#Audience Development

[garvescope]

Here’s What Filmmakers Need for their Post-Festival Plan

You’ve made it. Your film just had its world premiere. Maybe at a prestigious festival. Maybe at a regional one that truly loved your work. You walked the carpet, took the Q&A mic, shook hands with buyers, and finally exhaled. Now what? If your answer is “wait and see,” you’re already behind. Because the truth is, the smartest filmmakers don’t go into festivals hoping to get lucky. They go in…

[sanjitchudha]

Changing Cultural Audiences: Trends and Insights

Audiences are Changing A thread ⬇️ #SocialChange #Demographics

Audiences for cultural and artistic endeavours are changing just as their attitudes are. The reasons for these changes are multiple and include shifts in tastes, income, and demographics. Let’s look at the how the data identifies trends which cut through the noise. How and why audiences are changing Outside of wars, famines, natural disasters and pandemics, births and deaths are relatively…

[redeemed-wren]

I do find it facinating how Dracula Daily has turned Dracula into a different kind of myth now that we're in its third year running. I've seen a few people compare it to Hadestown, or a timeloop. The enjoyment isn't JUST from engaging with the story now, it's engaging with the experience, and while the emails are still the same as previous years, we've been through this before.

The way we as an audience interact with this story and this way of telling the story changes the genre. Its no longer a gothic horror, classic lit story. It's become a mythology, a tragedy, a repeating loop. Jonathan Harker returns to the castle every year. Every year it happens again. And that changes it, builds up new mythos around it, even if the words stay exactly the same.

[paladinsbrainrot]

tried to shut up about willel for five minutes and almost exploded

close ups + my reference !

[scarlettfevor]

I just saw this video talking about actresses who've had to wear sexualized outfits on film that made them uncomfortable (think Margot Robbie in Suicide Squad) and it brought up an ongoing concern of mine about how films and tv shows are way more explicit now than they've been before. Thinking about how many actresses have been topless or nude on camera when it's totally unnecessary) Like I know Hollywood is experimental and would show sex and nudity in their films, I don't have a problem with that it's just how disproportionate the amount of women vs men who have to be naked and sexualized in film is. It's misogyny, pure and simple. Forcing actresses to put their bodies and sexuality on display for the pleasure of male directors and a male audience. And I hate that you can never point out how many actresses have come out and said that no, they didn't like wearing sexualized outfits on screen, they didn't like going nude/being pressured to go nude, they don't like sex scenes or explicit rape scenes but still anytime anyone mentions this you have to fight puritan allegations because god forbid you question how a notoriously sexualized and objectified marginalized community seems to always be sexualized and objectified in media.

[kwillow]

Oh yes, he'd be a fan (phan?) of the Phantom of the Opera. He would not exactly consider it high art, but I think he would feel a certain connection to any work that offers a sympathetic look at an ugly, rejected, self-proclaimed genius goth with severe social issues and a tendency for violent outbursts.

He would not talk about it because "really enjoys an Andrew Lloyd Webber musical" is not part of the image of sophistication and starched-collar class he wants to portray, but... he would sing the songs. In private. (So he thinks.)

[essektheylyss]

coming out as a cliffhanger apologist. I feel like cliffhangers are a thing that have gotten a bad rep, and I won't stand for it any longer. in fact I think cliffhangers are good for you and they should happen more often. all the time even. I think the most foundational use of storytelling is for learning to cope with uncertainty and cliffhangers are an absolutely crucial element of that. a well-executed cliffhanger is worth its weight in fucking gold. we lost sight of this because cliffhangers started becoming cheap fodder without soul, but that's because so much mass media has lacked soul lately. the soul of the cliffhanger is the combination of genuine heartwrenching emotion and panache.

[lady-merian]

While I’m on the topic of bad takes, there are actually posts going around that say that Peeta’s “If it weren’t for the baby” idea almost worked because of course the Capitol citizens are just like the right wing and so care more about a fetus than actual children.

Funny, they’re usually some of the same people saying “Suzanne Collins will keep writing Hunger Games books until people understand the point.”

How’s that for irony.

[briony-tallis]

i changed my mind, disregard previous posts. girldad lawrence clears actually.

