>The same hacks that have been writing garbage are either getting struck out of house and home, or getting flack for not doing enough >The same suits that have been enabling said garbage are getting bad press
Yeah is right, I see this as a win-win. The industry deserves to burn. There hasn't been a cartoon or comic worth viewing for too long.
Those Rich israelites that are losing money? They are losing studio and company money NOT their personal reserves of money. And even if they were losing some of that they know even MORE powerful israelites who own the United States to keep them afloat. israelites are a close knit elite tribe. They are small, but command all the cash in the USA to ruin your life. They will never lose.
And before you say that what happens when the USA dies, when the USA collapses the israelites will find a new host they can parasite off of. Most likely Asia.
>no you see israelites have infinite money and they'll use it to produce unpolished television shows optimized for smartphones instead of putting it towards political racketeering, warmongering, agriculture, or natural resources like they did for several hundred years
Chinese investors aren't coming to save HBO or Paramount, goytroon.
>US collapses >Europeans remember they hate each other for 1,500-year-old bullshit and start fighting again. >Asia turns Africa into a food source.
You love to see it.
That's an equally unconstructive extreme. A studio system is useful as a framework for financing and logistics that can result in complexity and scope simply not viable in an independent production. The problem isn't the system, it's the mindsets in charge of it.
A less radicalized position amounts to acknowledging how, when the bottom line is that you can't make the same profit margins you are accustomed to from better times of global economy and completely different control and distribution models, the conclusion should be scaling back on those expectations rather than try to maintain them by gutting EVERYONE AND EVERYTHING ELSE.
The minds in charge of it won't change unless completely financially shocked.
>A less radicalized position amounts to
They're making shit I don't like and insulting me about it. I'm giving money to people who ARE making shit I like, and at the movment that's indies and Japan.
>When two parties are at war and you want neither one to win
You either have talentless writers shoving their own personal politics and grievances into their work and forcing people to watch their vanity projects, or a small pool of actually skilled invested writers trying their best to make a good product being out-maneuvered by money hungry studio execs interferance ripping everything to shreds for the sake of external influences and fad chancing politics.
Let them eat each other alive, nothing of value is being lost.
If the WGA gets their way, it will spell disaster for western animation. Only the most influential guild members will be able to get their projects greenlit.
On the other hand, if studios win, we’re going to see even more mass-produced slop.
Which way, white man?
Studio execs being tight-fisted bastards is the reason everything in your pic looks like shit. Frick corporate. >Unions bad
A corporate shill got paid to tell you this, and you believed them you fricking mongoloid.
Greenlighting their projects isn't a demand though. What's the source on this? What makes you think the most influential guild members make those shows?
Studio execs being tight-fisted bastards is the reason everything in your pic looks like shit. Frick corporate. >Unions bad
A corporate shill got paid to tell you this, and you believed them you fricking mongoloid.
I’ve read the demands and make no mistake, it’ll result in less shows being greenlit. It’s about money.
And those who will have their projects greenlit will be the ones with most power and influence.
They’re asking for more money. More money per projects = less projects. Simple math. Especially now that those streaming services are losing record amounts of money.
The streaming bubble is bursting. Indie will be the only way going forward.
10 months ago
Anonymous
The increased pay is a drop in an ocean compared to how much money the companies actually make.
10 months ago
Anonymous
It might look like that on the surface, but studios are losing insane amounts of money. Every drop counts to them.
10 months ago
Anonymous
You're talking about payouts to investors and CEOs, the thing that already had the company bleeding shows and killing them after they were made. Investors/CEOs/parasites/"jews" making less every year so workers can afford a place to stay is more than just a Californian homosexual writer problem.
10 months ago
Anonymous
The major studios aren't going to die, at least not from this. There's actually a trump card they could play, a nuclear option that is exceedingly simple - rip up the WGA and SAG contracts all at once and say "we're done with you, we're going union-less." This is unlikely, but should this become an existential crisis for studios, then nothing is off the table.
SAG and WAG are guilds. Writers and actors are not employees, they are contractors. Most laws protecting employees rights to unionize simply do not apply. All studios have to do is turn to the writers and actors in the rest of the country and say "you guys want to be stars? You want to write the next big sitcom? We're now open to hiring anyone."
When push comes to shove, the other technical unions in Hollywood will not go down with the WGA ship. They're the ones hurt most by these strikes, in fact.
If these businesses actually cared about money and not looking impressive to the rest of the business world, they would have all white-collar work be done remotely and sell their offices before the market inevitably and irreversibly crashes. It's much more challenging for employees to unionize if they live all across the world.
Also, writing and acting should be "night jobs", almost hobbies really. People will write and act for free if given the opportunity. Creative jobs shouldn't have job security either. Soon white collar jobs won't either. Turns out we all should have went to trade school.
>how dare you pay for a product and want it to be good >eat our slop piggies and be happy we gave you do even consume mediocre dogshit
That's you. That's how dumb you sound with your wasted trips.
But if you know the product is going to be shit then why would you pay for it? Nobody's forcing you to buy or consume their slop yet you still feel entitled to having an opinion on it.
Anon, what the frick are you talking about? How is that argument?
"Oh but what if you knew something was bad before you bought it" arent you being entitled to have an opinion about it? I'd think it was bad and wouldn't buy it and wish it was good so I could justify buying it because I'd enjoy it with my limited ass time and money. Do you think people unironically wish everything is bad and dogshit just so they can complain about things online? Get off Cinemaphile moron, it is rotting your brain.
But if you know the product is going to be shit then why would you pay for it? Nobody's forcing you to buy or consume their slop yet you still feel entitled to having an opinion on it.
Also adding onto this with the advent of shit like streaming I could buy a subscription to say Netflix, Hulu, or HBOMax or some shit. Then I could notice a show beyond the shit I liked to watch and give it a whirl because why not and still think it was bad and a waste of time. Like I shouldn't have to research properties to determine a qualitative measure of enjoyment. I should be able to just pick up something and decide if I enjoy it or drop it and tell people my feelings about it. That's not entitlement that's just basic media literacy is examining your feelings to something.
>No you see your wrong for wanting to like something
The point of it isn't to ask creatives to deliver exactly what I want but to connect with their art on a level be it base surface level enjoyment or something more deeper and meaningful. If people can't manage either than the work has failed to resonate. Calling people consumers speaks to a basic arrogance that you believe people cannot connect with art even if they don't understand it.
Wanting to enjoy things isn't an example of a (pejorative) consumer mindset. It is measuring quality by how closely a product conforms to your identity, and creative skill by how invisible others can make themselves to validate your role as the center and goal of the assembly line you demand the whole process to amount to. It's about egos that can only survive in a solipsistic vacuum, but are ironically trapped by their own demands in the role of a tiny atom in an exploitable demography, so the only conceivable compromise is to deny the validity of any other to salvage a measure of self-worth.
