#Television & Radio industry

[t-jfh]

Anchuli Felicia King is a Thai-Australian playwright and multidisciplinary artist. (ABC Arts: Teresa Tan)

Playwright Anchuli Felicia King had to leave Australian theatre in order to conquer it.

By Dee Jefferson

ABC Arts - 31 October 2019

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David Koutsouridis is an award-winning Australian comedy writer based in Los Angeles. (Supplied)

Aussie writer on Hollywood picket lines says strike is pivotal for global entertainment industry.

By Mawunyo Gbogbo

ABC News - 7 June 2023

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Our local industry is being shaped and shaken up by the international streamers, including Netflix who produced the reboot of Heartbreak High. (Netflix)

As the US actors' and writers' strike continues, how does the Australian screen industry measure up?

By Hannah Reich for Stop Everything!

ABC Arts - 19 September 2023

[music-matters20]

When a writer does a story on your band or when a disc jockey plays one of your songs during her show, send a quick note of thanks. These small acts of random kindness do make an impression on the people receiving them.

please do check out the article: 19 Things You Should Be Doing Right Now to Promote Your Music Better (III)

[grantgoddard]

Gonna make you a star/czar : 2001 : James Murdoch, Star TV

“I am sorry, sir, but you are not allowed in the tea room,” the head chai-wallah said to me politely but firmly. “It is OUR job to bring you cups of tea when you request them.”

I was learning that, in India, self-service was a social crime and servitude was still alive and well. I had wandered into this tiny room from my desk a few steps away in my quest for an alternative to the thick, sugary tea I had been served, reminiscent of the disgusting, syrupy ‘Camp Coffee’ my mother always drank in the 1960’s. In the ‘tea room’ was only one big aluminium machine on which there was a single large red button. Press it holding your cup underneath and it delivered ready-sugared, ready-milked tea. No options. Henry Ford would have been proud. Admonished, I skulked back to my desk, visions dancing in my head of unavailable herbal teas and a former existence in which I was allowed to make my own beverages.

My desk was on the edge of an open-plan space occupied by ‘Channel [V]’, a music video station whose ratings were failing to compete with ‘MTV Asia’. It was not hard to see why. Peeking over my desk divider I would observe the young, educated, urban team’s enthusiasm for American and European rock music which, for India’s largely rural audience, probably sounded as if it came from another solar system. At one nearby desk, a hip young man spent most of his day quietly strumming an acoustic guitar as if he were Dylan (the rabbit). This wing of the top floor of ‘Star TV’s building in Mumbai was as laid back as I imagined the Hunter Thompson-period ‘Rolling Stone’ magazine office to have been.

Why was I there? The team creating India’s first commercial FM radio network was so nascent that we had no office space of our own as yet and had to be squeezed into other channels’ unused corners. On the opposite side of my work station usually sat my young colleague, Sandeep Kapur. He was absent today sorting out paperwork that would prove he was not dead. This required him to purchase classified advertisements in several newspapers stating that he was, in fact, very much alive. After the stated period during which he hoped no objections would be lodged, he could then apply to the government for a ‘Life Certificate’, necessary for transactions such as a mortgage. In India it was insufficient to BE alive; you required a piece of paper to prove it.

At the end of every morning, the tiffin-wallahs arrived to deliver hot homemade lunches in circular metal lunchboxes to male workers at their desks. Each box was colour-coded, numbered and inscribed with symbols to designate a particular desk on a specific floor of our office building in the Andheri district. All had been collected from homes and conveyed long distances by bicycle, train and car within the previous few hours. Those of us unlucky enough not to have wives at home, or to be one of the organisation’s few female staff, could buy subsidised cooked lunches in the building’s ground floor canteen, at its busiest on Friday when the weekly Chinese fare was sufficiently admired to persuade men to forgo their wives’ home cooking.