[hismajestysaerialcorps-temeraire]

One thing I love about the Temeraire series is that by the time I found it, it was COMPLETED. Today in the year of our lord, 2025. Finished. ✅

There’s no baiting and social media frenzies to amp up or ‘find’ the ending. No side books before finishing the series. No profiteering, not really. It’s just a classic banger, done up in a bow, sitting on the shelf waiting to be read and reread.

No ambiguity, no waiting. There are nine perfectly complete books just sitting on the table. They are filled with love, companionship, friendship, and liberty. It is an abolitionist, anti-colonial alternative history of Dragons in the Gunpowder Wars.

*Chef’s kiss*

The Mobius Strip is complete. We are whole and we are content.

[garvescope]

Your Audience Is Your Most Valuable Asset (Not Your Film)

Filmmakers tend to focus their pitch around story, themes, and artistic merit. But investors? They’re thinking about markets, margins, and eyeballs. No matter how powerful your script or how impressive your cast, if you can’t clearly articulate who your audience is (and how you’ll reach them) your film will look like a risky bet. Put simply, investors aren’t investing in your film. They’re…

[3liza]

the playthrough of this i watched on Alpha Beta Gamer blew my tits clean off. it's the best RPGMaker game ive ever seen, and i thinik that's giving it too little credit because it's pretty faint praise. i was already preoccupied thinking about Ten Dead Doves and now im thinking about both of these games every time i stare at a wall for a few seconds.

the writing, art and music in Look Outside are so good i was raptly attentive through like six hours of gameplay, and i HATE the format of rpgmaker games. i was completely unsurprised to learn this dev is a Barkley, Shut Up and Jam: Gaiden alumnus

[sukibenders]

Glinda mentions to Elphaba how Fiyero can't stop thinking about that moment in Dillamond's class, or that he's having thoughts in general and how it worries her because it's not something she's used to from him (which is him thinking about actual things), in contrast to Elphaba, who doesn't seem all that bothered and, even more so interested in the manner when Fiyero brings up how he can't stop thinking about when they rescued the lion cub. I don't know about everyone else but for me, even with this scene probably being added for lighthearted value, I also see it as another piece in the puzzle cementing how Fiyero's and Glinda's actions will, eventually, either pull them closer or further away from Elphaba. I lowkey don't like it when people act surprised or confused as to why Glinda was spelled or get annoyed that Fiyero is in her place but I, personally, don't think she would have helped in that moment, specifically in the movie.

Prior to the train scene, Glinda is shown to, not only, be completely rude and spoiled (as shown with her literally fainting over not getting her way), when in class, she publicly points out Dillamond's inability to pronounce her name correctly even though it's an obvious struggle, parading in front of the class how easier it was for her other teachers to do it, then being dismissive during the rest of the lesson when learning the importance of history and why to learn from it (correct me if I'm wrong, as it has been a minute since I've seen the movie). All that already tells me that she doesn't really care for the animals' cause, let alone enough to follow Elphaba and Fiyero into the woods after stealing the lion cub and I think, subconsciously, Elphaba knew that. In fact, I can only see Glinda trying to sway them to leave the cub and how what their new professor wanted to teach probably wasn't all that bad (not saying that she would want the cub to be harmed, just that she would try to rationalize what's going as we've seen her do before). This is the same woman who, after learning that the Wizard was a fraud and responsible for the missing and harmed animals, still tried to justify his actions and berated Elphaba for not "acting accordingly" to the news, but yet we still think she should have been there to save the lion cub? That she would have helped those animals alongside Fiyero and Elphaba? I think it could allude to how Glinda could/will be used to help further push propaganda for the Wizard, especially given how it benefits her socially, as figures of propaganda often don't think too hard, or enough to critique the system around them not because they aren't smart enough too (for the most part), but more so because they understand how their world works and understand the consequences that follow when stepping out of line.

