#HeadHunter Productions

[foecomettrails]

[askthewastelandponies]

[pictureswithboxes]

I had a discussion with my boss and I’m so mad still. Cemented my decision to leave. Why is the entire company blaming every problem on my department

[jackdaniel14423]

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[ohnoitstbskyen]

Do you think Riot will make more seasons of Arcane in different regions post-s2, make more shows with different names that are set in the Arcane universe, or secret third option?

Yes and no.

To start with, yes: Arcane has been by far Riot's most mainstream successful media project ever (even outstripping K/DA), and there is literally no way in hell that the company isn't going to want to keep milking it until it is as dry, stale and withered as the PROJECT skin line.

So I predict that, absolutely, we will see new seasons of shows set in the League of Legends universe, probably animated, and hopefully with some of the extremely good animation partners Riot has managed to cultivate over the years.

The ARCANE branding is incredibly valuable now, and I wouldn't put it past Riot to do something stupid like name a show set in the Freljord ARCANE: True Ice or something unbearably stupid like that, even though the name relates extremely specifically to the setting and story of Piltover/Zaun and the Vi/Powder/Viktor/Jayce character group.

On the other hand, Riot might be the company on earth I trust the absolute least to effectively capitalize on and carry forward a success in creative arts that can't be monetized with skins and event passes.

Riot has an absolutely astounding history of tripping on their dicks when it comes to telling stories about their characters, in no small part due to its leadership quite simply never valuing storytelling as an end in itself. If it doesn't sell cosmetics or drive Engagement™ with the core League of Legends product, good luck getting Riot management to spend a fucking dime to make anything real.

Passionate people inside the company have to go to war, every single time, to make anything good happen. Legends of Bilgewater, the Spirit Blossom visual novel, the Marvel comics collaboration (RIP), Riot Forge, and very much Arcane, were absolute passion projects pushed over the line by people who literally put their jobs (and in many cases their health) on the line to make them happen.

Alex Yee and Christian Linke are old hands at Riot with a lot of clout, a lot of friends at the company, and a lot of goodwill to cash in, and if that hadn't been the case, there is literally no way in hell anything like Arcane ever gets made.

The behind-the-scenes documentary Riot themselves produced obviously goes out of its way to let Riot leadership suck themselves off about how much they contributed and how much they believed in the project, but make no mistake, they would have axed Arcane on the spot if there wasn't creatives fighting pitched battles every other day to keep it alive.

This is true of K/DA as well, by the way, there was a lot of internal resistance at Riot to that project - and to Star Guardians, and to Heartsteel. Anything cool Riot has ever made? Just assume that someone internally was shitting on it in meetings and trying to get it shut down.

Which is why I am intensely worried about Arcane in the long term. Not so much about Season 2, since it is mostly being produced by the same group of people, as far as I know, but that project is also going to be absolutely besieged by C-suite jackoffs trying to worm their names into the credits, making themselves Stakeholders™ and offering Feedback™ and voicing Concerns™, and I don't envy the showrunners the battles they are going to have to fight to keep these vultures away from the product.

But I am fucking worried about whatever Season 3 becomes. I am fucking worried about what happens the moment any of the key creatives behind the first two seasons resign, or get headhunted to new jobs. I am worried what's going to happen when Riot decides that the showrunners are "being difficult" and standing in the way of what leadership wants to do with the now very valuable ARCANE branding, and either corporately mandates them into roles of diminished influence or just outright fucking fires them (it'll be publicized as a mutual decision of course, it'll be publicized as a much celebrated retirement or "it's time to move on to new adventures").

Riot is a company with absolutely infinite capacity to fuck up a perfectly good thing for absolutely no fucking reason except some kombucha-chugging, suit-jacket-over-a-graphic-tee-and-sneakers-wearing, keeps-his-job-despite-multiple-sexual-harassment-allegations-because-he's-bros-with-the-C-suite, motherfucking "I am a player so I know what the players want" platitude-spouting "themes are for book reports"-ass Silicon Valley libertarian piece of shit decided he knows better than the artists whose work are the reason he takes home six figures a year.

[karmaphone]

funniest goddamn part of the phantom of the opera book is that Firman is a well-known composer, well-liked by musicians because of it. imagine you get headhunted to own an opera because of your skill at composition, and some asshole in a cape and mommy issues comes along and drops whole operas in your lap that you have to bankroll & put into production - and you can't even pick who stars

[nellie-elizabeth]

What We Do in the Shadows: Headhunting (6x02)

Poor Guillermo, what chaos!

Cons:

I was a little less locked into Lazlo and Colin's plot thread this week, which involves Lazlo rededicating himself to his project of creating life out of the dead. He refuses to acknowledge the Frankenstein comparison, but he is indeed successful in creating his own Cravensworth's monster. The comedy of Colin and Lazlo trying to deal with this situation was perfectly adequate, but nothing super special. I was mostly just wanting to go back to the other plot when we were in this one.

Pros:

That said, the conceit of Lazlo succeeding in his project and then immediately rejecting his creation was pretty funny, I did love that comedy beat of him wanting to destroy what he'd made without even giving it a second to settle down. If only Dr. Frankenstein had been so practical.

In the Guillermo plot, we see that he's gotten a job in the mail room and is thus joining the world of finance - a big jump up from the Panera Bread lifestyle! Of course, Nadja has a very convoluted reason why they need to be worried about this situation. She knows a story of another former Familiar who went back into the human world and then the pressure got to them and they snapped, returning to their former vampire masters and killing them all! This is so silly and feels more like an excuse for Nadja and Nandor to meddle in Guillermo's life, which I love. Nadja takes swift action and gets Guillermo promoted by... dealing with... the person in the position above his. Nandor takes a more subtle approach and works as a janitor, which probably isn't doing much of anything at all.

I love that the documentary crew becomes part of the plot here. Last episode we had Jerry asking what the deal was with the cameras, and then here we see the crew following Guillermo to his new job, then lying about making a documentary about the world of finance just so they can keep tabs on Guillermo. It's funny to me how dedicated and obsessive this human crew is about tracking these particular people. Even when Guillermo tries to separate himself from the world of vampires, the crew knows he's still tangled up and bound to be involved. I wonder if this season, the show's last, will have a capstone to the documentary characters. I wonder if we'll get to see some of the finished product that they've been working on all these years...

8/10

[blazehedgehog]

Do you agree with Martin Scorsese about Superhero films?

Movies mean different things to different people. People focus on Scorsese's remarks as an attack on super hero movies, but it's more of an attack on the business that generates them.

He sees a manufactured, packaged, mass-produced product, focus tested and factory-fresh. Grown in a test tube laboratory to do one thing, and one thing alone: make money.

Scorsese wants more movies made by people who are making movies for personal reasons. Marvel, Disney, Warner Brothers -- these studios come up with the idea first, and then find somebody to write the script, direct the movie, and fill it with actors after the fact.

I mean, Disney was openly talking about this just a few weeks ago, that they were pitching an animated Tron movie to directors hoping somebody would make it for them. Directors should be pitching movies to Disney, not the other way around! The Disney brand used to be this ultimate seal of quality! Everybody wanted to work for them! If they're having to headhunt for random directors, that says a lot about the state of things and how roles have changed.

After all, why wait for a billion dollar franchise to fall into your lap by accident when you can just look at marketing analytics and cash in on popular trends? Promise a big enough paycheck and you're bound to hook someone eventually, even if, deep down, they do not actually care for your ideas. But money is money. They can always fix it in post with CGI.

Scorsese makes movies because he wants to tell that particular story. He wants it to stand as a piece of his artwork. Think of it as if he's a sculptor, hand-making something out of stone and clay. A Marvel movie or a Space Jam 2 or whatever is put together on an assembly line.

Now the thing to keep in mind is that even assembly line things have all this craft and talent and power behind them, but it's also the difference between "there's only one of these statues in the world" versus, like, a Funko Pop.

What is at the heart of Scorsese's complaint is that there are fewer and fewer spaces for his kind of artwork (or the art of his friends) to be displayed and appreciated. His work is being pushed out of the conversation by your David Zaslavs and Bob Igers, whose only goal is to keep growing at all costs, all the way up until the bubble finally bursts.

It's like the end of Akira, where Tetsuo becomes this ever-expanding mass of flesh that threatens to crush the entire city under its mass. Scorsese is feeling like he's getting smushed.

[randgugotur-6]

This Day in Metal 🤘

Apr 25th 1983 - Krokus released the album "Headhunter"

Headhunter is the seventh studio album by the Swiss hard rock band Krokus, released in 1983. It achieved Gold status in the United States.[5] The track "Screaming in the Night" was the band's biggest hit to date,[6] and is still played on classic rock radio stations. Headhunter is the only Krokus album to feature Steve Pace on drums, and includes the Bachman–Turner Overdrive cover "Stayed Awake All Night

Side one

1.) "Headhunter" (Chris von Rohr, Fernando von Arb, Marc Storace, Butch Stone) – 4:30

2.) "Eat the Rich" (von Rohr, von Arb, Storace, