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samuel-de-champagne-problems · 9 months ago

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Handle With Care - Aaron Hotchner x Reader

Summary: Reader and Aaron meet for the first time before she starts as a full-time nanny for Jack.

Notes: Hopefully will be at least 5 parts! I'm excited to be writing again :)

Word Count: 4.6K

I always believed in new beginnings, but as I stood on Aaron’s doorstep, rolling a suitcase in one hand and a Vera Bradley duffel bag in the other, I was tempted to question my resolute thinking. It had yet to fail me. Not when I was hardly eighteen and living on the other side of the country, vying for my spot at the esteemed culinary arts program. And not when I’m twenty-four with a stint as the private chef

Professional chef turned nanny–for my father’s beloved mentee, no less. My parents, ever supportive and ever loving, practically held an intervention when I showed up on their suburban door step a fractured shell of the bubbly daughter they dropped off at the airport.

Five years later, I’m sleeping in the same bed. I had nightmares about leaving once again. And yesterday I gave up that bed for a full-time position as Aaron Hotchner’s live-in nanny. Aaron, who I never even met, is my father’s protege. He knew him as a whip-smart, young lawyer from a family Law dynasty at Quantico. My father took him under his wing and even after his early retirement from the BAU they would get together for an annual work lunch.

I was nearly finished with my final year of the Los Angeles Culinary Arts Program when my fathers called to say that Aaron’s wife was murdered. I remembered thinking how lucky Dad was and how brave Daddy had to be. With one day off saving the world and the other left to hold down the fort with an awfully anxious only child daughter.

One year later, I was unemployed and completely blacklisted from the culinary entertainment industry for reasons beyond my control and without my fault. I gripped the suitcase, my chipped fingernails so jagged they punctured my skin.

Aaron had a nice house with a manicured front lawn, a big wrap around porch, and a fully furnished backyard. Clearly, he was a man with a lot of education and a lot of smarts to top it off. He worked hard. It showed, these neighborhoods of Arlington, Virginia weren’t cheap. No wonder my dads were dying to relocate to Georgia.

The door swung open before I could work up the courage to ring the bell or knock on the dark cherry wood. Aaron answered. He wore a dark green men’s quarter zip that was pushed up, showing off his forearms. His dark, charcoal gray watch shone as he let me into his foyer.

He had a foyer.

And a house that smelt like warm cinnamon and musk.

“Y/N,” Aaron said, nodding to me with a smile, “Please give me your bags. And we’ll go sit and chat before Jack comes. His grandma is still in town and brought him to the zoo.”

I complied. There wasn’t a need for me to protest. And clearly, by the looks of those forearms, he would have no problem handling my bags. I only brought a single suitcase, a duffel, and five boxes of books. Aaron’s mother-in-law, Lorriane, had been staying with them since Haley died a year and a half ago. But her husband broke his hip. Apparently, Aaron had added a mother-in-law suite for Lorriane and judging by the looks of his home, the suite I’d be living in for the foreseeable future was twice the size of my studio in LA.

“Thanks.” I said, grabbing a seat on the brown fabric sofa, “My dad said I had to say hello to you for him. He still raves about you. Like all the time.” I chuckle, watching as Aaron hands me a glass of iced tea.

“Marty’s a good man. He and Gideon built the Behavioral Analysis Unit. Our team is in constant debt to him.” Aaron spoke so formally, gesturing for enthusiasm with his hands.

“Yeah, well. He’s always just been dad to me.” I smiled, the man I knew showed up to my field hockey games even if it meant holding office hours there. He was the most there dad I could ask for– maybe it was neck in neck for the both of them.

“So Jack?” I said, breaking the silence. “How–how’s he been?” I couldn’t help but wonder. My dads had a close friend who helped them with their surrogacy journey, so while I didn’t have a mother in the traditional sense, the woman who I’ m half of was still alive and in my life. Debra was more like an aunt to me, fun and spirited and eternally youthful. But I still had her.

Unlike Jack, who’s Earthly ties to his mother were shredded in an horribly violent way.

My dad hardly ever cried, but when he called and told me that Aaron’s wife died I could hear it in his raw voice. Aaron’s a man cut from the same cloth a Dad; stoic and responsible. He was a wall of somber trepidation, but somewhere deep inside I could make out the man that wasn’t cataclysmically destroyed.

“Jack is…he’s a strong kid. I put him in therapy after it happened. He still goes once a week. Laura, she’s his therapist. She’s wonderful. Truly has helped Jack work through all this.”

“That’s good. That’s really good, Mr. Hotchner. It seems as though Jack has a solid foundation here.” I say, unsure what to say exactly. I can make an omelet six different ways, yet it’s lost on me to know what to say to a widower with a little boy. If I had to bear even a fraction of their grief, I’m sure it would break me. I would crumble. But these two boys? They’re a good man in the storm. And I know in my bones, it’s entirely Aaron’s doing. If that man is anything, he’s steady.

“It’s Aaron. Please, Mr. Hotchner reminds me of my father.” He cringes, the lines on his eyes creasing, “Your dad said you’re a professionally trained chef? Unfortunately, Jack’s still squarely in the dinosaur shaped chicken nugget and baked tater tots phase. It’s been a struggle to get him to try anything new…for…for awhile now, if I’m being honest.”

I nod, thinking that Jack’s food discouragement might stem from losing his mom. “Well, the way I see it, Jack lost his mom at how old? Four and half? That’s when we’re starting to really know what we like and don’t like to eat. His life was turned upside down and shaken all around when you lost her. So maybe he needed some consistency in a world of chaos. Not that your home is chaotic, it’s lovely and clean and happy. It’s just��loss…”

“Losing your mother as a toddler really fucks up your life.” Aaron says. He speaks so definitely, as if he means everything so ardently you could cast it into stone.

“Yeah.” I add, somberly. “But I think we can get him to branch out. Make it a game. I’d love to cook with him. I can get him kid-safe tools so he can be involved in food preparation and cooking. Oh! Maybe Jack and I can have a garden. I’m sure that will get him eating vegetables and fruits.”

Aaron’s neutral expression slowly transitions to a soft smile. He thumps his fingers on the wooden table, as he looks out through the deck. I could feel him glance back at me and then to the yard again.

“I think that a garden would be lovely over on the side. It’s far enough away from the pool and patio.” Aaron offers, sipping his tea. It’s sweet tea, too sweet for me. Working in kitchens throughout my program has trained me to not only tolerate black coffee, but to actively seek it out. He smiles, his grin defining his face. “Good idea.”

I feel heat at his praise. I like doing well, who doesn't? But after a series of mishaps and bad luck, an 'atta' girl is my Hail Mary of the month. I simply nod. “Simple things to start so he can see some quick results. I’ll get him super involved in it. Make him feel like he’s a part of a team.”

“I work a lot. My team flies across the nation, as you know. It takes me away from here for days on end. It was getting too much for Lorriane. And how her husband broke his hip.” Aaron shakes his head, “Honestly, you couldn’t have shown up here at a better time.”

He runs his pointer finger over the water rung pooled on the coasters. “Jack’s a very easy kid. Reasonable. But shy. He was shy even before Haley…even before last year. I’ve brought him to the pediatrician because he stopped talking for a while, but she said that we’ve all survived an immense trauma and our brains simply process and live through that trauma differently.”

Sitting there, I couldn’t help but think how lucky this little boy is. His dad was running up the hill; pushing that boulder up and up and up for an eternity. It must be an awfully lot to carry, without anyone to share the load.

“Yeah. I’m sure it is? Is he going into Kindergarten after the summer?” I ask, wondering if Jack went to Kindergarten on time or if Aaron and his grandma kept him home when they lost Haley.

“Lori, Haley’s mother, taught preschool for thirty-five years. She told me to keep him home for a year, let him be a little bit older and get the help he needs to heal and then send him. So I listened. I think that was one of the only decisions I made as a team this year.”

Sympathy must have colored my face because Aaron’s demeanor shifted quickly. He sat up, sipping his iced tea and wiping his hands on his jeans. “So basically your weekdays are around 8am-7:30pm. And occasionally on the weekends when the team does have to be on location But recently, I’ve been trying to transition to a more leadership position at headquarters. Hopefully, that’ll mean less traveling.”

I quickly journaled the hours down in my notebook. Live-in nannying hours are not for those looking for a job to allow them the life of leisure. Naturally that couldn’t possibly be true for a position whose main coworker is a five and a half year old boy.

“Alright. So that’s summer hours. We’ll need to brainstorm lots of stuff to do all day. Maybe the library?” I write a small note to get ideas and have them approved by Aaron.

He nodded, “Yes, summer hours are a lot, but Jack will be going to a couple camps that his therapist recommended. So you can get a couple hours each day to yourself. I am ready to compensate accordingly. Between my new role at the BAU and other personal investments, we live comfortably. How’s $2,500 to start and then we’ll discuss a raise in the future. And naturally your room and anything you may want to eat or have will be covered by me.” Aaron says it again in a way that leaves no room for argument. He must’ve been a great lawyer; no wonder dad adores him.

“That’s quite a lot of money.” I’m shocked and my face does a horrible job of hiding it. “I’m not a professional nanny. I’m good with kids. Really good. But I don’t do this for a living. This is you doing me a favor because if it wasn’t for you, I’d be a waitress at my dads’ country clubs” I cringed, my mind instantly filtering in an image of me serving one-time sorority sisters bottomless mimosas for an Easter Brunch.

“I apologize if you though that it was up for discussion, Y/N. Your first month’s pay will be $2,500 each week. And then it will increase to $3,250 each week. If I’m asking you to work 13 hour days plus one weekend a month? I better be paying you that much. And you’re still on Marty’s health insurance?”

I rolled my eyes, of course dad mentioned that to Aaron and of course Aaron double checked. Aaron just might have Marty, JD beat when it comes to thoroughness. “Yeah, till I’m 26. And that’s like…a year and change away.” I say, implying that it’s not up to me, or Aaron even, to know how long I’ll be with him. I wasn’t sure if I would ever venture out to LA again; not after what happened that sent me back here for good.

But the thing about food is that everyone wants good food, no matter where they live. And right now, the ones that wanted something good in their lives, lived in a lovely Colonial home on Moss Avenue.

“I guess there’s no arguing with you, prosecutor.” I say, my voice increasing just so that it balances the line between teasing and something else…something else I should be too ashamed to admit.

It elicited a smile from him and all of the sudden it was completely worth it. Aaron finishes his tea, and places it into the sink after dumping the remaining ice chips down the drain.

“Non-negotiable. It’s in your contract. Along with a health insurance package should you need to go off Marty’s name. Plus all that tax information that I’ll get you someone to walk you through it.” Aaron explained.

“Thank you.” I replied, grateful that it was both all above the table and that I would be given the resources to help me figure it out. Looking at the pile of paperwork in my lap, I was sure that if Aaron didn’t offer legal literacy assistance I would be way in over my head. “That’s wonderful. Really.”

“I just…I just want my son to be a good kid with a good childhood. That’s all. I want to be there for him and if I’m not there, I want the next best thing there. You know?” Aaron said and I’m not sure if it’s a plea or statement. Or if it was stuck somewhere in the middle; lost at sea like Aaron was himself. An island unto himself, drifting as the tide rolled in.

I break the silence. “What was Haley’s favorite meal?”

Aaron smiled. His eyes, crinkling again. “She had chicken piccata on our first date. And we ate it at our wedding. And when she found out she was pregnant with Jack she made it for me.” I nodded, understanding the important link between food and memories.

“Let’s make it. For Jack and you and Lorianne to share tonight before she leaves. It’s going to be a big transition for him to go from having grandma all the time to me, someone very new.” I expressed, hoping that I didn’t sound bossy or as if I wanted to parent Jack myself.

“That’s a lovely idea, Y/N.” Aaron sighed. “But I never was much of a chef. I wouldn’t know the first place to start.”

He leaned his hands against the table, a slight smile breaking the formidable since that had fallen between us in the moments before. I smiled back, standing from the table to reach my tote bag.

I pulled out an apron, the kind that criss crossed over my back. It was denim blue with a canvas front and large pockets.

“Move over,” I said, tying my apron, “It might be your kitchen, Aaron, but for tonight you’re kicked out”

The chicken ended up being more chicken piccata adjacent than a true representation of the dish. I mixed a seasoned blend of flour and spices for the dredging. Then, butterflied and pounded the chicken breasts into thin pieces.

