#Film Industry Regulations

[freepressjournals]

Tamil Film Industry to Pause Productions and Implement New Regulations from November

In a recent high-stakes meeting among key players in Tamil cinema, significant changes are on the horizon. The Tamil Film Producers Association (TFPC), in collaboration with the Tamil Nadu Theatre Owners Association, Tamil Nadu Multiplex Owners Association, and Tamil Nadu Film Distributors, has laid out a series of resolutions aimed at addressing the pressing issues within the industry.

Key Decisions from the Meeting:

OTT Release Window: Films starring major stars will now have an eight-week window between their theatrical release and their debut on OTT platforms. This new regulation aims to maximize the revenue potential from theatrical runs before films become available for streaming.

Actor and Technician Dues: A major concern is the practice of actors and technicians accepting advance payments from multiple production companies while failing to complete existing commitments. To mitigate financial losses for producers, actors and technicians are now required to finish ongoing projects before taking on new ones. Notably, producers are advised to consult the TFPC before beginning new projects involving actor Dhanush, who has been involved in such disputes.

Ceiling on Salaries and Production Costs: The industry has seen a surge in salaries and production costs, impacting overall budgets. The TFPC is working on new regulations to cap these expenses and bring more structure to film financing.

Temporary Suspension of New Shoots: To ensure a smooth transition to these new regulations, a temporary halt on the start of new films has been mandated from August 16, 2024. Current projects must be completed by October 30, 2024, with no new shoots commencing until the new rules are fully implemented.

Communication and Compliance: Producers are required to formally report ongoing film projects to the TFPC. This measure is intended to keep track of productions and enforce the new regulations effectively

Formation of Joint Action Committee: A new committee comprising producers, distributors, and theatre owners will oversee the implementation of these resolutions and address future industry issues.

These sweeping changes come in response to ongoing challenges in Tamil cinema, including financial mismanagement and escalating production costs. The industry has faced similar shutdowns in the past, such as the 2018 strike over revenue sharing issues. This time, however, the focus is on regulating actor and technician conduct, and the industry awaits the reactions from those directly affected by these new rules.

As the TFPC gears up for these significant shifts, it will be crucial to see how these regulations impact the Tamil film industry and whether they effectively address the concerns that have prompted this decisive action.

[frozenartscapes]

I've always maintained that AI could be a useful TOOL if it is used appropriately and responsibly. No one likes writing little product descriptions for websites, so a chatbot could help get you started. Or how many times has an artist had an idea in their head but just cannot find the reference images needed to get it started? Imaging AI could help create that. But the important thing is that whatever AI produces isn't taken as the final product. It is there to assist, not outcompete. (Especially Art AI, since we're still at that stage where it is blatantly ripping off actual artwork. If artists get in trouble for plagiarizing someone else's work by just reproducing/doing something obviously similar, then that logic should also extend to AI.)

Right now AI is being billed as "the thing that will replace artists" by both sides of the argument. People against AI see it as the ultimate evil, sent out to obliterate creativity as we know it. People for AI see it as a godsend that will not only free up time and money, but will also raise "untalented" people up to the same level as artists who have trained for years in their craft. Both of these thoughts are extremes, yes, however one is maintained by the current ruling class (the bosses, managers, CEOs, etc.) and the other by those immediately affected by the changes - the ones losing their jobs to AI, or being told to use it despite the moral grey area around it. Everyone else falls in the middle somewhere, and unfortunately, the pro-AI side is very good at gently convincing people that it is for the best. It's hard to get people to see the problem when they can immediately benefit from the new system. Because now suddenly everyone can immediately whip up their own artwork, or have a bot write a paper for them. It's like any new technology: it makes their lives easier, so what's the problem?

I'm going to use an example a little closer to our time period: photography. There was a huge push back against digital photography when it was first introduced. Many famous photographers flat out refused to use digital cameras. Film was regarded as the highest standard, while digital was something "lesser" and mundane. Which...is kind of true. Film photography requires a higher skill level. Not just on the developing end, but also in general maintenance, and the actual photo taking. With a digital camera, you've essentially got an infinite number of chances to take the perfect shot. You can fuck up the exposure, or the shutter speed, or the composition any number of times and try again with no consequence. But with film, you've got as many tries as the film you've got with you. If you fuck up, then you've missed the shot. It is an unforgiving hobby if you don't know what you're doing, which is why people actually needed to learn the basics of what makes a good photo.

But that was just shooting raw. Editing is where we really get into the debate. Film could be edited, but that required even more skill. That was limited to only the most professional of photographers - the ones with actual darkrooms and proper knowledge of how different levels of exposure can change the final developed photo. For most people, photo editing and manipulation wasn't possible until a fun little program took over the digital scene: Photoshop.

Photoshop changed everything about photography. And digital art, too. It affected so much it literally became the term for manipulating digital images. You don't say "photo edited" - you say "Photoshopped". Between Photoshop and the constantly improving digital camera market, film photography quickly fell away to obscurity. Of course, film photography is still a thing, but it is not seen as industry standard anymore. It is a niche, a hobby, largely due to its difficult-to-enter nature. Digital photography, on the other hand, is much more accessible. Nearly every camera produced - including the ones from famous film brands like Hasselblad, Leica, Fujifilm, Kodak - is digital. And Photoshop elevated everyone's skills in the editing front.

Photoshop was never created to be a malicious program, designed to put film photographers out of work. It was created to make their lives easier. And the lives of anyone interested in photography. And it does make things easier, again combined with the forgiving nature of digital photography. It was a useful TOOL there to improve people's creativity and expression.

But there were some drawbacks. It was expensive. And it was difficult to use. There was still a learning curve to using Photoshop that limited its effectiveness for some people. And it still does. I went to photography school for two years and I still don't know all the ins and outs of Photoshop. It is a scary, complicated program that (now more than ever) costs an arm and a leg so for most people, it is still inaccessible. That's why we're not seeing a new shift to people using their phones to take most of their photos, and to do most of their editing. At least, for the general population.

But there is a cautionary tale with Photoshop, and Adobe specifically. And this is something to think about for AI, as well. Adobe recent came under fire for discreetly changing their user policy to add a clause that they (Adobe) are allowed to use any work created with any of their programs for whatever they want - which, in this instance, is largely for AI training. Oh, they don't own the work (yet) but they can just use it... And not credit the artist. And because Adobe and Photoshop have so deeply ingrained themselves within the industry, no one can do a damn thing about it. Some artists are switching, but all of the major studios and companies won't. It would be way too much work to find something new and retrain thousands of workers. Plus, because of how aggressive Adobe is about cornering its market, most similar programs just don't cut it compared to the power of Adobe's software. Think about .pdf files. How many people use them for documents? How many industries use them? They are literally the file-sharing format for most government agencies and corporations. And they are an Adobe product. Think about the implications there. Maybe the Internet Elders remember how greatly things changed once Adobe no longer supported Flash - now imagine if they ever decided to change up .pdfs.

My main concern with AI is where it will go from here, in the next decade or so. AI may not be like a giant, incredibly faulty and dangerous weaving machine being rolled out in a textile factory to speed up production. AI won't literally rip children apart when it breaks and needs fixing. But AI is still slotting into that roll in the modern workforce: it is a new machine that can do its tasks faster than a human can (whether or not it is better is up for debate). Take a look at manufacturing now - machines are here to stay. As is AI. Like it or not, it's here. However, how we move forward is important, and right now we are setting things up on very shaky foundation. AI is currently on track to replace a lot of creative jobs. Writers, graphic designers, artists, photographers, etc. And right now, this is seen as a good thing by the corporate ruling class. For every job that can be done by AI instead of an actual human, then that is a salary they don't have to pay. Again, it doesn't have to be this way: AI can be used alongside these specialized trades to speed things up, and increase productivity. But a lot of people are already making the jump to "we'll just get the computer to do it".

Right now, it is so easy to do that. It is so easy for anyone with a computer to call themselves an artist. It is so easy for people to not study, to not think, and to rely on computers to do the tasks for them. Just like with digital photography, it has opened up a new creative avenue to a lot of people. But unlike digital photography, it takes far less skill and isn't as strictly paywalled. Yet.

Watch - in a few decades, once most people have given up actually training in creative fields and society has come to rely heavily on AI - once most actually skilled people have disappeared - that's when the price will go up. Like Photoshop and Adobe, once AI is the industry standard and commonplace in people's day-to-day lives, it will suddenly start to get expensive. AI is (mostly) free to use right now. It won't be. Not in a post-capitalist hellscape like ours. They'll start charging for it. Just a little, then a little more, then more. Then more. But people need it, so they'll keep paying for it. And rather than actual skilled people who have trained and studied and devoted their time and energy in order to produce things for other people, that money will go to some tech billionare's tenth yacht fund. It will go into a corporation's profit, which is an abstract number our current economic system dictates must always go up, regardless of the human sacrifice needed to make it so. They won't stop until they've squeezed every stone dry.

AI may not literally be a child-killing monstrosity of a machine rolled out onto a factory floor to replace skilled workers. But it has the potential to figuratively be one. Only in this instance, rather than ripping apart the small children forced to crawl inside to clear a stuck mechanism, it will rip apart people's desire to actually learn the skills it is replacing. And once it is the only game in town, there will be no going back.

anti-ai people need to understand that the opposition communists have to luddism and reactionary sentiment isn't like, a moral one. the main problem with luddism is that it doesn't actually work. like when we say 'we mustn't try to fight against technology itself, we need to fight against the social system that makes it so that advancement in technology and labour-saving devices lead to layoffs' the reason we're saying it is because, if you try fighting the technology, you're going to lose, and you're still going to lose your job too. when you say 'yeah i understand your criticism but I'm still going to fight against AI' you very clearly did not understand the criticism, because the point is that it isn't even in your own self-interest, because it will not work. the fact that, even if it did work, it would only mean maintaining a privileged strata of 'skilled labour' above other workers is secondary -- because, again, flatly resisting technological advancement has never worked in history.

[unteriors]

Since you're Australian, why are so many of the posts from the US? Did you start with Australia and then move onto other countries once you'd felt like you exhausted it? Or is the US particularly interesting for your purposes?

A big part of the reason is the enormous difference in scale. Australia has about 25 million people, versus 300 or so million in the US. Each of the 50 states has at least one or two major cities, most have many more than that. In addition to the volume of real estate imagery produced by this market, there are a few things about the US in this context which draw me in from an Australian perspective. One is how real estate listings weirdly embody how much more visually apparent the harmful economic forces of the past 50 years are in American society than they are here or elsewhere. Australia's welfare state was developed roughly during the same time as in the US, and has similarly been cut back since the 1970s. But it was always much weaker in the US than in Australia or Western Europe, and correspondingly the effects of its deterioration - along with other economic trends - have been much more visible than they are here. The way this is played out in terms of localised funding for public services means that many American cities have pockets (of varying sizes) where poverty and other forms of systemic oppression are concentrated and left open to the elements. The sort of stuff Jacob Holdt documented in his photos in the 70s, or that you see in a lot crime films and thrillers with location shooting. Gentrification and other forces since then have pushed these pockets into other areas and made some places seem less grim, but from what I've heard it seems like it would be hard for the average person in the US to ignore that these large, systemic problems exist. Conversely, in Australia, this kind of intense poverty has been pushed into the margins of society during the same time period - to remote communities (where people suffer from chronic diseases that have been eradicated in most other wealthy countries), country towns with shrinking economies, or to the fringes of larger cities (where people sleep in their cars in parking lots, or multiple families form sharehouses to afford $400-500+ pw rents). Though as things have gotten worse, particularly since COVID, it's getting harder to ignore. But still there's a substantial part of the population here who have grown up in ignorance of any of the larger, percolating structural problems in Australian society, and who proactively retain that ignorance into adulthood.

I think you can see these different perspectives play in out in real estate listings. In most American states, even in most of the towns I've looked at, you can see a broad spectrum of living conditions (and commercial interpretations of ideal living conditions) - from burnt out trailers, to overpriced renovated shitty older houses with cheap grey vinyl flooring and white walls, to clearly lived-in time capsules to McMansions to actual mansions. Some photographs are clearly shot by owners, others by real estate agents with a great variety of care and attention to detail (from elaborate staging to crime scenes). Rightly or wrongly, I feel like I get a broader, more honest (or at least more direct) feel for the housing crisis. It's a more honest horror film.