Today had been designated a special day because the several hundred staff working in the building were to be addressed by the Great Leader via a live television satellite link. At the appointed time, I pulled up a chair alongside the hip Channel [V] dudes in a semi-circle around one of the many television sets affixed high on the corridor walls of every floor. There was an air of anticipation because we had been promised/warned that a major corporate announcement was about to be made. Reorganisation? Closures? Would a pink-slipped Dylan have to find another gig where he could continue killing his workmates softly with his songs?

The satellite connection flickered and we could see a fixed camera focused on a young man sat behind an ordinary office desk in Hong Kong. It was the very moment he started talking inanimately to the camera that the event started to become somewhat surreal. This man was chairman and chief executive of a huge media conglomerate broadcasting multiple television channels by satellite across most of Asia. He apparently had important developments to share with his workforce of thousands. So why did he have the air of a wayward son forced by his father to smile for the annual family group Christmas photo? Why was he oozing the reluctance of a boy ordered to attend his stepmother’s birthday bash and to bring a suitably expensive present that had not been manufactured in China?

I could not supress a snigger. My young Indian colleagues turned and stared at me as if it were heretical not to show the utmost respect to our ultimate boss. I realised then that they probably knew next to nothing about the twenty-eight-year-old James Murdoch who was addressing us or how he had been appointed to this job. His track record hinted at his posting to the furthest reaches of the Murdoch galaxy. Aged fifteen, daddy Rupert had given him an internship on his Sydney newspaper, only to find him photographed by a competitor asleep on a sofa at a press conference. Later on, how disappointing it must have been to buy your son’s education at Harvard to study film and history, only for him to drop out in order to launch a rap music company … which later you have to bail out.

Murdoch’s Star TV operation based in Hong Kong had been losing US$200m a year by 2000 so, naturally, it was decided to send a boy to do a man-sized turnaround job. What was the son’s new strategy to stem these losses? We learned from the television address that Murdoch Junior had come up with the amazing idea of changing the business’ name from ‘Star TV’ to … ‘Star’. I kid you not. This was apparently necessary because ‘TV’ was an outdated, fuddy duddy business while the ‘internet’ was the medium of the future, despite it having already existed for almost two decades. So it required us all to wave goodbye to the ‘TV’ brand and say hello to ‘….’.

This sounded remarkably like a rehash of Murdoch Junior’s lobbying of Pops three years earlier with his strategy that the internet was where it was at, resulting in News Corporation having submitted a $450m bid for online startup ‘Pointcast’. I had been an enthusiastic early adopter in 1996 of its application which downloaded news stories using ‘push technology’ onto a computer about topics and from leading global newspapers personalised by each user. Working months on end in Russian isolation, I would spend evenings redialling hundreds of times until my laptop’s modem connected to a landline good enough to receive the latest news stories to devour. The phrase ‘never look a Murdoch horse in the mouth’ must have eluded the Pointcast board who stupidly rejected Junior’s vastly inflated offer. Two years later, it sold the business for a meagre $7m to a different company that shut the news service after one further year of operation. Pops had been miraculously saved from a half-billion sinkhole dug by Junior on that occasion.

Quite why Junior’s ongoing affair with the internet demanded us to interrupt our work schedule for half-an-hour I had no idea, but we watched until the screens went blank again and then walked away … totally underwhelmed. I returned to my desk and found that fairies had magic-ed a hardback notebook with the new ‘Star’ logo onto every desk in the building. The change made absolutely no difference to my work. We were planning to launch our radio network with the brand ‘Star FM’ (though this plan failed once we found a competitor had already bagged the name). When I left the building that evening, I had to avoid a crew with a crane who were busy swapping the huge illuminated logo over the front door to one with the new name. Apart from losing the ‘TV’, the logo still looked much the same to me.

Less than three years after having banished Junior to Hong Kong, Pops called him back to manage a different part of his empire in Britain, claiming that his son had executed a hugely successful turnaround strategy during his posting to Asia. One Australian newspaper ran this story in 2003 under the headline ‘James Murdoch didn't shine at Star’.

[fans4wga]

"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."

[allthecanadianpolitics]

Canadian commercial actors say American actors are crossing the border and the picket line in the middle of a major US entertainment industry strike and filling the jobs of Canadian actors who have been locked out for over a year.

