#hollywood industry

[percheduphere]

people saying, oh it wasn't intended from the beginning so it wasn't intentional thus has to stay fanfiction bug me. like, shows can develop organically based on chemistry. they can surprise you and take you in a direction that wasn't planned but now just works. like, fucking, chandler and monica wasn't planned from the beginning! but the actors had chemistry and the writers tried it out and it became iconic. you don't throw something away just because it surprised you instead of being pre-planned; you cultivate whatever gold you find!

With Hollywood entertainment in particular, I think there is a lot of ignorance regarding how the creative process, production process, post-production process, and business all work. It is readily apparent that in Hollywood, there are many hands in the kitchen when it comes to creating a movie, documentary, or show. The "Original Intent" argument is weakest when it comes to Hollywood art, and in fact fails to be a viable argument in multiple areas. I will discuss how the "Original Intent" argument fails in Hollywood in more depth under the read more, using what I know from having worked in the industry myself as a writer. And to be honest, the fact I have to pull my private professional history out online, just to prove I'm not being delulu when it comes to the importance of queer subtext in film, pisses me the fuck off.

To be clear, since this whole discourse mess on my Tumblr is likely the result of someone thinking I'm an anti-sylki: I AM NOT AN ANTI. I have an extensive analysis on Sylvie as an integral character to the Loki series, Sylki in canon, and her relationship with Mobius here.

I agree with you: a lot of amazing art deviates from the original intention, especially writing. If deviating from original intent in the writing process did not exist, we would not have DRAFT REVISIONS, we would not have IMPROV, we would not have EDITORS (whose entire job hinges on giving the writer not only grammar corrections, but feedback on how to IMPROVE character, plot, and pacing, which inherently means making changes from the original intent!). This is to say nothing of the thousands, if not tens or hundreds of thousands, of media scholars--with actual PhDs--who spend years of their lives performing meta-analysis to write academic papers on subject matters like this. Papers that become formal publications and contribute to how queer history is taught in universities! This is no different than academic scholars analyzing women and race representation and resistance in film. Why should analyzing queer representation and resistance in film be treated any less?

LET'S TALK ABOUT ORIGINAL CREATIVE INTENT VS POWER HIEARCHY & POLITICS IN HOLLYWOOD

For context with respect to this ask, a different Tumblr user critiqued against queer subtext in one of my posts using the "original intent" argument for the Loki series and Lokius specifically. By this logic, if original intent is always honored, then the original script for Loki's S2E5 (written by Eric Martin) would not have been NUKED by the executive powers that be at Marvel. [source] But no, the original intent was not honored, it was rejected. So how does one square the primacy of original intent with original intent being rejected by people who are not the artist but the people who manage Disney's finances?

In television, "Executive Producer" (i.e. Tom Hiddleston, Michael Waldron, Eric Martin, etc.) is a title that can be given to a writer or actor who has more creative say in the execution of a story than a regular staff writer or actor on crew. It also indicates that the writer or actor is in a much higher salary range compared to their professional peers. It does NOT mean the same thing as a CORPORATE "Producer" of Kevin Feige's level, who ultimately has the FINAL SAY on what does NOT end up on the cutting room floor. The corporate Producer must take into account the wishes of corporate's shareholders and board of directors, who are often multi-million if not multi-billion global investors who need the distribution of the product to succeed internationally in countries like China, which is very anti-LGBTQAI+. This is how a script like Eric Martin's S2E5 can be nuked and the writer can be contractually gagged from talking about its specific contents by Disney, lest they be SUED TO HELL for breaking their non-disclosure agreements (NDAs).

This doesn't even take into account politics.

In 2020, Ike Perlmutter, Chair of Marvel, "gave $575,000 to Trump For Victory, $35,500 to the Republican National Committee in April, $5600 for Texans For Ronny Jackson in February. 2019 saw him donate $248,000 to the Republican National Committee, $466,100 to Trump For Victory, $5,600 to Donald Trump For President." His wife, Laura, mirrored those donations. "In late 2016, he also gave $5,000,000 to the Great America PAC." [source] Ike was only recently laid off from his position in March 2023 [source]. Perlmutter was in a power-struggle at Marvel with Kevin Feige for years. Feige was promoted to Chief Creative Officer in 2019, which brought the power struggle to a head, ultimately contributing to Perlmutter's departure.