Australian listings, I think in part due to concentrations in corporate power in the real estate industry (similar to other monopolies that have formed in our economy), tend to more heavily adhere to the visual language of advertising and are more heavily regulated by agencies. The problems still exist, the housing market here is among the worst in the world and little effort is being made to address the underlying structural issues, but you can see the lack of will to acknowledge these issues in the level of gloss that's applied. You can look at a listing of an older house in Western Australia, for instance, and know for a fact that it's riddled with asbestos and probably has several other structural issues, but most likely enough time and effort will have been spent on staging and lighting and maybe surface-level renovations that it will seem otherwise fine. Lots of turds that have been polished successfully enough that you need insider knowledge to properly identify them as dogshit. Incidentally, I spent part of my childhood in a house built in the 1960s that had asbestos in the walls and ceiling.

I'm still interested in images from Australian listings (and other sources) though, I just look for other things that are interesting. Anything that runs contrary to the artificially positive, limited world view that advertising promotes. Even if its a poorly-lit time capsule that is directly aesthetically opposite to the ideal of house-beauty at the moment, or an obviously run-down house that has had every realtor photography trick in the playbook thrown at it until it becomes deeply uncanny. And it's always interesting to see what other people find interesting; I genuinely think the housing crisis underwrites every other political issue we have to contend with, its tendrils extend in many different directions, and I think this also means imagery like this can reach people in a diversity of ways. Aesthetically, nostalgically, inspiring fear and self-loathing and horror. All good sources of inspiration for creativity.

[desbianherstory]

Category: Woman (2022, dir. Phyllis Ellis). Stream here.

When 18-year-old South African runner Caster Semenya burst onto the world stage in 2009, her championship was not celebrated, but marred by doubt, her personal medical records leaked to the international media. The public scrutiny of her body, driven by racism and sexism, questioning the most fundamental right of who she is, a great champion. The International Amateur Athletics Federation (now World Athletics) then ruled that targeted female athletes must medically alter their healthy bodies in order to compete. Their naturally high androgen levels, 'deemed' a performance advantage. Category: Woman focuses on four remarkable athletes, from the Global South, forced out of competition by these regulations, the devastation to their bodies, and their lives. Equally arresting is their passion for sport is further emboldened by their conviction to stand up for their human rights. Following her award-winning film Toxic Beauty, filmmaker and Olympian Phyllis Ellis exposes an industry controlled by men putting women’s lives at risk while the policing of women’s bodies in sport remains, in a more nefarious way, under the guise of fair play.

Breaking from this blog's hiatus to post this in light of the racist bullying of Imane Khelif. I'd recommend everyone watch it (it's only 76 min) for an understanding of the issues at play - how the false, easily digestible narrative of "fairness" in fact means unfairness and racist mistreatment for these extraordinary women. Even the introduction is powerful:

"Some bodies are marked. The gender that goes unmarked as male. Women are maked in all the ways that they are different. The unmarked race is white. Some bodies that are black and brown and female have a particular kind of marking. These bodies are marked as insufficiently human. How do you castigate a category of people as insufficiently human? By throwing their gender into doubt."

Dutee Chand, India's first openly lesbian athlete is interviewed in this documentary about the racist mistreatment and scrutiny she received for these issues.

Please watch and spread!

[rainbowsky]

Has the competition for ranking in the domestic entertainment industry reached the Magnolia Awards?

Original Entertainment Management Studio 2024-06-01 06: 30 Beijing

On May 30, after the shortlist of the Magnolia Awards for the 29th Shanghai TV Festival was announced, not only "xx was nominated" but also "xxx was not nominated" caused heated discussion.

The controversy centered on the two awards of "TV King" and "TV Queen". Among them, among the nominations for best actor, there are Ding Yongdai of "South and North" and Wang Yang of "War of Faith". However, some netizens discovered that when the official lineup of "War of Faith" was announced, Wang Yang was ranked third as the leading star, while Wang Yibo, who was ranked first as the leading star, was not nominated. The topic #白Magnolia was nominated without Wang Yibo# became a hot search on Weibo.

The same situation happened in "South to North". When the official Weibo announced the cast, the first leading actor was Bai Jingting, and the second was Ding Yongdai. #Bai Jingting is not nominated for Magnolia Awards# also became a hot search.

In the eyes of some netizens, "No. 1" is equivalent to "protagonist", and "No. 2" and "No. 3" are supporting roles. So, is this "ranking" trend in the domestic entertainment industry really equivalent to the judging logic of Magnolia Awards?

How to apply for a Magnolia?

As one of the three major awards for Chinese TV dramas, the Magnolia Award has always been regarded as an "industry award" and represents the vane of the domestic TV industry. The annual Best Actor and Best Actress awards are the highest recognition of actors in the field of TV dramas, and have become the focus of attention of various actors and fans.

Under the official Weibo of the Shanghai TV Festival's announcement of the shortlist, you can see countless fans' Amway* copywriting. In addition to actors such as Hu Ge, Yang Zi, and Tang Yan who have been nominated, fans of artists whose related works have been nominated also want to "get involved" in this joyous occasion. For example, the variety show "The Heart-Stirring Offer 5" was nominated, and fans of He Junlin, one of the guests, also congratulated He Junlin in the comment section.

*RBS note - 'Amway' essentially means 'intense and over-the-top, cult-like'.

On the other hand, although "War of Faith" was nominated for multiple Magnolia Awards, fans of the lead actor Wang Yibo were not happy. In their view, when "War of Faith" was officially announced, Wang Yang was the "third" male supporting role, and Wang Yibo was the first male lead, but Wang Yang was submitted for "Best Actor" and was nominated. As a result, fans began to protest on a large scale under the relevant Weibo of Magnolia, the film company, and the producer.

The Yuli Studio read the "2024 29th Shanghai TV Festival Magnolia Award TV Series Category Regulations" and found that in principle, the male and female lead awards are filled in with 1 person each, that is, the first male and female lead. The first male and female lead must play a pivotal role in promoting the plot and have an indispensable and important role. If there are indeed multiple male or female leads, the maximum number of people to be filled in is 2, and both must occupy a relatively large part in the play.

2024 29th Shanghai TV Festival Magnolia Award TV Series Category Rules

A film producer told Yuli Studio that because the Magnolia Award has requirements for the role, the film producer will definitely nominate the two leading actors with the most roles, and will not select them according to the ranking, nor will there be a situation where the "second male lead" is not reported but the "first male lead". If there are really not enough places, supporting roles will be reported.

The case of "Flowers" can also prove this application logic. When the official Weibo of "Flowers" announced the lineup, the ranking of the three actresses was Ma Yili, Tang Yan and Xin Zhilei. But according to The Paper, when the "Flowers" film producer applied, he believed that the three actresses in the play were all heroines, and each of them was very outstanding, so he communicated with the organizing committee and registered all three. In the end, only Tang Yan was shortlisted for the best actress.

It can be inferred from this that Wang Yibo and Wang Yang are both the leading actors in "War of Faith" and are also the top two male actors with the most roles, so the film crew will also report these two actors when submitting. Similarly, the crew of "South to North" should also report the top two male actors with the most roles, Bai Jingting and Ding Yongdai.

On May 31, Nandu Entertainment reported that an insider said that the "War of Faith" crew did report Wang Yibo and Wang Yang for the best actor. Both Bai Jingting and Wang Yibo appeared in the second round of voting for the best actor of this year's Magnolia Award, but after the review vote, they did not enter the final shortlist.

At the same time, in terms of the submitter, the "2024 29th Shanghai TV Festival Magnolia Award TV Series Category Regulations" stipulate that the registration is by individuals or institutions that own the copyright of the program, and one party must be determined as the applicant. Generally speaking, the submitter is the first producer, that is, the video platform. So the submitter of "War of Faith" should be iQiyi.

However, even with the written rules and industry reports, fans don't seem to buy it.

Where did the controversy come from?

Judging from the protests of Wang Yibo's fans, the biggest controversy is that fans believe that Wei Ruolai, played by Wang Yibo in "War of Faith", is the absolute and only male lead. Whether it is investment promotion or popularity, it is all carried by Wang Yibo. Therefore, the film company should not submit the best actor for Wang Yang, who is the "third lead", and compete with the "first lead" Wang Yibo in the same award.

So, are the rankings recognized by fans consistent with the "leading role" recognized by the industry? In addition to the first leading actor on the official list, the "first lead" recognized by fans also includes whether the script content revolves around the only protagonist, whether the protagonist has the most scenes, whether the various trailers released spend the most time on the first lead, and whether the above recognition has been mentioned in the interview with the main creators, etc.

However, in the selection rules of the Magnolia Awards, it is mentioned that if there are indeed multiple male protagonists or multiple female protagonists, the maximum number of people to be reported is 2, and all must occupy a relatively large part in the play. It can be found that when the official Weibo of "War of Faith" announced the lineup, Wang Yang was one of the leading actors. Secondly, the plot synopsis of "War of Faith" also mentioned that Wei Ruolai's plot mainly unfolds after he meets Shen Tunan, and forms a control group with Shen Tunan. Therefore, whether it is the title or the plot, there is no problem for the film company to apply for the Magnolia Award for Wang Yang as the "leading actor". And since the Magnolia Awards officially announced the shortlist, it also means that Shen Tunan, played by Wang Yang, meets the Magnolia Award's "leading actor" standard.

War of Faith original casting announcement from 2023: Starring in the leading role: Wang Yibo, Starring in the leading role: Li Qin, Starring in the leading role: Wang Yang.

Judging from the list of winners of the Magnolia Award for Best Actor in previous years, Lei Jiayin, who won the 28th Shanghai TV Festival Magnolia Award for Best Actor for "The World", is not the only leading actor. Yu Hewei, who won the 27th Shanghai TV Festival Magnolia Award for Best Actor for "Awakening Age", is one of the protagonists, and was even ranked after Zhang Tong, who played Li Dazhao, when the official announcement was made.

The application of "Fang Hua" also proves that a drama can have multiple "protagonists". It can be seen that the "protagonist" standard recognized by the Magnolia Awards is not the same as the "ranking" standard in the minds of fans.

How do "the male protagonist" and "the female protagonist" influence creation ?

Therefore, the so-called "number one", absolute male protagonist and female protagonist are more of a self-entertainment statement of the fan circle, which is unprofessional and does not respect the rules of creation.

When the main creator is creating, if they are disturbed by the "male protagonist" and "female protagonist", the role will become to serve the actors rather than the plot and the characters. Under normal circumstances, the male and female protagonists and even the main supporting roles should have a complete growth line to show how their personalities are developed? What are the relationships between the characters around them? But if you blindly give way to the "male protagonist" and "female protagonist", other characters will lose their normal behavioral logic and become tools of "what the other party needs me to do, I will do", and the logic of the whole drama will collapse.

For example, "Changyue Jinming" was questioned by netizens that in order to set off the male protagonist, the female protagonist was arranged to fall in love with the male protagonist who had a "grudge against the extermination of the family", and the tragic female supporting role was also reduced to the "background board" of the love between the male and female protagonists, and was devalued by the protagonist as worthless; in order to make the male protagonist have a righteous aura, he, who was originally a villain and wanted to kill everyone, suddenly became a benevolent king in the middle of the series, and was criticized by the audience for his illogicality.

Secondly, the trend of "fighting for ranking" also forces the film producers to "perform" all kinds of fancy words when making official announcements in order not to offend artists and fans. For example, when Yu Zheng officially announced "Five Fortunes", in order to prevent all parties from tearing up the rankings, he designed a "Ferris wheel rotating ranking". This kind of effort that is not beneficial to creation is a practice of chasing "face" without looking at "inside" under helplessness.

