#john culhane

[punster-2319]

For animation books that have been out of print for decades, these ones I found online recently are in pretty good condition (and reasonably priced).

[oldshowbiz]

Dundee and The Culhane (1967) was canceled after 13 episodes.

[padraicratigan]

'THE GREAT MOUSE DETECTIVE' GIVES CLUES TO THE FUTURE OF DISNEY ANIMATION

This article was written for the New York Times by John Culhane, published July 27, 1986.

On July 2, Walt Disney Pictures premiered ''The Great Mouse Detective,'' its 26th animated feature in 49 years, its seventh in the nearly 20 years since Walt Disney died and the first made since the new management of Walt Disney Productions took over. This movie - finished during a period of major upheaval at Walt Disney Productions -throws some light on the problems of an art form that must struggle to survive inside a big corporate business.

''Our most important aim,'' Walt Disney said in 1951, ''is to develop definite personalities in our cartoon characters. If a character doesn't have a definite personality, you don't believe in it - and belief is what I'm after.''

Starting in 1980 with some characters created by Eve Titus for her book ''Basil of Baker Street,'' Disney story artists began to change the characters to fit animation and to create their own story - a traditional Disney animal fable told through a full range of new Disney characters. There was Ratigan, the comic villain (voice by Vincent Price), a rat who prefers to think of himself as an upscale mouse and is egotistically certain that he has the world's greatest criminal mind; and Hiram Flaversham, a true Disney mouse and the world's greatest toymaker, whom Ratigan kidnaps for a purpose as mysterious as it is nefarious.

There is Olivia, Flaversham's big-eyed, tam-wearing, 8-year-old daughter, who seeks the best help as soon as her father is kidnapped, by going to the great mouse detective himself: Basil of Baker Street, who is, in the mouse world, what Sherlock Holmes is in ours. And there is Dawson, who is to Basil what Watson is to Holmes. All the major characters except Basil were designed by Glen Keane, leader of a new generation of Disney animators, who made the warm, gentle, big-bellied Dawson a fond caricature (even to the belt worn above the belly) of his old mentor, 80-year-old Eric Larson. Mr. Larson retired in February as the last animator of Walt Disney's inner circle still in animation at the studio.

While 10 writer-artists in the story department were spending, off and on, about four years putting all this together, it sometimes looked as though their real world was falling apart. In 1984, Walt Disney Productions was nearly ripped to pieces by two separate takeover threats from financiers. As a result, the board forced the resignation of Ron Miller, Walt Disney's son-in-law, who had been a member of the committee that ran the studio after Disney's death, had taken over as company president in 1980 and become chairman in 1983.

Foreseeing in the late 60's that the great animators of Walt Disney's team would probably all be gone by the mid-80's, Mr. Miller had overseen the recruitment and training of a new generation of Disney animators, and he had served as executive producer of four financially successful animated features, ''The Aristocats'' (1970), ''Robin Hood'' (1973), ''The Rescuers'' (1977) and ''The Fox and the Hound'' (1981). At the same time, Mr. Miller had never had a big, live-action hit. In 1983, Disney's movie and television division contributed only 13 percent of the company's $1.3 billion in revenues. It lost $33.4 million. The company was thought to be vulnerable to a hostile takeover that might divide Disney into separate land and entertainment companies and result in the closing of the 63-year-old animation department that was the company's genesis.

To replace Mr. Miller as chairman of Disney, the board brought in Michael D. Eisner, 43, who had resigned as president of Paramount Pictures after being passed over for chairman. From Paramount, Mr. Eisner brought Jeffrey Katzenberg, his head of production there, to head Disney's film division. The two had been associated with several giant live-action hits, including ''Ordinary People,'' ''Saturday Night Fever'' and ''Star Trek'' - which didn't necessarily reassure the animators, who tend to feel that the two forms of film making are quite far apart. Some of them contemptuously referred to their studio under its new leadership as ''Paramouse.''

As soon as they took over, Mr. Eisner and Mr. Katzenberg reviewed what had been done on ''The Great Mouse Detective,'' said that the story was slow getting started, and that it would have to be done over before animation could begin.

They also decreed that the animation department must increase its output from a feature every three years to one every 18 months, and that the cost of each feature must drop from the $30 million range spent on the nearly completed ''The Black Cauldron,'' a sword and sorcery cartoon begun under Mr. Miller nine years before, into the $10 million range. That meant that the animation department had to animate the 72-minute ''Great Mouse Detective,'' start to finish, in one year, by the summer of 1986 (the artists had been aiming at a Christmas 1987 release) - about half the time that the Disney Studio had been taking to animate a feature since the opening of Disneyland began the diversification of the company in 1955.

Meanwhile, in 1985, ''The Black Cauldron'' was released - and became the company's first animated feature to fail on its first release since the $6 million ''Sleeping Beauty'' had been primarily responsible for putting the far less profitable company of 1959-60 $1.3 million into the red. (''Sleeping Beauty'' has since become a moneymaker.) ''My view is that basically 'The Black Cauldron' failed in story,'' said Mr. Eisner. ''Unless we are prepared to fail, we are going to be real boring, but I would say that the lesson to be learned from 'The Black Cauldron' was an economic lesson: if you're going to fail, don't fail at such a high cost.''

Then, as a timely reminder of the long-term value of quality animation, ''101 Dalmatians,'' made in 1961 for $3.6 million, was reissued for the third time last Christmas and grossed $33 million, making it the most successful reissue in the company's 63-year history.

Nevertheless, for the new generation of Disney artists, there were fears that the days of Disney animation might be numbered.

''There is a lot on the line here,'' said Ron Clements, a story man/ animation director who came to the studio in the 70's. ''We have to show the new management that we can make them cheaper and faster and yet do them in the classic Disney way. If 'The Great Mouse Detective' is successful, they may be a little more reassured.''

Mr. Larson, who spent 52 years in the Disney organization and is credited as ''animation consultant'' on ''The Great Mouse Detective,'' believes that when Disney's animators succeeded in developing definite and appealing personalities in their cartoon characters, it was because Walt Disney bought them the time to ''do research and experimental animation'' until something clicked and the character came to life.

''When the new management sets such a schedule and such a budget, is the animator going to have enough time to explore and study, to do research on the characters and experimental animation, time to throw away something he or she feels doesn't work and try again? Are they going to allow time for that?

''Walt always figured that if we had a good product, somehow or other, we'll get our money. But when money is the first thing on the docket, it can only lead to mediocrity, and that's what I worry about.''

''The Great Mouse Detective'' was finished on time - for $12.8 million.

Mr. Katzenberg says that the new management team is well aware of the importance of quality animation to the company as a whole. ''The fact is, for this company, animation has a value that is way beyond the specific profits that you measure for a film itself. We create new characters, these characters will come to life in our theme parks and in our merchandising, and have a longevity and a value to many other aspects of this corporation that are totally unique.''

At the same time, he and Mr. Eisner have served notice that the animation is meant to serve the story. He points out that nine years and more than $30 million didn't make ''Cauldron'' work, and blames it on the lack of a vision of the story as s whole.

''I am a big believer in allowing the people that work for you to know that they can fail and it's not going to be a problem,'' said Mr. Eisner. ''But if they fail without any sense of economic responsibility, I'm going to be a little upset.''

Several times a month these days, Mr. Eisner and Mr. Katzenberg are sitting in on story meetings on the next animated feature from Disney. It is a contemporary version of Dickens's ''Oliver Twist,'' set in New York City and enacted by dogs and cats. It is scheduled for release at Christmas of 1987 - 18 months from now.

[nodynasty4us]

This indictment will only break through if people actually read it. That’s the only way to shatter the carapace that certain media echo chambers have created to protect Trump’s supporters from inconvenient facts that might make them blink as they emerge from a long slumber.

law professor John Culhane in POLITICO

You can read the indictment at https://storage.courtlistener.com/recap/gov.uscourts.dcd.258149/gov.uscourts.dcd.258149.1.0_1.pdf or an annotated version at https://www.cnn.com/interactive/2023/08/politics/annotated-text-copy-trump-indictment-dg/ .

[kwebtv]

Series Premiere

Black Saddle - Client: Travers - NBC - January 10, 1959

Western

Running Time: 30 minutes

Written by John McGreevey

Produced by Antony Ellis

Directed by John English

Stars:

Peter Breck as Clay Culhane

Russell Johnson as Marshall Gibson Scott

Anna-Lisa as Nora Travers

Onslow Stevens as Hannibal Pardee

K. L. Smith as Moss

John Mylong as Karl Borgen

Margarita Cordova as Teresa

Quentin Sondergaard as Chuck

Unknown actor as Zed

[dailyrugbytoday]

Munster vs Leinster Rugby On Stephen's Day 2023 December 26

New Post has been published on https://thedailyrugby.com/munster-vs-leinster-rugby-on-stephens-day-2023-december-26/

The Daily Rugby

https://thedailyrugby.com/munster-vs-leinster-rugby-on-stephens-day-2023-december-26/

Munster vs Leinster Rugby On Stephen's Day 2023 December 26

The Munster vs Leinster teams will collide on St Stephen’s Day – Tuesday, December 26 – in what should be a thriller.

Where on TV is Munster vs. Leinster taking place? Kickoff time, odds, and stream for the URC derby match. In a stunning St Stephen’s Day match, Munster is getting ready to take on their fierce rivals, Leinster.

The team led by Graham Rowntree wants to exact revenge for the Aviva Stadium loss they suffered last month, 21-16.

What TV channel is Munster vs Leinster on?

The match will be shown live on free-to-air TV by RTE 2.

It is a night-time fixture and is set to commence under the lights at 7.35pm.

Their pre-match coverage commences at 7pm, 35 minutes ahead of kick off.

Read more: Munster rugby game on TV

Where is Munster vs Leinster on?

Thomond Park in Limerick will host the Munster vs. Leinster game. On St. Stephen’s Day, Thomond Park in Limerick will host the game. Kickoff is at 7:35 p.m. The last time the clubs faced off in a home derby during the Christmas season, Munster lost.

BKT United Rugby Championship: Leinster 21-16 Munster – recap

FULL TIME!

Munster couldn’t get anything going in that final attack, and a knock-on eventually brings up the final whistle.

Leinster get the win and stay top of the table – for the timebeing at least – after a cracking Interpro at the Aviva Stadium.

Leinster 21-16 Munster

Leinster v Munster Rugby Squad

Leinster: Hugo Keenan; Jordan Larmour, Garry Ringrose (co-capt), Robbie Henshaw, Jimmy O’Brien; Ross Byrne, Jamison Gibson-Park; Andrew Porter, Dan Sheehan, Tadhg Furlong; Joe McCarthy, James Ryan (capt); Jack Conan, Josh van der Flier, Caelan Doris.

Replacements: Rónan Kelleher, Jack Boyle, Michael Ala’alatoa, Ross Molony, James Culhane, Ben Murphy, Ciarán Frawley, Scott Penny.

Munster: Simon Zebo; Calvin Nash, Antoine Frisch, Rory Scannell, Shane Daly; Jack Crowley, Craig Casey; Jeremy Loughman, Diarmuid Barron (capt), Stephen Archer; Jean Kleyn, Tadhg Beirne; Tom Ahern, John Hodnett, Gavin Coombes.

Replacements: Scott Buckley, Dave Kilcoyne, John Ryan, Brian Gleeson, Alex Kendellen, Conor Murray, Tony Butler, Shay McCarthy.

[tygerbug]

Backstage at Disney (1983 Disney Channel Studio Showcase) w/ John Culhane

https://archive.org/details/backstageat-disney-1983

https://www.youtube.com/watch?v=R5sWooyxIMs

First, John Culhane takes us behind the scenes of Tim Burton's "Vincent" and "Hansel & Gretel."

We look at dinosaur effects for "Baby: Secret of the Lost Legend," and Darrell Van Citters' early attempt to direct Who Framed Roger Rabbit (with Michael Giaimo and Peter Renaday).

We go behind the scenes of The Black Cauldron, Zorro and Son with Paul Regina, and Never Cry Wolf.

Then we meet James Horner while recording for "Something Wicked This Way Comes".

With Carroll Ballard, Harrison Ellenshaw, Joe Hale, Rick Heinrichs, James Kagel, Michael Lloyd, Isidoro Raponi, Paul Regina, John Scheele, Marc Sturdivant, Roland Tantin, and the voices of Russi Taylor and Paul Reubens (among others).