There is also Bob Iger, CEO of Disney, who was famously quoted during the Writers Guild of America strike for saying, “It’s very disturbing to me. We’ve talked about disruptive forces on this business and all the challenges we’re facing, the recovery from COVID which is ongoing, it’s not completely back. This is the worst time in the world to add to that disruption”

This is the worst time in the world to negotiate to pay your writers, YOUR CREATIVE LABOR FORCE, who entertained millions of people while they were stuck in their homes for 2 years, fairly?

And these are just two men in executive power at Marvel and Disney. We're not even talking about all the other board members and shareholders. You think Tom Hiddleston, Michael Waldron, and Eric Martin have any real power compared to these guys? They do not. They are peons by comparison. And these artists (despite their "Executive Producer" title) are always at odds with the Alliance of Motion Picture and Television Producers (AMPTP), who are ultimately not artists but FINANCIERS.

Here's another quote from a studio executive that occurred during the writer's strike:

"Receiving positive feedback from Wall Street since the WGA went on strike May 2, Warner Bros Discovery, Apple, Netflix, Amazon, Disney, Paramount and others have become determined to “break the WGA,” as one studio exec blatantly put it.  

To do so, the studios and the AMPTP believe that by October most writers will be running out of money after five months on the picket lines and no work.

“The endgame is to allow things to drag on until union members start losing their apartments and losing their houses,” a studio executive told Deadline. Acknowledging the cold-as-ice approach, several other sources reiterated the statement. One insider called it “a cruel but necessary evil.”" [source 1] [source 2]

Fortunately, this negative press and the WGA members' solidarity led to the WGA getting everything they demanded. I still have friends in the industry, specifically in the WGA and MPEG. A lot of them were indeed starved out. My friend who's a film editor is still unemployed because pre-production has only recently started to ramp up again and her profession is all in post. She has to wait for production to catch-up and finish in order to get work.

If the AMPTP is willing to use clearly unethical tactics to underpay their writers and actors (don't forget the SAG-AFTRA strike that joined later), do we really think members of the AMPTP (the studio execs) are willing to honor artists' original intent if the original intent may be "offensive to some viewers" and therefore can potentially cut into their financial bottom line?

We're not naive. We know the answer to this.

OUR FLAG MEANS DEATH, KILLING EVE, AND GOOD OMENS

But what about OFMD, KE, and GO? These shows are on MAX, BBC, and Amazon Prime respectively. These corporations have a different branding image than Disney. Disney touts itself as "family friendly"; (read: on-screen LGBTQAI+ affection between two lead characters is "not family friendly"). MAX and BBC's branding type also affords them the luxury of creating content for niche audiences. Disney, on the other hand, makes additional revenue through using their plethora of licenses to make toys, additions to their theme parks, and other merch. If a parent is offended that a canonically queer character like Loki has romantic love not just for Sylvie but also for Mobius (a same-sex relationship), what are the odds of parents like them not buying Disney's merchandise? We can apply this same question to Star Wars, Pixar, and any of Disney-branded animation or live action movies. How deeply can audience offense potentially cut into Disney's bottom line? If there were no discrimination taking place, we would have LGBTQAI+ representation through a lead character in any one of their licenses already. We do not, and that is a huge red flag.

In addition, these entertainment corporations (who do not tout themselves as "family friendly") generate other sources of revenue elsewhere. Netflix generates international revenue through the production of international programming like "Squid Game" and other K-dramas such as "The Glory" or Mexican shows including, "The Surrogacy" and "Haunted: Latin America". MAX is struggling. They were bought out for that reason. With AppleTV and Hulu, their target audiences are more diverse, they offer a variety of media product, and their business strategy is ultimately different from Disney. All of this grants them more freedom in what kind of characters they choose to represent, including LGBTQAI+ characters.

Remember House and Wilson from House M.D.? That show was on FOX. We know the political alignment of FOX. Dean and Castiel from Supernatural? WB Television. Both shows came out before streaming became dominant, and thus, these shows had to cater to anyone who might happen to land on their channels. When the market demands that you cater to the widest possible audience in order to generate the largest revenue, the creatives are forced to create relatively conservative artistic product. Hence, creative censorship and our long history of queer subtext.

At Nickelodeon, the artists actually had the support of corporate to move forward with Korrasami because the final season Legend of Korra was only available online. It did not air on their channel. If that had not been the case, corporate would not have approved Korrasami. However, that approval was contingent upon the artists being subtle subtle about Korra and Asami's relationship. Even in this canon ship, the animators relied on subtext for queer romance.