It can be found that whether it is the past "Awakening Age", "The World", "Kuangbi", or 2024's "Flower" and "Celebrating Yu Nian 2", these hit dramas that have been authenticated by multiple data are not "big male lead" or "big female lead" dramas centered on one person, but "all members are on the table", triggering group portrait dramas that break the circle of discussion. At the New Wave Forum on "How to make a hit drama and a hit person", Sun Hongzhi, director of TV drama operations at Tencent Video, also mentioned that the industry's effective broadcast standards are user value, economic value and industry value. And these three types of value cannot be brought by "big male lead" or "big female lead" alone.

Essentially, the controversy is still the "disease" of the "rank cancer" in the domestic entertainment industry. People who are keen on "ranking" mistakenly equate the rank with the value of the actors, and regard the ranking as an important capital for business negotiations and rights protection. However, the rank is only the "face", and what is truly recognized by the industry or even passers-by is the "inside". The so-called "number one" and "only male and female protagonists" do not equal achievements, nor can they directly bring exposure, growth opportunities and business resources.

In this year's Magnolia Awards, Liu Lin, who was not nominated but was on the hot search, also "running with" for ten years. Under the entry #Liu Lin has been running with Baiyulan for ten years#, many netizens expressed their regret for her and mentioned her countless classic roles.

It can be found that although excellent actors have not been nominated, they have long been uncrowned kings in the hearts of the audience. As Liu Lin once said, "I am not in a hurry to be famous or popular, but I can still work diligently in the acting industry."

[girlactionfigure]

Resistance Banker: Walraven van Hall

$250 Million Heist

Walraven van Hall was a Dutch banker whose brains, bravery, and unwavering moral compass saved thousands of Jews and anti-Nazi resistance fighters during the German occupation of the Netherlands.

Walraven was born to a prominent Dutch family in Haarlem, the Netherlands, in 1906. The dream of his youth was to join the merchant marine and see the world, but because of poor eyesight his application was rejected. Instead Walraven moved to New York City, and with the help of his brother Gijs, a banker (and future mayor of Amsterdam), Walraven got a job on Wall Street. After learning the ropes of the banking industry, Walraven returned to the Netherlands and worked as a banker and stockbroker.

In 1940, Germany invaded the Netherlands. Among those affected by this calamitous event were families of merchant sailors who were unable to return home. Walraven and his brother Gijs created a fund to help these families pay their bills. The fund was guaranteed by the Dutch government-in-exile in London. 

It didn’t take long after occupying Holland for the Nazis to start enacting anti-Jewish regulations, taking away Dutch Jews’ most basic liberties and conscripting them into forced labor camps and later, death camps. (Ultimately, 75% of Dutch Jews were murdered by the Nazis.) As the persecution intensified, so did the anti-Nazi resistance movement. Walraven expanded his fund to support a wide range of resistance activities, with a particular emphasis on helping Dutch Jews. He tapped into his network of wealthy Dutch citizens to fundraise and quickly became known as the “banker to the resistance.”

For three years, Walraven funded the Dutch resistance, providing about $500 million (!) to save Jews and other victims of the Nazis. How did Walraven, with his brother’s help, raise such a massive amount of money? Incredibly, they obtained $250 million by robbing De Nederlandsche Bank (Dutch National Bank), the biggest bank heist in European history. The details of how they achieved this are complicated, involving multiple shell companies, fake documents, bureaucrats who were friendly to the cause, and cooperation between a wide network of resistance organizations. Walraven was known as the Olieman (Oilman) because his warmth and charisma lubricated the friction between various resistance groups and fighters. The rest of the money was supplied by donations and loans from generous Dutch people who were outraged by the Nazi atrocities taking place in their country.

The complete story of how Walraven raised so much money may never be known, but one of his tricks was falsifying bank bonds and exchanging them for real bonds, and then paper money. He did this right under the nose of bank president Rost van Tonningen, a prominent Nazi who collaborated with the German occupiers. The money Walraven collected was used to secretly house and support over 8000 Jews in hiding, conduct acts of sabotage against Nazi targets in Holland, and rescue captured Allied pilots.

In January 1945, Walraven was arrested by the Germans, along with seven other resistance fighters, in revenge for the death of a police commander. All eight were quickly executed without trial. Ironically, the Germans had no idea who Walraven was; they assumed he was just another resistance fighter rather than the banker and leader who made so much resistance activity possible.

Posthumously, Walraven received several honors including the Dutch Cross of Resistance and the U.S. Medal of Freedom. He was honored as Righteous Among the Nations by Israeli Holocaust Memorial Yad Vashem in 1978. However, Walraven’s brave deeds were not widely known until recently, possibly because powerful banks didn’t want people to know the secrets of how they were robbed.

In 2018, Dutch director Joram Lursen released “The Resistance Banker,” a feature film about Walraven van Hall that became one of the highest-grossing Dutch films of all time. Joram said in an interview with the Jewish Telegraph Agency (JTA), “When people think of the resistance.. they rarely think of the enormous amounts of money that it cost to keep this organization – the resistance – running.” He likened his film to a Hollywood action film, characterizing it as “easy to follow and full of suspense as a casino heist.” The film is available on Netflix.

For saving thousands of lives by funding the Dutch resistance to Nazi occupation, we honor Walraven van Hall as this week’s Thursday Hero.

[tameodesza]

꒰ modus operandi ₊　⠀᱖⠀⠀꒱

⋆⭒˚｡⋆ Pornstar!Shawn x Director!Bret ⋆⭒˚｡⋆

♡ Summary: Bret had worked a lot of odd jobs throughout his career, but he never thought his film degree would lead him to the set of a porno.

♡ a/n: This ended up being way longer than I expected, as always. AO3 link.

NSFW 🗣️🗣️🗣️

Bret was a seasoned film director in Hollywood. He’d worked numerous gigs throughout his career – commercials, sitcoms, low-budget indie films, and a short stint as a cameraman for some obscure wrestling federation in his younger years.

He’d done it all – or so he thought.

When an industry friend called one day asking him to direct a project on short notice, he wished he hadn’t broken his rule of not answering his landline on his day off.

He’d barely gotten the phone off the hook when he heard the distressed voice over the line. “Bret! Buddy! Need a huge favor. My director backed out last minute. Can you fill in?”

 “What happened to your guy?”

“Fucked off to Aruba. Something about his ex trying to serve him with child support papers. Now I’m out a director! Please, Bret. I promise it’ll be worth your while.”

“When?”

“Tomorrow.”

Bret leaned a shoulder against his cheap wallpaper, pinching the bridge of his nose. He should’ve hung up right then. But work had been a little slow for him lately, and with his bills piling up, it was unwise to turn down any work.

Bret hid his sigh as he asked, “What’s it for?”

-

Bret almost backed out of the project himself once he learned the details. But he couldn’t turn down the money. It was almost three times the amount he made on his last project. So after a day of briefing and understanding his requirements, Bret pulled up to a discreet film lot second-guessing his life choices.

Now, Bret had worked a lot of odd jobs throughout his career, but he never thought his film degree would lead him to the set of a porno.

Red leather couches, neon lights, and a lingering smell of sex greeted him as soon as he walked through the doors. He looked like a deer in headlights as his eyes scanned the room. He was far from modest, but he wasn’t sure what to expect working in such a lewd environment.

Then his eyes landed on the star of this project – Shawn Michaels.

Shawn was one of the most popular adult film stars on the scene. Many dubbed him as porn’s ‘Golden Boy,’ a name he earned due to his beauty, charm, and onscreen performance that left his viewers lusting for more. He was a hot commodity, but his success hadn’t come without sacrifice.

Despite his profession, Shawn, in fact, did not bareback his way to the top. The rumor spread like wildfire early in his career when people speculated on his quick rise in the business. With the amount of people Shawn came across promising him roles for a quick fuck, the idea wasn’t farfetched. But Shawn liked to believe he still had a sprinkle of morals left and turned down every offer.

Instead, it took working on a handful of crappy deals, unsafe work environments, and sketchy underground projects that probably never saw the light of day for him to catch the eye of some important people. Through rounds of networking, he managed to get signed to one of the top agencies in adult entertainment, Heartbreak Talent.

With his agency behind him, Shawn rose from the underground and began working on high profile projects with some of the most popular porn stars in the business. No longer was he meeting up in some dude’s moldy basement, but rather an actual set with regulations. He began pumping out quality content and selling his own merch on the side to make more money. When he began getting invitations to attend events put together for the top stars in the business, he knew he’d reached the upper echelon of adult entertainment.

Shawn sat in his makeup chair dressed in nothing but a white robe. He never understood the need to powder his face when all he was going to do was sweat it off. But he’d long given up on trying to understand the things they did.

He trailed his fingers through his styled hair to fluff it up a bit but came to a stop when he spotted Bret’s unfamiliar face in the mirror. Fit, tan, pretty eyes, and curly brown hair? The man was gorgeous, Shawn mentally declared as his eyes tracked Bret’s movement across the room.

Shawn almost mistook him for an actor with those looks, but soon realized the attractive man was the director. Shawn was accustomed to working with the same few directors, so it was a rarity to see someone new. And luckily for him, the beautiful man was directing the final scene of his project – a three-part series centered on Shawn banging the pizza guy.

“Delivery!”

Shawn smiled as his eyes shifted to the deep voiced man walking up behind him wearing a cheap shirt with a pizza logo in the center. It was his favorite co-star, Big Dick Diesel. Favorite because working with him always felt easy and they made a lot of money together with their onscreen chemistry.

Shawn snickered, tilting his head back to peer at the man. “Glad to see you got your lines memorized.”

“It’s easy when it’s my only line along with ‘You ordered an extra large?’”

They laughed quietly between themselves. “Yeah, I’m not expecting to win any Oscars with these cheesy lines. No pun intended.”

-

The sound of skin slapping, leather squeaking, and exaggerated moans filled the air as Diesel jackhammered his dick into Shawn’s ass. Shawn rested against Diesel’s chest, allowing his body to be used like a toy while his eyes flirted with the camera. He gave another loud moan and threw his head back when Diesel wrapped a hand around his cock.

“Yes, big daddy. Fuck me, fuck me! Don’t stop. Fuck!”

Shawn was in his element, and though much of his onscreen performance was an act, Diesel was one of few co-stars able to squeeze a real moan out of him. But as seamlessly as the shoot was going, something had been bothering the blond. And the source was the man behind the camera.

Shawn was used to directors praising him throughout scenes, commenting on how hot he was, how great his ass looked, or how good he took dick. It was a huge boost to his ego and encouraged him to pull out more tricks for the camera. But between sucking off Diesel and riding the man’s dick into oblivion, Shawn couldn’t help but notice how quiet the new director was.

Instead of ogling over Shawn, Bret kept a straight face, only speaking when directing Shawn and Diesel to change angles. It was strictly professional, something that Shawn wasn’t used to. It had him second-guessing his performance, wondering if Bret was too nice to tell him if he was ruining the shot.

After a final hard thrust, Diesel abruptly stilled, filling his condom with cum as Shawn continued to ride him through his climax. The blond came soon after, and Bret never felt more like a perv as held the shot on the cum oozing down Shawn’s dick.

Shawn ended the scene with his last line, “How’s that for a tip,” a dopey smile plastered on his face as he gave Diesel a kiss.

Bret was gone as soon as he yelled ‘cut’, robbing Shawn of seeing his beautiful face once more. Shawn sank back into Diesel, letting out a slow breath as the man lazily wrapped his arms around him. He squinted when Diesel pulled out, never getting used to dismounting the larger man.  

An assistant brought over a pair of robes, and after getting dressed they made plans to meet up at the bar later that night. Diesel was one of few people Shawn could fuck and go out drinking like nothing happened, something he cherish about their friendship.

Shawn was late to leave, choosing to freshen up at the studio since it was closer to the bar. Upon leaving the building, he was pleasantly surprised to find Bret standing on the curb waiting for his ride. Something told him to keep walking, especially because Bret seemed to be of few words. But that only made the blond that much more curious.

“Hey.” Shawn approached with a dazzling smile.

Bret was barely able to make eye contact. It felt odd having a normal conversation with the blond after seeing so much of him exposed. “Hey.”

