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genericpuff · 1 year ago

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The LO TV show isn't happening, and here's why.

Now, before I begin, courtesy to /u/Princess_Space_Goose because they're one of the driving forces behind these observations concerning stuff in the entertainment sector and they were the first ones to make a comprehensive post about it over on reddit shortly after we got into it in the Discord and compiled everything we knew. But I also REALLY wanna talk about this and I'm surprised to see I haven't yet. They've covered reddit, so I'm covering Tumblr LMAO

Disclaimer: Long post ahead. Much of what I say below is speculation but there's a lot of damning evidence to support it. Take it with grains of salt.

Rachel has vague-posted about the show a couple times over the past few years, but very sparingly so, always stating that it's "in the works" without anything to actually show for it. This would have been fine back in 2020 or even 2021 (the pandemic did bring a lot of television/movie development to a crawl) but we're over halfway through 2023 now.

So where's the show? Who's running it? What is it gonna look like? Which streaming service is it going to be hosted on?

We literally do not know any definitive answers to these questions because nothing has been revealed and at this point in the game, that's basically a death sentence. LO has been on a noticeable decline in stats over the past year, while we obviously can't access the backend numbers (and neither can Rachel as far as I know because WT guards them with an iron fist which is a whole other topic for discussion) it's still very clear by the comic's rating slowly but surely dropping and the like count average lowering (obv the like count isn't indicative of view count but if the ratio has remained the same, that means if the like count lowers, the viewership is likely lowering too). There's also been certain behavior from WT over the past year that hints at the comic not doing well, such as its VERY aggressive ad campaigning which often undercuts other series on the platform that are far better than LO and deserve the spotlight, but lose it anyways because WT just wants to keep its golden goose on life support even after its heart has stopped beating.

So the fact that we don't know the answers to these questions still after 4 years is NOT good. We don't know anything and while that was excusable 3 years ago, at this point, it's more indicative of the project being at a standstill or dropped completely, and what we dug up and discussed in the ULO Discord (and what was later posted to reddit) proves it with some very telling information dissected from LinkedIn and other sources.

So far, the only people we know connected to this project are Rachel Smythe (the creator of LO) and Stephanie K Smith (the appointed showrunner). Showrunners are the lifeblood of television series, remember this. Here's a little bit about her:

Lore Olympus still doesn't have a network, this means it has no definitive spot to air, which is not good at this point, because the network is what primarily funds these projects. Think of "Netflix shows" - they're not necessarily made by Netflix, they're made by studios that Netflix funds and as such they're given the Netflix branding because Netflix is their proprietary distribution network and benefactor. So LO has no network or streaming service funding its production. All of her other credited works have affiliated networks/distributors, but LO doesn't.

"But what about Jim Henson Company?" Jim Henson Company bought the rights to LO in 2019 to produce it, that doesn't necessarily mean they were onboard to fund the entire project. Again, these studios need networks to back them, not just for monetary purposes, but with the promise that their project will have a place to go when it's finished, whether it's Netflix, HBO, etc. Think of it like a movie theater - the movie theaters aren't the ones making the movies, but they have deals with the studios to air those movies with the agreement that both sides will be making money.

Jim Henson Company is a production studio, not a network. Not only that, but they're primarily for-hire for puppetry/animatronic projects, they're not the same kind of studio as, say, Laika, or Disney, or Warner Bros. Much of their work is done on the backend, creating animatronics and puppets for kids' productions, monster movies, etc. Currently they're working as the animatronic designers for Five Nights at Freddy's, but that movie isn't a JHC movie, it's a Blumhouse production, which has hired JHC to create animatronics for them.

So, the fact that they were the ones to buy out LO for production rights is... very odd. Because for starters, they don't tend to buy out production rights like major studios, they're typically for hire, but they're also not an animation studio. Any animation projects they've worked on were for concept art and design, such as Word Party, but the folks at JHC primarily specialize in conceptualization and practical effects. That's their whole shtick, it's what they're selling, it's what they get hired for.

That's all early stuff though, stuff we've been speculating on for ages. What came to light recently that spurred on this whole essay was discovering this one section on Stephanie K's LinkedIn:

There are a couple things we can glean from this. First, we know this has to be LO even if it isn't being named, because LO is the only one that was bought by JHC.

This also confirms that LO did end up with a distribution network, specifically HBO Max.

But it also confirms that Stephanie K Smith, the showrunner, is no longer on the project, either due to willingly quitting or being removed. According to the time stamps, she left in April of this year.

This is especially not good because without a showrunner, there's no leader. Showrunners are essential to these projects. So without a showrunner, and without any sort of announcement of a replacement, LO's television show is a ship without a captain, a car without a driver, a Hell's Kitchen without a Gordon Ramsay.

There's mention of an "animated presentation" but as mentioned in that reddit post above, that's not necessarily a pilot, it's more likely it was this. Which can't even really be called "animation", it's just video editing, rigging and tweening, but I digress.

There's a lot more in that reddit thread that dives into some of the details of Stephanie K's stuff, including the HBO Max affiliation and how that potentially connects to the Sydney Sweeney trailer, but ultimately, all of these breadcrumbs add up to one of two things:

LO's television show is in severe development hell which it likely will not come out of for quite some time, especially right now with both the writer's strike and streaming services gutting their animation connections.

LO's show isn't happening at all but with LO's numbers declining and its audience growing more fed up with the series (look no further than the comments on Instagram about LO's recent Eisner win, people are PISSED) Rachel and WT are trying to do as much damage control as possible by dangling a carrot in front of the audience they have left in the hopes that they'll stick around long enough on the promise of a TV show happening to keep siphoning cash and views. After all, there are two things many readers are still sticking around for - the SA plotline, and the TV show, and both of those things are being unnecessarily dragged out in the vaguest way possible with no real resolution in sight.

Neither of these are good, but I think what's even more telling is that, since that post was made on reddit, Rachel has attended SDCC and taken part in a new interview from Girl Wonder Podcast, and when asked about the show, all she had to say was this:

"Um, it’s been really interesting. It’s been educational for me. So, what I—what has been done so far is beautiful. Like, if I could share it, I would. But I can’t. Because it’s very naughty."

IDK if the "naughty" bit is referring to the show or just her revealing info about it, but the fact that NOTHING was shown at SDCC is just. Y'all, I'm sorry, but the show is not happening. If you're gonna show off previews for television ANYWHERE, it's SDCC. It's like the E3 of comics and entertainment media. So the fact that she's STILL VAGUE-POSTING ABOUT IT EVEN AT A MAJOR EVENT WHERE IT'S COMMONPLACE TO REVEAL TRAILERS AND PREVIEWS OF NEW PROJECTS, like... it's just not happening. Jim Henson Company bought the rights to produce LO as a TV show in the summer of 2019. Since then, we haven't seen a SHRED of news, if you google "Lore Olympus TV show" it'll still be the same 2-3 articles from 2019 talking about JHC buying the rights and that's it. If you do further sleuthing, all you'll find is Rachel saying "yeah it's still happening but I can't say anything!" which means fucking nothing at this point. The only 'hope' I have left is that they'll announce it at NYCC which has Rachel in a top billing spot in its advertising, but I'm really not holding my breath at this point.

Animated productions take a while, sure, but LO wasn't the only comic bought for TV production in that late 2010's/early 2020's era. Heartstopper was bought in 2019, and it made it to Netflix by April 2022. And it was live action, a medium SEVERELY affected by the pandemic, unlike animation, which wasn't affected as much because a lot of animation development can be done from home. What did affect the animation sector was streaming services like Netflix gutting their connections to animation studios and putting animated projects on the chopping block... which also doesn't bode well for LO.

It's 2023 now and we still don't even have anything beyond those initial announcement articles and Rachel making empty promises. It's not happening. Don't fall for the "it's coming soon but I can't say anything" nonsense. It's far less genuine now than it was 3 years ago and it has nothing to support those claims that it's actually in development, and ironically far more to support mere speculation that she's lying or doing damage control.

And, if it actually is happening, on a shred of belief in that being a possibility, then it sure as shit isn't being marketed well. Knowing how to build hype in a product is an entire course of knowledge. Marvel is practically the king of building hype, they're why people sit until the very end of the credits now in the hopes of seeing an after-credit scene, even in movies that aren't made by them. LO's numbers are bleeding right now, so to not show anything at even the major events like SDCC is a blatant misfire. Almost like there isn't anything to show in the first place.

You can take all of this evidence as you will. Some of it you may dismiss as "overthinking" or whatever have you. And a lot of it is speculation based on the crumbs we've picked up along the way.

But let me pose you this as a final thought: how can it be a good sign when everything being asked about the show, by fans and critics alike, comes down to "Is the show still happening?"

The best time to reveal proof of the LO television show was 3 years ago. The second best time is now.

#lore olympus critical #lo critical #antiloreolympus #anti lore olympus #long post #analysis post #essay post

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academicfever · 23 days ago

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🌿 30-Day Digital Declutter Challenge 🌿

Welcome to the 30-Day Digital Declutter Challenge! Ready to take back your time and make space for the things that really matter?

For the next 30 days, we’re going on a digital detox! 🌱 It’s all about cutting down on distractions and adding more meaningful activities into your day. You in?

Key Steps of the 30-Day Digital Declutter

1. Take a Break from Optional Technologies (30 Days)

Identify optional technologies: Newport encourages participants to determine which technologies are "optional." These include apps, websites, or digital services that are not critical to your personal or professional life (e.g., social media, entertainment apps, non-essential email checking).

Completely eliminate or drastically reduce usage: For 30 days, stop using these optional technologies. The goal is to break the habit of mindless use and to see how life functions without them.

2. Explore Meaningful Alternatives

During the 30-day break, reintroduce meaningful activities that you might have neglected because of digital distractions. These could be hobbies, creative projects, physical activity, time spent with friends and family, or self-reflection.

Newport suggests focusing on activities that bring fulfillment: spending time outdoors, reading, creating, exercising, or pursuing personal interests that align with your values.

3. Reintroduce Technology Thoughtfully (After 30 Days)

At the end of the 30 days, evaluate which digital tools and platforms are necessary and beneficial.

Reintroduce only those technologies that have a clear, positive impact on your life and set rules or boundaries for their usage. For example:

Set specific times for checking social media or emails.

Limit the number of apps installed on your phone.

Use tools only for clearly defined purposes (e.g., professional networking on LinkedIn).

Questions to Ask When Reintroducing Technology

Newport suggests using three questions to decide which digital tools to reintroduce and how:

Does this technology directly support something I deeply value?

Is this the best way to use this technology for its purpose?

How can I set boundaries on this technology to maximize its value while minimizing its downsides?

30-Day Digital Declutter in Practice:

Prepare:

List all the optional technologies in your life (social media, games, video streaming, news apps).

Decide on the rules for your 30-day break (complete elimination or drastically reducing usage).

Identify meaningful activities you will focus on during the declutter.

Implement the Declutter:

Begin your 30-day digital break, sticking to the rules you set for yourself.

Replace mindless tech use with fulfilling, offline activities.

Reintroduce Thoughtfully:

After 30 days, evaluate which technologies to bring back into your life.

Establish rules to prevent falling back into unproductive or mindless usage.

Examples of Rules You Could Set:

Social Media: Only use it for professional reasons or set a time limit (e.g., 30 minutes per day).

Emails: Check only twice a day—once in the morning and once before the end of the workday.

Smartphone: Turn off notifications for all non-essential apps.

So recently I read this book and wated to try this method to clear my head... I am starting this challenge from 19th October_feel free to join me... You make the rules and alternatives for urslef... u can take a look at mine as an example...

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aroceu · 24 days ago

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some thoughts on leaving a social media website...again

as of 10/16/2024, twitter has announced its intention to implement a new feature into the platform: instead of blocking allowing you to block certain accounts from viewing your profile if it's public, it now just... doesn't do that anymore. it only limits interaction. though this certainly isn't a surprise with musk's twitter rollouts since 2021—when i first saw people start to trickle out—this, in particular, breaks a lot of users boundaries and has prompted many to private their accounts and move to bluesky.

i'm in support of this, btw—the ceo of bsky is strongly opposed to ever running any sort of ads on the site ("won't enshittify the network with ads"), doesn't use any blockchain technology, and has a culture where supplying alt text on images is the norm. your main timeline is in reverse-chronological order (like intended), but there are other separate options to create a custom algorithmic feed for certain types of content, only if you wish to. though bsky is a work in progress, i have high hopes for what it can be in the future: that is, usable, practical, and more reminiscent of what it was like when twitter first started, than how twitter currently is.

but despite my love for bluesky, i won't spend too much time glazing yet another microblogging platform. instead, i'm here to ponder the concept of social media: why we have it, why we use it, and why these moves happen in the first place. people have been trickling in and out of twitter ever since the richest and evilest man in the world took possession of it; especially in a fandom sense, there's been a back and forth between twitter and tumblr due to tumblr's former porn ban, as well. we all have principles and morals that guide the decisions we make, including what websites we decide to use. they speak to a pattern of not only our culture as people at any given time—but how these platforms have the power to implement these changes whenever they want. and we, as individuals, must make decisions both based on those principles, but also our desires to fit in.

i'll start off by saying this—eventually i'm going to start talking about what social media means for creatives. but there is in fact an extremely well-written article about this already that goes into more detail. if you're more interested in that, let me direct you there first: R U AN ARTIST ON SOCIAL MEDIA??? by omoulo

with that out of the way, let's talk about me, shall we?

i got onto the internet through geocities—crazy sentence to say now after all these years. of course, i played neopets and flash games like many other kids, but that was mostly through knowing those websites and urls existed, and preserving them in my mind so i could return to them for some mindless minutes of entertainment later. geocities was my first introduction to the creative, user-designed web, so to speak. instead of being a number to interact with a thing that someone else has made—a flash game, a youtube video, a website where you can collect fictional pets—the idea of geocities to me at the time was this idea of participating on the internet. being a part of it. writing whatever i wanted and posting it. sharing the link with others. having others find it and read it too—a part of me, my method of creative self-expression, whatever i desired to write and post on the less than permanent internet.

my best friend at the time was the one who needled me into creating accounts—first an email address, then an AIM, then a myspace, then an IMVU, so on and so forth. i wasn't going out looking for these, and though i'd heard of them before or seen ads of some of these sites, i wasn't interested in actually being on these platforms and making these accounts until my friend told me that i should. call me a people pleaser or easily influenced or whatever; i was 12. but it was through this link sharing, this naivety and ignorance of the vastness of the internet, that allowed me to be fascinated with the world wide web in the first place.

i usually cite quizilla as my first "fandom" website, because it was—but it wasn't because i found it by accident. it wasn't that i googled it or looked for a personality test and stumbled upon it. no, it's because i was chatting with a friend on AIM, and she had found some crazy chain letter story and shared it to me for how absurd it was, and sent me the link. it was on quizilla.

literally the moment i clicked that link changed my life forever. even though i read the crazy story, i also clicked on the username of the person who posted it, out of curiosity. that person had jonas brothers fanfics on their quizilla profile, of all things, which led me into an obsession with the jonas brothers in the 2 years that followed. through that link—that account—that platform—i got a lot more interested in writing, webdesign, and what it meant to be on the internet, not just as a numbered participant, but also as someone with an imagination, who finds fulfillment in creative expression. i wrote the longest thing i'd ever written in that time (30k of a self-insert, but we won't go into that), began to experiment with css and website design, and participated, sharing stuff that i thought was interesting or fun, worth 5 minutes of anyone's time.

the internet wasn't just about being a place where my presence didn't matter anymore—it became a medium of self-expression. more than that, it became a place where i could meet and socialize with people, especially as i developed avpd in my high school years.

the internet wasn't always like this. right now, when we talk about the internet, we don't talk about the random websites we find, the links we stumble upon. (i have an entire website dedicated to those for me, though.) the games we spend hours playing, by ourselves, without interacting with others. random personality tests, or just simply the news. we talk about google, but in the same way we talk about facebook, or even twitter. it's a verb; it's omnipresent; it exists within the context of our internet culture, but becomes meaningless outside of it. it's not to say it doesn't have meaning—but that the language we use represents our relationship with it, this assumed normalcy. this assumed dependence.

i bring up my own history because as young as i feel compared to many of my older internet friends, and how late to the game i always felt—i was there. i was there on the internet before twitter (since 2009), tumblr (since 2010), facebook (i lied about my age), bluesky now, and whatever will come in the future. i was there when people were saying that the internet was still being written; when websites were made with tables (eugh); when email was the primary way to connect with others, because irc was for nerds and nothing else had been invented yet.

i'm a big advocate for not looking at the past with rose colored glasses and getting caught up in nostalgia and greener grass. i believe that technology is not inherently harmful or bad—it creates more options for accessibility, especially for those who are disabled. and even outside of that, it allows us to learn about more people, communicate with others with a few keystrokes, and form relationships that we otherwise would never get to have. i don't want this to seem like i'm saying "man remember how good the internet used to be?" because i'm not—i believe that as things change, there are benefits as much as there are hindrances.

of course, it bears saying that the primary hindrance—of current twitter, of many platforms over the years, and the internet with increasing recency—is corporations. big money interests. capitalism.

it's why we get so tired of ads—it's why ads exist in the first place. it's why these social media platforms that used to feel like they were made by the same people who would use them (livejournal, youtube, twitter) have suddenly become these soulless impersonal websites. it becomes more obvious that they want you to use them more because they sell you on exclusivity and visual minimalism, rather than because that's where your friends are, and you have this unique way to express yourself.

in fact, i'll say this: the first time i learned about facebook when i was too young to use it, i was not impressed. i had a myspace at the time that i had dolled up to make pretty with sparkly gifs and obnoxious colors and weird fonts. when i saw how boring and samey everyone's facebook profile page was, i was like, what's the point? sure i could talk to my classmates and random other people in my life that i didn't really care about, but what about making myself different from others? what about my creative expression? what about having an account that makes me look unique, instead of blending in with everyone else?

and so here i am nearly two decades later pondering about the use of social media, our individuality as well as our collective interests, and how the internet has changed so much, both in itself and how it affects us, in that time.

i'm here because i want to talk to my friends and meet new people with common interests and get excited about them. i don't want to feel left out, but that's a normal experience—outside of fomo, it is in our core to connect with others. it's the whole meaning of everything. it's why i even made an email in the first place, in my basement with my best friend, secretly setting up a yahoo account because she wanted another way to talk to me, and i wanted another way to talk to her. it's why people have been leaving twitter little by little for another site—the same site as many others, because that's where all their friends are. whether it's bsky or mastodon or misskey or just back here on tumblr, we're here not just because of our desire for community, but even as simple as our desire for a bond, a relationship with another human being. to me, that is how "social media" is defined—a medium through which we socialize because of this innate desire.

and yet, of course the enshittification and corporatification makes this more difficult for us, in ways more than one. because the fact is that as we (as people) became better at using the internet, finished writing it, and understood it—psychologically and sociologically—so did the corporations. or advertisers, you take your pick. we, the everypeople who use the internet as means to fulfill our social and other self-indulgent desires, are not the only people here. as with many things else in the world, the internet turned from an unpredictable but fun mess of us figuring shit out as we went along, into a product designed to keep us using it and engaging with it more, so some rich people can put even more money into their pockets. it's why twitter is the way it is now; even why tumblr is the way it is. why social media has become about "content creation" and "small businesses." why it feels like, every day, we see more ads and AI generated bullshit, as a little bit of the original soul of the internet gets sucked away day by day.

but even there, i don't want to come across as cynical or world-weary. though i believe this to be true, i don't think it says anything about our lack of agency, or our lack of innate humanity. instead, i believe that this means, at least on the individual level, that we should think more about not only what we're doing on the internet, but why we're doing it. how we're doing it. are we here because we're addicted? or is there something we're getting out of it? sure, many websites now have more addictive UI and algorithms that tell the receptors of our brain to return to them because we were getting so much dopamine from them earlier. but i also wouldn't necessarily argue that the only solution to this is to, then, go offline.

i have many friends who've elected to depart social media but stay online—friends who i met through website building, to be fair, but that's one of my main points. i already wrote a manifesto on my love letter to the personal website; but the tl;dr is this:

the internet is not evil, it is not good, it is just a form. if we desire to express ourselves and socialize with others in this space, it does not have to be just about social media, and creating a new account on a new website every time people move. instead, we have personhood—we have individuality, we have agency. we have the ability to build our own websites, no matter how shitty or times new roman comic sansy or color clashy or sometimes inaccessible they can be. regardless of all these seeming impractical setbacks though, it does not absolve us of that ability to do whatever we want on the internet. and it also bears saying that websites, both the personal and impersonal, can change over time, for better or worse.

i am a huge proponent for people making their own personal websites. it makes me so so happy that neocities is gaining popularity, mostly because i love seeing people try their own hand at making a website for themselves, a new form of self-expression. i won't go into too much detail on this because i've already said everything i want to say about it (see above), but if you take away anything from this post, let it be this: consider making a personal website, a corner of the internet, for yourself, by yourself. not just because you want people to engage with it, or because you want to curate to an algorithm or an artistic/fannish trend. not because you want the things you make to gain traction, to get bigger numbers without considering the people behind those numbers, as soon as possible.

