obviously, this is not that 30-day meme; it is more WIP amnesty
No, it's more not!fic. I'm unlikely to ever turn this into a complete fic, so.
Here, have some famous actor!Brendon and fan!Spencer. Unbeta'd. Txt-fic for why_me_why_not, shutyourface, and vic_ramsey.
So, the other night I told vic_ramsey that I wanted to read about fanboy Spencer. Where Brendon is hugely famous, and Spencer goes to see all of his movies, the first night they are released. He's got a collection of BUrie DVDs, from the stuff he did as a child star for the Children and Families Network all the way through his latest ridiculous rom-com. Ryan gives Spencer no end of shit about Brendon, b/c Brendon just signed a four-picture deal with Sony that will no doubt include yet MORE rom-coms and unlikely action flicks; he always ends up in movies with terrible dialogue that somehow *cough*BRENDON*cough* still do well at the box office, but this time, although no one but Brendon, his agent, and the studio knows it yet, his contract includes the opportunity to produce his own indie quirky movie that will ~eventually~ catapult him into the director's chair.
Anyway.
To say that Spencer knows who Brendon is would be an understatement. So he's not sure what he's expecting when he looks up from lighting his celebratory cigarette (he just catered a big party for the club next door to his restaurant, which was hard fucking work while keeping the regular dinner traffic happy; he deserves a damn smoke, no matter what his mom or his sisters say about nicotine and lung cancer) and sees a dark head of hair poking out from around the club's back entrance.
Not Brendon. Spencer hadn't even known he was going to be at that party, or he'd've probably found a reason to "check in" on the waitstaff more regularly or something. He's not sure why Brendon would be sneaking out the back, but then, okay, yeah, industry party equals paparazzi out front, so. He waves at the dark end of the alley and says on an exhale of smoke (he'd like to pretend he was being cool and nonchalant, but he HAD to exhale, b/c he just realized he was holding his breath), "Photographers usually hang out at the other corner, where they can keep an eye on the valets. That way's clear."
Brendon smiles and thanks him, and he's gone like he'd never even been there. For a second, Spencer wonders if he imagined the whole thing.
Spencer's busy. He's the owner/manager of a brand new restaurant in a transitional neighborhood (I know nothing about real estate in LA, but pretend like there's something like that near Burbank,'kay?), and he's hitting the six-month mark in this space just barely in the black. It was hard for him to give up the kitchen, but after working in a handful of terribly managed restaurants, his borderline OCD took over, and he decided that he could make a place *work*. So it's all of his savings and a big loan, but he's hopeful. But he also puts in a shit-ton of hours, dealing with staff and suppliers and the accountant. It was maybe a bad idea to have moved into the space upstairs, because even on days that he's supposed to be off (he has an assistant manager for a REASON) he ends up downstairs during the dinner rush.
It's NOT his afternoon off when Shane brings Brendon in for a late lunch. (The reservation was for Valdes, if there was one. Spencer's pretty sure he'd NOTICE Brendon's name on their guest list.) Spencer is doing his thing, making sure everything is as it should be for their customers, planning the dinner menu, checking on tables, and he starts talking to Shane about the artwork on display - Spencer's showing Tom's photos b/c he couldn't really afford pricey art when he first opened, and Tom wanted the exposure - when Brendon comes back from the men's room and is like, "Oh, hi! My good Samaritan! Shane, you're looking at the only reason there wasn't footage of the other night's debacle on TMZ."
And then there're introductions. It's sort of awkward because, hey, hi, Spencer obviously knows who Brendon is, but this is LA, and Spencer owns the things he's into, so whatever. He smiles and shakes Brendon's hand, and they're chatting aimlessly when Brendon makes a wry comment about the amount of memorizing he has to do to deliver cheesy dialog for the sequel he's filming right now. Spencer says something really sarcastic about him not needing rehearsals for that anymore (WHAT? He likes Brendon and his movies, but he's not stupid or blind about how little they actually USE Brendon's talent.) and then he remembers who he's talking to. He's pretty sure his face is on FIRE, and there's a moment of horrified silence on his part that is interrupted by Shane's loud bray of laughter, followed by Brendon's admission that he used to practice in front of a mirror, when he was younger, first getting movie roles, but it comes pretty natural now.
It becomes a habit, Brendon stopping in for a late lunch or early dinner, since the sequel he's filming is at the point where he's doing all studio work and pickups, and he's in the midst of organizing the preproduction for *his* movie (Shane is going to do to the filming, and Patrick agreed to play the lead, and Bden is doubling as producer and supporting actor; the script is something he wrote with Pete; well, it's more like 70/30 Pete/Brendon, b/c Pete rewrote a lot of the dialogue after they talked about the plot, but still). It's ~convenient~ for him to stop by Twins a couple of times a week. He and Spencer chat, and it progresses to sort of awkward flirting. At first Spencer wasn't sure it WAS flirting, because there's never really been rumor about Brendon being gay or bisexual (not that Spencer would have been *looking* for such a rumors, or even thought them relevant to his own life before), but Jon, his bartender/assistant manager, sets him straight on that one. ("Body language, dude. Legs crossed toward you are an unequivocal sex invite. Alicia Silverstone will confirm it.") Spencer tries not to let his inner fanboy show too much, but since he's got Brendon's filmography basically memorized, he usually knows exactly what movie Brendon is talking about when he shares funny stories about on-set life in Hollywood.
One night Brendon gets there late, in the middle of the dinner rush. Normally he doesn't need a reservation, not b/c he's trading on his fame but b/c he comes in at off peak times, but tonight Spencer is booked full up, there's no way to juggle tables or even a spot at the crammed-full bar, so in the end Spencer bows to the inevitable and shuffles Brendon back to the table near the kitchen, where Ryan has a book propped open and is sipping from a glass of the Bordeaux that Spencer is trying to decided whether to add to the menu.
Ryan knows that *something* is going on, but Spencer won't talk to him about it (b/c he knows Ryan's opinion on popular movies and actors), and he and Brendon are never there at the same time, so he's been sulking about being out of the loop when it comes to his BFF's life. Which, okay, Spencer loves Ryan dearly, but Ryan is oblivious to Spencer's love life seventy percent of the time, so he's not sure why it matters NOW. He'd sort of like the benign neglected disinterest on Ryan's part to continue. But no. Of course not.
So Spencer seats Brendon, and Ryan offers to pour Brendon a glass of wine, which Brendon declines, and that *immediately* adds a notch in the negative column of attributes that Ryan is compiling. Brendon & Spencer have this running friendly argument about the appropriate time & place for umbrella-decorated drinks, and Jon jokingly sends over Brendon's beer with an orange slice on the rim and a frilly umbrella, before Brendon can do more than shake his head at the bottle in Ryan's hand. Ryan totally scorns Brendon's plebian taste, and his conversation is barbed with sort of veiled insults, & Ryan expects Brendon is so dim (seriously, pretty and stupid, if you're into the big-eyed, plush-lipped flirty look) that they'll sail right over his head, but then Brendon starts replying in ways that could be construed as blank and vapid, but also could be interpreted as sly sniping right back. Ryan ends up being surprised and amused, but not ready to approve of Spencer's taste.
For his part, Brendon is *tired*. His day started with an extremely early call, and he worked all day without a break, then came straight to Twins from the set. He's fine with nodding absently and slipping in a verbal response whenever Ryan pauses. (Which isn't that often.) He grew up in this town, as the youngest in a family that had set ideas and expectations and a mammoth reputation, so he's used to people prejudging and underestimating him; he'd like Spencer's friend to like him, but he's not going to expend energy on someone before they are ready to be charmed or convinced, and Ryan is clearly neither, at this first encounter.
It's only when Spencer stops by with their entrees (Brendon usually asks for whatever Spencer recommends; Ryan can be a picky bitch, so he gets whatever Spencer decides to serve him - it's been like that since they were kids) with a smile and a "Need another Blue Moon?" that Ryan looks closer at what's left in the glass and then at the lazy smirk on Brendon's face.