There was a long pause that Bret didn’t seem likely to fill. Shawn shifted his feet in the awkward silence, pulling out a cigarette as a distraction. Before he could light it, he noticed Bret eyeing the stick. “You smoke?”

Bret averted his eyes. “Trying to kick the habit.”

“Oh.” Shawn swiftly put the cigarette back in the cartridge.

The conversation was drier than the Sahara desert, but that didn’t stop Shawn from shooting his shot. He moved closer to Bret, examining him with inquisitive eyes. He was cute, even cuter up close. “Have you acted before?”

Bret crinkled a brow. “No…why?”

“Oh, nothing. Just wondering why a pretty face like yours stays hidden behind the camera.”

Bret’s cheeks heated up, taken aback by the unexpected compliment. Shawn smirked, knowing he had Bret right where he wanted him.

But just then, Bret spotted his ride cruising up the street. He found his words, answering curtly, “I’m not interested in the spotlight.” Then he grabbed his camera bag, entering his brother’s brown Cadillac before it could come to a complete stop.

Shawn watched longingly as the car pulled off with even more interest in the mysterious director.

Bret eyed Shawn’s image in the rearview mirror with conflicting thoughts of his own. But his thoughts were interrupted when Owen asked blatantly, “So how’s the porn gig?”

Bret shifted his eyes from the mirror to Owen with a look of annoyance. “I really wish you wouldn’t call it that.”

“Pardon me. How’s the ‘adult entertainment’ gig?” Owen said with a shit-eating grin.

Bret sighed into his palm, wishing he hadn’t told Owen. He wanted to keep it under wraps, but with his car being in the shop, he had no choice but to let his nosy brother know why he suddenly needed a ride to an obscure location across town. The only comfort he had was knowing Owen would keep it to himself. Bret didn’t want to give his family another reason to clown him on his career choice. Though his parents were supportive, his siblings never believed he’d make it in Hollywood despite the success he’d had.

He answered flatly. “It’s a job.”

“Oh, it’s more than just a job-”

“Owen. Please. I don’t want to talk about it right now.”

“…You’re no fun.”

-

“Think he’s straight?” Shawn seriously asked after slamming his shot glass on the counter.

Diesel smiled into his drink, knowing the director had caught Shawn’s eye. He shrugged. “Don’t know. Makes it a whole lot more awkward he’s shooting gay porn if so.”

“He’s so cute,” Shawn blurted. Subtlety had never been his expertise. “It wouldn’t be fair if he’s straight.”

“Talk to him and find out then.”

“I tried. Getting a conversation out of him is like trying to squeeze water out of bread. It ain’t gonna happen.”

Diesel snorted. “Well, maybe that’s a good thing. You know the number one rule in the business. Never fall for y-”

“Your co-star, yes I know.” He’d learned that the hard way with Marty. “But no one ever said anything about the director, Dies.” Shawn gave a mischievous grin and Diesel could only shake his head as he ordered another drink.

-

Bret was asked (begged) to work on a few more projects, many of which starred Shawn. Apparently, the previous director was still on the run, and Bret’s impressive camerawork made him the top choice for a replacement.

When Shawn realized that Bret was directing more of his films, that began his mission to find any stupid excuse to talk to Bret. He likened the man to an old car’s engine. He just needed to be warmed up before running properly. They needed to get on speaking terms and he’d woo the man in no time.

He pulled out all the stops - asking Bret which angle he looked better in, asking Bret to roll the footage back after finishing a scene, and asking Bret of his opinion on outfits he should wear, even though there were stylists on set with more qualified opinions. 

The process was slow and steady. Bret remained standoffish for a while, finding Shawn’s chatty nature annoying at first. But with each attempt, it seemed that Shawn was able to get a bit more conversation out of the quiet director.

Shawn draped a robe around himself as he huddled closely to the monitor. He’d just finished up a scene with another top star, Hunter Helmsley, before making his way over to Bret. “Wow. My ass looks great.”

Bret glanced sideways at the blond, rolling his eyes with the shake of his head. He hadn’t known Shawn for long, but he was quick to learn of the blond’s self-obsession. Then he noticed Shawn’s sudden frown, his eyes laser focused on the screen. “What’s wrong?”

“Can you cut that in post?”

Bret scrunched his brows, looking back at the screen that showed Shawn on his knees blowing Hunter. “Why?”

“You don’t see that? The way my stomach folds there?” He pointed towards the bottom of the screen. “It’s unflattering.”

Bret looked closely, rewinding and pausing the video to make sure he hadn’t missed anything. Honestly, Shawn looked fine. But the look in Shawn’s eyes told Bret the blond didn’t feel the same. It was an eye-opening moment for him as he realized the confident blond struggled with the image of himself.

“Shawn, I promise you it looks fine.”

Shawn gave a doe-eyed look. “Really?”

“Yes. I wouldn’t lie to you.”

Shawn looked back at the screen, finding it hard to believe. But he believed Bret was being honest. He was too blunt not to be. “Ok. I trust your opinion. Thanks, Bret.”

-

Shawn’s a genius. He was sure of it when he thought of a plan to get Bret alone. His agency had asked for him to submit some updated promotional photos to use on their website, and Shawn knew just who to ask for help.

Bret grew suspicious when he pulled up to the ‘set location,’ which was nothing more than Shawn’s high-rise condo. His mind raced on the elevator ride up, clashing against the slow classical music that played around him, as he speculated over the real reason Shawn invited him to his home.

Bret first toyed with the idea of it being a setup. Maybe he was going to get robbed of his expensive camera equipment. But, no. Shawn didn’t seem like the type of person to do that. Then he wondered if he had the wrong address. But that couldn’t be when the concierge had expected his arrival and pointed him to the direction of Shawn’s suite.

Once the elevator dinged, he settled on Shawn’s request being legit. He was due for new pictures, and Bret was great with cameras. Of course the blond would ask for his help. He was psyching himself out for nothing.

But when Shawn answered the door with his signature smile and messy hair, scantily clad in a see-through white silk robe with his lingerie slightly visible beneath, Bret was unsure of the blond’s intentions.

“Don’t be shy. Come in.” Shawn opened the door wider and Bret’s nose was hit with the inviting smell of his expensive cologne.

Bret entered hesitantly, but his nerves settled upon seeing the white backdrop in Shawn’s living room. When Shawn rounded him after closing the door, Bret pointed to his attire and asked, “Is this for the photoshoot?”

Shawn smirked as he walked backwards, opening his robe to reveal the white lace thong underneath. “Of course. What else would it be for?” Bret chose not to answer.

It started out innocently enough with Bret directing Shawn to flattering poses before taking a picture. But Shawn was a natural and didn’t need much direction. He knew just what his viewers would want to see.

Things took a turn when Shawn began flirting with Bret in his not-so-subtle manner. “Hey, can you pull this down a bit?”

Bret was busy looking through the photos when he glanced up to see Shawn on his knees with backside facing him. Shawn had rid himself of his robe, leaving ass cheeks exposed in his thong. He threw his head over his shoulder, waiting for Bret to take the bait.

Bret’s breath hitched before swallowing spit down his dry throat. It was funny, really. He’d seen the blond naked so many times, and in more compromising positions than the one he was currently in. But it was something about being alone in Shawn’s home that seemed so…intimate? Inappropriate? Yeah, that was it.

Or maybe Bret was thinking on it too much. The photoshoot was for porn promotional photos. It’s nothing out of the norm given the circumstances.

Bret cleared his throat. “Sure.” He set down his camera then walked over and kneeled behind the blond, unaware of Shawn’s growing smile. He hooked his fingers in the waistband of the thin fabric. “How low?”

Shawn turned his head inches from Bret’s face. “Just below the crack. Gotta leave them wanting more, you know?”

Bret gulped audibly in their close proximity, his eyes flitting between Shawn’s eyes and his lips. He was toeing a dangerous line and needed to stop himself before crossing it. “Right.” He looked away and turned his attention back to Shawn’s thong, tugging it down to Shawn’s liking.

It was hard for Shawn to hide his disappointment when Bret walked back to his camera.

-

Diesel knew Shawn was down bad when the blond called him over to drink at his condo that night.

Shawn nursed a bottle of Hennessy as he moped, “I don’t think he’s gay!” You’d think someone cut off Shawn’s hair the way he was in hysterics.

Diesel chuckled, “Because he didn’t fuck you as soon as he walked in?”

“Exactly!”

“Maybe he’s a gentleman.”

“Or straight, like I said.” He took another swig.

Diesel should have been more compassionate, but he thought this was hilarious. Shawn always got whatever and whoever he wanted. Always. This was the first time Shawn was so verklempt over a man not fawning over him, and frankly, Diesel thought it was a humbling experience.

“Well, I don’t think you throwing yourself at him’s the answer. Look at how long it took for him to say more than a few words to you. You’ve gotta take it slow.”

“I’ll lose a race to a turtle if I go any slower.” He flopped on the side of his couch, whining in the cushion.

Diesel rolled his eyes at the dramatic blond.

-

Bret sat at his desk looking through the photos he’d taken. Shawn made it seem like he needed the photos urgently, so Bret wanted to make sure he had some good ones picked out of the batch. His finger hovered on the ‘next’ button when he came across a photo that brought a tender smile to his face. It was an off-guard photo he’d taken of Shawn as the blond pulled a piece of lint out of his hair. It was a softer image of Shawn, one that wasn’t full of the lust his company wanted, but one that spoke of an innocence behind those lustful eyes. Bret thought Shawn looked prettiest this way when he wasn’t trying to put on for the camera.

Though it wasn’t obvious to Shawn, Bret was dealing with his own conflicted feelings towards him. Bret met many beautiful people in his line of work, and none of them compared to Shawn. But he knew better than to dip his toe in the water when it came to talent. He’d seen many men and women get blackballed in Hollywood as a result of onset relationships that went wrong. Bret took his career too seriously to risk it.

But he’d be lying if he said his mood didn’t lift when Shawn spoke to him. Or that he didn’t miss Shawn’s presence when he worked on projects the blond wasn’t a part of. Even if Bret didn’t have much to say, he just liked listening to Shawn talk, the blond always having an interesting story to tell.

He’d smile whenever Shawn complimented him, even more so when Shawn would shout triumphantly at the fact that he was able to will away Bret’s signature frown. There were also the few times when Shawn brushed past him and sent a wave of butterflies in his stomach that he tried to ignore. But the butterflies would soon dissipate after yelling ‘action’ and filming Shawn fucking or getting fucked by other men.

Shawn was at the top of their business for a reason. He was a showman, putting on a performance that would leave anyone watching with envy. Bret knew himself well enough to know that a fling between them wouldn’t work. He was a jealous man, something he wasn’t proud of. And with Shawn’s line of work, it would be a tough pill to swallow watching the blond share his body with someone else.

Filming Shawn with his well-endowed screen partners, like Diesel and Hunter, didn’t make Bret feel any better when he wondered if he’d be able to please Shawn all the same.

Bret set down his camera, coming to the conclusion that he needed to keep the blond an arm’s length away for both of their sakes. But that was easier said than done.

-

As Bret predicted, working on set with Shawn became much more difficult once feelings got involved. No matter how much he told himself to ignore it, seeing Shawn being taken by a man, sometimes multiple men at once, was hard for Bret to stomach.

It became even tougher filming rough scenes where Bret couldn’t discern if Shawn’s pain was real or part of the act. It took a mental toll on Bret because he actually cared for the guy.

There came a point where it was too much and Bret had to intervene.

“Cut! Let’s reset, guys. The lighting’s off.” Truth was Bret needed an excuse to give Shawn a break from the abuse his body endured.

His skin raised in nasty welts across his chest from the whip his screen partner, Undertaker, had been using.

“You ok?” he asked Shawn who laid on a table, breathing heavily. He seemed out of it but gave a shaky smile.

“Nothing I can’t handle.”

But that wasn’t nearly as bad as the time Shawn struggled for air as his co-star, Razor Ramon, forced his mouth down on his cock as he came, ignoring Shawn’s frantic taps on his thigh.

Bret was close to stopping filming, but just as he moved, Razor pulled Shawn’s back head, causing the blond to cough up spit and cum that hadn’t made it down his throat. What was even more bizarre was the fact that those around him seemed unphased as if they were desensitized to the brutality of what happened to Shawn.