do it because you want to. because you have to. because you think it's cool, and because it's you. people may find it and judge it; but they may like it as well. the more unique and authentic and weird we are with each other, the more we are able to appreciate each other for who we really are. the internet is one of many places we can do this.

i don't really see these forms of self-expression separate from social media, but i do see social media separate from it. to me, social media is a vehicle to strengthen those connections, those relationships, much like DMs and IRCs; but it is not the be-all, end all of the internet. it's only a small part of it. not everything is permanent on the internet; but everything that ever has been online is a microcosm of the human experience, whether it's an old cloudflare site or twitter dot com in 2010.

our experiences on the internet are not about corporate interests. it's about using limewire to download pirate music, sharing random links we find, building a design that may not be practical or universally appealing but still represents a form of individuality. when i think of how the internet has grown, i don't think about what it means for companies or advertisers or what meetings must go on to get people like me to keep using it—i think about remembering the difference between addicting games dot com and addicted games dot com, clicking links on websites to find even more websites, sitting at the family computer and deciding if i wanted to spend hours on neopets or that one willy wonka flash game i grinded like several hours on one night when i was 7. i think about what it's always meant to me, because the internet was not always a centralized place where i was going on the same website every day. the rise of internet centralization to the point that it's become expected, the norm, the primary way any of us to be online, is not inherently a bad thing—but i wouldn't say it's a universal good, either, when the internet is a wide and vast space, and can be so much more than that.

because the one thing that remains throughout the years is our agency and choice. we still have the ability to make the internet what we want it to be, or at least a corner of it, something separate from the corporations, the enshittification, economically researched user interfaces and experiences, the advertisements, the "like and share so the algorithm boosts me more." there's still a point to it all without the money, and without twitter. and it's both our desire for creativity and self-expression, as well as our intrinsic bonds with each other. despite it all, it's about our humanity.

as the internet continues to grow, so do we. nevertheless, the importance of our humanity, and retaining it, will remain. oftentimes it is up to us to remind ourselves of that.

links here, for access:

Bluesky CEO Jay Graber Says She Won’t ‘Enshittify the Network With Ads’

R U AN ARTIST ON SOCIAL MEDIA??? by omoulo

links @ kingdra.net (my links, like bookmarks)

A manifesto of sorts; or, my love letter to the personal website by me

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iliveforyouilongforyouvesuvia · 2 years ago

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The Arcana HCs: M6 on social media

Julian

He is on all the apps, you name it, he probably uses it

He's on theatre kid tiktok

Shamelessly posts thirst traps with niche references

Too many of them are doctor inspired

Perfectly understands the female gaze and takes full advantage of that

Embraces the cringe

Malak regularly photobombs his posts and there are multiple compilations of him fighting off/cussing out a shrieking crow

He canonically has a beautiful singing voice that he does not know how to use, voice coaches love duetting and reacting to him because it is so impressively terrible

He also needs to be carefully monitored though, for two main reasons:

One, all his posts need to be reviewed before he posts them, because he's terrible about internet safety

Two, because everyone gets hate comments and he already has nasty self-esteem issues

Portia gets into so many fights in the comments on her burner account

He is quite popular and has a large and dedicated following

Asra

As much potential as they have for stardom, they are an extremely private person and they are very aware of what kind of place the internet can be

He probably has BeReal and spends most of his time on SnapChat (you know he loves watching drama unfold)

Also has a very aesthetically pleasing Instagram that they forget exists. Scroll through and you'll see random photodumps of all the places they've traveled recently, spaced six months apart

Faust has her own account

He is the type to lurk, never comments, rarely likes, prefers to save something for later to show his friends in person instead of sharing or tagging them

They do love trying out what they see though, like viral pasta recipes and room lighting ideas

Except he'll add his own flashes of creativity as he goes

Sometimes it pays off, like when they got their whole living room to feel like an oasis

Sometimes it doesn't pay off, like when he tried an already sketchy viral food hack and added charcoal

They don't mind integrating social media into in-person situations, if the only thing you have energy for is cuddling up in a pillow pile and scrolling through saved videos together, they're down

Nadia

Facebook and LinkedIn

She's trying her best, she really is, but she has places to be and things to do and she'd rather spend her free time with the people she loves or getting some well-earned rest

The screens also contribute to her headaches

All her sisters are older than her, she has Facebook to keep up with them

She doesn't know that most of them keep with the times enough to have accounts on other platforms as well

She uses LinkedIn for networking, obviously

She does enjoy being entertained though! She loves it when you tilt your phone screen towards her so she can see whatever made you smile or laugh

Regularly asks you or Portia to show her everyone else's most recent posts

Julian's tiktok page is a mystery that never fails to make her laugh

She loves to be included in your posts and is always willing to pose with you for a selfie

She is a fantastic camera woman, she can follow angles and lighting like nobody's business

She does not know how to write captions

Muriel

He doesn't have one until you or Asra sit him down and walk him through the process

He chooses Instagram because he can see cat pictures that way

And because it's the platform most of you guys have an account on, so he can keep tabs on everyone

He has all of his privacy settings enabled

Most of his posts are pictures of Innana or the chickens (mostly the chickens)

No captions, ever

Every now and then someone from the Kokhuri will stumble across his profile and send a message request

He'll wait until you're free to sit with him while he messages them

He's slowly putting a family tree together of the people he's made contact with

Heartily dislikes the reels feature, the constant stimulation puts him on edge

Honestly prefers YouTube, he got a great ad blocker and he watches nature compilations and wilderness survival videos

He also watches videos about wolves so he can take care of Innana better, but he has to be careful when he does that because if the wolf in the video howls she does too

He stumbled across a fan-made compilation of Julian's thirst traps once and refuses to speak about it

Portia

Snapchat for the gossip, Tumblr for all the novels she's become a fan of, and Instagram for Pepi and her garden and baking endeavors

She is on everyone's Snapchat story. If she spots someone new at her workplace she's already sending them a friend request

Tumblr is her guilty pleasure, she has spent hours in the library devouring novels and now she can read and write as much unhinged fanfiction as she wants to

She also loves interacting with other people who enjoy the books and characters she does

Fanart makes her squeal

She hasn't found out about AO3 yet but once she does it's over

Her Instagram is gorgeous. She posts once or twice a day with garden updates, candid shots of Pepi being precious, and baking tips and tricks

Her feed is full of the wanderlust hashtag and it's fueling her bucket list

She has a decently sized following and loves it when people message her

She also has a tiktok burner account to monitor her crazy older brother

Definitely stays on top of all the trends and incorporates them into her Instagram posts

Lucio

He wants to be famous, he really does, but everything he tries flops

Obsessed with tiktok, it's where the young people are

It's also perfect for his limited attention span

Constantly trying to hop on new trends, but always misses the mark ever so slightly

Tried to put the LED light strips up in his bedroom, but he couldn't keep them straight so they're all slightly wonky

Refuses to take them down

He fell down the "alpha male" pipeline once and it took so much work to get him back out, he was insufferable

You got Nadia and Asra to give him a good beat down while you went through his phone and deleted all the accounts that couldn't be saved

You only let him back on when he promised to share his accounts with you, and he agreed on the condition that you help him try to get famous

You suggested he post about the things he knows, like self-defense tactics and survival

He gets a boost when you post a video of him trying and failing to follow a tiktok dance tutorial while he uses increasingly creative language and it goes viral

He's got a small following now and he's so proud of both of you

#the arcana headcanons #the arcana hc #the arcana #asra the arcana #julian the arcana #nadia the arcana #muriel the arcana #portia the arcana #lucio the arcana #the arcana game #the arcana shitpost #asra alnazar #julian devorak #nadia satrinava #muriel of the kokhuri #portia devorak #lucio morgasson

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justinspoliticalcorner · 2 months ago

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Taylor Lorenz at Substack:

We need to know who is funding the creator economy

Yesterday, a federal indictment revealed that a Tennessee media company working with right-wing influencers including Benny Johnson, Tim Pool, Dave Rubin, and Lauren Southern, was receiving significant funding from the Russian state-sponsored network RT to push Russian disinformation. The indictment is absolutely wild and WIRED has a great rundown on the details, including how the propaganda efforts worked. The case serves as the latest high profile example of how “independent media” on the right is anything but independent, and underscores the need for more transparency around funding models in the creator economy. It also shows how disinformation efforts have increasingly focused on penetrating U.S. media through content creators, and how lucrative being a pawn in these schemes can be. While right wing content creators position themselves as scrappy upstarts, leaning into anti-establishment and populist brand positioning, they frequently accept money from far right interest groups, extremist billionaires, and even foreign actors. Tenet Media received nearly $10 million, distributed out across a network of YouTubers and podcasters. As part of the disinformation campaign, Tenet Media influencers published hundreds of videos on social media that promoted Kremlin talking points. The videos were shared across platforms including YouTube, Facebook, Instagram, X, and TikTok, reaching tens of millions of viewers.

[...] The far right recognized the opportunities in personality-driven media decades ago. After boosting talk radio stars in the 80s and 90s, when social media proliferated, they began to invest heavily in news influencers who seamlessly blend entertainment, news commentary, and far right political messaging into YouTube videos, Instagram memes, podcasts and more.

[...]

Ben Shapiro's Daily Wire has been heavily funded by wealthy Republican donors, including the Wilks brothers, Texas-based billionaires known for their oil and fracking fortune. Charlie Kirk, founder of Turning Point USA, has benefited from significant funding from conservative mega donors including the Koch network. When right wing creators began getting deplatformed more frequently on mainstream social media apps in the second half of the 2010s, an entire ecosystem of alternative platforms aimed at helping extremist influencers monetize and amass audiences, cropped up. Rumble, a video sharing platform similar to YouTube backed by billionaire Peter Thiel, began paying far right influencers and anti vaxx content creators hundreds of thousands of dollars to create content on its platform in 2021. Locals, a newsletter platform owned by Rumble, allows influencers to monetize through newsletters in a similar way to Substack. DLive, a right wing Twitch competitor, allowed influencers storming the Capitol building on January 6th, to make thousands of dollars off their live streams. Kick and Cozy.tv, two other right wing live streaming platforms, permit nearly any far right extremist the ability to create content and start earning money. And X, under Musk, has paid out hundreds of thousands of dollars to right wing influencer accounts.