Aaron’s kitchen was spacious and airy. There was a large island with barstools on one side and lots of pantry and cupboard space on the other. I stood at the island, dredging the chicken in seasoned flour before placing it nearly on paper towel lined trays. The chicken, thinned and butterflied, didn’t take long to cook in the oil and butter.

I let the skillet heat up till the oil, butter, garlic, and capers produced a mouthwatering aroma. Aaron gave me a bottle of white wine, imperative to make the sauce taste even better. I added freshly squeezed lemon juice and lemon slices to the pan sauce, letting the brown bits cook a little bit more. I scraped the edges of the skillet, incorporating the sauce even more.

I placed the chicken back into the pan, letting it absorb the lemony, garlicky flavor of the sauce. The sauce thickened, forming something that was similar enough to chicken piccata. I added a bit more butter to the pan, along with some lemon. I figured that it would stretch a little bit more for some sauce for the pasta on the side.

The chicken was simmering in the pan and the pasta water nearly boiling, when Jack came home. He looked like his father, but must have gotten his lighter colored hair and eyes from his mother.

Aaron walked into the kitchen with Jack, his hands resting on Jack’s shoulders protectively. Jack’s shy demeanor was evident as he peered over at me. I smiled and waved as I finished the pasta.

“Jackie, this is Ms. Y/N.” Aaron introduced me to the young boy, who stood shyly by his father. “We talked about how Grandma Lorraine needs to go back home. And we’re gonna have a friend come and live here.”

Jack nodded, his little mind clearly spinning and spinning to make sense of all this. He was clearly well adjusted, even for losing his mother at such a young age.

“Hey, there Jack!” I smiled. “I made a good dinner for you and your dad. I heard you went to the zoo with Grandma. I love the zoo. Especially the tigers.”

Jack nodded, eagerly walking around the kitchen island to talk about the zoo. “Yeah,” he said, “I liked the monkeys. They were funny. The babies were learning to climb and jump.”

I nodded, plating up some food for Jack. “Super cool. They’re kinda like little people. The way they act and play.” I placed the plate on the counter. “I used the Cars plate. It was way too cool not to.” I crouched down and whispered to Jack, “Just make sure your dad doesn’t swipe it. Between you and me I can see him eying it from here.”

Aaron chuckled, reaching high to grab not one, but two plates. He handed one to me before telling Jack to go sit for dinner. “You’re joining us. It’ll be good for us to get to know one another.”

“I don’t want to intrude.”

“Nothing you do would be an intrusion. And it’s good for Jack to see that we’re friends. He’ll be more trusting of you.”

I nodded, understanding that it was very important for Jack to become used to me. Especially considering Aaron’s job could take him away for days at a time.

“Alright.”

Aaron nodded. “Sit. I’ll get your plate.”

There was an understanding that washed over me. An understanding that Aaron was the kind of man that didn’t ask for things. He was simply used to things he wanted being carried out. I envied that security. Maybe if I had even an ounce of it I would still be hacking it out in LA. Or maybe I wouldn’t have needed to figure it out because I would’ve figured it out already.

Jack and Aaron went back and forth, swapping facts about dinosaurs. Jack was squarely in the dinosaur phase. Five minutes in, and I already had promised to help him find a dinosaur coloring book, with dinosaurs besides just the “cool ones”.

“Uncle Spencer says that some dinosaurs had heads as big as a car!” Jack said, practically shrieking with excitement as he recounted all the facts a certain Uncle Spencer had told him.

“Uncle Spencer’s so smart. And he’s a kid!” Several of Jack’s stories started with the aforementioned Uncle Spencer and I couldn’t help but wonder where the connection lay. Especially if, like Jack claimed, Spencer was a child. Sometimes some cousins are so far apart in age they’re more like an aunt or an uncle. Perhaps this was the case.

“Spencer is on my team.” My face must have shown my confusion. I always wore my emotions and thoughts on my sleeves, something that failed me several times over. Most notably when my friends in LA would get hit on by men at bars in the most vile of ways. One of the blessings of being deemed unapproachable by men was being left alone, but that didn’t mean I wasn’t burdened by their lack of tact in seducing women. “And he’s 28…yes about 28 now, and has been on the team since he was 23. He’s brilliant. Jason Gideon, who worked with Martin, scouted him when he was hardly 21. His mind works in ways that are simply unexplainable.”

“Which means he must have some pretty sick dino facts?” I ask, my question causing a prickly smile to appear on Aaron’s face. Jack giggles, he must enjoy seeing his father smile. It seems that even though the boys find themselves moving alone, smiles are few and far between. Especially from the elder Hotchner.

“And three phDs.” Aaron cut the rest of Jack’s chicken, sliding his plate over and reminding him to at least try the vegetables. “It’s like these kids are getting younger as fast as they are getting smarter. Sometimes I just look at Spencer and my knees hurt. Then again, I’m pretty sure I would beat him in anything athletic. Even though he’s much younger.”

I raised my brow instinctively, smiling. “Was that a joke?” I deadpanned. “My dad said you made two jokes the entire time he knew you. And the first was…”

I stopped myself short. But it was far too late. Aaron, like myself and my father, knew when the first joke he made to my father was. His wedding day. My father had long retired, and moved his mind and soul far, far away from the BAU. He trusted Aaron and Gideon to handle it. Instead he decided to live as himself, freely with his husband and their daughter in the suburbs.

If there was one thing that I shouldn’t have done the first night working with a nanny family consisting of a widower and his son, it was to bring up the marriage of the widower.

When Aaron married his late wife, Haley. My fathers attended, but I didn’t even remember. It must’ve been one of those times that Nana would sleepover. I remembered it was painting nails, ordering Chinese, and watching Walker, Texas Ranger and Family Feud. I remembered it as falling asleep to my Nana’s snoring as Home Shopping Club glowed on her ancient TV set and waking up to her chocolate chip pancakes. My father remembers it was the first time his young protege made a joke. And Aaron remembers it was the day he married the love of his life.

“Daddy?” Jack said, cutting through the silence, “I don’t like veggies. They’re too mushy.”

“Don’t eat them, bud.” Aaron, murmured, his voice laced with a guard that I hadn’t noticed till now. It was careful, like he crafted each tone and cadence before he spoke. “We’ll figure it out, Jack. Come on, let’s show Ms. Y/N her room. Where she’ll be staying.”

Each sentence is clipped and calculated. I nod, smiling as Jack stands next to his father.

“I’ll clean up.”

Aaron nodded, thanking me as he took Jack up to get ready for bed. Minutes later, the kitchen was back to normal and a couple extra meals were packed away for leftovers. I left a note on the counter for Aaron in the morning.

Lunch is in the fridge.

I always like to make extras!

Have a nice day

Y/N

Aaron returned, without Jack. “You didn’t have to do the whole kitchen. I don’t expect that. This isn’t a housekeeping job, it’s taking care of Jack.”

“I don’t mind. Being a chef…or I was a chef, as much as a pain in the ass cleaning and dishes can be sometimes it’s a good way to finish it all. I don’t know…I don’t make sense.” I chuckled, trailing off in a rambly way that fully gave away my nerves. My previous blunder had shaken me, especially since Aaron seemed completely unnerved, even though I knew it stung.

“I suppose, sometimes I used to stay late to do all the paperwork, even though the interns usually will do it for us.” Aaron wipped his hands on his pants.“Anyway, let me show you to the room. I had it cleaned over the weekend and put Lorianne up at a hotel for a couple nights so there wouldn’t be any issues or crossover.”

Aaron led me through the rest of the house. It was neat and tidy and I didn’t expect anything else from someone like Aaron, even though he does have a young, energetic son. There was just something meticulous about him. Something so put together and careful. And then there was me. Messy and complicated and unsure and terrified. Anyone would be that after having the carpet pulled out from under them. And I couldn’t name a bigger carpet than having to bury your life.

There was a locked door that led to what Aaron explained as my private area. “Jack and I won’t come over here. From the time that I get home in the evenings, or frankly, some days, till I leave in the mornings is your own. This is your spot in the house, but my housekeepers that come twice a month will clean in here, if you’d like.”

I nodded, grateful for that added bonus. The small attachment was the size of a studio apartment. There was a kitchenette with a nook tucked into the corner with the windows. The furniture matched the rest of the house, clearly Aaron had spared no expense to add this attachment. The queen sized bed was pushed up against the wall and nestled into the corner. Next to it was a nightstand with a lamp. And, as I turned the corner, was the crowning jewel.

“Are those built–ins?” I asked, staring in disbelief. “Those are so gorgeous. I have like, easy, a ton, of books. God! Can I use them?” I turned, practically jumping from joy as Aaron chuckled reluctantly.

“Of course. This room’s yours.” Aaron must’ve carried my bags into the bedroom while I was cooking because all of my belongings sat on the floor near the set of love seats and armchair. “I’ll leave you to get settled. 8:30 okay for tomorrow?”

I nodded, stunned beyond belief as I opened my boxes of books. Aaron handed me a set of keys, one to the house, the shed, and the other to my area of the house.

“You’re the only one that has a copy. If you want others made, I’ll cover the expense.” Aaron explained. “Have a good night, Y/N.”

“Good night,” I replied, hooking the keys onto my set. “And thank you for this room. It’s nicer than my apartment in LA.”

Aaron leaned against the doorframe, “Of course, I think Jack'll be very happy. It’s been hard to trust others. With him, honestly…Jack’s all I got left.” I had known Aaron for about three hours, heard stories of his skill and professionalism and talent for years, but he wasn’t someone that I had known, let alone even met. But in those three hours, I could count several times where I saw a sliver of emotions.

“I’ll leave you to it.”

“Night.”

“And Y/N?” Aaron said, stopping me as I reach down to start shelving books, “Food does hold memories. You’re right. I needed it. We did. Jack and I. He needs to remember her.”

“Food has memories.” I said, shrugging, “You’re gonna have to learn I know more than you think I do.”

Taglist

@reidsbookclub @boldlyvoid @pear-1206 @this-is-calm-and-its-anne @little-jana @pastelpinkflowerlife @sarcasm-and-stiles @ilovefictionalmennn

#criminal minds #aaron hotchner #aaron hotchner x reader #criminal minds fanfiction #my writing #aaron hotch x reader #aaron hotch fanfiction #aaron hotch hotchner

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mariacallous · 7 months ago

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Sean “Diddy” Combs is facing dozens of new allegations of sexual assault in a series of civil lawsuits set to be filed.

At a press conference held on Tuesday, Texas-based attorney Tony Buzbee said he is representing 120 accusers with allegations against the entertainment mogul that occurred over 20 years.

“We will expose the enablers who enabled this conduct behind closed doors. We will pursue this matter no matter who the evidence implicates,” Buzbee said during the press conference.

“Many powerful people ... many dirty secrets,” the lawyer said of the allegations. He added that his team has “collected pictures, video, texts.”

Buzbee added that the allegations will include: “violent sexual assault or rape, facilitated sex with a controlled substance, dissemination of video recordings, sexual abuse of minors.”

“It’s a long list already, but because of the nature of this case, we are going to make sure damn sure we are right before we do that,” Buzbee continued. “These names will shock you.”

Buzbee said he’s had more than 3,000 individuals come forward to his office with accusations against Combs and that he plans to begin filing lawsuits in various states within the next 30 days. He added that they will name the other defendants at a later date.

Among this new group of accusers, Buzbee said, 62 % identify as African American, and that they hail from more than 25 states, with the majority from New York, California, Georgia and Florida.

Buzbee said that 25 of the accusers were minors at the time of the incidents occurring as early as 1991. Buzbee said that the events occurred at parties hosted by Combs, as well as auditions for people hoping to “break into the industry.”

NBC News has reached out Combs’ legal team for comment.

Combs is currently being detained at the Metropolitan Detention Center in Brooklyn, New York after prosecutors in the Southern District of New York charged Combs with sex trafficking, racketeering and transportation to engage in prostitution in an indictment unsealed last month.

Combs was denied bail twice, but on Monday his legal team, which now includes attorney Alexandra Shapiro alongside Teny Geragos and Marc Agnifilo, filed the first paperwork ahead of an appeal of the bail decision.

