MaxOrMillie

Gotttt it. I have a mighty need to learn more about the division of work and collaborations between the Vees. I need a whole Sucession style spin off. I need a seat at the board

Forgot that Val is the FILM overlord, so I guess it would just be Velv. I am forever interested by Hell's legacy media & new media alliance. Does Hell OnlyFans & Hell YouTube not threaten Val & Vox's profit? I guess it doesnt matter since it goes to Velv. I need to see this fuckass company's numbers

It's crazy cuz porn films aren't the main source of porn anymore nowadays. So what I'm asking is, is there an Only fans equivalent in Hell and do Val and Velvette split the commissions or what? Whose jurisdiction is that?

More specifically, I need to know how Val and Vel can use them to torture Vox THANK U

So fucked up that we actively see Velvette brewing something in the show but only know about Love Potion. What other potions does she make??? I need too know for porn reasons thank u

YES!

Messy WIP sketch of Polyvees fun. It's cropped and zoomed in to only show the upper halves of Vox, Val, and Vel. Vox frowning unimpressed, Val smiling, and Vel shouting angrily. Also they're not wearing shirts.

And, yes, of course there's Polyvees!!

Another reason why I've been quiet is cuz I'm spending all creative energy on the Vel Switch Week drawings....... 👀

Velvette Switch Week!

A character week for kinky works centering Hell's top influencer. Rach day has two Sub!Velvette and two Dom!Velvette prompts + one extra day where both share the prompt 'Love Potion.'

Dates: February 22nd to March 1st.

#hazbinhotel #hazbinvelvette

Moths with 12-hour mating sessions. Sharks with tonic immobility... I'm having a vision of Vox just "tapping out" for ten hours if he needs a break and letting Val use him as a glorified sex doll. Tell me they aren't made for each other.

Finally....finished this.....

#hazbinhotel #minicomic

Wahhh! Thanks again! So nice!

Vox only being able to kiss someone by sucking their tongue. S tier

OH WHAT? HAPPY BIRTHDAY!!!!

Thanks!

Nostagia Bait - Maxormillie - Hazbin Hotel (Cartoon) [Archive of Our Own] An Archive of Our Own, a project of the Organization for Transformative Works

I've had a bit of art block, which is why I haven't been posting. BUT ☝️ I wrote #Staticmoth smut for anyone who might be interested! archiveofourown.org/works/78565261 My first time writing fic and it's these losers roleplaying and being horrible to each other ❤️

Found an ancient doodle from twitter. Adding it to this thread 8/?. From when I found that picture of a moth with a corkscrew dick lol #staticmoth #voxval

She actually managed to make him worse lol. Love that for them

I just know Vox was shitting himself circa 2010...

I really wanna learn more about how Velvette got involved with Vox. Cuz I remember all those articles in the 2010s about how the internet was gonna kill TV & cable ratings were plummeting cuz everyone was just watching youtube instead. I hope she almost killed his ass lol

New Years resolution is to get back into drawing porn and maybe start up commissions if I ever stop being scared of people giving me their money

THATS SO NICE

Your ideas are so cool and it's crazy how much art you make, like you're literally a machine. Also I love how pervy your Vox is 😌

They're bad influences on him smh

I hope we learn more about the other Vees' human lives and that Velvette did something as bad as, if not worse than serial killing cult leader and that Val did smth real mundane like drunk driving

Idk if it's better for him to remotely feel all of it happening or not even knowing it's happening until they reconnect him to his body. Either way is fun

I hope Val and Vel left Vox's body out in the street somewhere, at least for a little bit, so random people could fuck it before giving it back to him 😌

A screenshot from the book "The Box : an oral history of television, 1920-1961" by Jeff Kisseloff. The excerpt reads: HENRY CASSIRER: I first heard of CBS-TV through Ned Calmer, who was doing a news show for them in 1944. There was no TV news department. We only put on one fifteen-minute show a week. Nobody took it seriously, but I knew my own job at shortwave was going to stop after the war, and I was looking for something. I was hired to help with the news and work on graphics. RUDY BRETZ: Occasionally we put maps on the floor, and a guy would walk across it and point with a stick. You can do a lot on the floor, which is part of the camera's view anyway. If it's just blank it's wasted. Very rarely do they use it now. Back then the news shows were actually more complicated than today's news productions. We had still pictures on easels, film segments, a large studio map, and live commentary. There could be some real foul-ups. One show was just terrible. Instead of changing just one card on the easel, the stagehand pulled the whole stack of them off while the camera was on the air, leaving nothing but the easel. The next story was a film piece, and they cut to that, but a splice broke on the film. By then, the stagehand got the cards back, but he put them in the wrong order. The announcer was just reading his copy. The next story was about a funeral in New York, but the announcer was reading about demonstrations in Germany. Then, the director tried to just go to a shot of the newscaster reading his copy, forgetting about any more pictures and film. But at the point the announcer was supposed to walk over to a map. The director had set up the cameras to shoot in on him sitting there, so when the announcer got up he walked right off the picture. Generally, all this elaborate stuff kept the face of the announcer pretty much out of there. We wanted to avoid having the newscaster's face on TV. We figured that the commentator was secondary to the news itself.