The functional difference between "bad" and "I don't like it" is rapidly vanishing from our collective critical toolset, because as a business entertainment hinges increasingly on nurturing that inability; there's no easily exploitable value in teaching your audience to open their minds to new ideas, and much to gain from contentifying a variety of neatly encapsulated and targeted packages of them. And as a result, conditioned consumers that see their commercial desirability run its course find themselves with no products aimed explicitly at them AND with no emotional or intellectual tools to enjoy anything but exactly that.
It's them who want the system to burn; they're just lying themselves as to why.
10 months ago
Anonymous
This homie worked on Velma.
10 months ago
Anonymous
Desu, do you mean that in the sense of being unable to see yourself in the product like WOW THIS IS LITERALLY ME (RYAN GOSLING) or like REPRESENTATION (BRAND SAYS GAY/TRANS/BLACK/ASIAN/WOMEN GOOD) Because I'm more referring to emotional resonance, a sort of spiritual and cosmic feel. Like I'm not an obese homosexual who's lover killed himself due to Christianity but I still like the Whale because it resonated with me. I'm not a black man or a white woman but I get the message of Candyman. A lot of projects however feel spiritually dead and have no true strong core/theme that conflicts or outright does not exist nor any surface appeal come off as projects that only exist only as a compromise for a creative who desires to make something else entirely but instead creates something they despise and despise their audience as well. I seek more feelings carried months, years, decades after shooting given to me by people who wanted their stories and characters to affect their viewers rather than somebody just going through the motions
10 months ago
Anonymous
>It is measuring quality by how closely a product conforms to your identity
So wanting a show with girls who have big boobs is now an identity.
>how invisible others can make themselves to validate your role as the center and goal of the assembly line you demand the whole process to amount to.
You've got it backward. Successful shows contain things the target demographic wants.
>It's about egos that can only survive in a solipsistic vacuum
The writers?
>are ironically trapped by their own demands in the role of a tiny atom in an exploitable demography
So the target audience.
>so the only conceivable compromise is to deny the validity of any other to salvage a measure of self-worth.
How is not giving the target audience what they want going to make this show better?
>The functional difference between "bad" and "I don't like it" is rapidly vanishing from our collective critical toolset
Because so many shows market themselves as for everyone, rather than a specific audience.
>there's no easily exploitable value in teaching your audience to open their minds to new ideas
There never was.
>much to gain from contentifying
Contentifying isn't a real word.
>a variety of neatly encapsulated and targeted packages of them.
The problem is that what the writers are making isn't what the audience wants.
>conditioned consumers that see their commercial desirability run its course
As long as they have money to spend this won't happen.
>find themselves with no products aimed explicitly at them AND with no emotional or intellectual tools to enjoy anything
Which is caused by the writer failing to produce content for the majority and instead only making things for themselves.
>It's them who want the system to burn; they're just lying themselves as to why.
Because the system isn't making anything people want to watch, hence the bad ratings.
10 months ago
Anonymous
Wow
This homie worked on Velma.
Velma is a perfect example of contentification of values. What's missing from this rant
Wanting to enjoy things isn't an example of a (pejorative) consumer mindset. It is measuring quality by how closely a product conforms to your identity, and creative skill by how invisible others can make themselves to validate your role as the center and goal of the assembly line you demand the whole process to amount to. It's about egos that can only survive in a solipsistic vacuum, but are ironically trapped by their own demands in the role of a tiny atom in an exploitable demography, so the only conceivable compromise is to deny the validity of any other to salvage a measure of self-worth.
The functional difference between "bad" and "I don't like it" is rapidly vanishing from our collective critical toolset, because as a business entertainment hinges increasingly on nurturing that inability; there's no easily exploitable value in teaching your audience to open their minds to new ideas, and much to gain from contentifying a variety of neatly encapsulated and targeted packages of them. And as a result, conditioned consumers that see their commercial desirability run its course find themselves with no products aimed explicitly at them AND with no emotional or intellectual tools to enjoy anything but exactly that.
It's them who want the system to burn; they're just lying themselves as to why.
is the fact that over-the-hill demographics aren't simply forgotten. They are a key, ready-made element to exploit the core human trait of asserting your identity by what you are NOT as much as by what you are: perfect butts of the joke to pander to rising demographics that will define themselves in contrast to them, and reliably conditioned to remaining very much visible and vocal thus validating the whole dynamic.
It's a hilariously cynical but absolutely airtight upcycling system.
10 months ago
Anonymous
Wanting to enjoy things isn't an example of a (pejorative) consumer mindset. It is measuring quality by how closely a product conforms to your identity, and creative skill by how invisible others can make themselves to validate your role as the center and goal of the assembly line you demand the whole process to amount to. It's about egos that can only survive in a solipsistic vacuum, but are ironically trapped by their own demands in the role of a tiny atom in an exploitable demography, so the only conceivable compromise is to deny the validity of any other to salvage a measure of self-worth.
The functional difference between "bad" and "I don't like it" is rapidly vanishing from our collective critical toolset, because as a business entertainment hinges increasingly on nurturing that inability; there's no easily exploitable value in teaching your audience to open their minds to new ideas, and much to gain from contentifying a variety of neatly encapsulated and targeted packages of them. And as a result, conditioned consumers that see their commercial desirability run its course find themselves with no products aimed explicitly at them AND with no emotional or intellectual tools to enjoy anything but exactly that.
It's them who want the system to burn; they're just lying themselves as to why.
The system is still 100 percent dependent on people willing to open their wallets and buy your shit though.
>I have an idea where Ahsohka goes to a weird place to do a cool thing with some diverse people to fight a white bad guy. Write it out while I go on a PR tour, wagie.
How could Chat GPT have gotten advanced enough to threaten this job?
It didn’t. ChatGPT can create inoffensive soulless writing. The problem is that most writers’ stuff isn’t much better despite demanding more money.
Ask ChatGPT to create you a “diverse reboot” of an old property, and you’ll see that these hacks aren’t much better than robots. Their writing is already soulless and algorithmic.
10 months ago
Anonymous
The largest market for AI content is those brainless children’s shows on YouTube. They’re probably AI generated already. AI could create entire episodes automatically like Nothing Forever, content released as fast as it can be uploaded to YouTube. It doesn’t matter if the content makes no sense because it’ll only be toddlers watching it. Kinda scary to think how a generation raised on robo generated nonsense TV will end up.
10 months ago
Anonymous
There’s a theory that half of all content on YouTube is AI generated, and the other half is at least algorithmic. Look at shit like MrBeast — it’s mathematically fine-tuned to perfection in terms of audience engagement.
10 months ago
Anonymous
There’s still obviously a human in the loop for this though. With fullly automated generation you could create and distribute and insane amount of content ridiculously fast.
10 months ago
Anonymous
The largest market for AI content is those brainless children’s shows on YouTube. They’re probably AI generated already. AI could create entire episodes automatically like Nothing Forever, content released as fast as it can be uploaded to YouTube. It doesn’t matter if the content makes no sense because it’ll only be toddlers watching it. Kinda scary to think how a generation raised on robo generated nonsense TV will end up.
Nothing in his post implies that he watches current television programs. You're simply inferring it. When I say modern AAA games suck because of the writing, the false virtue signaling, along with the numerous bugs and glitches, t hat doesn't mean I regularly buy AAA games. That just means I did my research and can notice trends.