Not helping Disney's case is the cancellation of "The Owl House". Why was "The Owl House" canceled? It didn't fit Disney's "brand". [source]

THE FAILURES OF THE "ORIGINAL INTENT" ARGUMENT IN HOLLYWOOD

The "Original Intent" argument fails when it comes to art in Hollywood because:

Original Intent can change, and often does change, during the creative process. This applies to all forms of art, not just Hollywood.

Multiple artists are involved in pre-production, production, and post-production. At any point in this 3-part process of filmmaking, original intent can be changed for a variety of reasons.

Studio Executives, Boards of Directors, and Corporate Shareholders have more power than the artists in Hollywood. If they think a product will not make money, they will order changes accordingly.

Disney specifically touts itself as "family friendly". Its lack of a lead character (in ANY of its live-action licenses) being in an openly queer relationship with someone who presents as the same sex, is the direct result of not wanting to lose conservative audiences.

Non-Disclosure Agreements (NDAs) are common in Hollywood and prevent artists from providing specifics regarding original intent. This is done not only to safeguard corporate's intellectual property (IP), but to also safeguard their public relations image.

THE ORIGINAL INTENT ARGUMENT WEAPONIZED

The "original intent" mindset can be either very naive or very cynical, depending on the thinker's motives for choosing this belief. Naive, in that thinking creative purity actually exists (it does not) or that oppression does not still occur in Hollywood (it does). Cynical, in that either the thinker doesn't believe in artists intentionally finding ways around mass produced arts' media censorship, which has in turn created our rich history of queer subtext in film, OR the thinker wants the "original intent" argument to invalidate a change they do not like.

The last motive is the same strategy used by fans who reject Miles Morales as being a real Spider-Man. The same strategy fans use to deny that Shuri is indeed the new Black Panther. Both are tactics used to mask racism and sexism beneath the veneer of "creative purity". Fans who have internalized racism, sexism, or queer-phobia may also use this tactic at a subconscious level to protect themselves emotionally from disappointment. Finally, there are fans who use this argument to invalidate another ship, usually a queer ship that cannot be formally canonized because of corporate studio power.

Regardless of the reasoning, using this argument is frequently insidious because it perpetuates straight white male dominance in media representation.

PERSONAL LIVED EXPERIENCE

I'm an old poc queer and have worked in Hollywood long enough to know that the writers' original vision rarely ever--IF EVER--pans out as originally intended. If you ever sit through a movie and wonder why the story feels so weird in certain parts, I can guarantee you that about 2/5ths of the time, a corporate producer stepped in and messed with the original story in post-production (usually in an poor, over-worked editor's dark editing bay) and ordered reshoots the director may not have agreed with.

I've also worked in the industry long enough to know that it is an absolutely toxic work environment in which women, people of color, and queer people still struggle to get a creative foothold anywhere. My first experience pitching a script to a prospective agent involved being asked to meet at a hotel for drinks. We didn't talk about my writing at all. What I thought would be a pitch meeting was actually the writer's version of the "Hollywood casting couch". Yes, I was propositioned. No, nothing happened to me. I walked out. This happened to me in June 2008. It was not my last experience. The "Me Too" movement that came years later in 2017 was in response to situations I have encountered like this.

Those of us who succeed are very rare, and 97% of the time, the executive staff is very, very white and male. There is absolutely oppression and exploitation of all sorts still happening in Hollywood. I fucking lived it and continue to have nightmares about it.

QUEER SUBTEXT STILL EXISTS

Thus, to deny queer subtext's validity as an art form and to only accept the words of those who are either in power or limited in what they can say because of those in power, undermines not only the artists' efforts to tell the story they want to tell but cannot tell explicitly, it also undermines queer joy and queer resistance in cinema. And yes, sometimes those artists are cis straight white male allies who want to tell these stories because they simply make sense for the characters. These people are the artists, not the financiers.

It's more mature to embrace, or at least leave alone, the loud joy others experience from shipping and performing meta-analysis instead of publicly pissing on them with the profoundly weak and ignorant argument of "original intent". Don't mess with me on this. The number of scripts I have worked on that completely warped from what I wanted, and then to have my writing credit removed or stolen, still makes me sick. Yes, I'm bitter, but I'm also glad I left.

