#venice the series

[otalia]

Natalia (and Olivia) fanart by claramachin_art: (x) (x) (x) (x) (x)

[imaginationofacornflake]

Olivia Spencer

Poise

Otalia - Guiding Light

ok so i found this ship very, very, very late in the game, but yeah, im obsessed. Roll on season 7 of Venice!

[dgct2]

Olivia & Natalia on Guiding Light. I fell head over heels in love with Otalia. Crystal Chappell and Jessica Leccia who played the pair now have their own web series called Venice: The Series where they also play lovers.

for the sapphics who were too old to participate in the last poll:

[setaflow]

People in the comments of the Assassin's Creed: Shadows trailer becoming armchair historians trying to explain why Yasuke shouldn't be a protagonist actually are hilarious. Like besties this is a franchise where people can control eagles with their minds and a good 5% of the population are descended from evil psychic aliens. I THINK we can expand on a story of Japan's only-recorded African koshō without it jumping the shark.

[brunafcf15]

This was better in my head

[julialametta]

"silent moment" / Lido di Venezia / Italy / ©Julia Lametta

[ilovemyselfak]

The New Theerapanyakul Minor Family

Well ... I want to see Kan's face when he finds out that all his sons are gay 😂.

Any way minor family supremacy you all

[iamfujoshiwe]

Pete : You're a lying piece of shit! Vegas : Oh yeah? You're the idiot that thinks you can get away with everything you do, WELCOME TO THE REAL WORLD! Pete : I'm leaving and I'm taking Venice with me! Macau, gathering cards: Aaaaand that's enough Monopoly for today.

[pochiperpe90]

[Eng] Elle Italia - Daily Venezia: THE HISTORY IS US

Luca Marinelli is almost unrecognizable in the role of Mussolini in the series M. Son of the Century, directed by Joe Wright. Two greats together to tell one of the darkest and most criminal periods in History

Personal opinion: M. Son of the Century is one of the masterpieces of the 2024 Mostra. It's a shame it can't win, because it's a TV series, even if its director continues to call it a film. A seven-hour long film, which will be released in eight episodes on Sky and Now in the early months of 2025. It’s produced by Sky Studios and Lorenzo Mieli for The Apartment, a Fremantle group company, based on the novel by Antonio Scurati, written by Stefano Bises and Davide Serino. The director is Joe Wright, the protagonist is Luca Marinelli. It tells with historical accuracy the rise of Mussolini and our country's surrender to dictatorship.

Sensitive material, it reminds us that we invented fascism, and perhaps a foreign director, let's say, could have approached it with greater detachment, without our sense of guilt.  Wright looks at me almost with pity, in a good way: “But I share that sense of guilt, I reject national borders, there are no nations: the similarities between us human beings are more than the differences, I feel as responsible as you Italians…I was very careful to tell the truth without being didactic, I tried to understand without sympathizing, maintaining a critical distance... Mussolini was fascinating, he seduced a nation and many others. If I hadn't shown that charm then people might have thought that Italians were all idiots. That balance was my main concern... On a more personal level it's a series about toxic masculinity, which is like nothing else in us, we have it inside us. We have to understand our responsibilities and turn our backs on them, so as not to end up morally bankrupt".

Every day it took Marinelli two hours of makeup and hair to get into Mussolini's shoes. "It was something I brought home with me," the actor confesses, "in the same shape as on the set: the 22 kilos I had gained, my hair cut as you see it in the scenes.  The black lenses. were the things I could leave in the makeup van. Working with all the different departments was fascinating”.