Is it wrong of me to take advantage of the strike to make it into the industry?
Honestly such a weird feeling, such a weird time to be an aspiring writer and creator.
I just don't know what path to take.
Go indie, you'd get more eyes on your project as it would have more soul
[...]
This. There's no benefit in being a scab.
I'll give it a shot.
Although i am writing a cartoon i feel like working on a webcomics is a good start though i feel like this is going to last for years so i have enough time.
if you're in it for animation it honestly doesn't matter you will still play the same game all animators have played before. I dont recall which creator stated it but the animation section supports the writer strike every time but they have never seen support from the wga. so unless you mean you want to be a screenwriter then the path of either making an indie short or webcomic will be the path you're gonna take.
Indie's are trash. And when the best looking indie is furry trash like Lackadaisy or loser clang Murder Drones? You have shit. We are in the Dark Era of entertainment. Do enjoy the misery. You stupid c**ts from the USA deserve it.
I sincerely hope the israelites find a way to make crowdfunding means to media and such illegal. Either that or get their hooks in to somehow profit themselves earning a percent.
Crowdfunding is already pozzed through the fact that crowdfunding sites (most notably Go Fund Me but others as well) will kill your crowdfunding campaigns if they don't like your politics or product or just don't like you or because you (and I shit you not) trying to raise money for legal defense after you defended yourself from leftist violence (because frick you for not being murdered by black lives matters or antifas because they are allowed to rape, murder, commit arson, commit terror attacks). And frick, if not for massive backlash, the trucker protest money that they raised, wasn't even going to be refunded to the people who donated but sent straight into the pocket of Justin Trudeau's pet anti-life causes.
Is it wrong of me to take advantage of the strike to make it into the industry?
Honestly such a weird feeling, such a weird time to be an aspiring writer and creator.
I just don't know what path to take.
Only way to do so is to make independently owned and produced and distributed content. The WGA and SAG have openly that ANYONE who tries scab will be blackballed from ever working after the strike ends and banned from ever getting WGA or SAG membership. So hope you have cash for it because scabbing will just get you legally banned from the entertainment industry if WGA and SAG have their way.
Because it isn't about rights it's about job security and most of them aren't rich. You're outlining how execs and CEOs want to keep people poor and living paycheck to paycheck so everyone is desperate enough to settle for shitty wages and benefits with the added bonus of never getting a saving together in case of a strike. For the richest it's likely not going to effect what they get paid, it will threaten their job security as a studio using their likeness or if an AI is trained with their writing, they will get less work.
The major studios aren't going to die, at least not from this. There's actually a trump card they could play, a nuclear option that is exceedingly simple - rip up the WGA and SAG contracts all at once and say "we're done with you, we're going union-less." This is unlikely, but should this become an existential crisis for studios, then nothing is off the table.
SAG and WAG are guilds. Writers and actors are not employees, they are contractors. Most laws protecting employees rights to unionize simply do not apply. All studios have to do is turn to the writers and actors in the rest of the country and say "you guys want to be stars? You want to write the next big sitcom? We're now open to hiring anyone."
When push comes to shove, the other technical unions in Hollywood will not go down with the WGA ship. They're the ones hurt most by these strikes, in fact.
>"you guys want to be stars?
KEK
no one gives a frick about Hollywood. kids today are on ticktok and have more influence than fricking Steven cobert.
they fricked up.
the industry is fricked and people are abandoning ship. when israelites lose money its the most hurtful thing that can happen to them. who could have seen this coming
>jews
This is the white American system of CEOs and shareholders though. Being pro-union is the best way for workers. The system, as it stands, isn't structured to improve things for workers and consumers, the quality of the product and the fairness of the wage and benefits go against the profits shareholder want to extract away from the company.
>kids today are on ticktok and have more influence than fricking Steven cobert.
Sure, they absolutely know this, and that's why they're all in on AI, and they're not going to budge on that issue. They're all transitioning to, or being absorbed by big tech. >when israelites lose money its the most hurtful thing that can happen to them
Most of the investor class aren't losing their shirts over this, they're just going to invest their money elsewhere. The only people getting screwed are the one who are left holding the hot potato last.
>no one gives a frick about Hollywood. kids today are on ticktok >when israelites lose money
So what you're saying is that the likes of TikTok and Google/Youtube are the big winners in all of this. Who do you think owns those companies?
2/3rds of Tiktok is owned by investment firms like Fidelity and Carlyle, which are themselves publicly traded. They're all owned by investors, just with extra steps, and those investors also own old Hollywood like Disney and WBD.
They are in a no-lose position.
That's like saying the American government controls Hollywood. It does and you can make the case that China's control is more severe. The question of their control was "if the government asks inspect your servers will you let them" and the answer is yes, same as what happens with the US government.
They should just grab hobos off the street (plenty of them in Commiefornia) and get them to write shit for food and shelter, it's not like they could do a worse job.
tbh Hollywood should just die. i would be fine if we got a random good independent animated movie every 2 to 3 years and animation became primarily a hobby
Enough b***hing about joos and politics and money and AI shit. We all know that shit already its all been said a million times. Real question time: are there any independent creators that are ACTUALLY good? because it seems to me if we all hate the joos so much we should support independent creators more. I LOVED edgy shit like pony.mov as a kid. wish we could have more quality independent content.
Perhaps there should be a different thread? Just this past month I've seen at least a half dozen things I liked. Captain Yajima. That irish weeaboo cartoon. The springtrap thing. Ect, ect.
Odds on one of the "unimportant" members stepping down for some fake sympathy points? Like Iger and Zaslav will be unaffected at this point, but I could see someone else taking the blame for the bad PR so far and sway some bystanders to their side (in the "unions are annoying bc they make hard workers lose their jobs" crowd).
Still don't see how they turn this around unless they hope for everyone to forget the last few years of entertainment industry bs.
>Odds on one of the "unimportant" members stepping down for some fake sympathy points?
Zero, because public sentiment is not on the side of the creatives this time around. Many are apathetic, some are outright hostile, and the vast majority have no skin in the game because we get our entertainment from elsewhere.
The only exec who would be fired is the one who acquiesces to "no AI" demands, because they would have just effectively killed their company.
>Aren't execs more hated?
Probably yes, if the average person can even name them, but their jobs are less dependent on public opinion about them. People hate execs whether Hollywood is doing well or poorly.
MBA-brain over here. You're saying that saying no to Ai would kill the company and not, say, the ever-worsening relationship between AI and government regulations, the irreparable relationships between creatives and executives when AI are used, and the lack of tangible audience appeal when it comes to AI products. You've got the Secret Wars credits, that one anime music video, and a hundred bargain bin books on your side, and nothing else. Except coomers who spam threads with their trash, perhaps.
[...]
I would agree. The optics on this have been terrible for the execs, ever since Iger opened his mouth. That said, I haven't seen a poll or anything that qualifies stance in the public eye. I'll try to bring it up at the next family reunion and see what boomers and regular people think, lol.
