#ai writer for packaging

[aipackaging]

Revolutionize Packaging Design: AI Writer for Packaging

Elevate your packaging design with the Free Online AI Writer for Packaging. Access a variety of features designed to enhance your workflow and produce packaging designs that meet industry standards and consumer expectations.

Revolutionizing packaging design with an AI writer introduces a transformative approach to crafting captivating and effective packaging materials. Powered by artificial intelligence, this tool offers unparalleled capabilities to streamline the design process and elevate creativity.

By automating content generation, including product descriptions, taglines, and marketing copy, the AI writer simplifies the packaging design workflow, saving time and resources while ensuring consistency across all materials. Its ability to analyze market trends, consumer preferences, and brand guidelines enables the creation of personalized and impactful packaging designs.

Furthermore, the AI writer stimulates innovation by providing creative suggestions and variations, inspiring designers to explore new concepts and push the boundaries of traditional packaging design.

In essence, by leveraging the power of AI for packaging design, businesses can revolutionize their approach, differentiate their brand in the market, and create memorable experiences that resonate with consumers, ultimately driving brand recognition and loyalty.

[vlruso]

Personalized Packaging Solutions: AIs Role in Customization

📢 Exciting News! 🎁 Personalized Packaging Solutions: AI's Role in Customization In today's world of personalization, AI is revolutionizing the way businesses enhance their product packaging process. 🌟 By leveraging AI capabilities, companies can create impactful and innovative personalized packaging solutions. AI's significance in the realm of product packaging cannot be overlooked. With personalization as a top priority, AI plays a pivotal role in improving this process. 🎯 Let's dive into how AI is being utilized in personalized packaging solutions and explore the future possibilities. 👉 Read more about this fascinating topic in our latest blog post here: https://ift.tt/k7HdK4b Have you tapped into the potential of AI for your packaging customization? It's time to explore the endless possibilities! 📦💡 #packaging #customization #AI #personalization #innovation List of Useful Links: AI Scrum Bot - ask about AI scrum and agile Our Telegram @itinai Twitter -  @itinaicom

[dduane]

So where were we...?

...So the (current) new cover for The Door Into Fire is finally sorted out, and the new paperback will be available on Amazon in a day or so, as soon as it gets out of the usual re-publication review is now available on Amazon. (So is the matching Kindle edition, updated this morning.)

...Interesting to note that the 'Zon is now asking, as one of the questions on the page where you guarantee that you have legal publication rights, whether you've used AI in any part of the production process. ...Good.

One additional development for the paperback: I went over the text of Fire, before submitting the interior to make sure it'd correctly fit the cover, and made some minor tweaks. (Because there's no way a writer can read a text this, uh, senior, without adding a touch here or there to better bring it up to date with current style.) Nothing major: just some dialogue reformatting, and some smoothing-off of sharp corners that snagged me as I passed.

So this ever-so-slightly improved text, and the new cover, have today been carried over into the Ebooks Direct edition and all the bundles that contain it (just in time for the updated version of the LGBTQ Pride Package that'll be dropping early next week). If you've previously ordered Fire from the EBD store and would like a copy of the newer edition, just drop a note to the store's contact address quoting your order number, and we'll get new download links out to you in a day or so.

And if you haven't got a copy, well, here's the link. :)

The corresponding new-cover editions for The Door Into Shadow and The Door Into Sunset will also be pulled up into Amazon, with reset interiors, over the next week or so. (Since I first need to spend some time rummaging around under the hood of the store's software. It was acting up in obscure ways during the sale last weekend, and I need to figure out what was going on. [mutter] The joys of digital retail...)

Anyway, thanks, all!

[nyanbinary-perineum]

"Thanks to innovations in plagiarism AI technology I can provide pornographic images for my porn game! Hope you all enjoy!"

There's literally no reason for what bullshit you have done :)

There are text only adult games that have blown my cock straight off :)

There are adult games using rudimentary poses built into easily accessible model tools to add to the horny writing and scenes they wanted to put together :)

There are awesome creatives looking for writers and game engine understanders (silly way of saying dev because I felt like it) to help put together their art in a consumable package- often on the same forums you dwell on!

IDK man, I'd have accepted an IOU where you just make a horny forum post instead of making a game and I'd have found that more titillating than 3 billion AI generated slop images and maybe I should be allowed to dropkick you in the chest as hard as I can who said that

[alwaysxyou]

Writer’s Strike 2023

Seen a lot of people with questions but haven’t seen a easily understandable post so:

What is the strike?

The Writer’s Guild of America (WGA) is the union of writers throughout the entertainment industry. This covers TV, film, talk shows and more. They are striking after they tried to negotiate their working terms with the Alliance of Motion Picture and Television Producers (AMPTP), and could not come to an agreement by the deadline. The AMPTP includes the major television and film studios - Disney, Netflix, Paramount, Universal, Fox, Sony, Amazon, Apple and more.

The strike began on Tuesday, May 2, 2023.

What is WGA asking for in negotiations?

The WGA went into negotiations with a reasonable proposal, largely asking for a deal that took into account the shift from basic cable (for ex: the shows that run on your TV if you have a cable package) to streaming. When cable TV was booming (pre-streaming), writers earned residuals off the episodes airing. Even as projects shifted to be available on streaming, they were still airing on cable TV and writers earned residuals.

