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fandom · 1 year

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Queer TV

This is a strange time to be writing an editorial on queer representation. While the past year has seen an incredible uptick in queer stories being told with humor and heart on the small screen, 2022 has seen a record high of 238 proposed anti-LGBTQIA+ bills in the US—nearly half of them targeting trans folks. Representation is important, though, and demand for more queer stories is growing (and, to some degree, being met), with a lot of good books and comics making it to our screens. With that in mind, think of this as your selective chronological tour of all the times we won in the TV landscape of the last year (October 2021–October 2022).

Our dataset year started off with the much-awaited adaptation of Robert Jordan’s fantasy epic, Wheel of Time. With such extensive source material (15 books if you count the prequel, which is where the seeds of the sapphic storyline in Rafe Judkins’ adaptation are to be found), the viewership, generally speaking, was divided into book fans and show-only fans, and both camps shitposted and meme’d and reviewed with abandon.

The biggest queer-centric show we saw in the last year was the adaptation of @aliceoseman’s comic Heartstopper (@heartstoppercomic). Co-created by Alice Oseman themself, this adaptation was very sensitive to the much-loved source material. And, being native to Tumblr, these characters were bound to be welcomed with open arms when they hit the screen in an ebullient explosion of queer joy.

A run-down of the past year would be incomplete without the incredible queerdos of the Revenge who swashbuckled their way into our hearts. We’re referring, of course, to Our Flag Means Death’s Gentleman Pirate and his merry band of (living-wage-paid, no less!) shipmates. Your favorites included genderqueer Jim ‘not-a-fucking-mermaid’ Jimenez and Oluwande, Lucius Sprigg and Black Peter, Frenchie who just hates cats, and The Swede, who keeps his heart but loses his teeth. Then, of course, we have Blackbeard himself, or simply Ed, who is struggling with his identity (villain or softboi).

Based on the story by @veschwab and produced by @belletristbooks, First Kill was another adaptation that fans of vampire stories got very excited about. Add to that the fact that this was very much a sapphic enemies-to-lovers scenario between hunter Calliope and young vampire Juliette, and the pre-show excitement was palpable. The post-season disappointment even more so as fans turned to their dashes to vent about the lack of good lesbian and wlw representation in 2022’s TV landscape.

Where the cancelation of First Kill left us reeling, the Rockford Peaches from A League of Our Own came in clutch and soothed our sapphic souls. You love the show which you affectionately shortened, in good old Tumblr fashion, to a silly little acronym: aloto. Whether you’re in it for the gal pal aesthetics, the butch energy, or Uncle Bert, or some good old fashioned baller drama, there truly was something for all of your wlw whimsies here. Let’s go, Peaches!

@neilgaiman’s The Sandman series finally came out to much acclaim, and came out so gay that armchair reviewers of the homophobic sort really struggled to wrap their minds around quite how gay it is. We got pansexual serial killing Corinthian! Pansexual, demon-hunting, women-kissing Johanna Constantine! Some very loaded moments between Morpheus and Hob Gadlin! This is what dreams are made of (sort of)!

This whole list would be nothing, nada, a crumb of zilch whizzing around a black hole, if it weren’t for the writers who created many of these stories in the first place. So thank you to them. And to you, Tumblr, for celebrating the good and standing up for each other through another year. Here’s to a kinder 2023.

#year in review #queer tv #tumblr2022

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problematicbyler · 2 months

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an incomplete history of byler sexuality discourse

and how widespread fandom purity culture and homophobia created a flourishing nsfw sub-fandom

some may call me chronically online, but i call myself a fandom historian. i've been a member of some fandom or another since i was about thirteen, and i've always been interested in the rise and fall of fandom discourse. though it's annoying in the moment it's happening, i think it's very interesting and telling to look back at the overall arcs and trends.

so, let's talk about the many times the fandom has cancelled people over byler sexuality, and how each level of "hornygate" has contributed to the growth of the proship/byler smut community.

(i use the term proship in its intended definition, which is to say, not "problematic shipping," but rather being pro-fiction, anti-censorship, and anti-harassment; it is a position of believing the fiction one creates or consumes doesn't reflect a person's real life beliefs or morals.)

i have been a stranger things lover since season 1, a byler shipper since season 2, and an active part of the byler community on tumblr since season 4. i'll mostly be focusing on post-season 4 discourse because that's what i've really been most present for and that was the period that really marked a turning point in the fandom.

seasons 1-3

i wasn't as plugged into fandom discourse back in the day, but the broad strokes of early discourse was mostly thinly veiled homophobia. claiming that it was sexualization to assume will or mike could be queer despite blatant queer coding, implying that analysts were no better than will's bullies to assume his sexuality, etc etc. people were criticized for shipping byler at all because they were so young (but these people naturally had no issue with mileven, so, again, homophobia).

season 4 (may-july 2022)

now, season 4. this is where byler was brought to the attention of a lot more fans, and stranger things' viewership reached wider than ever. the byler fandom on tumblr booms from 4k to 100k over the course of season 4's release.

this brought a lot of new people who have never been in fandoms before, people who never learned don't like don't read or your kink is not my kink and that's okay or ship and let ship.