>You're saying that saying no to Ai would kill the company
Yes.
It's not because your criticism about AI aren't valid. They are. But Hollywood as an industry is under water right now, and the only thing keeping them afloat are investors who keep their stock prices up. What kind of investor is used to businesses that don't pay dividends for years on end, satisfied only with keeping the perceived value up? Tech investors.
That's the immediate problem that dwarfs other concerns. Can't keep your prices up so that you can secure loans and keep the business operating? You're fricking done.
MBA-brain over here. You're saying that saying no to Ai would kill the company and not, say, the ever-worsening relationship between AI and government regulations, the irreparable relationships between creatives and executives when AI are used, and the lack of tangible audience appeal when it comes to AI products. You've got the Secret Wars credits, that one anime music video, and a hundred bargain bin books on your side, and nothing else. Except coomers who spam threads with their trash, perhaps.
Aren't execs more hated? They're the ones pulls shows even after they're done and giving themselves massive payouts.
I would agree. The optics on this have been terrible for the execs, ever since Iger opened his mouth. That said, I haven't seen a poll or anything that qualifies stance in the public eye. I'll try to bring it up at the next family reunion and see what boomers and regular people think, lol.
You're letting in that "killing a company" isn't about a company being able to keep the lights on and pay everyone, it's about increase the value of the stock and securing CEO payouts. That's why people strike; to hurt them worse through striking than they would be through operating in such a way that they'll have to pay workers instead of a few AI jockeys.
>isn't about a company being able to keep the lights on and pay everyone
But it is. If the company were profitable, they wouldn't be as heavily reliant on outside investment or specific types of investors, and they wouldn't be under pressure from investors to make these kinds of decisions. >operating in such a way that they'll have to pay workers instead of a few AI jockeys.
What are they using to pay workers if they're not making a profit? What if all the investors go away?
Again, setting aside personal feelings about AI, studios are *under water* right now. They need to keep prices up, or at least stop their slide, in order to have enough market cap to borrow money at good terms and keep operating. Hyping up AI to investors right now is like jangling keys in front of babies. Take that away, babies lose interest, they put their money elsewhere.
Investors don't skim off you keeping the lights on, they skim off how little you pay your workers, the corners you cut, the benefits you take out, the quality the consumer gets. CEOs get payouts not because lights are kept on but because more wealth has been extracted. It doesn't stay in the company to make it better or reward workers, it leaves.
You can be profitable and still bad for investors.
Star Wars 1 gets $2 billion dollars profit, cool. Everyone is paid, everything is paid off.
Star Wars 2 gets $4 billion even better.
Star Wars 3 gets $3 billion and you need to fricking have a nice day because even though you were in the black with just $2 billion, the stocks are going to decrease in value and the shareholders that jumped in with SW2 are all on suicide watch because they lost money. So you start giving your workers worse deals because even though they did better than SW1, they need to lose for you to get your payout and save the exponential growth of the share.
>Investors don't skim off you keeping the lights on, they skim off how little you pay your workers, the corners you cut, the benefits you take out, the quality the consumer gets
Most investors do not have a say in the day to day running of a business. They don't want to, that's why they are investors.
Most investors in the US are not rich. They don't even know what they're invested in. They are invested in companies through retirement funds. They earn 4~5% a year in general. Hollywood has a 2% profit margin, because for every successful movie they make, they lose money on 10. If I loan you $100 and ask for $104 back after a year, is that unfair?
This absolutely *is* about keeping the lights on, or more accurately, the inability of Hollywood to do so. Hollywood got greedy, asset management firms got greedy, actual investors are footing the bill.
10 months ago
Anonymous
>They are invested in companies through retirement funds
Reagan's presidency and its consequences have been a disaster for the human race
10 months ago
Anonymous
It's not a problem. People are still earning 4~5% every year, because the money is in various index funds that are spread out across a bunch of companies.
This problem is specifically about Hollywood/the entertainment sector. It's not making money, so it has to attract investments by pretending to be like tech. That is all. This is not complex.
10 months ago
Anonymous
>Every presidency since Woodrow Wilson has been a disaster for the human race
Fify
I don't get why America's entire entertainment industry seems to be based in one location, with a union that exclusively controls a large vital aspect of workforce in order for all of this to function. This just proves Hollywood dying out is good thing because at least companies can hire non-union workers or foreigners to do the job.
>I don't get why America's entire entertainment industry seems to be based in one location
Infrastructure, both physical infrastructure and services available. This is like why logging and mining industries are located in specific areas, or why Silicon Valley exists. Businesses need to be where the resources are, and the primary resource for entertainment is the people. >with a union that exclusively controls a large vital aspect of workforce in order for all of this to function
In theory, the guilds provide two services to companies.
First, guilds guarantee their members meet certain minimum requirements, in the same way that people who want to work in software need to pass certification tests. I do want to stress that this is "in theory."
Second, I believe the guilds are in charge of collection and distributing royalties. This would be a great deal of work for studios if they had to do that themselves.
>This just proves Hollywood dying out is good thing because at least companies can hire non-union workers or foreigners to do the job.
Why is that good?
Because then there won't be a tiny minority of urbanites in their cultural, partisan fishbowl dictating what's proper and what not to the entirety of the Western World. The day California sinks into the Pacific, is the day America's propaganda machine dies and the world is free again.
>OMG Hollywood is having financial trouble AND a strike?!? >this will totally lead to a new age of independent studio production instead of hollywood restricting budgets and only splurging on safe productions
But no lets all have a twitter gossip thread so shitposters can pretend theyre a part of something heckin’ epic like gamergate.
New Hollywood is just going to be Old Hollywood with a couple names shuffled around. I don’t need to look at your shitty internet fanfiction to recognize this, Mr. 23 year old “boomer”.
>instead of hollywood restricting budgets and only splurging on safe productions
That's what already happened you fricking genius. Why do you think every major production is already by the books committee designed inoffensive derivative crap.
>hollywood falling apart >indies not doing well >Cinemaphile would much rather talk about fricking skibidi toilet >companies are just giving money to japanese studios instead
hahaha this sucks
J.J. Abrams, Kevin Smith, Seth Rogan, etc. aren’t going to end up on the street, nor will the executives who set demand the designed-by-committee blandness. It’s the people who write for regular TV (sitcoms and the like) but get paid a pittance who will lose their house/apartment.
Because the true architects of the shit people hate aren't going to lose any influence. They'll survive this just like they survived cable television and Netflix. Meaning the image is fake and gay.
>Because the true architects of the shit people hate aren't going to lose any influence.
I'm fine with that so long as the people who did their bidding get to suffer.
>It’s the people who write for regular TV (sitcoms and the like) but get paid a pittance who will lose their house/apartment.
Television has always been the ghetto of the entertainment media circus/hollywood.
>It’s the people who write for regular TV (sitcoms and the like)
I mean, those are also shit nowadays, so I don't see the issue here.
again, tv has been fricking trash forever.
Genuinely the only older television show I can stomach is MASH. Maybe Andy Griffith if I’m feeling particular.