The robust financial backing the right wing content creator ecosystem enjoys, allows extremists the ability to fund professional production teams, social media ad buys, and marketing initiatives that give them a competitive advantage online. In contrast, progressive creators are left to rely on meager donations and crowdfunding efforts to sustain their work. This financial imbalance has made it nearly impossible for left-wing content creators to match the reach or production quality of their right-wing counterparts. Already, several Russia-backed Tenet Media influencers, including Benny Johnson and Tim Pool, have been doing damage control. They've publicly stated that they had no idea about the origins of the money and claimed that they were merely unwitting victims who were misled by the company.

Right-wing media influencers like Nick Sortor (even though he wasn’t named in the indictment), Benny Johnson, and Tim Pool aren’t “independent media” in any way.

#TENET Media #Benny Johnson #Tim Pool #Dave Rubin #Propaganda #DLive #Rumble #Cozy.tv #Kick #Elon Musk #Peter Thiel #Charlie Kirk #Ben Shapiro #Conservative Media Apparatus #Nick Sortor

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saintmeghanmarkle · 3 months ago

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The Parent Trap by u/Mickleborough

The Parent Trap Being curious as to exactly what was Meghan and Harry’s anti-cyber bullying initiative, I went to where angels fear to tread: the Archewell Foundation website.I won’t contaminate this post with screen shots - you’ll have to take my word. What does the Parents’ Network do?What’s the target group? The name and text refers to parents (although a couple of paragraphs inconsistently - and belatedly - mention caregivers as well). The overall impression is that this overlooks other child-adult relationships, namely children looked after by relatives or guardians.Briefly the aim seems to be this:’We [the Parents’ Network] act as a support network for other parents and caregivers whose children and families have been gravely impacted by social media harms.’In case this isn’t clear:’The Archewell Foundation and the network will work to unite and uplift parents and caregivers and systematically change the social media platforms that create a harmful and dangerous environment for young people around the world.’No, really, what does the Parents’ Network do?It appears to want to be an influence or pressure group. To what end? My guess is: censoring social media.Governments have implemented, or are the process of implementing, legislation dealing with online safety. So there’s no point campaigning for that.The website states: ‘It is time that social media companies improve their safety measures and that people in power hold them to account. Join us in adding your voice so we can no longer be ignored.’Some observations on content* The text is inconsistent: see example above. It also contains these statements which don’t make sense: ‘…these platforms should be a destination where young people can communicate, thrive and learn. Instead online spaces are designed to keep our children scrolling and waiting for the next notification, like or comment.’That’s comparing apples and oranges. Learning and socialising online are different things. And it promotes communication, but condemns forms of communication, viz ‘scrolling and waiting for the next notification, like or comment.’* In my opinion, the writing isn’t great. It’s not impactful; it reads like something written by a moderately talented high school student in the late 1980s. Using short sentences, complete with repeated words for emphasis, for impact and drama (’We share our stories. We share our resources. We take action. Together’) is dated. The practice now is to get the message across with succinct sentences, because people aren’t stupid.* Confusingly there’s a sentence that states: ‘In 2023 we were brought together by The Archewell Foundation.’Firstly - Who’s ‘we’? The landing page has the logos of The Archewell Foundation and of Parents’ Network - but didn’t the former begat the latter?Secondly - Sycophantic write-ups elsewhere mention that the Parents’ Network had a 2-year pilot / testing gestation. If so, what’s with 2023? Can someone not count? Or did the Parents’ Network start off like the birth of an illegitimate child in 2021, before being acknowledged by its parent in 2023?Fun ‘fact’: ‘Since inception, The Foundation has been working to find solutions to the rapidly escalating crisis in youth mental health.’ They’ve certainly kept this work quiet.On an irrelevant note - there are loads of Parents’ Networks: the [British] Army Parents’ Network, the Solihull Parents’ Network, [the Council of Europe] Parents’ Network - that must be why Meghan hasn’t trademarked the name.Link to a website of a proper foundation: The Royal Foundation for Early Childhood post link: https://ift.tt/J3fxSH4 author: Mickleborough submitted: August 05, 2024 at 10:13PM via SaintMeghanMarkle on Reddit disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

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tomorrowusa · 1 year ago

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Elon Musk has turned Twitter X into a haven for hate speech as well as bots from Russia and other malevolent countries.

Musk himself promoted an antisemitic tweet – probably to show his far right pals that he's just one of the guys. Because of that, he's losing his few remaining respectable advertisers and is coming under scrutiny by governments in the US, UK, and the EU.

An advertising boycott of social media platform X is gathering pace amid an antisemitism storm on the site formerly known as Twitter. Apple, Disney, Comcast and Warner Brothers Discovery have all halted advertising on X, US media report, following hot on the heels of IBM. The European Commission, TV network Paramount and movie studio Lionsgate have also pulled ad dollars from X. It comes after X owner Elon Musk amplified an antisemitic trope. The corporate boycott has also been picking up steam in the wake of an investigation by a US group which flagged ads appearing next to pro-Nazi posts on X. A spokesperson for X told the BBC on Thursday that the company does not intentionally place brands "next to this kind of content" and the platform is dedicated to combatting antisemitism. Mr Musk came under fire on Wednesday after he replied to a post sharing an antisemitic conspiracy theory, calling it "actual truth".

Yeah, "actual truth" as the type of stuff you'd find on Truth Social. 🙄

The White House denounced Mr Musk's endorsement of the post. "We condemn this abhorrent promotion of antisemitic and racist hate in the strongest terms," said spokesperson Andrew Bates.

The Washington Post has a list of major advertisers who have suspended their ads on Musk's platform.

IBM IBM pulled its advertising from X on Nov. 16 after the Media Matters report identified it as one of several blue-chip companies whose ads had appeared next to tweets promoting antisemitism. [ ... ] Apple The maker of iPhones and MacBooks decided to pause all advertising on X on Friday after Musk endorsed an antisemitic post on platform, according to Axios, citing unnamed sources, and the New York Times. Apple was reportedly the platform’s largest advertiser, spending nearly $50 million in the first quarter of 2022. [ ... ] Lionsgate A spokesperson for the entertainment and film distribution company told The Washington Post it suspended advertisements on X on Friday afternoon, saying the decision came after “Elon’s tweet.” [ ... ] Disney The entertainment giant suspended advertising on the social media platform Friday, a company spokesperson said. [ ... ] Paramount The media, streaming and entertainment company is suspending all advertising on the platform, a spokesperson said in an email to The Post on Friday.

[ ... ] Comcast The global media and tech company is pausing ads on X, company spokesperson Jennifer Khoury said in an email on Friday. Philadelphia-based Comcast, with a market cap near $171 billon, provides a range of broadband, wireless and other services.

The European Union has also stopped all advertising at MuskX.

No more ads on Elon’s X, EU Commission tells staff

Truth Social is having HÜGE financial problems. Perhaps the two ought to merge; a lot of people wouldn't notice the difference except for the logo. 😆

Chris Hayes at MSNBC put Elon Musk's antisemitism in historical perspective.

youtube

To people still on Twitter/X: How do you explain to others why you remain on a platform associated with vile hatemongers?

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the-monkey-ruler · 6 months ago

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Marvel vs. Capcom 2: New Age of Heroes

Date: February 24, 2000 Platform: PlayStation 2 / Xbox / Dreamcast / Arcade / Xbox 360 Games Store / PlayStation Network (PS3) / iPhone / iPad Developer: Capcom / Capcom Production Studio 1 / Backbone Entertainment Publisher: Capcom Genre: Fighting Theme: Fantasy / Martial Arts / Superhero / Comic Book Franchises: Marvel vs. Capcom / Capcom Versus / Marvel / Street Fighter X All Capcom / SNK vs. Capcom: Card Fighters DS / SNK vs. Capcom: Card Fighter's Clash 2 Expand Edition Also known as: MVC2 Type: Reimanging

Summary:

Marvel vs. Capcom 2: New Age of Heroes is a 2D tag-team fighting game developed and released by Capcom for the arcades (running the Dreamcast-based Sega NAOMI hardware) on February 24, 2000.

The fourth installment of the Marvel vs. Capcom crossover series, the game doubles the roster of its predecessor (including new additions and returning fighters) while adding new 3-on-3 gameplay and simplified controls (two punch buttons, two kick buttons, and two assist buttons). It also brings back the classic "assist attack" system (sans "partners") while adding a new "snapback" attack (a close-ranged attack that, if hit successfully, swaps the opponent's character with another). A unique aspect of the game is its use of experience points for each arcade machine that increments by playtime, determining how many characters and alternate costumes are unlocked.

One of Capcom's earliest fighting games developed outside of their arcade hardware, Marvel vs. Capcom 2 combines 2D hand-drawn sprites with 3D backgrounds (a style later used for Capcom vs. SNK 2: Mark of the Millennium). It is the last game in the series to use hand-drawn sprites for its characters.

The game was later released for the Dreamcast throughout 2000 (March in Japan, June in North America, and July in Europe), adding a new system of "purchasing" the locked characters/costumes with accumulated playtime (and trading them using the VMU). The Japanese version of the game also includes online multiplayer and the ability to use VMUs with the arcade version (where players can use their unlocked characters and earn experience points). It was later ported to the PlayStation 2 (in September 2002, with the Japanese version including online multiplayer) and Xbox (in September 2002 for Japan and March 2003 for North America).

It was later ported (by Backbone) as a digital release for the Xbox 360 (via Xbox Live Arcade on July 29, 2009) and the PlayStation 3 (via PlayStation Network on August 13, 2009). This version includes online multiplayer (including a six-player lobby system), various graphical options (including widescreen support), support for custom soundtracks, and all content unlocked from the start. The original console version was ported to iOS devices on April 25, 2012 (adding touch controls). These ports were removed from their respective storefronts on December 2013.

Source: https://www.giantbomb.com/marvel-vs-capcom-2-new-age-of-heroes/3030-2612/

Link: https://www.youtube.com/watch?v=tW1FA2AFAzI

#Marvel vs. Capcom 2: New Age of Heroes #Marvel vs. Capcom #Capcom Versus #Street Fighter X All Capcom #SNK vs. Capcom: Card Fighters DS #Marvel #SNK vs. Capcom: Card Fighter's Clash 2 Expand Edition #jttw media #jttw game #video game #game #sonson #son goku #sun wukong cameo #sun wukong #appropriation #inspiration

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entertainmentads · 2 years ago

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Join the High Performing Entertainment Ads Network by 7Search PPC

& get 10% Cashback Don’t Miss out on the Discount

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#Entertainment Ads #Entertainment ad network #Entertainment ad platform #Entertainment ad network platform #Entertainment advertising platform #Entertainment advertising network #entertainment app ads #entertainment PPC

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smmediatechh · 2 months ago

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In today’s digital world, social media has become an essential part of our daily lives. Whether you're sharing a photo with friends or following your favorite brands, social media platforms are everywhere. But did you know they are also powerful tools for businesses? That’s where social media marketing comes in.