Buzbee has represented victims in several other high-profile lawsuits, including against BP in 2010 after the Deepwater Horizon oil spill in the Gulf of Mexico. He also represented individuals accusing NFL quarterback Deshaun Watson of sexual misconduct in 2021. That same year, he filed a 750-million dollar lawsuit against Travis Scott after a fatal crowd crush at the rapper’s Astroworld Festival.

Combs’ legal issues have been mounting since his ex-girlfriend, Cassandra “Cassie” Ventura, filed an explosive civil suit against him last year, accusing him of assault and sex trafficking over the course of their relationship. Combs, who has vehemently denied the accusations, settled with Ventura for an undisclosed amount. Several months later, surveillance video showing Combs brutally beating Ventura in the hallway of a Los Angeles hotel leaked, and the mogul apologized for his actions.

Since Ventura’s lawsuit, multiple other civil lawsuits have been filed against Combs — most recently one from Dawn Richard, a former member of the girl group Danity Kane who alleges Combs groped, assaulted, imprisoned and threatened her life. Combs has denied all claims against him, calling them “sickening allegations” from people looking for “a quick payday.”

Many of the lawsuits against Combs were filed in New York City, which has the Victims of Gender-Motivated Violence Protection Law allowing people to file lawsuits alleging sexual abuse even after the statute of limitations had passed.

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mostlysignssomeportents · 2 years ago

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On September 22, I'm (virtually) presenting at the DIG Festival in Modena, Italy. On September 27, I'll be at Chevalier's Books in Los Angeles with Brian Merchant for a joint launch for my new book The Internet Con and his new book, Blood in the Machine.

It's been 21 years since Bill Willingham launched Fables, his 110-issue, wide-ranging, delightful and brilliantly crafted author-owned comic series that imagines that the folkloric figures of the world's fairytales are real people, who live in a secret society whose internal struggles and intersections with the mundane world are the source of endless drama.

Fables is a DC Comics title; DC is division of the massive entertainment conglomerate Warners, which is, in turn, part of the Warner/Discovery empire, a rapacious corporate behemoth whose screenwriters have been on strike for 137 days (and counting). DC is part of a comics duopoly; its rival, Marvel, is a division of the Disney/Fox juggernaut, whose writers are also on strike.

The DC that Willingham bargained with at the turn of the century isn't the DC that he bargains with now. Back then, DC was still subject to a modicum of discipline from competition; its corporate owner's shareholders had not yet acquired today's appetite for meteoric returns on investment of the sort that can only be achieved through wage-theft and price-gouging.

In the years since, DC – like so many other corporations – participated in an orgy of mergers as its sector devoured itself. The collapse of comics into a duopoly owned by studios from an oligopoly had profound implications for the entire sector, from comic shops to comic cons. Monopoly breeds monopoly, and the capture of the entire comics distribution system by a single company – Diamond – was attended by the capture of the entire digital comics market by a single company, Amazon, who enshittified its Comixology division, driving creators and publishers into Kindle Direct Publishing, a gig-work platform that replicates the company's notoriously exploitative labor practices for creative workers. Today, Comixology is a ghost-town, its former employees axed in a mass layoff earlier this year:

https://gizmodo.com/amazon-layoffs-comixology-1850007216

When giant corporations effect these mergers, they do so with a kind of procedural kabuki, insisting that they are dotting every i and crossing every t, creating a new legal entity whose fictional backstory is a perfect, airtight bubble, a canon with not a single continuity bug. This performance of seriousness is belied by the behind-the-scenes chaos that these corporate shifts entail – think of the way that the banks that bought and sold our mortgages in the run-up to the 2008 crisis eventually lost the deeds to our houses, and then just pretended they were legally entitled to collect money from us every month – and steal our houses if we refused to pay:

https://www.reuters.com/article/idINIndia-58325420110720

Or think of the debt collection industry, which maintains a pretense of careful record-keeping as the basis for hounding and threatening people, but which is, in reality, a barely coherent trade in spreadsheets whose claims to our money are matters of faith:

https://pluralistic.net/2023/08/12/do-not-pay/#fair-debt-collection-practices-act

For usury, the chaos is a feature, not a bug. Their corporate strategists take the position that any ambiguity should be automatically resolved in their favor, with the burden of proof on accused debtors, not the debt collectors. The scumbags who lost your deed and stole your house say that it's up to you to prove that you own it. And since you've just been rendered homeless, you don't even have a house to secure a loan you might use to pay a lawyer to go to court.

It's not solely that the usurers want to cheat you – it's that they can make more money if they don't pay for meticulous record-keeping, and if that means that they sometimes cheat us, that's our problem, not theirs.

While this is very obvious in the usury sector, it's also true of other kinds of massive mergers that create unfathomnably vast conglomerates. The "curse of bigness" is real, but who gets cursed is a matter of power, and big companies have a lot more power.

The chaos, in other words, is a feature and not a bug. It provides cover for contract-violating conduct, up to and including wage-theft. Remember when Disney/Marvel stole money from beloved science fiction giant Alan Dean Foster, whose original Star Wars novelization was hugely influential on George Lucas, who changed the movie to match Foster's ideas?

Disney claimed that when it acquired Lucasfilm, it only acquired its assets, but not its liabilities. That meant that while it continued to hold Foster's license to publish his novel, they were not bound by an obligation to pay Foster for this license, since that liability was retained by the (now defunct) original company:

https://pluralistic.net/2022/04/30/disney-still-must-pay/#pay-the-writer

For Disney, this wage-theft (and many others like it, affecting writers with less fame and clout than Foster) was greatly assisted by the chaos of scale. The chimera of Lucas/Disney had no definitive responsible party who could be dragged into a discussion. The endless corporate shuffling that is normal in giant companies meant that anyone who might credibly called to account for the theft could be transfered or laid off overnight, with no obvious successor. The actual paperwork itself was hard for anyone to lay hands on, since the relevant records had been physically transported and re-stored subsequent to the merger. And, of course, the company itself was so big and powerful that it was hard for Foster and his agent to raise a credible threat.

I've experienced versions of this myself: every book contract I've ever signed stipulated that my ebooks could not be published with DRM. But one of my publishers – a boutique press that published my collection Overclocked – collapsed along with most of its competitors, the same week my book was published (its distributor, Publishers Group West, went bankrupt after its parent company, Advanced Marketing Services, imploded in a shower of fraud and criminality).

The publisher was merged with several others, and then several more, and then several more – until it ended up a division of the Big Five publisher Hachette, who repeatedly, "accidentally" pushed my book into retail channels with DRM. I don't think Hachette deliberately set out to screw me over, but the fact that Hachette is (by far) the most doctrinaire proponent of DRM meant that when the chaos of its agglomerated state resulted in my being cheated, it was a happy accident.

(The Hachette story has a happy ending; I took the book back from them and sold it to Blackstone Publishing, who brought out a new expanded edition to accompany a DRM-free audiobook and ebook):

https://www.blackstonepublishing.com/overclocked-bvej.html

Willingham, too, has been affected by the curse of bigness. The DC he bargained with at the outset of Fables made a raft of binding promises to him: he would have approval over artists and covers and formats for new collections, and he would own the "IP" for the series, meaning the copyrights vested in the scripts, storylines, characters (he might also have retained rights to some trademarks).

But as DC grew, it made mistakes. Willingham's hard-fought, unique deal with the publisher was atypical. A giant publisher realizes its efficiencies through standardized processes. Willingham's books didn't fit into that standard process, and so, repeatedly, the publisher broke its promises to him.

At first, Willingham's contacts at the publisher were contrite when he caught them at this. In his press-release on the matter, Willingham calls them "honest men and women of integrity [who] interpreted the details of that agreement fairly and above-board":

https://billwillingham.substack.com/p/willingham-sends-fables-into-the

But as the company grew larger, these counterparties were replaced by corporate cogs who were ever-more-distant from his original, creator-friendly deal. What's more, DC's treatment of its other creators grew shabbier at each turn (a dear friend who has written for DC for decades is still getting the same page-rate as they got in the early 2000s), so Willingham's deal grew more exceptional as time went by. That meant that when Willingham got the "default" treatment, it was progressively farther from what his contract entitled him to.

The company repeatedly – and conveniently – forgot that Willingham had the final say over the destiny of his books. They illegally sublicensed a game adapted from his books, and then, when he objected, tried to make renegotiating his deal a condition of being properly compensated for this theft. Even after he won that fight, the company tried to cheat him and then cover it up by binding him to a nondisclosure agreement.

This was the culmination of a string of wage-thefts in which the company misreported his royalties and had to be dragged into paying him his due. When the company "practically dared" Willingham to sue ("knowing it would be a long and debilitating process") he snapped.

Rather than fight Warner, Willingham has embarked on what JWZ calls an act of "absolute table-flip badassery" – he has announced that Fables will hereafter be in the public domain, available for anyone to adapt commercially, in works that compete with whatever DC might be offering.

Now, this is huge, and it's also shrewd. It's the kind of thing that will bring lots of attention on Warner's fraudulent dealings with its creative workforce, at a moment where the company is losing a public relations battle to the workers picketing in front of its gates. It constitutes a poison pill that is eminently satisfying to contemplate. It's delicious.

But it's also muddy. Willingham has since clarified that his public domain dedication means that the public can't reproduce the existing comics. That's not surprising; while Willingham doesn't say so, it's vanishingly unlikely that he owns the copyrights to the artwork created by other artists (Willingham is also a talented illustrator, but collaborated with a who's-who of comics greats for Fables). He may or may not have control over trademarks, from the Fables wordmark to any trademark interests in the character designs. He certainly doesn't have control over the trademarked logos for Warner and DC that adorn the books.

When Willingham says he is releasing the "IP" to his comic, he is using the phrase in its commercial sense, not its legal sense. When business people speak of "owning IP," they mean that they believe they have the legal right to control the conduct of their competitors, critics and customers:

https://locusmag.com/2020/09/cory-doctorow-ip/

The problem is that this doesn't correspond to the legal concept of IP, because IP isn't actually a legal concept. While there are plenty of "IP lawyers" and even "IP law firms," there is no "IP law." There are many laws that are lumped together under "IP," including the big three (trademark, copyright and patent), but also a bestiary of obscure cousins and subspecies – trade dress, trade secrecy, service marks, noncompetes, nondisclosues, anticirumvention rights, sui generis "neighboring rights" and so on.

The job of an "IP lawyer" is to pluck individual doctrines from this incoherent scrapheap of laws and regulations and weave them together into a spider's web of tripwires that customers and critics and competitors can't avoid, and which confer upon the lawyer's client the right to sue for anything that displeases them.

When Willingham says he's releasing Fables into the public domain, it's not clear what he's releasing – and what is his to release. In the colloquial, business sense of "IP," saying you're "releasing the IP" means something like, "Feel free to create adaptations from this." But these adaptations probably can't draw too closely on the artwork, or the logos. You can probably make novelizations of the comics. Maybe you can make new comics that use the same scripts but different art. You can probably make sequels to, or spinoffs of, the existing comics, provided you come up with your own character designs.

But it's murky. Very murky. Remember, this all started because Willingham didn't have the resources or patience to tangle with the rabid attack-lawyers Warners keeps kenneled on its Burbank lot. Warners can (and may) release those same lawyers on you, even if you are likely to prevail in court, betting that you – like Willingham – won't have the resources to defend yourself.

The strange reality of "IP" rights is that they can be secured without any affirmative step on your part. Copyrights are conjured into existence the instant that a new creative work is fixed in a tangible medium and endure until the creator's has been dead for 70 years. Common-law trademarks gradually come into definition like an image appearing on photo-paper in a chemical soup, growing in definition every time they are used, even if the mark's creator never files a form with the USPTO.

These IP tripwires proliferate in the shadows, wherever doodles are sketched on napkins, wherever kindergartners apply finger-paint to construction-paper. But for all that they are continuously springing into existence, and enduring for a century or more, they are absurdly hard to give away.

This was the key insight behind the Creative Commons project: that while the internet was full of people saying "no copyright" (or just assuming the things they posted were free for others to use), the law was a universe away from their commonsense assumptions. Creative Commons licenses were painstakingly crafted by an army of international IP lawyers who set out to turn the normal IP task on its head – to create a legal document that assured critics, customers and competitors that the licensor had no means to control their conduct.