Onto of the aforementioned union mafia agreement, anyone with talent who isn't already in the union and didn't drink the kool-aid likely fricking hates Hollywood and wants nothing to do with it.
>Every presidency since Woodrow Wilson has been a disaster for the human race
Fify
>The United States of America except for President Jackson has been a disaster for the human race
ftfy
Won't someone please think about all the reboots and adaptations?
But anon... how will the ADHD zoom zooms do without their le hebin modernized 90s culture.
Rich israelites losing money... you LOVE to see it
>everyone is losing money
A win-win for the consumer.
Who's Meredith Gray or Logan Roy? What's Abbot Elementary?
it's from a tv show
they're saying that since the writers went on strike the people they replaced them with completely ruined the show
I wish they would've picked shows I actually liked
>The same hacks that have been writing garbage are either getting struck out of house and home, or getting flack for not doing enough
>The same suits that have been enabling said garbage are getting bad press
Yeah is right, I see this as a win-win. The industry deserves to burn. There hasn't been a cartoon or comic worth viewing for too long.
Those Rich israelites that are losing money? They are losing studio and company money NOT their personal reserves of money. And even if they were losing some of that they know even MORE powerful israelites who own the United States to keep them afloat. israelites are a close knit elite tribe. They are small, but command all the cash in the USA to ruin your life. They will never lose.
And before you say that what happens when the USA dies, when the USA collapses the israelites will find a new host they can parasite off of. Most likely Asia.
>They are losing studio and company money
All studio and company money is israeli money.
>no you see israelites have infinite money and they'll use it to produce unpolished television shows optimized for smartphones instead of putting it towards political racketeering, warmongering, agriculture, or natural resources like they did for several hundred years
Chinese investors aren't coming to save HBO or Paramount, goytroon.
>US collapses
>Europeans remember they hate each other for 1,500-year-old bullshit and start fighting again.
>Asia turns Africa into a food source.
You love to see it.
remember they hate each other for 1,500-year-old bullshit and start fighting again
Please god, yes! I want to fight the Swedes so fricking badly!!
>fighting he Swedes
These days, that's practically a crusade.
The swedes you will be fighting will be dark-skinned, will refuse to eat pork and will pray to Allah, of course.
You forgot
>Asians remember they hate each other for 80 year old bullshit and start fighting again
Wait this is real? what is the plan of israelites with all of this?
>Most likely Asia.
They're in for a rude awakening if they try.
That's an equally unconstructive extreme. A studio system is useful as a framework for financing and logistics that can result in complexity and scope simply not viable in an independent production. The problem isn't the system, it's the mindsets in charge of it.
A less radicalized position amounts to acknowledging how, when the bottom line is that you can't make the same profit margins you are accustomed to from better times of global economy and completely different control and distribution models, the conclusion should be scaling back on those expectations rather than try to maintain them by gutting EVERYONE AND EVERYTHING ELSE.
> The problem isn't the system, it's the mindsets in charge of it
Good sound byte, but your whole post is based.
The minds in charge of it won't change unless completely financially shocked.
>A less radicalized position amounts to
They're making shit I don't like and insulting me about it. I'm giving money to people who ARE making shit I like, and at the movment that's indies and Japan.
>When two parties are at war and you want neither one to win
You either have talentless writers shoving their own personal politics and grievances into their work and forcing people to watch their vanity projects, or a small pool of actually skilled invested writers trying their best to make a good product being out-maneuvered by money hungry studio execs interferance ripping everything to shreds for the sake of external influences and fad chancing politics.
Let them eat each other alive, nothing of value is being lost.
If the WGA gets their way, it will spell disaster for western animation. Only the most influential guild members will be able to get their projects greenlit.
On the other hand, if studios win, we’re going to see even more mass-produced slop.
Which way, white man?
Studio execs being tight-fisted bastards is the reason everything in your pic looks like shit. Frick corporate.
>Unions bad
A corporate shill got paid to tell you this, and you believed them you fricking mongoloid.
Greenlighting their projects isn't a demand though. What's the source on this? What makes you think the most influential guild members make those shows?
I’ve read the demands and make no mistake, it’ll result in less shows being greenlit. It’s about money.
And those who will have their projects greenlit will be the ones with most power and influence.
Why would that be the case? Are they asking for exec positions?
He’s just spewing that on repeat because he’s a fricking shill. A toadie. A bootlicking wienersucking fricking piece of shit.
They’re asking for more money. More money per projects = less projects. Simple math. Especially now that those streaming services are losing record amounts of money.
The streaming bubble is bursting. Indie will be the only way going forward.
The increased pay is a drop in an ocean compared to how much money the companies actually make.
It might look like that on the surface, but studios are losing insane amounts of money. Every drop counts to them.
You're talking about payouts to investors and CEOs, the thing that already had the company bleeding shows and killing them after they were made. Investors/CEOs/parasites/"jews" making less every year so workers can afford a place to stay is more than just a Californian homosexual writer problem.
If these businesses actually cared about money and not looking impressive to the rest of the business world, they would have all white-collar work be done remotely and sell their offices before the market inevitably and irreversibly crashes. It's much more challenging for employees to unionize if they live all across the world.
Also, writing and acting should be "night jobs", almost hobbies really. People will write and act for free if given the opportunity. Creative jobs shouldn't have job security either. Soon white collar jobs won't either. Turns out we all should have went to trade school.
moron take
If you care about entertainment, side with the strikers
I'm not white, but that's an interesting direction.
Which group is currently offering me shit that's more to my liking? Neither one is making a compelling case right now.
>that picture
that's just Family Guy with different colors
Peak entitled consumerism
>how dare you pay for a product and want it to be good
>eat our slop piggies and be happy we gave you do even consume mediocre dogshit
That's you. That's how dumb you sound with your wasted trips.
But if you know the product is going to be shit then why would you pay for it? Nobody's forcing you to buy or consume their slop yet you still feel entitled to having an opinion on it.
Anon, what the frick are you talking about? How is that argument?
"Oh but what if you knew something was bad before you bought it" arent you being entitled to have an opinion about it? I'd think it was bad and wouldn't buy it and wish it was good so I could justify buying it because I'd enjoy it with my limited ass time and money. Do you think people unironically wish everything is bad and dogshit just so they can complain about things online? Get off Cinemaphile moron, it is rotting your brain.
Also adding onto this with the advent of shit like streaming I could buy a subscription to say Netflix, Hulu, or HBOMax or some shit. Then I could notice a show beyond the shit I liked to watch and give it a whirl because why not and still think it was bad and a waste of time. Like I shouldn't have to research properties to determine a qualitative measure of enjoyment. I should be able to just pick up something and decide if I enjoy it or drop it and tell people my feelings about it. That's not entitlement that's just basic media literacy is examining your feelings to something.
>Duuuurr who cares if all of media is shit, all you need to do is watch one series from the 70s until you die
>Durrr derpa durrr hurr hurr huuurr
Oh you tiny 'soomies. "The consumer is always right" is the most hilariously misinterpreted barefaced insult in the history of language.
