#stream on Netflix this week so it doesn't get cancelled

[anotherlifeinanotherworld]

why watch Dead Boy Detectives

includes:

- a gay little Edwardian genius ghost who was sacrificed to the devil, ran away from hell

- a charming, protective ghost, fights with his criket bat and backpack with unlimited space, ran away from death

- a psychic who will fight anyone, lost memories, was possessed by her demon-boyfriend

- the cutest bravest and funniest fashion girly who loves love

also:

mysteries and detective work, power team dynamics, emotional value, travelling through mirrors, humor, action, a walrus man, a cat man, a cute lil crow boy, a butcher being your tenant, ghosts, talking cats, witches, creatures, confessions in hell, and whole lot of fun stuff

plus:

if u loved lockwood & co. you'll love this!

[ordinaryschmuck]

I love that The Ghost and Molly McGee's forced cancellation isn't just frustrating to fans of the show but to people in the animation industry as well. They're just as sick as we are about how much studios disrespect animation. They keep looking for the next Spongebob, Simspons, or goodness forbid Family Guy, but instead having faith in the creators and their content, they just...wait. They wait to make a profit and do the bare minimum to market their shows and make them available.

Let's look at Gravity Falls for example. I remember that when Gravity Falls was still airing, you would be able to find out a new episode was coming out based on coming across a commercial by random chance or by the people working the show promoting it online. Add that with the fact that it was on a different channel that required you paying MORE for your cable to get it. It WAS available through Disney Channel, a channel more available at a cheaper price, but the entire of Season Two got moved to the more expensive Disney XD, where Disney shows go to die, because...REASONS. With no warning or announcement. I think I found out about Gravity Falls moving to Disney XD because the trailer played during a commercial break. And that's just the START the show's problems. Mixed in with poor marketing, the show would have a crazy inconsistent schedule, where we'd have four episodes a week, a few months of NOTHING, a few more episodes a week, nothing for a few months, a random episode playing between that nothingness with next to no promotion, and all of that happening to the rest of the show until it finally died a slow death with its series finale where four episodes got stretched out for six months. That...is NOT okay. And it doesn't stop with Gravity Falls.

Steven Universe, OK KO, Ducktales 2017, Amphibia, The Owl House, and now Ghost and Molly McGee are all shows that had similar and sometimes WORSE treatments as Gravity Falls did, where the networks gave next to NO marketing, the creators had to promote their own shows themselves, and the airing schedules were so inconsistent with wildly long hiatuses that only the most dedicated fans were willing to keep watching. General audiences (mainly kids) weren't willing to keep up with shows that had ongoing stories if the episodes stories kept being too spaced apart and never had reruns as frequent as other shows like Teen Titans Go or Big City Greens (Or whatever's constantly on network TV nowadays. I don't know. I mostly watch shit on streaming).

The people of the animation industry is catching onto all of these tricks, and they're getting sick of it. They're getting sick of inconsistent schedules. They're getting sick of trying to bend over backwards in every possible way to make the show they wanted. By either making serialized content as episodic as possible so the network could air it more or by condensing their stories as much as they can, already expecting that forced cancellation to happen sooner than later. And in some cases, they don't even get the luxury of being told their show is ending. Did you know that Inside Job and Paranormal Park both had seasons that were already in development before Netflix pulled the plug shortly after releasing new episodes of their shows? Did you know that The Ghost and Molly McGee was already working on a Season Three before Disney shut that down so they had to force out a series finale that would still be good despite the cancellation? Because it's true. It's ALWAYS true. Creators want to make MORE, but the studios won't let them because they didn't profit off of it. Except they WOULD HAVE if they treated it better.

I want kids to grow up with characters that stick around through their childhood, just like I did with mine. I want kids to have their own Ed, Edd n Eddy, Codename: Kids Next Door, Phineas and Ferb, or Kim Possible. I want kids to watch shows that last more than two-three seasons, stick around for years, and leave an impact as if they have all the time in the world because to them, it feels like they do. I want kids to have a show that ends on a high note because the creators wanted it and not because the networks demanded it. But the unfortunate thing is that it doesn't seem possible nowadays. Because if a mostly episodic show like The Ghost and Molly McGee fails, despite being charming and inoffensive and something most kids will love, the what hope IS left.

[fans4wga]

The WGA is winning the PR battle.

"Overall, 71 percent of Americans with an opinion backed the writers in their dispute with AMPTP. The survey indicated that the dispute has high visibility with the public, with more than 80 percent of Americans polled saying they had an opinion on the ongoing strike."

That's an amazing number, significantly higher than the 60% of people who supported the last strike in mid-December 2007 (a little over a month from when the strike started on November 5.)

What's next? -> Public support DROPPED over the course of the strike in 2007. People got upset their shows weren't airing, and while we sympathize with fans, the writers' concerns have to come first. We should be getting the word out to our friends, families, and communities so that doesn't happen again. We should be scheduling reminders in a few weeks or a few months to post again on social media to boost morale even when time is passing.

