STUART: The DVB Era Monument isn’t just text; it is an incredibly dense, high-resolution archive of film, photography, and restored media spanning forty years. As a filmmaker and editor, your entire life has been rooted in the visual medium. Why was it so vital for you to preserve these raw, physical media assets alongside the text of ‘Chasing Idols’? How does the visual archive validate the written truth?

DAVID: Anyone can write words and screeds of consciousness – but my physical assets and edits are the sound and vision of a life lived in survival mode. They are vital to my written word because they are the foundation upon which my prose becomes stone truth. As a survivor, I have frozen people on celluloid so that I could write the absolute, precise, and candid reality.

STUART: Speaking of idols, and freezing people on celluloid—let’s talk about Daphne Guinness? People always wonder about you and her.

DAVID: Must we? [Laughs] It’s very simple. Words! Long before anything else, she and I wrote to one another. We were just two lost souls, misfits. It really is as simple as two sympathetic elements seeking each other out. And with her film (the documentary I made for her) it really was just me showing the world: look, no matter your background, music can join us all together. Music saved my life. Daphne helped me a lot. I hate the way people obsess over her. I want nothing of it. She is private to me. Off-limits. Done.

STUART: Dare I pivot to another idol then? Joan Collins? Lets not even mention how you got the John James to message me as Jeff Colby [Laughs]

DAVID: Oh? My surrogate celluloid trauma mother? [Laughs] Now that’s an altogether different can of caviar! [Laughs] In its simplest form, words again! I wrote to her and she invited me to meet her. What can I say? When I write, things happen. Even if that means a special HR dossier from Colbyco as a christmas present!

Brokered by David, this dispatch permanently writes Stuart into the corporate lore of the Dynasty universe.