Director Tom Leetch. Written by John Culhane. Music John Debney.

[sosooley]

Here I mention both fiction books and nonfiction. Opinion is purely subjective

This is all for you my fellow Tombstone fans. Thank you for being here

upd. second part here  and third part here

Disclaimer: I can read and understand English perfectly, but unfortunately  I write only with the help of two translators, mental anguish and God's help

Doc Holliday The Life and Legend - Gary L. Roberts This is a great biography 10/10. I recommend

Wyatt Earp - Casey Tefertiller This is a great biography 10/10. I recommend. This and previous biography are must have

Inventing Wyatt Earp - Allen Barra  It  is both a biography and a great research into Wyatt’s mythological image through years and generations. But a little warning, the author VERY LOVES Wyatt, be careful of little whitewashing of history. Author ship docatt, i swear

Murder in Tombstone - Steven  Lubet This is an INVALUABLE book with the analysis of the trial of the Earp brothers and the American judicial system of late 19th century. I wanna kiss author’s hands

The last gunfight - Jeff Guinn The author does not focus on personalities, but rather explores the historical context and the reasons that led to the Tombstone shootout. This is also an invaluable nonfiction book. He sneers a lot and jokes in the course of the narrative  both over the debunkers and the whitewashers. Author ship docatt, i swear

The Earp desicion - Jack DeMattos the book is entirely devoted to the description of the fight where Wyatt refereed the legendary s h i t s h o w between Robert Fitzsimmons and Tom Sharkey in 1896. Good neutral book

The Earp brothers of Tombstone - Frank Waters Author claims that his book is nonfiction true story. But this book is a F U C K I N G DEBUNKER  B U L L S H I T. HELLO FROM 60S-70S. Really, Frank Waters can suck my dick. I am RAGING. It is full of foolish exaggerations and outrageous lies that pretend to be based on Allie's Earp (Virgil’s widow) memoir (she hated her husband's brothers, especially Wyatt). and the Cowboys are Good Guys (™). You can read this book just to understand how much my ass burns

Wyatt Earp: a vigilante life - Andrew C. Isenberg Haha debunker pseudo-nonfiction shit again. The author uses a lot of unreliable far-fetched sources and has a hyperfixation on masculinity. Also he suffers from internal homophobia. I have a feeling the author jerks off on Wyatt and hates himself for it

Doc Holliday, the gunfighter - Matt Braun Actually, a really good fiction book written very pleasantly and close to the real life truth, about John Henry’s transformation into Doc

The fourth horseman - Randy Lee Eickhoff This book is even better written than the previous one. An interesting half-truth about Doc, a good fiction. A slightly mystical explanation for Doc’s luck and his known volcanic temper. Author ship docatt, i swear

Black hats - Patrick Culhane Very nice fiction book on the adventures of Doc’s son and elderly Wyatt during prohibition. Alcohol, gangsters, Al Capone. A son is a carbon copy of his father, which causes Wyatt some fEeLingS and nostalgia. I cried. And elderly Wyatt is HoT. Apparently, Kate fucked halfdead Doc in his final days in Glenwood 

The winter wolf - Richard Parry This book is pure fiction about the adventures of Wyatt's son from Mattie. Unlike Doc's son, Wyatt's son is an idiot. I wanted to smash his head against the wall. Repeatedly. Dumb shit

Doc - Mary Doria Russel and Epitaph - Mary Doria Russel F I C T I O N. Doc started well. These books even concentrate on Doc's being a dentist. He makes Wyatt dentures (in this books father knocked out Wyatt's front teeth many years ago, so Wyatt NEVER smiles). I also suspect that this Wyatt is likely somewhere on the autistic spectrum (it is popular trope in  tombstone fiction really) and has an anger control problem. At first author seems to ship Wyatt and Doc, but at the end of the Epitaph, the author remembered that she was writing a sEriOuS wOrk, not a slash fanfic. And made a completely ugly ending. But the chapter of Wyatt’s fury road is BEAUTIFULLY  written. 