It must not have been easy for him to shoot so convincingly in the fascist salute: “These are filthy and brutal things that the role required of me, but of course there is a big difference between what is considered right and what the role requires. I certainly did not take pleasure in carrying out certain actions or even in expressing myself in that way, but rather the opposite. What I had to face during the production of the project, as a convinced anti-fascist that I am, really cost me a lot. I did not come out of it intact”. But he was in the hands of an excellent director, a master in the cinematic transpositions of great books (Anna Karenina, Atonement, Pride and Prejudice).  How does he approach them? "The film," Wright continues, "is what happens in my head while I read the book. I'm dyslexic and so when I read I think I see beyond the words, I create the scenes and I edit, zooming in on small details that interest me. M. is a mash up between Scarface, Man with a Movie Camera and 90s rave culture." Tom Rowlands' techno music creates the right atmosphere: "I didn't want anything classic, kids have to see it too, they have to understand the roots of fascism." Luca Marinelli is monumental in the role of the "duce." "He's one of the greatest actors in the world, along with Gary Oldman. But, like Gary Oldman, he doesn't know it."

[dreadfuldevotee]

Carol Cutshall I know your game, Rolin & Co. I've got you beat. Color (in terms of wardrobe, specifically) in IWTV so far has been representative of a kind of vibrant inner life and honesty in characters. It's the reason why it's so jarring go from seeing Louis in his beautiful multicolored array of stylish clothes in New Orleans to his solid, un-broken string of Couture Minimalism All-Black Ensembles in Dubai. Even in just comparing his unassuming browns and muted tones of Paris next to Claudia's self discovery in pastel. So, to then turn your eye to Armand; always in black, white, greyscale and browns so dark that in most lightings- they end up functionally black.

And then I think about how his rare pops of color, outside of his green shirt in Just Start The Tape, are orange and red. Adoration of the Shepherd continues to be a interesting painting to tie to Armand, this time in the detail that our only image of Armand before his turning is him in a bright blue gown. And in thinking of all these things at the same time, mentally, I am whacked in the face by a piece of trash on the wind which has this The Vampire Armand quote plastered to it

Anyways, anytime someone goes "Oh I hope to see Armand in color in S3" I think the monkey's paw curls

[chemdisaster]

boat boys reunion after secret life! after they both have their reunions with their allies first, of course

update: now with art

Etho sticks around for a long time, after.

Wanders around the server, avoids every site of active battle, and eventually comes to a free spot near Joel's fairground, where the grass is marked with patches of gunpowder, but the leaves ripple and his vision remains clear of dirty dark grey smoke.

He stays there a while—until his comm pings with the news that it's over and something hooked deep in his shoulders begins to let up on its unyielding pull.

He stays after that, too. Until an all-too-familiar voice comes up on his half-baked musings, complete with the usual tint of derision—with less heart behind it now, though.

"What are you doing here, Etho?"

Etho turns around, makes a point to smile despite his mask.

"Hi, Joel."

Joel sighs, walks up to stand beside him.

"You like the fairground?"

"Liked it better when it was still whole."

Joel sighs again. Taking advantage of his gaze being lost somewhere between the ferris wheel's cabins or the railings of the slide, Etho looks him over—notes both the bags under his eyes and the green streak in his hair, bright in a way he's never seen it be this far in.

"You okay?"

Joel blinks, as though surprised by the question being asked—or the person asking the question.

"Yeah, I think I am," he says after a moment of consideration, and then scowls, "Bloomin' Scott killed me again, though."

Etho has nothing to say to that. Another minute of silence passes, as the temperature around them starts to mellow out.

Out of the corner of his eye, he spots Joel glancing his way, looking almost unsure. "Are you...?" he asks and, as expected, doesn't finish the phrase.

Etho looks over at him again. Staring directly into his eyes, he nods.

"Okay," Joel says. "Okay."

Almost as though by force, his brows pitch downwards.

"Good for you," he spits then, with more venom in his voice than anyone would imagine for such a simple remark.

Suddenly, Etho understands what he's getting at—what he's been getting at the entire season.

"You still care."

"Wh—no, I don't," Joel immediately bites back—a wolf, ready to bare his hackles, even now.

"You do," Etho repeats, but it's not the accusation it could have been.

"I have the Mounders now," Joel says in response, and it's not the uncompromising rejection it once was.

Etho nods. "Yeah." He knows that's not the end of it, knows that Joel has something more to say, will always have more to say—in contrast to where his own words feel like they could never be enough.

