i ❤️ cut content i love unused assets, i love early/beta versions, i love dev notes left in code, i love out of bounds discoveries, i love the cutting room floor, i love placeholder graphics/text, i love debug modes, i love concept art, i love hacking, i love silly placeholder names given by devs, i love scrapped plot points and mechanics, i love unfinished and abandoned models, i love parts of code that was intended to work but was never properly implemented, i love unused content being leftover in the final version that may no longer hold its original intended purpose yet still remains in place even if hidden away out of bounds or remains visible yet inaccessible to a player without their knowledge that it was once meant to be something but somewhere along the lines of development got scrapped but took too much effort to remove or was forgotten about so it sits there, a memento of something that once was

[ID: the "i am going to create" meme. A white blonde old woman in a pink shirt is saying 'I am going to create a character that is so unmakeable in picrew". End of ID.]

Accidentally unfollowing one of your mutuals is the Tumblr equivalent of stepping on your pet

“Supernatural is incredible tv” well no im not sure thats true “supernatural shaped culture” this we can’t possibly refute

The feminine urge to be the man my father never was

sorry i know i bring this up every week but im not over leonard burtons description of cecil

Let me describe to you the shape of Cecil Palmer. He is a line of leafless mesquite trees. He is a glass factory. He is golf ball-sized hail. He has a voice like distant highway traffic. He loves coffee and handshakes. He wears tight clothing and has never once worked with modeling clay. He covers mirrors with cloth and has an irrational fear of glowing lights beneath locked doors in dark hallways.

you're telling me the narrative can run doom?

Chicago fans:

Do things with fear. And make that phone call. Make that video call. Reach out to that person you have been meaning to. Go inside that store that intimidates you for some reason. Put your hand up and give your opinion if you have something to say. Literally, do it even with the fear, otherwise you never will. I'm holding your hand and rooting for you. GO GO GO.

me? leaving fandoms? no no no you misunderstand me, i have never left a single fandom i’ve ever been in, i just find other fandoms to entertain myself with until i eventually go back to other fandoms i was in years ago

This is NOT what is your favorite character, but just which voice you like best.

shoutout to the guy who created a parody account of cinemasins where instead of pointing out every single flaw in a film, he just pointed out things he liked about the movie. you're so right cinemawins its so much more fun to like things

CinemaWins once said "Every movie, with very little exception, is someone's favorite, I like to find out why." and that sentence alone is worth more than every single thing the CinemaSins guys have ever created.

shrimp

um. i think this is the worst update ever and i cannot believe it was intentional. why would you make clicking on the reblogged-from's name bring you to the top of their blog and not their reblog. sorry i want to maul whoever thought this was a good idea

[ID: a screenshot of the text from @/changes's 6/2/2023 post which reads as follows:

"👀 In case you missed it

/end ID]

[image id: expanding brain meme with three levels. the first reads, "support the wga strike to get our shows back into production." the second reads, "support the wga strike for the future health of the whole tv industry." the third reads, "support the wga strike to fight corporate devaluation of art everywhere." end id.]

solidarity with the writers guild of america! learn why the writers are striking in this npr interview and donate to the entertainment community fund here.

ɪᴛ ʟᴏᴏᴋꜱ ꜰᴜɴɴʏ, ʀɪɢʜᴛ?

[I.D. six gif of echidnas doing various things, like walking in groups, sniffing a hand, and a bald one sitting in a hand. every gif is in black and white with italic text over top of each gif that collectively say “i think it can digging in the ground for tubers”. end I.D.]

[Text Transcript: It looks funny, right?]

Louder for the people at the back!!

Unfortunately we've already fact-checked a few things from this video, so I'm pasting in the text of this post below:

While this video is a decent primer (link here if anyone wants to watch), Drew unfortunately perpetuates some common misconceptions, so here’s some more sourced info if you want to read more.

I’m not calling Drew a liar at all—in fact I’m really glad Youtubers are calling attention to the strike and supporting the WGA publicly. But he said he remembers the strike himself, and to be fair, he was at maximum 14 years old during the strike. His memory might be faulty or he might have misinterpreted sources or found flawed sources in the first place. Anyway, in the spirit of fact-checking…

Did the 2007 WGA strike tank shows?

At the 0:44 mark and later around 1:40, Drew claims the 2007 strike tanked a lot of shows. While a very common misconception, this is mostly untrue! Many of the shows that got canceled/"got worse" were already on a downwards trend before the strike. “Heroes” got bad reviews before the strike; meanwhile, “Lost” and “Pushing Daisies” both got renewed despite the strike, so you can’t really blame the strike for its changes or cancellation. See this Twitter thread for a comprehensive debunking of shows people think "got worse" during the 2007 strike, written by someone who covered it (writer Emily St. James @/emilystjams.)

To sum up her thread: “The 2007-08 strike didn't uniformly impact shows. For the most part, the shows on good trajectories stayed on them and vice versa.”

This is an especially pernicious mistruth because it has the potential to turn audiences against the WGA strike; fans are being led to think that the strike will only mean bad news for their shows. But the opposite is true: shows will in fact get better if writers have fair wages and aren’t overworked.

Later in the same Twitter thread linked above, Emily St. James says: “By far the most deleterious effect on young shows at that time was that a bunch of shows that might have gotten time to build more of an audience suddenly had to deal with long hiatuses. Many were canceled. Most never re-found their viewers.”

Yes, that’s what happened with fan-favorite Pushing Daisies (RIP). But this is already happening with no need for a strike intervention with Lockwood & Co., HBO’s canceled Batgirl, First Kill, Willow, Warrior Nun, The Bastard Son and the Devil Himself, 1899, and more. Popular shows are getting canceled after 1-2 seasons, for no good reason—or getting wiped from the streaming service entirely. The worst has already happened for many shows.

…Drew’s absolutely right about Quantum of Solace, though. They were basically working with a rough draft script for the film, which, of course, bad idea.

Did the 2007 WGA strike cause the reality TV boom?

At the 0:58 mark, Drew claims that the 2007 strike led to the reality TV boom and “altered the landscape of television.” While it’s true to an extent that studios filled their programming with reality TV during both the 2007 and 2023 strikes, the reality TV boom definitively predates the 2007 strike.

Again, this is a particularly pernicious mistruth because it could potentially turn people against the WGA and blame them for a trend they dislike. In truth, the reality TV boom that shifted the landscape started in the early 2000s with the enormous success of such shows as Survivor (2000), America’s Next Top Model (2003), The Apprentice (2004), The Biggest Loser (2004), Dancing with the Stars (2005), and more all predating the 2007 strike. This is all years before the strike was even a glimmer in a writer’s eye.

Lots of people have made jokes about the 2007 strike causing Donald Trump’s presidency because The Apprentice was popular during the strike. I tend to think this is a pretty silly correlation—who’s to say he wouldn’t have gotten a gig like that despite the strike?

What is the WGA fighting for now?

At the 4:00 mark Drew claims that the WGA is fighting “to be paid residuals for streaming shows rather than just a day rate.” I see what he’s getting at, but as phrased, this is a nonsensical statement. He means “flat rate”—a pre-determined rate the studios currently pay to writers regardless of how many people watch it. The writers—and I’m quoting this directly from the WGA demands posted by WGA member Adam Conover—want to “establish a viewership-based residual—in addition to existing fixed residual—to reward programs with greater viewership.” (Link to the WGA demands here.) This would make streaming residuals more like network residuals, but it would also require streamers to have transparency about how many people are watching, which they’ve been very nervous about publishing.

Drew also confuses the term “production companies” with the term “studios”, though this is a minor nitpick. The WGA is fighting the studios. A production company like ILM visual effects works with a studio like Paramount (studios are also called “motion picture companies”, because we’re old-timey) to make a movie. Some studios ARE production companies (Studio Ghibli does their own production), but not all production companies are studios. Okay, film school over, next point. (Link to read more about studios vs. production companies vs. publishers)

At the 4:06 mark Drew claims writers are fighting to keep AI out of the writers room entirely. This is just a slight misconception! The WGA is fighting to keep AI from replacing them, but in the current WGA demands, individual writers would still be able to use AI as a tool at their own discretion, but AI couldn’t be used as “literary material” and writers couldn’t be forced to rewrite an AI-generated script. Individual WGA members are not a monolith; some are hardline anti-AI, and some want to see if they can make AI work for them. (Mod Ani is on the anti-AI side of things, just to make my own bias here clear.)

The current WGA stance is, “How do you make sure this is a tool used by writers, like spellcheck and Wikipedia, and not a tool used to replace writers?” (John August, a WGA member and also part of the negotiating committee, wrote that and has some blog posts about it.) I think this part of Drew’s video is in line with a lot of popular anti-AI sentiment, and I do not personally disagree, but anyone talking about the WGA has got to put aside personal biases and report what the WGA is actually doing, not what we want the WGA to do. All in all, this is still a strong position for the WGA, considering the WGA is on the frontline of any business agreement about AI! The main struggle is to make sure it doesn’t replace human labor.

Drew also contradicts himself at 4:43 by saying the previous strike wasn’t about streaming services, when earlier in the same video he said correctly that the 2007 strike was all about gaining residuals for streaming services in the first place. So, uh, fact-checking himself?

Again a small nitpick, “There’s no financial upside for doing a good job” (5:45 mark) is also not quite true. The financial upside is getting a Season 2 renewal. Yes, increased transparency and viewership-based residuals would mean high-performing film/TV shows get paid more. But there’s definite financial upside to getting a renewal!

Production companies/studios shortening employees is absolutely not about “not having to put your name in the credits” (6:14). Everyone in the writers’ room gets their name in the credits. The issue, of course, is that studios are trying to have shorter writers’ rooms so they pay the writers for fewer weeks of work. WGA members not being credited isn’t a negotiating point at all, so not sure where this is coming from.

Miscellaneous things Drew is absolutely correct on and I will reiterate here

Drew’s absolutely correct on how scripts evolve during filming. That’s why writers are so necessary on set! Studios are cutting costs by getting rid of writers earlier in the production timeline, and a consequence of this is that writers aren’t getting the mentorship/training of being on-set for the show’s actual production. This is necessary training to become a producer/showrunner that writers nowadays simply are not getting.

He’s also absolutely right about how little money writers actually make in Hollywood, despite the films and shows they make producing so much more value for the studios. Residuals are lower than ever, writers’ rooms are shorter than ever, and many WGA members work a lot of side hustles to just be able to afford LA rent. So the discourse surrounding “rich spoiled writers” is just totally incorrect and maddening!

Drew is also absolutely correct about the entertainment industry simply being the first place AI is threatening jobs. Without legal challenges, AI will disrupt other industries soon, and the WGA is on the frontline of battling that.

Just for some clarification, around the 12:20 mark, Drew is talking about the common complaint about prequels/sequels/franchises/spin-offs. This is a real industry problem! Writers desperately want to write original stuff (remember the creator of Powerpuff Girls saying he pitched 16 originals to Netflix, with no luck, before doing a reboot?) It’s 100% the studios' fault; no writer wants this industry landscape.

Also at 13:40 mark, Drew makes a very good point that AI is only a small part of the strike, and it’s kind of been blown out of proportion because AI is trending in the news and popular in the discourse. Even the WGA probably wasn’t expecting this to get so much air-time. It’s still a part of the strike, of course, but keep in mind that pay and staffing are more major negotiating points at the moment.

Conclusion!

To sum up, Drew makes some good points, but muddles some too. I’d highly recommend going straight to WGA members instead of Youtuber middlemen… but in the meantime we’re here to fact-check. :)