>No you see your wrong for wanting to like something
The point of it isn't to ask creatives to deliver exactly what I want but to connect with their art on a level be it base surface level enjoyment or something more deeper and meaningful. If people can't manage either than the work has failed to resonate. Calling people consumers speaks to a basic arrogance that you believe people cannot connect with art even if they don't understand it.
Wanting to enjoy things isn't an example of a (pejorative) consumer mindset. It is measuring quality by how closely a product conforms to your identity, and creative skill by how invisible others can make themselves to validate your role as the center and goal of the assembly line you demand the whole process to amount to. It's about egos that can only survive in a solipsistic vacuum, but are ironically trapped by their own demands in the role of a tiny atom in an exploitable demography, so the only conceivable compromise is to deny the validity of any other to salvage a measure of self-worth.
The functional difference between "bad" and "I don't like it" is rapidly vanishing from our collective critical toolset, because as a business entertainment hinges increasingly on nurturing that inability; there's no easily exploitable value in teaching your audience to open their minds to new ideas, and much to gain from contentifying a variety of neatly encapsulated and targeted packages of them. And as a result, conditioned consumers that see their commercial desirability run its course find themselves with no products aimed explicitly at them AND with no emotional or intellectual tools to enjoy anything but exactly that.
It's them who want the system to burn; they're just lying themselves as to why.
This homie worked on Velma.
Desu, do you mean that in the sense of being unable to see yourself in the product like WOW THIS IS LITERALLY ME (RYAN GOSLING) or like REPRESENTATION (BRAND SAYS GAY/TRANS/BLACK/ASIAN/WOMEN GOOD) Because I'm more referring to emotional resonance, a sort of spiritual and cosmic feel. Like I'm not an obese homosexual who's lover killed himself due to Christianity but I still like the Whale because it resonated with me. I'm not a black man or a white woman but I get the message of Candyman. A lot of projects however feel spiritually dead and have no true strong core/theme that conflicts or outright does not exist nor any surface appeal come off as projects that only exist only as a compromise for a creative who desires to make something else entirely but instead creates something they despise and despise their audience as well. I seek more feelings carried months, years, decades after shooting given to me by people who wanted their stories and characters to affect their viewers rather than somebody just going through the motions
>It is measuring quality by how closely a product conforms to your identity
So wanting a show with girls who have big boobs is now an identity.
>how invisible others can make themselves to validate your role as the center and goal of the assembly line you demand the whole process to amount to.
You've got it backward. Successful shows contain things the target demographic wants.
>It's about egos that can only survive in a solipsistic vacuum
The writers?
>are ironically trapped by their own demands in the role of a tiny atom in an exploitable demography
So the target audience.
>so the only conceivable compromise is to deny the validity of any other to salvage a measure of self-worth.
How is not giving the target audience what they want going to make this show better?
>The functional difference between "bad" and "I don't like it" is rapidly vanishing from our collective critical toolset
Because so many shows market themselves as for everyone, rather than a specific audience.
>there's no easily exploitable value in teaching your audience to open their minds to new ideas
There never was.
>much to gain from contentifying
Contentifying isn't a real word.
>a variety of neatly encapsulated and targeted packages of them.
The problem is that what the writers are making isn't what the audience wants.
>conditioned consumers that see their commercial desirability run its course
As long as they have money to spend this won't happen.
>find themselves with no products aimed explicitly at them AND with no emotional or intellectual tools to enjoy anything
Which is caused by the writer failing to produce content for the majority and instead only making things for themselves.
>It's them who want the system to burn; they're just lying themselves as to why.
Because the system isn't making anything people want to watch, hence the bad ratings.
Wow
Velma is a perfect example of contentification of values. What's missing from this rant
is the fact that over-the-hill demographics aren't simply forgotten. They are a key, ready-made element to exploit the core human trait of asserting your identity by what you are NOT as much as by what you are: perfect butts of the joke to pander to rising demographics that will define themselves in contrast to them, and reliably conditioned to remaining very much visible and vocal thus validating the whole dynamic.
It's a hilariously cynical but absolutely airtight upcycling system.
The system is still 100 percent dependent on people willing to open their wallets and buy your shit though.
You’re court jesters of our society, so fricking entertain us or get out. I don’t care about your childhood trauma.
>automation but for people who thought they were safe from automation
>I have an idea where Ahsohka goes to a weird place to do a cool thing with some diverse people to fight a white bad guy. Write it out while I go on a PR tour, wagie.
How could Chat GPT have gotten advanced enough to threaten this job?
It didn’t. ChatGPT can create inoffensive soulless writing. The problem is that most writers’ stuff isn’t much better despite demanding more money.
Ask ChatGPT to create you a “diverse reboot” of an old property, and you’ll see that these hacks aren’t much better than robots. Their writing is already soulless and algorithmic.
The largest market for AI content is those brainless children’s shows on YouTube. They’re probably AI generated already. AI could create entire episodes automatically like Nothing Forever, content released as fast as it can be uploaded to YouTube. It doesn’t matter if the content makes no sense because it’ll only be toddlers watching it. Kinda scary to think how a generation raised on robo generated nonsense TV will end up.
There’s a theory that half of all content on YouTube is AI generated, and the other half is at least algorithmic. Look at shit like MrBeast — it’s mathematically fine-tuned to perfection in terms of audience engagement.
There’s still obviously a human in the loop for this though. With fullly automated generation you could create and distribute and insane amount of content ridiculously fast.
...and the audience is AI generated too.
Wanting the slop purveyors to burn to the ground is consumerism? Most moronic trips ever.
You’ll never make money as a writer. Especially going forward. I sleep well knowing that.
Waste of trips. Doesn't even shitpost with Cinemaphile related images.
No one is forcing you to watch anything. If you can’t just refrain from watching tv even if you don’t want to, that’s your fricking problem
Nothing in his post implies that he watches current television programs. You're simply inferring it. When I say modern AAA games suck because of the writing, the false virtue signaling, along with the numerous bugs and glitches, t hat doesn't mean I regularly buy AAA games. That just means I did my research and can notice trends.
Is it wrong of me to take advantage of the strike to make it into the industry?
Honestly such a weird feeling, such a weird time to be an aspiring writer and creator.
I just don't know what path to take.
Fricking do it. But do so through independent venues.
This. There's no benefit in being a scab.
Seething homosexual WGA members should kill themselves.
t. Scab
I'll give it a shot.
Although i am writing a cartoon i feel like working on a webcomics is a good start though i feel like this is going to last for years so i have enough time.
Go indie, you'd get more eyes on your project as it would have more soul
if you're in it for animation it honestly doesn't matter you will still play the same game all animators have played before. I dont recall which creator stated it but the animation section supports the writer strike every time but they have never seen support from the wga. so unless you mean you want to be a screenwriter then the path of either making an indie short or webcomic will be the path you're gonna take.
The fundamentals don't change. Make friends. Make cool shit. Unless you have cool shit to look at, nobody gives a frick anyways.
Very simple. Do your scab work under a pseudonym, and register a DBA in your state so you can open bank accounts and receive payments in that name.
How can I be one as a guy from overseas?