For a moment, silence reigns and neither of them speaks. Etho shifts his weight from foot to foot, digs his hands into his pockets and flexes his thumbs. Somewhere in the unnatural stillness, the first bird chirps in the remnants of warm-blooded destruction.

"The ship burns, everything burns," Joel recites softly.

Etho nods again.

Joel looks up at him, something vulnerable in his expression never seen before.

"I'm not—I can't—" he begins, and then breaks off, pressing his palms into his forehead with a frustrated sound. He squeezes his eyes shut, and Etho waits for him—but strangely, he finds himself fine with that being the state of things for the rest of both their foreseeable futures.

"I don't—I won't burn again," Joel eventually forces out. "I'm not going to—do that. You know. It's—I'm tired of everything burning, okay? I'm just—I'm tired," he repeats, and looks over at the remains of the helter-skelter behind him. "I want to keep this. I want something I can call my own."

"You don't want to run around the server lighting things on fire with me?" Etho asks in a somewhat-joking tone, but he gets it. He does.

And he thinks Joel gets that, too.

Still, when his old soulmate grabs his hands into his own, hot and dry skin just like he remembers, when he looks up at him, a question in his eyes, a desperate plea for something that stays, something real—

Etho thinks of Cleo and Grian.

"Yeah, I don't want to burn, either, I think."

Joel relaxes, steps away, but does not release his hands. Etho takes that as his invitation to come closer, drop his head down until it leans against Joel's, and their shared warmth envelops them, not like flames licking at their ankles, but like a comforting embrace, like home.

He thinks of the Relation—charred sails and splintered wood scattered around the air like the tiny scars on his fingers.

Nothing is ever truly gone, even when it turns to ash.

[jubileesstuff]

Vegas: If you get in trouble, I'm gonna be like... a lawyer to you. Ok?

Venice: Okay.

*later*

Pete: Venice! Sit down on the chair, you're in trouble.

Vegas, whispering: Deny everything.

Venice, loudly: That isn't a chair.

[pepsi-pinacola]

Venice: Were you bullied by someone when you were growing up?

Vegas: *surprised*

Vegas: Have you met your grandfather?

[lily292]

Babytrapping

Vegas is in the hospital when Venice is born and abandoned. Pete sees this small Vegas and decides he needs that. It must be his. Since no one else is in a hurry to claim it, the Main Family lets him have it. Paperwork gets processed and little Venice now belongs to Pete.

When Vegas first wakes up, he’s very high on pain meds. He’s still high when he’s introduced to Venice. This is where it all starts because Vegas wants to know whose baby it is and starts crying when he hears it’s Pete’s because Pete found someone else.

Pete did not expect this. Pete’s original plan was to have a small part of Vegas if things didn’t work out and if it did, he expected Vegas to want to keep his brother. Vegas was always the intended other parent and he has no idea what to say in the face of that intended parent asking who the other parent is.

Macau butts in and says obviously the other parent is you Hia. Vegas is so startled he stops crying. What? Obviously you’re the other parent, Macau says, he looks exactly like you. And it’s true, Venice does have a strong resemblance to Vegas. (Pete considers trying to explain the actual situation but decides to shelve that for after Vegas is not so high)

High Vegas does not remember that babies can’t be made between two men. But he does remember how babies are made and thinks Venice was conceived at the safehouse. His baby. And Pete’s. He wants it so much.

He dotes on Venice, demands to see him almost as much as he sees Pete. Macau thinks this is hilarious. Pete is a little stressed. Until Macau asks him later if this is a bad thing. And he considers. Vegas wants him, wants Venice. Does not seem inclined to start another war in rage. Does it matter if he thinks the baby is Pete’s? He decides it doesn’t. In fact, he decides he should keep the baby’s actual origins from Vegas as long as possible and keep perpetrating this idea that Venice is from him. This is what he wanted after all, to raise this child with Vegas. Why fix what works?