Thousands of unionized commercial actors in Canada have been locked out since April 2022 while The Alliance of Canadian Cinema, Television and Radio Artists (ACTRA) has been negotiating with commercial agencies to try and get a fair deal.

Now, as a result of the ongoing SAG-AFTRA actors and WGA writers strikes that have shut down TV and film productions in the United States, some Hollywood actors have travelled north of the border in search of non-union commercial work in Canada.

“Over the last year there’s been a lot of American commercials shooting up in Canada doing everything non union because they can walk around it,” one ACTRA member who requested to be anonymous told PressProgress. [...]

Continue Reading.

Tagging: @politicsofcanada

[biglisbonnews]

Succession: next season of HBO hit will be the last, creator confirms Showrunner Jesse Armstrong says he ‘never thought this could go on forever’, but that ‘it feels quite perverse to stop doing it’Succession, the critically acclaimed satirical drama about a media mogul and his family’s fight over his legacy, is set to end with the upcoming fourth season.Creator and showrunner Jesse Armstrong told the New Yorker in an interview that “there’s a promise in the title of Succession. I’ve never thought this could go on forever. The end has always been kind of present in my mind. From season two, I’ve been trying to think: Is it the next one, or the one after that, or is it the one after that?” Continue reading... https://www.theguardian.com/tv-and-radio/2023/feb/24/succession-next-season-of-hbo-hit-will-be-the-last-creator-confirms

[reportwire]

Trevor Noah leaving 'The Daily Show' after 7 years

Trevor Noah leaving ‘The Daily Show’ after 7 years

Trevor Noah is leaving Comedy Central’s “The Daily Show” after seven years. The South African comedian made the announcement at the end of the taping of Thursday’s show, after thanking the audience for their support. “It’s been absolutely amazing. After seven years, my time is up,” he said. “But in the most beautiful way.” “Honestly, I’ve loved hosting the show. It’s been one of my greatest…

[wilwheaton]

On August 11, day 102 of the 11,500-person Writers Guild of America (WGA) strike, which has largely shut down the film industry coast to coast, aided by below-the-line workers respecting picket lines and bolstered by 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), who initiated their own strike on July 14, the studios finally returned to the bargaining table. The Alliance of Motion Picture and Television Producers (AMPTP), the organization that bargains on behalf of the major studios, offered counterproposals, a long-awaited response to the WGA’s proposals. The two sides met the following week and continued to exchange proposals. Then, on August 22, day 113 of the WGA strike, the two sides met again, but with an important addition: previous negotiating sessions had been led by AMPTP president Carol Lombardini, the studios’ hired hand, while at this one, the bosses who make the decisions were in the room. Disney CEO Bob Iger, Warner Bros. Discovery CEO David Zaslav, Netflix co-CEO Ted Sarandos, and NBCUniversal’s Donna Langley came to the table to face the WGA’s elected leadership in the room outside of the AMPTP’s Sherman Oaks, California, headquarters where the negotiations have taken place. Workers, suffering the devastating effects of a months-long strike, hoped that the studios might finally offer counterproposals that meet their needs. Instead, the bargaining session led to further unraveling. “We accepted [the] invitation and, in good faith, met tonight, in hopes that the companies were serious about getting the industry back to work,” wrote the WGA negotiating committee in a message to members following the meeting. “Instead, on the 113th day of the strike — and while SAG-AFTRA is walking the picket lines by our side — we were met with a lecture about how good their single and only counteroffer was.” The two sides had agreed to adhere to a media blackout, vowing not to leak information about the proposals to third parties. Yet immediately following the August 22 session, the AMPTP publicly released a document highlighting elements of their counterproposal. “This was a meeting to get us to cave,” said the WGA leadership, “which is why, not twenty minutes after we left the meeting, the AMPTP released its summary of their proposals.”

The Hollywood Studios Still Aren’t Serious About Ending the Writers’ Strike

These sociopath CEOs are hearing it from shareholders, who want us to get back to work. The shareholders are making it clear that the psychopath CEOs can release the LESS THAN ONE PERCENT of their compensations to get us back to work.

