Have been able to load communities and content on Voyager since the last fix yesterday, but am still having issues with images in the main post, especially on c/risa.
On Voyager, I’m seeing just a little blue square in the middle of the box where the meme image should be. It’s not consistent though so it could be some kind of incompatibility with the upload and storage format.
On Mastodon, the tenforward.social instance where the @Admin & @ValueSubtracted have accounts, has its own set of emojis. Some of these seem to have been contributed by users.
It would be great if our leadership here could check in with @guinan to see if she would generously share her protocol.
There has been good MCU content that actually has coherence - Agents of Shield, She-Hulk, Loki - but they’ve effectively had Showrunners.
Why Marvel thought it was optional, and everything could be fixed with editing in post is bizarre, but I’d argue that they’re just at the extreme end of a continuum.
Even with showrunners, some of the early seasons of the new era of Star Trek seems to have fallen into the same trap. To many big ego EPs each doing what they want and Kurtzman trying smooth it all out with editing in post.
Osunsami has kept coherence in the direction of Discovery in Toronto, but Picard season one and two was all over the place, frequently ignoring the tone laid down by Hanelle Culpepper in the pilot.
Just before Picard had its run, Alex Kurtzman was talking up the idea of having one-shots, movies and limited series focused around established (legacy) characters. He argued that the franchise has matured to the point where this was now possible for the next phase.
The Georgiou S31 movie was supposed to be a show, but with Yeoh’s star power, it seems impossible to schedule. So, it’s become the rest case. I hope it’s successful and smooths the way for more.
With Paramount retrenching and Matalas pushing his own Titanprise nepotistic nostalgia tour for an early 25th century show, the window for this seems to have past. Not to mention Paramount’s overall turning away from CBS’ focus on diverse representation.
I knew about the singing from the reviews of the Goblin MacBeth, because there’s musical improvisations in that live theatre piece.
Bruce Horak’s family seems to all be creatives.
I recall an interview from 2022 where he talked about being the youngest of 4 very competitive boys, with older brothers who are musicians. I believe his dad was a high school drama teacher(?), and an amateur cartoonist. Mum also in a creative field.
The painting / visual arts career is what caught me off guard actually. Horak said his dad encouraged him to make his own comics as a child to write stories. Here’s a piece on his one man show ‘Assassinating Thompson’
$16,000 for the credited writer of a one hour episode of a ‘big budget series’ of $30 million or more seems incredibly low. Most writers get only one or two script credits out of a 10 episode season, and many EPs take shared credit with the junior writers in the room.
And the rates for streaming residuals seem to be based on domestic uptake in the first 3 months, ignoring ‘sleepers’ and shows that sell well globally. All to say, this doesn’t get around the ‘Suits’ problem.
Yes, the writers get a base pay for being in the room, but it’s still not a lot out of a major property.
Who can live in LA on a couple of script credits a year?
I think this is a misread. Management is getting the blame in this article for making everyone worse off including themselves.
The unions aren’t being blamed at all in this for the strike. If anything their commitment is credited with bringing AMPTP back to the table early.
The article links back to earlier reports from May that AMPTP had a deliberate union-breaking strategy, and planned to refuse to negotiate or to come to the table before late October.
It’s not anti union to point out how management bad faith behaviour and refusal to negotiate is negative for an industry and the broader economy that surrounds it.
Strikes are a blunt and costly tool, but an essential tool. When they last for months as this one has, and one party has been refusing to negotiate on many terms for even months before the strike, everyone in the industry suffers. One of the key points in this article is that AMPTP has managed to lose the PR war of this strike, as they very much deserved.
CNN has been consistently reporting on how the AMPTP has been refusing to bargain, and it’s in this context that it’s weighing the costs of the strike. In comparison to the Hollywood-based media that are owned by the content conglomerates (e.g., Deadline) this is much more neutral reporting.
But sources familiar with the matter told NBC News, Variety, and The Hollywood Reporter on Saturday that one major sticking point was the language surrounding the use of artificial intelligence. According to Variety, those negotiations had largely come down to matters of fine print, signaling that a breakthrough may be close.
But sources familiar with the matter told NBC News, Variety, and The Hollywood Reporter on Saturday that one major sticking point was the language surrounding the use of artificial intelligence. According to Variety, those negotiations had largely come down to matters of fine print, signaling that a breakthrough may be close.
The article mentions that the SAG-AFTRA negotiators and leads have been kept in the brief by WGA.
So, it sounds as though the writers have been conscious of the precedents they’re setting and there shouldn’t be surprises when the negotiations move onto the actors.
The thing is there were great physical models in other shows. It was just Straczynski’s determination to go completely digital that was driving it.
DS9 was made with models because Paramount understood the technology wasn’t there yet. I just wish they’d kept high definition analogue film rather than video.