Wouldn't it be great if 75 or 80% of Americans supported the strike in a month? We can do that if fans and audiences everywhere keep pushing for a better understanding of what the WGA's very reasonable demands are.

Now is the time to get mad that Willow is getting canned and deleted, that Lockwood & Co. was unceremoniously cancelled, that Netflix is dangling the Six of Crows spinoff over fans' heads and forcing Shadow and Bone fans to replay seasons again and again in the hopes of getting a renewal. Get angry and agitate for change. Tweet #IStandWithTheWGA and #DoTheWriteThing. Team up with your fandom to send food & snacks to the picket lines (see here for an example, and reach out to this account if you need help getting started with any fan initiative!)

Send a message of WGA support on Netflix, Disney+, HBO Max or any other streaming site you own. (Sample letter available here.)

It's an untenable, inhospitable landscape for fans, so support the writers for a healthier entertainment industry.

Studio greed can only be restrained by a strong union. Support the WGA to fix what the studios broke.

follow @fans4wga for reliable strike news, from an organization of fans working in solidarity with WGA members.

[infinityinakiss]

I know we're all devastated about this, but there are things we can still do. Maybe we won't be able to get the show saved or renewed, but we can still cause massive tidal waves that makes sure this doesn't happen to future sapphic shows and stop this cycle of cancelling shows prematurely. But we have to at least try. Here's what you can do:

- Use the hashtag #SaveWarriorNun on apps like Instagram and Twitter. I know we all hate the bird app right now, but we're not going to be heard on any other apps. When you're tweeting make sure to include words or images and don't use more than three hashtags. Always check the spelling of the tag (we really don't need #SaveWarrionNun trending)

- Sign the petition, please. We're already at 50k signatures. Send it to all your friends.

- There is a request show form on the Netflix website. Request Warrior Nun season 3. There are similar forms on other streaming platform, like Hulu, and you can request to save Warrior Nun.

- Cancel Netflix. They don't deserve any more of your money, and there are other platforms you can use. One of the reasons Netflix will just straight up cancel shows is because they get new subscriptions because of the show and then they won't make another season because it costs more money. They'll then put that money towards a new show that they'll probably end up cancelling. We need to make this a bigger loss than a gain. If you really can't live without Netflix, then just cancel it for a couple weeks. We just need them to see a sudden drop in subscription numbers.

- Call the Netflix help center and file a complaint about the cancellation. I know talking to customer service can be stressful, but the calls get registered as complaints and is one of the best ways to reach Netflix directly.

- Stay salty at Netflix. Tank their rating on the app store and other websites by writing reviews. Let’s make sure everyone knows that Netflix will cancel shows before you get a chance to fall in love with it.

- Make noise. There have been a ton of articles questioning the reasoning for the cancellation, especially since Netflix hasn't put out anything official. Reach out to your favorite youtube channels and media outlets, and ask them to do a video or article about Warrior Nun and the cancellation of shows.

I love this fandom so much. You have fought for this show like nothing I've ever seen before. The holy war is nowhere near over, but it's okay if you're tired. If you need to take a break and focus on yourself for a bit, then please take care of yourself. At the end of the day, your mental health is most important thing. But if there is anything on this list that you can do, I'll really appreciate it. :)

In this life, or the next.

[simplykorra]

hearing you say you might not be around once the countdown ends/we learn the details makes me incredibly sad 😔 it’s making me anxious about how it might end up being better if Simon hadn’t said anything at all

regardless of what ends up happening, thank you for all that you’ve created and shared with us so far. You’ve seriously helped keep the show alive for a lot of us after the cancellation news

You're very sweet, truly I've had so much fun writing all these fics and sharing them with everyone, trust me when i tell you that the last thing i want is to leave this fandom

that being said

i feel like there's very little chance it happens.

because if the show comes back and ava isn't in it or they replace her or whatever, then a lot more people than just me are going to leave. we fought for avatrice, we fought to see ava come home and get the happy ending she deserves.

simon knows this, the streaming service that would have bought the rights to the show from netflix knows this - they're going to want everything that made the show such a huge hit to remain intact

you don't do all this hype and build up and say 'back and more epic than ever' only to then bring back a product that is less than what we had or completely different.

i feel like most of the pieces are already in place, legal things like nda's and maybe contracts (explaining why the show is still on netflix atm, because it won't leave the service until a certain date and nothing can be said), which also explains why the countdown/website exists in the first place - keeping people engaged while waiting for everything to sort itself out is a lot smarter than going radio silent for six weeks

alba is the lead, she is the face on every article that comes out about this show - no network out there is going to revive a show that's missing it's most important piece and warrior nun does not work without her in it, it just doesn't

[peetapiepita]

Thoughts on what general audiences can do for the WGA and SAG strikes

I've read up a lot on the strike situation these past weeks because I'm someone who consumes A LOT OF media content. The strike will affect my daily life and I'm a curious girlie when it comes to show biz rules. So here are some of the takeaways I wanna share with my fellow audience:

1. Understand the strike

The strike is happening for 2 major reasons:

1.) The studios are refusing to pay the creators/actors residuals on streaming services.