So the sociopath CEOs put on a big show of coming back to bargain and work this out ... and when the WGA sits down to bargain, these sociopath CEOs have the fucking nerve to just lecture the WGA about how great their absolute garbage offer is. The offer WGA rejected because it didn’t address any of the issues on the table.

These sociopath CEOs are the problem:

Disney CEO Bob Iger, Warner Bros. Discovery CEO David Zaslav, Netflix co-CEO Ted Sarandos, and NBCUniversal’s Donna Langley 

These sociopath CEOs are greedy and entitled. That any one of them thought that lecturing WGA, then gaslighting members (in violation of not just the agreed upon media blackout, but likely in violation of labor law) would move us any closer to getting back to work tells you everything you need to know about who the problem is.

Fuck these scumbags, fuck their greed, and fuck their gaslighting.

[seat-safety-switch]

"Don't overlook these deals on railings," chirps the last thoughts of the sentient auto-marketing bee drone before I crush it under my boot. Fucking things are bad this year.

You can't blame them, explained the politicians as they explained why they refused to sentence the folks to death. Ad-blockers had ruined the viability of advertising on the internet. Augmented reality dork glasses had done the same thing for bus, print, television, and even skywriter ads. To not advertise would destroy the entire advertising industry, which at this point was believed to be a structural element of American civilization. So they released the drones.

At first, it made some sense. The drones would find you looking at a pizza, or considering suicide, and they would buzz into your ear and tell you about a two-for-one coupon at 7-Eleven. Annoying, sure, but shockingly effective, especially by the low standards of internet advertisers. And they didn't have to spend much: the drones would fly back to their home stations and recharge. All they'd have to spend is electricity, and occasionally releasing another couple hundred drones to replace the ones that got smoked by cars while trying to cross the road, or eaten by birds thinking they were actual bees.

Like anything that works, though, it soon did not. All the metrics began to drop as folks figured out they could just swat the little bastards out of the air with a regular old flyswatter. Running a spark gap radio near them would confuse their little positronic thought matrices, causing them to plow into the nearest sidewalk and become incredibly sophisticated microplastic glitter. The only answer was to release more drones.

If you were born in the last, say, twenty years, I'm sorry to say that you have never seen natural sunlight. Sure, you get a bit of it reflected from their chromoly carapaces as they hover overhead in a dense swarm. It's just not the same as the before times. Hell, I'm not even sure Burger King still exists, but that won't shut up this giant cloud of them that keeps attacking me in my apartment building's underground parkade.

[avnnetwork]

Connecting the World: Telecommunications Satellites Enhance Global Communication Networks

In an increasingly interconnected world, the role of telecommunications has never been more critical. The rapid growth of digital communication technologies has significantly transformed the way we live, work, and interact with one another. At the heart of this transformation lies a technology that orbits high above us – telecommunications satellites. These sophisticated machines play a pivotal role in bridging gaps across continents, bringing people closer, and enabling the seamless exchange of information on a global scale.

Telecommunications satellites are the backbone of modern communication networks. These satellites are designed to transmit signals across vast distances, overcoming the limitations of terrestrial infrastructure. By relaying signals from one point on the Earth's surface to another, they enable instant communication, regardless of geographical barriers. This capability has revolutionized various sectors, from media broadcasting to internet services, emergency communications, and more.

The Evolution of Telecommunications Satellites

The journey of telecommunications satellites began in the mid-20th century. Early experiments with satellite communication laid the groundwork for what would become a global network. The launch of the first artificial satellite, Sputnik, in 1957 marked the dawn of the space age. However, it wasn't until the launch of the first geostationary satellite in 1965 that the true potential of satellite communication was realized. This satellite, positioned in a fixed location relative to the Earth's surface, could provide continuous coverage to a specific region, paving the way for real-time communication across the globe.

Since then, telecommunications satellites have evolved dramatically. Advances in technology have led to the development of more sophisticated satellites with greater capacity, reliability, and efficiency. Modern satellites are equipped with high-powered transponders, enabling them to handle large volumes of data transmission. These advancements have expanded the capabilities of satellite communication, making it an indispensable part of the global communication network.