Bloody season - Loren D.Estleman It’s a slightly dull fiction book about Tombstone events. The author has hyperfixation on dicks, on the color of dicks, on urination and defecation processes. And Doc is wifebeater (i hate this trope). But sometimes there are good jokes here. Sometimes

Trouble in Tombstone - Richard S. Wheeler Nice simple half-truth fiction retelling of the original events. The scene of the last goodbye is heartbreaking. Author ship docatt, i swear

Gunman's rhapsody - Robert  Parker Not bad fiction book. This Wyatt is likely somewhere on the autistic spectrum too. And he has a weird attitude about killing people.He doesn't give a flying fuck. For him, killing a man is like going to a grocery store. But it's interesting to watch

The frontier world of Doc Holliday - Patricia Jahns The half-fiction book started out pretty good but ended in the deepest hell. The author loves John Henry Holliday very much, but dislikes Doc Holliday. Even more, she dislikes Doc Holliday in a duet with Wyatt. And she loves when Doc suffers. The author can suck my dick

O.K. - Paul West The book started out pretty good but ended in the hell too, damn. Very loyal to Wyatt, Doc follows the Earp clan, because he senses that brothers will soon have problems and wants to die in such a way that he will be remembered. But then the author did something to Wyatt's character. Wyatt turned out to be a duplicitous perverted asshole with a craving for moral exhibitionism. I dropped the book, sorry

I have read quite a few more articles, but they are all short and same, so I see no reason to mention them here

I'm in the process of reading another book now Dodge City - Tom Clavin so I don’t know yet what can be said about it.  I have few books in the plans: Tombstone travesty - Jane Candia Coleman, Bucking the tiger - Bruce Olds

[weirdlandtv]

Production art and stills from the 1964 John Hubley short, The Hat, about the absurdity of border lines.

One of the animators was Disney/Fleischer veteran, Shamus Culhane. (He animated the dwarves singing “Heigh-Ho” in Snow White, for example.) Culhane later wrote:

“At the beginning of a picture Hubley would pore over a random selection of art books. Seemingly they had no relationship to each other, but he was using them to inspire his own sense of design. However, the final appearance of a Hubley film was never blatantly derivative. In The Hat, for example, I have the feeling that he was influenced (if that is the right term) by Chinese scroll painting, but that is just my own intuition.”

[padraicratigan]

Excerpt from "Irish Heat: Don Bluth, Takes On King Disney"

By John Culhane, published November 12, 1989.

Roy E. Disney, Eisner and Katzenberg were agreed that the studio’s 1984 “The Black Cauldron,” the first new animated feature to fail at the box office since Walt’s death, didn’t work because it had a weak story enacted by characters that did not compel belief.

As soon as they took over, they reviewed what had been done on “The Great Mouse Detective,” agreed that the story was slow getting started, and that it would have to be done over before animation could begin.

They also decreed that the animation department must increase its output from a feature every three years to one every year, and that the cost of each feature must drop from the approximately $30 million spent on “The Black Cauldron” into the $10-million range.

Gradually, they have gotten on schedule. Eighteen months elapsed between the releases of “The Great Mouse Detective” and ��Oliver & Company,” but “The Little Mermaid” is out only a year later, to be followed, they insist, by “The Rescuers Down Under” in 1990, “Beauty and the Beast” in 1991, and “Aladdin” in 1992. In the next five months, they will also schedule an animated feature for release in 1993, Schneider said.

The cost of “The Little Mermaid,” however, is said to be twice as much as the $10-million range they projected in 1986.

At the moment, though, Disney’s management is sanguine about this because the increasing experience of the animation team is obviously paying off. “The Great Mouse Detective” cost $12.8 million and has grossed about $25 million in the United States and Canada, and “Oliver & Company,” the domestic record-setter, is expected to do well in its foreign release this Christmas, though no character in either film has caught the public fancy as has the title character and his wife in last year’s hit “Who Framed Roger Rabbit.” Produced in London by Disney and Steven Spielberg and using a number of Disney artists, this combination animation and live-action film won an Oscar for its animation director, Richard Williams, for the creation of Roger and Jessica Rabbit.

The impetus for making “The Little Mermaid” was Ron Clements, a member of Disney’s feature animation division since 1974. Clements worked with Bluth on “The Rescuers” but stayed when the Bluth group left.