20 years on, these licenses are pretty robust. The flaws in earlier versions have been discovered and repaired in subsequent revisions. They have been adapted to multiple countries' legal systems, allowing CC users to mix-and-match works from many territories – animating Polish sprites to tell a story by a Canadian, set to music from the UK.

Willingham could clarify his "public domain" dedication by applying a Creative Commons license to Fables, but which license? That's a thorny question. What Willingham really wants here is a sampling license – a license that allows licensees to take some of the elements of his work, combine them with other parts, and make something new.

But no CC license fits that description. Every CC license applies to whole works. If you want to license the bass-line from your song but not the melody, you have to release the bass-line separately and put a CC license on that. You can't just put a CC license on the song with an asterisked footnote that reads "just the bass, though."

CC had a sampling license: the "Sampling Plus 1.0" license. It was a mess. Licensees couldn't figure out what parts of works they were allowed to use, and licensors couldn't figure out how to coney that. It's been "retired."

https://creativecommons.org/licenses/sampling+/1.0/

So maybe Willingham should create his own bespoke license for Fables. That may be what he has to do, in fact. But boy is that a fraught business. Remember the army of top-notch lawyers who created the CC licenses? They missed a crucial bug in the first three versions of the license, and billions of works have been licensed under those earlier versions. This has enabled a mob of crooked copyleft trolls (like Pixsy) to prey on the unwary, raking in a fortune:

https://doctorow.medium.com/a-bug-in-early-creative-commons-licenses-has-enabled-a-new-breed-of-superpredator-5f6360713299

Making a bug-free license is hard. A failure on Willingham's part to correctly enumerate or convey the limitations of such a license – to list which parts of Fables DC might sue you for using – could result in downstream users having their hard work censored out of existence by legal threats. Indeed, that's the best case scenario – defects in a license could result in downstream users, their collaborators, investors, and distributors being sued for millions of dollars, costing them everything they have, up to and including their homes.

Which isn't to say that this is dead on arrival – far from it! Just that there is work to be done. I can't speak for Creative Commons (it's been more than 20 years since I was their EU Director), but I'm positive that there are copyfighting lawyers out there who'd love to work on a project like this.

I think Willingham is onto something here. After all, Fables is built on the public domain. As Willingham writes in his release: "The current laws are a mishmash of unethical backroom deals to keep trademarks and copyrights in the hands of large corporations, who can largely afford to buy the outcomes they want."

Willingham describes how his participation in the entertainment industry has made him more skeptical of IP, not less. He proposes capping copyright at 20 years, with a single, 10-year extension for works that are sold onto third parties. This would be pretty good industrial policy – almost no works are commercially viable after just 14 years:

https://rufuspollock.com/papers/optimal_copyright.pdf

But there are massive structural barriers to realizing such a policy, the biggest being that the US had tied its own hands by insisting that long copyright terms be required in the trade deals it imposed on other countries, thereby binding itself to these farcically long copyright terms.

But there is another policy lever American creators can and should yank on to partially resolve this: Termination. The 1976 Copyright Act established the right for any creator to "terminate" the "transfer" of any copyrighted work after 30 years, by filing papers with the Copyright Office. This process is unduly onerous, and the Authors Alliance (where I'm a volunteer advisor) has created a tool to simplify it:

https://www.authorsalliance.org/resources/rights-reversion-portal/

Termination is deliberately obscure, but it's incredibly powerful. The copyright scholar Rebecca Giblin has studied this extensively, helping to produce the most complete report on how termination has been used by creators of all types:

https://pluralistic.net/2021/10/04/avoidance-is-evasion/#reverted

Writers, musicians and other artists have used termination to unilaterally cancel the crummy deals they had crammed down their throats 30 years ago and either re-sell their works on better terms or make them available directly to the public. Every George Clinton song, every Sweet Valley High novel, and the early works of Steven King have all be terminated and returned to their creators.

Copyright termination should and could be improved. Giblin and I wrote a whole-ass book about this and related subjects, Chokepoint Capitalism, which not only details the scams that writers like Willingham are subject to, but also devotes fully half its length to presenting detailed, technical, shovel-ready proposals for making life better for creators:

https://chokepointcapitalism.com/

Willingham is doing something important here. Larger and larger entertainment firms offer shabbier and shabbier treatment to creative workers, as striking members of the WGA and SAG-AFTRA can attest. Over the past year, I've seen a sharp increase in the presence of absolutely unconscionable clauses in the contracts I'm offered by publishers:

https://pluralistic.net/2022/06/27/reps-and-warranties/#i-agree

I'm six months into negotiating a contract for a 300 word piece I wrote for a magazine I started contributing to in 1992. At issue is that they insist that I assign film rights and patent rights from my work as a condition of publication. Needless to say, there are no patentable inventions nor film ideas in this article, but they refuse to vary the contract, to the obvious chagrin of the editor who commissioned me.

Why won't they grant a variance? Why, they are so large – the magazine is part of a global conglomerate – that it would be impractical for them to track exceptions to this completely fucking batshit clause. In other words: we can't strike this batshit clause because we decided that from now on, all out contracts will have batshit clauses.

The performance of administrative competence – and the tactical deployment of administrative chaos – among giant entertainment companies is grotesque, but every now and again, it backfires.

That's what's happening at Marvel right now. The estates of Marvel founder Stan Lee and its seminal creator Steve Ditko are suing Marvel to terminate the transfer of both creators' characters to Marvel. If they succeed, Marvel will lose most of its most profitable characters, including Iron Man:

https://www.reuters.com/legal/marvel-artists-estate-ask-pre-trial-wins-superhero-copyright-fight-2023-05-22/

They're following in the trail of the Jack Kirby estate, whom Marvel paid millions to rather than taking their chances with the Supreme Court.

Marvel was always an administrative mess, repeatedly going bankrupt. Its deals with its creators were indifferently papered over, and then Marvel lost a lot of the paperwork. I'd bet anything that many of the key documents Disney (Marvel's owner) needs to prevail over Lee and Ditko are either unlocatable or destroyed – or never existed in the first place.

A more muscular termination right – say, one that kicks in after 20 years, and is automatic – would turn circuses like Marvel-Lee/Ditko into real class struggles. Rather than having the heirs of creators reaping the benefit of termination, we could make termination into a system for getting creators themselves paid.

In the meantime, there's Willingham's "absolute table-flip badassery."

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/09/15/fairy-use-tales/#sampling-license

Image: Tom Mrazek (modified) https://commons.wikimedia.org/wiki/File:An_Open_Field_%2827220830251%29.jpg

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/deed.en

Penguin Random House (modified) https://www.penguinrandomhouse.com/books/707161/fables-20th-anniversary-box-set-by-bill-willingham/

Fair use https://www.eff.org/issues/intellectual-property

#pluralistic #fables #comics #graphic novels #dc #warner #monopoly #publishing #chokepoint capitalism #poison pills #ip #bill willingham #public domain #copyright #copyfight #creative commons #licenses #copyleft trolls

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tierneyyyyy · 8 months ago

Text

[TIERNEY ROSE. 26. FEMALE. SHE/HER] is here! They’ve lived in Asbury Park for [3 YEARS] and are originally from [LOS ANGELES]. They are a [MUSIC PRODUCER/PART TIME EMPLOYEE AT THE STONE PONY] and in their downtime love [GOING TO MUSIC SHOWS] and [COLLECTING CRYSTALS]. They look a lot like [MOLLY GORDON] and live in [MEADOWLARK APARTMENTS]. The song that makes people think of them the most is [LIVING IN THE SKY WITH DIAMONDS BY COBRA STARSHIP].

THE ESSENTIALS

a chaos queen. mid twenties, LA native. believes in yoga and crystals and the power of the universe and karma and fate and if it’s meant to be, it’ll be. which is in direct contrast to the rest of her family, really. rarely sleeps between her three jobs (all of which she literally loves) and partying. works in music, as well as lives, breathes, and sleeps music (like….it’s her entire life). she’s a producer first, but she plays multiple instruments as well as sings. and at any given moment, she could literally be doing anything, so it’s completely impossible to keep track of her - state lines unknowingly crossed, parties crashed, occasionally chased by cops. it’s all up for grabs with tierney.

pinterest - musings

CHARACTER INSPIRATIONS

rob brooks (high fidelity [the tv show]) - maxine baker (ginny & georgia) - seth cohen (the o.c.) - peyton sawyer (one tree hill) - jason mendoza (the good place) - gigi (booksmart) - begin again (not either of the main charas but the vibes of the movie, u feel?) - ben wyatt (parks & rec)

BASIC INFORMATION

FULL NAME: tierney rose

NICKNAME(S): tier, t

DATE OF BIRTH: february 13th, 1998

AGE: 26

ZODIAC SIGN: aquarius sun, libra moon, aquarius rising

OCCUPATION: music producer/podcast host/sound engineer at the stone pony

HOMETOWN: los angeles

CURRENT RESIDENCE: the meadowlark apartments in asbury park, nj

NATIONALITY: American

LANGUAGE(S): English

GENDER & PRONOUNS: she/her (cisfemale)

SEXUAL ORIENTATION: Lesbian

RELIGION: Jewish

PHYSICAL INFORMATION

FACE CLAIM: Molly Gordon

HEIGHT: 5′2″

EYE COLOUR: brown

HAIR COLOUR + STYLE: brown w/ bangs, curly/wavy, like this when it’s down, but will wear it up a lot

TATTOO(S): TBD

PIERCING(S): TBD

GLASSES: yes, a la this photo, but doesn’t wear them all the time

CLOTHING STYLE: very stereotypical queer tbh - lots of oversized flannels/hoodies over cuffed jeans, converse, graphic tees, floral prints. wears a baseball caps/wide brim hats a lot. two good outfit examples (with more on her pinterest board) - this and this.

PERSONALITY

MBTI TYPE: TBD

POSITIVE TRAITS: TBD

NEGATIVE TRAITS: TBD

GOALS/DESIRES: TBD

FEARS: TBD

HOBBIES: record shopping, crystals, meditating, trying various kinds of yoga classes, tormenting the other residents of meadowlark apartments, getting high in her vw surf bus (and anywhere else), watching true crime documentaries, breaking & entering in a ~fun~ way

HABITS: TBD

SMOKES?: constantly

DRINKS?: yes

DRUGS?: will try anything twice lmao (and yes, i mean she will try everything twice, i didn't just get the saying 'try anything once' wrong)

EDUCATION

COLLEGE EDUCATION: USC

DEGREE(S): Bachelor of Music in Music Production w/ minors in Music Recording & Popular Music

FAMILY

SOCIAL CLASS: Upper Class

FATHER: Isaac Rose (FC: Harrison Ford) - corporate lawyer

MOTHER: Elizabeth Rose (FC: Ellen Pompeo) - entertainment finance manager

SIBLING(S): One older sister, Callan Rose (FC: Laura Dreyfuss) - entertainment lawyer

SOME FUN FACTS

tierney is a los angeles native

she is an industry nepo baby !! her family all works in the legal side of the eterntainment industry and she absolutely used that to her advantage !! she gives typical nepo baby vibes about that though

however, about a year after college, her parents were like, you need to get serious and stop being ... well, you, so she decided to move out to new york despite being such a true blue california native, and decided to try "supporting herself" "without their help"

she chose to live in new jersey because she is sorta obsessed with jack antonoff. but like in a casual cool way, not in a fangirl way (lie)

her other music hero is alexandra patsavas

tierney also has a podcast discussing music with one of her friends, as well as works as a sound engineer at the stone pony every once in a while when they need someone local

she has a MASSIVE record collection - it’s her pride & joy. she is definitely a regular at groovy graveyard, so if you have a character who works/shops there, they almost definitely have bumped into her

basically tierney lives, breathes, eats & sleeps music - it’s her entire life and she is insanely passionate about it. don’t ask her for her opinion on an artist unless you want an entire verbal essay and possibly a power point

as it is, tierney is a true music junkie, so she doesn’t dislike anything. she can find pros and cons and merits to pretty much any artist and enjoys talking about why they’re popular or they should be, or why they have influence/are good/talented/relevant, whatever the argument for them is

basically if someone asks her about music, be prepared to just have to listen to her rant about it for a million years

she’s kinda a hippie, she’s constantly going to yoga or mediating or trying new herbal concoctions or acupuncture or cupping or buying new crystals or whatever - any ailment she suggests yoga for rather than, like, going to a doctor? again, la native here

tierney is all about trusting in the universe

she’s like…wildly chaotic. she will try anything once (and usually more than that), goes out all the time, has the weirdest sleep schedule (maybe just never sleep in general), and yet somehow is always a ball of energy

other than groovy graveyard, places she'd frequent in asbury park are pipe dreams smokeshop, wonder bar, madam marie's, the abandoned casino & carousel, paranormal books & curiosities, sandoval dollar, & silverball retro arcade

overall, tierney is really laidback & chill & loves to vibe & party and gets along with pretty much anyone

CONNECTION IDEAS

i would love people who have been her podcast co-host ?? i kinda imagine it's a bit of a revolving door since she's insufferable lmao

give me a good luck, babe! inspired toxic situationship and i will love you forever

more will come soon but these are the first two ideas off the top of my head

and always down to brainstorm or fill tierney into anything that would fit !!

