"My current companion, Gerard de Battista, is the father of my two sons"
About this Quote
There is a quiet defiance in the phrase "current companion" - a deliberately unsentimental label that refuses the usual celebrity scripts. Victoria Abril doesn’t say husband, partner, soulmate. She picks a term that sounds provisional, almost administrative, and then locks it to something unarguable: "the father of my two sons". The sentence tightens like a knot. Whatever tabloids want to make of her love life, motherhood is the fixed point.
The intent reads as boundary-setting. Abril offers exactly two pieces of information: who he is to her right now, and who he is to her children forever. That choice is a public-facing strategy as much as a personal one. By foregrounding paternity, she shifts the conversation from romance (where spectators feel entitled to judge) to family (where the stakes feel real, and where moralizing looks cruder). It’s also a subtle correction to the way actresses are often framed: as perpetually available, perpetually changing, defined by the men in their orbit. Abril names a man, yes, but only through her own categories and priorities.
The subtext is pragmatic adulthood. Relationships can evolve; parenthood doesn’t. In a culture that demands either fairytale permanence or scandal, Abril threads a third path: intimate, clear-eyed, and intentionally non-performative. She gives the public a fact pattern, not a confession, and in doing so keeps authorship of her narrative.
The intent reads as boundary-setting. Abril offers exactly two pieces of information: who he is to her right now, and who he is to her children forever. That choice is a public-facing strategy as much as a personal one. By foregrounding paternity, she shifts the conversation from romance (where spectators feel entitled to judge) to family (where the stakes feel real, and where moralizing looks cruder). It’s also a subtle correction to the way actresses are often framed: as perpetually available, perpetually changing, defined by the men in their orbit. Abril names a man, yes, but only through her own categories and priorities.
The subtext is pragmatic adulthood. Relationships can evolve; parenthood doesn’t. In a culture that demands either fairytale permanence or scandal, Abril threads a third path: intimate, clear-eyed, and intentionally non-performative. She gives the public a fact pattern, not a confession, and in doing so keeps authorship of her narrative.
Quote Details
| Topic | Father |
|---|---|
| Source | Help us find the source |
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