So, the first BFF exposure isn't deadly or toxic, and sometimes they end up at Twins together at the same time, and sometimes Brendon and Ryan don't. The important thing is that Brendon and SPENCER are at Twins at the same time, more and more often. The faily flirting becomes really obvious flirting, and Spencer flirts right back.
Jon thinks they are HILARIOUS. Spencer feels like a teenaged girl mooning over a movie star, or he would, but Brendon's got obvious heart-eyes when they're together, so at least it's not like he's a teenaged girl with an *unrequited* crush on a movie star. A few weeks go by where their schedules just do not make it possible for anything more than flirting and making out in Spencer's office, because Brendon's got a string of early morning sessions and PR stuff starting up, and Spencer's too OCD to actually let Jon do more than ASSIST in managing. On the night before Brendon's first day off in months, he comes to the restaurant for dinner, and spends most of the evening drinking tonic at the bar and ogling Spencer's ass. (Spencer can *feel* his eyes, stripping him; he can't really complain, though, because when he stops by to check on the level of the taps, he gets distracted by the way Brendon manages to get his straw twisted in a knot with his tongue, and, um, yeah.) Jon thinks it's hysterical, especially when Spencer gets flustered in front of other customers.
That night is the first time that Spencer abandons Jon to close by himself, dragging Brendon upstairs when the dinner rush passes.
Spencer comes in late the next day, and Jon knows from the goofy grin on Spencer's face and the line of purpling bruises on his neck that Spencer must've been spectacularly well laid last night, and possibly, no, *probably* again that morning. Ryan comes in for lunch, and his eyes, which he generally rolls exaggeratedly whenever Brendon is mentioned, get a sustained workout.
So, life continues. Ryan's still not totally cool with Brendon, but he makes Spencer happy (if ridiculously sex-hazed) so he's willing to let things be. Jon enjoys the side-show, mostly because Brendon is a sort of charming dork, underneath the awareness that comes with being in the spotlight for most of his life. Brendon and Spencer aren't really *dating* as such, because they're both pretty busy, but Brendon's not hiding. Also? Brendon has no shame. If he's at the restaurant at closing, he hangs out with Jon and Spencer and helps, entertaining them with anecdotes about the movie he's filming or, if he's had a bad day, quoting dorky dialogue from other movies. He doesn't care if Jon can hear or see him when he catches Spencer as he comes around the bar, clinging to his back like a monkey as he tells him, "Take me to bed, Goose, or lose me forever."
Spencer complies quite happily.
So things are going fine until Brendon hits a rough spot, where he's stretched thin, wrapping up the studio-required sequel and getting into the hardcore stuff for his special project, and he spends a few weeks away from Spencer and Twins. Spencer knew this was coming, and he knows it's not personal and not permanent, but he mopes without his daily dose of Brendon (and blowjobs); Ryan, who up to that point had still held a low opinion of Brendon's misuse of his acting skills and role choice, and who isn't privy to the reasons behind his absence, implies that Spencer is better off without him, that Brendon was shallow and fickle.
They have words.
Spencer ends up telling him about Brendon's side-project, about the script that he and Pete wrote and he's producing. Ryan is, naturally, a huge fan of Pete's poetry and prose, and somehow Brendon not being a studio whore raises him in Ryan's estimation. (Brendon is vaguely annoyed when he hears this, that somehow Pete's involvement gives him credibility in Ryan's eyes, but whatever. He can deal with Ross's sarcasm and attitude if that's what comes with Spencer Smith. Spencer is totally worth it. And one night when they're hashing through some rewrites that are just not *working* when he and Patrick try to portray them, Brendon brings Pete to Twins, and Ryan's fanboying is RIDICULOUS. Pete recognizes Ryan's name. Spencer and Brendon just sit back and watch; Spencer wishes he had a camera recording this shit, because he is NEVER letting Ryan live it down, not after the crap he gave Spencer about Brendon.)
