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#Entertainment Industry
cbrownjc · 9 months
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I hope this is true. Because it would just be so in line with deciding to be so cartoonishly evil in public right before SAG was set to go on strike as well. A union that really has the power to shut down the whole industry and make them lose astronomical amounts of money per day.
All that Deadline article probably did was make SAG more emboldened to get everything they're asking for and not extend the deadline again.
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elizabethminkel · 8 months
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Since the WGA strikes began, the studios have been trying—and failing—to turn fans against the writers (and now the actors). I reported on a very strange SDCC this year, which was full of labor conversations and solidarity along the full spectrum of the fan/creator divide. As one member of SAG-AFTRA told me during an awareness-raising demonstration across from the convention center, “The people that I have met today have been all thumbs-up, V for victory, hugs. We love it, and we’re very pleasantly surprised.”
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realjdobypr · 27 days
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Editor and SEO Researcher Dr. Jerry Doby Releases Book for Digital Journalists and Newsrooms
Excited to have released my first book...would love to know your thoughts! SEO Essentials: A Journalist's Handbook is as up to date as it gets!
For his first published book ever, editor and published SEO researcher Dr. Jerry Doby just released SEO Essentials for Online Magazines: A Journalist’s Handbook on MagCloud. This book is based on his published research paper SEO-optimized Writing: Removing the Mystery, featured in the Cognitionis Scientific Journal (2023) and sponsored by Logos University International (UNILOGOS).SEO Essentials…
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asm5129 · 3 months
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Honestly folks
I’m not going to go down the RWBY is doomed rabbit hole
I absolutely refuse to and you should too
It’s not helpful in any way for anyone or anything
I understand it’s expensive. I understand that there’s a hurdle to making it sustainable.
But just because they haven’t cemented something yet doesn’t mean they won’t, and it doesn’t even mean there haven’t been any options on the table.
We’re working off bits and pieces of information, far too little to confidently state anything about RWBY’s future
If RWBY gets cancelled, I’ll be heartbroken. But that hasn’t happened yet and there’s no reason to go all doomer on it.
They were able to secure the crunchyroll deal for v9 and crunchyroll has shown no signs of wanting to distance themselves from RWBY, even making a collab between their vtuber and the Ruby vtuber. Yes RT is struggling financially that’s clear but there likely negotiations we are not privy to ongoing as well.
CRWBY is scrappy and resilient, they always have been.
Who are we to preemptively claim their luck has run out?
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adelphiaxo · 7 months
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its labor day, americans, remember that its a celebration of the achievements of american workers. make sure to support your local worker who is on strike, and the writer and actor strike is still happening <3
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letter-22 · 6 months
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guys with people talking more and more about the entertainment industry's exploitative practices, i think we need to talk about how genloss dealt with these exact themes RIGHT after the wga strike started (and it was planned long before the strike)
showfall treats real people as disposables to deliver as much content as possible, even killing actors for real only to bring them back for the next show... and now, everyone's talking about the crunch culture of the entertainment industry working people half to death
showfall literally turns people into content-producing robots, removing their humanity and turning them into mindless drones. and then real corporations were trying to replace writers with ais and actors with deepfakes
ranboo was right on the money. more people should be talking about genloss in general but in this conversation especially
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alexxuun · 7 months
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I’m writing an essay on a system for class and I’m actually so happy to research and write about the WGA/SAG strikes that’s currently happening in the entertainment industry :) oh to actually write something relevant and you care about.
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idpollution · 8 months
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I'm honored to be joining @BatsyBunny in their charity pin collab to support folks affected by the SAG-AFTRA strike!
Here's a preview of the neon Alastor cameo pin based on "The Other Side" from The Greatest Showman~!
This line just felt right🗝️
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joshualunacreations · 8 months
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Being an artist is hard.
(Please don’t repost or edit my art. Reblogs are always appreciated.)
If you enjoy my comics, please pledge to my Patreon or donate to my Paypal.
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daisiesonafield-blog · 2 months
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For everyone who thinks Harry (or any celeb) doesn’t need PR 🥴
link
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Canadian screenwriters have experienced a massive earnings decrease over the last half decade, says the union representing its members, and many are concerned a new federal law to regulate streaming giants doesn't go far enough to protect writers.