This makes it hard for the majority of writers and actors to make a living by doing their respective jobs. They used to rely on residuals from old projects (DVD and blue-ray sales, renting, etc.) to pay bills. That's just not happening today.

To try to get out of paying residuals, the major studios started this trend this year to take old and new shows/movies off their streaming platforms and use them as an excuse for a tax write-off. Disney did this last month and got a 1.1 billion tax write-off. They can currently do that without consulting the people involved AT ALL, taking away their livelihood without warning.

2.) The studios want to retain the rights to use AI writing and performing.

In the negotiation with SAG, they proposed a plan to pay actors only one day's wage to use their AI image FOREVER without paying them ever again. And the actors wouldn't have a ground to argue that. This is straight out of Black Mirror Season 6 Joan is Awful. Netflix is really writing its own villain origin story right now.

So what would happen if the workers budge and give up mid-way?

They'll end up losing their means to survive and have their images stolen. So striking for a few months is definitely better than starving indefinitely.

What's happening right now?

Right now, no projects fiananced by AMTPT companies can film with SAG members or develop with WGA members, which means only a very small percentage of all Hollywood productions can still happen. (More to come about this.)

With finished projects, if they're being released in the next few months, they're going to be released without any promo from the actors. They can't take part in interviews, premieres, fan events, or even post about their projects on social media.

2. Help with the strike.

Now that the double strike has officially happened, what's the best outcome for the workers and the audiences?

If you're just a casual entertainment enjoyer:

Cancel the streaming services not essential to you. The studios are going to panic more when they start losing even more money.

If you're a fan of a fanchise/upcoming blockbuster:

Flood the companies behind it, demanding them negotiate with the SAG and WGA on their own and agree to a fair deal. Threat not to support the projects unless it's settled fairly.

These studios with upcoming big-budget movies are bleeding money and panicking right now, any added pressure is good.

If one company buckles, the others would follow suit.

If you have money to spare: (Congrats on being rich, btw!)

Donate to the unions and support the ones with lower income in the first place, they'd be struggling with bills if the strike goes on for too long.

For everyone:

Call out big studios who are still planning on filming projects during the strike.

Please note there are exceptions to the strike rule:

1.) Foreign productions.

Please note an actor has to be part of the foreign union to work on these. Some of the foreign unions are still in meetings to decide if they'll allow US companies to work with their members, the most notable ones being the UK one and the Canadian one. Fingers crossed they don't fall for the deals the US studios are offering.

2.) Indie productions.

Indie companies can make their own deals with the workers since they're not included in the overall deal. So a very small amount of US projects can still happen. Make sure a project doesn't fall into this category before calling them out for scabbing.

That's about it for now. I might add more later in the replies if I think of anything.

[willowmosby]

Honestly the fact 1899 is cancelled is bullshit. Like it was such an incredible first season, and I am almost always of the opinion the a shows first season is it's weakest, and yet they still cancelled it. I think it's super odd considering that as much as Dark is one of my personal favorites I don't think it was nearly as successful in it's first season as 1899 ( I mean that's mostly based on people I know in real life not real stats so take that as you will). I saw 1899 on the top ten list for weeks and yet.

I'd also like to take a moment to talk about why I personally ( I'm not a tv critic or a pop culture expert) think that the Netflix mode of cancelation is so flawed. Controversially I don't really care that shows like Emily and Paris are getting renewed they have there demographic and entertainment doesn't always need to be revolutionary. And I naively believe that people one fandom shouldn't have to disrespect another for their own gain. The problem comes when they cancel shows in between seasons. I know this sounds weird but I honestly think that if they gave the creators of shows like 1899, Warrior nun, or even Julie and the phantoms half a season heads up that the creators could put together a satisfying ending instead of being left hanging with no resolution. I know that's not ideal, we'd all prefer the creators get how many seasons they plan for or at least get a whole season to make a final season, but its a situation that most network tv has learned to deal with. I mean how many network tv shows can you think of where the creators weren't at least aware of likely hood of their next season.

I think a large part of people's anger is the the show didn't have a satisfying ending, you can claim it's about the creators all you like but I just don't think that's the biggest reason. I worry about that , not because I disagree just that I worry in the world of modern streaming that creators will do away with cliffhanger endings to appease the new format just as 22 episode seasons and "filler" episodes have slowly begun to decline. That fear that a show may end early has always impacted tv but when you can't watch you ratings until long after the show has wrapped every show could suffer from the fear that each season finale will be their last.

I know that was long and kind of incoherent but I hope some people get it and I really am deeply sad that we won't have another season of 1899.

