Hollywood Art: System of sunnys

November 7.

Stephen Hillenburg was at the peak of his career, with the company's support covering all his tuition and lodging expenses. It was time to repay all that talent. Upon arrival, the animation that sparked the moment and the birth of one of the greatest cartoons on American television—SpongeBob SquarePants—was set in motion.

The initial storyboards were fantastic. Without missing a beat, Billy and Stephen worked together for an entire day to shape the series. The concept was simple: create a show and give it wings. Multiple ideas flowed from every angle, and it was clear the story was destined for success. It would soon become one of the main series for young children and those over seven.

“SpongeBob, 35 points.”

-I think you have the talent to do anything, - murmured Stephen Hillenburg. The two quickly settled on an idea, and Billy wrote the first script. However, he already had the notion of sitting down at a typewriter and, in one go, producing the first twenty episodes. It was that rapid pace that ensured the series would thrive, with everything elevated to its highest expression.

-In fact, I think the next series will need a lot of work, but if we manage to create a simple environment, add some secondary characters, and take swift action, we’ll have a great show, - Billy commented.

SpongeBob is one of the most important series on American television, but for Stephen, it was an idea that took shape when he decided to pursue a master’s degree in animation for a year and a half. The demand placed on the series was greater in this period, and the connection between how to present a show and the future potential was critical.

The ideas for the series stemmed from The Intertidal Zone, a comic created by Hillenburg himself to teach his students about marine life, combined with Billy’s vision of creating an aquarium and a themed area.

-I think that’s all for today, - said Billy, looking at the new work of SpongeBob, a series born in the halls of Lux Animation.

***

The acquisitions of the 1990s were a whirlwind of financial maneuvers aimed at generating profit. Since November 1995, operations have been approached from two perspectives. The first involves General Electric, one of the leading electric companies that has experienced significant growth in recent years. With this view, General Electric began bidding for CBS.

It was just a preliminary idea a few months ago, but the company’s revenues were well above common risk, and its financial capacity allowed it to purchase CBS three times over while still maintaining active capital flow. The price of its shares soared, and Billy could only watch from the sidelines.

But that wasn’t all. Viacom began bidding for Paramount Pictures in 1994. This media company had seen tremendous growth in recent years, and its idea of acquiring a company that could solidify its position as a media mogul was a key factor. Simultaneously with General Electric, Viacom also launched its bid. The purchase prices were around $3 billion, an initial amount that seemed absurd to the average person. Interestingly, in the not-too-distant future, Viacom would acquire all of General Electric’s holdings, with its brands ranging from MTV, Nickelodeon, DreamWorks, Comedy Central, VH1, CMT, Paramount Network, TV Land, Pop TV, and more.

With an eye on all the market movements, positioning was crucial. These movements represented opportunities, and occasionally, new projects and business capacities were promoted. For example, Survivor, a series initiated by Billy—a reality show that has had a significant impact on audiences and continues to grow in popularity—is part of CBS. They might decide to cancel or terminate it, just like NBC did with Who Wants to Be a Millionaire?

-We're surrounded on all fronts, - commented Frank Biondi, CEO of Universal Studios. The corporate buyouts, the influx of massive capital, and buyers from various sectors of the entertainment world had created a certain unease. Now, even Disney is a shadow of its former self. Warner has merged with a media mogul, but it will no longer be what it once was. Meanwhile, Paramount has been acquired by Viacom, Columbia by the Sony giant, and MGM is in decline—its crisis laid bare for all to see.

Universal remains a prime target. Seagram is currently bidding for the company, with the sale price at $5.7 billion. It's simply absurd how these companies raise capital and turn once-great firms into mere accessories. This might signal the end of major artistic works because these new owners excel at everything—except losing money.

-We're going to be fired, - Lew Wasserman remarked, already contemplating his retirement. His knowledge was incredible, having worked since the 1930s, making him one of the oldest and most powerful figures in the film industry.

-Very likely, my friend, - Frank Biondi replied.

-Perhaps I'll stay, - Lew responded, contemplating the idea. It was like when movies first introduced color or sound—a fundamental shift.

-I believe the coming years will hold many surprises. I heard the kid bought the documentary channel, and recently, he's been seen operating in small film production companies, even now as a new producer, - Frank commented.

-Ahhh, I no longer have the strength... If I were his age, maybe I would fight for Universal. -

***

Two women in their 30s were locked in a silent battle while Billy tried to gauge the atmosphere. The dinner proceeded in near silence. No one raised their eyes to reveal what was happening. The table was covered with a white cloth, and the house, now adorned with plants that Mónica watered whenever she could, curtains, and paintings, felt more like a home.

-Dear, we should travel to Italy with Anne. She could relax there, - Mónica suggested.

Anne blushed but waited for Billy to respond, thinking, - How impertinent! -

They shifted uncomfortably in their seats.

-It doesn’t matter! If Anne wants to come, she can come, - Billy commented, noticing Anne's flushed face. Since their arrival, both women had been pouring themselves wine so frequently that their faces were flushed, and Anne even seemed dizzy. The pitiful look she gave, her large, watery eyes as if she were about to cry, and her labored breathing were all too telling.

Mónica gave the entire scene a deep, penetrating look and finally realized that Anne Hall was deeply infatuated with Billy. She understood it all—the desire, the intensity, the companionship. If she looked back… it made sense. They had been together for a long time, and although there was a certain taboo in their relationship, it avoided any physical contact—an unspoken, dark pleasure.

-Ahhh, such deep love, - Mónica murmured to herself, her words unheard by either of them. But Billy leaned in as if to ask her something.

The dinner continued in a slow rhythm. Anne touched on various topics, from her family, work, and hobbies, while Mónica listened calmly, sipping her wine. Both women were displaying increasingly evident behavior.

Music played, and they continued talking. Billy went upstairs for a moment to change into his pajamas and relax a bit. What he saw when he returned was the opposite of what he expected: both women were asleep on the sofa.

-You drank too much wine, - Billy commented.

He gently moved them to the large bed while he settled on the sofa. Ten minutes later, he was greeted by Mónica, now in a robe.

-Sleep with us, dear, - Mónica whispered.

-Mónica—

She simply kissed him, making it clear she wouldn’t change her mind.

....