Indie's are trash. And when the best looking indie is furry trash like Lackadaisy or loser clang Murder Drones? You have shit. We are in the Dark Era of entertainment. Do enjoy the misery. You stupid c**ts from the USA deserve it.
I sincerely hope the israelites find a way to make crowdfunding means to media and such illegal. Either that or get their hooks in to somehow profit themselves earning a percent.
They already have the latter, but why anon?
Crowdfunding is already pozzed through the fact that crowdfunding sites (most notably Go Fund Me but others as well) will kill your crowdfunding campaigns if they don't like your politics or product or just don't like you or because you (and I shit you not) trying to raise money for legal defense after you defended yourself from leftist violence (because frick you for not being murdered by black lives matters or antifas because they are allowed to rape, murder, commit arson, commit terror attacks). And frick, if not for massive backlash, the trucker protest money that they raised, wasn't even going to be refunded to the people who donated but sent straight into the pocket of Justin Trudeau's pet anti-life causes.
Only way to do so is to make independently owned and produced and distributed content. The WGA and SAG have openly that ANYONE who tries scab will be blackballed from ever working after the strike ends and banned from ever getting WGA or SAG membership. So hope you have cash for it because scabbing will just get you legally banned from the entertainment industry if WGA and SAG have their way.
why should I care about the "rights" of people so rich they can go on strike for months and still threaten for more?
Because it isn't about rights it's about job security and most of them aren't rich. You're outlining how execs and CEOs want to keep people poor and living paycheck to paycheck so everyone is desperate enough to settle for shitty wages and benefits with the added bonus of never getting a saving together in case of a strike. For the richest it's likely not going to effect what they get paid, it will threaten their job security as a studio using their likeness or if an AI is trained with their writing, they will get less work.
>Because it isn't about rights it's about job security and most of them aren't rich.
I don't care.
I hope every hollywood writer starves to death.
You have to make above $57,000 to live comfortably in most rural states.
>15 years of BLM troony worship and this is what they have to show for it
Kek what a bunch of homosexuals
Needs a line where the Artjack brags about his disdain for capitalism/love of communism before screeching that his property was stolen.
It’s true. Western animation is at its best when it’s trying to ape anime.
I'm glad it's all collapsing, western media has kind of gone to complete shit in the last 5 years and Americans have lost their minds.
>So much for post-scarcity utopia
Ferengi won.
The major studios aren't going to die, at least not from this. There's actually a trump card they could play, a nuclear option that is exceedingly simple - rip up the WGA and SAG contracts all at once and say "we're done with you, we're going union-less." This is unlikely, but should this become an existential crisis for studios, then nothing is off the table.
SAG and WAG are guilds. Writers and actors are not employees, they are contractors. Most laws protecting employees rights to unionize simply do not apply. All studios have to do is turn to the writers and actors in the rest of the country and say "you guys want to be stars? You want to write the next big sitcom? We're now open to hiring anyone."
When push comes to shove, the other technical unions in Hollywood will not go down with the WGA ship. They're the ones hurt most by these strikes, in fact.
>"you guys want to be stars?
KEK
no one gives a frick about Hollywood. kids today are on ticktok and have more influence than fricking Steven cobert.
they fricked up.
the industry is fricked and people are abandoning ship. when israelites lose money its the most hurtful thing that can happen to them. who could have seen this coming
>jews
This is the white American system of CEOs and shareholders though. Being pro-union is the best way for workers. The system, as it stands, isn't structured to improve things for workers and consumers, the quality of the product and the fairness of the wage and benefits go against the profits shareholder want to extract away from the company.
>kids today are on ticktok and have more influence than fricking Steven cobert.
Sure, they absolutely know this, and that's why they're all in on AI, and they're not going to budge on that issue. They're all transitioning to, or being absorbed by big tech.
>when israelites lose money its the most hurtful thing that can happen to them
Most of the investor class aren't losing their shirts over this, they're just going to invest their money elsewhere. The only people getting screwed are the one who are left holding the hot potato last.
>no one gives a frick about Hollywood. kids today are on ticktok
>when israelites lose money
So what you're saying is that the likes of TikTok and Google/Youtube are the big winners in all of this. Who do you think owns those companies?
>TikTok
The Chinese government
2/3rds of Tiktok is owned by investment firms like Fidelity and Carlyle, which are themselves publicly traded. They're all owned by investors, just with extra steps, and those investors also own old Hollywood like Disney and WBD.
They are in a no-lose position.
That's like saying the American government controls Hollywood. It does and you can make the case that China's control is more severe. The question of their control was "if the government asks inspect your servers will you let them" and the answer is yes, same as what happens with the US government.
They should just grab hobos off the street (plenty of them in Commiefornia) and get them to write shit for food and shelter, it's not like they could do a worse job.
tbh Hollywood should just die. i would be fine if we got a random good independent animated movie every 2 to 3 years and animation became primarily a hobby
Enough b***hing about joos and politics and money and AI shit. We all know that shit already its all been said a million times. Real question time: are there any independent creators that are ACTUALLY good? because it seems to me if we all hate the joos so much we should support independent creators more. I LOVED edgy shit like pony.mov as a kid. wish we could have more quality independent content.
>Real question time: are there any independent creators that are ACTUALLY good?
only in games and to some degree, music
Perhaps there should be a different thread? Just this past month I've seen at least a half dozen things I liked. Captain Yajima. That irish weeaboo cartoon. The springtrap thing. Ect, ect.
Odds on one of the "unimportant" members stepping down for some fake sympathy points? Like Iger and Zaslav will be unaffected at this point, but I could see someone else taking the blame for the bad PR so far and sway some bystanders to their side (in the "unions are annoying bc they make hard workers lose their jobs" crowd).
Still don't see how they turn this around unless they hope for everyone to forget the last few years of entertainment industry bs.
>Odds on one of the "unimportant" members stepping down for some fake sympathy points?
Zero, because public sentiment is not on the side of the creatives this time around. Many are apathetic, some are outright hostile, and the vast majority have no skin in the game because we get our entertainment from elsewhere.
The only exec who would be fired is the one who acquiesces to "no AI" demands, because they would have just effectively killed their company.
Aren't execs more hated? They're the ones pulls shows even after they're done and giving themselves massive payouts.
>Aren't execs more hated?
Probably yes, if the average person can even name them, but their jobs are less dependent on public opinion about them. People hate execs whether Hollywood is doing well or poorly.
>You're saying that saying no to Ai would kill the company
Yes.
It's not because your criticism about AI aren't valid. They are. But Hollywood as an industry is under water right now, and the only thing keeping them afloat are investors who keep their stock prices up. What kind of investor is used to businesses that don't pay dividends for years on end, satisfied only with keeping the perceived value up? Tech investors.
That's the immediate problem that dwarfs other concerns. Can't keep your prices up so that you can secure loans and keep the business operating? You're fricking done.
They're not on Twitter therefore they don't exist. Ask a normie to name a single Fox executive when Firefly was screwed over.