Then the big movie is done filming and Brendon comes home to Spencer, and he hands the keys over to Jon for a week and they don't leave his apartment for days while they have lots of making out and sex. The end.
random bits that are in my head, but don't really fit in:
1. Ryan is a journalist who is writing the Next Great American Novel
2. Brendon met Pete via Ashlee. Their script is a sort of mishmash of their childhood issues, about rebelling in a productive way and learning when it's okay to compromise, and growing up. It won't earn tons of money, but Patrick's performance is lauded, and it's the start of a long-term productive relationship between Pete, Brendon, and Shane. Brendon brings Spencer as his date to the premiere of this movie AND his studio-driven blockbuster sequel. It's how he officially comes out.
3. Brendon grew up in LA and TV. His family is heavily involved in Children and Families Network, which is sort of like Disney but more overtly religious, backed heavily by the LDS church. Things went fine for him as a child star until, at seventeen, he told his parents he wouldn't join the TV ministry when he came of age. They don't speak about it publicly b/c it would be bad for their wholesome, family-first image, but he was basically PNG'd by them and their network once he turned 18 and finished school. The good thing about all the experience as a kid, though, and being raised in a strict LDS household, was that he had earned a reputation as being hard-working, not a wild-child like many child stars, and that credibility and reputation helped him get other jobs without his family's help. That's also why he's willing to do whatever he needs for the studio in terms of stupid rom-com roles to push his own plans forward: he doesn't have a support network of family now.
4. Brendon and Ashlee have been friends since childhood. The Simpsons are friends/colleagues/competitors (depending on the ratings that week) with the Uries. When she met Pete and went a little bit crazy, Brendon was worried about her, but things worked out far better for her rebellion and her family than they did for him with his.
5. Spencer's sisters are not clear how their brother managed to land a movie star. But then they meet Brendon, and okay, yeah, he likes comics and he quotes 80s movies and plays video games, and he jokes that Spencer won him with pie and fettucine alfredo, which he loves and his trainer hates, and they get it: two ridiculously geeky souls, matching.
6. Spencer's mom has a few choice things to say to any family that would ignore a member who needed to forge his own path, but she manages to restrain herself when they all meet, at a party to celebrate when one of Brendon's directorial efforts earns a Golden Globe nomination.
Here, have some famous actor!Brendon and fan!Spencer. Unbeta'd. Txt-fic for why_me_why_not, shutyourface, and vic_ramsey.
So, the other night I told vic_ramsey that I wanted to read about fanboy Spencer. Where Brendon is hugely famous, and Spencer goes to see all of his movies, the first night they are released. He's got a collection of BUrie DVDs, from the stuff he did as a child star for the Children and Families Network all the way through his latest ridiculous rom-com. Ryan gives Spencer no end of shit about Brendon, b/c Brendon just signed a four-picture deal with Sony that will no doubt include yet MORE rom-coms and unlikely action flicks; he always ends up in movies with terrible dialogue that somehow *cough*BRENDON*cough* still do well at the box office, but this time, although no one but Brendon, his agent, and the studio knows it yet, his contract includes the opportunity to produce his own indie quirky movie that will ~eventually~ catapult him into the director's chair.
Anyway.
To say that Spencer knows who Brendon is would be an understatement. So he's not sure what he's expecting when he looks up from lighting his celebratory cigarette (he just catered a big party for the club next door to his restaurant, which was hard fucking work while keeping the regular dinner traffic happy; he deserves a damn smoke, no matter what his mom or his sisters say about nicotine and lung cancer) and sees a dark head of hair poking out from around the club's back entrance.
Not Brendon. Spencer hadn't even known he was going to be at that party, or he'd've probably found a reason to "check in" on the waitstaff more regularly or something. He's not sure why Brendon would be sneaking out the back, but then, okay, yeah, industry party equals paparazzi out front, so. He waves at the dark end of the alley and says on an exhale of smoke (he'd like to pretend he was being cool and nonchalant, but he HAD to exhale, b/c he just realized he was holding his breath), "Photographers usually hang out at the other corner, where they can keep an eye on the valets. That way's clear."
Brendon smiles and thanks him, and he's gone like he'd never even been there. For a second, Spencer wonders if he imagined the whole thing.