[anotheruserwithnoname]

Some good news and some bad news regarding Season 3 of Star Trek: Strange New Worlds. The good news is that now that the strikes are over, production of Season 3 is set to begin next month! This is good because there have been rumours swirling around possible cancellation in the wake of Star Trek Discovery being ended after its 5th season. But SNW continues (Lower Decks has also been renewed for Season 5). The only caveat to that is Paramount Plus still cancelled Star Trek Prodigy even with its Season 2 complete, so nothing is a guarantee anymore. (And even then, it's been reported that Prodigy S2 will at least get some sort of Netflix release).

(Further good news is Season 2, with its amazing musical and Lower Decks crossover episodes, is set for Blu-ray release before Christmas.)

The bad news - though this is likely educated speculation on Screen Rant's part - is the possibility that the 10-episode 3rd season my be split, with only 5 episodes airing in 2024 and having to wait till 2025 to see the rest. Aside from that wrecking viewer momentum, those 5 weeks will come and go very quickly. If this news is correct, though, they could be telegraphing some sort of 5-episode story arc, which should be good but I actually prefer SNW's episodic format as it better supports the type of experimentation we got with not only this past year's musical and part-animated episodes, but the episodic format is what made TOS what it was. No official word on any cast changes, though I will be surprised if S3 doesn't reintroduce Dr. McCoy in some fashion.

I haven't written much about SNW but it's my favourite of the live action modern Treks. I stopped watching Discovery and Picard but SNW has kept me. I've had songs from the musical earworming for the last week or so after I rewatched it. And I greatly appreciated the time-travel episode "Tomorrow and Tomorrow and Tomorrow" for finally canonizing an explanation as to why the prequel series haven't always lined up with what we know as canon from TOS, TNG, etc. which as far as I'm concerned frees the writers to deviate and retroactively serves to rectify canon issues dating all the way back to some episodes of DS9, never mind Enterprise, Discovery and SNW itself. I will explain for those who don't know but I will put a spoiler break here for those who might be waiting for the Blu-ray or haven't had a chance to stream season 2 yet. If the break doesn't appear below, stop reading now if you don't want the spoiler.

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The episode reveals that due to the many time travel events over the years (including ones we haven't seen on screen by enemies of the Federation; the episode relates one involving Mary Queen of Scots (in-joke for the actress) what we have been seeing in SNW etc. is an alternate timeline. Maybe not as extreme as the Kelvin timeline of the films, but events such as the Eugenics Wars - indeed, the birth of Khan himself - were delayed by decades. This major change to the timeline - and then you fill in the blanks by factoring in even minor changes such as the guy who accidentally killed himself with McCoy's phaser in City on the Edge of Forever, Sisko replacing Gabriel Bell in the Bell Riots, the Voyager crew going back to 1996, Archer and T'Pol heading off agents of the temporal cold war in the early 2000s, etc. - and you can see how it's possible that things progressed differently resulting in SNW and Discovery being more technologically advanced than TOS-era ships should be as established in TNG, DS9 and Enterprise that used the original tech and designs. Also character differences, like Pike's crew being aware of T'Pring and Khan when Kirk's crew in TOS did now despite Spock having worked with La'an Noonien-Singh and Kirk being aware of La'an's feelings for him. Or the lack of reference to Kirk's brother, who dies in a famous TOS episode, having been former Enterprise crew. And it literally stems from two lines of dialogue. It's exhibit A of how quickly and simply a show like Doctor Who can fix things.

[selfproclaimedunicorn]

9 People You Want To Know Better Tag

Thanks for the tag @queenaeducan 🩷

Tagging some cool moots I don't talk to much (if y'all want, obviously): @aegonx, @queen--kenobi, @dismalzelenka, @asoiastarks, @rottengrowls, @sshireens, & @lady-morrigen (& anyone else who wants to)

Three ships: Rhaenicent, Loustat, Tav x Lae'zel

First ship: Probably Serena x Darien [Usagi x Mamor] when I was a kid watching Sailor Moon for the first time

Last song: I honestly cannot remember. My friend who was letting me use her spotify premium had to cancel her family plan, so I've been listening to podcasts for a good 2 weeks because I can't go back to ads but I also am dragging my feet with doing any of the streaming services I keep saying I'm gonna/have been balancing the books for. The podcast I've been listening to lately is Gone Medieval, if that interests you

Last movie: Pretty sure it was Seventh Son. It was leaving netflix soon & I needed something to pass the time on a Friday night

Currently reading: In a bit of a slump, tbh. I've technically been reading Throne Of Glass for months because I need to get at least part way through it because I bought it forever ago & I need to justify that purchase before I donate it to the library or goodwill or somewhere (because trust me, it's getting donated when I either finish or DNF it). I'm (slightly more actively) reading the manga A Sign Of Affection, The King's Beast, & Fist of the North Star. If you wanna count that

Currently watching: 1670 when the mood strikes for something subtitled, AOT & Breaking Bad when it doesn't.

Currently eating: Nothing, but I had leftover lasagna for dinner!

Currently craving: Cookies. Gonna get the stuff to make cowboy cookies on Friday to make some this weekend

[tomwambsmilk]

This is such a long post that nobody asked for but I've been seeing Discourse again...

I feel like something that’s missing in most of the discussions I’ve seen on Tumblr about how streaming companies like Netflix have changed TV production for the worse is the profit motive. Or at least, it’s misunderstood. For example, I see a lot of people complaining about how Netflix only considers a show worthwhile if a bunch of people binge it as soon as it comes in, which is true - but I don’t know that everyone understands why, and it's lead to a skewed perception of what's actually going on, and why various studios and platforms make the decisions that they do.

The thing about Netflix is that it’s a public company that's currently unprofitable - so, every single thing it does is oriented toward "growth" (gaining new subscribers). Every show they decide to invest in, they do so because they think it’ll make people who don’t have Netflix want to get Netflix. And if they launch a show, and a whole bunch of new people join the platform, AND their viewer data shows that this show received disproportionate viewership in the same month all those people joined the platform - then it was a good investment. The further out you go from the release, the less correlation there is between the viewership of a show and new subscribers, so the less those viewer numbers matter to them.

Additionally, people talking about the show is more valuable to them than people actually watching it, because people talking about the show gives them free word-of-mouth marketing. Once your friend has bought a Netflix subscription, Netflix doesn't care what they watch, or at what pace. So obviously, if you can make everyone feel like they need to watch the entire show RIGHT NOW because everyone is talking about it and they can't avoid spoilers, that's a much stronger marketing strategy than letting people watch at their own pace.

And that’s why seasons are so short - a longer season costs more money and won’t bring in any extra subscribers, so it's a bad investment. It’s also why Netflix shows tend to be cancelled after only a couple of seasons - if a show hasn’t brought in many new subscribers after the first two seasons, it’s not likely to do so in the future, and so it becomes a poor investment, regardless of how many people already on the platform love it. And even beloved shows like Stranger Things eventually reach a point where everyone who loves it is already on the platform, and even though it's still massively popular it's no longer profitable on the same scale.

All of this is to contrast with network TV, where the revenue comes from advertisers. The more eyeballs are on a show, the more money a network can charge for ad space during that show. So the more beloved a TV show is, the more episodes you want in a season; even if the quality of some of those episodes is poor because the creative team is overworked and underpaid (ie exploited), people will still tune in and you’ll still make money. And that’s also how you end up with shows of 10-15 seasons, even if the show starts to suck around season 8 or 10; as long as enough devoted fans are still watching the show, they can still charge mega ad dollars and make a lot of money. A long-running show with name recognition will make more money, even when it sucks, than an excellent brand-new show with no name recognition. It also means that shows that are self-contained “plot of the week” type shows do a LOT better than stories with season-long arcs, because those shows are more likely to attract casual viewers in addition to regular ones, and people are less likely to abandon the whole show if they miss an episode or two. Plus, if you don't need to worry about the order a season airs in, you can make a lot more money off of rerun adspace outside of the regular season.

And finally, growth looks different for a network. On Netflix, a single person can only provide a single unit of growth, because you're only going to purchase one subscription, so there's very little incentive for Netflix to cater to existing subscribers so long as the platform is 'good enough' for them to avoid cancelling. On the other hand, network growth is calculated based on viewership. So, let's say I watch "The Office" on NBC every week, and nothing else. And then one day, a friend tells me how much they love this other NBC show, "30 Rock", that's halfway through its second season, so I start watching that. That's growth for NBC! They can now charge a little bit more for ad space on 30 Rock than they could before - and it's happened without a whole new person needing to be introduced to their network. So there's a strong incentive to pay attention to what existing viewers want, rather than just focusing on what brings in new viewers. After all, not watching one specific show is a much easier decision than cancelling an entire platform subscription. (The downside of this is that network TV creators are far more beholden to the demands of the audience than a show on a platform like Netflix or HBO, and that can lead to sacrificing some creative integrity).

Overall my point is that the entire structure and shape of TV shows has ALWAYS been motivated by profit. That doesn’t mean the complaints about Netflix are invalid - they are VERY valid and I agree with most of them - but I think it’s important to diagnose the problem correctly: the people with the money to make a tv show are also usually the people who would like to make as much money as possible off your tv show, and will manipulate it accordingly. What’s the solution? I’m not sure, but pretending that these studios are making decisions based on “bad data” or “not understanding what people want” or just pure caprice is simply naive. Its not that they don't know what you want - they just don't care.