As a teen-ager, Clements, formerly of Sioux City, Iowa, had single-handedly animated a 15-minute feature called “Shades of Sherlock Holmes.” This student film helped get him a job at Disney and also served as the inspiration for “The Great Mouse Detective,” about a Sherlock Holmes-like mouse, which Clements wrote and directed with John Musker. Musker, formerly of Chicago, came to the studio in 1977.

[cbssurfer]

The new young Waikiki longboarders... From L to R, John Van Hohenstein, Michael Van Hohenstein, Kelia Moniz, Kai Takayama, Sophia Culhane, Tiki Willis, Kaniela Stewart, James Culhane, Haley Otto, Keani Canullo, Journey Regelbrugge, Kelis Kaleopaa

Photo : Tony Heff

[kwebtv]

Character Actor

Douglas Fowley (born Daniel Vincent Fowley, May 30, 1911 – May 21, 1998) Film and television actor in more than 240 films and dozens of television programs, He is probably best remembered for his role as the frustrated movie director Roscoe Dexter in Singin' in the Rain (1952), and for his regular supporting role as Doc Holliday in The Life and Legend of Wyatt Earp. He is the father of rock and roll musician and record producer Kim Fowley.

For several seasons, Fowley played the key supporting role of John H. "Doc" Holliday in the 1955-1961 western television series The Life and Legend of Wyatt Earp after having appeared as Doc Fabrique in the show's premiere season. This role allowed Fowley to demonstrate his flair for comedy and other acting skills as a clever, sharp-witted, sardonic, cynical, alcoholic, poker-playing foil to the square-jawed, milk-drinking, church-going Wyatt Earp (Hugh O'Brian), whom Holiday nicknamed "Deacon" due to his rigid sense of morality. Not at all so encumbered Doc would occasionally take the law into his own hands behind Earp's back to protect his friend from legal action or even death when the marshal was legally or morally ham-strung. Holliday, as played by Fowley, having no problem working around morals or the law, could be either hilarious or cold-blooded.

From 1966 to 1967, Fowley portrayed Andrew Hanks in Pistols 'n' Petticoats,  a CBS sitcom. Hanks was the patriarch in a family of gun-toting women who seemed to have little need for male assistance.

Fowley portrayed retired businessman Robert Redford in Detective School (1979).

In the 1950s, he appeared as himself on NBC's The Donald O'Connor Show. In 1954, he demonstrated his comic appeal when he appeared alongside Gracie Allen in The George Burns and Gracie Allen Show. He was cast in 1956 as Bob Egan in the "Two-Fisted Saint" episode of the religious anthology series Crossroads. He portrayed a con man in two episodes of the NBC sitcom It's a Great Life. He also guest-starred on Reed Hadley's CBS legal drama The Public Defender. He appeared, too, on the ABC situation comedy The Pride of the Family and on the NBC Western series The Californians and Jefferson Drum. He was cast on two Rod Cameron series, the syndicated City Detective and the Western-themed State Trooper, and in John Bromfield's series, U.S. Marshal. He guest-starred in the David Janssen crime drama Richard Diamond, Private Detective and guest-starred in season two, episode four of the Robert Culp Western Trackdown.

In 1959, Fowley appeared with Frank Ferguson in the episode "A Race for Life" of the CBS Western series The Texan, starring Rory Calhoun.

In 1964, Fowley made a guest appearance on the CBS courtroom drama series Perry Mason playing agent Rubin Cason in "The Case of the Bountiful Beauty". In 1965, he was cast as Sorrowful in episode 83 of the series The Virginian. In 1966, he appeared as "Rufus C. Hoops" in "The Search" season 2, episode 24, of the series "Daniel Boone". Original air date for this episode was March 3, 1966. In 1967, Fowley guest-starred on the short-lived CBS Western Dundee and the Culhane with John Mills.

In 1968, he appeared in episode 273 of My Three Sons as an old pal of Uncle Charley's. He had a role in the syndicated 1959-1960 Western Pony Express in the episode "Showdown at Thirty Mile Ridge". (Wikipedia)

[denver-carrington]

Emma Samms (Fallon) and Wayne Northrop (Michael Culhane) on the cover of the Summer 1983 issue of Soaperstar magazine. Also featured are John Stamos and Deidre Hall.