Spencer's busy. He's the owner/manager of a brand new restaurant in a transitional neighborhood (I know nothing about real estate in LA, but pretend like there's something like that near Burbank,'kay?), and he's hitting the six-month mark in this space just barely in the black. It was hard for him to give up the kitchen, but after working in a handful of terribly managed restaurants, his borderline OCD took over, and he decided that he could make a place *work*. So it's all of his savings and a big loan, but he's hopeful. But he also puts in a shit-ton of hours, dealing with staff and suppliers and the accountant. It was maybe a bad idea to have moved into the space upstairs, because even on days that he's supposed to be off (he has an assistant manager for a REASON) he ends up downstairs during the dinner rush.
It's NOT his afternoon off when Shane brings Brendon in for a late lunch. (The reservation was for Valdes, if there was one. Spencer's pretty sure he'd NOTICE Brendon's name on their guest list.) Spencer is doing his thing, making sure everything is as it should be for their customers, planning the dinner menu, checking on tables, and he starts talking to Shane about the artwork on display - Spencer's showing Tom's photos b/c he couldn't really afford pricey art when he first opened, and Tom wanted the exposure - when Brendon comes back from the men's room and is like, "Oh, hi! My good Samaritan! Shane, you're looking at the only reason there wasn't footage of the other night's debacle on TMZ."
And then there're introductions. It's sort of awkward because, hey, hi, Spencer obviously knows who Brendon is, but this is LA, and Spencer owns the things he's into, so whatever. He smiles and shakes Brendon's hand, and they're chatting aimlessly when Brendon makes a wry comment about the amount of memorizing he has to do to deliver cheesy dialog for the sequel he's filming right now. Spencer says something really sarcastic about him not needing rehearsals for that anymore (WHAT? He likes Brendon and his movies, but he's not stupid or blind about how little they actually USE Brendon's talent.) and then he remembers who he's talking to. He's pretty sure his face is on FIRE, and there's a moment of horrified silence on his part that is interrupted by Shane's loud bray of laughter, followed by Brendon's admission that he used to practice in front of a mirror, when he was younger, first getting movie roles, but it comes pretty natural now.
It becomes a habit, Brendon stopping in for a late lunch or early dinner, since the sequel he's filming is at the point where he's doing all studio work and pickups, and he's in the midst of organizing the preproduction for *his* movie (Shane is going to do to the filming, and Patrick agreed to play the lead, and Bden is doubling as producer and supporting actor; the script is something he wrote with Pete; well, it's more like 70/30 Pete/Brendon, b/c Pete rewrote a lot of the dialogue after they talked about the plot, but still). It's ~convenient~ for him to stop by Twins a couple of times a week. He and Spencer chat, and it progresses to sort of awkward flirting. At first Spencer wasn't sure it WAS flirting, because there's never really been rumor about Brendon being gay or bisexual (not that Spencer would have been *looking* for such a rumors, or even thought them relevant to his own life before), but Jon, his bartender/assistant manager, sets him straight on that one. ("Body language, dude. Legs crossed toward you are an unequivocal sex invite. Alicia Silverstone will confirm it.") Spencer tries not to let his inner fanboy show too much, but since he's got Brendon's filmography basically memorized, he usually knows exactly what movie Brendon is talking about when he shares funny stories about on-set life in Hollywood.
One night Brendon gets there late, in the middle of the dinner rush. Normally he doesn't need a reservation, not b/c he's trading on his fame but b/c he comes in at off peak times, but tonight Spencer is booked full up, there's no way to juggle tables or even a spot at the crammed-full bar, so in the end Spencer bows to the inevitable and shuffles Brendon back to the table near the kitchen, where Ryan has a book propped open and is sipping from a glass of the Bordeaux that Spencer is trying to decided whether to add to the menu.
Ryan knows that *something* is going on, but Spencer won't talk to him about it (b/c he knows Ryan's opinion on popular movies and actors), and he and Brendon are never there at the same time, so he's been sulking about being out of the loop when it comes to his BFF's life. Which, okay, Spencer loves Ryan dearly, but Ryan is oblivious to Spencer's love life seventy percent of the time, so he's not sure why it matters NOW. He'd sort of like the benign neglected disinterest on Ryan's part to continue. But no. Of course not.