The shift of the past couple of years has seen a boom of projects solely for streaming. With no contract terms of what happens in that case, writers profits have dropped considerably, making their wages below a living wage. Many writers are referring as it’s turned into a “gig economy” rather than writing as a job. They compare it to Uber where studios want to pay them for the script, but not for anything that comes after, even though the industry is entire dependent on their craft. Studios are no longer valuing the art of the writing and only concerned with the profits.

They are also asking for negotiations regarding AI regulation and improved working conditions.

Why did they not come to an agreement?

Despite the WGA offering many amended proposals, the AMPTP refused to budge on the main points. There was slight concessions for lesser points, but the main issues at hand they did not budge on. There is a set deadline to reach terms by and since they did not reach it by the deadline, they are striking.

How does the strike affect writers?

The strike means no WGA members can work in a writing capacity until a new agreement is reached and the strike ends. This is why you will see productions coming to a halt, as the writers have stopped writing.

You might see films continue production (filming). It’s more common for films to have their scripts finalized ahead of production beginning. Since they do not need an active writer at that point, they can continue. Some shows that are scripted in a way that they’re all turned in ahead of time are similarly able to continue. Shows that have writers on set, or where they are writing throughout the season, are halting production. More will have to stop the longer the strike lasts.

Writers are paid based on work. When they don’t work, they don’t get paid. They are willingly choosing to strike and fight for this, because it’s that bad. It’s also important to keep in mind the industry is still recovering for writers since COVID, when all productions shut down and many of them were just now being able to find work again.

What would the monetary affect on the studios be if they agreed to WGA’s terms?

It’s estimated that in many cases the increase WGA is asking for would be less than 2% of the total profits of the project.

How long will it go on for/how does it end?

The WGA is willing to strike as long as it takes. The AMPTP has the ball in their court. The WGA is ready to get back to negotiations when they are.

2007/2008 was the last Writers Strike. It lasted 100 days.

How did they decide to strike?

All WGA members get to vote on whether or not they strike if negotiations are not reached. 98% voted in favor of authorizing a strike. After not reaching negotiations, the WGA board unanimously voted to strike.

How do non-industry people avoid crossing the picket line?

At the time of writing (May 4, 2023) the WGA has not asked for any regular, non-industry viewers to boycott any projects or studios. You can keep streaming and consuming as you wish.

The WGA will post widely if that changes and you should withhold from streaming certain things. These things are changing very rapidly.

How can we support the strike?

If you are based in LA or NYC, or anywhere there are physical protests happening, you can join them. You do not have to be a WGA member to help picket. As always with a group you are not a part of, be respectful and follow the instructions of the leaders on the ground.

Follow the WGA for updates and help spread the word about the strike and encourage others to support the strike.

It’s much more nuanced and would take ages to explain every tiny detail. But it boils down to: writers are the backbone of the entertainment industry and the entire industry relies on their work. Please support them in asking for fair and equal compensation and rights.

More resources:

WGA West Website

WGA East Website

WGA Strike Website

[fans4wga]

Support Entertainment Workers On The Strike Line

"Roughly 172,000 entertainment workers are currently striking, and many are walking picket lines across Los Angeles this summer during an historic heat wave. For the first time in over 60 years, the Writers Guild of America (WGA) and the Screen Actors Guild/ American Federation of Television and Radio Artists (SAG-AFTRA) are on strike at the same time, essentially halting entertainment production as members seek a fair contract. Picketers outside production giants like Amazon, Disney, Netflix, Paramount, Sony, Universal and Warner Brothers are braving blistering conditions 5 days a week this summer in order to make their voices heard demanding higher wages, calling out unfair streaming compensation packages, the lack of regulation around the use of AI, and many more unjust grievances.

Regarding the timeline for a resolution, one studio executive was quoted as saying, “The endgame is to allow things to drag on until union members start losing their apartments and losing their houses.” Right now, this strike is the front line of the labor movement.

You can find a picket line here: https://www.wgacontract2023.org/strike/picket-schedules-and-locations

The Plan

Community Solidarity Project is a 501(c)3 nonprofit that works to support organizations and campaigns in their work for justice and empowerment through event production, logistics management and donation gathering. As the entertainment industry, which is at the heart of Los Angeles, walks off the lot in the name of just and modernized working conditions, our organization is a grassroots partner to striking members in the struggle for workers' rights in 2023.

We are working alongside Strike Captains to mobilize and allocate community resources to support members on the line. With all eyes on Hollywood, consistently strong and well-populated picket lines are a crucial component to showing the media and studio bosses how much public support there is for workers' rights.

The Programs

We have partnered with local grocery stores as well as Best Food Trucks to bring weekly donations of water, sports drinks, fresh fruit, and lunch to a minimum of four picket lines for an initial period of 4 weeks, with the potential to go longer if the strikes continue.

Water, sports drinks & fruit: This effort is already underway, with resources being delivered to four strike lines weekly starting the week of Monday, July 17.

Lunch from Best Food Trucks: This partnership enables us to regularly bring high quality lunches to picketers on a reliable schedule.

