knows that the movie is more than a little special when Tony Stark calls him after he screens it to schedule a meeting with himself and peter. peter, of course, brings cindy. and it takes only fifteen minutes before tony tells him he wants to personally finance sending it to the festival circuit. Cannes, Sundance, AFI.

he calls to tell michelle but gets her voicemail. her show is shooting again. and she is suddenly impossible to reach. or at least for him. he knows she picks up cindy’s calls. he tries not to take it personally. but he fails.

and then, they attend their first festival. AFI.

and he does a little press. but its only a few interviews. until his film screens. and all of the sudden all people can do at AFI is talk about his little movie. it wins Movie of the Year and shit explodes.

they take it to a dozen other festivals and it begins to win a plethora of awards. and then, people outside the festival circuit begin to talk about his little movie. and they want to talk to him about his little movie.

by August, the public is frothing at the mouth for his movie. they want to see it. so, Tony gets it to have a limited release in select cities. and the internet explodes. they love it. they’re fascinated by him.

they are, no surprise, in love michelle. The New York Times says her performance is, “played with dauntless and sometimes reckless charisma, Michelle Jones proves to be one of the, if not the, formidable actors of her generation.”

and the interviews don’t stop. in fact, there is one. one that hits him like a pile of bricks. it is the first interview he does with michelle when she joins the press tour.

“I find it rather remarkable,” the interviewer gushes, “that there is no love story in this film.” peter opens his mouth to speak but mj beats him to the punch, “I would disagree.” “so you think Tisha and-“ “no,” she shakes her head, “the movie is about learning to love yourself. about waking up and trying to be better than you were the day before. my generation, every generation, somehow thinks they have to be a roaring success at 25. that’s just not true.” the interviewer smirks, “but both of you are under 25 and experiencing an insane amount of success.”

“but,” mj counters, “this was our path. it doesn’t mean everyone else will have the same journey. nor should they. if you spend your time worrying about being better than someone else you forget to better yourself.”

peter loves her in that moment. maybe he always did. maybe he did that first moment she stepped out of her car on that first day. but he knows in this moment. he knows because she knows him. and all anyone can ever want from love and life is to be known. truly and deeply.

the interviewer looks to him. and peter shrugs, “I have nothing to add to that. she said it all.”

if he had more time, he might have also added that there are different kinds of love. and they are all important. there is love in his movie. and it’s a love between two friends. he loves Cindy but he’s not in love with her. and her friendship makes him better. maybe, he thinks, he wrote this movie about himself and their friendship. and ode to selfless and supportive platonic love.

after that interview, the buzz for his movie turns into charming festival movie to Oscar worthy buzz. and Michelle freaks out. because she has worked since she was thirteen years old to be seen as more than some dumb kid on some dumb show.

it all becomes terrifyingly real when the Golden Globes nominations come out.

they’ve won awards all year round. small awards, festival awards, but the golden globes are mainstream.

they are sitting in Tony’s office waiting for the announcement to be made, peter’s entire team, when the phone rings. peter is alarmed but tony picks up the phone. they are five minutes out from the official announcement. the stream has barely begun.Tony hangs up and looks severe. peter tries not to be crestfallen. he needs to keep it together for his crew. he is the director after all. Michelle grabs his hand. “what?” Peter asks. Tony shakes his head and gestures to the screen, “watch.”

and one after the other awards start to be announced. and one by one he hears his movie’s name. from editing to music to cinematography. peter drops michelle’s hand to embrace Cindy when they hear her name. he is jumping up and down and celebrating when they get to best screenplay and in the recesses of his mind, he hears his own name. a golden globe nomination. he’s a golden globe nominee.

he is frozen. his team, his friends, his family, all crowd him and begin to shout. embracing him, shouting. he can’t believe it. until mj kisses his cheek. and the world is real again. and then, best supporting actress in a drama comes up and they say Michelle’s name. and the room starts to shout, people begin to pour drinks. they are too busy celebrating to notice that Peter gets nominated for best director (he’ll read that shell-shocked on the internet later) but he does hear Best Motion Picture. and the noise stops.

it all stops. because, fuck, they did it. THEY DID IT! and suddenly, their movie is a nine time golden globe nominee. and peter realizes they could be Oscar nominated. the rest of award season is a blur. he vaguely remembers going to Colbert and Fallon. and he sort of recalls doing lots of photo shoots and interviews. but what does know with perfect clarity is that he gets to spend almost every day with mj. the award circuit means every day is with her. and he’s so, so happy.

because he missed her. because he misses her when she isn’t in the room. because he knows she said he would feel differently in a year but that time has passed and he’s still crazy about her. when they’re getting ready for the globes, Peter decides he likes his t-shirt, jean and baseball cap look a lot better than a suit and tie. Michelle walks into the room and nearly kills him. she looks...wow.

his mouth dries. he licks his lip, “you, I mean, you look, its great. nice dress.” cindy snorts and peter shoots her a look. it is not a pleasant look. “you don’t look so bad yourself,” mj smirks, and casually adjusts his bowtie. his heart leaps out of his chest. and he knows that she knows what she does to him.

they walk the carpet together. well, sort of. they care more about michelle than him. but occasionally someone will see him and ask for a photo as well. because he’s a director. and that means he’s important to pictures but not movie-star important.

when they get inside the first thing he realizes is their table has alcohol. and it feels like a great and terrible idea. because his crew looks like they could all use a drink but he’s not sure its smart.

in the opening monologue, peter gets name checked for being the baby of the directing category. and everyone laughs. and peter’s chest warms. because he’s accepted. because he’s acknowledged enough in his industry to be the butt of a joke. because he’s a golden globe nominee. michelle must understand what the moment means to him because she grabs his hand under the table. and they lock fingers.

he turns to look at her. and they lock eyes. and he misses the camera on them. but the internet does not.

and the internet does not miss when he wins for best original screenplay and the whole table, michelle included, toss him around for cheek kisses. and the internet does not miss when michelle wins the way peter leaps to his feet and tugs her into his arms. and the internet does not miss when peter loses best director the way michelle rests her head on peter’s shoulder. the internet does not miss a thing.

the following morning peter wakes up to a million texts of congratulations because he’s a golden globe winner. and he is linked to about nine million articles about him and michelle. and its mortifying.

because those looks, the way he looks at her, belong to him, to them. they were their moments. and now they belong to the world. and he sort of hates that his privacy is on display for the world to pick apart and scrutinize.

so he texts her about it. and michelle calls him thirty seconds later. “this is the job,” she says when she picks up. “no,” he argues, “my job is to go to set and direct.” he sits up in his bed when she talks, “peter, you’re a public figure now. golden globe nominee. they don’t care how you feel. and they especially don’t care about the fact that you want your feelings for your leading lady to be a secret.”

peter’s jaw drop, “mj-” he doesn’t want to do this on the phone. he wants to talk to her. he wants to look her in the eye when they have this conversation. mj quickly cuts him off, “we don’t have to do this now. but soon.” he exhales and agrees, “soon.”

except soon does not actually mean soon. because its award season. so they don’t have the time to talk. and, okay, fine, honestly? he’s terrified.

and then, by the time the oscar nominations drop, peter and mj still haven’t spoken. but unlike the golden globes, peter and mj decide to watch the nominations privately. at his house. its not like her house. not nearly as big. but since all of the press and success of his film he’s been able to get something modest. and respectable. in an area that isn’t exceptionally dangerous.

michelle cuddles up on his couch and, fuck him, she looks so at home there. on his couch. in his home. and he wants her to stay.

he takes his place beside her on the couch. and tentatively wraps his arm around her. she smiles and turns her head slowly to him, “what are you doing?” “nothing,” he shrugs. she snuggles into his arms, “is this soon?” peter rests his head on hers, “it can be.”

michelle sits up and pivots to look at him, “okay, then. here it is.” michelle grabs his hand and looks at him in a way that makes him feel like whatever hope he is holding onto might be misplaced, “you don’t care about me. this is just...awards season. its intense. and you think you--”

“okay,” peter cuts her off, “i know you said this is a cliche, then. i know you’ve said that this is awards season or whatever the fuck that means. and you said then that i would feel differently in a year. and you’re saying now I’ll feel differently when this is all over, but, cards on the table, i don’t and i won’t. you’re still the best part of my day. and i spent every day in post-production watching one of the dailies of you. cindy tells a joke behind the camera and you, just, you smile. and it killed me. i watched it every day. and i missed you. that was my life before the movie took off. and now that i get to spend time with you again i never want you to go. this isn’t because i’m the director and you were my leading lady. this is because you’re you and i’m me. and you make me feel strong. like i could do anything. please, please don’t give up on us. not before we’ve even begun.”

she blinks at him and he suddenly feels super embarrassed. because he’s put his heart out for her and she isn’t talking to him.

the television starts to play the nominations and he awkwardly turns back to look at the television. the room is heavy. he hates it. they talked about it. and she rejected him. or whatever silence means. silence feels like rejection.

their movie gets a few nominations in the technical categories. even, cindy. peter makes a mental note to call her after. and then, just before they get to writing, michelle turns to him. “peter?” he doesn’t respond, so she tries again, and he can hear the lip tremble in her tone, “peter, please.” so he reluctantly turns and she wipes at her eyes, “please don’t be mad at me.” “i put my heart on the line and you didn’t even respond. you couldn’t even say you didn’t want me.” “that’s because i do!” she insists. he rolls his eyes, “please.” “no,” she grabs his hand, “i do. i just...when I’m not your leading lady...i’m afraid you won’t want me anymore.”

he shakes his head, “why would you say that?” “because i’m your muse. i’m your movie. and when award season ends and you start on your next project because...you’re gonna be so famous...you’ll move onto your next muse. and you’ll forget all about me. and i can’t handle that heartbreak.”

he cups her face, “you beautiful idiot. you aren’t my muse. i wrote that movie before i ever met you. and i just...love...you....” he whispers that last bit. he pulls down deep for some of his strength. “i love you,” he says again, more proud, “and i want you. and you Mi-”

“Michelle Jones,” the television set says. the two of them, their eyes bug open. they look at the television and there it is. in black and white. for best supporting actress. michelle jones. for their movie.

he pulls her into a bone crushing hug. “holy shit,” he whispers into her shoulder. she starts to cry, “holy shit.” they pull apart and echo together, “HOLY SHIT.” and then, the laughter comes. sudden and bubbly. because she is an academy award nominee. its best supporting actress just like the golden globes which is bullshit. but its the academy awards. and technically his lead is a man. but, like, FUCK.

and then, the laughter stops. and they are breathless and staring at each other. and the moment crackles over.

the last year is present in the room. and tension cannot hold. it will always break. and it does.

they crash into each other. their mouths eager and desperate. he has wanted her for so long. and now, he can taste how long she has wanted him. and it tastes like that first day on set.

it gets intense immediately. they have no time for foreplay. peter groans deeply into her mouth. and she whimpers back. they move their clothes out of the way just enough to couple.

and when he is inside her, the pair of them shutter. and it is so cliche, like a hollywood movie, but they fit. it is like he was always made for her and she him.

and they are so wrapped up in each other, the comforting rock of their love making, that peter doesn’t hear his name for best screenplay or director. he doesn’t hear that his movie gets nominated for best feature film. he doesn’t hear any of it.

the academy has nothing on michelle.

after, they take a minute to look up the nominations. and, well, they have to celebrate two more times.

its only the following morning with michelle tucked up in his arms do they talk about what it means for them. what this means for them. and they both decide-- everything.

the night of the academy awards mj stuns him in brown and he barely looks acceptable in a standard black suit. but he is the director and she is the moviestar. so he supposes, that logic checks out. on their way out the door she gives him a brief kiss and tells him, “you hit the jackpot, tiger.” the smile that puts on his face is present in every photo.

they keep a respectable distance from each other because peter tells her late one night that he doesn’t like the world knowing his business. he wants this to be theirs. he doesn’t want to share their moments. and she crawls on top of him and seals that promise with a kiss.

but its much harder to keep it respectable during the actual awards. because he’s so goddamn nervous. he knows he’s young. incredibly young. and he has his whole life ahead of him to win these kinds of awards but it feels like a sign. like, if his movie wins tonight then the universe is rooting for him and michelle.

she keeps their knees against each other for the entire night because she can’t hold his hand. and he appreciates the contact. it calms him down.

and soon, the relief starts to pour through his body. they lose. a lot of things. but Cindy wins for best cinematography and she was his eyes, after all. she is his eyes. his partner in making movies. and if she is the only one that goes home with an award tonight he’ll be happy.

and then, best supporting actress comes up and michelle’s nervousness boils over. she can’t help but hold his hand. and he sends a silent prayer that the internet will think she is leaning on her director for support.

she wins.

she wins and everyone, including michelle, is shocked. she’s young. crazy young. and it is her first nomination. and it takes some jockeying from peter for her to start to walk toward the stage. she is absolutely floored.

when they hand her the statue, she blinks back tears, “oh, wow. i can’t believe it. i just...can’t believe it. to, um, to my parents. thank you for loving me and supporting me and telling me that a little movie with a script that i loved was worth doing simply because i loved it. thank you to our entire cast and crew. this movie is a labor of love and this award belongs to all of us. thank you to Cindy Moon who lost the script to this beautiful movie. i thank god everyday i picked up that script and read it and gave it back to you. and thank you to Happy Hogan who believed in this movie and Tony Stark that helped get it off the ground so everyone could love it as much as I did. and lastly, peter, our fearless director, you wrote a movie that dared to say hard things and spoke to people’s souls. it spoke to me. and i am so thankful you put your trust in me to speak your words. thank you. thank you. just, thank you.”