At some point, Vegas stops being on drugs and starts thinking. Because Venice can’t be from him and Pete. But he hasn’t slept with a woman and Venice undeniably resembles him. Where did this baby come from? He considers asking Pete but something in him melts when Pete calls Venice our baby and he doesn’t want to ruin that. Still, it troubles him until Macau gets the source of it out. Does it matter Hia? Does it bother you that P’Pete is basically baby trapping you? It doesn’t bother him. Actually, it pleases him that Pete went so far to get a baby to try to keep him with him. Where the baby came from doesn’t matter, he decides. What matters is that Pete grabbed a baby and tried to pass it off as theirs. What matters is that Pete felt uncertain about his position in his life and tried to bind them together. Venice is the proof of Pete’s love for him, even if he wasn’t conceived at the safehouse.

And so, both of them happily go along pretending that Venice is the product of Vegas and Pete and Macau is happy to continue this idea too. He has a happy family at last and he’s not going to jeopardize that by bringing up that Venice is from their hated stepmother.

They continue along so happy and sure in their decision that Venice is from Pete and Vegas that it starts unintentionally gaslighting other people. Because how Venice came to be and how Pete got custody was kept very low key, few people actually know how it happened. And two of them just started the rumor of it being a biological child. People are now starting to question whether Pete is biologically male or whether men can get pregnant. Tankhun decides it’s unfair his cousin has a baby and he also wants to be an uncle. He starts pestering Kinn and Porsche. Porsche especially is very freaked out by this and marches over to Kinn to try to get him to make it stop. Kinn tries to explain to the situation but Tankhun scoffs. As if Vegas would love the child of his hated father and stepmother that much. It has to be Pete’s. Pete said it was. And it’s undeniably Vegas’. The baby must be why Pete left. Tankhun sweeps out to go look for Porsche.

Kinn decides this can only be resolved by correcting Vegas and Pete. It does not go as expected. Because Pete is adamant that Venice is his. And Vegas is realizing that this probably is where Venice came from. But it doesn’t change the fact that Pete is using this baby to claim him. That Venice is the symbol of Pete’s love for him. If Pete wants to baby trap him by claiming that Venice is his child with Pete, he’s more than willing to go with it.

Pete meanwhile knows Vegas and Macau hated their stepmother and doesn’t want to risk the happy family they’ve started building. Besides, Venice is his. The mother that abandoned him doesn’t get to claim him. Venice is proof of Vegas’ love for him because he surely knows that the baby can’t actually be his child with Pete. But he loves Pete enough to keep up this lie and raise and love a baby that, for all he knows, Pete randomly kidnapped from the hospital nursery. He loves Pete enough to bind them together forever with this baby. Venice is proof of how much Vegas loves him and he will fight Khun Kinn over it. Venice is their baby, the symbol of their love.

Venice’s origins remain a mystery years into the future because both parents continue to claim he was conceived by them and that he’s the child of their love. And he is, just not in the way everyone else thinks he is.

Meanwhile, Macau, the mastermind who engineered this, is happy that he manipulated both of them into baby trapping each other so he could have a happy family at last.

[peachym00]

✨new fic alert✨

✨14k✨ ch 1 of 2 ❗️graphic depictions of violence❗️explicit❗️secret relationship 🤫 falling in love💘 part of a series👨‍👨‍👦

Venice is five years old when Pete saves his life. Vegas is twenty-five years old when he realises that love doesn't have to be painful. And Macau just wants his senior year of school to end so he can finally come home from boarding school.

The day that Pete and the other few innermost privileged guards are informed that Gun has become a father to a son for the third time, he doesn’t have much–if any– hope for the poor thing. The worst thing that man could be given is yet another son. But the universe is cruel, it seems. Besides praying for the tiny mite to have a fighting chance, he doesn’t give the kid further thought. No one is permitted to share the information. Nothing more is said about him. Approximately four years later, Pete wanders into the bodyguard canteen on his rare tea break to find a small child sitting alone, frowning at a milk carton. As he walks closer, he spots a man several metres away wearing typical minor family guard fashion. And combined with the kid's uncanny resemblance to Vegas, Pete realises precisely who he is. Venice Theerapanyakul. Four years old. Third son of Gun Theerapanyakul.