Financial Goals

In order to sustain these efforts, we need to raise a minimum of $3200 per week. Here's how those numbers break down:

$6/lunch x 100 people x 4 studio locations = $2,400/week

5 cases/water + 5 cases/sports drinks + 2 cases/fruit x 4 locations = $800/week

As this effort grows, we could aim to cover 10 separate strike lines, 5 days a week! But to get this off the ground, we need to start with the first week at the $3200 mark, and then the first month at a minimum $12,800. By that time, we hope to be exceeding our goals and growing the amount of coverage this effort can sustain.

Historical Significance

Since the mid-1800s, Los Angeles has been a Union Town. At that time, workers in professions such as baking, cigar making, metalworking, printing, and carpentry organized themselves to demand better conditions and fair wages from bosses. Filmmaking began to unionize in the 1890s when IATSE - the International Association of Theatrical and Stage Employees - formed in response to worker exploitation in that industry. Within a few short decades, the Writers Guild of America (WGA), the Screen Actors Guild (SAG), and the American Federation of Television and Radio Artists (AFTRA) all took root in Hollywood in order to protect the labor and talent upon which filmmaking and entertainment are built. Today, those labor organizations are rising up again to protect the workers in a modernized entertainment industry.

Support the labor movement today in a uniquely Los Angeles way, by providing much needed sustenance to striking entertainment workers."

[animefeminist]

Love Y’all: Lonely catgirl seeks decently written anime polycule

Content Warning: objectification of women, nudity

Spoiler warning: In Another World With My Smart Phone (Season 1 finale), Tenchi Muyo Ryo-Ohki (season 5), Girlfriend, Girlfriend (season 2), Maoyu (ep. 7), Chainsaw Man (Quanxi’s arc)

Many of Anime Feminist’s articles are couched on the idea that a piece of media has somehow spoken to a writer in such a way that they felt an intimate relationship between it and their own identity. After all, part of the early appeal of anime and manga for foreign markets was the way it broached tropes and values missing from domestic mainstream storytelling. 

Yet, it’s hard out here when you’re looking for something that fits exactly what you idealize for yourself or even have as a lived experience. Manga and anime, although relatable in many ways, are not “literally me fr fr.” To find something that so-perfectly encompasses every fiber of my being, but in anime, it would require me to essentially become the next Kizuna AI or something, but just not get into NFTs. 

Still, it’s worth seeking what speaks to me in the media I consume and I usually must allow good to be a suitable substitution for perfection, and settle for aspects of what I wish to see reflected in media, rather than the whole package. 

All of this to say, while I find aspects of myself in the media I consume, I often end up asking: “why couldn’t this be better?” And what I mean by that is: while I’m pleased to report that there is an unprecedented rise in representation for non-traditional, queer and polyamorous romance in Japanese anime and manga, I must regretfully report that we still have a ways to go before I get something that I truly want as a trans polyamorous pan and demisexual catgirl on the Internet. 

Read it at Anime Feminist!

[zekeanddestroybitch]

I will never stop preaching about the importance of the arts in today's world.

Art is expression / documentation of emotion and experiences. This could be through any medium that you could possibly think of.

We are spending millions, engineering software that attempts to recreate what humans can create for free with our brains.

I am so fucking fed up of people telling me that unless I pursue further education within Law/Medicine/STEM/etc, that it's worthless, there are so many critical parts of everyday life that can only be upheld through the study/creation of art. Yes, the furthering of AI scares many artists. Yes, AI aims to create new art.... Based off of pre-existing art created by actual people.

So even to perpetuate that cycle of creating ai art , new art needs to be fed into it's databases.

You can preach that I should take maths till the end of my highschool education , you can tell me that art/music will get me nowhere.

But everything we consume contains some sort of design process - architecture, interior design, clothing , package design , app/ web design.

The rate we consume television and media requires a constant stream of people who work in the performing arts , not just the actors.

New music we wish to come from our already popular, favourite artists will require people who work in the arts as well such as session musicians , producers , writers , etc -

People who are paid well to work in the arts.

-

The misconception that being an artist of any kind is not a "real job" is obviously demeaning but discourages younger people from pursuing vital careers we need to thrive. I'm sick of people - especially many of the older generation claiming that the youth of today just don't want to work real jobs/work hard (which is a different conversation ) - the jobs within the arts are real jobs. Jobs that pay and jobs that can be 10× less miserable for some than a STEM based job. People are needed in the arts. Let your kid express themselves through the arts and if they want to go into a career within that - then good , they can do something they are passionate about and encourage others to find the same joy they did.

Sod off and let people become artists, poets and much more

[bunnimew]

Hi! Are you in the Blackice fandom too? Sorry, I know I’m probably being so random to a bunch of you in the fandom, but I just joined and I’m obsessed! This seems like a rather small fandom at this point, not too many people are in it, are they? Anyways, happy to know at least some people are in the fandom!

Any tips you could give me about black ice art/fics/blogs/content/etc would be greatly appreciated!

BOY ARE WE EVER IN THE BLACKICE FANDOM 😂 And no worries! We love getting asks! WE ARE ALSO OBSESSED. WE HAVE SO MUCH SHIT PLANNED FOR THESE BOYS. 

The fandom is quite small, but I think that makes for a better experience honestly. :) More cozy, more personal, easier to get to know and support each other! IN FACT. We (there are two of us who run this blog) are mods for a little rotg discord server, if you’d like to join and scream with us! :D Just let us know if you’d like an invite and we can hook you up. 

I believe @9haharharley1 (who also has some great fics! <3) recommended some artists and writers already, but HERE’S MORE: 

I know @miss-evening has a huge archive of blackice arts/writings/headcanons on their blog. We found a lot of content from the fandom in its hay day there. :) 

@department-of-fagriculture‘s and @livori ‘s art of the past are some of my personal favorites if you scroll through the blackice tag. Also @madam--mark actively makes lovely blackice art in such an expressive style! And @froggyfeetsies has some really sweet and hilarious blackice! Also check out @candraz, @sigilspell, @overmooneleven, @nyuzzz, @drei-zawa, just to name a few! 

For fics, both of us tend to like the more fluffy/fun variety with Pitch and Jack being a badass power couple (who are also disasters) getting into all kinds of shenanigans. 😂To rec just a few: 

PLS check out Five Veils and a Heartbeat by BurrrdBrainedInsomnia. Royal AU that has a bit of a dark premise but totally flips some common tropes around. It’s so refreshing and the dynamic between the boys is just fun and cozy and I JUST WANT THEM TO KISS ALREADY. 🤣 Also check out their other fics. They write blackice in all kinds of flavors. :) AND THEY DO ART SOMETIMES! THE WHOLE PACKAGE RIGHT HERE! @stuffdone 👈

A Dragon and His Prince by Frostre. PITCH IS A DRAGON. AND HE’S ACE. AND IT’S A WILD RIDE. Top ten easily. ;D 

To Dream of Respite by shipwreck. Modern AU with ace!Jack and it’s SO good. Just. Totally compelling, emotional story. Highly recommend. 

The Device has Been Modified by Lindzzz. Their evil boyfriend series was great but this AU is so cute! Jack is an AI accidentally made by Pitch! Chaos ensues! 

Also PLS check out fics by penning the stars! They have so many cute blackice one shots! 

And we’re just gonna second Lines And Colors. They have so many blackice fics that are just *chef’s kiss*. 

Hope that’s good to start! Hit us up any time if you want more anything. We could scream about these boys forever. 🤣

[shinysoroka]

Insider baseball rant incoming...

I'm a broken record about AI being a destructive technology for the arts. But what infuriates amazes me is how many people become willing cheerleaders for the thing that is actively contributing to the degradation of their craft, just because it comes wrapped in an attractive, non-threatening package by glorified HR managers. So let's break down how this all got pitched in the translation industry, just so you can spot potential parallels when it inevitably spills over into other areas.

Say you are a professional translator. You have been making a modest living over the last decade by translating instruction manuals, technical brochures and other assorted nonsense companies put out every year into... let's say Sindarin. You've built knowledge, experience and speed, you've put in your 10k hours and you're currently doing 3k words per day, which is on the high end of what a professional like yourself should be able to do. Your rate is 0.05 cents per word, which is about the average for your language combination. Life is often stressful but decent.

Suddenly, every translation company you freelance for comes to you with this wonderful idea. They call it post-editing, where they give you a machine-translated text and you merely review that output and you no longer charge per word but per hour. "Don't worry," they say. "This is not replacing you, it's just a tool that will help you be more productive. And hey, just to make sure we're fair, we'll calculate your new hourly rate based on your current rate per word. Just so you can see that this is great for both of us and we are not treating you unfairly. Sounds good, right?"

Right.

So you take the offer, start post-editing instead of translating and... Eru be praised! You are now doing 6k words per day, double your previous output and your pay remains pretty much the same. Sure, the quality is lower and sometimes it takes you a bit longer to fix the nonsense the machine spits out but it's not like you were translating Gil-Galad's poetry and nobody reads all this stuff anyway, right? The Elven market is thriving and we are still doing relatively good.

Except...

Who is this newfangled productivity really for? Your output has doubled, sure, but your rate remains the same. Your company is swimming in cash, the line goes up for them but not for you. Since the end customer doesn't really care about quality that much, you're now even more replaceable than you were before. But that's not even the worst part.

The worst part is that the longer you rely on that machine translated text for your work, the less you are able to work without it.

Think that's bullshit? Think again. Ask any immigrant who, after living in a different country for years, becomes progressively worse at their mother tongue. Every skill is a muscle that you build and the moment you stop exercising it, you start getting weaker. You've spent countless hours perfecting your craft and now, you've outsourced it to some machine, traded it in so that you can spit out subpar texts and the CEO of some translation company can buy a third luxury car. And you kind of had no choice in it, because your 3k words per day pale in comparison to the 6k words per day a post-editor can deliver. Sure, they technically haven't replaced you. But they sure as hell devalued your craft and made you dependent on them.

Don't be fooled, this isn't progress. This is, in fact, the opposite of it. For God's sake, don't let this happen to writers. And do not be dazzled by the sparkle of GenAI if you want your brain-cells to keep braining.

[insanitysscribblings]

I mean you'd with the least amount of pressure possible but, would you ever think about writing a book? Every once and a while I remember how it felt reading Back to Us and I just wish I could read a story that was fully yours.

HAAAAAAA.

Friend.

Let me tell you a story about what was my writing journey post 2020 for me.

As some of you might know, I finished a book at the very end of 2020, by the title of Charlatans. It's an adult novel about three voodoo-touched adult siblings who make Faustian bargains to find their long-missing father in exchange for their hearts' deepest desires.