A screenshot from the book "The Box : an oral history of television, 1920-1961" by Jeff Kisseloff. The excerpt reads: HENRY CASSIRER: Once we realized we had to use an announcer on camera, we had trouble finding someone who was suitable. There was a notion that a journalist was a hard-driving white man. The anchor person would have to be sensitive to others, he would have to be able to interview, have a certain warmth, and be able to relate to the audience. He would have to have enough knowledge to be able to deal with a range of subjects. CHESTER BURGER: Should it be a man of authority? Should it be a working journalist? None of the CBS radio news stars wanted to have anything to do with television. We tried a sportswriter named Stan Smith a few times, but he didn't go over. We tried an older man with a beard, thinking he would be a symbol of authority. HENRY CASSIRER: The person we were looking for couldn't be the boss; he had to work with the team. Teamwork was really the key on television as opposed to radio, where a man could do a whole broadcast by himself. Radio people weren't used to that. CHESTER BURGER: Doug Edwards was from radio, but he was so unpretentious and so pleasant that he went over very well right away. He didn't regard television as slumming as the others from radio did. HENRY CASSIRER: He wasn't a brilliant man; we didn't want a brilliant man. We wanted a man who was likable and steady, who could fit into a team and not impose himself. That was Edwards.

A screenshot from the book "The Box : an oral history of television, 1920-1961" by Jeff Kisseloff. The excerpt reads: BOB BENDICK: It was tough convincing the radio people to come on television, because radio was more important than TV. LARRY LESUEUR: Also, doing television was hell. We had to carry these heavy packs, and there was no air-conditioning, so you melted under the lights. They were always powdering your face and putting eyebrows on you, although that was okay after a while because some pretty girl did the makeup. MARTIN HOADE: I had an argument with Governor Dewey, because even though he had a heavy beard, he resisted makeup. He said, "Well, has Senator Taft consented to using makeup?" You were some kind of a fairy if you used makeup, and if Taft wasn't going to use it he wasn't going to either.

A screenshot from the book "The Box : an oral history of television, 1920-1961" by Jeff Kisseloff. The excerpt reads: Swift wanted a show that would be slanted toward women who did the shopping, cooked the food, and took care of the home. Nobody knew what would make a television show work in those days. Our research department took the ten leading women's magazines and analyzed all the editorial material in them. They came back with the contents of a typical show that would appeal to women: cooking, interior decoration, child care, recreation, education, and things of that sort. Then I went to the Swift stockyards in Chicago. Shortly before lunch we had a meeting. When we finished our presentation, I couldn't tell whether or not they liked it. Then their number-two man, Ollie Jones, turned to his assistant and said, "Has Lee ever been through the killing floors?" He had this funny look on his face. I said, "Not really." He said, "Let's go to lunch and we'll talk about what Lee has told us. In the meantime, show Lee the operation." He took me to the noisiest and the bloodiest of all places, where they slaughtered the pigs. When you entered, the first thing you saw was a stretcher on the wall and a first-aid case and a telephone in case somebody fainted. It was not a pretty sight. These big Polish killers were standing on white tile floors with drains for the blood after they cut the carotid arteries on the hogs. I saw the pigs and heard 'em screaming. Their hind legs were chained together and pulled up on a conveyor belt. They knew what was gonna happen to them. We walked on through the whole business and then got downstairs again. Jones said to his assistant, "How did Lee enjoy the operation?" He said to him, "Sir, we have a real country boy on our hands here." They were testing me. It only took about ten minutes more of hemming and hawing to sign the deal. I guess if I had fainted, they would have laughed like hell but gone ahead anyway

More of this! Some info about how TV news in the 40s didn't often show the newscaster himself and that only changed when they realized it complicated the broadcast too much. Also why many radio people refused to cross over to TV. And how the deal between Swift & Co and NBC was made in 1947

