I’m Sidney fucking Prescott, of course I have a gun.
Hi,
It’s you friendly neighbor fanfic author here. In the light of this apparent new trend of people feeding unfinished fics to AI to get an “ending,” and some people even talking about “blanket permissions,” let me just say this:
I EXPLICITLY FORBID ANYONE TO FEED MY FICS TO AI. DUDE, THAT IS ABOUT THE LEAST RESPECTFUL THING YOU CAN DO. IF YOU DO IT, SHALL YOU BE EXCOMMUNICATED FROM YOUR FANDOM AND WALK ON LEGOS BAREFOOT TILL THE END OF DAYS.
That is my anti-permission.
Thank you for your attention.
So please marry me | Freen & Becky
Marry Me MV is out, go hive our favorite Gap the Series couple some love y'all.
Hey y'all. With the Writer's Guild of America on strike, you might be hearing a lot more about something called "residuals," which are payments that the writers get for the studios continuing to air their work on reruns and such. Already I'm seeing people trying to frame the union trying to bargain for better residuals as greedy and unreasonable, so I just wanted to give you guys a peek into my dad's full, 100% real residual payments for writing some of the most watched episodes of American late night television.
Yeah lol. If u hear anyone trying to frame the conversation around residuals as writers being greedy, please do me a favor and punch them straight in the face ❤️🙃🙃
The last time I saw any real money from residuals in film and TV was in 2008, when I got a substantial cheque from the WGA (who administer residuals and such) for my share as cowriter of the Beowulf film on DVD. And then DVDs were over and done and became a niche market.
These days residuals are... well, something you can take a friend to dinner with. Not something you could pay a monthly mortgage or the rent with.
(And I'm fine. My TV work over the last 5 years has been subsidised by my book and comics work.)
But I just got one even smaller than the one cent residuals...
WALT DISNEY PRODUCTION WORKERS NEED YOUR HELP!
Hey fam! The Mouse is refusing to recognize the unionization efforts of its production workers. If you're not familiar with what PAs or PMs do, I'll outline it briefly. The tl;dr is that NO ANIMATION WOULD GET DONE WITHOUT PRODUCTION WORKERS. They are the glue holding together every single production of your very favorite cartoons!
- They take notes in all the meetings with the artists.
- They make sure the artists are meeting their deadlines (and showing up to the meetings in the first place).
- They help us navigate studio servers to find the files we're looking for.
- They send us our time cards, and make sure we get paid!
Production workers do all this and more, often for minimum wage. The hardships that they suffer as a result--the long hours, the unpaid overtime, the abuses of power--are horrific.
You'd really think that they'd be compensated fairly for these jobs! Can you imagine trying to live in Los Angeles or New York on minimum wage with a job that definitely won't allow you time to pick up a second or third one??
This has to stop, and you can help.
All that Walt Disney Animation Studio's production workers ask is that you add your name to this petition! That's it.
This isn't some Change.org petition. It's not going to sell your email to spam companies. This is through IATSE (our union)'s website.
TELL DISNEY YOU STAND WITH PRODUCTION WORKERS!!!
if you're not in this job, you would never know how intense, involved, and straight up complex animation production is, but because it's mainly administrative, behind the scenes, and most skills are taught, production staff are often viewed as highly replaceable and unimportant. not everyone is nice to us, and more and more studios are stripping production personnel of our "corporate" status, meaning if the show ends or gets cancelled, studios aren't required to relocate us to another one. when this happens to artists, the guild protects them, but production will lose all benefits and will need to file for unemployment until they can find a new job (which isn't easy in the animation industry these days!). remember, a season of a show takes only about a year and a half to make. losing all benefits and having to file for unemployment every year and a half is NOT a way to build a career nor is it a stable and sustainable way to live!
to follow up on OP's points, here's some more stuff production staff does:
STORYBOARD AND ANIMATIC
- managing the master project file, which sometimes means scanning, cropping, camera adjusting, and typing hundreds or even thousands of panels, dialogue, and action notes by hand into storyboard pro if the artist drew them in photoshop or traditionally
- pinning up and taking down boards for pitches and reviews (yes, manually, with push pins on walls). every note drawn on those pieces of paper needs to be scanned and sent to the artists.
- inputting new and revised panels into the board project file and then exporting them to the animatic editor, which necessitates memorizing the board front to back because artists don't always track their panels or tell you which ones have been updated and you have to know instinctively.
- conforming, which means going panel by panel and comparing it to every frame of the animatic to make sure they're a complete match, which happens multiple times and usually requires quick turnarounds.
RECORD
- reaching out to recording studios, voice directors, and talent agencies to coordinate record times and availabilities.
- creating the schedules, typing up scripts, adding line numbers, updating line counts, exporting boards, collecting audition tapes, arranging catering, watermarking literally everything, and making sure everyone involved gets the right stuff and the most updated versions of that stuff ahead of time.
- circle takes.
- sending the raw selects to the dialogue editor, arranging radio plays, and sending the clean selects to the animatic or post editors.
DESIGN AND SHIPPING
- creating all the templates artists need to design a show's assets (hundreds of them!), which includes pulling board references so they know exactly what to draw, compiling brush libraries, mood boards, and vis dev pieces.
- tracking the progress of hundreds of designs across multiple episodes in every stage they're in (and as OP said, making sure the artists turn them in on time).
- creating a reference list (a GIANT spreadsheet breaking down every single use of every single design in every single scene of the episode--takes DAYS to create for just one episode!)