As their American counterparts continue to strike south of the border, the Writers Guild of Canada (WGC) issued a release this week reporting a 22 per cent inflation-adjusted decline in income for Canadian television and film writers over the last five years.
But while the federal government passed the Online Streaming Act (OSA) in April to regulate digital streaming platforms like Netflix, Disney+ and Spotify, writers with the union say they're worried language in the new law won't hold foreign streaming giants to the same standards as Canadian broadcasters.
"It's brutal," said Ian Carpenter, who has worked on Canadian shows Being Erica and Played, and is the current showrunner for horror-anthology Slasher. "The work is just not out there." [...]
Continue Reading.
Tagging: @politicsofcanada, @vague-humanoid
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iww-gnv · 9 months
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SAG-AFTRA members have authorized their leaders to call a strike if they can’t reach a deal with the major studios by Wednesday night, when their extended contract officially expires. They would join members of the Writers Guild of America, who have been on strike since May 2, broadening a labor conflict that has already disrupted film and TV productions nationwide. How did such an extraordinary standoff come about? Historians and labor experts cite several explanations, including greater cohesion among Hollywood unions, a nationwide rise in labor activism after the COVID-19 pandemic and, perhaps most important, dramatic technological change.
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percheduphere · 3 months
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people saying, oh it wasn't intended from the beginning so it wasn't intentional thus has to stay fanfiction bug me. like, shows can develop organically based on chemistry. they can surprise you and take you in a direction that wasn't planned but now just works. like, fucking, chandler and monica wasn't planned from the beginning! but the actors had chemistry and the writers tried it out and it became iconic. you don't throw something away just because it surprised you instead of being pre-planned; you cultivate whatever gold you find!
With Hollywood entertainment in particular, I think there is a lot of ignorance regarding how the creative process, production process, post-production process, and business all work. It is readily apparent that in Hollywood, there are many hands in the kitchen when it comes to creating a movie, documentary, or show. The "Original Intent" argument is weakest when it comes to Hollywood art, and in fact fails to be a viable argument in multiple areas. I will discuss how the "Original Intent" argument fails in Hollywood in more depth under the read more, using what I know from having worked in the industry myself as a writer. And to be honest, the fact I have to pull my private professional history out online, just to prove I'm not being delulu when it comes to the importance of queer subtext in film, pisses me the fuck off.
To be clear, since this whole discourse mess on my Tumblr is likely the result of someone thinking I'm an anti-sylki: I AM NOT AN ANTI. I have an extensive analysis on Sylvie as an integral character to the Loki series, Sylki in canon, and her relationship with Mobius here.
I agree with you: a lot of amazing art deviates from the original intention, especially writing. If deviating from original intent in the writing process did not exist, we would not have DRAFT REVISIONS, we would not have IMPROV, we would not have EDITORS (whose entire job hinges on giving the writer not only grammar corrections, but feedback on how to IMPROVE character, plot, and pacing, which inherently means making changes from the original intent!). This is to say nothing of the thousands, if not tens or hundreds of thousands, of media scholars--with actual PhDs--who spend years of their lives performing meta-analysis to write academic papers on subject matters like this. Papers that become formal publications and contribute to how queer history is taught in universities! This is no different than academic scholars analyzing women and race representation and resistance in film. Why should analyzing queer representation and resistance in film be treated any less?
LET'S TALK ABOUT ORIGINAL CREATIVE INTENT VS POWER HIEARCHY & POLITICS IN HOLLYWOOD
For context with respect to this ask, a different Tumblr user critiqued against queer subtext in one of my posts using the "original intent" argument for the Loki series and Lokius specifically. By this logic, if original intent is always honored, then the original script for Loki's S2E5 (written by Eric Martin) would not have been NUKED by the executive powers that be at Marvel. [source] But no, the original intent was not honored, it was rejected. So how does one square the primacy of original intent with original intent being rejected by people who are not the artist but the people who manage Disney's finances?