[shelby-love]

♔ MY NAVIGATION ♔

0.5 TYPES OF REQUESTS I WRITE:

One-shots (1k words or more)

Drabbles  (below 1k words)

Headcanons (bullet point fics)

Blurbs (below 500 words)

Imagines (gif + a little blurb, around 500 words)

1.0 RULES:

Request via ask.

Always include what type of request you want me to write.

Specify because specification is very important as it helps me make your request as pleasing as possible, but try not to be too specific as I like the element of surprise.

If you want me to write something from my prompt list (click here): include the name of said character, category of the prompt and the prompt’s respective number (e.g. Jay Halstead, fluff 7). 

1.1 Note: If you don't include what type of request it is that you want me to cook up, I will choose the type myself so don't come at me if you wanted a 2K worded piece of work and instead got an imagine with 200 words!

1.2 Note: Mixing the prompt with a plot line of your own is allowed, just make sure to follow the rules (1-3). 

1.5 THINGS TO KEEP IN MIND:

Unless asked for, I will be writing with the Female!reader in mind (I like to exclude any gender relation and make it so that both genders could read and enjoy).

I respond to asks when the request has been qued to post and released on Ao3.

The maximum number of request you can send is 2. I know there is an option to send them in anonymously, but I really hope you will stick to this rule. Give others a chance to submit their wishes, and don’t make the line too big with by mass requesting (I close requests after I get around 30 requests).

Requests sent during seasons I have not watched or for characters that have yet to make an appearance in the show will not be written (exceptions exist).

I write one-shots but not a whole series unless I can see/want a continuation.

Themed requests (Christmas, Valentine's Day, New Year etc.) can be only sent during that time. I don’t accept Christmas requests during the month of May. The same goes for the rest.

I have every right to delete every request that does not fit within the rules stated above, or I feel uncomfortable writing. Also, it’s important to note that I don’t have inspiration to write every request that’s sent. It’s normal to not have inspiration, and because I prefer quality to quantity, if I see that I don’t have inspiration for a request then I will not write it.

Requests will be deleted if sent while my request box is closed. I won’t answer them as I feel like there is no need. On almost every informative post (+my bio, and if you’re on PC my theme under ‘blog status’) it will say whether the request box is closed or not.

English is not my first language but without digging myself my own grave this early on I want to say that I'm proud of how much I know, given that I never speak English unless in school.

Be nice because only constructive criticism is allowed. If you spot a grammatical error or a paragraph/sentence/word etc. that doesn't make sense, let me know. But be nice!

2.0 THINGS I DON’T WRITE:

LGBTQ+  topics/relationships (because I feel like I wouldn’t do a good job) 

Real people, send only requests for characters in my writing list

Ships or OC, send only reader inserts

NSFW (mature content stories)

Noncon

Dark!fics

Romanticized mental illnesses

S*icide scenes

R*pe scenes

Racism/slurs

2.1 Note: P*dophilia, r*pe, s*icide might be mentioned in my Chicago P.D, Fire, Med shots (or other), but I will never explicitly write about those subjects or write about anything that is about/centered around them.

2.2 Note: Explicitly written smut is a no, I will not write that. Try to refrain from requesting steamy scenes too, as I will only put them in myself were I to deem it necessary for the WIP.

2.5 THINGS I DO WRITE:

Angst

Fluff/ WAFF

Fusion/ Crossover

Daughter/Wife/Sister!Reader

Here is me trying to explain what kind of requests I also take [x]

2.6 Note: It’s hard to list but to make it easier for you guys, I will write about almost anything as long as it’s not on my 2.0 bullet.

3.0 POSTING SCHEDULE:

Posts are usually posted between 01:00 A.M. and 05:00 A.M. CET (Central European Time).

Check schedule to see what's been qued to post.

3.1 Note: This account is NOT my work place. Everything here is written when I have time and I feel like writing. Requests that I find more interesting will most likely be written and qued to post sooner. I advise you to follow my blog, check regularly and sit tight until you see that it's qued. You can always check my navigation page and click on 'schedule'. Or simply click here.