How Telecommunications Satellites Work

The operation of telecommunications satellites is based on the principles of radio frequency transmission. These satellites receive signals from ground-based stations, amplify them, and retransmit them back to other ground stations. The process involves several key components:

Uplink: The transmission of signals from a ground station to the satellite. This is typically done using high-frequency radio waves.

Transponder: The component within the satellite that receives the uplink signal, amplifies it, and changes its frequency for retransmission.

Downlink: The transmission of signals from the satellite back to a ground station. This completes the communication loop, allowing the original signal to reach its intended destination.

Satellites are positioned in different orbits depending on their specific functions. Geostationary satellites, which orbit at approximately 35,786 kilometers above the equator, provide continuous coverage to specific regions. Low Earth orbit (LEO) satellites, positioned much closer to the Earth's surface, offer lower latency and are often used for services requiring real-time data transmission, such as internet connectivity.

Impact on Global Communication Networks

The impact of telecommunications satellites on global communication networks is profound. They have enabled a level of connectivity that was previously unimaginable, facilitating the seamless exchange of information across vast distances. Here are some key areas where their impact is most evident:

Media and Broadcasting

Telecommunications satellites have revolutionized the media and broadcasting industry. They enable the transmission of television and radio signals to remote and underserved areas, ensuring that people worldwide have access to information and entertainment. Live broadcasts of major events, such as sports competitions and political speeches, are made possible through satellite technology, allowing audiences to experience these moments in real time.

Internet Connectivity

In many parts of the world, terrestrial internet infrastructure is either insufficient or nonexistent. Telecommunications satellites provide a vital solution to this problem by offering internet connectivity to remote and rural areas. Satellite internet services have become increasingly popular, providing reliable and high-speed internet access to communities that were previously disconnected.

Emergency Communications

During natural disasters and emergencies, terrestrial communication networks are often disrupted. Telecommunications satellites play a crucial role in providing emergency communication services, ensuring that rescue and relief operations can be coordinated effectively. Satellite phones and portable satellite communication devices are essential tools for first responders and humanitarian organizations, enabling them to maintain communication in even the most challenging conditions.

Global Navigation Systems

Telecommunications satellites are also integral to global navigation systems. They provide the precise timing and positioning data required for navigation and location-based services. These systems are essential for various applications, including aviation, maritime, and land transportation, as well as for personal navigation devices used by millions of people worldwide.

Future Trends and Developments

The field of telecommunications satellites is continually evolving, driven by advancements in technology and increasing demand for connectivity. Several trends and developments are shaping the future of this industry:

High Throughput Satellites (HTS)

High throughput satellites represent a significant advancement in satellite technology. These satellites offer substantially increased data transmission capacity, enabling faster and more reliable communication services. HTS technology is particularly beneficial for providing broadband internet access to remote and underserved areas, helping to bridge the digital divide.

Constellations of LEO Satellites

One of the most exciting developments in satellite communication is the deployment of constellations of low Earth orbit satellites. These constellations consist of hundreds or even thousands of small satellites working together to provide global coverage. LEO constellations offer lower latency and higher data transfer rates compared to traditional geostationary satellites, making them ideal for applications such as internet of things (IoT) connectivity and real-time data services.

Advances in Satellite Manufacturing

Advances in satellite manufacturing are making it possible to produce smaller, more cost-effective satellites. These miniaturized satellites, often referred to as smallsats or cubesats, can be launched in large numbers, providing flexible and scalable communication solutions. The reduced cost of manufacturing and launching these satellites is driving innovation and enabling new players to enter the market.

Integration with Terrestrial Networks

The integration of satellite communication with terrestrial networks is another key trend. Hybrid networks that combine satellite and terrestrial technologies can offer seamless connectivity, ensuring that users have access to reliable communication services regardless of their location. This integration is particularly important for providing consistent internet coverage in areas with challenging terrain or sparse infrastructure.

Challenges and Considerations

While telecommunications satellites offer numerous benefits, there are also challenges and considerations to address. One of the primary challenges is the cost associated with launching and maintaining satellites. The development, launch, and operation of satellites require significant investment, which can be a barrier for some organizations.

Additionally, the increasing number of satellites in orbit raises concerns about space debris and collision risks. Ensuring the long-term sustainability of space activities requires careful management of satellite operations and the implementation of measures to mitigate the risk of space debris.

Conclusion

Telecommunications satellites have fundamentally transformed global communication networks, enabling instant connectivity and information exchange across vast distances. From media broadcasting and internet connectivity to emergency communications and global navigation, the impact of these satellites is far-reaching and profound.

As technology continues to advance, the future of telecommunications satellites looks promising. High throughput satellites, LEO constellations, and advancements in satellite manufacturing are set to further enhance the capabilities of satellite communication. By overcoming challenges and embracing innovation, telecommunications satellites will continue to play a crucial role in connecting the world, bridging gaps, and enabling a more connected and informed global community.

In a world where connectivity is essential, telecommunications satellites stand as a testament to human ingenuity and the relentless pursuit of progress. They embody the spirit of exploration and innovation, bringing people closer together and fostering a sense of global unity. As we look to the future, the continued evolution of telecommunications satellites promises to unlock new possibilities and drive the next wave of communication advancements.

[t-jfh]

Dual strikes by writers and actors brought Hollywood to a standstill this year.

(Photo: Mark Abramson for The New York Times)

Striking Actors and Hollywood Studios Agree to a Deal

The agreement all but ends one of the longest labor crises in the history of the entertainment industry. Union members still have to approve the deal.

By Brooks Barnes, John Koblin and Nicole Sperling

The New York Times - November 8, 2023

https://www.nytimes.com/2023/11/08/business/media/actors-strike-deal.html?smid=nytcore-ios-share&referringSource=articleShare

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[jeusussavearmyveteran1205]

Ever wondered what made Wolfman Jack such an unforgettable voice on the airwaves? Known for his gravelly voice and eccentric personality, Wolfman Jack wasn't just a DJ; he was a cultural phenomenon.

Born Robert Weston Smith in 1938, he crafted his Wolfman persona by blending rock 'n' roll with a wild, energetic delivery that captivated listeners across the United States. His broadcasts in the 1960s and 1970s were an eclectic mix of music, humor, and theatrics, making him a beloved figure in the radio world.

One of the keys to Wolfman Jack's success was his ability to connect with his audience. He made listeners feel like they were part of an exclusive club, with his late-night shows providing a soundtrack for their adventures. His distinctive howl and playful banter set him apart from other DJs of the time.

Wolfman Jack's influence extended beyond radio. He appeared in films like "American Graffiti" (1973), where he played himself, cementing his place in pop culture history. His television appearances on shows like "Midnight Special" in the 1970s brought his dynamic style to a broader audience, proving his versatility as an entertainer.

His unique style wasn't just about the music; it was about the experience. Wolfman Jack's shows were an audio journey, filled with surprises and a sense of spontaneity that kept listeners coming back for more. Whether he was spinning the latest hits or sharing amusing anecdotes, his charisma and enthusiasm were infectious.

Wolfman Jack's legacy lives on as a symbol of the golden age of radio. His innovative approach and larger-than-life persona paved the way for future generations of broadcasters, ensuring that his howl will echo in the annals of radio history forever. He continued to influence the airwaves until his death in 1995, leaving behind an indelible mark on the industry.

[probablyasocialecologist]

Following prolonged negotiations with many of the biggest companies in video games, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has called for a video game performer and voice actor strike, beginning on July 26. Try as they might, the two sides have been unable to see eye to eye on the issue of AI.  “The video game industry generates billions of dollars in profit annually," said SAG-AFTRA national executive director and chief negotiator Duncan Crabtree-Ireland in a statement to Aftermath. "The driving force behind that success is the creative people who design and create those games. That includes the SAG-AFTRA members who bring memorable and beloved game characters to life, and they deserve and demand the same fundamental protections as performers in film, television, streaming, and music: fair compensation and the right of informed consent for the AI use of their faces, voices, and bodies. Frankly, it’s stunning that these video game studios haven’t learned anything from the lessons of last year - that our members can and will stand up and demand fair and equitable treatment with respect to AI, and the public supports us in that." Workers can now strike at ten companies: Activision, Blindlight, Disney Character Voices, EA, Epic, Formosa Interactive, Insomniac Games, Take-Two, VoiceWorks, and WB Games.