Bret called for someone to bring over a towel and he helped clean up Shawn’s face. “I’m fine, Bret.” His voice was rough with misuse.

“Are you sure?”

“Yeah.” He didn’t sound like it. But before Bret could further question him, Shawn grabbed a robe and left the room without another word. Bret was concerned but gave Shawn the space he clearly needed.

Bret waited for the room to clear out to address Razor. The man had just zipped up his duffle bag when Bret approached. “You nearly killed him, you know that?”

Razor turned around with a lifted brow. His accent was thick, toothpick hanging out of his mouth as he said, “Listen here, chico. I don’t tell you how to direct. So don’t tell me how to fuck. If you got a problem with it, go back to directing insurance commercials.”

He flicked his toothpick in Bret’s face before stalking out of the room.

-

Bret realized there was something more between him and Shawn when they began hanging out outside of work. It started as Shawn asking Bret to spot him at the gym the one time Diesel couldn’t come. Bret should’ve said no, especially with how complicated things were with Shawn. And with how left the photoshoot went, there was no telling what Shawn would pull out from his hat of tricks. But how could he turn Shawn down when begged him with those baby blues.

Surprisingly, they’d done just as Shawn asked – spotted him. Nothing more. So when Shawn began asking Bret to join him on other outings, he didn’t see any problems with it. If anything, Bret looked forward to it. It gave him a reason to get out the house and experience new things he probably wouldn’t have had it not been for Shawn, such as wine tastings and apple picking. It was something so pure about seeing Shawn get excited about finding the juiciest apple in the orchard.

Through these outings, Bret got to see a different side of Shawn that only those closest to him saw. He got to know him not as the Heartbreak agency’s sex symbol, but as Shawn the person.

Having Bret’s company meant more to Shawn than Bret could ever know. As much of a socialite as Shawn was, he had very few real friends. It could get lonely sometimes when everyone was too busy to hang out with him. But Bret always seemed to make time.

It was during a morning hike that Bret learned the most about Shawn.

They sat down at a picnic table, needing a break from their hike. Shawn chuckled as Bret tried to hide his exhaustion. He handed over his water bottle since Bret hadn’t brought his own. “Here. Drink up.” Bret cautiously eyed the bottle and Shawn said, “I promise I don’t have cooties. Scouts honor.”

Bret snorted and grabbed the bottle. He took a few sips and handed it back. “Thanks. I should’ve brought my own. Wasn’t expecting it to be so hot today.”

“Oh, please. This is nothing compared to Texas.”

“Texas?”

“The accent didn’t give it away?” Shawn snickered and took a sip of water. “I’m from Texas. Born and raised.”

“How’d you end up out here?”

“The same as most of us – the age old tale of dreaming to make it as an actor in Hollywood.” He turned his head, looking at the Hollywood sign in the distance. “Except it didn’t work out for me. Or maybe it did, depending on how you look at it. It takes a bit of acting skills to do porn, right?”

Bret had never given much thought to what Shawn did before porn, but he hadn’t expected to hear he was a struggling actor. “How’d you get into adult entertainment?”

“I was desperate for money. I’d managed to score a few commercials, but the pay didn’t even cover half of my bills. One day, I saw this ad asking for a nude male performer. I wasn’t entirely sure what the gig was for. Something about taking candid photos, but I didn’t care. I needed the 300 bucks.”

Bret’s eyes widened. “Only $300?!”

“Hey, I told you I was desperate!” Shawn laughed loudly. “If it makes it any better, they upped the pay to $500 when I agreed to have sex on camera.”

It didn’t make it any better. “And showing up to a random location for sex didn’t scare you?”

Shawn waved a flippant hand. “It was fine. The ladies were nice.”

“Ladies?”

Shawn curled a brow, entertained by Bret’s reaction. “Is that so shocking?”

“Kind of. I mean, I just thought you only did gay porn.”

“I did whatever paid the bills. It’s a shame, really.”

“There’s no shame in that.”

“You don’t think so?”

“No. You did what you needed to survive and have been fortunate enough to make a living out of it. You should be proud, Shawn.”

Bret expected that to put a smile on the blond’s face. But a somber mood came over Shawn as he looked away with a faraway look.

Shawn whispered, “If only my family thought the same.” The words left him quicker than he realized. “Sorry. Didn’t mean to get personal. Forget I said anything.”

“No, no, it’s ok.” Bret reached out a hand, breaking his arms-length rule as he placed his hand on Shawn’s shoulder. “Your family. Do they…are they not supportive?” He could relate with that.

Shawn gave a laugh that didn’t reach his eyes. “Nope…They disowned me. Dad wasn’t particularly happy to learn we had a porn star in the family.” He looked down at his hands, not wanting to see Bret’s pity.

“Oh, Shawn.” Bret rubbed his hand gently on Shawn’s shoulder in comfort. “How did they find out?”

Shawn sighed. “It’s embarrassing really. My dad’s neighbor called him over after finding a gay porn magazine under his son’s bed. I was on the cover, wearing nothing but a Christmas-themed G-string.”

Shawn had fond memories of that photoshoot. It was the first time he’d met Hunter, kickstarting their decade-long friendship. It just sucked that the memory was overshadowed by the events that followed.

“Once the secret was out, he cut off all ties with me. Said I was a cancer and needed to repent for my sins. Everyone else in the family followed suit and I haven’t spoken to them in nearly ten years.”

That was a hit to Bret’s chest. He couldn’t imagine the hurt Shawn had gone through. He had his battles with his own family, and he knew they’d have a lot of questions if they ever found out he directed porn. But he also knew his parents would never even consider disowning him. It bothered him that someone as bright as Shawn went through something so dark.

Bret scooted closer and said, “I’m so sorry you went through that, Shawn. You didn’t deserve that.”

Shawn struggled to believe that. He’d spent many years wondering why he couldn’t have gone for a normal job like his siblings. Wondering why he gave up so easily on acting when the going got tough. He brought his family so much embarrassment and shame, it was hard not to believe he deserved to get thrown out of the family. But Bret’s words brought him some comfort.

“Thanks, Bret.” He let out a breath, contemplating what he’d say next. “Since I’m being so honest, can I tell you something I haven’t told anybody else?”

“Of course.”

Shawn stalled. “I’m…I’ve been thinking about leaving the industry.” Bret’s eyes bulged at the announcement. “I know it’s crazy. Porn has done me a lot of good. It’s gotten me out of a rough place in my life and I’ll always be grateful. But,” Shawn sighed heavily.

Bret could practically feel the stress radiating off Shawn. “It’s taken its toll on you,” Bret finished for him.

Shawn looked relieved. “Exactly. I feel a little guilty saying it because I’m so lucky to be as successful as I am. But time is finite. Looks fade. And I don’t know how much longer I can depend on my appearance for money.”

Bret nodded. “That’s valid. What’s stopping you from making the jump?”

“I’m scared, Bret. I tried going the traditional route, working an honest job, but this is where it landed me. This lifestyle is all I’ve ever known. What if it’s the only thing I’m good for?”

Shawn’s eyes began to water, and Bret quickly soothed, “Hey. Hey listen to me. You’re worth so much more than this, Shawn. So much more. You’re the only one holding yourself back from making that leap. No one else is, but you. If you decide to stay in the industry, that’s fine. It doesn’t lower your worth as a person. But if you really want to leave, I will be here to support you 100%. I mean it.”

Shawn was touched, his eyes watering again from Bret’s kind words. He’d never had anyone put so much faith in him. He’d been afraid to tell his industry friends about his thoughts on leaving, knowing they’d selfishly want him to stay. And part of him thought Bret would feel the same way.

But the sincerity behind Bret’s words moved Shawn so much that he couldn’t help but kiss him in gratitude. The kiss was short, and Shawn was quick to pull away realizing what he’d done. “Shit. I’m sor-”

Bret placed a hand on the back of Shawn’s neck, pulling him into another kiss before he could finish. Bret shouldn’t be doing this. He really shouldn’t. It went against every rule of caution he set for himself. But he didn’t care that he was breaking the rules of professionalism. He didn’t care if Shawn would never be his. All he cared about was sharing this moment with a guy he’d grown to care about.

They were both breathless, eyes half-lidded when he pulled away. “I’ve been wanting to do that for some time.”

Shawn gave a bright smile as he internally celebrated. He couldn’t wait to rub it in Diesel’s face. “Me too.”

-

They hooked up as soon as they made it back to Shawn’s condo. The door had barely closed when Bret pinned Shawn against the door, liplocking with him until they both couldn’t breathe.

A trail of clothes was left on the way to Shawn’s bedroom, and they fell onto Shawn’s California king bed in a naked heap. If Bret was nervous about his performance, it didn’t show that night.

Shawn allowed Bret to take control, the blond responding positively to every intimate touch. Bret was so tender with him, something Shawn rarely experienced in his sex life. Every part of him was sensitive and for the first time in a while, sex didn’t feel like a job. He didn’t feel the need to perform or be over the top. He wasn’t having sex for millions of people to see, but for him and Bret only.

Every kiss, every moan, every plea for Bret to fuck him harder were all genuine. It was an intense moment for both of them, and they felt even more connected to each other when they came.

“I want to be with you.”

They both uttered those words at different times in the night – Shawn when Bret pinned him against the door, and Bret when Shawn laid on his chest dozing off in post-nut clarity.

-

Bonus (because idk when to stop writing lol):

🥀 Shawn doesn’t leave adult entertainment 100%. After getting with Bret, he cut out pornos entirely, but still participated in some semi-nude risqué photoshoots. He’d even posed in Playgirl one time. The crew tried so hard to get him naked, but Shawn wasn’t showing his dick to anyone but Bret. It was a good compromise. He could still show off his body but wasn’t getting fucked by other men. The money wasn’t as quick as Shawn was used to, but he still made a decent living.

🥀 The adjustment was harder for his peers more than it was for Shawn. They threw a big going away party and his friend Goldust pleaded for Shawn not to rob the world of ever seeing his perfect ass.

🥀 Shawn still got asked to make random appearances in videos, mainly by Goldust. They’d filmed many threesomes together, and the payday was always worth it. But he shut down every request as he didn’t want to risk anything with Bret.

🥀 Bret still directed porn here and there whenever his industry friend asked. But he eventually stopped when he received a short call from the man: “Hey. Our guy’s back. Turns out the kid wasn’t his. So he’ll be taking over the next project. Thanks for your help, Bret!”

🥀 Bret entertains the idea of him and Shawn making their own sextape. Surprisingly, Shawn was the hesitant one as he was no longer interested in having his intimate moments caught on camera. They tried it once, and watching the tape back made Shawn realize how hot they looked together

🥀 Out of all of Shawn’s filming partners, Bret thought Hunter was the oddest by far. Their scenes usually consisted of a mix between dad jokes and comedic sketches before blowing each other.

[a-silent-symphony]

"Things have always been ****ed up." How death, cancer and a whole pandemic helped make Yesterwynde the most optimistic Nightwish album yet

Tuomas Holopainen was a teenage misanthrope. Growing up in the small Finnish town of Kitee, he had the regulation all-black wardrobe and the soundtrack to match. “I did not use to be an optimistic person when I was younger,” he says. “I loved black metal and all that. But I started to come to the realisation that things have always been fucked up, but we’re still going for the better despite the horrible things that are going on in the world.”

We’re sitting in a suite in an upscale Berlin hotel, as mid-morning traffic flows along Potsdamer Platz several storeys below us. Literally as we talk, unthinkable things are happening all around the world: war, abuse, torture, murder, wilful destruction of the climate. The grim realities of humanity in 2024, basically.

But right here, right now, all that seems a long way away. Not because Nightwish’s keyboard player and band leader is in epic denial mode, but because his band’s 10th album, Yesterwynde, is charged with emotion: hope, beauty, positivity and, yes, optimism.

