#Episodic Programming

[seenthisepisode]

no offence but the reason tumblr is “dying” is, well, yes, of course the cursed like/reblog ratio and the change in user behaviour (because of people being used to how instagram and tiktok work) BUT also the lack of weekly shows. i say it with my whole chest, they don't produce captivating and engaging stupid weekly tv shows anymore because streaming killed that so you have spikes of activity here when Something happens in general fandom or up to three days after a new season of whatever drops and then it's a wasteland. this is obviously an old woman yelling at a cloud missing supernatural and the vampire diaries and pretty little liars and all these other shows type of post but honestly give me back weekly tv shows where i have something to watch for 40 minutes almost every day of the week after work so then i can read and reblog it on tumblr give it back for the sake of my sanity

[redcarpetview]

SXSW Film Festival now SXSW Film & TV Festival

      The South by Southwest® (SXSW®) Conference and Festivals announced the Film Festival will now be called the Film & TV Festival, to reflect the event’s long standing and deep programming of episodics in the screening program, Film & TV tracks, and Keynote and Featured Speaker sessions in the Conference. SXSW was the first festival to program episodics a decade ago with HBO’s Girls in 2012, launched an Episodic section in 2014, and subsequently showcased the world premieres of some of television’s most iconic series including Silicon Valley, Mr. Robot, Barry, What We Do In The Shadows, and Search Party, among 68 other Episodic Premieres and 57 Episodic Pilots.

      “We are so proud of our rich history of showcasing both film and television, and wanted the festival name to reflect what we have been doing for a decade,” said Janet Pierson, VP, Director of Film & TV. “Whether in the screening program, the Conference or associated activations on our footprint, SXSW has long been at the epicenter of the best new TV, and in 2023 we will once again thrill our audiences with exciting new work from some of the most talented creators.”

      The SXSW Film & TV badge is available at the lowest rate August 2 through September 15, 2022. Registration opens August 2 to get the best hotel rates and options. SXSW Film, TV, XR submissions open on August 23 through October 18, 2022.

     Selma Director Ava DuVernay at SXSW 2015. Photo by Naomi Richard.

             History of SXSW Episodic Programming in the Festival

           2012: World Premiere of HBO’s Girls by Lena Dunham is the first episodic featured in the festival program.

         2013: World Premiere of A&E’s Bates Motel and Conference session Bates Motel: Story to Screen with Carlton Cuse.

         2014: Official launch of dedicated Episodic screening section, with six projects in the program: COSMOS: A SpaceTime Odyssey, and the world premieres of Deadbeat, From Dusk Till Dawn: The Series, Halt and Catch Fire, Penny Dreadful, and Silicon Valley. 

                 2015: Five Episodic world premieres: Angie Tribeca, The Comedians, iZOMBIE, Mr. Robot, and UnREAL.

      2016: Five Episodic world premieres: Outcast, Preacher, Search Party, Vice Principals, and You Me Her .

     2017: Six Episodic world premieres: American Gods, Dear White People, I Love Bekka & Lucy, I’m Dying Up Here, Nobodies, and The Son.

   2018: Seven Episodic world premieres: This Is Us Season 2 Finale Episode (special event), Barry, Condor, Krypton, The Last O.G., Vida, and Warriors of Liberty City. This year we launched the Independent Episodics section with 13 titles. The section would be renamed the independent Pilot Competition in 2019: Beast, Cleansed, Everything is Okay: Robot, First World Problems, Hold To Your Best Self, My Dead Ex, Night Owl, One Eye Small, Otis, Polar, Rapture, She’s the Ticket, and Unspeakable.

       2019: Seven Episodic world premieres: Broad City Series Finale Screening, Love, Death & Robots, David Makes Man, NOS4A2, Ramy, Shrill, What We Do in the Shadows, and Good Omens: The Nice and Accurate SXSW Event, which included Conference session and several unique activations. 12 Episodic Pilot Competition titles: Baby Love, A Cure For Fear, East of La Brea, Hammerhead, M, Maggie, Moderately Put Together, Queering, Rainbow Ruthie, Revenge Tour, Sterling, and Who You Are.