- preparing shipments of everything the animation production facility (usually international) needs to make the cartoon, which involves a lot of exporting, layer adjustments, cropping, re-exporting, and cataloguing.
POST
- acting as the main point of contact for those overseas animation facilities, which often means trying to field questions from a non-native english speaker every day.
- making sure the showrunner and exec producer review weeklies/dailies quickly and thoroughly and the notes get to the overseas studio on time.
- configuring the retake list so the production can stay under budget (determining retake categories and footage count, which are connected to prices--involves a surprising amount of math!)
- assembling retake materials, including creating lists of tasks for artists to do, getting them the shots or designs they need to fix, and making sure all fixes are completed in time.
CONTRACTS
- negotiating rates with every non-corporate player involved in the making of a cartoon and making sure all NDAs and legal contracts are signed and correct.
LEGAL, TRACK READ, TIMING, CHECKING, EXECS, ACCOUNTING
- sending boards, designs, animatics, (and as OP said, time cards) to dozens of people with highly specified jobs who require very specific items to do those jobs, making sure they get them at the right times, and making sure whatever they send back (be it notes, sheets, or lists) makes it to the appropriate party so the right action is taken.
and this is all in addition to very stereotypical secretarial work like taking notes at meetings like OP said, managing the showrunner and producer's calendars, and maintaining a pleasant atmosphere for the crew (coordinating game nights, decorating the office, organizing parties or lunches, etc.). production is expected to know everything, what's going on at all times, and how to fix it, which is a lot of work and often, a lot of pressure!
tl;dr:
SUPPORT PRODUCTION UNIONIZATION EFFORTS!
Helping the link stand out:
This.
A borrowed place on borrowed time A city untethered floats
What was left behind in the ocean will reveal The way we were all those years ago
April 23 marks the anniversary of A Summer’s End release. To celebrate our third year anniversary, we will host a week long sale on Steam and itch starting 10:00 AM PDT.
We have updated our website to include a message from our studio and an introduction to our next project, In the Ocean I Learned to Float.
We hope you look forward to the story and experience we want to create in our upcoming project. We will share more details about In the Ocean on our blog page. Please follow along if you’re interested in knowing more about our development progress. We can’t wait to introduce our characters and their world to you.
Can't wait!!!
Source: asummersend.com
The LGBTQ community has seen controversy regarding acceptance of different groups (bisexual and transgender individuals have sometimes been marginalized by the larger community), but the term LGBT has been a positive symbol of inclusion and reflects the embrace of different identities and that we’re stronger together and need each other. While there are differences, we all face many of the same challenges from broader society.
In the 1960′s, in wider society the meaning of the word gay transitioned from ‘happy’ or ‘carefree’ to predominantly mean ‘homosexual’ as they adopted the word as was used by homosexual men, except that society also used it as an umbrella term that meant anyone who wasn’t cisgender or heterosexual. The wider queer community embraced the word ‘gay’ as a mark of pride.
The modern fight for queer rights is considered to have begun with The Stonewall Riots in 1969 and was called the Gay Liberation Movement and the Gay Rights Movement.
The acronym GLB surfaced around this time to also include Lesbian and Bisexual people who felt “gay” wasn’t inclusive of their identities.
Early in the gay rights movement, gay men were largely the ones running the show and there was a focus on men’s issues. Lesbians were unhappy that gay men dominated the leadership and ignored their needs and the feminist fight. As a result, lesbians tended to focus their attention on the Women’s Rights Movement which was happening at the same time. This dominance by gay men was seen as yet one more example of patriarchy and sexism.
In the 1970′s, sexism and homophobia existed in more virulent forms and those biases against lesbians also made it hard for them to find their voices within women’s liberation movements. Betty Friedan, the founder of the National Organization for Women (NOW), commented that lesbians were a “lavender menace” that threatened the political efficacy of the organization and of feminism and many women felt including lesbians was a detriment.
In the 80s and 90s, a huge portion of gay men were suffering from AIDS while the lesbian community was largely unaffected. Lesbians helped gay men with medical care and were a massive part of the activism surrounding the gay community and AIDS. This willingness to support gay men in their time of need sparked a closer, more supportive relationship between both groups, and the gay community became more receptive to feminist ideals and goals.
Approaching the 1990′s it was clear that GLB referred to sexual identity and wasn’t inclusive of gender identity and T should be added, especially since trans activist have long been at the forefront of the community’s fight for rights and acceptance, from Stonewall onward. Some argued that T should not be added, but many gay, lesbian and bisexual people pointed out that they also transgress established gender norms and therefore the GLB acronym should include gender identities and they pushed to include T in the acronym.
GLBT became LGBT as a way to honor the tremendous work the lesbian community did during the AIDS crisis.
Towards the end of the 1990s and into the 2000s, movements took place to add additional letters to the acronym to recognize Intersex, Asexual, Aromantic, Agender, and others. As the acronym grew to LGBTIQ, LGBTQIA, LGBTQIAA, many complained this was becoming unwieldy and started using a ‘+’ to show LGBT aren’t the only identities in the community and this became more common, whether as LGBT+ or LGBTQ+.
In the 2010′s, the process of reclaiming the word “queer” that began in the 1980′s was largely accomplished. In the 2020′s the LGBTQ+ acronym is used less often as Queer is becoming the more common term to represent the community.
when we go crashing down, we come back every time!
STYLE | ERAS TOUR | OPENING NIGHT
Source: tiktok.com