#loki #mobius #lokius #loki season 2 #writing #art #asks #queer cinema #lgbt representation #lgbtqia representation #lgbtqai #lgbtqia #hollywood #politics #entertainment industry #art vs capitalism #capitalism #personal #wga #hollywood industry

[whocookedthelastsupper]

“In the course of history, to be a woman had been a sin against nature and a crime against God. Now it has become an ideological deviance in the bargain. Under this system, the woman who dared to question the ideology by which she was judged would find herself among the "daughters of the Devil" whom the men of God, or the God of men, had determined to destroy. For the woman who argued, questioned, challenged, was not a woman. Woman was designed by nature to please and complement man, to love and serve her lord and master. After all, what else are women for?

In this baseline demand lurks the eternal myth of womanhood, and the eternal unsatisfied fantasy of the self-deluded male. To them, the answer was simple-women were for men, and should be grate-ful. Nowhere has this egregious exaction been more visibly expressed, nor more extensively fostered, than in the world's dream factory of the twentieth century, the Hollywood film industry. Hollywood's idiosyncratic vice and overriding obsession, the sexualizing of the female, in fact is wholly characteristic of all the other mass media, and indeed the secret of their commercial success. But although advertising has now taken over as the prime site of sexual stereotyping in the Western industrialized societies, Hollywood led the way. Whatever ideas the inhabitants of the post-war world nurse about male and female, love and work, they will have derived a high proportion of them from the dream-world of Hollywood fiction.

And what did Hollywood have to tell a breathless world through the undying magic of the silver screen? What was the message of the moguls who knew All About Eve, how women became Notorious, feared a Psycho and longed for King Kong and a grapefruit in the face. What else but that there were bad girls and good girls, girls you fucked and girls you married, little women and good wives, and the birth of a nation was man's work (tell the women to boil some water, lots of it). Study on this, sister, Gentlemen Prefer Blondes. Without knowing how, for it was always very respectful toward religion (Jesus of Nazareth, the Man Born to Be Box-Office), Hollywood became the Church of America, every film the new covenant, every picture told a story and the story was the greatest, oldest, cruelest, dumbest story ever told, the man born to be man.

For boys will be boys, and nowhere more so than in the all-American playground of the Hollywood movie. As film after film rolled off the cameras under the beady scrutiny of the first generation movie-moguls, patriarchs of the purest water to the last man, the father gods must have been hugging themselves with glee. For who needed physical restraints, savage laws, exclusion from education, from work and from society to keep women in their second-rate “sphere" when you could show them a film that did the same job, and sent them away happy into the bargain?

The extent to which the mass media of the twentieth century have served to replace the older instruments of dominance and restraint in the perennial patriarchal work of keeping women subordinate has yet to be fully acknowledged. But in its groping, voyeuristic response to the female, its tireless recycling of the same old female archetypes of mother, maiden, whore, its unreeling of ideal scenarios contrasted with the threatening accounts of the "girls who went wrong," Hollywood has to take its proud place alongside the "morals police" of the Ayatollah Khomeini for its valuable work in keeping women in line and training them to be everything a regular guy could ever hope for as his wife and the mother of his children.

As these pseudomodern industries, the mass media, lead us firmly by the genitals backward into the future, we can recognize the new arena in which the next stage for the freedom and equality of women will be fought out. Over the millennia of civilization, the source and site of women's inferiority has been located in nature, biology religion, physiology, brain size and the female psyche. Women have fought back, for the right to read, to in so mopey, to vote. One by one chose oppressions have gone down in some parts of the world, thereby undermining the "natural" and inevitable status of those that remain. But underlying patterns change slowly. This is in no way to belittle the fruits of the struggle to date. It is simply to insist that in the deeper struggle that feminists worldwide now realize they face, changing the world takes longer.

For there is much to do, amounting in fact to a remaking of modern society. All democratic experiments, all revolutions, all demands for equality have so far, in every instance, stopped short of sexual equality. Every society has in its prestige structures a series of subtle, interacting codes of dominance that always, everywhere, finally rank men higher than women. Nowhere has any society successfully dispensed with the age-old sex-role division of labor and the rewards in goods and power that accompany it. Nowhere do women enjoy the rights, privileges and possibilities and leisure time that men do. Everywhere men still mediate between women and power, women and the state, women and freedom, women and themselves.”