#intro #asburyintro

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mitchipedia · 4 months ago

Text

My favorite TV shows of the year

(Fourth try at posting this — first three tries, the paragraph breaks were stripped out. Oy.)

Man on the Inside. Ted Danson plays a retired and widowed engineering professor who answers an ad from a private detective to go undercover in a fancy San Francisco retirement home to find out who stole a resident's valuable ruby necklace. Danson's character approaches the job with verve and gusto. He falls in love with the community. He's never in any physical danger (it's not that kind of mystery).

The show is funny, entertaining and also philosophical and wise about aging, which I've been thinking a lot about lately because it is something I'm doing and plan to continue.

Sally Struthers stands out among many good performances, a reminder that she is a fine actor. Her career and reputation got done dirty after "All in the Family." Yeah, she got fat. So what?

Ted Danson's character lives in a beautiful house, immaculately kept. Every day, he puts on nice pants, a nice shirt, and often a neatly pressed sports jacket and tie with matching pocket square. This has inspired me to start dressing better every day — no, I'm not going as far as Ted Danson's character, but lately I've been putting on a shirt with a collar rather than a T-shirt, and I'm easing out the sweatshirts in favor of sweaters and a flannel shirt. Hey, it's a start.

Evil. A Black priest, Muslim-American atheist science wiz and lapsed Catholic woman psychologist investigate a Satanic cult in New York, on behalf of the Catholic Church. Scary, dramatic and funny. Watching it, I was many times reminded of an interview by actress Dee Wallace Stone, in which she said she loved doing horror because of the range it gave her as an actor: You got to do all the emotions portrayed in comedy and drama, plus terror (obviously) and murderous rage.

Katja Herbers plays the psychologist Kristen Bouchard, and she goes from wholesome Mom to professional psychologist, cool-headed demon hunter and occasional sex vixen when the role demands it. She's a Dutch actor, but she believably plays an educated native New Yorker. Mike Colter ("The Good Wife," "Luke Cage") plays David Acosta, who is at first studying to become a priest and then becomes one. He's a big, handsome fellow, and of course there is much sexual tension between him and Dr. Bouchard. Aasif Mandvi, formerly a correspondent on The Daily Show, plays Ben Shakir, the Muslim-American atheist and science wiz. Also watch for the four Bouchard prepubescent daughters who are almost always together and talk at the same time; Christine Lahti as Dr. Bouchard's hot Mom; Michael Emerson, known to me from "Lost," playing a smarmy villain in that actor's excellent, smarmy style; Andrea Martin, known to me from SCTV and "My Big Fat Greek Wedding," as a tough nun; and Wallace Shawn as a priest.

The show is surprisingly smart on the conflict between faith and science, and on portraying the Church as a corruptible human institution and also a vessel of God. As I become more spiritual, one of the characters' throwaway lines about religion and science has become a touchstone for me — that God exists and loves us, but reveals Himself entirely through the workings of the universe.

The Lincoln Lawyer. Mickey Haller, a high-priced Los Angeles lawyer, defends murder suspects who happen to be innocent and also happen to have scads of money to keep him in fancy suits and Lincoln cars. Becki Newton steals the show as Lorna Crane, Haller's ex-wife, friend and office manager, who looks, dresses and talks like a Real Housewife but is smart and ruthless in defense of the innocent. It's a lighthearted, unchallenging show.

The Diplomat. Keri Russell, ex of "The Americans" and "Felicity," plays a U.S. Ambassador to Great Britain, and Rufus Sewell plays her husband, a former diplomat who can't stop meddling in state affairs. Light, complexly plotted and fun, with a "West Wing" vibe.

High Potential. A quirky former cleaning lady for the LAPD turns out to be a genius and helps them solve crimes.

Slow Horses. I loved the first season, but Julie hated it, so I'll either find time to watch it on my own or forget about it. I've got two ten-hour flights in February and March, and I've already got about 73 hours of TV lined up for them.

Bad Monkey. Based on a Carl Hiaasen novel, and the only thing I've ever seen onscreen that captures Hiaasen's dark humor — one gag in the show involves a severed arm — his big heart, quirky characters and keen sense of Florida locations. The show stars Vince Vaughn. Gen X irony seems to be the extent of his acting range, but he's great at that, so he's cast pretty well here.

Doctor Who.

Fallout. A gross-out post-nuclear apocalyptic science fiction comedy-drama. Walton Goggins has a dual role, in flashbacks as a handsome, wholesome cowboy actor of the late 1950s and early 1960s, who becomes a murderous mutated ghoul with a missing nose. Goggins is such a great actor he doesn't need a nose.

Shogun.

Manhunt. A 19th Century procedural about the hunt for John Wilkes Booth in the days following Lincoln's assassination. Oligarchs take advantage of the power vacuum following Lincoln's assassination to ensure they get their payday and that American Blacks get Jim Crow instead of true emancipation.

Resident Alien. Comedy science fiction starting Alan Tudyk as an alien trying to blend in in a present-day American small town and slowly falling in love with the community. It's "Northern Exposure," but it's an alien in Colorado instead of a New York Jew in Alaska. Hey, both main characters are doctors.

All Creatures Great and Small. Life in a country veterinary practice in rural Yorkshire, England in the 1930s. Peak comfort TV. Lots of people wearing sweaters.

Funny Woman. Based on a Nick Hornby novel and set in the 1960s, a beauty contest winner from England's Blackpool comes to London dreaming of becoming a comedy star like her idol, Lucille Ball. After some struggling actress travails, she stars in a hit sitcom of the era and rubs shoulders with the beautiful people on Carnaby Street. Season Two is currently airing in the UK, but I've seen no indication of its coming to the US. However, I'm in no rush; much as I loved the show and novel it was based on, the story seemed complete in one season.

Julia. A historical drama about Julia Child's cooking show launch in the early 1960s and her rise as a celebrity chef. Disappointingly canceled after two seasons.

1923. Angst and gunplay in 1923 Montana, starring Harrison Ford and Helen Mirren, and created by Taylor Sheridan. A prequel series to "Yellowstone." The characters are miserable and violent all the time, and any joy they feel is fleeting and merely a setup for more misery and violence. So we loved it.

For All Mankind

Currently watching

The Rockford Files. The 1970s TV series is finally streaming without commercials, on Amazon Prime. It still holds up. The dialogue is fast and witty, the plots are complex and twisty, James Garner as Rockford is as dry and cool as a good martini. Yeah, the clothes are goofy but the cars are cool.

"Columbo" is on Amazon Prime too, also presumably without commercials. I'm looking forward to watching that.

Shetland. Season nine of the murder mystery set in the remote, desolate and beautiful Shetland Islands in northern Great Britain. If you didn't get enough people wearing sweaters in "All Creatures Great and Small," you'll get even more here. So much wool it makes me scratchy to watch.

Star Wars: Skeleton Crew Pew pew pew.

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mediamixs · 5 months ago

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Run Sweetheart Run review: societal pressures faced by women

Run Sweetheart Run is a horror film directed by Shana Feste that blends elements of survival thriller and social commentary, centered around the harrowing experience of a woman named Cherie, played by Ella Balinska. The film has garnered mixed reviews, highlighting both its ambitious themes and its narrative shortcomings.

Plot Overview

The story begins with Cherie, a single mother and aspiring lawyer, who is reluctantly set up on a blind date with Ethan (Pilou Asbæk), a wealthy client of her law firm. What starts as a seemingly charming evening quickly devolves into a nightmare when Ethan reveals his true nature, leading Cherie on a desperate flight through the streets of Los Angeles as she seeks to evade his violent intentions. The film attempts to explore themes of misogyny and the societal pressures faced by women, particularly in professional settings.

Strengths

Performance and Direction: Ella Balinska's portrayal of Cherie has been widely praised for its depth and relatability. Critics noted her ability to convey vulnerability while also showcasing strength as she navigates the terrifying circumstances forced upon her. The direction by Shana Feste has been described as visually engaging, with a stylish aesthetic that captures the urban landscape of Los Angeles effectively.

Pacing and Tension: The film maintains a fast pace that keeps viewers engaged, especially in its initial acts. The thrilling chase sequences are complemented by a pulsating score that heightens the tension, reminiscent of classic horror thrillers.

Weaknesses

Inconsistent Tone and Narrative Issues: Many reviews point out that while the film starts strong, it struggles in its final act. Critics have described the latter part of the film as chaotic and disjointed, introducing convoluted plot twists that detract from the central narrative[1][3][4]. The film's attempt to incorporate supernatural elements and social commentary often feels heavy-handed and muddled, leading to confusion rather than clarity.

Overt Messaging: Some viewers found the film's metaphors and social messages to be overly explicit, with moments like on-screen text urging viewers to "RUN!" feeling unnecessary and detracting from the suspense. This bluntness in storytelling has been criticized for undermining the subtleties that could have made the film more impactful.

Conclusion

Overall, Run Sweetheart Run presents an intriguing premise with commendable performances, particularly from Balinska. However, its ambitious themes are somewhat undermined by narrative inconsistencies and an uneven tone. While it may resonate with those interested in feminist horror narratives, others might find it lacking in coherence and depth. As such, it serves as both an entertaining thriller and a cautionary tale about the pitfalls of trying to tackle too many ideas at once.

#horror movie #run sweetheart run #shana fest #ella balinska

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beardedmrbean · 2 years ago

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LOS ANGELES — The day she was set to receive an award recognizing her work promoting inclusivity and social justice, Lizzo was again sued by a former employee who said that behind the scenes, the entertainer allows bullying, harassment and racial discrimination.

“I felt like I was living in a madhouse,” fashion designer Asha Daniels, 35, told NBC News the day before she filed her lawsuit against Lizzo and other members of the singer’s team. “It was totally shocking.”

“I was listening to this Black woman on this huge stage have this message of self-love and caring for others and being empathetic and being strong and standing up for others,” she said. “And I was witnessing myself, the dancers and the background vocalists and my local team in every city be harassed and bullied regularly.”

The suit, filed Thursday by lawyers for Daniels in Los Angeles County Superior Court, accused wardrobe manager Amanda Nomura of doing stereotypical impressions of Black women, referring to the performers as “fat,” “useless” and “dumb,” and forcing them to change in front of a mostly white, male stage crew who would “lewdly gawk” at them, the suit says.

Daniels was fired after she complained about Nomura, according to the suit.

“Lizzo is the boss, so the buck stops with her,” Daniels’ lawyer, Ron Zambrano, said in a statement Thursday.

Zambrano, the lawyer for three former dancers who accused Lizzo of sexual harassment and a hostile work environment in a lawsuit last month, echoed allegations made in Daniels’ suit, saying Lizzo “has created a sexualized and racially charged environment on her tours that her management staff sees as condoning such behavior, and so it continues unchecked.”

Lizzo has previously said that although she has to make difficult decisions, “it’s never my intention to make anyone feel uncomfortable or like they aren’t valued as an important part of the team.”

Thursday’s suit alleged sexual harassment, racial discrimination, failure to prevent a hostile work environment and other accusations. Nomura was named as a defendant, as was Lizzo, whose real name is Melissa Viviane Jefferson, her production company, Big Grrrl Big Touring Inc., and her tour manager, Carlina Gugliotta.

Representatives for Lizzo did not immediately reply to a request for comment. Gugliotta did not immediately respond to a request for comment. Attempts to reach Nomura were unsuccessful.

Lizzo has denied the previous allegations, calling the dancers’ accounts “sensationalized stories” that were false and “outrageous.”