In television, "Executive Producer" (i.e. Tom Hiddleston, Michael Waldron, Eric Martin, etc.) is a title that can be given to a writer or actor who has more creative say in the execution of a story than a regular staff writer or actor on crew. It also indicates that the writer or actor is in a much higher salary range compared to their professional peers. It does NOT mean the same thing as a CORPORATE "Producer" of Kevin Feige's level, who ultimately has the FINAL SAY on what does NOT end up on the cutting room floor. The corporate Producer must take into account the wishes of corporate's shareholders and board of directors, who are often multi-million if not multi-billion global investors who need the distribution of the product to succeed internationally in countries like China, which is very anti-LGBTQAI+. This is how a script like Eric Martin's S2E5 can be nuked and the writer can be contractually gagged from talking about its specific contents by Disney, lest they be SUED TO HELL for breaking their non-disclosure agreements (NDAs).
This doesn't even take into account politics.
In 2020, Ike Perlmutter, Chair of Marvel, "gave $575,000 to Trump For Victory, $35,500 to the Republican National Committee in April, $5600 for Texans For Ronny Jackson in February. 2019 saw him donate $248,000 to the Republican National Committee, $466,100 to Trump For Victory, $5,600 to Donald Trump For President." His wife, Laura, mirrored those donations. "In late 2016, he also gave $5,000,000 to the Great America PAC." [source] Ike was only recently laid off from his position in March 2023 [source]. Perlmutter was in a power-struggle at Marvel with Kevin Feige for years. Feige was promoted to Chief Creative Officer in 2019, which brought the power struggle to a head, ultimately contributing to Perlmutter's departure.
There is also Bob Iger, CEO of Disney, who was famously quoted during the Writers Guild of America strike for saying, “It’s very disturbing to me. We’ve talked about disruptive forces on this business and all the challenges we’re facing, the recovery from COVID which is ongoing, it’s not completely back. This is the worst time in the world to add to that disruption”
This is the worst time in the world to negotiate to pay your writers, YOUR CREATIVE LABOR FORCE, who entertained millions of people while they were stuck in their homes for 2 years, fairly?
And these are just two men in executive power at Marvel and Disney. We're not even talking about all the other board members and shareholders. You think Tom Hiddleston, Michael Waldron, and Eric Martin have any real power compared to these guys? They do not. They are peons by comparison. And these artists (despite their "Executive Producer" title) are always at odds with the Alliance of Motion Picture and Television Producers (AMPTP), who are ultimately not artists but FINANCIERS.
Here's another quote from a studio executive that occurred during the writer's strike:
"Receiving positive feedback from Wall Street since the WGA went on strike May 2, Warner Bros Discovery, Apple, Netflix, Amazon, Disney, Paramount and others have become determined to “break the WGA,” as one studio exec blatantly put it.  
To do so, the studios and the AMPTP believe that by October most writers will be running out of money after five months on the picket lines and no work.
“The endgame is to allow things to drag on until union members start losing their apartments and losing their houses,” a studio executive told Deadline. Acknowledging the cold-as-ice approach, several other sources reiterated the statement. One insider called it “a cruel but necessary evil.”" [source 1] [source 2]
Fortunately, this negative press and the WGA members' solidarity led to the WGA getting everything they demanded. I still have friends in the industry, specifically in the WGA and MPEG. A lot of them were indeed starved out. My friend who's a film editor is still unemployed because pre-production has only recently started to ramp up again and her profession is all in post. She has to wait for production to catch-up and finish in order to get work.
If the AMPTP is willing to use clearly unethical tactics to underpay their writers and actors (don't forget the SAG-AFTRA strike that joined later), do we really think members of the AMPTP (the studio execs) are willing to honor artists' original intent if the original intent may be "offensive to some viewers" and therefore can potentially cut into their financial bottom line?
We're not naive. We know the answer to this.
