Lord of Entertainment

Chapter 30: Analysis and Theories

(Vivienne Westwood's POV)

It's been a few days since "The Demonfather" premiered, and I still can't wrap my head around the buzz it's creating. A film made by that exiled prince, of all people, has the entire capital of the Morningstar Kingdom talking.

As the actress who played Apollonia, I'm suddenly finding myself recognized everywhere I go. It's... strange, to say the least.

Just this morning, my neighbors in the Center District apartment complex were practically falling over themselves to talk to me. And don't even get me started on my trip to the market.

"Apollonia! You're alive!" a group of teenagers shouted, their eyes wide with excitement.

Some idiot even yelled, "Please go see Michael!"

I appreciate the attention, really. It's gratifying to see my work recognized, to be part of something so well-received. But dealing with these people? It's exhausting.

Who would have thought a film by an exiled prince could generate this much admiration? It's almost unbelievable.

As I think about the film's success, I can't help but remember that scene... the kiss with Arthur. I quickly shake my head, trying to dislodge the memory.

I've found myself buying newspapers every day lately, something I never used to do. But "The Demonfather" is always featured, and I can't resist reading what they're saying about the film... and, if I'm honest, about my performance.

Though I've been a bit disappointed to find little mention of myself in the articles. Not that I mind too much. It's enough to be part of such a successful film.

Back in my apartment, I settle on my bed with my stack of newspapers. As I read through the articles, I can't help but chuckle at the praise for the baptism scene. I wonder how the Solarus church is reacting to that.

It's funny, really. When I first took this role, I never imagined it would lead to all this. Fame, controversy, endless newspaper articles... it's a whole new world.

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Of course, not all the reviews are glowing. I can't help but smirk as I read some of the more critical pieces, especially those from newspapers clearly aligned with the Solarus faith. Most of these are from human countries, their outrage practically leaping off the page:

"A barbaric film. Uncivilized, and so violent. We must condemn this kind of cinema that disrespects faith so blatantly."

I roll my eyes. As if their 'civilized' world is free from violence.

Another paper takes a different tack: "How can this film receive such praise? It clearly romanticizes criminal families. These are real problems in many countries, and they certainly don't adhere to any moral code like the Corleones."

I snort. Clearly, they missed the point entirely.

But the one that really gets me is from BM News, owned by Arthur's brother, Bobby Morningstar. Their 'review' is laughably brief: "This film is nothing but trash. Anyone liking it is equally trashy."

"Real professional journalism there, Bobby," I mutter, shaking my head. It's painfully obvious that Arthur and his brother aren't on the best terms.

Thankfully, not all the coverage is so negative. I eagerly turn to the Ferland Daily, which has been singing "The Demonfather's" praises for days now.

But what really catches my eye is a series of articles by a journalist named Donald Freezon.

This guy... he's something else. He's been watching the film consecutively for days, analyzing every detail. His dedication is impressive, to say the least.

I lean in, engrossed in his latest piece: "I've watched The Demonfather 10 times now. Each day, I've tried to buy tickets for all three screenings, though sometimes I've been unlucky. After all this viewing, here's what I've discovered..."

I dive into Donald's latest analysis, my eyes widening with each paragraph:

"In the scene where Michael meets Sollozzo, pay attention to the painting in the background. It's a subtle nod to the fall of the demon family, foreshadowing Michael's own journey. And did you notice the way the light shifts during Don Corleone's office scenes? It's a brilliant representation of his waning power..."

"Unbelievable," I mutter, shaking my head in amazement. It's become my mantra while reading Donald's pieces. Every single time, he uncovers something new, something I never noticed despite being right there on set.

I find myself wondering: is the film really this deep, or is Donald reading too much into it? But then again, does it matter? The analysis is fascinating either way, and it's making people engage with the film on a whole new level.

As I reach the end of the article, Donald's conclusion hits me like a ton of bricks:

"The Demonfather isn't just the best film I've ever seen - it's also the most intricate and complex. It's a film that reveals new secrets with each viewing. The details, whether hidden in the background or subtly conveyed through the actors' performances, create a rich tapestry that rewards close attention and repeated watching."

I lean back, my mind reeling. I knew we were making something special, but this... this is beyond anything I could have imagined.

A part of me wants to laugh. If only Donald knew how many of those 'brilliant details' were happy accidents or last-minute improvisations. But another part of me is in awe. Did Arthur really plan all of this? Was there more to our exiled prince director than any of us realized?

I find myself itching to watch the film again, to see if I can spot some of these details Donald's talking about. It's strange, being both insider and outsider - I was there when we filmed these scenes, but now I'm discovering them anew through the eyes of our audience.

I shake my head, setting aside Donald's analysis, and reach for another newspaper. This one's from a human publisher, featuring a theory article by Jordan Lamb. As I start reading, I can feel my eyebrows climbing higher and higher:

"The Demonfather Theory today: I believe Arthur named Apollonia in the film after his sister, Princess Apollonia. From what I've uncovered, Arthur has a good relationship with his sister. Could the Corleone family be a mirror of the Morningstar family?"

I lean in closer, my interest piqued. This is getting into some dangerous territory.

"It seems Arthur specifically named Michael's love interest Apollonia... Michael is the youngest of the Corleones, just as Arthur is the youngest Morningstar. What could this mean? Is it possible that Arthur is secretly the king's chosen heir, but this is being kept under wraps to protect Arthur from political conflict? And could Apollonia, his sister, be in danger? Is the film Arthur's way of warning her about a threat to her life?"

I pause, a chill running down my spine. Of course, I'm curious - Apollonia was my role, after all. But this theory... it's treading into murky waters.

"Hellfire," I mutter. "What have we gotten myself into?"

I'd always assumed Arthur chose the name Apollonia simply because it sounded exotic, mysterious. But if there's any truth to this theory...

My mind races back to our time on set. Did Arthur ever give any hints about this? Was there anything in his direction that might support this wild theory?

I shake my head, trying to clear it. This is crazy. It's just a film, right? I'm not actually caught up in some royal intrigue... am I?

But a nagging voice in the back of my mind won't let it go. The intensity Arthur brought to certain scenes, the way he insisted on specific details that seemed arbitrary at the time...

"Damn it, Arthur," I mutter. "What kind of mess have you dragged me into?"

I let out a frustrated sigh and flop back onto my bed. This is not what I signed up for when I took this role. I wanted to be an actress, not a pawn in some elaborate political chess game.