Lizzo is set to be honored Thursday with the Black Music Action Coalition’s Quincy Jones Humanitarian Award for her philanthropic work and commitment to social justice, the group said in a news release.

“She has been a longtime advocate for inclusivity and uses her music to empower marginalized groups to promote diversity,” the release said.

Valuing female empowerment

Daniels first worked for Lizzo in September 2022, designing custom clothing for her dancers, and was hired early this year to tour with the performer, the lawsuit said.

Daniels said that she had been friendly with Nomura, and that she was thrilled to work for someone whose values of female empowerment she shared.

“As a Black woman myself, I love when I see Black women that have a big stage that use that stage to uplift us,” she said.

According to the suit, Daniels’ worked seven days a week, from 6 a.m. to 2 a.m. and was told to work even after she injured her ankle.

Nomura told Daniels never to interact with Lizzo or to dress attractively in front of her because it may make Lizzo jealous, the suit said. Even though she was taken aback by the comment — “Lizzo is beautiful, she’s talented, she’s got an amazing career, she has no reason to be jealous of anyone,” Daniels told NBC News — she said she followed the rule and never spoke to Lizzo.

Privacy concerns

The dancers were forced to change in front of Lizzo’s stage crew, most of whom were white men who would “lewdly gawk, sneer, and giggle while watching the dancers rush through their outfit changes,” the suit alleged.

When Daniels complained to Nomura that the dancers had no privacy, Nomura allegedly told her not to alert anyone else to the matter, according to the suit.

Daniels was scolded for providing new stockings to dancers after they damaged their clothing while performing and was “specifically instructed to not give certain dancers panties, mirrors, or items they would need and ask for, despite those items being stocked,” the suit said. The suit did not indicate why.

Alleged slurs, threats and offensive impressions

Nomura allegedly mocked Lizzo and her dancers with what the lawsuit described as a “stereotypical sassy Black woman imitation.” Daniels told her the imitations were offensive, the suit said, and Nomura ignored her.

Nomura also appeared to threaten employees, according to the suit. On one occasion, she used a slur and said she would “kill” anyone who put her job in jeopardy, the suit said.

After Daniels complained to Gugliotta, Lizzo’s tour manager, she allegedly asked Daniels to surreptitiously record Nomura, according to the suit.

Daniels declined, believing it would be unethical and possibly illegal, and continued to work for Lizzo, according to the suit.

Sexually charged complaints

When they traveled to Amsterdam, she heard managers discussing hiring sex workers for lewd sex acts, attending sex shows and buying hard drugs, according to the suit.

Daniels said she did not attend the events. The lawsuit filed last month on behalf of three former dancers describes one of those dancers going to an Amsterdam strip club, Bananaenbar, and accuses Lizzo of encouraging cast members to engage with performers and pressuring the dancer to touch one of them.

The dancer repeatedly declined, according to the suit, but relented after Lizzo allegedly led a chant goading her to do so.

Daniels’ suit also alleged that a manager texted a sexually graphic image to more than two dozen people.

“No one from LIZZO’s management team addressed this graphic sexual imagery in the workplace appropriately,” the suit said.

In February, Daniels told the tour manager, Gugliotta, about what the suit called “widespread racial and sexual harassment” taking place on tour. She was fired weeks later, on March 6, the same day she said Nomura scolded her for taking a break after an allergic reaction, the suit said.

Daniels told NBC News she learned of her termination via a plane ticket in her email.

The tour manager later told Daniels that “everyone” was aware Nomura was “crazy” and apologized several times but said it would be too difficult to replace Nomura, the suit said. The manager told Daniels that Nomura wanted her “gone” for speaking up, according to the suit.

Although Daniels had come to view her working conditions as increasingly hopeless, she said, she was stunned about her removal. She had been committed to staying for her relationships with the dancers and others who she said weren’t getting the support they deserved.

The firing was especially stunning, Daniels added, because she said Gugliotta had nothing but praise for her designs.

Afterward, Daniels said, the manager asked if she would continue doing design work for the dancers — an offer Daniels said she accepted because of her relationships with the performers and because she didn’t want them wearing mass-produced leotards purchased online, a “highly disrespectful” option Daniels said they’d previously been given.

While working for Lizzo and in the months that followed, Daniels suffered lingering physical and psychological problems, including anxiety and impaired vision, according to the suit. She said she previously considered suing Lizzo over what she described as the most toxic work environment she’d ever experienced, but she came forward only after learning of last month’s lawsuit.

“Not only do they deserve for me to stand up for them, but I also deserve to stand up for myself,” she said. “Twenty-five-year-old Asha deserves someone to stand up for her.”

Daniels’ plea to Lizzo and her managers now, she said, is to take the performer’s values of love and support seriously.

“Black women deserve to work in spaces where we feel safe, where we aren’t being harassed, where we aren’t being sexualized," she said. “We’re allowed to just be great and work hard, and be treated the way that everyone else is allowed to be treated."

#nunyas news #this is wild to watch play out in real time

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thoughtportal · 2 years ago

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Over 100 artists including Rage Against the Machine co-founders Tom Morello and Zack de la Rocha, along with Boots Riley and Speedy Ortiz, have announced that they are boycotting any concert venue that uses facial recognition technology, citing concerns that the tech infringes on privacy and increases discrimination.

The boycott, organized by the digital rights advocacy group Fight for the Future, calls for the ban of face-scanning technology at all live events. Several smaller independent concert venues across the country, including the House of Yes in Brooklyn, the Lyric Hyperion in Los Angeles, and Black Cat in D.C., also pledged to not use facial recognition tech for their shows. Other artists who said they would boycott include Anti-Flag, Wheatus, Downtown Boys, and over 80 additional artists. The full list of signatories is available here.

“Surveillance tech companies are pitching biometric data tools as ‘innovative’ and helpful for increasing efficiency and security. Not only is this false, it’s morally corrupt,” Leila Nashashibi, campaigner at Fight for the Future, said in a statement. “For starters, this technology is so inaccurate that it actually creates more harm and problems than it solves, through misidentification and other technical faultiness. Even scarier, though, is a world in which all facial recognition technology works 100% perfectly – in other words, a world in which privacy is nonexistent, where we’re identified, watched, and surveilled everywhere we go.”

Facial recognition technology at venues has grown increasingly controversial over the past several months, particularly as Madison Square Garden Entertainment and James Dolan have garnered scrutiny for using the tech to kick out lawyers affiliated with ongoing lawsuits against the company. Several attorneys had been removed last year from events at MSG’s venues including its eponymous arena and Radio City Music Hall. Last October, attorney Barbara Hart was removed from Brandi Carlile’s Madison Square Garden Concert because her law firm was litigating against MSG in a class action lawsuit. (Hart herself wasn’t involved with that suit.)

#Boycotting Venues That Use Face-Scanning Technology #article #rolling stone #surveillance #Facial recognition

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lawadvocategroup · 3 months ago

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Why Hire An Entertainment Lawyer Los Angeles For Your Legal Needs

The entertainment industry in Los Angeles is fast-paced, competitive, and complex. Whether you’re an artist, producer, writer, or entrepreneur, navigating the legal side of this industry can be daunting. This is where an experienced Entertainment Lawyer Los Angeles comes in. At Law Advocate Group, we specialize in entertainment law, helping our clients protect their creative work, negotiate contracts, and resolve disputes efficiently.

Here’s why hiring an Entertainment Lawyer Los Angeles is essential for your legal needs.

Expertise in Entertainment Contracts

Contracts are the backbone of the entertainment industry, covering everything from production agreements to licensing deals. Without proper legal guidance, you might overlook terms that could harm your interests.

An experienced Entertainment Lawyer Los Angeles ensures your contracts are clear, fair, and legally binding. At Law Advocate Group, we meticulously review and draft agreements to protect your rights and ensure you get the best possible deal.

Protecting Intellectual Property

Your creative work is your livelihood, and protecting it is crucial. Whether it’s a song, script, or film concept, an Entertainment Lawyer Los Angeles can help safeguard your intellectual property.

We also provide services as a Los Angeles Music Lawyer, assisting musicians and composers in protecting their music through copyrights, trademarks, and other legal avenues. Ensuring your ownership rights are intact is key to long-term success in the industry.

Resolving Disputes

Disputes are common in the entertainment world, whether it’s a contract disagreement, intellectual property infringement, or royalty payment issue. Having a skilled Entertainment Litigation Attorney on your side can make all the difference.

At Law Advocate Group, we specialize in dispute resolution, providing strong representation in mediation, arbitration, or court. With our expertise, you can focus on your craft while we handle the legal complexities.

Navigating Complex Industry Regulations

The entertainment industry has its own set of legal standards and regulations that can be difficult to understand. Entertainments Law Firms Los Angeles like Law Advocate Group has in-depth knowledge of these rules and help clients navigate them seamlessly.

From understanding union requirements to negotiating with studios, our team ensures you’re always compliant with the latest industry practices.

Tailored Legal Advice for Musicians

Musicians face unique challenges, from securing fair royalties to understanding publishing rights. A Music Lawyer Los Angeles provides tailored legal advice to address these issues.

At Law Advocate Group, we work closely with artists to negotiate record deals, protect their work, and ensure they receive proper compensation. With a trusted Los Angeles Music Lawyer by your side, you can confidently build your music career.

Why Choose Law Advocate Group?

As one of the leading entertainment law firms Los Angeles, Law Advocate Group is dedicated to supporting creative professionals. Our team of experienced lawyers understands the intricacies of entertainment law and offers personalized solutions for every client.

Whether you need an Entertainment Litigation Attorney to resolve a dispute or a Music Lawyer Los Angeles to negotiate your next big deal, we’re here to help. Our commitment to excellence ensures you receive the legal support you deserve.

Conclusion

The entertainment industry in Los Angeles can be challenging, but with the right legal team, you can navigate it successfully. Hiring an experienced Entertainment Lawyer Los Angeles ensures your rights are protected, your contracts are sound, and your creative work is secure.

At Law Advocate Group, we provide comprehensive legal services for entertainment professionals. Contact us today to learn how we can support your career and safeguard your interests in this competitive industry.

#Music Lawyer Los Angeles #Entertainment Lawyer Los Angeles

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samuel-de-champagne-problems · 9 months ago

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Handle With Care — Aaron Hotchner x Nanny Reader

After loosing her job as a chef and video content creator, Y/N agrees to take the job as a full-time live in nanny for Aaron Hotchner. Her father, Martin, had taken Aaron under his wing at Georgetown Law and again when he hired him as an agent for the BAU. Years later, Aaron is on top of world professionally, but struggles to maintain the balance he wants for his newly fractured family. The loss of his wife, mother seemed too much for them to bear. And somewhere along the lines they made it work— as a team.

Note: Ugh!! So I am a sucker for a single dad and nanny fic! I know, I know but it’s fiction for a reason. This will must certainly include smut later on that will be pretty important to the plot and the main character’s self discovery.

Part 1

Part 2

Part 3

He had a foyer.

And a house that smelt like warm cinnamon and musk.

#this is me rambling #criminal minds #aaron hotchner #aaron hotchner x reader #criminal minds angst #criminal minds fanfiction #criminal minds smut

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mariacallous · 14 days ago

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T. Thomason’s US touring visa doesn’t expire until June—but the Canadian pop artist is pulling out of a festival appearance in Belfast, Maine, next month because he doesn’t want to be targeted at the border as a nonbinary trans man.

Last week, Thomason, 30, who splits his time between Toronto and Wolfville, Nova Scotia, announced he had dropped out of the All Roads Festival, which takes place May 16-17. He tells WIRED he made the decision after seeing President Donald Trump’s executive orders targeting the trans community, including one proclaiming that the US government will recognize only two sexes, male and female. He’s also been increasingly fearful after hearing stories of visitors, US visa-holders, and applicants being held at the border, including a Vancouver woman who told The Guardian she was detained by Immigration and Customs Enforcement (ICE) for two weeks.

“I just thought if that’s happening to cis people, I really feel worried about what could happen to me,” Thomason says.

Toronto- and Montreal-based singer Bells Larsen, a trans man, also announced Friday that he is canceling his spring tour because the gender on his passport, male, does not match his assigned sex at birth, potentially disqualifying him from being eligible for a US visa under the Trump administration's new rules. Aya Sinclair, a London-based musician and trans woman, told Pitchfork she’ll be avoiding American shows “until anything changes.” Even Neil Young, a dual Canadian-American citizen, has said he’s worried about being “jailed” upon returning to the States, due to his criticisms of Trump.