You don't have to like Fiyeraba or even find Fiyero interesting, but to purposely ignore what the movie is presenting you is such a cop-out. Fiyero enters the film being a sort of anti-establishment-like character, caring little if he gets kicked out of Shiz for breaking the rules, or just hardly caring in general (something Elphaba calls him out for), and so on. Why wouldn't he be down to rescue the lion? Even if it was to just feed his rebellious streak, he still would have gone, but when he and Elphaba meet, he's on a talking horse and they are conversing like lifelong friends. That might add another layer to the pair saving the lion. Even if he wasn't on the same level as Elphaba at that moment, the train scene shows that it had a profound impact on him that he couldn't shake. I think, had he been presented with the choice of joining Elphaba or staying, he would have gone, not only for her but also because he now knows that the Wizard is a fraud and most definitely wouldn't stand for what he [Oz] is doing. This is what sets him apart from Glinda which, isn't necessarily me hating on her but just stating facts. Glinda isn't/won't be willing to sacrifice her position and what it brings her, until it's too late (which is the tragedy of her character and her relationship with Elphaba), while Fiyero risks everything, even to some extent his own body (Scarecrow) and, in the end, gets to stand with Elphaba.

[girlrandomstuff]

So, I finally reached chapter 12 (currently in c.16) where Peeta and the others are rescued, and I can't stop thinking about @ngjasper theory.

To summarize what they exposed in their previous post https://www.tumblr.com/ngjasper/783739029054177280/pov-effie-trinket-fans-from-the-time-of-the-og?source=share

"They didn’t fully understand what had happened to Effie—not in terms of her location, but her condition. Unlike Peeta, with the tracker jacker venom, or Johanna, white the drowning and electrocution torture. It’s possible that they did manage to rescue her, but she was in such a fragile mental or physical state—perhaps even close to death—that Haymitch and Plutarch chose to remain vague about her situation. Their silence could have been a way to protect Effie's dignity and/or shield Katniss from even more emotional pain."

Ngjasper take this quote to explain this theory: "We’ve no idea what happened to Effie Trinket."

But I would like to add a few more to support this theory because I'm totally taking this theory as (head)canon:

“We got them all out. Except Enobaria." -Boggs, c.12.

They knew Effie was a hostage because "Plutarch and Haymitch had a hard time keeping her alive" so Boggs wouldn't say they got everyone if Effie wasn't with the rest. Besides the nuance and contradictions of what people say through Katniss pov is kind of weird, why would Plutarch say they don't know where Effie is if they had assets that were helping to at least stop some high rank or Snow himself to order her execution, so he saying "we don't know what happened to Effie" wasn't in regards of her location but rather her state.

"My mother, who’s been assisting in a complicated surgery, has still not been informed of Peeta’s assault." -Katniss, c.13.

This quote also gives me something to think, yes, I know D13 is a big city, so medical complications are common in, well, a hospital, but if we get the context of D13 recieving the hostages and the hospital turning chaotic because of their arrival. And taken the fact that as far as we know Johanna, nor Annie or Peeta had to go through surgery when they get them back, well, I think I it could be Effie.

So Effie returned witht the others, but she was in such a bad state Plutarch and Haymitch didn't say a word to Katniss to keep her from more pain.

That's it, thanks for comming to my rambles

[blackflash9]

I’ve noticed in discussions about The Legend of Korra and its characters how often there’s a disconnect between how the show handles its arcs and what people expect. Many viewers are used to super obvious character arcs—everything spelled out, with clear progression and big, dramatic moments.

So when arcs like Mako’s or Suyin’s lean more toward subtlety, they can feel unfamiliar or even underwhelming to some people. Take Mako, for example. His growth is quiet but meaningful—he becomes more self-aware, less insecure, and more comfortable. It’s not flashy, but it’s there. Suyin’s arc is similar in that it’s all about nuance. Her growth is shown through her choices and relationships rather than through big declarations or dramatic turning points. This kind of subtle character work is something Korra does a lot, which is pretty different from The Last Airbender. In ATLA, character development is way more explicit (which makes sense since it was aimed at a younger audience). Characters often say how they feel or make big, obvious gestures to show their growth. By contrast, Korra expects you to pay attention to the little things, which can be frustrating for people who are used to a more in-your-face storytelling style.

[the-crooked-library]

"Louis and Armand were still in love in Dubai!!" "Louis and Armand never loved each other!!" - no. it's worse. they were on the precipice of something good, but Armand couldn't recognize that, so he ruined everything they had, right when Louis had actually come to love him. the love was there for a fleeting moment and it was ruined irreversibly, never to return, even after decades they'd spent together out of desperation and spite. it's worse and that's the point