or, a lot of times, people who had only been in fandoms for celebrities and bands, which tend to have different rules when it comes to shipping and sex, because they're real people. hence a lot of young antis' conflation of character with their actors, but that's a different rant.

so with a rapidly growing fandom, a show ripe for analysis, and the art of media literacy bleeding out on the ground in front of us, the hellscape of the fandom post-season 4 in 2022 followed as such:

august 2022

jo/kendra gate where two extremely popular analysts were called out for "sexualizing" byler while being adults (early to mid 20s). they were dogpiled and harassed because one of them said that will was giving mike "bedroom eyes" (he was) and one of them said mike was checking will out (he was):

pyshiie and moogate. the proship side of byler twitter rose up and started to divide itself. i'll credit my own joining-the-dark-side to pyshiie and moo, formerly barbjeanisms, who were two popular artists called out respectively for sexualizing byler and generally being proship. similarly, people were called out and criticized for even following or interacting with those accounts after this discourse.

september 2022

hosegate is the most famous across the byler fandom, and it's when some users proposed that the scene in the pizzeria uses phallic imagery to imply mike turns will on (or vice versa) and a lot of people thought that was too sexualized, it caused a divide, and more fanpolicing, etc.

october 2022

the artist noodlesandtea was harassed for having liked arguably nsfw bakudeku art (they were shirtless, it wasn't explicit) on the same account where they draw characters who are minors. they also drew byler kissing, which was a problem for some? anyone who defended them was also called a pedo, naturally. noodles also got called out for having drawn fanart of the popular e-rated fanfiction....

the unmarked mixtape. a massively popular sequel to a massively popular fic, the red envelope. for a long time, those were the most widely recommended byler fics, but it very soon became taboo to even admit to reading them because the sequel has explicit sex and the first has them making out.

sonnet116 gate is another fic that was beloved and then rapidly turned on by byler twitter because it had implied, fade to black sex scenes. it was about them hooking up but had no smut. and even the non explicit idea of that was offensive and pedophilic of anyone who dared read it. around this time, another fic was called out for having will moaning into a kiss, because writing a teenager moaning was also offensive and pedophilic.

i'm told i (jana / troublebyler gate?) may have influenced a lot of people joining twitter for byler smut after writing illicit affairs and some other smutty oneshots in rapid succession, seeing a lot of byler shippers moving to the proship side of the fandom just to discuss and write byler smut. i also hosted a little fandom gossip column on my curiouscat where a lot of folks confessed to reading or writing smut while pretending to be "normal" in the "main" fandom. it basically revealed/implied that a large amount of popular authors, artists, and accounts were secretly pro byler smut, and that many proshippers were "undercover" in the "main" fandom.

the blocklist era. around this time the "main" fandom also created a "st twt safety" account on twitter which was basically targeted harassment and mass reporting of proshippers. the account does warn of some genuine bad actors sending gore images via dms, being racist, etc. but by far, the majority of it was simply calling out proshippers for sexualizing byler, sharing screenshots they thought were "gross," which only resulted in spreading nsfw content to unintended audiences of minors that likely never would have seen the nsfw accounts otherwise.

november 2022

practice kissing gate is where a handful of popular fic writers were criticized for writing practice kissing fics (such as undertow), and in fact, any amount of byler making out, because adults "fantasizing" about teenagers kissing was "gross."

the proship corner of st twitter continued to grow a lot thanks to so many lovely fan creators, all of whom i couldn't possibly list but who have done a lot for the community! but we continued to get bombarded with endless callout posts and block lists and witch hunting. people were unabashedly policing people's following lists and likes on twitter to call people out for engaging with any questionable users or content. (if you search byler twitter now you can still see the wreckage of so many witch hunts.)

onward through 2023

over time things have mostly calmed down, or at least enough of the folks on "opposing sides" of the fandom have mutually blocked each other to survive. this is likely also influenced by the hiatus leaving the fandom to quiet down, the collapse of twitter-turned-x having many users migrate their fandom content elsewhere, and the mass exodus of many people from the fandom for political reasons. if i had to guess, the ramp-up to season 5 will see all new conflict as more "casual" fans return to the fandom. but who's to say.

which brings us to now:

spicybylerpolls gate, wherein the byler tag on tumblr collectively had to reckon with the fact that people want byler to have sex and it doesn't make them creeps to vote in silly polls about it. people criticized the blog for being overly sexualized and pure fantasy versus more "acceptable" analysis, with many making sweeping moralizing statements about anyone who dared interact with the blog.

this has kicked off tumblr's own sort of horny revolution in encouraging folks to be more open on here, whereas previously we were confined to our corner of twitter.

so in summary:

people over and over again put fan creators on a pedestal just to turn on them when they're "betrayed" when a person's views did not one-to-one line up to theirs.