[wayward-dreamer]

I saw your post about the writer's strike and was wondering what is exactly is happening?? There's been a lot of noise on Twitter and Instagram but I just understand what's right and what's fake. I hope it's over soon and the writers can get what they deserve, and I hope it doesn't affect you in anyway either. I would like to show my support so please lmk how I can!! Much love and solidarity xoxo

Hi, anon. Thanks so much for this message. I can completely understand being overwhelmed by the info on Twitter and Instagram, so its no wonder you're feeling confused on what's right or wrong in regards to information. I'd be happy to clear a few things up for you. Firstly though, I need you and anyone else who does end up reading this to know that I'm in no way an expert, and I know is what's come from the right sources on Twitter and Instagram because they are actually the ones who are the experts here. In basic terms, the writers are asking the studios they work for to be paid fairly, compensated in terms of residuals from streaming, proper weekly wages, new structure to writers' rooms, duration of projects and much, much more. This post from Twitter is the WGA negotiations on the left, and the AMPTP (Alliance of Motion Picture and Television Producers) response on the right. And this from WGAWest on Instagram will explain the strike in minimal terms for you, but basically the fight is against the major studios: Netflix, Apple, Amazon, Disney, Warner Bros, NBCUniversal, Paramount and Sony which are all under the umbrella of AMPTP.

With that, I would suggest only following @WGAWest and @WGAEast on Twitter and Instagram, for all the latest developments from the strikes as they are posting extensively. They're posting photos from different writers at the strikes, so I suggest following some of them, too. Get a look at what's happening on the ground.

In terms of showing support, if you live close to L.A. or NYC then joining the picket lines is the best way to show your solidarity. If you're driving by, honk those horns in support! Really lay on them, make it hard for the big suits to do their jobs, just as much as they've made it hard for writers to theirs.

If you live further out (or way across the pond like me), then social media is your next best tool. If social media had been more prominent during the 2007-08 strike, it could've benefitted the fight so much. So tweet, retweet (don't like, it does nothing for spreading the word), add to your stories, post videos in support of the writers. This thread from a writer has some links to the Entertainment Community Fund, which is raising money for writers' assistants, crew and other people who could affected by this strike for however long it takes for studios to give writers the fair deal they're asking for. You can also visit wga.org the official site of Writers Guild America - West, and go to WGA 2023 Strike Rules to learn the full extent of what PRE-Wga people like me can do as the strike continues.

And there is one other thing you can do, but it's completely up to you and what you decide. I can't be the one to make this decision for others. A lot of people have been cancelling their subscriptions to the streamers, and citing their reason as "Other" and writing "I stand with the WGA" along with it. This is definitely a way to hit the studios where it hurts, because if you start to lose your audience then you better listen to the people who actually create your shows, huh? If you feel this passionately in your heart, then I say go for it, I know I have. Netflix is the one that most people are cancelling more than the rest, as its the most major problem for writers, giving that they can last the longest without new content. So I'm leaving that decision with you.

Lastly, this doesn't affect me YET. It could in the near future, if the strikes continue over the next few weeks, and months. I hope it won't come to that, that the nearly 12,000 writers in the Guild will receive what is rightly owed to them. I really don't think they're asking for unreasonable things. So we have to see what happens next. It's a scary time, but it's also exciting, to know that the fight for expressing our creativity is so fiery and passionate.

Thanks again for this message, I hope it helped.

[jadelapis]

I hate the term "Binge-watching" because IDK if you know but "binge" is a word that implies you're doing something to an unhealthy degree. That's possibly true of shows, I personally DON'T like watching episode after episode of something in like two days and I RESENT the fact that "Watching one episode a day" or "watching one episode a week" is considered awful metrics for the show. Seriously: I thought the benefit of streaming was "at my leisure".

Anyway my problem with this is that I feel like we're trying to put a positive spin on a word that we associate with unhealthy or problematic things.

Anyway.... I should probably find out when Shows I like are getting new episodes so I can immediately watch them, probably binge them despite wanting to do things at my own pace, in the hopes that Netflix doesn't cancel the show they never reminded me existed instead promoting shit they know I'd never watch, probably to spite people who wanted a raise.

But yes, life hack: figure out when a new season of a show you like drops, put it in your planner or google calendar and just SCHEDULE YOUR ENTIRE LIFE AROUND SOMETHING YOU'RE SUPPOSED TO BE ABLE TO WATCH "at your leisure"

[mac-lilly]

I think I'm even more frustrated with the cancellation of JATP after attending BTTMW2 than I was before the convention! Because between Mitchell saying he'd been invited to season 2 (because everyone thought there would be a season 2, he just couldn't be in the first season because he had other work obligations during filming) and Jeremy explaining in a one-on-one that because of the different demographics JATP went toward (Netflix aimed for ages 7-12, they got 18-25), they had to do all new branding and then a new executive came in and just said 'eff it, we're scrapping this' and they did!

JATP didn't get canned because the show was bad or because no one was watching. It got canned because it skewed the wrong demographics for Netflix and then the execs got lazy when it came to rebranding.

I remember telling my dad about the demographics thing and he was like 'but 18-25 is the desired demographic, they're the ones who aren't completely loyal to a certain brand and have disposable income' to which I reminded him that doesn't matter when you're a streaming service with no commercials. So he's pissed at Netflix for us.