when the applause fills the hall, peter knows she did it. she won the award. and she thanked him. forever, michelle jones thank you speech at the academy awards will include his name. and he feels like the universe might be on his side.

she comes back after fifteen minutes and one musical number. when she sits in her seat with oscar in her hand, he checks the area for a camera pointed their way and when he feels safe, he kisses the side of her head, “i am so proud of you.” he wants some moments to be just theirs.

then, the screenwriting award comes up and he loses. he loses to a war film that he heard was lobbying pretty hard for some awards. it stings but he will have his shot at other awards some day. he counts himself out for director.

and rightly so. he loses that, too. michelle grabs his hand and it doesn’t take a rocket scientist to realize that he is going home with the real prize tonight. the academy is second to michelle.

until something ridiculous happens.

they win best picture.

everyone on his team is shocked. they didn’t win the golden globes. but the oscar? wow. even the audience is shocked. there is a really rude gasp that ripples through the crowd. but when the presenter repeats the result they all jump to their feet and begin to hug and kiss and rush to the stage. peter and happy and tony are all handed awards. he is an academy award winner. or, well, his movie is. and peter supposes that still counts.

happy and tony speak first. they talk about producing the film and distributing it. and thank all of their families. and then, they look at peter. like they expect him to speak. that is when he remembers. he is the director. that means he is the person that lead the ship into harbor. he is the face of his little company.

he approaches the mic and shakes his head in shock, “when i wrote this movie i didn’t feel like i had a future in this business. i wrote this movie because i was lost and felt like everyone around me knew what the heck they were doing. i felt like a failure and like i would never accomplish my dreams. and so, i want to dedicate this award to everyone that has ever felt that way. and i want to tell you that amazing things do happen and you are not a failure. keep doing what you love. and thank you to my incredible cast and crew. you are my heart. to michelle who did a movie with a bunch of nobodies with no guarantee that anyone would even see it, let alone like it. and to my aunt may, for everything. thank you.”

he turns around and opens his arms and his entire team, his family, floods into them.

they drink and party and celebrate all night long. and at the end of that night michelle and peter go back to his house with two oscars in toe and they celebrate another way.

the news gets out the next day. there is a picture of them going back to peter’s house at the end of the night. the paparazzi are vultures on oscar sunday. and he is furious. because he wanted it to be private. he wanted it to be theirs.

but michelle patiently kisses his nose and tells him that he’s an idiot and that just because they can’t hide that they’re together anymore doesn’t mean that they have to tell anyone anything. so when he does his post-oscars interview and the interviewer asks about michelle he cooly says, “i’d like to keep my personal life private, thank you.”

mj is less patient because the media is sexist. they insinuate sleeping with the director to get the roll. which is ridiculous because a year ago he was a nobody fresh out of school. she rolls her eyes and kindly tells a different reporter to ask her anything that isn’t “blatantly sexist and invasive when it comes to my private relationships, okay?” and peter loves her so much its an actual ache.

then, the buzz dies down. the oscars are over. the world moves on. and peter and cindy start to discuss their next project. ned wrote them a film. a good film. a great film. and WB is going to back it this time. not just happy or tony. the entire studio.

and michelle decides to leave her show at the end of the season. she is an academy award winner. and she wants to be a superhero. or, well, play a superhero. Disney calls and tells her they want her to be the lead in a new female superhero movie. and she does look great in capes.

when peter shows up to set for his new movie nearly six months after the oscars (pre-production takes time before filming actually begins), he puts on his baseball cap and feels strange. the crew is mostly the same, he made sure of that, and cindy is right at his side but there is something missing. it takes him until lunch time to figure it out.

he goes to the bathroom and calls his girlfriend, “mj?” “peter, what’s wrong?” “i miss you,” he says. he can hear the exasperated tone of her voice, “you saw me this morning.” “i miss you here,” he corrects, “i miss you on my set.” “i can’t be in all of your movies, baby. and you can’t always cast me. people will say your biased.” “i am biased,” he grumps. “i love you. and i’ll see you tonight. go do your job.”

and, somehow, those words snap him out of his funk. because he did it. he’s a director. this is his job. so, he walks out of the bathroom, takes his place beside cindy and turns to his crew, “okay, let’s get to work.”

#headcanon ask #spideychelle #hollywood au

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