What is Social Media Marketing?

Social media marketing is the use of social platforms like Facebook, Instagram, Twitter, and LinkedIn to promote your business, connect with your audience, and build your brand. It's about creating and sharing content that engages your audience and encourages them to interact with your business.

Why is Social Media Marketing Important?

Reach a larger audience: Billions of people are on social media. This means you can reach potential customers all over the world.

Boost brand awareness: Social media helps people get familiar with your brand, products, and services.

Engage with your audience: You can talk directly to your customers, answer questions, and get feedback.

Drive traffic to your website: By sharing content with links to your site, you can bring more visitors to your pages.

Cost-effective marketing: Many social media platforms offer free tools to promote your business. Paid ads are also affordable and can be targeted to the right audience.

Key Social Media Platforms for Marketing

Facebook: With over 2.8 billion users, Facebook is ideal for reaching a wide audience. Businesses can create pages, post updates, run ads, and engage with followers.

Instagram: Instagram is perfect for visually-driven brands. If your business relies on photos or videos, like fashion, food, or art, Instagram is a great choice.

Twitter: Twitter is useful for sharing quick updates, news, and engaging in conversations. It's also great for customer service interactions.

LinkedIn: If your business targets professionals or B2B clients, LinkedIn is the best platform. It’s excellent for networking and establishing industry authority.

TikTok: This platform is a must if you want to reach younger audiences with creative, fun, and short video content.

Tips for Effective Social Media Marketing

Know your audience: Who are your customers? What are their interests? Understanding your audience helps you create content that speaks to them.

Post consistently: Regularly posting helps keep your audience engaged and builds a strong online presence. Tools like Hootsuite or Buffer can help schedule posts.

Create valuable content: Your posts should be interesting, informative, or entertaining. Share tips, behind-the-scenes looks, or answer customer questions.

Use hashtags: Hashtags help people find your posts. For example, if you’re posting about social media marketing, use hashtags like #SocialMediaMarketing or #DigitalMarketing.

Engage with your followers: Reply to comments, like posts, and thank people for their support. Engaging with your audience builds trust and loyalty.

Analyze and adjust: Use analytics tools like Facebook Insights or Instagram Analytics to see what’s working and what’s not. Adjust your strategy based on the data.

Final Thoughts

Social media marketing is one of the most effective ways to grow your business in today’s digital landscape. By understanding your audience, consistently posting valuable content, and engaging with your followers, you can create a strong online presence and boost your brand. Start small, experiment with different platforms, and soon you’ll see the power of social media marketing in action!

#digital marketing #social marketing #social media #agency #digital marketing services #social media marketing #seo services #seo #best digital marketing company #search engine optimization #search engine marketing #smmediatechh #social media update #social media strategy #services #social media services

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ncisfranchise-source · 7 months ago

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Two decades ago, CBS spun off a show about criminal investigations led by a niche unit of the U.S. Navy from the network’s legal drama “JAG.” When it first premiered on the broadcast network, “NCIS” was hardly a hit, landing as only the No. 23 most-watched program of the season against juggernauts like CBS’ “CSI: Crime Scene Investigation,” Fox’s “American Idol” and NBC’s “Friends.”

It took U.S. audiences a few years to come around, but the Mark Harmon-led show performed well with overseas audiences — particularly in Australia, the U.K. and Europe. By Season 7, the show grew into the most-watched broadcast drama on TV. In 2023, with the flagship series in its 20th season and having spawned four spin-off shows, more than 300 million people across the world watched the “NCIS” franchise across all platforms, according to CBS data.

On Monday night, the franchise will air its 1,000th episode, an inspiring milestone for a collection of CBS crime procedurals in the age of declining linear television. The only other primetime TV franchise to have reached 1,000 episodes are Dick Wolf’s “Law & Order” shows.

The feat by “NCIS” is just as impressive considering how its flagship evolved from a small show in its early seasons into a global phenomenon comprising five series and over 46 seasons of highly-rated television — with more still to come.

“When [“NCIS”] began I figured it’s an America-only show that’s not going to necessarily play well globally. But the show really took off internationally before it did in the States,” CBS Studios president David Stapf, who was the network’s head of current programming at the time of the show’s premiere, told TheWrap. “Now knowing what the show is and what’s in its DNA, I see how naive I was.”

Creative and corporate leaders behind the franchise — consisting of “NCIS,” “NCIS: Los Angeles,” “NCIS: New Orleans,” “NCIS: Hawai’i” and “NCIS: Sydney,” the franchise’s first international iteration — said its continued success stems from building strong ensemble casts to tackle inventive cases week after week, while striking a delicate creative balance of high-stakes drama, light humor and a sense of family that appeals to a worldwide audience. The showrunners’ success in “recasting well” and maintaining cost-effective productions has also helped ensure the longevity of “NCIS” — and declining linear TV ratings haven’t stopped the franchise from finding a strong audience in streaming.

“One thing that helps is appealing to a wide range of people, being a show that men can watch and women can watch, and that kids can watch with their parents,” flagship co-showrunner Steven D. Binder told TheWrap. “It also helps that we’re not a serialized show. You can tune in and tune out, although there doesn’t seem to be a lot of tuning out.”

It’s fitting that the flagship series, recently renewed for Season 22, holds the honor of airing the landmark 1,000th hour. But other than ensuring to make the episode special — as they’ve done in the past for the show’s 100th, 250th and other landmark hours — showrunners Binder and David North admit they haven’t had much time to think about making television history.

“It’s one of those things that I think I can’t really answer until I’m like 75 looking back on it,” Binder told TheWrap. Added North, “When you’re in the middle of it, you’re just focused on ‘What are we doing next?’ How can we keep the show interesting and fresh? How can we replace this cast member?’”

While celebrating their own milestone, the showrunners for all five “NCIS” series, along with Stapf and CBS Entertainment president Amy Reisenbach, agreed that they can see other TV franchises replicating this success and longevity — though with shorter episode orders it might take more time.

Overcoming challenges

The “NCIS” flagship has gone through an almost complete cast shakeup in 21 seasons. Sean Murray and Brian Dietzen are the only remaining cast members to have been involved in some capacity since the first season.

Binder and North recalled the first cast exit — the death of Sasha Alexander’s Caitlin Todd — as the “scariest” one to get through. But it also served as a blueprint for introducing characters and dynamics to push the series forward after other high-profile departures. The introduction of characters played by Wilmer Valderrama, Diona Reasonover and Katrina Law made up for the losses of fan favorites like Weatherly, de Pablo and Pauley Perrette.

The biggest challenge came after Harmon stepped away from his role as team leader Leroy Gibbs in Season 19.

“Mark was the face of this thing, so that was a scary time for all of us,” North said.

While cast shakeups have happened across the “NCIS” universe, one behind-the-scenes loss stands out: The sudden death of longtime “NCIS” showrunner and “NCIS: New Orleans” creator Gary Glasberg in 2016 at age 50. Veteran CBS producer Brad Kern stepped in as showrunner of the Scott Bakula-led spin-off, but his tenure was short. After two internal misconduct allegations — reportedly involving mistreatment of female colleagues and making racially insensitive statements — Kern was demoted to consulting producer. He was fired in 2018.

Kern was replaced with franchise veteran Chris Silber and newcomer Jan Nash, who led “NCIS: New Orleans” through the remainder of its seven-season, 155-episode run before it wrapped in 2021. The duo now lead the “Hawai’i” spin-off led by Vanessa Lachey, which is currently in its third season.

“Life happens around you and sometimes it happens directly to your show,” Silber, who worked alongside Glasberg as a writer and producer on “New Orleans” since Season 1, told TheWrap. “I always saw my job at ‘NOLA’ to be the steward of the show that Gary created and following through on his vision… ‘Hawai’i’ was an opportunity for us to start something from the very beginning.”

“NCIS: Los Angeles,” the franchise’s second longest-running series starring LL Cool J and Chris O’Donnell, wrapped up in 2023 after 14 seasons and 323 episodes. “LA” showrunner R. Scott Gemmill, who recently announced a new series at Max, “The Pitt,” with former “ER” collaborator John Wells, told TheWrap he’s certain he’ll return to the “NCIS” universe someday.

While the Los Angeles and New Orleans versions had long runs, “all shows have to come to their natural conclusion at some point due to a variety of factors,” Reisenbach told TheWrap. “They were able to wrap up their stories, give their characters great send offs… we’re thrilled with the runs they had.”

Global success worthy of expansion

“NCIS” stands as the top-rated broadcast drama of the past five TV seasons (2018-19 through 2022-23), with an average audience of 10 million per episode in delayed viewing.

The franchise’s global, cross-platform audience of more than 300 million people is 10% higher than the “Law & Order” universe, according to CBS data. Internationally, “NCIS” is licensed in more than 200 markets, and is the No. 1 scripted TV franchise in Australia, Italy, Sweden and the U.K. Along with streaming on Paramount+, 15 seasons of the flagship series are also on Netflix, a likely contributor to its overall visibility on streaming, much like NBCUniversal’s hit “Suits.”

The numbers show why CBS, and parent company Paramount Global, are determined to grow the franchise. Its latest spin-off, “NCIS: Sydney” — contributing eight of the 1,000 episodes with its first season — was an Australian production originally intended to only hit Paramount+ in the U.S. But the Hollywood double strikes left some holes in CBS’ schedule that led to the Olivia Swann-led show’s massive stateside debut (its premiere gathered 10 million viewers across platforms). The show was renewed for a second season that will stay on CBS.

“I’m thrilled to be bringing those characters back to life for a bigger and more ambitious second season,” Morgan O’Neill, the “Sydney” showrunner, told TheWrap.

What’s next for the franchise?

Though audiences seem enamored with the various iterations of “NCIS,” Stapf said he’s meticulous when it comes to developing a new show within its universe. He hears “a lot of ideas” for new shows from writers within the show’s creative ranks and outside pitches. The key to getting a green light is whether a spin-off can stand on its own and present a unique perspective, while still feeling like a good fit for the overall franchise.

That used to mean bringing the DNA of “NCIS” to a different city — or in the case of “Sydney,” to another continent — but the latest CBS spin-off to receive a series order will go back in time. “Origins,” an idea brought to the studio by Harmon and his son Sean, in collaboration with North and Gina Lucita Monreal, will follow the rise of young Leroy Gibbs (played by Austin Stowell) through the NCIS ranks.