It’s an unexpected choice on more than one level. Aside from the rolling catastrophe that is the 21st century, Nightwish themselves have been battered by turmoil over the past few years. Their last album, 2020’s Human. :II: Nature., was released during the first, intense throes of the pandemic, scuppering their plans to tour it. When they did return to the road in May 2021, it was without longtime bassist Marko Hietala, who cited a mixture of long-standing depression and disillusion with the music industry for his decision to leave the band.

On a personal level, things have been no less turbulent. In 2022, singer Floor Jansen revealed that she had been diagnosed with breast cancer (she was given the all-clear following surgery). In June 2023, the singer – pregnant with her second child – collapsed with exhaustion following a Nightwish show in Finland, prompting the cancellation of two subsequent solo gigs. Amid all this, Tuomas’s father, Pentti Holopainen, passed away in 2021.

Other bands may have buckled under the battering of the last few years, but Nightwish – and specifically Tuomas as their chief songwriter – have taken a different path. Rather than wallowing in trauma, Yesterwynde pushes back against it. The 12-track album covers a lot of emotional ground across its 69 minutes, but the overwhelming sense is that, honestly, everything is going to be OK. “Yesterwynde has a very optimistic vibe to it,” says Tuomas. “It celebrates life and humanity and mortality. The important things.” 

Yesterwynde begins and ends with the sound of an old film projector starting up and winding down. It suggests a movie is playing out in between. What exactly that movie is, Tuomas Holopainen isn’t letting on. “It’s something different for everybody,” he says, smiling but evasive. Musically, Yesterwynde is everything we have come to expect from Nightwish, only more. One song, the hyper- dramatic An Ocean Of Strange Islands, features over 600 studio tracks and sounds like it. Another, The Children Of ’Ata, was inspired by the real-life story of a group of teens from Tonga stranded for 15 months on a remote island in the Pacific, and features five indigenous Tongan singers. Elsewhere, Yesterwynde features two separate choirs – one classical, one kids – and three different orchestras, all recorded in London’s prestigious Abbey Road Studios, naturally. There are no side-long epics – only two tracks, An Ocean Of Strange Islands and first single Perfume Of The Timeless, stretch beyond eight minutes – but it still feels bigger, bolder and more grandiose than anything else out there right now.

But amid the dramatic power and intricacy, there’s the emotional core that sets Nightwish apart from every corset-clad knock-off that has followed in their wake. That emotion is conveyed by both the music and Floor Jansen’s career-best vocal performance (as on the two other Nightwish albums she’s been involved in, the Dutch native is joined on singing duties by multi-instrumentalist/resident Brit Troy Donockley). Loss, grief, the existential fragility of humanity and the hope it inspires: it’s all there.

There’s one problem. Literally seconds before we step into the lift to go up to meet Tuomas, a rep for Nightwish’s label makes it clear that he will not talk about the death of his father. On the one hand, this is understandable, even admirable – privacy is a scarce commodity these days, and there’s something to be said for not laying everything out for public consumption. On the other, it’s frustrating – death and birth both play into the big, interlocking themes of Yesterwynde, namely the passage of time and the unfolding of history, and how both make us aware of our own mortality.

This is clearest of all on the album’s closing track, Lanternlight, a moving yet celebratory lament for those who are no longer with us. ‘Gone is the hurt, the wait / Gone is the warmth of day,’ Floor sings. And later: ‘To the meadows I go / I’ll be waiting for you.’ Tuomas won’t say whether it was inspired by the death of his father – “I lost something very dear to me a few years ago, and this song was born out of that emotion,” he offers opaquely – but it’s hard not to join the dots.

“The major theme of the album is time – going back in time, recognising your own mortality,” he says. “Connecting to the past.” The past seems appealing, given how shitty the world is at the moment. “Yeah, it is,” he concedes. “But it’s also incredibly good in many ways. And in many ways it’s better – the innovations of science and medicine, the child death rate... A small example: would you rather go to the dentist today or a hundred years ago? “I want to emphasise that I’m not immune to the bad stuff that’s going on in the world. I’m aware of it and I do everything I can to help. But I think it’s good for our mental state to recognise the good stuff. And I think that we have the chance as a species to survive and get together. That’s the core message, the essence, of Yesterwynde.”

Like so many things, Yesterwynde was born out of the pandemic. The seeds for the album were sown after the tour in support of Human. :II: Nature. was postponed due to Covid. “Suddenly I had nothing to do,” says Tuomas. “So I thought I’d better start writing songs for the next Nightwish album.”

For Floor, the experience of making her third Nightwish album was unlike that of making Human. :II: Nature. or its predecessor, 2015’s Endless Forms Most Beautiful. “It was different for me,” she says. “Not bad, not at all, but different.” It’s a few weeks after we met Tuomas in Berlin. We’re sitting backstage at Muziekgebouw, a concrete concert hall in the Dutch city of Eindhoven, where Floor is due to play a show in support of her 2023 solo album, Paragon, later this evening. She’s not alone: her eight-month-old baby daughter, Lucy, is here too, unknowingly sitting in on the interview and letting her mum know when she’s hungry.

Just like many things that emerged from the pandemic, Yesterwynde began in isolation. Tuomas began writing the songs at home in Finland while his bandmates were busy dealing with their own lives. The rest of Nightwish knew he was writing something, but they didn’t know what. “He didn’t email us saying, ‘This is what I’ve written today,’” says Floor. “He doesn’t like sharing snippets, he likes to share the whole thing. But we knew he was inspired.”

The first time Floor heard the new songs Tuomas had written was during Nightwish’s festival run in the summer of 2022, after touring had properly resumed. “Imagine us all gathered in a hotel room, everybody has brought a drink or two, or three, sometimes the minibar is emptied,” says Floor. “Tuomas would play us the music – we didn’t listen to all the songs at once, that would’ve been too much. He’d explain what the songs were about – he’d start off by telling us very little, letting the music speak for itself, but he’d start to go into the depths of what inspired him.”

At this stage, there were no vocals on the record, just piano melodies in their place. But Tuomas would sometimes sing along as the demo played. Floor made voice recordings on her phone to help her understand what the songs were about and ensure she could connect with the emotions in them. “I’m sure he hopes I never put them on the internet,” she says playfully.

Floor’s personal circumstances meant the recording process was different too. Her pregnancy meant she was unable to join the rest of the band at the campsite in Kitee they’ve used for several albums now to rehearse the songs for Yesterwynde. It also meant she recorded her vocals at home in Sweden, where she lives with her husband, Sabaton drummer Hannes Van Dahl (Tuomas was there for the sessions).

“I was pregnant, and before that there was the cancer, and then I had my baby and I was just really, really fucking tired, so I wasn’t there like I had been in the past,” she says. “The connection to the album is much less than it was before, because we haven’t been spending as much crazy time together as we usually would. That doesn’t mean I don’t give a shit – quite the opposite – but I’m still growing into what it means, and what it means to me.”

What song hit you the hardest the first time you heard it? “The last song on the album [Lanternlight] hit me the most,” she says. “When I heard that the first time – he explained what it was about, this song he wrote for his father – it went straight to my heart. It was so beautiful, even in demo form. I sat there crying.”

Even without the pandemic, the last few years have been a rollercoaster for Floor. There was her well-documented diagnosis with and subsequent recovery from breast cancer, followed by her pregnancy. It culminated in her collapse from exhaustion following a Nightwish show in June 2023, while pregnant (thankfully, both Floor and her unborn daughter were fine). Two solo shows were cancelled in the wake of the latter, though no one would have blamed her if she’d walked away from it all for good.

“No, no, I just had to quit for a couple of months,” she says, meaning the heavy workload. “Did I ever think of quitting for good? No, never.” Hearing her talk, it sounds like Floor is in a unique position: a key part of Yesterwynde, undoubtedly, but also someone with a little distance, who is still learning its deeper meanings. What does the album mean to her right now?

“To me, it’s a continuous awareness about the beauty of the planet we’re on and the positivity of us as a species. We get all this negative feedback about killing the planet and hurting each other, and all of that is unfortunately true. But there’s also a lot of beauty to it – humanity has achieved amazing things throughout history, and we should remind ourselves of that. That is sometimes forgotten in the speed of the life we live today.”

For all Yesterwynde’s against-the-grain optimism, Tuomas Holopainen is as aware as anyone of the grim realities of the world in 2024. That was brought home in the wake of Vladimir Putin’s illegal invasion of Ukraine in February 2022, when there were fears that Russia’s neighbour, Finland, could be next.

“Not fear, but an awareness,” he counters. “I haven’t felt afraid, not once, even though I live less than 10 kilometres from the Russian border. But we have such a good defence that he is not going to come after us.”

He seems equally unflappable when it comes to matters closer to his band. Earlier this year, original Nightwish singer Tarja Turunen – who was acrimoniously and very publicly fired from the band in 2005 – and former bassist Marko Hietala reunited to tour together and release a joint single, Left On Mars. If it feels like a slap in the face for Tuomas, he hides it well.

“Honestly, I don’t care at all,” he says. “It doesn’t move me in any direction that they have found each other. They can play and perform as many Nightwish songs as they want, it doesn’t bother me one bit.” Have you spoken to Marko since he left? ‘A couple of times.” Are you on good terms? "Yes. There’s no bad blood between us. His leaving was his decision. I was actually quite taken by the fact that in the first interview he gave after he left the band, he said, ‘Don’t anybody dare to put this on Tuomas. This was my decision.’”

You’ve talked about the passage of time. Do you miss the friendships you once had with Tarja and Marko? “I remember the best of times we had, with Tarja and Marko. I’m filled with nostalgia and warmth when I think about the latter half of 2004, for example, which was one of the best times Nightwish ever had, right after the release of the Once album and the European tour. It was just wonderful. But my life is in such a good place at the moment that it’s no more than a whiff of nostalgia.”

That sense of nostalgia is threaded through Yesterwynde, linking the past to the present. But what about the future? For Nightwish, that future seems to be tinged with a degree of uncertainty. In April 2023, they announced in a statement that the band would not be touring their next album – a huge deal for a band whose epic live shows match the grandeur of their music. That decision still stands today. Tuomas is insistent that there will be no live shows in support of Yesterwynde, though he politely but firmly refuses to reveal why.

“The reasons are personal, we’re not going to go into it, but it was something that had to be done for this band to continue,” he says, cryptically. “There’s no bad blood between the members, nothing like that. We just have to take a long breather.” Are there any plans to do anything around the album? A live stream? “We will have something planned, which is not playing music but something else.” Which is? “I can’t say, because we don’t know right now,” he says, unconvincingly. “But there are still things happening.”

Backstage in Eindhoven a few weeks later, Floor is equally unwilling to divulge the reasons behind the decision, though she seems to have a slightly different view of it. “The whole idea of not touring... it’s not mine,” she says. “I wish we could continue, but it’s a mutual decision. Everything with Nightwish, we’ve done with 120%, but if you don’t have the energy to do that, it’s better to take a break.”

Not having to tour for months on end does have its upsides. Tuomas says he’ll spend the time working on a new record from Auri, the side-project featuring his wife Johanna and Nightwish’s Troy Donockley. Floor will likewise use the opportunity to spend time with her family and work on her second solo album.

Both insist that the lack of a tour in support of Yesterwynde doesn’t mean that Nightwish are coming to the end of the road. Tuomas points to the fact that they’ve just signed a new deal with their label, Nuclear Blast, as “evidence there are going to be more albums in future”.

“I’ve seen a lot of reactions, people drawing conclusions,” says Floor. “Making an elephant out of a mosquito, as the Dutch say – making something much bigger than it actually is. It’s not the end of the band, I’m not going to leave, nobody’s angry at each other. There’s a lot of drama been added to this – it’s bad enough that we’re not playing, but there’s nothing more to it.”

In many ways, making such a monumental album as Yesterwynde, and then opting not to tour it, is a very Nightwish thing to do. This is a band who have always followed their own path, even – especially – when it’s flown in the face of popular trends. They’ve watched nu metal, the NWOAHM and the mid-00s emo scene rise, fall and rise again while their own career has followed an unbroken upwards trajectory.

But Nightwish exist entirely in a universe of Tuomas’s own creation. Ask him if he listens to Sleep Token or any of the crop of modern bands currently taking metal in interesting new directions, and he shakes his head.