Hi!👋

Oh gosh! Don't remind me of the 1 on 1. It makes me miss Carolynn and Jeremy even more. I really want to hug them again (which is weird because I usually don't want to hug people). Damn, they are too nice! They need them to come back this year!

Also, I would love to know what kind of role Mitchell was supposed to get.

Yeah, I think that the reasons for JATP getting canceled are complex. The initial demographic for JATP where tweens, teens, but also young adults up to 30. But Netflix intervened, marketed it toward a younger audience, and we know the rest. And because of the poor marketing, JATP underperformed during the first weeks of its release -- Kenny confirms this in the interview.

(Makes me actually wonder how Netflix determines the age of the viewers. I use the kids-profile every now and then. Am I considered a kid when I do so?) And I don't understand why they complain about the wrong demographic. In the end, we are the ones who pay for Netflix. Moreover, we are the ones who can buy merch -- Hell, I bought customized JATP funkos and own so many JATP pins made by Hulibloom -- and can spend a little fortune on overprized cons. That's a benefit, not a flaw.

Your dad is a mood! 🤣

[mallevsmaleficarum]

Now that streaming is the norm and "most" live action shows are like 8-10 eps it seems like public opinion has flipped and everyone is clamoring for the return to 22 episode seasons. And my hot take is that I disagree. For one thing, a lot of shows that went for 25-26 episode seasons suffered from serious bloat. (seriously, so many shows would have benefitted from tighter stories w fewer eps. even monster of the week shows)

The plots became convoluted, character development was retconned. There really aren't that many shows that can be said to have a perfect multi-season run.

And the actors (AND CREW!!) were overworked and underpaid for the amount of labor they performed. 10-12 hour work days are the norm, and 14 hour work days are not uncommon, and that's fucking dangerous for people who then have to drive home at 4 am when the shooting location was an hour from their home. For nine months straight.

I get that sometimes 10 episodes isn't enough. But I would still rather have 10 really good episodes than 22 mediocre ones. Shows being canceled after one or two seasons is annoying, but changing the length of seasons wouldn't remedy that either. That's a network/streaming company problem.

(Now maybe writers have the opposite problem than they used to, where instead of having to rush to fulfill an order for a 25 episode season, they don't get picked up for a second season before they can complete the story and they're limited to 10 eps).

People are saying that shorter seasons means less work for cast & crew, but honestly often times it's the same amount of work. TV shoots still can go for 6-9 months even for a limited series run. (Evidence: My SO of 7 yrs is a loader currently working on a limited series for Netflix), so those problems I mentioned about crew safety aren't even entirely gone. The only way to really fix that is better union contracts imo.

So initially I thought to propose something like 15 episode seasons as a compromise. Enough time to develop characters, get a solid storyline or two in, and deliver that sweet sweet content we all crave. Except the more I think about it, the issue is never really the length of the show, is it? If good storytellers are given the freedom and resources they need, it doesn't matter if its twenty two 45min eps or ten 60-90min eps.

So instead of people deluding themselves that they actually miss the halcyon days of network TV, we should all keep complaining about the AMPTP and supporting the WGA, SAG, and IATSE.

[hailsvvanronson]

I was annoyed at the attack on titan ending at first, but it was for different reasons than everyone else (i thought he teased a sequel), and after the full chapter came out and i read it again, I was basically okay with it.

Now, with the anime adaptation of the ending, I am MORE than okay with it.

Dunno why I'm trying so hard not to be a spoiler...satute of limitations is about to expire...but hey, it's an ending for cynics of which I am one.

MAPPA stuck the landing.

Now, DON'T TAKE ANYMORE SHOWS.

I don't know what anime I am watching until Steel Ball Run is greenlit. I DO kinda have to catch up on My Home Hero and SpyxFamily, but I got sidetracked by MONSTER.

I was looking through Netflix one day over the summer, and saw that they got fuckin' MONSTER.

I always said I was gonna watch that show eventually, even with it being so bloody long but I forgot about it. Come to find out, up to now, if I would have gone to try and watch it it would have been a pain in the ass. The home video release was CANCELLED IN THE MIDDLE. THEY NEVER FINISHED RELEASING THE DAMN DVDS/BLU-RAYS! Even after running the entire show dubbed in English on cable! It was in license limbo, and even now Netfkix DOESN'T HAVE THE ENGLISH DUB! (Which is allegedly very good) HOW IN THE FUCK?!

You can find the english dub on random websites, but whatever, I watched it subtitled on Netflix and I actually BINGED that fucker. I can't remember the last time an anime captivated my attention like this. It might really be Psycho Pass 1. . . . No....Jojo 4. I finished MONSTER in 2 weeks. 74 episode show.

It is the WIRE of anime.

(i had said True Detective, but that's Psycho Pass because everyone will tell you only the first season is good, but it's actually only the second season that's bad).