3.2 Note: I am not a doctor nor a firefighter nor a policeman. I research whatever I can before I start writing and sometimes that takes hours. Nothing is 100% accurate (especially for events set in Chicago Med) although I hope it is.

3.5 WRITING LIST:

3.6 Note: Requests are currently OPEN for all fandoms!!!

3.7 Note: Your requests do not have to be strictly romantic (Sibling!Reader or other are also (obviously) allowed).

---More shows and characters will be added through time

✏ TV SHOWS (alphabetical order)

9-1-1 (✓)

Evan Buckley

Eddie Diaz

Bobby Nash

Howard "Chimney" Han

BRIDGERTON (✓)

Simon Basset

Anthony Bridgerton

Benedict Bridgerton

Colin Bridgerton

Prince Friedrich

CHICAGO FIRE (S01-S06)

Kelly Severide

Matt Casey

Peter Mills

Jimmy Borelli

Christopher Herrmann

Brian “Otis” Zvonecek

Joe Cruz

CHICAGO PD (S01-SO2)

Antonio Dawson

Adam Ruzek

Kevin Atwater

Jay Halstead

Hank Voight

Alvin Olinsky

CHICAGO MED (✓)

Connor Rhodes

Will Halstead

Ethan Choi

Noah Sexton

Crockett Marcel

James Lanik

DYNASTY (S01-S02)

Blake Carrington

Jeff Colby

Liam Ridley

Michael Culhane

ELITE (✓)

Guzmán Nunier Osuna

Samuel García Domínguez

Christian Varela Expósito

Leopoldo Benavent Villada (Polo)

PEAKY BLINDERS (✓)

Thomas Shelby

Arthur Shelby

John Shelby

Finn Shelby

Ada Shelby

Polly Gray

Alfie Solomons

Michael Gray (I currently cannot stand this dude)

TEEN WOLF (✓)

Scott Mcall

Stiles Stilinski

Isaac Lahey

Liam Dunbar

Derek Hale

THE ORIGINALS (✓)

Klaus Mikaelson

Elijah Mikaelson

Kol Mikaelson

Finn Mikaelson

Marcel Gerard

Rebekah Mikaelson

THE UMBRELLA ACADEMY (✓)

Number Five

Diego Hargreeves

Luther Hargreeves

Klaus Hargreeves

Ben Hargreeves

THE VAMPIRE DIARIES (✓)

Stefan Salvatore

Damon Salvatore (hate him)

Alaric Saltzman

Lorenzo St. John

Tyler Lockwood

Matt Donovan

Jeremy Gilbert

Katherine Pierce

Elena Gilbert (hate her even more)

Caroline Forbes

Bonnie Bennett

THE QUEEN’S GAMBIT (✓)

Benny Watts

Townes

Harry Beltik

THE WITCHER (✓)

Geralt of Rivia

Jaskier

WANDAVISION  (✓)

See under ‘Marvel Universe’.

✏ MOVIES

HARRY POTTER

Oliver Wood

Harry Potter

Hermione Granger

Draco Malfoy

Ron Weasley

Fred Weasley

George Weasley

Percy Weasley

Bill Weasley

Charlie Weasley

Neville Longbottom

Cedric Diggory

The Marauders era

James Potter

Sirius Black

Peter Pettigrew

Remus Lupin

Severus Snape

MARVEL UNIVERSE

Tony Stark / Iron Man

Bruce Banner / Hulk

Thor

Loki

Steve Rogers / Captain America

Natasha Romanoff

Clint Barton / Hawkeye

Nick Fury

James Rhodes / War Machine / Iron Patriot

Bucky Barnes / Winter Soldier / White Wolf

Sam Wilson / Falcon

Vision

Scott Lang / Ant-Man

T'Challa / Black Panther

Peter Parker / Spider-Man

Stephen Strange

Peter Quill / Star-Lord

Pietro Maximoff

TWILIGHT

Edward Cullen

Carlisle Cullen

Emmett Cullen

Alice Cullen

Jasper Hale

Rosalie Hale

Alec

Benjamin

Jacob Black

Seth Clearwater

Embry Call

EXPENDABLES

Lee Christmas

Barney Ross

Billy The Kid

Smilee

Mars

Thorn

Hale Caesar

Yin Yang

Toll Road

Gunnar Jensen

Booker