I was super proud of it. My first full-fledged novel, something I had always known I was capable of doing. The hard part was over.

Or so I thought.

See, to be a GOOD novelist, you have to let your work marinate. So that's what I did: I sat on it for a few months, not touching it at all, not even remembering that it existed. After those few months, I set to the hard work of editing.

When I tell you it is SO hard to edit a book you know is missing SOMETHING, but you have no idea what...ugh. And asking for beta readers was tasking, 'cause the thing was over 90K words. I did still ask, of course, but didn't really manage to get a lot of feedback at that time of editing.

Nevertheless! I pressed on. Started researching literary agents, fully aware that with a single project, you only get ONE shot with each agent.

I had a spreadsheet. I had my query letter. I had detailed notes on who to ask for and why. I was ready.

And so I started querying.

...The agents that didn't straight up ignore me gave me automated rejections. The agents that didn't do that gave me personal rejections.

And the one or two agents that actually bothered to ask AND read the whole manuscript?

They loved it!

Just...not enough to publish it.

So. Here I am, with a fully finished manuscript and no one looking to publish it. What do I do?

I put it away and go back to the drawing board, because clearly, I'm missing something. But since no rejection is personalized enough, I don't know WHAT.

Frustration makes me put it down, and I let it sit for a few more months.

Until #DVPIT.

For the uninitiated, #DVPIT is a literary event in which diverse prospective writers and established agents come together to discover new working relationships. The diverse writer has three chances to pitch their project throughout the day to agents, and if agents like your pitch, you may send them your query package. Cool, right?

I take the day off work. I have my pitches queued on my phone, ready to go. Throughout the day, I strategically post them at peak hours, keeping my fingers crossed for even one single agent's attention.

The event runs for an extra week to give agents a chance to read the thousands of pitches flooding the Discord channel. I wait.

No likes. Not a single one.

Now, this part I'm less bitter about, because 150 characters to describe my book? That's just ridiculous. And the comp titles to prove that people would like it? Ugggggh. Not an opportunity to really sell Charlatans.

But this means that, still, my first novel is without an agent. No agent, no publication.

So I put it away again and decide to move on.

And before you ask, yes, I did look into self-publishing. Still lowkey looking, but it's tough, since everything seems like a scam nowadays. And don't even get me started on the AI books being published.

I know you didn't ask for this rant, @hydrogen-ann and for that, I apologize. But TL;DR: a published book is currently a pipe dream for me, though not for lack of trying.

Bitterness aside, thank you so, so much. I'm so happy you'd be interested in something original of mine. If I ever push Charlatans out the door/find the time to write an entirely NEW novel, I'll be sure to let you know 💜

[maximumwobblerbanditdonut]

The Strike Is Over! SAG-AFTRA & Studios Reach Deal On New Three-Year Contract

Dominic Patten And Anthony D'Alessandro

November 8, 2023 4:39PM PST

After 118 days of the actors guild being out on strike, SAG-AFTRA and the studios have reached a tentative deal on a new contract that could see Hollywood up and running again within weeks.

The strike will be over as of 12:01 am PT November 9, we hear. Culminating a very dramatic day of studio earnings results and deadlines, the actors guild’s 17-member negotiating committee unanimously voted to recommend a tentative agreement to the SAG-AFTRA board.

Coming just less than a month after Writers Guild members overwhelmingly ratified their own agreement with the Alliance of Motion Picture and Television Producers, SAG-AFTRA’s deal is the culmination of the latest round of renewed negotiations that began October 24. Indicating the seriousness and stakes of the negotiations, Netflix’s Ted Sarandos, Disney’s Bob Iger, NBCUniversal’s Donna Langley and Warner Bros Discovery’s David Zaslav frequently directly participated in the talks.

The tentative agreement follows the studios responding on November 3 to the guild’s last comprehensive counter with a self-described “historic” package. That was succeeded less than 24 hours later by an expanded group of studio leaders — including execs from Paramount, Amazon, Apple and more — joining the Gang of Four to brief SAG-AFTRA on the AMPTP’s new offer, which was said to include big gains in wages and bonuses as well as sweeping AI protections.

We didn’t just come toward you, we came all the way to you,” Sarandos told guild leaders Saturday before SAG-AFTRA brass began digging into the fine print. Further talks between the two sides began earlier this week as the guild poured over the studios’ latest set of proposals.

Now, if all goes as planned and the board signs off on the deal, eligible members of the 160,000-strong actors guild will vote soon to ratify the new agreement. Also, with SAG-AFTRA pulling the plug on the strike just after midnight and before the ratification vote is completed, people could be back to work soon and production restarted quickly.

Exposing many of the shifts and divisions in the industry over the past decade, today’s tentative agreement comes at the end of a long road filled with diversions and potholes.

Overall, the six months of Hollywood strikes is estimated to have cost the Southern California economy more than $6.5 billion and 45,000 entertainment industry jobs after production ground to a halt with the WGA hitting the picket lines in early May and SAG-AFTRA following in mid-July. On an individual level, the labor action garnered passionate unity among guild members. At the same time, a fact not lost on the studios and their strategy, many guild members have suffered crippling financial hardship, as have below-the-line workers, going months without work.