-Rosalind Miles; Who Cooked The Last Supper? The Women’s History of the World

#who cooked the last supper #hollywood industry #objectification in the media #herstory #womens history #womens rights #radblr #radfem #radical feminism #radical feminist safe #radical feminists do interact #radical feminists do touch #radical feminists please touch #feminism #feminist literature #radical feminists please interact #radical feminist community #radical feminist literature #radical feminst #radical feminist theory

[claudia1829things]

“The Visual Effects Crisis”

I found this interesting video clip on YouTube about the visual effects crisis and VFX artists:

#vfx industry #vfx artists #life of pi #marvel films #anti mcu #marvel cinematic universe #cats #mpc #netflix #thor: love and thunder #rhythm & hughes #rhythm & hughes studios #hollywood industry #godzilla vs kong

[flosxaquaxastra]

The ignorance showed by some people, not only teens and children, but also adults with a massive influence in todays society is really harmful and worrying. Also, the effects and impact of money in our society to the point of not caring that they are destroying historical sites and disrespecting people who suffered through the horrors of History is really concerning.

The lack of empathy shown in recent events are the reason that History repeats itself. Allowing the erasing of places and knowledge of what happened in the past allows the future to commit the same crimes and horrors of the past. History should be taught universally and in a meaningful way. and money is not everything, politicians and the people in power should get their heads of their asses and understand that, and stop this acquisition of historical places, memories and symbology.

I'm so sad and angry over all this and the worst part is that I cannot do anything about this besides sharing my point.

Hollywood industry does not have the right to invade historical sites or claim historical symbolism in the name of money. Hollywood industry does not have the right to dismiss History. Hollywood industry does not have the right to disrespect others History. Hollywood industry must be stopped. Money is not everything.

#rant #Hollywood industry #stranger things #stranger things season 4 #mulan live action #casa de papel #history #history is important #fuck I'm so mad!

[yusuke-of-valla]

GAMES MADE BY PEOPLE WHO ARE PAID MORE TO WORK LESS

#video games #sag aftra #Hollywood strike #voice actors #voice acting #industry bullshit #destiel meme

[lucybellwood]

Another piece I did for The Nib back in 2015! Gonna keep posting these until they shut down at the end of the summer. It was such a treat to hear that Matt and the whole editorial team just won an Eisner for their work on the magazine and website. Much-deserved.

Anyway: this is a parody and isn't representative of every screenwriter's experience, but it certainly feels relevant with all the strikes rolling out right now. Did you know what kind of credit you get on a film directly impacts how much you're paid? For writers you'll see "created by," "written by," "story by," and all sorts of other things, all of which translate to different levels of compensation! (Highlander, for example, has Story by Gregory Widen and Screenplay by my dad and his writing partner, Larry Ferguson.) The Writer's Guild is often responsible for arbitrating those decisions. They have a whole MANUAL to help writers understand the process. It rules.

Thanks, WGA. Thanks, The Nib. (And you can always make more of these comics possible on Patreon.)

#hollywood #do the write thing #wga strike #wga strong #film credits #highlander #the nib #comics #personal work #babies #film industry #lucy bellwood

[mybraceletsbook]

#explore the world #my bracelets book #hollywood industry #hollywood movies #hollywood director

[eldritch-thrumming]

scream 7 fires their highly successful female lead who revitalized their franchise & made them millions of dollars all because of her pro palestinian stance but not a single word from netflix on their side characters in an ensemble cast who are literally saying shit like “zionism is sexy” and advocating for absolutely no ceasefire under any circumstances. this is a hell world.

#i’m talking abt melissa barrera noah schnapp and brett gelman respectively #hollywood is such a fucking joke i hope it collapses #i get it’s different studios and companies but for fucks sake really #will be interesting to see what jenna ortega has to say abt this i have no idea if she’s even attached to scream 7 tbh #also something so sinister abt an industry that would drop a new hunger games installment rn

[alpaca-clouds]

Why the media CEOs will always learn the wrong lessons

Yesterday a friend and I talked about how the entire (AAA) game industrie looked at BG3 being as popular as it is and going: "Oh, we need to produce 100+ hour games, I guess! Those sell!" Which... obviously is not why it is popular. The game is not popular because it has 100+ hours of gameplay, but because it has engaging characters, that are well-acted and that work as good hooks for the players. Like, let's face it: The reason why I so far have sunken 160 hours into this game is, because I wanna spend time with these characters - and because I wanna give them their happy endings.