A screenshot from the book "The Box: An oral history of television, 1920-1961" by Jeff Kisseloff. The excerpt reads: JACK CARTER: The exposure you got from being on Sullivan was unbeatable, but Sullivan was vicious. Sullivan was crazed. That veneer of being [slips into a perfect Sullivan imitation] very holier-than-thou. "Hi there, the nuns are out here, and the priests are my dear friends. These nice youngsters..." But when you got into the dressing room after your run-through, he called you in [again, as Sullivan]: "What kind of fucking shit is that?! You do that shit on my fucking show. You asshole. Fuck you with that shit. How dare you come in here with that cock-sucking shit. I don't need that fucking shit. Don't do that cock-sucking shit on my show. Balls! That's bullshit. You're doing fucking shit. Now, take that out. You can't do that." It was hysterical.

A screenshot from the book "The Box: An oral history of television, 1920-1961" by Jeff Kisseloff. The excerpt reads: MEL DIAMOND: I met Greg on "The Kate Smith Show." Kate's voice was like spun gold, and on camera she embodied all the sweetest virtues of American life, decency, kindness, and good taste. Meanwhile, behind the scenes her show was more like an orgy. I remember "Boom Boom," our resident schtupper, not to mention this heir to an oleo margarine fortune, who ran an expensive call girl operation on the side. As it happened, his girls began appearing on the show as models, so when Kate was downstairs on the air singing "God Bless America," some of us were in the dressing rooms upstairs getting laid. That's why when I think of "The Golden Age" of television, I'm not remembering the "Philco Playhouse." CHARLIE ISAACS: Comedians are a horny breed. Hope was the worst. It's quite common knowledge, but the press has been good to him. Hope had what they called a beard, a guy that pretends the girl is his date. His beard was a guy named Barney Dean. I remember when I did the Walgreen show there was a gorgeous girl sitting in the audience during rehearsal. I started to talk to her, and Barney sits down on my right and whispers, "Leave her alone. Bob's girl." MEL DIAMOND: Hope kept a lot of young chicks around. They used to say he could get into his car, and it would automatically take him where he had a chick stashed.

A screenshot from the book "The Box: An oral history of television, 1920-1961" by Jeff Kisseloff. The excerpt reads: Fred smoked like crazy. On my first broadcast, I was sitting next to him when in his excitement he dropped a lighted cigarette in my pocket. I'm trying to follow the script and I'm pounding my coat, trying to put out the fire in my suit, while he's yelling. "Follow the script!" "My suit's on fire!" "The hell with your suit. Follow the script!" I said, "Fuck this place. These guys are crazy." But as time went on, I got a reputation of being crazier than they were. CBS was full of academic elitists. I brought in the Hildy Johnson "Kill 'im, kill 'im, kill 'im." I realized that out there were cops, firemen, and homemakers. I've always had a genuine affection for Kiwanis and Rotarians, "the people." I like "the people." We were trying to reach the mass audience. This was BROADcasting. You reach the lowest common denominator. The trick is to do that without losing your soul. BOB BENDICK: Don can talk about going tabloid, but he was not his own boss in terms of what went into the news. There was an overview that kept it within the Murrow tradition. MARTIN HOADE: After the convention, it was decided that NBC could do on television what we do on radio—a daily hard news report that wasn't just tits-and-ass like the newsreels.

A screenshot from the book "The Box: An oral history of television, 1920-1961" by Jeff Kisseloff. The excerpt reads: RAY FORREST: We talked Lowell Thomas into doing his radio news show as a simulcast out of Studio 3H. I had already learned that if you didn't put Pan-Cake makeup on, you looked terrible. Lowell had a very heavy beard. He was also a very macho guy. He had been with Lawrence of Arabia, and he had been in Tibet, so, when I said to him, "Lowell, you're going to have to put makeup on," he said [with pear-shaped tones], "Makeup? Not me." "Lowell, you're gonna look like hell." He went on without it, but someone said something to him, and the next week he agreed to use makeup. He wouldn't touch it, though. It was much too effeminate for him, so I became his makeup man. Then every so often he would say, "I'm doing my show from Pawling." That meant he couldn't do the TV part of the simulcast, so I got the job of anchoring the TV news. I did it mostly by going up to the newsroom and tearing the copy off the teletype.

The weird hazing rituals, the verbal abuse, fucking in the dressing rooms, power trips, sexworkers, makeup... love that for him #hazbinhotelvox #vincentwhittman