After calling the strike July 14, it took the guild and the studio CEOs’ Gang of Four around 80 days before their first official face-to-face talks at SAG-AFTRA headquarters on Wilshire Boulevard. For all the optimism and momentum coming out of the completed WGA deal, those new deliberations between SAG-AFTRA and the studios that began October 2 blew apart on October 11, with the AMPTP leaving negotiations early after the guild tabled an alternative to its contentious revenue-sharing proposal. A few hours later, expecting more scheduled talks the next day, SAG-AFTRA president Fran Drescher and chief negotiator Duncan Crabtree-Ireland received a call saying deliberations were “suspended.”

“Last night, they introduced a levy on subscribers on top of [other] areas,” Sarandos said the next day at an industry conference, calling the proposal a “bridge too far” and blaming the guild for the talks ending. Later, SAG-AFTRA accused the studios of “bully tactics” and using the “same failed strategy they tried to inflict on the WGA.”

On October 18, after Netflix stated in its Q3 earnings report that talks were “ongoing” and Sarandos said the guild “really broke our momentum” towards a deal, Crabtree-Ireland called BS. “The best way to reach a deal and end this strike is for him and the other CEOs to end their walkout from the bargaining table and resume negotiations,” the SAG-AFTRA national director and chief negotiator told Deadline. “We have been and remain ready to continue talks – every day.”

After an appreciated but DOA bid by George Clooney and other A-listers to intervene in getting talks restarted, it looked like the actors strike would pass the 100-day milestone with no end in sight. Then, on October 21 , after Drescher hit out at the “AMPTPs strategy of non-negotiation” and “a blatant propaganda attempt to discredit union leadership and divide our solidarity,” Bob Iger made a call to Crabtree-Ireland and asked to start a new round of talks.

At 3 p.m. PT on the strike’s 100th day, SAG-AFTRA and the AMPTP put out a joint statement that they were heading back to the bargaining table on October 24 at the guild’s headquarters. That first day of negotiations between the parties was “not great,” according to a well-positioned source. As the studios put forth a new offer they hoped would end the stalemate over “success-based compensation,” the guild proved unmoved, but also open to further discussion.

Although the parties had agreed to meet on October 25, the guild asked that morning to take the day to go over the studios’ proposal of increased bonuses based on the success of streaming shows and movies and a further rise in minimum rates. “It’s a step in the right direction and the negotiating committee is taking the time to do a deep review,” a guild source told Deadline.

The two sides sat down again face-to-face around noon on October 26 with Crabtree-Ireland telling Deadline he was “cautiously optimistic” about deliberations with the studios. The guild slide across the table a self-described “comprehensive counter” that attempted to move the two sides closer together, sources said. As open letters from both supportive and impatient guild members flew around town, the AMPTP and SAG-AFTRA’s negotiating committee were back in active talks on October 27. With both sides taking October 30 to be “working independently,” virtual deliberations bled into the weekend with the parties trying to bridge their differences.

On Halloween and in the early days of November, the parties met again. As the parties got “closer and closer,” as a guild source told Deadline, on issues, Crabtree-Ireland and Lombardini continued conferring directly, with breakout groups of lawyers and other specialists huddled in search of a deal – successfully we now know. Followed by two days of consultation by the guild, the November 3 delivery of the studios’ response to the guild’s latest counter and SAG-AFTRA’s November 6 counter response saw the two sides find an AI compromise and began moving things into what we now know was the final phase.

It took an unexpected strike by actors guild (who many studios execs thought were bluffing despite an overwhelming strike authorization mandate), a lot of moving pieces, guild solidarity, and some hard negotiating sessions to get there.

The actors union joined the WGA on the picket lines when it went on strike July 14, creating Hollywood’s first joint strike in more than 60 years. There were a lot of hot summer days when the labor battle remained at a stalemate.

But things shifted after Labor Day. The WGA reached a deal with the AMPTP on September 24 after five months on the picket lines and a final five intense days of deliberations that included the CEO Gang of Four for most of those last sessions. The WGA leadership approved the tentative agreement and ended the strike at 12:01 a.m. PT on September 27. WGA members ratified the deal by a wide margin October 9.

As exclusively reported by Deadline on September 26, the studios and SAG-AFTRA intended to ride the wave of the WGA deal to set meetings within a week or so on their own talks. However, as the goodwill of the WGA’s successful negotiations faded into bitter public call-outs from leaders on both sides, many feared, even with a new round of talks, the actors strike could last well into the holidays, ruining any chance at a partial broadcast networks season and hobbling the 2024 movie slate.

That catastrophe seems to have been averted now.