OUR FLAG MEANS DEATH, KILLING EVE, AND GOOD OMENS
But what about OFMD, KE, and GO? These shows are on MAX, BBC, and Amazon Prime respectively. These corporations have a different branding image than Disney. Disney touts itself as "family friendly"; (read: on-screen LGBTQAI+ affection between two lead characters is "not family friendly"). MAX and BBC's branding type also affords them the luxury of creating content for niche audiences. Disney, on the other hand, makes additional revenue through using their plethora of licenses to make toys, additions to their theme parks, and other merch. If a parent is offended that a canonically queer character like Loki has romantic love not just for Sylvie but also for Mobius (a same-sex relationship), what are the odds of parents like them not buying Disney's merchandise? We can apply this same question to Star Wars, Pixar, and any of Disney-branded animation or live action movies. How deeply can audience offense potentially cut into Disney's bottom line? If there were no discrimination taking place, we would have LGBTQAI+ representation through a lead character in any one of their licenses already. We do not, and that is a huge red flag.
In addition, these entertainment corporations (who do not tout themselves as "family friendly") generate other sources of revenue elsewhere. Netflix generates international revenue through the production of international programming like "Squid Game" and other K-dramas such as "The Glory" or Mexican shows including, "The Surrogacy" and "Haunted: Latin America". MAX is struggling. They were bought out for that reason. With AppleTV and Hulu, their target audiences are more diverse, they offer a variety of media product, and their business strategy is ultimately different from Disney. All of this grants them more freedom in what kind of characters they choose to represent, including LGBTQAI+ characters.
Remember House and Wilson from House M.D.? That show was on FOX. We know the political alignment of FOX. Dean and Castiel from Supernatural? WB Television. Both shows came out before streaming became dominant, and thus, these shows had to cater to anyone who might happen to land on their channels. When the market demands that you cater to the widest possible audience in order to generate the largest revenue, the creatives are forced to create relatively conservative artistic product. Hence, creative censorship and our long history of queer subtext.
At Nickelodeon, the artists actually had the support of corporate to move forward with Korrasami because the final season Legend of Korra was only available online. It did not air on their channel. If that had not been the case, corporate would not have approved Korrasami. However, that approval was contingent upon the artists being subtle subtle about Korra and Asami's relationship. Even in this canon ship, the animators relied on subtext for queer romance.
Not helping Disney's case is the cancellation of "The Owl House". Why was "The Owl House" canceled? It didn't fit Disney's "brand". [source]
THE FAILURES OF THE "ORIGINAL INTENT" ARGUMENT IN HOLLYWOOD
The "Original Intent" argument fails when it comes to art in Hollywood because:
Original Intent can change, and often does change, during the creative process. This applies to all forms of art, not just Hollywood.
Multiple artists are involved in pre-production, production, and post-production. At any point in this 3-part process of filmmaking, original intent can be changed for a variety of reasons.
Studio Executives, Boards of Directors, and Corporate Shareholders have more power than the artists in Hollywood. If they think a product will not make money, they will order changes accordingly.
Disney specifically touts itself as "family friendly". Its lack of a lead character (in ANY of its live-action licenses) being in an openly queer relationship with someone who presents as the same sex, is the direct result of not wanting to lose conservative audiences.
Non-Disclosure Agreements (NDAs) are common in Hollywood and prevent artists from providing specifics regarding original intent. This is done not only to safeguard corporate's intellectual property (IP), but to also safeguard their public relations image.
THE ORIGINAL INTENT ARGUMENT WEAPONIZED
The "original intent" mindset can be either very naive or very cynical, depending on the thinker's motives for choosing this belief. Naive, in that thinking creative purity actually exists (it does not) or that oppression does not still occur in Hollywood (it does). Cynical, in that either the thinker doesn't believe in artists intentionally finding ways around mass produced arts' media censorship, which has in turn created our rich history of queer subtext in film, OR the thinker wants the "original intent" argument to invalidate a change they do not like.
The last motive is the same strategy used by fans who reject Miles Morales as being a real Spider-Man. The same strategy fans use to deny that Shuri is indeed the new Black Panther. Both are tactics used to mask racism and sexism beneath the veneer of "creative purity". Fans who have internalized racism, sexism, or queer-phobia may also use this tactic at a subconscious level to protect themselves emotionally from disappointment. Finally, there are fans who use this argument to invalidate another ship, usually a queer ship that cannot be formally canonized because of corporate studio power.