But the decision not to play in America means foregoing touring income and the opportunity to build one’s fanbase in the largest music market in the world. And simply rerouting to Europe or elsewhere abroad, particularly for Canadian artists, is a costly endeavor.

The American Federation of Musicians of the United States and Canada, a union that can petition the federal government to grant touring visas, told Canadian members in late March that the updated immigration rule “runs afoul of our shared values. At this time, it is unlikely the US government will pivot from this objectionable position.”

Los Angeles–based entertainment attorney Dani Oliva, a trans man, tells WIRED “there’s been a general panic” among his clients in the past few weeks. Oliva, who is Thomason’s lawyer, notes that Canadian musicians who want to play in the US have two options for visas, one of which costs up to $8,000 and is “extremely onerous.” He says processing times for his clients have jumped from three or four months to eight to 10 months without paying for expedited processing.

He says he does a risk-versus-benefit analysis for each client looking to come to the US. But he’s worried that trans clients’ visa requests could be denied on the grounds of “misrepresentation or fraud” if the gender on the identifying documents they submit doesn’t match up with their assigned sex at birth. That finding could result in a person being banned from the US for life unless they successfully apply for a waiver—a cumbersome process.

Despite the headaches of getting a US visa, there’s a reason people do it: money and cultural cachet.

“Let’s be real. I mean, so many artists only find their breakthrough if they tour in America,” says Kurt Dahl, a Vancouver-based entertainment lawyer. “There’s 10 times the population; it’s just more likely to get press and get attention.”

While he says almost every Canadian he knows, artist or not, is reevaluating taking trips across the border, some of his clients’ fanbases are 80 percent American.

“I just see them sort of scrubbing their social media, scrubbing their cell phone of anything that might be considered controversial, and then sort of rolling the dice.”

There’s also the geography. In Canada, he says, sometimes a band is driving 10 hours to the next city, whereas in the US they might be able to hit 30 cities in a much shorter span.

Thomason says Trump’s border crackdown has forced artists like him to rethink goals they’ve been working toward for “years and years and years.” He says he won’t be entering the US as long as Trump is president. Even if he wanted to tour here, he believes any of his new visa applications would be denied because he’s changed the gender marker on his passport to male.

“The end goal for a lot of artists is to end up in places like New York or LA and build their careers out from there. It’s kind of taking your dreams and completely changing them.”

He says he’s “really, really sad” that his connection to his US fans is being “severed” at a time when he was just starting to build it. His friend and fellow artist Larsen, meanwhile, noted on Instagram on Friday that he was hoping to play his album Blurring Time “for queer and trans people in the US who saw their stories reflected in my own.” The album blends Larsen’s vocals both pre- and post-transition.

To help make up for the income loss, Thomason is advocating for Canadian arts groups to develop new funding streams for trans artists. But he also says this is an issue that will go far beyond trans artists in Canada, or trans people around the world.

“This is a country undermining the validity of a government-issued document by another country,” he says. “If people think that starts and stops with trans people, they’re wrong.”

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brookstonalmanac · 27 days ago

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Holidays 4.3

Holidays

Althoea Asteroid Day

American Circus Day

American Creed Day

American Immigration Lawyers Association Day of Action

Armenian Appreciation Day

Cellular Phone Call Anniversary Day

Corrupt Society Day

Day of the Bride (Argentina)

Don't Go To Work Unless It's Fun Day

A Drop of Water is a Grain of Gold [also 1st Sunday]

Fan Dance Day

Ghost Machine Day

Global Meetings Industry Day

Good Deeds Day

Independent Artist Day

International Day Against Victim Blaming

International Lingerie Day

Jane Goodall Day (Los Angeles)

Kanamara Matsuri (Festival of the Steel Phallus; Japan)

Love A Muslim Day (UK)

Marshall Plan

National Chalk Day

National Film Score Day

National Grey Day

National Inspiring Joy Day

National Ken Block Day

National Pac-Man Day

National Shoot Your Shot Day

Overcome a Handicap Day

Peace Day (Angola)

Pony Express Day

Second Republic Day (Guinea)

TV Guide Day

Tweed Day

Weed Out Hate: Sow the Seeds of Greatness Day

World Cloud Security Day

World Party Day

Food & Drink Celebrations

Ben & Jerry’s Free Cone Day

Fish Fingers and Custard Day

National Chocolate Mousse Day

Nature Celebrations

Beech Tree Day (French Republic)

Daffodil (Respect & Pride; Korean Birth Flowers)

Find A Rainbow Day

World Aquatic Animal Day

Independence, Flag & Related Days

Albay Province Day (Philippines)

Declaration of the Second Republic (Guinea)

Malinovia (Declared 2018) [unrecognized]

1st Thursday in April

Glarus Festival (Näfelser Fahrtfest; Switzerland) [1st Thursday]

International Road Maintenance Day [1st Thursday]

Kid Lit Art Postcard Day [1st Thursday]

National Alcohol Screening Day [Thursday of 1st Full Week]

National Burrito Day [1st Thursday]

National Colleague Day (Netherlands) [1st Thursday]

National GOOS Paper Day (Canada) [1st Thursday]

RAINN Day [1st Thursday]

Tell a Lie Day [1st Thursday]

Thankful Thursday [1st Thursday of Each Month]

Therapy Thursday [1st Thursday of Each Month]

Thirsty Thursday [Every Thursday]

Three for Thursday [Every Thursday]

Thrift Store Thursday [Every Thursday]

Throwback Thursday [Every Thursday]

Weekly Holidays beginning April 3 (1st Week of April)

Mule Days (Columbia, Tennessee) [thru 3.6]

Festivals On or Beginning April 3, 2025

Artifact Small Format Film Festival (Calgary, Canada) [thru 4.5]

Art Paris Art Fair (Paris, France) [thru 4.6]

Clay County Agricultural Fair (Green Cove Springs, Florida) [thru 4.13]

Eastern Alpaca Jamboree (Harrisburg, Pennsylvania) [thru 4.6]

Grand National (Liverpool, England) [thru 4.5]

New Vintage Days (Chisago City, Minnesota) [thru 4.5]

Oklahoma City Farm Show (Oklahoma City, Oklahoma) [thru 4.5]

Romics (Rome, Italy) [thru 4.6]

Warsaw Beer Festival (Warsaw, Poland) [thru 4.5]

Feast Days

Agape, Chionia, and Irene (Christian; Martyrs & Virgins)

Aristæus (Positivist; Saint)

Burgundofara (Christian; Saint & Virgin)

Captain Cabbage (Muppetism)

Create a Mandala Day (Starza Pagan Book of Days)

Cutios (Time of the Winds; Celtic Book of Days)

Day of Sheela-Na-Gig (Pagan)

Doris Day (Pastafarian)

Goof Friday (Church of the SubGenius)

Luigi Scrosoppi (Christian; Saint)

Nicetias (Christian; Saint)

Pancras of Taormina (Christian; Martyr)

Persephone’s Return from the Underworld (Ancient Rome)

Plato (Christian; Saint)

Proserpina’s Rise from the Underworld Day (Ancient Greece)

Richard of Chichester (Christian; Saint)

Seize a Sausage Day (Pastafarian)

Sixtus I, pope (Christian; Saint)

The Shower Dance (Shamanism)

Ulpin of Tyre (Christian; Saint)

Xystus (Christian; Martyr)

Lunar Calendar Holidays

Chinese: Month 3 (Geng-Chen), Day 6 (Ren-Yin)

Day Pillar: Water Tiger

12-Day Officers/12 Gods: Close Day (閉 Bi) [Inauspicious]

Holidays: Tomb Sweeping Day Holiday (Taiwan)

Secular Saints Days

Alec Baldwin (Entertainment)

Sandra Boynton (Art)

Marlon Brando (Entertainment)

Doris Day (Entertainment)

Henry Dinnerstein (Art)

Bud Fisher (Art)

Jane Goodall (Science)

Virgil Grissom (Science)

Leslie Howard (Entertainment)

Washington Irving (Literature)

Fred Kida (Art)

Marsha Mason (Entertainment)

Eddie Murphy (Entertainment)

Bernie Parent (Sports)

Sally Rand (Entertainment)

Adam Scott (Entertainment)

Cobie Smulders (Entertainment)

Richard Thompson (Music)

Mitch Woods (Music)

Lucky & Unlucky Days

Sizdar-Bedah (Unlucky to stay indoors; Iran)

Tomobiki (友引 Japan) [Good luck all day, except at noon.]

Unlucky Monday (when God condemned the towns of Beram, Lipandas, Madama, Sodom and Gomorrah; Philippines) [1st Monday] (2 of 4)

Premieres

Adventureland (Film; 2009)

Alice’s Egg Plant (Disney Cartoon; 1925)

Are You Lonesome Tonight, recorded by Elvis Presley (Song; 1960)

Beethoven (Film; 1992)

The Boy and the Dog (Aesop’s Film Fable Cartoon; 1922)

A Brief History of the Future (Documentary Series; 2024)

Bull-ero (Terrytoons Cartoon; 1932)

Circumstantial Evidence (Paramount Magazine Cartoon; 1921)

Clerow Wilson’s Great Escape (DePatie-Freleng Animated TV Special; 1974)

Col. Heeza Liar and the Torpedo (Pathe News Cartoon; 1915)

Dead Babies, by Martin Amis (Novel; 1975)

The Doddlebops (Children’s TV Series; 2004)

The Druid of Shannara, by Terry Brooks (Novel; 1991)

The Eternal Triangle (Aesop’s Film Fable Cartoon; 1922)

Fast & Furious (Film; 2009) [F&F #4]

Felix the Cat in Germ Mania (Felix the Cat Cartoon; 1927)

Flip’s Lunch Room (Flip the Frog MGM Cartoon; 1933)

Frenchy Discovers America (Goldwyn-Bray Pictographs Cartoon; 1920)

Fuels Rush In or The Star-Spangled Boner (Rocky & Bullwinkle Cartoon, S1, Ep. 37; 1960)

Fun on Furlough (Herman & Katnip Cartoon; 1959)

Furious 7 (Film; 2015) [F&F #7]

Georgie and the Dragon (Columbia Favorites Cartoon; 1958)

I-Ski Love-Ski You-Ski (Fleischer Popeye Cartoon; 1936)

I Taw a Putty Tat (WB MM Cartoon; 1948)

It Happened at the World’s Fair (Film; 1963)

It’s Now or Never, recorded by Elvis Presley (Song; 1960)

Kiss of the Spider Woman, by Manuel Puig (Novel; 1976)

Krazy Kat at the Switchboard (Hearst-Vitagraph News Pictorial Cartoon; 1916)

The Long, Hot Summer (Film; 1958)

Lost in Space (Film; 1998)

Louisiana Hayride (Radio Music Series; 1948)

Love Hangover, by Diana Ross (Song; 1976)

The Man on the Flying Trapeze (UPA Cartoon; 1954)

The Medicine Man (Aesop’s Film Fable Cartoon; 1927)

Mercury Rising (Film; 1998)

My Hero Academia (Anime TV Series; 2016)

Oh, Gentle Spring (Terrytoons Cartoon; 1942)

Old Mother Hubbard (Ub Iwerks ComicColor Cartoon; 1935)

The Other Boleyn Girl, by Philippa Gregor (Novel; 2008)

Philharmaniacs (Fleischer/Famous Kartune Cartoon; 1953)

Piano Concerto in A Minor, by Edvard Grieg (Concerto; 1869)

Planet of the Apes (Film; 1968)

Planning for Good Eating (Disney Cartoon; 1946)

Porky’s Romance (WB LT Cartoon; 1937)

The Pottsylvania Permanent or I’ve Grown Accustomed to the Place (Rocky & Bullwinkle Cartoon, S1, Ep. 38; 1960)

The Raven (Fleischer Cartoon; 1940)

Rock-A-Doodle (Animated Film; 1992)

Rumple of the Bailey (UK TV Series; 1978)

A Scanner Darkly, by Philip K. Dick (Novel; 1977)

The Sea-Wolf, by Jack London (Novel; 1904)

Sing Your Thanks (Sing and Be Happy/Cartoon Melodies Cartoon; 1950)