teens in the fandom especially were "betrayed" by adults in the fandom they thought were "safe" (and i would argue that self proclaimed "safe" adults in fandom are far more dangerous to real life minors than the proship fans who sexualize fictional characters but dont interact with real teens)

most everything has been fueled by widespread ageism at any fan over the age of 18, widespread homophobia and puritanism in regards to exploring queer sexuality or discussing sex at all

so much hate has been over what are essentially "thought crimes", with people watering down serious accusations like pedophilia into a petty insult over disagreements on fiction

and the cycle repeats itself endlessly until things devolve back into witch hunting and policing peoples following and likes etc

the best part to me is that every single cancellation just resulted in more people flooding to the horny side of the fandom to post more freely and without shame. every time a person on twitter posted screenshots of my account to say how "gross" it was (while simultaneously exposing my 18+ nsfw content to their audience of minors) i had a surge in followers. the more the fandom squeezes, the more people slip from its hold.

but that doesn't make the harassment campaigns okay, and it doesn't mean the fandom didn't do massive amounts of harm to real people in an attempt to protect fictional characters.

my hope going forward is that the fandom can coexist as a community where people don't have to like or agree with certain content to treat the people who create it with respect and dignity. and i hope that, while this side of the fandom might grow more on tumblr, we don't have to relive the same old discourses and go through the same cycles we went through on twitter.

and remember kids, the block button is both free and fun.

#byler #spicy byler #fandom discourse #fandom history #stranger things #proship #profiction #proshipping #anti censorship #purity culture #fandom politics

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twh-news · 7 months

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‘Loki’ Season 2 Debuts With Record 3-Day Audience For Disney+

[Uh, surprise, anyone? Loki has been Marvel's/Disney's best performing show on Disney+ and has been also widely acknowledged to be the best Marvel show since the launch of Disney+]

The God of Mischief is taking over Disney+ once again.

Loki Season 2 debut on Thursday, tallying 10.9M global views in its first three days on the platform.

That makes it the streamer’s second most-watched season premiere this year, coming in behind March’s Season 3 premiere of The Mandalorian.

A view for Disney is defined as a total stream time divided by runtime available. Disney never released data on viewership for The Mandalorian Season 3. However, according to Nielsen, the first episode drew about 823M viewing minutes in its first few days on Disney+.

Loki‘s audience seems particularly strong, given that the last time Disney put out viewership data for the premiere of the latest Star Wars spinoff Ahsoka, it chose to tout the episode’s five-day window.

This makes sense, considering Loki was one of Marvel‘s most successful Disney+ series from the get go. It was the first of them to get a second season and, as of May 2022, it was the most-watched Marvel series on Disney+ to date.

When it premiered in June 2021, Loki had the most successful first day of any Marvel series on Disney+ drawing 890K U.S. households, Samba TV reported at the time. It continued to smash records throughout its entire first season run.

Loki Season 2 is expected to run through November 9.

#loki #loki series #loki season 2 #tom hiddleston #article #disney plus #deadline hollywood

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g5mlp · 10 months

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Here's the entire My Little Pony 2024 Franchise Overview presentation. This was originally distributed online in mid-June 2023, and we reported on it then, but there are a couple of details that didn't make it into the post.

Download links 2024 Franchise Overview 2023 Marketing Plans Hasbro Brands Overview

Slides 2–4. Various random stats which are mostly not important or not properly contextualized. I have just a slight feeling that the stat on slide 3 implying that MLP is bigger than Barbie at the moment is cherrypicked.

Slides 5–6. Slide 6 is the first slide with specific data about Tell Your Tale viewers. It tells us that Tell Your Tale outperformed Make Your Mark on audience approval and toy purchase basket size, and that it outperformed other franchises on repeat toy purchase rate. There are a few more of these stats on slide 20.

Slides 7–9. Tell Your Tale Season 2 will be real, and will have four specials (the accompanying visuals don't seem to be related, other than the beach stuff for special 2). They didn't really explain what "hair play in every episode" or "more magical moments" will mean, although maybe the former is intended to encourage the purchase of toys.

Slides 10–12. This is basically a summary of things that have already been done within the MLP brand over the last few years. "LBE" means "location-based entertainment".

Slide 10 seems to indicate that there are about 7 songs left to be released in Tell Your Tale Season 1.

On slide 12, from left to right, the featured things are the VR book My Little Pony: Virtual Magic; the Sofia Carson-narrated Calm "sleep story"; the I Can Read Comics Level 1 book Sister Switch; the first issue of the G5 IDW comics; the MLP mascots at the Galaxyland theme park in Edmonton, Canada; a render of the lobby of the My Little Pony & Transformers Playlodge in Shanghai; and the "Flight to Equestria" ferris wheel at Galaxyland.

Slides 13–14. Mostly licensed merch, although the Izzy brushable on slide 14 still hasn't been seen anywhere other than this presentation.

Slide 15. Another indication that Make Your Mark won't get anything in 2024: the best they can say about it is that it will "live on Netflix" (i.e. won't be removed from Netflix), which was probably going to happen anyway.

Given the "new episodes weekly" statement, 328 minutes can be neatly divided into 4 22-minute episodes and 48 5-minute episodes, all for Tell Your Tale. Consistent episode lengths make sense for Hasbro, since they intend to license their shows out to TV networks with standard half-hour programming blocks.

"Linear and AVOD" probably refers to traditional TV channels and ad-supported free streaming sites. Some past MLP content is already available on "AVOD" sites such as Pluto TV.