Regardless of the reasoning, using this argument is frequently insidious because it perpetuates straight white male dominance in media representation.
PERSONAL LIVED EXPERIENCE
I'm an old poc queer and have worked in Hollywood long enough to know that the writers' original vision rarely ever--IF EVER--pans out as originally intended. If you ever sit through a movie and wonder why the story feels so weird in certain parts, I can guarantee you that about 2/5ths of the time, a corporate producer stepped in and messed with the original story in post-production (usually in an poor, over-worked editor's dark editing bay) and ordered reshoots the director may not have agreed with.
I've also worked in the industry long enough to know that it is an absolutely toxic work environment in which women, people of color, and queer people still struggle to get a creative foothold anywhere. My first experience pitching a script to a prospective agent involved being asked to meet at a hotel for drinks. We didn't talk about my writing at all. What I thought would be a pitch meeting was actually the writer's version of the "Hollywood casting couch". Yes, I was propositioned. No, nothing happened to me. I walked out. This happened to me in June 2008. It was not my last experience. The "Me Too" movement that came years later in 2017 was in response to situations I have encountered like this.
Those of us who succeed are very rare, and 97% of the time, the executive staff is very, very white and male. There is absolutely oppression and exploitation of all sorts still happening in Hollywood. I fucking lived it and continue to have nightmares about it.
QUEER SUBTEXT STILL EXISTS
Thus, to deny queer subtext's validity as an art form and to only accept the words of those who are either in power or limited in what they can say because of those in power, undermines not only the artists' efforts to tell the story they want to tell but cannot tell explicitly, it also undermines queer joy and queer resistance in cinema. And yes, sometimes those artists are cis straight white male allies who want to tell these stories because they simply make sense for the characters. These people are the artists, not the financiers.
It's more mature to embrace, or at least leave alone, the loud joy others experience from shipping and performing meta-analysis instead of publicly pissing on them with the profoundly weak and ignorant argument of "original intent". Don't mess with me on this. The number of scripts I have worked on that completely warped from what I wanted, and then to have my writing credit removed or stolen, still makes me sick. Yes, I'm bitter, but I'm also glad I left.
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thegirlwithataser · 11 months
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I know a lot of people have been posting things like this but I’m going to echo it:
If you’re upset about your favorite shows being affected by the writers strike more than you support the writers on strike then you are missing the point.
Your favorite shows would not exist without writers. Point blank period. All of the scripted media you love exists because of writers. They are the core of television. All of your favorite storylines? Writers. All of your favorite characters? Writers. These are hardworking people that deserve to get paid for the work that they do, it’s as simple as that. I adore my shows, but I will gladly find other means of entertainment or rewatch things that I have already seen while the WGA fights for a fair contract.
At the end of the day, the shows you love are entertainment for you. The strike is about real people fighting to be treated with the respect they have earned. They’re fighting to be able to continue creating these shows for you, to receive fair compensation for their hard work so that they can raise the quality of television and continue giving you the stories and characters you love.
I’m not saying that you can’t be upset about something you care about being affected, but that should absolutely not overshadow your support for the writers fighting for their jobs. No fictional entertainment is more important that the livelihood of the real people working to create it for you. Support the WGA Strike because that’s the thing that actually matters here.
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ineffectualdemon · 1 month
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I don't want the cost of my entertainment to be broken people
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thatannoyingbitch · 3 months
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I love watching 90s Star Trek. Of course I love the shows, but one of the things I love most is that there are seven seasons! I love that there are 25 episodes each season. I love that there is time for shenanigans and that the stakes don’t have to be sky high every episode. It’s really fun to watch characters goof around! Some of my favorite episodes of old shows like this are “filler” episodes.
I wish TV was still this way. It makes so sad that so many shows only have 8 episodes per season. I hate it that it’s rare for a show to make it past two seasons, even with a dedicated fan base. I’m really sad about Our Flag Means Death (and Shadow and Bone, and Star Trek: Prodigy—please watch it on Netflix so they will make more—, and Agent Carter even after all these years, the list goes on.) but I’m even more sad about how this represents a death for TV in so many ways. I’m sad that my favorite shows won’t last for years. I’m sad.
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