But the same has happened too, just a bit earlier this year, right? When Barbie broke the 1 billion and every Hollywood CEO went: "Oh, so the people want movies based on toy franchises! Got it!" To which the internet at large replied: "... How is that the lesson you learned from this?"

Well, let me explain to you, why this is the lesson they learn: It is because the CEOs and the boards of directors at large are not artists or even engaged with the medium they produce. They mostly are economists. And their dry little hearts do not understand stuff more complex than numbers and spread sheets.

That sounds evil, I know, but... It is sadly the truth. When they look at a successful movie/series/game/book/comic, they look at it as a product, not a piece of art or narrative. It is just a product that has very clear metrics.

To them Barbie is not a movie with interesting stylistic choices that stand out from the majority of high budget action blockbusters. It is a toy movie with mildly feminist themes.

Or Oppenheimer is not a movie to them with a strong visual language and good acting direction. No, it is a historical blockbuster.

And this is true for basically every form of media. I mean, books are actually a fairly good example. In my life I do remember the big book fads that happened. When Harry Potter was a success, there was at least a dozen other "magical school" book series being released. When Twilight was a big success there was suddenly an endless number of "teen girl falls in love with bad boy, who is [magical creature]" YA. When the Hunger Games was a success, there were hundreds of "YA dystopia" books. Meanwhile in adult reading, we had the big "next Game of Throne" fad.

Of course, the irony is, that within each of those fads there might have been one or two somewhat successful series - but never even one that came even close to whatever started the fad.

Or with movies, we have seen it, too. When Avengers broke the 1 billion (which up to this point only few movies did) the studios went: "Ooooooh, so we need shared universe film series" - and then all went to try and fail to create their own cinematic universe.

Because the people, who call the shots, are just immensely desinterested in the thing they are selling. They do not really care about the content. All they care about is having a supposedly easy avenue of selling it. Just as they do not care about the consumer. All they care about is that the consumer buys it. Why he buys it... Well, they do not care. They could not care less, in fact.

So, yeah, get ready for a 20 overproduced games with a bloated 100+ hours of empty gameplay, but without the engaging characters. And for like at least 15 more moves based on some toy franchise, that nobody actually cares about.

And then get ready for all the CEOs to do the surprised Pikachu face, when all of that ends up not financially successful.

Really, I read some interviews yesterday from some AAA-studio CEOs and their blatant shock and missing understanding on why BG3 works for so many people.

Because, yeah... capitalism does not appreciate art. Capitalism does not understand art. It only understands spread sheets.

#baldurs gate 3 #oppenheimer #barbie #barbie movie #hollywood #game industry #media #indie media #media criticism #anti capitalism #late stage capitalism

[br3akfestattiffanys]

Zendaya in custom Jacquemus ⋆ ˚｡⋆౨ৎ˚

#zendaya #zendaya coleman #jacquemus #simon porte jacquemus #pink #pink aesthetic #pinkcore #challengers #coquette #coquettecore #coquette aesthetic #coquette style #coquette fashion #coquette angel #dollete #dollete aesthetic #pink bow #ribbons and bows #brunette #actor #actress #movie industry #film industry #hollywood #mike faist #josh o'connor #tennis #tennis court #tennis club #tom holland

[theabigailthorn]

spent ages preparing to audition for a role I really really wanted and it's looking like (still unconfirmed) they might not even be holding auditions at all but have just given it to someone directly

which, meh, that sucks but that's the industry!

I'm just like now what? I spent a lot of my free time the last few months prepping and I genuinely don't know what to do with myself now!

#guess I'll... have a bath? #call my mum? #keep prepping anyway on the off chance the rumours are false? #I already asked my agent to investigate but she can't find out either! #that's hollywood baybeeee #sorry mario your blorbo is in another show #I should get myself a treat as a reward for all my hard work even though it didn't work out #I have 3 criteria for this sort of thing and if I tick them all off I can walk away happy #Did I approach it from curiosity not ambition? #Did I make it known in the industry that I wanted the role? #Did I prepare for the role? #I did all three of those things so audition or no audition I can hold my head up high #might get myself one of those nice cookie dough brownies from the coffee stand this week as a consolation prize

[dduane]

“To survey the film and television industry today is to witness multiple existential crises. Many of them point to a larger trend: of Hollywood divesting from its own future, making dodgy decisions in the short term that whittle down its chances of long-term survival. Corporations are no strangers to fiscal myopia, but the ways in which the studios are currently squeezing out profits—nickel-and-diming much of their labor force to the edge of financial precarity while branding their output with the hallmarks of creative bankruptcy—indicate a shocking new carelessness.”