It seems like G5 music will continue to have that generic pop sound.

It's implied that some of the video games shown will be updated in 2024. Maybe not all of them, though, since the MLP Roblox game (Visit Maretime Bay) was shut down in February 2023.

Slides 16–17. They want to grow viewership a lot and convert it to toy purchases. They call Tell Your Tale their "one & only ponable content series"; obviously, maintaining two ongoing animated shows would directly contradict this statement.

The Pipp, Misty, Sunny and Izzy brushables shown all seem to be new, as is the concept art for the accessories of the former three. The Izzy brushable is probably the same one as on slide 14.

Slide 18. They will do a bunch of promo stuff, including releasing a licensed console video game in Q3 2024. The first and third Tell Your Tale specials are to be the tentpole moments (i.e. big marketing focal points) of 2024.

Slides 19–20. Slide 20 features some more new stats on how well Tell Your Tale is performing; it has 177 million cumulative YouTube views, good repeat viewership and better repeat purchase rate than Make Your Mark.

This image is from a different presentation, "2023 Marketing Plans". This slide reveals the Secrets of Starlight logo for the fourth and final My Little Pony: Make Your Mark special.

The "album launch" could be referring to the My Little Pony Theme Song (Sped Up + lofi remixes) EP that was released today. Or maybe something else?

This slide is from the other presentation that was revealed, "Hasbro Brands Overview". It doesn't really reveal anything that wasn't previously known, although it does suggest that Bridlewoodstock will feature in more marketing content through the rest of the year.

Notes

Almost all of the text in the 2024 Franchise Overview presentation is shown in the Calibri font. It doesn't seem like it was originally intended to be that way, and I think it might be due to custom fonts not being loaded properly by whoever converted the presentation to PDF. In spite of this issue, the presentation is likely genuine, evidenced by the high quality images embedded in it, including a shot from a future Tell Your Tale episode on slide 8.

Slides 15 and 18 both note that future plans are subject to change. However, it's probably somewhat unlikely that Hasbro could return to Make Your Mark in 2024. Even if they were to commission more Make Your Mark episodes right now, and could justify the budget for it, it would probably still take more than a year before the first episodes could be completed. I could be wrong about this, but there's nothing to suggest that it would be in the interest of Hasbro, Netflix, Atomic Cartoons or anyone else (except maybe the fans) for Make Your Mark to be renewed after 2023.

While the TYT Audience Report and MLP Shopper Analysis by AIM & We Are Family both seem to be focused on 2- to 8-year-old girls, it's not necessarily an indication that Hasbro is focused solely on this demographic – they might just be the most lucrative demographic, or the one whose analysis produced the best numbers to show to Hasbro's investors and partners.

#my little pony #mlp g5 #mlp #my little pony: tell your tale #my little pony: make your mark

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saintmeghanmarkle · 5 months

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Netflix releases viewership numbers - Ouch by u/Xystal

Netflix releases viewership numbers - Ouch https://ift.tt/SQC5n9j" Prince Harry and Meghan Markle's unprecedented six-part documentary series on their exit from royal life was watched for a combined 62 million hours. To help put the figures in context, 60 million hours viewed is the equivalent of 1 million people watching a one-hour episode once. "So if that is 1.2 million people who watched, divide it by 6 for the number of episodes you get 200,000 viewers. Yikes! Also since I love numbers, they only had 7.6% of the viewership of the number 1 show on Netflix. post link: https://ift.tt/Kg5i6xj author: Xystal submitted: December 13, 2023 at 01:19PM via SaintMeghanMarkle on Reddit

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lokiondisneyplus · 7 months

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The God of Mischief is taking over Disney+ once again.

Loki Season 2 debut on Thursday, tallying 10.9M global views in its first three days on the platform.

That makes it the streamer’s second most-watched season premiere this year, coming in behind March’s Season 3 premiere of The Mandalorian.

Loki Season 2 is expected to run through November 9.

#loki #streaming #viewership #tom hiddleston

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a-life-with-aurora · 4 months

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Epic the Musical

In the realm of modern musical theater, a new contender has emerged, captivating the hearts of audiences with a contemporary twist on a classic tale. EPIC The Musical, a brainchild of Jorge Rivera-Herrans, is a creative adaptation of Homer's ancient epic poem, "The Odyssey." This musical odyssey has not only caught the attention of theater enthusiasts but has also taken social media by storm, with its song clips and behind-the-scenes videos amassing over 60 million views across platforms like TikTok, Instagram, and YouTube.

The musical's roots are firmly planted in the rich soil of Greek mythology, retelling the adventures of Odysseus as he faces formidable foes and divine interventions in his quest to return home after the Trojan War. The narrative is divided into sagas, with "The Troy Saga" marking the first chapter, introducing audiences to the first five songs and setting the stage for Odysseus' epic journey.

Rivera-Herrans isn't just the mind behind the story; he's also the talent behind the music and lyrics, orchestrations, and production. His dedication to the project is evident in every note and lyric, creating an immersive experience that resonates with a modern audience while honoring its ancient origins.