MBA-brain over here. You're saying that saying no to Ai would kill the company and not, say, the ever-worsening relationship between AI and government regulations, the irreparable relationships between creatives and executives when AI are used, and the lack of tangible audience appeal when it comes to AI products. You've got the Secret Wars credits, that one anime music video, and a hundred bargain bin books on your side, and nothing else. Except coomers who spam threads with their trash, perhaps.
I would agree. The optics on this have been terrible for the execs, ever since Iger opened his mouth. That said, I haven't seen a poll or anything that qualifies stance in the public eye. I'll try to bring it up at the next family reunion and see what boomers and regular people think, lol.
You're letting in that "killing a company" isn't about a company being able to keep the lights on and pay everyone, it's about increase the value of the stock and securing CEO payouts. That's why people strike; to hurt them worse through striking than they would be through operating in such a way that they'll have to pay workers instead of a few AI jockeys.
>isn't about a company being able to keep the lights on and pay everyone
But it is. If the company were profitable, they wouldn't be as heavily reliant on outside investment or specific types of investors, and they wouldn't be under pressure from investors to make these kinds of decisions.
>operating in such a way that they'll have to pay workers instead of a few AI jockeys.
What are they using to pay workers if they're not making a profit? What if all the investors go away?
Again, setting aside personal feelings about AI, studios are *under water* right now. They need to keep prices up, or at least stop their slide, in order to have enough market cap to borrow money at good terms and keep operating. Hyping up AI to investors right now is like jangling keys in front of babies. Take that away, babies lose interest, they put their money elsewhere.
Investors don't skim off you keeping the lights on, they skim off how little you pay your workers, the corners you cut, the benefits you take out, the quality the consumer gets. CEOs get payouts not because lights are kept on but because more wealth has been extracted. It doesn't stay in the company to make it better or reward workers, it leaves.
You can be profitable and still bad for investors.
Star Wars 1 gets $2 billion dollars profit, cool. Everyone is paid, everything is paid off.
Star Wars 2 gets $4 billion even better.
Star Wars 3 gets $3 billion and you need to fricking have a nice day because even though you were in the black with just $2 billion, the stocks are going to decrease in value and the shareholders that jumped in with SW2 are all on suicide watch because they lost money. So you start giving your workers worse deals because even though they did better than SW1, they need to lose for you to get your payout and save the exponential growth of the share.
It's not about keeping lights on.
>Investors don't skim off you keeping the lights on, they skim off how little you pay your workers, the corners you cut, the benefits you take out, the quality the consumer gets
Most investors do not have a say in the day to day running of a business. They don't want to, that's why they are investors.
Most investors in the US are not rich. They don't even know what they're invested in. They are invested in companies through retirement funds. They earn 4~5% a year in general. Hollywood has a 2% profit margin, because for every successful movie they make, they lose money on 10. If I loan you $100 and ask for $104 back after a year, is that unfair?
This absolutely *is* about keeping the lights on, or more accurately, the inability of Hollywood to do so. Hollywood got greedy, asset management firms got greedy, actual investors are footing the bill.
>They are invested in companies through retirement funds
Reagan's presidency and its consequences have been a disaster for the human race
It's not a problem. People are still earning 4~5% every year, because the money is in various index funds that are spread out across a bunch of companies.
This problem is specifically about Hollywood/the entertainment sector. It's not making money, so it has to attract investments by pretending to be like tech. That is all. This is not complex.
>Every presidency since Woodrow Wilson has been a disaster for the human race
Fify
It would be if people actually promoted it instead of ragebaiting off hollywood
I don't get why America's entire entertainment industry seems to be based in one location, with a union that exclusively controls a large vital aspect of workforce in order for all of this to function. This just proves Hollywood dying out is good thing because at least companies can hire non-union workers or foreigners to do the job.
>I don't get why America's entire entertainment industry seems to be based in one location
Infrastructure, both physical infrastructure and services available. This is like why logging and mining industries are located in specific areas, or why Silicon Valley exists. Businesses need to be where the resources are, and the primary resource for entertainment is the people.
>with a union that exclusively controls a large vital aspect of workforce in order for all of this to function
In theory, the guilds provide two services to companies.
First, guilds guarantee their members meet certain minimum requirements, in the same way that people who want to work in software need to pass certification tests. I do want to stress that this is "in theory."
Second, I believe the guilds are in charge of collection and distributing royalties. This would be a great deal of work for studios if they had to do that themselves.
>This just proves Hollywood dying out is good thing because at least companies can hire non-union workers or foreigners to do the job.
Why is that good?
Because then there won't be a tiny minority of urbanites in their cultural, partisan fishbowl dictating what's proper and what not to the entirety of the Western World. The day California sinks into the Pacific, is the day America's propaganda machine dies and the world is free again.
The companies pushing what's good and proper will still be run by the same people, moron.
>OMG Hollywood is having financial trouble AND a strike?!?
>this will totally lead to a new age of independent studio production instead of hollywood restricting budgets and only splurging on safe productions
But no lets all have a twitter gossip thread so shitposters can pretend theyre a part of something heckin’ epic like gamergate.
New Hollywood. Look it up, zoom zoom.
New Hollywood is just going to be Old Hollywood with a couple names shuffled around. I don’t need to look at your shitty internet fanfiction to recognize this, Mr. 23 year old “boomer”.
>instead of hollywood restricting budgets and only splurging on safe productions
That's what already happened you fricking genius. Why do you think every major production is already by the books committee designed inoffensive derivative crap.
>hollywood falling apart
>indies not doing well
>Cinemaphile would much rather talk about fricking skibidi toilet
>companies are just giving money to japanese studios instead
hahaha this sucks
Let hollywood fall.
That's all i'll say.
J.J. Abrams, Kevin Smith, Seth Rogan, etc. aren’t going to end up on the street, nor will the executives who set demand the designed-by-committee blandness. It’s the people who write for regular TV (sitcoms and the like) but get paid a pittance who will lose their house/apartment.
>It’s the people who write for regular TV (sitcoms and the like)
I mean, those are also shit nowadays, so I don't see the issue here.
Because the true architects of the shit people hate aren't going to lose any influence. They'll survive this just like they survived cable television and Netflix. Meaning the image is fake and gay.
>Because the true architects of the shit people hate aren't going to lose any influence.
I'm fine with that so long as the people who did their bidding get to suffer.
>It’s the people who write for regular TV (sitcoms and the like) but get paid a pittance who will lose their house/apartment.
Television has always been the ghetto of the entertainment media circus/hollywood.
again, tv has been fricking trash forever.
Genuinely the only older television show I can stomach is MASH. Maybe Andy Griffith if I’m feeling particular.
It's all of them though, not just the worst. It's the industry in the future too.
I don't get it why don't they just hire writers from outside Hollywood?
Because the unions operate like mafias and have agreements in place that the studios will only work with the unions. They're a bunch of thugs.
Onto of the aforementioned union mafia agreement, anyone with talent who isn't already in the union and didn't drink the kool-aid likely fricking hates Hollywood and wants nothing to do with it.
>The United States of America except for President Jackson has been a disaster for the human race
ftfy
Is this why some American shows outsource to Canada and are filmed there?