#Hollywood #the film industry #WGA strike #SAG-AFTRA strike

[justisabellethings]

Can I just take a moment to talk about the wild transformation Barry Keoghan has had this year (by that I mean like 2023 and 2024 so far)?

In the space of a few months, this man went from being a slept-on actor who was being cut from superhero blockbusters — someone who doesn’t watch award shows or film festivals might have called him a “nobody” despite being an Oscar nominee in several big movies — to this impish, heavily sexualized, and somewhat overexposed (or perhaps overexposed to the point of full on excess) viral pop culture phenomenon.

I mean that quite literally.

I don’t think I’ve ever seen a public image transformation like this. A metamorphosis really. Especially for a dude. It’s shocking. It’s brilliant.

You usually see people like Britney Spears or Miley Cyrus do the whole “transition into something more mature” thing to further their careers, but I’ve never seen a man do quite the same thing until now (in my lifetime, at least.) With the same degree of objectification and sexualisation a woman.

Like he’s not just unbuttoning his shirt and posing in jeans or Calvin Klein underwear like other leading men tend to do, he’s fully nude, in latex aprons, latex gloves, false nails and pearl necklaces. He’s covered in blood, lipstick, cummy bath water, god knows what else.

He goes there. Unflinchingly.

Like he’s almost sexually degraded. Degraded in ways men usually aren’t in Hollywood.

(I freaking love Saltburn, I guess I’m not exclusively referring to that, more so his exposure in the media.)

Crazy part is he’s a fantastic actor who doesn’t even have to go there. But he still goes there. And honestly I do hope he does keep working with Emerald. He could be a good muse for her. Assuming he’s going there of his own free will and he’s owning this sexuality that’s been latent inside of him his whole life, good for him.

But this will change his public image and persona forever from now on. He can totally embrace the sex symbol thing if he chooses to, but that can overshadow some actors as it has been known to do that in the past. He has openly idolized bisexual male sex symbols of Old Hollywood, after all.

I just wonder if he can channel all of this and continue being taken seriously as an actor and not become known only for this.

I know he probably needed to do this to become a lead actor and not just a character actor (I’d say the role of Oliver Quick blends both and required both), but I guess we’ll just have to see where all of this goes in time.

Still, you can watch videos of him from years ago and you will still see him, but at the same time it’s like day and night. It’s just very overwhelming.

Anyways I just wanted to get that off my chest.

#barry keoghan #saltburn #movies #film industry #films #film #hollywood #old hollywood #emerald fennell #vanity fair #w magazine

[afilmbyjemma]

he deserves the world

#film #movies #movielover #letterboxd #films #movie #cinema #film awards #golden globes #ke huy quan #everything everywhere all at once #hollywood #film industry

[pop-punklouis]

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#with all the kate middleton conspiracies and detective work with photo analysis and media etc. #it just reminds me deeper how so much that occurred during 1D and especially with BG #could’ve only happened in the timeframe it happened in #when twitter and social media as a whole wasn’t as engaging and analytical as it is now #like there’s now such a need to uncover all the lies and curtains that hollywood and the industry pulls over on the GP #and with such a trend of exposing things and people in the industry #it would be like moth to a flame #so much shit could only be pulled off because of the vacuum of the time it was set in #imagine so many things that occurred during that era and the consistent weirdness of BG (especially with photos and videos) #it would’ve been torn to pieces by twitter internet sleuths in 2.5 seconds which would bring so much of the twitter GP obsessed with pop #culture to start threads and jump down rabbit holes etc. #it’s just always fascinating to see #especially when the buzzfeed article that occurred during BG that tried and failed to highlight all the inconsistencies #was like. the peak of coverage about it #on the other hand i’m sorta glad it did happen the way it did because imagine how much would be said about louis over that entire thing #and people would be ruthless #idk just some rambles

[destielmemenews]

The union said in a statement that the contract "includes "above-pattern" minimum compensation increases, unprecedented provisions for consent and compensation that will protect members from the threat of AI, and for the first time establishes a streaming participation bonus."

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#destiel meme #destiel meme news #united states #us news #news #sag aftra #actor's strike #actors union #actors strike #hollywood #film industry