  2020: 12 Episodic world premieres were programmed: Central Park, Chad, Cursed FIlms, Hightown, Home, Motherland: Fort Salem, Outcry, Snowpiercer, Solar Opposites, Tales from the Loop, Upload, and We’re Here. 14 Episodic Pilot Competition titles were programmed: Alisa, Beached, Bored, Embrace, Everyone Together, Heart To Heart, This Isn’t Me, Bananas, Chemo Brain, Cooper’s Bar, The Dream, Homecoming: The Journey of Cardboard, Lusty Crest, and Racist Trees.

      (While the 2020 Festival was canceled due to the Coronavirus pandemic, some titles were screened among the 39 projects in Prime Video presents the SXSW 2020 Film Festival Collection, and all projects remained official SXSW Selections.)

          2021: Six Episodic world premieres: Confronting a Serial Killer, Cruel Summer, The Girlfriend Experience, Made for Love, Sasquatch, and Them. Six Episodic Pilot Competition titles: 4 Feet High, Dale’s House, For the Record, Parked in America, The Position, and Pretend Partners.

             2022: 12 World Premiere Episodics: Atlanta Season 3 premiere, 61st Street, The Big Conn, Brené Brown: Atlas of the Heart, DMZ, The Girl From Plainville, Halo, The Last Movie Stars, The Man Who Fell To Earth, Shining Girls, Swimming with Sharks, They Call Me Magic, and WeCrashed. Six Episodic Pilot Competition titles: Awayy, Brownsville Bred, Hidden Kingdom, My Year of Dicks, Something Undone, and We’re Doing Good.

Film & TV Conference Highlights: Robust TV programming in the Conference preceded 2012’s first Episodic screening in the Festival.  Highlights of Conference Keynotes and Featured Speakers, many covering both film and TV topics, include: Bob Odenkirk in Conversation with Fred Armisen, Elizabeth Moss in Conversation with Brandi Carlile, Silicon Valley Cast and Creators Panel.  Other Highlights include: Lizzo Keynote, Ava DuVernay Keynote, Lee Daniels Keynote, Jill Soloway Keynote, and Spike Lee with a Masterclass, and many more.

              Iconic Film & TV Activations: Each year features dozens of inventive, immersive, award-winning installations promoting work in the Festival and Conference, as well as other projects that appeal to the unique SXSW audiences. These include HBO’s groundbreaking recreation of Westworld, and subsequent Bleed for the Throne; Amazon’s Good Omens Garden of Earthly Delights, A&E’s Bates Motel; USA Networks’ recreation of Coney Island for Mr. Robot; AMC’s Preacher and Starz’ American Gods Installations, plus many others. 2022 featured Amazon's Superheroes & Superstars Experience featuring The Boys and Lizzo's Watch Out for the Big Grrrls, FX's Atlanta Season 3 Amsterdam style cafe pop up fittingly called The Trip, Disney+'s Outdoor Screening complete with larger-than-life characters and all-day outdoor screenings, the WarnerMedia House, the Peacock Playground and many others.

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[its-the-sahara-out-here]

projecting the depressive episode on my favs again <33

Headcanons about how bud handles his depression:

Not sure if he gets the Dread™ like I do but I like to think he has a bad reaction to his own wings when he's going through it. That and the frantic searching for something that'll make the numbness go away.

He'd curl up in a ball for most of the day staring blankly into the wallpaper and during the night he'd be drafting duck designs until he passed out.

He'd definitely shut down at the thought of the hotel and/or any of his duties. He would be able to fake being okay better than usual on those days. Just, so dissociated that he can go through the motions without overthinking things. He'd probably be on the verge of a panic attack all day.

I don't think he'd cry much unless he started spiralling about Lilith and Charlie, though. That's when he'd curl up under the covers and shatter.

close ups beneath the cut

[inksandpensblog]

For some reason, when trying to think of a descriptive name for this screencap, the words that came to mind were "still so small."

There's just something about his body-language and how he moves in this moment, after he's realized the attack won't hit him but before he fully relaxes.

It's almost like he forgot Agent was there.