July 25, 2024

[alice-after-dark]

Vox's Death and Electrokinesis

So I'm straight up warning everyone now that this is a super dark take on Vox's death and where his powers of electrokinesis come from. Please, please, PLEASE read the trigger warnings. This has been in my head for a very long time.

TW for homophobia, 1950s mental illness views and treatments, homosexuality treated as a mental illness, sexual assault, gaslighting/victim-blaming, and other canon-typical triggers.

Some time during his career, Vox began an affair with a man who was also from the television industry. When his wife eventually found out, Vox was presented with two choices: a very messy and highly public divorce where the affair would be plastered across every media source in the country, or end the affair and seek psychological help. Not willing to destroy his image, Vox chooses the latter. He ends the relationship and quietly takes a "medical leave" from his career and is admitted to a psychiatric hospital. It's supposed to be the best in the country, with the most up-to-date practices and treatments. He is greeted by a man with a kind face names Dr. Robles, who takes Vox's hand in his and promises him everything will be alright. Vox's wife assures him he will be well and home in no time, kisses his cheek as he is led away, deeper into the hospital.

It is Hell.

Vox is quickly labeled as having a "sociopathic personality disturbance" in the form of "sexual deviation" and is considered a curious case as he has positive sexual reactions to both men and women. This makes most standard treatments fairly ineffective as he is already having a positive sexual response to women. So they decide to resort to unmodified electroconvulsive therapy.

The treatments are painful and brutal, often leaving him with nausea, fatigue, headaches, confusion, and even minor memory loss. Worse are the breaks and fractures that result from the induced seizures. Frequently he is left bedridden, confused and delirious and unsure of where he is. His sleep is riddled with nightmares of some horrific creature lurking in the shadows of his room, creeping close and hurting him. It finally ends when the machine malfunctions, sending him into cardiac arrest and killing him.

When his electrokinesis manifested, two decades later, it was...a time. First Vox was afraid, then he started cackling at the irony, before having a complete breakdown and scream-crying for the better part of an hour.

For the first week following the discovery of his new powers, Vox refuses to let Alastor touch him, which is particularly startling for the Radio Demon because he's usually the touch adverse one while Vox is very physically affectionate. Even small bumps and brushes has Vox leaping away from him. He begins to grow concerned that Vox has become afraid of him, which is frustrating because half the fun of Vox is that he isn't afraid of him like most Sinners. Eventually he corned the Tv-headed demon and demands an explanation. This of course leads to Vox panicking and sparking like crazy which in turn leads to even more panicking before Alastor seizes his shoulders, enduring the small shocks as he tells Vox to calm down.

Vox breaks down sobbing and tells Alastor everything he has never told him before: the affair, the choice, the hospital, the treatments, the nightmares, his "mental illness," everything. He's terrified of this ability. He knows what it can do and it terrifies him. And Alastor takes his face in his hands and tells him that his knowledge makes him all the more powerful. Not only can he control electricity, but he has first hand experienced what it can do to a body and that is power. Though Vox is hesitant at first, he accepts Alastor's offer to help him gain better control over this new ability.

---

It's about three months after the battle with the angels when Vox gets invited up to Alastor's radio tower. He's only been there once or twice in the past to silently watch Alastor with his "guests" as he broadcasts. Though initially skeptical of the invite, his curiosity gets the better of him despite Velvette and Valentino's warnings. When he arrives, he finds Alastor calmly tuning his radio equipment while his latest guest lays strapped to a metal table. It is unusually dim in the tower and Vox can't quite see what poor soul Alastor has plucked from the streets of Hell this time, but he can smell blood, which is even more unusual as Alastor usually likes to save every last moment for his broadcast, but from the wheezing it's clear this Sinner has already been worked over well. The Radio Demon greets him cheerfully as though nothing is amiss, as though it's perfectly normal to invite your friend-turned-rival over for a casual hang out. It's only when he encourages Vox closer that Vox understands what he's seeing.