So Spencer seats Brendon, and Ryan offers to pour Brendon a glass of wine, which Brendon declines, and that *immediately* adds a notch in the negative column of attributes that Ryan is compiling. Brendon & Spencer have this running friendly argument about the appropriate time & place for umbrella-decorated drinks, and Jon jokingly sends over Brendon's beer with an orange slice on the rim and a frilly umbrella, before Brendon can do more than shake his head at the bottle in Ryan's hand. Ryan totally scorns Brendon's plebian taste, and his conversation is barbed with sort of veiled insults, & Ryan expects Brendon is so dim (seriously, pretty and stupid, if you're into the big-eyed, plush-lipped flirty look) that they'll sail right over his head, but then Brendon starts replying in ways that could be construed as blank and vapid, but also could be interpreted as sly sniping right back. Ryan ends up being surprised and amused, but not ready to approve of Spencer's taste.
For his part, Brendon is *tired*. His day started with an extremely early call, and he worked all day without a break, then came straight to Twins from the set. He's fine with nodding absently and slipping in a verbal response whenever Ryan pauses. (Which isn't that often.) He grew up in this town, as the youngest in a family that had set ideas and expectations and a mammoth reputation, so he's used to people prejudging and underestimating him; he'd like Spencer's friend to like him, but he's not going to expend energy on someone before they are ready to be charmed or convinced, and Ryan is clearly neither, at this first encounter.
It's only when Spencer stops by with their entrees (Brendon usually asks for whatever Spencer recommends; Ryan can be a picky bitch, so he gets whatever Spencer decides to serve him - it's been like that since they were kids) with a smile and a "Need another Blue Moon?" that Ryan looks closer at what's left in the glass and then at the lazy smirk on Brendon's face.
So, the first BFF exposure isn't deadly or toxic, and sometimes they end up at Twins together at the same time, and sometimes Brendon and Ryan don't. The important thing is that Brendon and SPENCER are at Twins at the same time, more and more often. The faily flirting becomes really obvious flirting, and Spencer flirts right back.
Jon thinks they are HILARIOUS. Spencer feels like a teenaged girl mooning over a movie star, or he would, but Brendon's got obvious heart-eyes when they're together, so at least it's not like he's a teenaged girl with an *unrequited* crush on a movie star. A few weeks go by where their schedules just do not make it possible for anything more than flirting and making out in Spencer's office, because Brendon's got a string of early morning sessions and PR stuff starting up, and Spencer's too OCD to actually let Jon do more than ASSIST in managing. On the night before Brendon's first day off in months, he comes to the restaurant for dinner, and spends most of the evening drinking tonic at the bar and ogling Spencer's ass. (Spencer can *feel* his eyes, stripping him; he can't really complain, though, because when he stops by to check on the level of the taps, he gets distracted by the way Brendon manages to get his straw twisted in a knot with his tongue, and, um, yeah.) Jon thinks it's hysterical, especially when Spencer gets flustered in front of other customers.
That night is the first time that Spencer abandons Jon to close by himself, dragging Brendon upstairs when the dinner rush passes.
Spencer comes in late the next day, and Jon knows from the goofy grin on Spencer's face and the line of purpling bruises on his neck that Spencer must've been spectacularly well laid last night, and possibly, no, *probably* again that morning. Ryan comes in for lunch, and his eyes, which he generally rolls exaggeratedly whenever Brendon is mentioned, get a sustained workout.
So, life continues. Ryan's still not totally cool with Brendon, but he makes Spencer happy (if ridiculously sex-hazed) so he's willing to let things be. Jon enjoys the side-show, mostly because Brendon is a sort of charming dork, underneath the awareness that comes with being in the spotlight for most of his life. Brendon and Spencer aren't really *dating* as such, because they're both pretty busy, but Brendon's not hiding. Also? Brendon has no shame. If he's at the restaurant at closing, he hangs out with Jon and Spencer and helps, entertaining them with anecdotes about the movie he's filming or, if he's had a bad day, quoting dorky dialogue from other movies. He doesn't care if Jon can hear or see him when he catches Spencer as he comes around the bar, clinging to his back like a monkey as he tells him, "Take me to bed, Goose, or lose me forever."