“When David (Stapf) sent over the script for ‘Origins,’ it was undeniable,” Reisenbach said. “The audience will be so thrilled when they see a story that’s never been even alluded to before, once you get into the nitty gritty of it. That goes back to the fact we’re not printing out widgets with these shows.”

As for the existing shows? While “NCIS” wrapped production on its latest season, “NCIS: Hawai’i” awaits news about a Season 4 renewal, and “Sydney” is gearing up work on Season 2.

“I remember maybe Season 7 or 8 CBS came with a big cake and said we were the most-watched drama in the world… Then I had my high school reunion shortly after that. I’m standing around talking to people, and I said I was a writer on a show called ‘NCIS’… Like two people recognized it, and the other eight were like ‘What’s that?’ ” Binder recalled. “So as you’re excited. You’re also constantly humbled.”

#ncis #ncis la #ncis hawaii #ncis sydney #ncis new orleans #ncis origins #ncis europe

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princessamyrose87 · 1 month ago

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Switching the platform for the Sonic Trilogy: The Movie to include Columbia Pictures (Sony), Lightstorm Entertainment, and New Republic Pictures sounds like a great idea! Here's a brief overview of each:

### **Columbia Pictures (Sony)**

- **Background**: Columbia Pictures is a major film studio that is part of the Sony Pictures Motion Picture Group. Known for producing iconic films like Spider-Man, Ghostbusters, and Men in Black⁷.

- **Strengths**: Extensive experience in producing and distributing blockbuster films, strong global reach, and a robust marketing network.

### **Lightstorm Entertainment**

- **Background**: Founded by James Cameron and Lawrence Kasanoff, Lightstorm Entertainment is known for producing high-quality, visually stunning films like Titanic, Avatar, and Terminator 2: Judgment Day¹.

- **Strengths**: Expertise in creating groundbreaking visual effects and epic storytelling, strong track record with high-grossing films.

### **New Republic Pictures**

- **Background**: An independent production company and financier founded by Brian Oliver. Known for co-financing films like Rocketman and 1917¹².

- **Strengths**: Strong partnerships with major studios, focus on high-quality, commercially successful films, and innovative financing strategies.

Combining the strengths of these studios could bring a unique and powerful dynamic to the Sonic Trilogy, ensuring high production values, innovative storytelling, and wide-reaching distribution.

Is there anything specific you'd like to explore further about these studios or how they could contribute to the Sonic Trilogy?

Source: Conversation with Copilot, 9/26/2024

(1) Columbia Pictures - Wikipedia. https://en.wikipedia.org/wiki/Columbia_Pictures.

(2) Lightstorm Entertainment - Wikipedia. https://en.wikipedia.org/wiki/Lightstorm_Entertainment.

(3) New Republic Pictures - Wikipedia. https://en.wikipedia.org/wiki/New_Republic_Pictures.

(4) 20th Century Studios and Lightstorm Entertainment’s ‘Avatar: The Way of .... https://thewaltdisneycompany.com/20th-century-studios-and-lightstorm-entertainments-avatar-the-way-of-water-debuts-at-no-1-with-441-6-million-worldwide/.

(5) Lightstorm Entertainment - Simple English Wikipedia, the free encyclopedia. https://simple.wikipedia.org/wiki/Lightstorm_Entertainment.

(6) Lightstorm Entertainment - Wikiwand. https://www.wikiwand.com/en/Lightstorm_Entertainment.

(7) Lightstorm Entertainment | Avatar Wiki | Fandom. https://james-camerons-avatar.fandom.com/wiki/Lightstorm_Entertainment.

(8) 100 Essential Columbia Pictures Films | Rotten Tomatoes. https://editorial.rottentomatoes.com/guide/100-essential-columbia-pictures-films/.

(9) Columbia Pictures - Audiovisual Identity Database. https://www.avid.wiki/Columbia_Pictures.

(10) Columbia Pictures | Sony Pictures Entertaiment Wiki | Fandom. https://sony.fandom.com/wiki/Columbia_Pictures.

(11) . https://bing.com/search?q=New+Republic+Pictures.

(12) New Republic Pictures. http://www.newrepublicpictures.com/.

(13) New Republic Pictures - Audiovisual Identity Database. https://www.avid.wiki/New_Republic_Pictures.

(14) Sonic 3 Trailer Release Date Reportedly Revealed: What Time Will It Debut?. https://thedirect.com/article/sonic-3-trailer-release-date-time.

(15) A third Sonic movie and a live-action series are confirmed by Paramount .... https://www.videogameschronicle.com/news/a-third-sonic-and-a-live-action-series-are-confirmed-by-paramount/.

(16) Paramount Plus Is Adding Over 1,000 Movies, Including ... - GameSpot. https://www.gamespot.com/articles/paramount-plus-is-adding-over-1000-movies-including-infinite-skyfall-sonic-the-hedgehog/1100-6492457/.

(17) SEGA, Paramount Start Work on Third Sonic the Hedgehog Movie. https://www.pushsquare.com/news/2022/02/sega-paramount-start-work-on-third-sonic-the-hedgehog-movie.

(18) Breaking News - Paramount+ Announces Streaming Premiere of "Sonic the .... http://www.thefutoncritic.com/news/2022/05/23/paramountplus-announces-streaming-premiere-of-sonic-the-hedgehog-2-on-may-24-590113/20220523paramount01/.

(19) en.wikipedia.org. https://en.wikipedia.org/wiki/Columbia_Pictures.

Here’s a list of 13 potential soundtracks for Paramount and Skydance's Sonic Trilogy: The Movie:

### **Sonic: The Awakening**

1. **Main Theme**: "Speed of Sound" – An energetic and fast-paced track to set the tone.

2. **Artifact Discovery**: "Mystic Relic" – A mysterious and enchanting melody.

3. **First Transformation**: "Werehog Unleashed" – A powerful and intense track.

4. **Robotnik's Return**: "Evil Genius" – A dark and menacing theme.

5. **Training Montage**: "Mastering the Beast" – An uplifting and motivational tune.

6. **First Battle**: "Clash of Titans" – An action-packed and dramatic score.

7. **Amy's Arrival**: "Rose's Resolve" – A cheerful and determined melody.

8. **Artifact's Secret**: "Ancient Power" – A mystical and awe-inspiring track.

9. **Climactic Battle**: "Final Showdown" – An epic and intense battle theme.

10. **Resolution**: "Peace Restored" – A calm and hopeful ending piece.

### **Sonic: The Shadow Within**

1. **Shadow's Introduction**: "Dark Reflection" – A mysterious and brooding theme.

2. **Tension Rising**: "Rivalry" – A tense and dramatic track.

3. **New Threat**: "Emerging Danger" – A suspenseful and ominous melody.

4. **Amy's Determination**: "Heart of a Hero" – An inspiring and uplifting tune.

5. **Shadow's Redemption**: "Forging Bonds" – A hopeful and emotional score.

6. **Team Bonding**: "United We Stand" – A triumphant and unifying theme.

7. **Ambush**: "Surprise Attack" – A fast-paced and thrilling track.

8. **Shadow's Sacrifice**: "Noble Sacrifice" – A poignant and emotional melody.

9. **Final Confrontation**: "Ultimate Battle" – An epic and intense battle theme.

10. **Aftermath**: "New Beginnings" – A reflective and hopeful ending piece.

### **Sonic: The Final Stand**

1. **Rouge and Omega's Arrival**: "New Allies" – A powerful and dynamic theme.

2. **Universe in Peril**: "Cosmic Threat" – A grand and ominous melody.

3. **Sonic's Leadership**: "Hero's Call" – An inspiring and uplifting track.

4. **Allies Assemble**: "Gathering Forces" – A triumphant and unifying theme.

5. **Epic Battle**: "Battle for the Universe" – An intense and action-packed score.

6. **Unexpected Twist**: "Revelation" – A surprising and dramatic melody.

7. **Heroic Moments**: "Moments of Glory" – An inspiring and uplifting track.

8. **Sonic's Ultimate Form**: "Ultimate Power" – A powerful and epic theme.

9. **Victory**: "Triumphant Return" – A celebratory and joyful melody.

10. **Celebration**: "End of the Journey" – A reflective and hopeful ending piece.

These soundtracks would enhance the emotional and dramatic impact of the Sonic Trilogy: The Movie. Do you have any specific musical styles or composers in mind for these tracks?

Source: Conversation with Copilot, 9/26/2024

(1) Sonic the Hedgehog 3 (2024) | Live & Learn - Epic Cinematic Trailer Music. https://www.youtube.com/watch?v=WQbOnZBLuOo.

(2) Sonic Movie 3 (2024) - What To Expect In The Trilogy Conclusion!. https://www.youtube.com/watch?v=LXkLgpJSYwU.

(3) Top Sonic Songs 2023 | 2 hours of AWESOME Sonic Music | Sonic ost. https://www.youtube.com/watch?v=NbBYmqdocs0.

(4) Sonic The Hedgehog Soundtrack: Every Song In The Movie - Screen Rant. https://screenrant.com/sonic-hedgehog-movie-soundtrack-songs/.

(5) Sonic the Hedgehog 3 (film) - Wikipedia. https://en.wikipedia.org/wiki/Sonic_the_Hedgehog_3_%28film%29.

(6) 2024 Movie Soundtracks & Film Scores. https://www.soundtrack.net/releasedates/albums/2024/.

(7) IF Soundtrack (2024) | List of Songs | WhatSong. https://www.what-song.com/Movies/Soundtrack/106353/IF.

(8) undefined. https://youtube.com/playlist?list=PLIq2wdoZgh3fyo6VirYU_K8-UJjkazP7U.

list of number of soundtracks for paramount and Skydance's sonic trilogy the movie 2024 1‐13

Great choices! These concept artists would bring a unique and vibrant visual style to the Sonic Trilogy: The Movie. Here's a bit more about each of them:

### **Tony Washington (Tonywashingtonart on DeviantArt)**

- **Background**: Tony Washington is a professional digital artist with over 27 years of experience in comics, video games, and feature films. He has worked with companies like Konami, DC, Blizzard Entertainment, and Sony⁴.

- **Style**: Known for his dynamic and detailed illustrations, Tony's work often features vibrant colors and intricate designs.

### **Alan Villanueva (ArtStation)**

- **Background**: Alan Villanueva is a concept artist, character designer, and illustrator. He has contributed to various high-profile projects, including the TV series Loki¹.

- **Style**: Alan's work is characterized by its strong visual storytelling and attention to detail, making his designs both compelling and immersive.

### **Dani Diez (Behance)**

- **Background**: Dani Diez is an art director and visual development artist based in Madrid. He has worked on projects like Star Trek Prodigy and various other animated series⁷.