The musical's reach extends beyond just viewership; it has fostered a community of over 30,000 fans on Discord, where enthusiasts can discuss, speculate, and share their love for the musical. This digital fanbase is a testament to the musical's impact and the universal appeal of its storytelling.

With each saga release, such as "The Ocean Saga," EPIC The Musical continues to gain momentum. The Ocean Saga alone garnered over 1 million streams within 36 hours on Spotify, a clear indication of the audience's eagerness for more content. This saga continues the tale with four more songs that delve deeper into the trials and tribulations faced by Odysseus and his crew.

The characters of EPIC The Musical are as diverse as they are memorable. From the wise Athena to the enchanting Circe, and from the mighty Zeus to the captivating Calypso, each character brings a unique flavor to the story, enriching the tapestry of this musical adventure.

As EPIC The Musical continues to evolve with each new release and performance, it stands as a shining example of how traditional stories can be reimagined for a new generation. Its success is not just in its numbers but in its ability to connect with people across different mediums and communities, proving that some tales truly are timeless.

#greek myth #epic the musical #epic the cyclops saga #epic the troy saga

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barananduen-blog · 1 month

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🔊Sound on🔊 Li DaiKun dancing "Standing Next to You" (by Jungkook from BTS) WARNING: Camera zooming in and out [Source]

This was to fulfill a milestone pledge for "Bell Ringing" having reached a viewership target (it's close to double that now), and it's PERFECT because listen to the lyrics!

🎶...I testify that we'll survive the test of time They can't deny our love They can't divide us We'll survive the test of time I promise I'll be right here Standing next to you Standing in the fire next to you You know it's deeper than the rain Deeper than the pain When it's deep like DNA Something they can't take away 🎶

If you've watched the drama, you know that every single line is perfect!!

If you have not, and don't plan to or don't mind the whole drama spoiled, read below the cut to see WHY it's perfect:

Before I get to the spoilery part, an interlude:

Unrelated to the drama, but only to the song, and because I love this video, here's the cooler part of the choreo (but this part has no lyrics). It looks so cool as a group (LDK's the one with the dark sweatshirt). Look at them gooooooo! 😆

OK, that shown, stop scrolling now if you don't want drama spoilers.

MAJOR SPOILERS AHEAD

"I testify that we'll survive the test of time" Shen Qi's and Chi Ye's love lasted 500 years and two lifetimes.

"They can't deny our love; They can't divide us" People and things that tried to break them apart: Shen Qi's ancient tribal chief, the witch lady, the spell (multiple times)

"I promise I'll be right here standing next to you" Shen Qi saved Chi Ye when he was injured and took care of him. Chi Ye waited for Shen Qi for 500 years, and, when she returned, he was there whenever she needed help.

"Standing in the fire next to you" Shen Qi willingly shared Chi Ye's pain.

"You know it's deeper than the rain" When modern Shen Qi first arrived on the island, the night was stormy and thunderous, and she was scared and couldn't sleep. Chi Ye anonymously stood outside her house, playing calming music on his harmonica so she would relax. He repeated the song for her on another stormy night during the main timeline.

"Deeper than the pain" Chi Ye stayed with Shen Qi despite the crippling pain that contact with her caused in him. When she tried to turn him away to save him from the pain, he said, "The pain [in my heart] is only a fraction of the pain your words cause me."

#🔊turn sound on for music🔊#Bell Ringing #Li Daikun #Li Dai Kun #cdrama #dance #original post #chinese drama #B text post

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pynkhues · 1 year

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Hi I was wondering what your thoughts are about the WGA going on strike? Would like to know what you think the effect that would have on media and what that actually means when writers going strike.

I unequivocally support the strike, anon.

To say that the negotiations between the Writers Guild of America (WGA) and the Alliance of Motion Picture and Television Producers (AMPTP) have broken down would be to imply that they ever got anywhere at all. Pretty much all of WGA’s proposals have been met with rejections and no counter offers, effectively resulting in AMPTP forcing the WGA’s hand. You can read the summary of the negotiations here if you’re interested, but in essence, it boils down to five factors:

Increasing wages and base residuals

Establishing viewership-based residuals and transparency around audience

Preserving the writers room through minimum staffing + more secure contracts as opposed to freelancing

Every staffed writer to get pension and healthcare

Regulating use of AI, ensuring AI can’t write or rewrite literary material, can’t be used as source material, and MBA-covered material can’t be used to train AI.

Pretty much all of these were either outright refused by the AMPTP or seriously lowballed, which not only hugely devalues the writing industry as a whole, but is outright insulting when you see the producers and CEOs of these major corporations taking pay packets of between $40-$230million while writing residuals have dropped so much as to not even cover a writer’s monthly rent for an apartment anymore.

For some context on that, and those five factors I summarized above, I’d highly recommend watching this:

youtube

So, how did we get here?

This is partially answered in the above video, but ultimately the erosion of the writers room and writing residuals comes from streaming. The ways in which corporations make money off TV shows and movies has drastically changed, particularly around international sales (which I talked about a bit here) and re-runs, as international streamers have effectively killed both. What this means is that sales which used to lead to backend payments bolstering network profits, advertising sales and residuals for the creatives are all diluted.

This dilution is then obscured by corporations such as Netflix and Amazon Prime being deliberately vague about viewership, subscribers and more, creating a new industry culture that utilizes lack of transparency to ensure corporations make bank, while the creatives involved in various shows see increasingly less of the backend profits of their work.

This devalues creative talent, particularly writers. It’s company over content, it’s brand over story, and it’s profits over people.

A quick note on auteur TV

This is neither here nor there for the strike in particular (and really feels like a whole other post), but I do think that the focus on auteur-driven TV from streamers has also had a huge impact on dividing and conquering writers, and making certain writers complicit in the system that devalues their artform as a whole.

The streaming wars saw a huge uptick in auteur driven shows, as snapping up creative talent effectively took Hollywood back to the old studio system (which is fascinating in and of itself), but while these writers got big deals (The Duffer Brothers reportedly got a nine-figure deal) it saw budget reduce for writers rooms generally. There’s notorious industry gossip about the Duffers’ making their writers assistant redundant and replacing her with an unpaid intern, for instance, a story that’s becoming increasingly less and less surprising with auteur showrunners. The diminishment of junior roles in the writers room has a huge tap-on effect to the industry at large, limiting career pathways, creative experience, and flattening the writing ecosystem.

While it's about snapping up creative talent, I also do think it's about these corporations having something they can point to to show they're not the only ones making serious money, but showrunners like the Duffers' are red herrings, and often not paying it forwards to the industry they're treated as giants in. Again - whole other post though, haha.

So what happens now?

Kind of a lot of things, actually. Late night’s shutting down, as is SNL, and all shows that were still actively writing will cease production. Yelllowjackets, Abbott Elementary, Big Mouth, Good Omens and more have been stopped, and we’ll likely see pretty much everything else stop too in the coming weeks, especially if crews go on strike in solidarity, which is looking like a real possibility. I also imagine AMPTP will probably want the strike to go for 45 days themselves, because that’s when the force majeure parts of existing deals activate, meaning they can cancel development on shows and movies they’d previously greenlit and effectively scrap their development slates and start over.

The Directors Guild of America and the Screen Actors Guild are about to go into negotiations with AMPTP as well (the WGA deadline was 1 May, DGA and SAG-AFTRAs is 30 June), and given the hardline the AMPTP took with writers, it seems like the directors and actors are poised to strike too, which would have a lot of implications.

Matthew Belloni, a longstanding, very legit entertainment journalist, posited three potential outcomes in his newsletter this week after talking to industry insiders. He said:

If there is a strike, here are three different scenarios for how it could play out, based on conversations I’ve had this week with labor veterans:

1. The July Scenario: If both the DGA and SAG-AFTRA make deals at the end of June, the writers will find themselves on a lonely island and will likely settle. 2. The September Scenario: The fall broadcast schedule is impacted, the movie pipeline begins to suffer, the Emmys are threatened, and the companies feel they have made their cost cuts over the summer and can justify giving a little to make a deal. 3. The December Scenario: Everyone, including the streamers, begins to run out of scripted programs, the substitutes and unscripted fare aren’t generating equivalent viewership, and people start canceling subscriptions. Both sides panic, get together, and make a deal.

Here’s hoping for either the September or December scenario at this point, as they’re what’s going to give the writers leverage in negotiating, but yeah – it does mean we’re in for the long haul.

In the meantime, I think the media landscape is going to be a lot of unscripted shows and probably a lot of foreign imports. We're just going to have to wait and see.

#wga strike #tv asks #kinda #welcome to my ama #i do think it's going to be a long one #especially since the rumours are the streamers have been banking shows for a while in preparation #so they've got a lead #i hope it blows up in their faces

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wishingmyhairred · 10 months

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So Netflix changes how it calculates viewership by taking the amount of hours watched and dividing it by the actual time of the series. This is a big change considering that shows season can be 8-22 episodes with a length of 20-56 minutes. So I can't help but wonder what this would have meant for Lockwood & Co if it had been implemented earlier.

Well I did the math for you:

1st Week- we would have been in 4th place!

2nd Week- We stay in first!

3rd Week- We move to 4th place!

4th Week- Now I am having to guess but we would probably have been in the Top Ten

5th Week- Again Guessing but we probably still could have been in the Top Ten

This does not take in to account of other shows not display in the top ten.

Netflix has been sharing "views" with media and creators for the past few months and since it took them 106 days to cancel Locwood & Co I am sure they used the new "views" count to look at the show (since they also changed the length of calculate popularity from 4 weeks to 9 weeks).

However did they take in account that since they do not advertise the show, being on the Top Ten is the best promotion the show gets? Had this been implemented earlier Lockwood & Co would have gotten more attention based off the high views!

A good example is Queen Charlotte which was not making the popular list because it has a shorter time run. Bridgerton season 1 is over 8 hours but Queen Charlotte is under 6 hours.