[ceilingfan5]

is anyone else miserable as a "#Content" creator looking at that staff post. like ive been getting uncomfortable about art and exploration and love being plastic-sealed and stamped and sold as Content for a while now but what a stark and dire presentation of the bare fact that we writers and artists and makers and curators and hobbyists...are the product. i know it's difficult to grow a creative business and it isn't that some of those points are unfounded or even malicious--but also personally? the majority of what i create and share is a celebration of things i love and things i love doing, shared with others in communion and passion. i don't want my creations to be packaged and sold like meat in the grocery store, i want other people to be like hey! i love that thing too, and i love how you've shaped and presented your passion for this, and i would love to see more so i can eat it whole and keep it as close to my heart as possible forever and ever. but things like

ensure a seamless connection between people and content. 

the full breadth of content that Tumblr has to offer

We need to ensure that we [...] foster the rewarding feedback loops that keep creators around

sounds a lot like tumblr is a Content Factory and if we the Content Creators are not manufacturing enough Content, we'll be put out to pasture

where in the world do they think this stuff is coming from, and for what?? #Content is not a naturally occurring resource--these are pieces of our souls, and fun jokes between friends, and Strongly Worded Letters To The Editor, and experiments and love and wonder at the world and all the incredible things it holds. and if that basic concept is neglected, they're going to wind up having to ai mine all their beloved Content and serve steaming plates of soulless ones and zeroes to the users who don't run off and live in a cave and try to forget computers ever existed and between one and the other, believe me, i'm taking the cave

[poorvikasmartgadgets]

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[scarlettjemily]

First off, the way I spoke was perfectly calm and civil, if you got triggered or offended that’s because you know you’re in the wrong. And the fact that you deflected proved that even more, because I wasn’t talking about you posting chat gpt fics, but rather the fact that you go to a bot and get it to write a fanfic for you when there are thousands of stories and authors you could support on ao3 or any other platform. The fact that you would run to a robot instead of people who put their love and passion into writing for these characters that you love is actually diabolical. As a fic writer, coming across that post on my dash and seeing people go to ai for content would make me stop writing completely, so maybe next time consume content from something with a soul, yeah?

Hang on this is insane.

Because I got offended it means I’m in the wrong? You have zero merit here.

You can’t even come off anon and talk to me with an identity.

I spend hours and hours writing my fics, I’ve spent YEARS writing fics and never posting them. I put so much effort into my writing and because I didn’t feel as though I had to justify that to you, or BEG you to believe me, then I must be lying?

I appreciate that you put a lot of effort into writing, as do I but you have no idea what I do in my spare time. You have no clue how many fics I’ve read and appreciated, comment on and give kudos to. So you have no leg to stand on here anon.

I’m not sorry that I made a little joke about giving chat gpt writing prompts. I do not have to read fics written by other people 100% of the time.

That’s like saying, I can’t go and eat pre packaged snacks because that’s so disrespectful to the chefs out there who work their whole lives to be a good cook. It makes no sense.

Or I can’t watch shitty reality tv because it’s offensive to the ‘real’ film makers out there.

Sometimes you want to consume stupid shit and that’s okay.

Do not come here and tell me that I’m guilty of something when I’m not.

Once again, if you wanna come at me with baseless accusations, come off anon and do it.

[marshmallowprotection]

What do you think about June from The Ssum? Are you interested in that game or maybe decided not to play?

Let's slap out the first statement that needs to be said about the Ssum. I do not support the use of AI. I am disappointed in Cheritz. Someone suggested, and I agree, that they should've utilized the programs that many webtoon artists use to make backgrounds on time crunches if that was a concern; Or, they could've continued to do what they've been doing over the years by using stock images in the game that are royalty free. They did it in Mystic Messenger and the Sssum at the start. There is no ethical or morally correct reason to use AI.

I want that shit to die out like NFTs steadily are because I hate seeing artists, actors, writers, voice actors, etc robbed by these AIs. It leaves a damn sour taste in my mouth to think about the people being hurt by AI right now, and I can't believe Cheritz would ever think it would be okay to do that. I'm very disappointed in them as a company that prides itself on the happiness of others but they stooped to using AI in their game. That's not okay nor will it ever be okay. I pray they stop and listen to their fanbase about this shit.

But, as far as my interest in the Ssum goes outside of that fact?

Ever since it first came out, I simply did not enjoy the gameplay. It didn't take me long to realize that the Sssum wasn't a game for me, personally.

I felt overwhelmed by the amount of options placed in front of me, and while it is a learning curve to pick up a new game, the more that stood in front of me to do, the less I felt I understood and the more I wanted to pull my hair out. The interface was super busy, there was a lot to do! However, I attempted to give it a try for a few days with Teo because sometimes you have to try something to see if you can learn how to do everything and then enjoy it after better understanding the setup of the game. So, I tried to look past the amount of things to do and focus on the story.

Teo didn’t do anything for me interest wise. He didn't have anything interesting about him that worked for me romantically. So, it was hard for me to become invested when I was put in a situation where I didn't have a choice but to romance one character and he didn’t fit my type. That’s not a knock to Teo as a character, either, he just isn’t my type and therefore I had a hard time feeling drawn him to talk to him. 

I don't think Harry is my type, either, so had I tried again when his route came out, I would've inevitably quit again. This is not a knock to the characters. This is personal preference thing! Just because they are not interesting to me doesn't mean that they're not interesting characters, it just means I don't feel interested in them enough to care about their stories. 

If I'm going to be spending all my time focusing on having a major relationship with these characters, I need to be invested in them. I need a hook and something that excites me about them from the beginning. There was no draw for me and I felt no need to continue playing when there was no interest for me to keep doing so. I didn't feel an incentive to learn more about them because they weren’t my type. 

Microtransactions are a real problem these days. The Ssum has a lot of them in its game package. Listen, it is important that companies get money to be able to continue to create their games and do more, and I understand that for some games, microtransactions are always going to be there and there's nothing we can do about that. I miss when you could pay for videos games with a one-time purchase. But, unfortunately, those days are gone and I don't know if they will ever come back. 