[girlmartok]

HOLLOW PURSUITS || STAR TREK: THE NEXT GENERATION

[lykegenia]

I've said this already in the tags on a different post but I can't stop thinking about Janeway after the Pathfinder project is successful and she starts getting reports from Starfleet HQ about the Dominion War. How inexorable a force the Jem'Hadar seem. How world after world is falling. How the casualties mount. The Maquis have already been destroyed and she can feel the grief from those of her officers who lost friends, but beyond that there's the knowledge that the destruction didn't end with a few rebels on the edge of Federation space. The entire Alpha Quadrant is tearing itself apart, and it's all so far away. Yes, her little ship has face Borg and alien power struggles and a Void without stars - they've lost friends too - but as the numbers keep coming in, day after day, impossibly high, what goes through her mind? Does she wish harder that she hadn't destroyed the array, so that she could have stayed to fight and do her part to save the home she so desperate to get back to? Or is some part of her soothed about her decision, knowing that by putting the needs of the Ocampa before her own, she likely saved the lives of many of the people now under her command? How do you deal with loss on such an abstract yet personal scale, and how do you sit and read the reports of lost battle after lost battle, knowing that it might mean the home you were so desperate for might no longer exist by the time you get there?

What if Voyager ends up being all that's left?

[deimostes]

[sapphirestarsstuff]

I think there's more to Caine's reason for getting rid of Gummigoo. Surely, he can tell the difference between a npc and a human player? I think the real threat comes from the npcs and the humans getting too close, perhaps finding a way to escape or there's another danger to the npcs figuring out the truth of their reality that we don't know of yet.

[morninkim]

ankarna reviving the rat grinders in the end to serve divine community service (letting them go on adventures and bond with each other and help them rediscover themselves before they got ragestar'd) >>>>>>>>>>>>>>>>>>>>>>>

[avocadosharks]

tfw ur crush doesnt notice ur mad dodgeball skills....

[hotdrinks]

I meant WHO is Jon?

A fella

[ID a very simplified sketch of Jon sims sitting with his legs straight out, holding a tape recorder and frowning deeply. Three disembodied eyes hover behind him and look at him. End ID]

[somuchbetterthanthat]

Something about Gwendolyn Bouchard that hits me in the wake of Ep7 is that while she says what she wants is recognition and respect, I feel there's an underlying issue of wanting to... belong. And to belong, she must be recognized and respected, and to do so, she goes at great length - like, I don't know, blackmailing her boss who she's seen on video try (and admitedly fail) to kill a man.

It's the way she says "I want in." that makes me think.

Because, and okay it's only been seven episodes but, so far it's other people who have talked about her family and their wealth, but she doesn't seem to be close to them in any way (she's annoyed at the nepotism accusation of Alice, she tells Alice they have the same salary later on, clearly her wealthy family is not helping much their Gwen with her low-level service governmental job).

She also seem a bit removed from her rich friends as a result: she doesn't have anything to show off as success, therefore she feels othered in her group of peers. And she doesn't even get to have true camaderie with the others people of the job because she's so persuaded that working well and diligently is the way to success and respect that she can't abide to Alice's seeming mockery of it all or care about the other people that come and go in the office.

Anyway, I predict she is going to suffer a LOT in the future because she wanted in, but you know what, I'm hoping that, in doing so, she finds people to belong with, at least for a little while. I hope she and Sam hug at least once, actually. I think Gwen could use a Sam Hug (I bet they're real nice).

[piracytheorist]

Have we talked about how Twilight went from "Anya will go back to the orphanage I picked her up from once the mission is done"

to "I'll write a cover letter so she can go to a better orphanage and be happier"

to "I'll make sure both my fake daughter and fake wife have a good life once the mission is done and I have to part with them"

because I think that's v important

[blmpff]

comedy gold

[anonsystem]

actually, fuck the whole "don't research ramcoa" thing

I had a group of programmed people convince me this was right for two years and it was disastrous for me. None of those people will speak to me anymore because of a very complicated not relevant situation. Programmed systems deserve to have language for our experiences. We deserve to have the evidence that we're not crazy to make us feel less trapped. Suicide programs aren't going to stop just because you're not reading about what happened to you. I've been in a year long suicide program even though it's in my system rules NOT to read about ramcoa right now. We're not all helpless children. We've survived things a lot of people don't come back from. We can handle this. The only thing that really matters is whether you're taking it in small portions and making sure you have a support system. (I might post my "rules for interacting with RAMCOA content safely" later if anyone wants to see those)

[mielgf]

who was gonna tell me one of the most crushing parts of adulthood is the allusion of freedom, sometimes decisions are made for you and you just have to smile through it and try to be positive while screaming inside bc you thought you were finally old enough to make choices for yourself (not in this economy i’m not!)