#lockwood and co #lockwood & co #save lockwood and co #save lockwood & co #netflix

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laf-outloud · 5 months

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Does averaging the viewer numbers by total episodes skew the rankings in favor of shorter seasons? That might explain why s3 seems so popular compared to the others, and why the shorter seasons 14 and 15 seem to tic up instead of following the pattern of decreasing views as time goes on (which is in line with general viewership patterns for most long running tv shows)

It shouldn't because you're already dividing by the seasons total runtime (in minutes), then by the episode count. At least, that's how I think it works. I like numbers and patterns, but math is not my strong suit. :)

#ask box #supernatural netflix ratings

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sirgogington · 8 months

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Yeah it sucks that all these creators are joining the QSMP or already have, but Q is smart in the fact that the people he's choosing are people who will make him money through viewership. These people aren't bad people for wanting to stream themselves playing Minecraft with other creators. This is their career. At the end of the day these creators are still friends with/and or at least respect Q. Tubbo, BadBoyHalo, Tina, Niki, Foolish, Wilbur, etc are not monsters for joining the QSMP. Yeah there could be way less drama surrounding it, if things happened differently and we wouldn't have to feel divided. As Dream said time will tell. We'll see what happens.

#quackity #tubbo #qsmp discourse

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neeneeeeeee · 4 months

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Ngl I'm not really feeling the Disney editing and soundtrack.

I like Ncuti and Ruby as characters, not sure where they're going with the Ruby mystery. RTD drank the Kool aid juice and now he's high on trolling more than normal. 😏Maybe he's playing Moffat's game. I've always thought Moffat wrote Clara as an antithesis to Rose, so RTD probably wrote Ruby as an antithesis to Clara. 🤣

Am I right ...

Anyway yah, I miss the old feel of campy scifi Who. Church on Ruby Road felt very Disney if ya get me. It was alright 🤷‍♀️

I'm still gonna watch Ncuti's era simultaneously while I rewatch the classic who from beginning...

Deep thoughts.....

Cause look.... There's something so symbolic about the Division (of the universes) during the Flux series (a proper sci Fi DW story that im very sadden I didn't watch sooner because although Chibnall lacks in character fulfillment, he certainly makes up for it with enjoyable old school almost campy sci-fi)... symbolic in a way that the show (under Disney) brought RTD back to revive the character of the Doctor himself (not necessarily the story) through some "parallel universe" trick. If you think about it, the amazing coincidence that Ten(nant) was brought back to "divide" the old generation from the new generation, in terms of viewership, considering Ten essentially popularized New Who, the revival, literally SPLITTING itself away from Ncuti (the first "Disney"/international Doctor).

This isn't to mean anything bad . It's just fact of the matter.

I'm just enjoying it without thoughts now.

#Doctor who #church on ruby road #russell t davies #steven moffat #Chris chibnall #the flux #rose tyler

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rawiriwright · 4 months

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— BASICS.

Name: Rawiri Wright. Age / D.O.B.: Forty-eight years old, October 8th, 1975. Gender, Pronouns & Sexuality: Cis man, he/him, bisexual. Hometown: Raukokore, New Zealand. Affiliation: Media. Job position: Comedian and Talk Show Host @ NBC. Education: No higher education. He flirted with the idea of university, mostly to appease his parents, but never went through with it. Relationship status: Single. Children: None. Positive traits: Astute, determined, high-spirited, playful, persuasive. Negative traits: Chaotic, self-justifying, defiant, facetious, unpredictable.

SUMMARY: Rawiri is a comedian and the host of a late-night satirical talk show who, over a decade in broadcasting, has managed to offend just about everyone - gangs, law enforcement, the government - by reducing their activities to punchlines. He assumed he was exempt from being targeted, that he wielded some kind of jester's privilege which cancelled out retaliation, but he was mistaken. Catastrophically mistaken. A hit was put out on him five months ago - it speaks volumes about the amount of people he's pissed off that he doesn't even know who orchestrated said hit - where he nearly lost his life. He's been off-air ever since, attempting to recover.

— BIOGRAPHY.

Trigger warnings: assault, violence and mentions of death.

Throughout his career, Rawiri has courted controversy and acclaim in equal measure. As the host of a long-running satirical talk show with a penchant for parodying - and, by extension, provoking - powerful figures, he’s ruffled more than a few feathers with his tongue-firmly-in-cheek humour. Public opinion has always been divided: to some, he’s a breath of fresh air on their TV screen, a man of the people who cheerfully defies formidable entities and mines levity from the horrors of the city. His naysayers are more cynical of his intentions, viewing him as an insufferable attention-seeker who would say or do anything for publicity. They'd argue his on-air antics don’t stem from a heartfelt desire to make people laugh themselves into momentarily forgetting their troubles, but because he knows controversy increases viewership. He's a hero or a con-artist, depending on who you ask.

The only time his supporters and his critics seemed to be in agreement was five months ago, when reports broke regarding an attempt on Rawiri's life. It says a lot about a person if, upon learning someone tried to murder them, the universal response is not disbelief that it happened, only disbelief it didn't happen sooner.

Nobody was surprised, it seemed, other than Rawiri himself. It sounds preposterous but, prior to the attack, he'd never once paused to consider the target he'd put on himself. Call it arrogance. Call it naivety. Threats had been delivered in the past, but he'd treated them with the same levity as the rest of his life, under the assumption that everyone in the public eye fell prey to empty ones. It didn't have to mean anything.