People deserve to be paid for their time and energy they put into a game, regardless of what they did for that game, and this is one of the ways that people get paid. Microtransactions help pay for the things that keep these mobile games alive. The servers will always cost them a hefty penny, writers, programmers, artists, etc need to get their money as well. 

However, when you are playing a game that offers itself to you as something that you can play for free, then your enjoyment of that game should not be limited by the fact that you don't want to pay. A lot of major story elements are locked behind a paywall, and that takes away a lot of the enjoyment a player can have in this game. I do think it's complicated to figure out where to place the paid options in a game, but having them lock away key parts of the story that let you enjoy yourself just leaves a sour taste in my mouth. 

Maybe I was spoiled by just how free Mystic Messenger is. My enjoyment of a chat room is not locked behind my ability to pay for a better answer. I can say anything I want to say in the chat room and I can find out what happens in every replay. I don't have to spend money on batteries to be able to pick a better answer to learn more about the character. 

Now, about June as a character.

I do not appreciate his connection to Jumin Han. Because, to me, he is the family man and if he had a sibling, half-related or not, he would be there for them no matter what. If he knew about them, he would be there, and he would do everything within his power to make sure that they had a connection that nobody could break apart. Out of all the characters to make a family connection to, I don't know why the hell they thought it was a good idea to give Jumin Han one when he would've never gone a day without mentioning that he had a brother.

The only way I can reasonably think about this connection is if he was not informed that he had a brother at all until recently. Now, I'm not playing that game, but I do not think that's the way they're angling it. I think it was established that they already know about each other in this universe and they aren't close. That's not how Jumin Han would handle his life.

You mean to tell me that the character who wants nothing more than to have a family is not close to his half sibling? You want to tell me... that he's had a half-sibling this entire time, one that he knows about, and he's not close to him at all? That's not in character for him. All he has ever wanted was a family.

But, he didn't get that in his life.

He was an only child who was neglected by his parents, left to fend for himself emotionally all the time. He spent his childhood alone in every sense of the word when he wasn't with Jihyun Kim, and when he wasn't alone, he was either being sexually harassed by his father's partners or being threatened by people who wanted to hold him for ransom if he was caught by himself for just a moment away from his home. Before that, when he was left with his mother, she would lock him away in the basement and demand he stay there until he learned how to be "normal".

God, I think about that sometimes, and I think about the fact that he diminishes his trauma because he feels as though his trauma needs to be diminished because he grew up privileged. He understands his privilege as a child of a wealthy man but he discounts his own trauma in doing so. Anyone can suffer, regardless of status, and it's hard to see him knock himself down. 

The only thing this man has ever wanted was to experience what it felt like to grow up with a normal family. That's why he cherishes the idea of family so much. That's why he is filled with so much love for the RFA and his MC, friends. Because they become the family he's always wanted. They become what he always deserved. So, to think about him having a sibling that he's always known about and he has nothing to do with feels wrong. 

He is the kind of person who pushes for families to talk to each other and be there for one another, so why isn't he there for his brother? The only way you could play that off would be to say that he had no idea he had a little brother until recently.

I think they could take that somewhere if it was written that way, because it would devastate his worldview. He would be beside himself to think that he had a connection out there that he was never allowed to get close to. To think that he was never allowed to get close to his brother because his mother hated him so much. I don't like his mother in any sense of the word. I could see her doing that to him.

She is a materialistic and greedy woman who only cares about her wants and needs, and it's already hard enough for me to imagine her having another child because she does not seem like the kind of person who wants to have children. She seems like the kind of person who would only have a child to ensure her comfort in life. She does not seem like a person who would view a child as their own person, instead seeing them as a money ticket. I don't know anything about June and the way his life has shaped up with Carolyn as a mother. I don't know how that dynamic works with them, but I sure know how horrible of a parent she is to Jumin.

It can't be much better for June.

I can't rationalize anything about the connection between him and Jumin. 

At the end of the day, I want Mystic Messenger and the Ssum to exist as their own games. It is one thing to have Easter eggs in your game that tie back to the things that that company has done before. Like, I think we all love a little callback! Nameless and Dandelion had some references all over Mystic Messenger and there was nothing wrong with that. Those were fun little homages and call back to things that you might have played before.

But, when you tie your new game so inherently to the last game, it cannot stand by itself. People don't play because they want to learn more about the new and exciting characters that are in your new game, they are playing because they want more content about the characters from the other game. I know many people feel the same way about that because I have seen a lot of conversations about what it means to tie these characters together.

It does a major disservice to characters like Teo, Harry, and June.

It was one thing when they did little tie-ins like Jaehee picking up Teo’s phone for a day or Zen being a host at a television show! I had nothing wrong with those instances because it was nice to see them. But, now that they are so inherently tied together and it changes so much canon we thought we knew from the start, I don’t know how to feel. I don't like it. June's story changes Jumin's story and now, when you're playing Mystic Messenger, you're going to have to live with the fact that Jumin has a brother who is never mentioned.

You know, had they established the fact that he had a half brother he knew nothing about in that bad ending dlc, maybe this wouldn't have been such an issue, because then, there would have been something to play with narratively that made sense, but I don't know, I'm losing my mind over here. I have nothing but critiques all day for this shit.