Not only that, the sadly recently departed Sakurai Atsushi of Buck-Tick could have totally played Kenzo Tenma (dammit I knew i forgot something that post the other day)

This show has probably ruined anime for me now, because i know they'll never make a show like that again. It's not otaku pandering enough (it's not otaku pandering at all). They couldn't even get a decent studio to do My Home Hero. They should have pitched that to Netflix, Netflix would have tried and got Production IG or somebody like that. It gets compared to Breaking Bad for fucksake. You can't go wrong, Netflix!

I think Monster was after I saw Psycho Pass Providence in the theater. That movie was pretty fucking good........but man......i fucked up....I saw the announcement. I was basically waiting for streaming or whatever. I didn't look into anything about it really. Also, I haven't rewatched season 3. What I'm saying is, somehow I completely missed the fact this movie takes place BEFORE SEASON 3 🤣😂😂🤣😂🤣😂🤣😂🤣😂🤣

I know, like, what?

So all lf that combined made the ending a big a shock, and i kinda enjoyed it more because of that. 🤣😂🤣😂🤣

I guess I know what I'm watching next, season 3......which is now on Crunchyroll. Eventually they will do a dub since Amazon didn't 🤣😂.

(side note: I'm the guy who was always saying "why did they make Akane sound like Mila Kunis?" but I do tend to forget she's barely 21 when the show starts. 🤷🏿‍♂️)

Lastly, I loved Stone Ocean.

I hope David Studio get the fuck away from Netflix though, eh?

I think that's all I gotta say. I could have a ball dragging the FLCL sequels, but what is there to say? FLCL should not be a franchise not everything needs to be a franchise. Not even Psycho Pass (that's right, it could have just been one season LIKE EVERY SINGLE ONE OF US EXPECTED. Don't lie. That show is not otaku pandering enough, or they would have confirmed that stupid Akane/Shinya ship they keep teasing 😂🤣).

I guess I'm posting again now. Hi.

I am changing the username eventually.

[saintmeghanmarkle]

Netflix adapts new biz strategy behind Suits' success; Megain Markle laughably takes credit in spite of her objectively spectacular failure by u/cozymayo

Netflix adapts new biz strategy behind Suits' success; Megain Markle laughably takes credit in spite of her objectively spectacular failure I've seen a few stories on Suits' recent success on Netflix that I thought my fellow sinners might find interesting. Since launching on the platform in mid-June, Suits has generated over three billion minutes of streaming time — a record for a licensed show.As Megain Markle feverishly cranks out puff pieces to distract from public allegations of being a grifter and clinical sociopath — as well as rumors of an imminent divorce — some of us have noticed her hilarious attempts to take credit for Suits becoming a surprise hit on Netflix. This is gaslighting at its finest. Not only are we expected to believe that a minor character who was written out of the show halfway through is the reason so many are watching. We're also being asked to accept that this unprecedented streaming record is all thanks to someone who had her own Netflix series canned before it ever saw the light of day, and was also:Fired from Spotify for producing abysmal contentPublicly called a "fucking grifter" by a Spotify execPublicly described as talentless by a major talent agent and entertainment industry execThe real reason Suits is doing so well? IMO it all boils down to Netflix's new business strategy. The company was previously focused on hyper-growth and acquiring as many users as possible. Now it's scrambling to retain them. In 2021, with millions of its customers stuck at home during a global pandemic, Netflix was churning out a new movie every week. Then in 2022, everything went to shit. Netflix lost over 2 million subscribers in six months and $54.4 billion in market cap overnight — the largest single-day decline in history.Netflix has made several adjustments in 2023 to recover. It laid off hundreds of employees, introduced a cheaper ad-supported subscription and cracked down on password sharing. Netflix also switched gears to focus heavily on retention. Suits dropped eight seasons on the platform at once — it makes sense that Netflix would promote a show that gives its users a shit ton of content to get through, so they hopefully postpone or even refrain from canceling their subscriptions.This is all part of a broader strategy created by experienced business professionals at Netflix — a publicly traded company that is still worth $194 billion, in spite of its setbacks. Megain Markle is a D List cable TV actress who ran a lifestyle blog and was briefly connected with the BRF. She's also a fucking joke who couldn't even manage her own 12-episode podcast. But, of course, that doesn't stop Madam from swooping in, right on cue, to take credit for other peoples' work.Side note but I thought this observation was interesting:The three billion minutes viewed generated a lot of headlines. But what does that really mean when more than 120 episodes were all made available at once? (By comparison, The Lincoln Lawyer, also on Netflix, generated 1.4 billion view minutes in its first week on Nielsen’s Top 10, with just 15 episodes.)LMK your thoughts and opinions, sinners! Would genuinely love to hear. ​ post link: https://ift.tt/xWYbJwF author: cozymayo submitted: August 09, 2023 at 09:37PM via SaintMeghanMarkle on Reddit