“No. I don’t listen to music at all anymore, practically. I haven’t for 10 years. I enjoy silence much more these days. Maybe I had an overdose of it for the first 35 years of my life. I’ve heard of the bands you mentioned, but I don’t actively listen to music at all. Though I just heard that My Dying Bride are coming out with a new album. I’ll definitely check that out,” he adds wryly.

Earlier, he’d talked a little more about the imaginary movie that starts and finishes at either end of Yesterwynde. Or, more specifically, the one that runs in his head.

“It’s a very unique one,” he says after a moment’s pause. “I’ve come to realise how incredibly lucky we are to be alive. It’s ridiculous, the odds that we are all here. We should celebrate it.”

[satanic-saint]

Okay, after some further reflection, I would say Dirk is the type of person who would likely have OSDD while Dave is the one to develop DID. SO here's my thoughts on Dave Strider having Dissociative Identity Disorder. I'm a lil hung over, but enjoy my ramblings.

Dave would struggle to connect with other alters I think. As the present host through teen years and young adulthood (before gaining a diagnosis or revelation of his issues), Dave would probably just view his alters' names as a list of nicknames. Hell, that's what I went through until I was 21 and a half or something. He brushes off the severity of how his childhood effected him. He thinks his list of nicknames is just some odd way he switches things up once in a while. But then he starts to realize... there's memory gaps? And things are kind of blurry sometimes. He can connect the dots, but he has no idea he's asking to go by a different name more often but only for extended periods. Once he finally lays everything out for Rose, she's the one that finally catches on, letting him know he probably has Dissociative Identity Disorder.

Dave has other alters than his main 5, but they're fragments and struggle to be identified for a long time.

Dave- He/It. General host, the typical Dave most know. Very ironic and makes a joke out of a lot of things. Dave jokes it's a nonbinary-cisgender person- "for the irony" he says Davie- He/Him. Repressed child core alter, somewhere between 6-8 years old mentally. He's dormant for a long time until Dave starts working through his childhood trauma and when Davie first fronts, it's a mess for everyone involved because he has no idea where he is. Rose has to walk June or Karkat through calming him over the phone. Davie knows who Dirk and Roxy are, but only ever calls Roxy mom or dad. She makes him feel safe. Sprite- They/Them. They have this peculiar love for crows, makes a few bird puns here and there. They seem to be more depressed than the other alters. Or at least more regularly depressed. They get along rather well with Dirk's AR system and have been caught a few times purposely having conversations with Lil Hal for personal comfort. They like Jade a lot, takes interest in her furry stuff. However, his semi-negative attribute is that he's similar to a self-destructive persecutor alter because he's rather defensive sometimes and will stop things or break things off before they can get too bad. He's purposefully started fights with June and Karkat before to try pushing them away. Lizzy- She/Her. She picks her name from Dave's own middle name (Elizabeth). I say she becomes the main host later in life, but she's also terrified of being rejected by the world. The idea of openly transitioning is scary and when the system is reaching success in the film industry in their late 20s/early 30s, she thinks it's too late and struggles with that. Out of all the alters, she masks herself fronting the most once the system is aware of itself. She shares some of Davie's memories and the offensive way in which she was raised by Bro makes her feel bad about herself sometimes. Alpha- He/Him. Mentally older than Dave the host. Works somewhat as a caretaker and protector in the system. He's beyond monotone and doesn't react much to things. However, if someone does the system wrong, Alpha is the one who loses his cool and calls the person out. He focuses on taking care of and regulating Davie, though also feels nurturing emotions for Lizzy.

[wachinyeya]

University of California, Riverside, chemical and environmental engineering scientists have identified two species of bacteria found in soil that break down a class of stubborn “forever chemicals,” giving hope for low-cost biological cleanup of industrial pollutants.

These bacteria destroy a subgroup of per- and poly-fluoroalkyl substances, or PFAS, that have one or more chlorine atoms within their chemical structure, Yujie Men, an assistant professor in the Bourns College of Engineering, and her UCR colleagues, reported in the journal Natural Water.

Unhealthful forever chemicals persist in the environment for decades or much longer because of their unusually strong carbon-to-fluorine bonds. Remarkably, the UCR team found that the bacteria cleave the pollutant’s chlorine-carbon bonds, which starts a chain of reactions that destroy the forever chemical structures, rendering them harmless.

“What we discovered is that bacteria can do carbon-chlorine bond cleavage first, generating unstable intermediates,” Men said. “And then those unstable intermediates undergo spontaneous defluorination, which is the cleavage of the carbon-fluorine bond.”

Chlorinated PFAS are a large group in the forever chemical family of thousands of compounds. They include a variety of non-flammable hydraulic fluids used in industry and compounds used to make chemically stable films that serve as moisture barriers in various industrial, packaging, and electronic applications.

The two bacteria species – Desulfovibrio aminophilus and Sporomusa sphaeroides – identified by Men’s group are naturally occurring and are known to live in the subterranean microbiomes where groundwater may be contaminated with PFAS. For expedited cleanups, an inexpensive nutrient, such as methanol, could be injected into groundwater to promote bacterial growth. This would greatly increase the bacteria’s presence to destroy the pollutants more effectively, Men said. If the bacteria are not already present, the contaminated water could be inoculated with one of the bacterium species.

But what’s known about using microorganisms to clean up PFAS is still in its infancy, Men said. Her discovery shows great promise because biological treatments, if effective pollutant-eating microbes are available, are generally less costly and more environmentally friendly than chemical treatments. Pollutant-eating microbes can also be injected into difficult-to-reach locations underground.

Men’s latest PFAS study comes as the U.S. Environmental Protection Agency is promulgating new regulations to spur cleanups of PFAS-contaminated groundwater sites throughout the nation because these chemicals have been linked to a host of ill health effects, including cancer, kidney disease, and hormone disruptions.

[iww-gnv]

LOS ANGELES, Aug 9 (Reuters) - The Hollywood writers' strike marked 100 days on Wednesday with contract talks stalled and people on the picket lines protesting what they describe as a disregard for their demands. The strike began on May 2 after negotiations between the Writers Guild of America (WGA) and the major studios reached an impasse over compensation, minimum staffing of writers' rooms and residual payments in the streaming era, among other issues. Writers also sought to regulate the use of artificial intelligence, which they fear could replace their creative input. Entertainment industry executives have been trying to navigate the cross-currents of declining television revenues, a movie box office that has yet to return to pre-COVID levels, and streaming businesses that are largely struggling to turn a profit. "We are in some uncharted waters," Warner Bros Discovery (WBD.O) Chief Executive David Zaslav told investors last week, as the company warned that uncertainty over labor unrest in Hollywood could impact the timing of the company's film slate and its ability to produce and deliver content. Actors represented by the Screen Actors Guild (SAG) went on strike on July 14 also over pay and artificial intelligence, effectively halting production of scripted television shows and films and impacting businesses throughout the entertainment world's orbit. It is the first time both unions have gone on strike since 1960. A meeting last week to discuss resuming talks between the WGA and the Alliance of Motion Picture and Television Producers (AMPTP), the group representing the major studios in negotiations, resulted in no firm date for returning to the bargaining table.

[lol-jackles]

I have a question for clarification. What’s the difference between Executive Producer and Producer? My friend says Executive Producer is just the name to attract investors and none of the responsibilities. What say you?

Producer will manage the entire process from beginning to end: fundraising, networking, securing rights to creative works, commissioning writers, hiring a director, crew, and actors, organizing shooting and production schedules, ensuring compliance with health and safety regulations during production, holding regular meetings with director to discuss progress, ensuring the project is done on time and within the budget.  They supervise the entire project from beginning to post-production.  Co-producers like Jerry Wanek is responsible for set designs so he has to learn new lighting tricks, the latest cameras that are on the market and what shoots best in what scenarios.

The Executive Producer title are given out like candies. Most of the producers, co-producers, associate producers and executive producers are writers.  The unions limits the number of people who can receive writing credit on any one episode.  Keep in mind that TV shows have big writers room, so every writer on the show might contribute at least in small part to every episode.  So they need some sort of credit.  That credit becomes “executive producer.”  

Actors get “executive producer” credit to get profit-sharing deals, they very rarely have any power in the creative process. That said, the title does validates the value of the actor’s presence on the show. So in some cases the EP actors participate in some of the show’s important decisions. The industry has a very strict hierarchies.  Timothy Olyphant of Justified said he took advantage of the executive producer title (he joked that the title of Glorified Cheerleader wasn’t available) because the credit system has a certain hierarchy, so he was able to access the process behind the camera, collaborate with the showrunner, and be in the writers room two months before filming starts. While some actors are perfectly fine being told on as needed basis because they think their acting will come across better by having a more natural reaction, I think Jared is one of those people who has to be in the loop. like how he would read up to 3 SPN scripts ahead.

Now the real dish.  Networks don’t want to set precedent for high ranking actors’ salaries.  Many in the industry think NBC giving in to Friends six actors’ demands was a huge mistake and set a very bad precedent.  CBS was at the frontline to prevent this from happening again.  To compensate the leading actors, the network will give them two paychecks: one for acting, and one as producer.  But technically the network could still say, “well, Jared Padalecki is only getting $300,000 per episode for his acting duties”.

[darkangel1791]

I’m an Environmentalist. That’s Why I Can’t Vote Green.

Award-winning filmmaker and director of Gasland Josh Fox on why he will never vote for Jill Stein.

November 1, 2024

The Nation

Milanville, Pennsylvania—Progressives can truly win in this election, even though we have a moderate Democrat on the ticket. And it’s not by voting for Jill Stein. But first, a little history…

Not long ago the entire upper Delaware River basin in Pennsylvania—one of the most beautiful areas in the country, in the watershed for New York City, southern New Jersey and Philadelphia—was on the chopping block for fracking.

A 75 mile stretch of the Delaware River could have become a toxic oil field. Fracking is an environmental apocalypse: millions of gallons of toxic fracking fluids, radioactive waste, underground water contamination, hundreds of thousands of truck trips, air pollution, land scarring, massive public health crises, and depleted water supply. Everything about the practice is toxic; it is inherently contaminating in the long and short term.

Our community was quick to understand the threat and organize and mobilize against it. Every little town along the Delaware across New York and Pennsylvania had a mom-and-pop anti-fracking group spring up. My film Gasland, on HBO, was part of this campaign, and our Gasland tours went from town to town, Johnny Appleseed–style, fostering our new movement.

Amazingly, we won. We banned fracking in the Delaware River basin and in New York State, saving the water supply for 16 million people. One of the greatest achievements of the environmental movement in this century.

We did this by convincing the Democratic governors of New York and Delaware and the president at the time—Barack Obama—to ban fracking here. These were all moderate Democrats. Not exactly Bernie Sanders, if you know what I mean.

I consider myself far to the left of Andrew Cuomo and Barack Obama. But I know that if those moderate Democrats hadn’t been in office, there’s no way we would have won.

Republicans would have just said no. This whole place would have been completely fracked to hell. We would have lost. And the whole gorgeous, life-giving national treasure of the Delaware River would have been a toxic fracking zone.

Our victory against fracking kept more carbon and methane in the ground than almost any other single environmental win in history—making it a huge win for the climate as well.

Here is the key point: I’m not in love with Kamala Harris’s positions on fracking. I find it utterly infuriating when moderate Democrats think that they need to pay lip service to a toxic destructive climate monster of an industry to win Pennsylvania. I don’t actually think that is true, because studies have shown that 70 percent of Pennsylvania residents want fracking either banned or much more tightly regulated.

But I don’t need to be in love. I need to be able to vote strategically.

Hundreds of thousands of people showed up to protect this place and to hold moderate Democrats accountable, and that was the key to victory here.

You know who didn’t show up for this place? Jill Stein. She doesn’t show up for these frontline battles. Ever.

Stein says she’s against fracking, but Stein has hundreds of thousands of dollars invested in the oil and gas industry. Did you know that? Did you know that she actually profits off of the oil and gas industry, that she has had investments in the Keystone XL pipeline and multiple fracking companies?

Did you know that she has investments in Raytheon, that she’s had investments in ExxonMobil? Did you know that she has investments in Home Depot—one of the most rapacious companies in the world, guilty of horrific deforestation throughout the world?

How is it that the Green Party candidate hasn’t divested her own personal fortune from fossil fuels? It’s sheer hypocrisy. And so is the strategy of running for president every four years but never showing up for battles like this.

In 2016, Stein defended these investments by saying they are mutual funds and indexed retirement funds.

But that, plainly speaking, is bunk.

Her claims are a slap in the face to the entire fossil fuel divestment movement. It is easier now than ever to have investments that are fossil free; doing so is a huge plank of the environmental cause. Hundreds of real activists were arrested this summer in New York City calling for Citibank to divest as part of the Summer of Heat campaign. For Stein to ignore all this and still attempt to call herself an activist is beyond hypocrisy, it is political malpractice. Shame on you, Dr. Stein! Shame on you for profiting from fracking and oil drilling.

I’m not in love with Kamala Harris’s positions—on fracking, and on some other issues. But I will tell you what I am in love with. I’m in love with our movements.

I’m in love with what we can do. The entire history of progressive progress in this country is of movements pushing moderate presidents. It happened with FDR and the labor movement. It happened with LBJ and the MLK and the civil rights movement. It happened with Obama and Biden and the movement for gay marriage. We organize and push them—and that’s how we get what we want. That’s our progressive history in America.

But in order for us progressives to do our jobs and fight effectively for a more just and equitable world as a movement, we need to have Harris in office. If we have Donald Trump in office, there’s no chance in hell that we’re actually going to advance an environmental agenda.

So I urge you to please believe in us as a movement. Love us. Believe in our power. We have done this before—and we can do it again with a moderate Democrat in office. Which is the only choice we’ve got right now.

If everyone in who voted for Stein in Pennsylvania, Wisconsin, and Michigan had voted for the Democrat instead, Trump would never have been the president.

We have the true power. It comes from the bottom up.

And I believe in us.

A vote for Harris is a vote for us, a vote for our movements to have a fighting chance for change. Progressive politics and advancing our agenda in this country is not something that happens every four years when you vote, or every four years when a toxic egomaniac like Stein (or Trump, for that matter) runs for president. It is a daily commitment. So vote for Kamala Harris. Join the movement—and I’ll see you on the front lines.

[boilyerheid]

one thing I haven’t seen being talked about in regards to the writers and actors strikes (solidarity forever) but that I really think is important, is the fact that the advertising industry and the film and television industry... are all the same thing. 

oh no not ADVERTS not EVIL CAPITALISM which I am NOT SUSCEPTIBLE TO fuck those people I would never do that 

etc

except people working on commercials - crew, cast, creatives - are treated SIGNIFICANTLY worse than those at the higher level of network drama, because adverts are ‘gross’ and simply don’t generate the same level of give a shit from the general public that shows do. you might hear if someone gets injured on the set of a warner bros film, but on a commercial? you wouldn’t give a fuck, you don’t know who they are. but we are the SAME INDUSTRY just paid significantly less. and yes, I write commercials and work within the whole spectrum of the film industry, that’s how I know.

advert writers move into shows. show writers write ads. actors and directors and producers and crew do both. and it’s all because WE need to get paid. taika fucking waititi directed amazon’s tentpole christmas commercial in 2022 and got paid a bomb - go and look it up. that lesbian daniel craig spot for belvedere people memed on? A COMMERCIAL. 

just because in your little brains ‘advertising’ is the quickest shortcut to ‘capitalism’ to ‘evil’, do not forget that 99.9% of ALL professional film crew, writers, production staff, and actors also work in ads to make ends meet. the current actor and writers’ strikes are fantastic and I hope they fucking WIN, but they’re just the start if you actually want the hellish landscape of filmmaking to change. 

we are also threatened by AI, we are also subject to insane lack of safety regulations on set, and we are not supported by the general public because there’s a perception that somehow Art and Ads are separate. I’m a trans creative and I spend most of my career fighting for my LIFE to keep making queer commercials just so some can slip through the net while bud light keep abandoning us. do you know how fast I’ll be cut and jobless if AI rises to a useable/acceptable tool like the unions are protesting against? it’ll be before any background actor is.

AND I had more to say - ad scholarships are a major path to queer people getting into the industry. uwu forced diversity yeah but what happens when that’s gone?? THIS IS HOW YOU GET US INTO ENTERTAINMENT.

support us all, or you don’t really support any of us.

[not-goldy]

God I can't really stand JK anymore.

Everything regarding him went a downhill since 2023. The way he behaved changed a lot.. LIKE A LOT now he's way cockier as if no one in the whole world can top him and he doesn't need to listen to anyone giving even good advises, how he used to present himself and looked changed drastically now he looks like a junkie, how he used to perform changed so much now he doesn't half half the energy or stage presence and doesn't give af about making mistake a ton times while before he used to perform with extreme perfection. He's listening to their PR teams too much like where did I go live when I miss fans went ? Now he's listening to their cheap promo tricks. His work ethics is completely opposite from what BTS was.. he's working with payola king of the whole industry and buying success. Releasing a 100 version and a western collab with some B grade pop artist. The songs he releasing are basically shit now when he used to release magic shop, film out, your eyes tell and still with you kind of gems.

The ONLY thing connecting me to him now is Jimin. There's no way to avoid JK when you are a Jimin stan. But i'm WAITING for the day Jimin finally open his eyes and get out of this toxic relationship so I don't want to put up with him anymore.

You see, your problem is that Jungkook is not Jimin. That's your problem. Half way through your comment, I smiled to myself and I thought well this Anon would certainly love Jimin then if these are the qualities they looking for in an idol. only to get to the end of the Ask to find out you actually do like Jimin💀

That complicates things for me.

Where should I even begin

There's nothing wrong with having a preference. There's nothing wrong with having a bias.

I'm not gonna come for your throat on this.

You prefer Jimin's work ethics and prefer how seriously he takes his public relations, how he puts on effort and that's alright.

BUT YOU DON'T HAVE TO HATE JUNGKOOK just because he's not YOUR PREFERENCE.

If you keep that up you and I gon have a problem.

Do I think Jungkook can take a page or two out of the Jimin idol manual? Sure.

As much as I looove seeing Jungkook live his life on his own terms not giving a fuck what anyone cares- some times, in certain areas I do think he could use that self regulation.

Yet on the other hand, I don't find Jimin's over regulation appealing either. I've ever said his kumbaya persona, caring too much what others think, trying to be perfect, self regulated, evolved, controlling his words, his attention, being overly polite, smiling when he should be cussing people out all in the name of his consciousness of the fact he is an idol really REALLY FRUSTRATES ME.

Jimin struggles with this. The never mind tattoos, the song lyrics yearning for freedom, set me free- where do you think that comes from?

I don't know how we can call ourselves stans and not sense some of these things: the members constantly telling him not to care what people would think, to do whatever he wants,- even Jungkook openly reminding him HE IS AN ADULT and shouldn't care about certain things.

Jungkook is good for Jimin and Jimin is good for Jungkook.

Jimin is the leash and restrain Jungkook needs and Jungkook is the freedom Jimin craves.

Please don't come for jikook I'll paint you and it ain't going to be pretty.

Also remember, this is a human being you are talking about. He is not an alien. He is human just like you. That vitriol and animosity towards him is so not necessary.

I can't help you unhate him.

But please, be a good human.

He is a relatively young man navigating overwhelming situations. I personally think going solo has taught him so much and there is much more he'd learn along the way.

And please, it's slander to say he half ass his performance- have you seen his tiktok? THE THIBGS HE CAN DO WITH HIS WAIST- MY GOD!

Oh and did you see Tae's smoke challenge? I may or may not be addicted to the part he wines his waist- lolay lolay lolay

Sorry I had to go and watch that clip again.

Liste, the point I'm making here is, It's his journey and his choice to decide the type of idol he wants to be. You may like it or you may not. That's a you problem. However he's responsible for his own reputation and his own success in the industry and I think he is still learning to hone his values and filter his choices through those values.

Give that man a break .

AND FREE JUNGKOOK.

Peace out

[maxwellatoms]

as a person on the inside of the animation industry, are there signs that we might be heading to another dark age of animation like the 1980s (e.g. animation is regulated to just glorified toy commercials or dark fantasy movies)?

"Kid Vid" regulations mean you can't advertise for stuff kids might buy from within a show anymore. Generally, you can't even have (say) Yogi Bear wearing a shirt with his best friend BooBoo's face on it as a gag, because "what if someone made that shirt one day?" Then it would be a retroactive ad, I guess? I'm not schooled in reverse-time law like studio lawyers, so I can't really say. Still, it's almost impossible to get even a fictional product into a kid's show these days, so I think the 1980s will probably stay in their timeline. At least in that way.

I do think a bit of a "Dark Age" is upon us, though. Maybe just a small one. Just a wee little snip of a Dark Age is all.

As far as I can glean, there are going to be precious few animated shows coming out over the next couple of years because not much was picked up during the pandemic. There are only a few things being developed here and there, and I'd wager that those properties "win" simply by existing in a competition-free environment. It takes a long time to produce animation, so almost anything greenlit right now is looking at a full year for turnaround. If you talk to people in the industry right now about jobs, they use words like "wastelend" and "ramen noodles".

Then you've got A.I., of course. The other night I was having dinner with a friend and I found myself in the A.I. conversation I always imagined myself having one day-- the one where we're talking with some immediacy about what the rest of our futures look like as artists, because we know they're not going to look the same ever again. It was pretty cool in a William Gibson sort of way, but I honestly didn't expect to be having that conversation for another decade. Turns out A.I. is becoming a problem right now.

I've already talked about the "art theft" angle, and that's not the problem I'm speaking about here. The problem I'm talking about is the "what do I do when what I do becomes trivial?" problem. If anyone can make a TV show or movie in a week or a day using AI assistance, who determines what gets seen? Networks, I'd imagine, would become redundant. You don't need to fork over $15 a month for Netflix if you can make Netflix-quality content yourself. And if you can't make anything decent even with A.I. assistance, surely someone on the internet can. There would be an incredible glut of content to choose from, so again... who decides what gets seen? An algorithm, probably. Who owns the algorithm?

Peak Dark Age will be the time period when the networks realize that they're going to die, and sink all of their resources into forcing their own survival on the rest of us. I imagine massive layoffs (you don't need multiple writers or artists or support staff when you've got the right tools.) Studios will want to own the tools (of course) and/or suppress the use of those tools by anyone who might want to cut into their profits. Expect to see "A.I. is just too dangerous for the public to utilize, so it needs to be left in the capable hands of corporations". Expect to see customizable Batmans, the ability to put your mom in any Star Wars, and the serialized fever-dreams of billionaires.

I think that's the next 5-10 years. And while that's happening, the tools will keep getting better and better until literally anyone can sit down, ask for an Oscar-worthy part-rom-com/part action movie starring a twenty-five year old Steve McQueen and and eighty year old Daniel Radcliffe rescuing Air Bud from the Death Star, and then watch the resulting film with some degree of satisfaction. There'll come a point when content of any visual, auditory, and written complexity can be generated on-the-fly, and the traditional limits of budgets and schedules will just be gone.

It's easy to spin off into fantasy and try to guess exactly what's coming. I could probably spin on that all day. But what I know is that the future of the animation industry won't look anything like what I've become accustomed to. And maybe that's okay because what I've become accustomed to looks nothing like the industry I started in. Things change, and you roll with the punches. Thanks to the self-fulfilling dystopian prophecy we find ourselves in, just about everyone on the planet is finding themselves rolling with the punches coming from the Powerful Greedy. That's less a "me problem" and more a planet-wide problem we should probably all sit down and hash out, like, yesterday.

My immediate problem as an artist (and yours if you're an artist too) is figuring out how to get your ideas seen in a world where the amount of entertainment content is exploding exponentially. Especially if you're the sort of artist who needs to eat and live somewhere.

So yeah, I think there's going to be just a little peppering of Dark Age coming up. But in every time of change, there are opportunities. Hey, I'm down for an animated Dark Fantasy movie. Let's do this!