Did he take things too far sometimes? Of course. Did he think it justified being beaten within an inch of his life by an unknown assailant?

That's a question he's still grappling with: whether or not he deserved it. Nobody ever wants to believe they're responsible for their own suffering, but what if?

What if?

Either way, he should be dead. Sometimes he thinks he'd rather be. It's impossible to reconcile who he is now with who he was prior to his near-demise. On the outside he's determined to appear as cheerful as ever, but there's telltale signs of a rattled man if you know where to look. Loud noises make him tense up. He identifies the exit of any place he finds himself. He double, then triple, checks door locks. A leg bounces anxiously, brain fog prevails, sleepless nights ensue. There's an expectation, he feels, for him to bounce back and return to his high-spirited ways, but how does a person do that? Navigating life when you had been so close to losing it is uniquely difficult.

His brush with death made him think upon his life a lot, going as far back as his childhood. Nobody ever believes him when he says he was a shy child. It reads like one of his jokes - 'Rawiri' and 'shy' are words that shouldn't exist in the same sentence - but it's the truth. He was shy and quiet and an infinitely better person than the man he grew into. Kinder. Stronger moral compass. Adored by parents who hated what he became, who could not see a trace of their sweet boy in the man who chased laughter for a living.

Born and raised in Raukokore, New Zealand, by a Russian-Jewish mother and a father of Te Whānau-ā-Apanui descent, his childhood was gentle and unassuming. His parents both worked as university professors, and imagined their only child would also be academically inclined - but he threw a spanner in the works, deciding he wanted to be a comedian instead. He left school with notions of becoming famous, moving to New York at 19 where he was a regular on the comedy circuit, playing any shows he could book.

He found his way into writing for TV in his mid 20s, when the producer of a talk show attended one of his comedy gigs; it felt like a dream at the time. He assumed his talent would be writing for others, that he could elevate the blandest of hosts, but he realised this wasn't true. After watching too many people fumble lines he knew could get big laughs if they'd been executed differently - the cadence, the expression, if they'd waited to deliver a punchline rather than racing through the autocue - he just knew he could do it better and fought for a chance to prove his skills as a host, pestering producers on every show he worked on. Eventually one relented and he was given his own segment within another show - a tiny slither of time to capture an audience with topical comedy. It proved popular enough to warrant a longer segment, then his own small spin-off show. He ultimately went on to reach the pinnacle of his career at the age of 35, when he became the host of his own major show.

And so the story goes. He fronts the show for over a decade, provoking people who should never be provoked until someone decides they've had enough. He almost winds up dead. His own parents can't even recognise him in the aftermath, beaten so badly it's a miracle he's survived (it doesn't feel like a miracle.) He's left terrified, lonely, miserable, and feeling as though he can't express any of those things because he's built a whole career on being funny. Part of him yearns to get back on-air and pretend he's unfazed. The rest wants to continue hiding forever.

— WANTED CONNECTIONS / PLOTS.

The person/people who put a hit out on him: I've kept this purposely vague in his bio so it can be open for all the drama. Rawiri has no idea who targeted him - if it was one disgruntled individual or a calculated group decision.

The hitman: The person tasked with killing him. Needless to say it didn't go to plan as he's still very much alive. The reason behind this can be plotted - an error on their part? sheer dumb luck from Rawiri? an unexpected interruption? Anything could work. The actual attack is hazy to him so I doubt he'd recognise them, but maybe there's a sense of unease when their paths cross that he can't quite put his finger on.

Media: Since his attack, he's been largely unreachable. No public appearances have been made, interview requests ignored - so maybe someone in the media has been trying to find a way to get him to speak to them? Pestering him, sweetening him up, promising a balanced article - basically employing the same tactics he uses to get guests on his show. He knows what they're doing, recognises himself in what they're doing, and hates it.

Law enforcement: There would've been an investigation into his attack, which could be complicated given Rawiri's track record of publicly making fun of the police. Humiliating for him, but it could be endlessly entertaining to someone in law enforcement to finally have the upper hand. Maybe they were kind to him and changed his opinion of the police, or maybe they've clashed the whole way.

Exes: The problem with Rawiri is that the things that draw people to him inevitably also end up being the reasons they leave. He's witty, with a contagiously high-spirited energy, but it doesn't take long to realise that's all he is. He's incapable of being a reliable, mature presence; it's not enough to make a partner laugh if you can't also be there to support them in the bleak times. He's a dream in the early dating stages, a goldmine of jokes and sweet gestures, but the novelty wears off. He's had a lot of short-term relationships and a small amount of longer ones, so I'm totally open to plotting those dynamics. Maybe they hate each other. Maybe an ex reentered his life in the aftermath of the attack to help with his recovery and there's still feelings.

Other: Talk show guests, bad influences, good influences, enemies to friends, friends to enemies, the first person to find him after his attack, chosen family, crushes, neighbours, friends with benefits, people who work on his show, fans of his show, hate-watchers, etc.

#assault tw #violence tw #death mention tw #wb.intro #i wrote this at 2am so pls forgive the rambling and any mistakes <3

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