Son of Hashimoto (Terrytoons Cartoon; 1961)

Straight Talk (Film; 1992)

Super-Rabbit (WB MM Cartoon; 1943)

The Swimming Hour, by Andrew Bird with Bowl of Fire (Album; 2001)

TV Guide (Weekly Magazine; 1953)

2001: A Space Odyssey (Film; 1968)

The Western Trail, featuring Farmer Al Falfa (Terrytoons Cartoon; 1936)

Wooly Bully, by San the Sham and the Pharaohs (Song; 1965)

Yogi the Easter Bear (Hanna-Barbera Animated TV Special; 1994)

Today’s Name Days

Richard, Sixtus (Austria)

Radojko, Ratko, Rikard, Siksto (Croatia)

Richard (Czech Republic)

Nicæas (Denmark)

Uko, Uku (Estonia)

Sampo, Veeti (Finland)

Richard (France)

Irene, Lisa, Richard (Germany)

Illyria’s (Greece)

Buda, Richárd (Hungary)

Riccardo, Sisto (Italy)

Daira, Dairis, Ferdinands (Latvia)

Kristijonas, Ričardas, Rimtautė, Vytenis (Lithuania)

Gunnvald, Gunvor (Norway)

Antoni, Cieszygor, Jakub, Pankracy, Ryszard (Poland)

Nichita (Romania)

Richard (Slovakia)

Ricardo (Spain)

Ferdinand, Nanna (Sweden)

Dick, Dickson, Dix, Dixie, Dixon, Doris, Ricarda, Ricardo, Rich, Richard, Richelle, Richman, Rick, Rickey, Ricky, Rosamond, Rosamund, Ryan (USA)

Today’s National Name Days

National Alec Day

National Sally Day

Today is Also…

Day of Year: Day 93 of 2025; 272 days remaining in the year

ISO Week: Day 4 of Week 14 of 2025

Celtic Tree Calendar: Fearn (Alder) [Day 17 of 28]

Chinese: Month 3 (Geng-Chen), Day 6 (Ren-Yin)

Chinese Year of the: Snake 4723 (until February 17, 2026) [Ding-Chou]

Coptic: 25 Baramhat 1741

Druid Tree Calendar: Rowan (April 1-10) [Day 3 of 10]

Hebrew: 5 Nisan 5785

Islamic: 4 Shawwal 1446

Julian: 21 March 2025

Moon: 34%: Waxing Crescent

Positivist: 9 Archimedes (4th Month) [Aristaeus]

Runic Half Month: Ehwaz (Horse) [Day 5 of 15] (thru 4.9)

Season: Spring (Day 14 of 92)

SUn Calendar: 4 Cyan; Foursday [4 of 30]

Week: 1st Week of April

Zodiac:

Tropical (Typical) Zodiac: Aries (Day 14 of 30)

Sidereal Zodiac: Pisces (Day 20 of 30)

Schmidt Zodiac: Pisces (Day 14 of 26)

IAU Boundaries (Current) Zodiac: Pisces (Day 23 of 38)

IAU Boundaries (1977) Zodiac: Pisces (Day 23 of 38)

#Holidays

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ausetkmt · 11 months ago

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Legendary funk artist Sly Stone, who sued his former manager and an entertainment attorney, saying they diverted and misappropriated royalties owed him for more than 20 years, was awarded $5 million by a Los Angeles jury Tuesday.

The Los Angeles Superior Court panel deliberated for about two days before finding in favor of the singer — whose real name is Sylvester Stewart — and against ex-manager Gerald Goldstein, lawyer Glenn Stone and Goldstein- affiliated entertainment company Even St. Productions Ltd.

“They just wanted to punch this poor guy in the face,” Nicholas Hornberger, one of Stone’s attorneys, said after the verdict.

Also Read: Dianne Wiest, Two-Time Oscar Winner, Struggling to Pay Rent After Roles Dry Up

Hornberger said the jury would have been justified in awarding even more money. He said the case illustrated how many artists in the music business, as well as the film industry, are victimized by the people who they trust to look after their interests.

The jury assessed $2.5 million in damages against Even St. Productions, $2.45 million against Goldstein and $50,000 against attorney Glenn Stone.

The former frontman for the band Sly and the Family Stone, testified he filed his lawsuit in January 2010 to get what he believed was owed to him. “I couldn’t get any money,” the 71-year-old Stone said.

Also Read: ‘Real Housewives’ Star Sonja Morgan Loses French Villa in Bankruptcy Case

When another of his attorneys, Robert Allan, inquired if Stone received any royalty statements from Goldstein or anyone else from 1989-2009, he said, “Not that I know of.”

According to Hornberger, Goldstein used the allegedly diverted royalties to live a lavish lifestyle and purchase luxurious properties. Attorney Gregory Bodell, on behalf of Goldstein and Glenn Stone, said the singer broke promises in a 1988 agreement to make new records as part of a joint effort to revitalize his career.

Bodell said the singer owned a half interest in both companies and was paid millions of dollars during his association with Goldstein and Glenn Stone. However, the jury found in favor of Stone in a cross-complaint filed by the defense.

Also Read: ‘American Idol’ Lawsuit Claims Label Shorted on Kelly Clarkson, Carrie Underwood Royalties

Stone formed Sly and the Family Stone in 1966, and the group was successful for a decade before breaking up in the mid-1970s. Their hits included “Everyday People,” “Dance To The Music,” “Family Affair,” “Hot Fun in the Summertime” and “Thank You.”

Stone developed a cocaine problem and eventually fell on hard times, during which he lived out of a camper with electricity provided by a family in the Crenshaw District, according Hornberger.

Allan said a second phase of trial to determine other issues in the case will take place later before Judge Mark Mooney instead of a jury.

Goldstein is himself a former musician who was once a member of The Strangeloves. He co-wrote The Angels’ “My Boyfriend’s Back” and “Come on Down to My Boat Baby” for Every Mother’s Son. He also produced music for the band War.

#Sly Stone Wins $5M in Lawsuit Against Ex-Manager After Period of Homelessness #Sly Stone

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richaldis · 2 years ago

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Equity statement in full

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Solidarity Statement & Advice Regarding SAG-AFTRA Industrial Action 2023

Statement from the General Secretary of Equity, Paul W Fleming

"SAG-AFTRA is Equity’s sister union representing performers on screen in the United States. They are currently in negotiations with the AMPTP - the engagers association for film and TV producers in the United States. Earlier this year, SAG-AFTRA balloted their members to achieve authorisation for strike action if it was necessary to achieve a good settlement in these negotiations. Today, SAG-AFTRA’s Board has taken the brave step of authorising a strike.

"SAG-AFTRA’s claim to the producers contains many critical elements for performers on their agreements. The key elements of the claim are longstanding, shared fights for our unions –issues like pay and residual payments. But SAG-AFTRA, like Equity, is also bravely facing head-on existential questions on issues like Artificial Intelligence (AI), and the rise in virtual auditions and self-tapes. Securing fairness in pay, terms, and conditions is critical whether they be with traditional producers, or new global streamers, and with new modes of making and distributing work to a global audience.

"Equity stands full square behind our sister union in their claim, and the action their Board have agreed to take. Equity too is experiencing bullish engagers attempting to undermine its collectively bargained agreements. SAG-AFTRA has our total solidarity in this fight.

"We say clearly to the AMPTP and their members that they need to move significantly and swiftly to meet the reasonable aspirations of SAG-AFTRA’s members. The members of our unions, and all entertainment unions across the globe, create the vast wealth within our industry – it is right and just that they have decent, modern pay and conditions.

"Equity has been in constant contact with our sister union throughout the negotiations at every level – including the President and General Secretary attending in person in Los Angeles earlier this month. We will continue to work closely and collaboratively on advice for artists working in the United Kingdom as the situation develops.

"Industrial relations legislation in the United Kingdom is draconian, and often viewed as the most restrictive in the Western world. The convoluted and pernicious hurdles faced by all unions in the United Kingdom are a national disgrace and need urgent reform. The regrettable consequence of this framework is that what artists working in the United Kingdom – whether SAG-AFTRA and/or Equity members (or both) – can do, may be different from their comrades in the United States and other parts of the world.

"Equity is fighting alongside the rest of the trade union movement in the UK to reform our illiberal industrial relations framework in parliament, in the courts, and on the streets.

"Detailed advice for artists working in the UK who are Equity and/or SAG-AFTRA members is set out below. Furthermore, Equity will be organising demonstrations, rallies, and protests in the coming days and weeks to show our solidarity with our sister union and their fight.

"As Equity’s motto says: To all artists good work. To all workers good art. To all people: Equity.

"And to SAG-AFTRA: Victory."

Equity and SAG-AFTRA have also issued a joint statement which can be read here.

Advice Concerning SAG-AFTRA Industrial Action – 13th July 2023

Here we set out Equity’s advice for members on the strike action in an easy-to-read way, based on the most common ways in which they are engaged.

You will see that the primary legal problem is this: We have been advised by SAG-AFTRA that its strike is lawful according to United States law but we have been advised by our UK lawyers that it is not lawful under United Kingdom law. Consequently, a performer joining the strike (or refusing to cross a picket line) in the UK will have no protection against being dismissed or sued for breach of contract by the producer or the engager. Likewise, if Equity encourages anyone to join the strike or not cross a picket line, Equity itself will be acting unlawfully and hence liable for damages or an injunction. What follows is based on that advice from SAG-AFTRA and our lawyers.

In addition to the below, we encourage members to join rallies and demonstrations, which we will be organising in solidarity with SAG-AFTRA in the coming days and weeks.

FAQs

I am an Equity member but not a SAG-AFTRA member. I am working in the UK on an Equity contract for a US producer. Some of my colleagues may be working under SAG-AFTRA agreements. What should I do?

I am a member of SAG-AFTRA and an Equity member. I am working in the UK on an Equity contract for a US producer as I live in the United Kingdom. What should I do?

I am a member of SAG-AFTRA and am working in the UK on an Equity contract. I may or may not be a member of Equity in the UK, as I live in the United States. I have an addendum to my contract which has been issued by SAG-AFTRA to allow me to work on an Equity contract under Global Rule 1 (‘GR1’). What should I do?

I am a member of SAG-AFTRA and am working on a SAG-AFTRA contract in the United Kingdom. I may or may not be a member of Equity in the UK and I live in the United States. I do not have an addendum to my contract because I am working on a full SAG-AFTRA contract. What should I do?

I am a member of Equity and SAG-AFTRA, and am working on a production in the United States. What should I do?

I am in the UK and I want to show my support for SAG-AFTRA’s dispute whether or not I am working at the moment.

I am being asked to work differently because some of my US colleagues are on strike. What should I do?

I have seen work being advertised as not being open to SAG-AFTRA members in the United Kingdom. I have been asked by my producer at an audition or before signing a contract whether I am a member of SAG-AFTRA or Equity. What should I do?

What will Equity do if producers attempt to relocate productions to the United Kingdom to avoid the SAG-AFTRA strike?

I am a SAG-AFTRA member working in theatre in the United Kingdom – what should I do?

I am a member of Equity or SAG-AFTRA working on a television commercial in the United Kingdom – what should I do?

I am a member of Equity and/or SAG-AFTRA and I am working on an Equity or SAG AFTRA contract outside of the United Kingdom – what should I do?

A production I’m working on has invoked Force Majeure. What does this mean?

What does a Force Majeure mean for me and my payments?

I am expected to do press/publicity for a production I worked on that was on an Equity contract. This company is now a ‘struck’ company affected by SAG-AFTRA’s industrial action. What do I do?

I am expected to do press/publicity for a production I worked on that was on SAG-AFTRA contract. This company is now a ‘struck’ company affected by SAG-AFTRA’s industrial action. What do I do?

Show solidarity on social media

We are encouraging members to show their support for the strikes using hashtag #StandWithSAGAFTRA and using our social media banners. You can add a ribbon to your Facebook profile picture here (note that this won't work as well for Twitter's circular profile pictures). You can also download a header image for your profile or a graphic to post anywhere (to download, right-click the link and choose "Save link as").

Equity incorporating the Variety Artistes' Federation is an independent trade union, registered at: Equity, Guild House, Upper St Martin's Lane, London WC2H 9

Bugger, the links aren't working . Go to the Equity website to see the answers to the questions

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