Inky shiny black skin. Six limbs. Distended jaw. Long curling tongue.

Lying on the table is the creature from his nightmares.

Instantly Vox begins to panic. He feels terror, hands on him, pain, so much pain, he can't breathe, he can't think, why is it here why why why-

Alastor grips his shoulder, grounding him. He's saying something about...introductions?

"Vox clearly recognizes you, Dr. Robles, but I'm afraid you may have a harder time recognizing him. Like you, dear Vincent has gone through quite a few changes."

Dr. Robles. Dr. Robles. Dr. Robles. The name rings in his head like a gong.

Warm hands closing around his. A thumb running gentle circles on the back of his hand.

"It's all going to be alright. I promise."

Vox rips out of Alastor's grip and barely makes it to the wastebasket before he is sick. Because he understands now. He understands and he feels disgusting. All the nightmares...all the terror...all the pain...

Alastor's hand is on his back and Vox has barely composed himself when the doctor finally speaks.

"Vincent? Vincent Haynes?"

Vox didn't know exactly what expression he expected to see when he turns to face the doctor again, but the pure unconcealed hatred takes him by surprise.

"Filthy fucking whore!"

His words are venomous as he accuses Vox of being the reason he's in Hell, of tempting him and luring him into sin, of making him crave his flesh. How fitting Hell has stripped him of his beauty and shown him for the vain artificial creature that he is. Even as he says it though, his eyes rake over Vox's body and the TV demon has never wanted so badly for someone to not look at him. Alastor stops the tirade of vitriol with a simple flick of his wrist and a glowing green thread binding Robles' lips together.

"That's quite enough out of you, sir. I hope you don't mind, old friend, I already took a turn with the good doctor. Had to make sure I had the right wretch after all. It didn't actually take all that long. My goodness does this insipid creature like to talk about himself!" Without another word, the Radio Demon slips past them both to slide into his chair. The equipment before him buzzes to life.

"Salutations, listeners!"

Vox's hand crackles with sparks.

[fans4wga]

SAG-AFTRA, Teamsters, IATSE, Writers Guild Issue Joint Statement in Solidarity with Directors Guild of America

May 31, 2023

Los Angeles, CA — As the Directors Guild of America’s negotiations with the Alliance of Motion Picture and Television Producers (AMPTP) enter their final scheduled week, the International Alliance of Theatrical Stage Employees (IATSE), the Teamsters, Hollywood Basic Crafts (Teamsters Local 399, IBEW Local 40, LiUNA! Local 724, OPCMIA Local 755 and UA Local 78), the Writers Guild of America East (WGAE), the Writers Guild of America West (WGAW), and the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) stand alongside our sisters, brothers, and kin in the DGA in their pursuit of a fair contract.

We believe in a Hollywood where every worker is valued and their contributions recognized, whether their labor is on or off screen. A fair contract for directors does not benefit just a select few; it uplifts every worker in the film and television industry and acknowledges the interconnected nature of our work. We call on the AMPTP to immediately negotiate a fair agreement that addresses the Directors Guild of America’s unique priorities in good faith.

As eyes around the world again turn towards the negotiation table, we send a clear message to the AMPTP: Our solidarity is not to be underestimated. The Hollywood guilds and unions stand united, and we stand strong.

In solidarity,

Matthew D. Loeb International President, IATSE

Lindsay Dougherty Motion Picture Division Director & Western Region Vice President, Teamsters Hollywood Basic Crafts, Chairperson

Duncan Crabtree-Ireland National Executive Director and Chief Negotiator, SAG-AFTRA

Michael Winship President, Writers Guild of America, East

Meredith Stiehm President, Writers Guild of America West