Spencer complies quite happily.
So things are going fine until Brendon hits a rough spot, where he's stretched thin, wrapping up the studio-required sequel and getting into the hardcore stuff for his special project, and he spends a few weeks away from Spencer and Twins. Spencer knew this was coming, and he knows it's not personal and not permanent, but he mopes without his daily dose of Brendon (and blowjobs); Ryan, who up to that point had still held a low opinion of Brendon's misuse of his acting skills and role choice, and who isn't privy to the reasons behind his absence, implies that Spencer is better off without him, that Brendon was shallow and fickle.
They have words.
Spencer ends up telling him about Brendon's side-project, about the script that he and Pete wrote and he's producing. Ryan is, naturally, a huge fan of Pete's poetry and prose, and somehow Brendon not being a studio whore raises him in Ryan's estimation. (Brendon is vaguely annoyed when he hears this, that somehow Pete's involvement gives him credibility in Ryan's eyes, but whatever. He can deal with Ross's sarcasm and attitude if that's what comes with Spencer Smith. Spencer is totally worth it. And one night when they're hashing through some rewrites that are just not *working* when he and Patrick try to portray them, Brendon brings Pete to Twins, and Ryan's fanboying is RIDICULOUS. Pete recognizes Ryan's name. Spencer and Brendon just sit back and watch; Spencer wishes he had a camera recording this shit, because he is NEVER letting Ryan live it down, not after the crap he gave Spencer about Brendon.)
Then the big movie is done filming and Brendon comes home to Spencer, and he hands the keys over to Jon for a week and they don't leave his apartment for days while they have lots of making out and sex. The end.
random bits that are in my head, but don't really fit in:
1. Ryan is a journalist who is writing the Next Great American Novel
2. Brendon met Pete via Ashlee. Their script is a sort of mishmash of their childhood issues, about rebelling in a productive way and learning when it's okay to compromise, and growing up. It won't earn tons of money, but Patrick's performance is lauded, and it's the start of a long-term productive relationship between Pete, Brendon, and Shane. Brendon brings Spencer as his date to the premiere of this movie AND his studio-driven blockbuster sequel. It's how he officially comes out.
3. Brendon grew up in LA and TV. His family is heavily involved in Children and Families Network, which is sort of like Disney but more overtly religious, backed heavily by the LDS church. Things went fine for him as a child star until, at seventeen, he told his parents he wouldn't join the TV ministry when he came of age. They don't speak about it publicly b/c it would be bad for their wholesome, family-first image, but he was basically PNG'd by them and their network once he turned 18 and finished school. The good thing about all the experience as a kid, though, and being raised in a strict LDS household, was that he had earned a reputation as being hard-working, not a wild-child like many child stars, and that credibility and reputation helped him get other jobs without his family's help. That's also why he's willing to do whatever he needs for the studio in terms of stupid rom-com roles to push his own plans forward: he doesn't have a support network of family now.
4. Brendon and Ashlee have been friends since childhood. The Simpsons are friends/colleagues/competitors (depending on the ratings that week) with the Uries. When she met Pete and went a little bit crazy, Brendon was worried about her, but things worked out far better for her rebellion and her family than they did for him with his.
5. Spencer's sisters are not clear how their brother managed to land a movie star. But then they meet Brendon, and okay, yeah, he likes comics and he quotes 80s movies and plays video games, and he jokes that Spencer won him with pie and fettucine alfredo, which he loves and his trainer hates, and they get it: two ridiculously geeky souls, matching.
6. Spencer's mom has a few choice things to say to any family that would ignore a member who needed to forge his own path, but she manages to restrain herself when they all meet, at a party to celebrate when one of Brendon's directorial efforts earns a Golden Globe nomination.