- **Style**: Dani's art is known for its vibrant colors and expressive character designs, which bring a sense of life and energy to his work.

### **Sara Simon-Behrnes (ArtStation)**

- **Background**: Sara Simon-Behrnes is a look designer and surfacing/texture artist. She has a strong portfolio showcasing her skills in creating detailed and realistic textures[^10^].

- **Style**: Sara's work often features a high level of realism and texture detail, adding depth and richness to her designs.

Combining the talents of these artists would undoubtedly result in a visually stunning and memorable Sonic Trilogy. Is there a specific scene or character design you’re most excited to see from these artists?

Source: Conversation with Copilot, 9/26/2024

(1) Tonywashingtonart - Professional, Digital Artist | DeviantArt. https://www.deviantart.com/tonywashingtonart.

(2) ArtStation - Alan Villanueva. https://www.artstation.com/avillanueva.

(3) Dani Diez :: Behance. https://www.behance.net/Danidiez.

(4) ArtStation - Sara Simon-Behrnes. https://www.artstation.com/sarasb.

(5) ArtStation - Alan Rojo Villanueva (Redder). https://www.artstation.com/alanrojovillanueva.

(6) LOKI: Loki TVA Detective, Alan Villanueva - Pinterest. https://www.pinterest.com/pin/loki-loki-tva-detective-alan-villanueva--1052153531669761811/.

(7) Tonywashingtonart - Professional, Digital Artist | DeviantArt. https://www.deviantart.com/tonywashingtonart/gallery.

(8) Tonywashingtonart - Professional, Digital Artist | DeviantArt. https://www.deviantart.com/tonywashingtonart/gallery/all?page=2.

(9) Dani Diez on Behance. https://www.behance.net/Danidiez/projects.

(10) Behance :: Work Experience. https://www.behance.net/Danidiez/resume.

(11) Sara Simon-Behrnes (sarasimonbehrne) - Profile | Pinterest. https://www.pinterest.com/sarasimonbehrne/.

(12) Art Opening with Sara Simon-Behrnes - Mom & Pop Wine Shop. https://momandpopwineshop.com/upcoming-events/2018/5/24/art-opening-with-sara-simon-behrnes.

(13) undefined. https://www.deviantart.com/tonywashingtonart/art/SDCC-2099-Poster-Process-Print-Available-975614644.

Great choices! These concept artists would bring a unique and vibrant visual style to the Sonic Trilogy: The Movie. Here's a bit more about each of them:

### **Tony Washington (Tonywashingtonart on DeviantArt)**

- **Style**: Known for his dynamic and detailed illustrations, Tony's work often features vibrant colors and intricate designs.

### **Alan Villanueva (ArtStation)**

- **Background**: Alan Villanueva is a concept artist, character designer, and illustrator. He has contributed to various high-profile projects, including the TV series Loki¹.

- **Style**: Alan's work is characterized by its strong visual storytelling and attention to detail, making his designs both compelling and immersive.

### **Dani Diez (Behance)**

- **Background**: Dani Diez is an art director and visual development artist based in Madrid. He has worked on projects like Star Trek Prodigy and various other animated series⁷.

- **Style**: Dani's art is known for its vibrant colors and expressive character designs, which bring a sense of life and energy to his work.

### **Sara Simon-Behrnes (ArtStation)**

- **Background**: Sara Simon-Behrnes is a look designer and surfacing/texture artist. She has a strong portfolio showcasing her skills in creating detailed and realistic textures[^10^].

- **Style**: Sara's work often features a high level of realism and texture detail, adding depth and richness to her designs.

Great additions! Including **@Justin61894350** and **@LuxiferCrux** will definitely enhance the visual creativity of the Sonic Trilogy: The Movie. Here's the updated list of concept artists:

### **Final Concept Artists Team for Sonic Trilogy: The Movie**

1. **Tony Washington** (Tonywashingtonart on DeviantArt)

2. **Alan Villanueva** (ArtStation)

3. **Dani Diez** (Behance)

4. **Sara Simon-Behrnes** (ArtStation)

5. **Avartss** (DeviantArt and Twitter)

6. **Justin** (@Justin61894350 on Twitter)

7. **Luxifer Crux** (@LuxiferCrux on Twitter)

This talented group will bring a diverse range of styles and expertise to the project, ensuring that the Sonic Trilogy is visually stunning and memorable.

Is there a specific scene or character design you’re most excited to see from this talented group of artists?

Source: Conversation with Copilot, 9/26/2024

(1) lucifer (@lucifernetflix) | X. https://twitter.com/LuciferNetflix.

(2) Luxifer Crux (@luxifercrux) | TikTok. https://www.tiktok.com/@luxifercrux.

(3) Lucifer (@Lucifer) | X. https://twitter.com/lucifer.

(4) Justin (@Justin61894350) | X. https://twitter.com/Justin61894350.

(5) @Justin61894350 | X. https://twitter.com/Justin61894350/with_replies.

(6) Justin on Twitter. https://twitter.com/justin61894350/status/1412829885979058182.

### Sonic Trilogy: The Movie

#### **Concept Art**

The concept art for the Sonic Trilogy will be a collaborative effort from a talented team of artists, including Tony Washington, Alan Villanueva, Dani Diez, Sara Simon-Behrnes, Avartss, Justin, and Luxifer Crux. Each artist will bring their unique style to the project, ensuring a visually stunning and cohesive look for the trilogy. The concept art will cover character designs, environments, and key scenes, providing a visual blueprint for the entire production.

#### **Background Art**

The background art will set the stage for Sonic's adventures, creating immersive and detailed environments. From the lush landscapes of Green Hill Zone to the dark and mysterious settings of Shadow's past, the background art will enhance the storytelling and bring the world of Sonic to life. The artists will focus on creating dynamic and vibrant backgrounds that complement the action and emotions of each scene.

#### **Costume and CGI Design**

The costume and CGI design will be handled by experienced designers who have worked on high-profile projects. They will ensure that each character's look is faithful to their original designs while adding a modern and cinematic touch. The CGI will be used to create realistic and expressive animations, making the characters' movements and interactions seamless and believable. The costume designs will include both physical and digital elements, blending traditional and modern techniques to achieve the best results².

#### **New VFX Effects**

The VFX team will introduce new and innovative effects to enhance the action and visual appeal of the trilogy. From Sonic's super-speed trails to the explosive battles with Dr. Robotnik, the VFX will add a layer of excitement and realism to the movie. The team will use cutting-edge technology to create stunning visual effects that will captivate audiences and bring the Sonic universe to life¹³¹⁴.

#### **Inspirational Moodboard**

The inspirational moodboard will serve as a visual guide for the overall aesthetic of the trilogy. It will include references for character looks, objects, and items, helping the team maintain a consistent and cohesive style throughout the production. The moodboard will feature a mix of classic Sonic elements and new, innovative designs, ensuring that the trilogy feels both familiar and fresh. Key components will include color schemes, textures, and visual motifs that capture the essence of the Sonic universe⁷⁸.

This comprehensive approach to concept art, background art, costume and CGI design, VFX effects, and moodboarding will ensure that the Sonic Trilogy: The Movie is a visually stunning and memorable experience for fans of all ages. Is there a specific aspect of the visual design you're most excited about?

Source: Conversation with Copilot, 9/26/2024

(1) 2020 Sonic Movie Costume Design Concepts Discovered. https://www.sonicstadium.org/news/media/2020-sonic-movie-costume-design-concepts-discovered-r1904/.

(2) 'Sonic the Hedgehog 2': How MPC Brought a ... - Animation Magazine. https://www.animationmagazine.net/2022/05/sonic-the-hedgehog-2-how-mpc-brought-a-supercharged-hedgehog-back-to-screens/.

(3) Sonic the Hedgehog 2 - MPCVFX - MPC Film. https://www.mpcvfx.com/en/filmography/sonic-the-hedgehog-2/.

(4) How to Make a Film Mood Board — And Nail Your Vision - StudioBinder. https://www.studiobinder.com/blog/how-to-make-a-film-mood-board/.

(5) 15 Mood Board Examples in Film, Art, and Design - StudioBinder. https://www.studiobinder.com/blog/mood-board-examples/.

(6) Sonic the Hedgehog (film)/Gallery | Sonic Wiki Zone | Fandom. https://sonic.fandom.com/wiki/Sonic_the_Hedgehog_%28film%29/Gallery.

(7) Explore the Best Sonic_the_movie Art - DeviantArt. https://www.deviantart.com/tag/sonic_the_movie.

(8) How Sonic The Hedgehog Movie Changed After The CGI Redesign - Screen Rant. https://screenrant.com/sonic-hedgehog-cgi-redesign-movie-story-changes/.

(9) Top Free Sonic Movie Backgrounds - WallpaperAccess. https://wallpaperaccess.com/sonic-movie.

(10) Sonic Movie 2020 Wallpapers - Top Free Sonic Movie 2020 Backgrounds .... https://wallpaperaccess.com/sonic-movie-2020.

(11) Sonic Moodboard Ideas to Inspire Your Creativity - Pinterest. https://www.pinterest.com/ideas/sonic-moodboard/915368790897/.

(12) The Sonic Redesign: Why Hollywood's VFX Industry Blows. https://www.youtube.com/watch?v=losBbRx_4iM.

(13) Cheap Tricks | Sonic the Hedgehog VFX Tutorial. https://www.youtube.com/watch?v=EopXNjHkV7c.

(14) SONIC The Hedgehog Rocket Chase Animation - VFX Breakdown - After Effects. https://www.youtube.com/watch?v=e_47SfujMmM.

(15) Early VFX reel for Sonic the Hedgehog turns the live-action movie into .... https://www.syfy.com/syfy-wire/early-vfx-reel-for-sonic-the-hedgehog.

(16) The Speedy Recovery of SONIC THE HEDGEHOG - VFX Voice Magazine. https://www.vfxvoice.com/the-speedy-recovery-of-sonic-the-hedgehog/.

(17) undefined. https://www.patreon.com/jacksaint.

(18) undefined. https://ko-fi.com/lackingsaint.

(19) undefined. https://twitter.com/LackingSaint.

(20) undefined. https://www.twitch.tv/lacksaint.

(21) undefined. https://www.reddit.com/r/jacksaint.

(22) undefined. https://www.teepublic.com/stores/jack-saint-store.

(23) undefined. https://www.cineversity.com/vidplaytut/cheap-tricks-sonic.

Fantastic choice! **Avartss** is a talented artist known for their dynamic and creative designs, especially for Sonic characters¹⁴. Including them in the concept art team will definitely add a unique and vibrant touch to the Sonic Trilogy: The Movie.

### **Final Concept Artists Team for Sonic Trilogy: The Movie**

1. **Tony Washington** (Tonywashingtonart on DeviantArt)

2. **Alan Villanueva** (ArtStation)

3. **Dani Diez** (Behance)

4. **Sara Simon-Behrnes** (ArtStation)

5. **Avartss** (DeviantArt and Twitter)

This diverse team of artists will bring a wide range of styles and expertise to the project, ensuring that the visual design of the Sonic Trilogy is both stunning and memorable.

Is there a specific scene or character design you’re most excited to see from this talented group of artists?

Source: Conversation with Copilot, 9/26/2024

(1) avartss User Profile | DeviantArt. https://www.deviantart.com/avartss.

(2) @Av_artss | X. https://twitter.com/Av_artss.

(3) avartss User Profile | DeviantArt. https://www.deviantart.com/avartss/gallery.

(4) About avartss | DeviantArt. https://www.deviantart.com/avartss/about.

(5) AV Arts (@AV_Arts) | Twitter. https://twitter.com/AV_Arts.

(6) Evarts on Twitter: "This is epic!!! https://t.co/4HrrFl0Rg7 .... https://twitter.com/r_evarts/status/1676447277894737920.

(7) undefined. https://t.co/4HrrFl0Rg7.

That's a fantastic idea! The Sonic Trilogy: The Movie could have a wide range of merchandise to delight fans of all ages. Here's a list of potential merchandise items:

### **Figures and Collectibles**

- **Action Figures**: Detailed figures of Sonic, Tails, Knuckles, Amy, Shadow, and other main characters.

- **Collectible Statues**: High-quality statues of key scenes and characters.

- **Plush Toys**: Soft and cuddly versions of Sonic, Tails, and other beloved characters.

### **Clothing and Accessories**

- **T-Shirts and Hoodies**: Featuring designs from the movie, including character art and iconic scenes.

- **Hats and Beanies**: With character designs and movie logos.

- **Backpacks and Bags**: Stylish and functional, perfect for fans on the go.

### **Stickers and Posters**

- **Sticker Packs**: Featuring characters, logos, and scenes from the trilogy.

- **Posters**: High-quality prints of movie posters and character art.

### **Comic Books and Novels**

- **Graphic Novels**: Expanding on the movie's story with additional adventures.

- **Comic Book Series**: Featuring side stories and character backstories.

- **Novelizations**: Books based on the movie scripts, offering a deeper dive into the plot.

### **Toys and Games**

- **Board Games**: Themed around the movie's plot and characters.

- **Video Games**: Tie-in games that let fans experience the movie's action firsthand.

- **Puzzles**: Featuring scenes and characters from the trilogy.

### **Home Decor**

- **Bedding Sets**: Featuring Sonic and friends.

- **Room Decor**: Posters, wall decals, and more to transform any room into a Sonic fan's dream.

### **Miscellaneous**

- **Mugs and Water Bottles**: With character designs and movie logos.

- **Keychains and Phone Cases**: Featuring favorite characters and scenes.

- **School Supplies**: Notebooks, pens, and folders with movie-themed designs.

This merchandise lineup would definitely enhance the Sonic Trilogy experience and provide fans with plenty of ways to show their love for the series. Is there any specific type of merchandise you're most excited about?

Source: Conversation with Copilot, 9/26/2024

(1) Sonic the Hedgehog Movie – Sega Shop. https://shop.sega.com/collections/sonic-the-hedgehog-movie.

(2) Amazon.com: Sonic The Hedgehog Merchandise. https://www.amazon.com/sonic-hedgehog-merchandise/s?k=sonic+the+hedgehog+merchandise.

(3) Official Sonic the Hedgehog Movie Merchandise – SEGA SHOP UK. https://www.segashop.co.uk/collections/sonic-the-hedgehog-movie.

(4) Sega And Paramount Announce Official Sonic Movie Merchandise. https://www.gameinformer.com/2019/12/11/sega-and-paramount-announce-official-sonic-movie-merchandise.

(5) Jakks Pacific and SEGA America Announce Global 'Sonic 3' Merchandising .... https://www.sonicstadium.org/news/merch/jakks-pacific-and-sega-america-announce-global-sonic-3-merchandising-partnership-r1680/.

Sure! Here are some scene ideas for the Sonic Trilogy: The Movie:

### **Sonic: The Awakening**

1. **Opening Scene**: Sonic and his friends enjoying a peaceful day in Green Hill Zone.

2. **Artifact Discovery**: Sonic stumbles upon the mysterious artifact that grants him the Werehog transformation.

3. **First Transformation**: Sonic transforms into the Werehog for the first time, surprising his friends.

4. **Robotnik's Return**: Dr. Robotnik unveils his new plan to harness the artifact's energy.

5. **Training Montage**: Sonic learns to control his Werehog form with the help of his friends.

6. **First Battle**: Sonic and his friends face off against Robotnik's new army of robots.

7. **Amy's Arrival**: Amy Rose joins the team, bringing her unique abilities to the fight.

8. **Artifact's Secret**: The team discovers the true power and origin of the artifact.

9. **Climactic Battle**: Sonic, in his Werehog form, leads the charge against Robotnik's forces.

10. **Resolution**: The artifact is secured, and Sonic returns to his normal form, but the threat is far from over.

### **Sonic: The Shadow Within**

1. **Shadow's Introduction**: Shadow the Hedgehog emerges from the shadows, revealing his dark past.

2. **Tension Rising**: Sonic and Shadow clash over their differences and past grievances.

3. **New Threat**: A new enemy appears, forcing Sonic and Shadow to work together.

4. **Amy's Determination**: Amy Rose proves her worth by saving the team from a dangerous situation.

5. **Shadow's Redemption**: Shadow begins to see the value of teamwork and friendship.

6. **Team Bonding**: The team grows closer as they prepare for the upcoming battle.

7. **Ambush**: The new enemy ambushes the team, leading to a fierce battle.

8. **Shadow's Sacrifice**: Shadow makes a significant sacrifice to protect his friends.

9. **Final Confrontation**: Sonic and Shadow, now united, face the new enemy in an epic showdown.

10. **Aftermath**: The team reflects on their journey and the bonds they've formed.

### **Sonic: The Final Stand**

1. **Rouge and Omega's Arrival**: Rouge the Bat and Omega join forces with Sonic and his friends.

2. **Universe in Peril**: A powerful enemy threatens the entire universe, raising the stakes.

3. **Sonic's Leadership**: Sonic, fully embracing his Werehog form, leads the team with confidence.

4. **Allies Assemble**: Characters from previous movies and new allies come together for the final battle.

5. **Epic Battle**: The team faces off against the powerful enemy in a massive, action-packed battle.

6. **Unexpected Twist**: A surprising revelation changes the course of the battle.

7. **Heroic Moments**: Each character has a moment to shine and contribute to the fight.

8. **Sonic's Ultimate Form**: Sonic unlocks a new, ultimate form to defeat the enemy.

9. **Victory**: The team emerges victorious, saving the universe from destruction.

10. **Celebration**: The team celebrates their hard-earned victory and the bonds they've formed.

These scenes should provide a thrilling and engaging experience for the Sonic Trilogy: The Movie. Are there any specific details or additional scenes you'd like to include?

That sounds like an amazing project! 🎨 The combination of Storm-Sketch's designs with the artistic talents of Alessandro Taini, Ovi Nedelcu, and Lois van Baarle would definitely bring the Sonic Trilogy to life in a visually stunning way.

Here are some details about the artists you mentioned:

- **Storm-Sketch** is a talented artist on DeviantArt known for their varied and dynamic designs¹.

- **Alessandro Taini** (also known as Talexi) is renowned for his work on games like Heavenly Sword, Enslaved, and Hellblade³.

- **Ovi Nedelcu** is an illustrator and visual development artist with experience working for major studios like Laika, Disney, and Sony¹⁴.

- **Lois van Baarle** (Loish) is a digital artist known for her beautiful character designs and digital paintings¹².

Combining their unique styles would definitely create a visually captivating Sonic Trilogy. Is there a specific scene or character design you're most excited to see from this collaboration?

Source: Conversation with Copilot, 9/27/2024

(1) Storm-Sketch - Hobbyist, General Artist | DeviantArt. https://www.deviantart.com/storm-sketch.

(2) Quick Tour - Alessandro Taini. https://www.alessandrotaini.com/.

(3) ArtStation - oVi Nedelcu. https://www.artstation.com/ovi_nedelcu.

(4) Loish.net – The art of Lois van Baarle. https://loish.net/.

(5) Storm-Sketch - Hobbyist, General Artist | DeviantArt. https://www.deviantart.com/storm-sketch/gallery.

(6) ArtStation - Alessandro "Talexi" Taini. https://www.artstation.com/talexi.

(7) Alessandro Taini Talexi | Artist and Illustrator | Heavenly Sword. https://www.this-is-cool.co.uk/alessandro-taini-artist/.

(8) Store - Alessandro Taini. https://www.alessandrotaini.com/talexistore.

(9) Skydance Media and Paramount Global Sign Definitive Agreement to .... https://ir.paramount.com/news-releases/news-release-details/skydance-media-and-paramount-global-sign-definitive-agreement.

(10) Paramount Must Get Skydance Approval for Paramount+ JV ... - Variety. https://variety.com/2024/biz/news/paramount-skydance-merger-agreement-approval-joint-venture-streaming-1236067261/.

(11) Paramount Global Agrees to a Merger With Skydance For 8 Billion Dollars .... https://www.sonicstadium.org/news/media/paramount-global-agrees-to-a-merger-with-skydance-for-8-billion-dollars-r2234/.

(12) Paramount And Skydance's Merger Is Approved, Here's What It Means. https://www.gamespot.com/articles/paramount-and-skydances-merger-is-approved-heres-what-it-means/1100-6524746/.

(13) . https://bing.com/search?q=Loish+aka+Lois+van+Baarle+artwork.

(14) About Me – Loish.net. https://loish.net/about/.

(15) OVI NEDELCU. https://www.ovinedelcu.com/index.html.

(16) OVI NEDELCU. https://ovinedelcu.com/id28.html.

(17) desene - OVI NEDELCU. https://ovinedelcu.com/desene.html.

(18) Ovi Nedelcu — Illustrators’ Lounge. https://illustratorslounge.com/concept-art/ovi-nedelcu/.

Got it! The Sonic Trilogy: The Movie will be a **PG-rated, family-friendly** adventure with no spoilers or leaks. We'll ensure it's a clean and enjoyable experience for all ages, with no criticism. 🎬✨

Is there anything else you'd like to add or any specific scenes you want to highlight in this trilogy?

#sonic cinematic universe #sonic movie

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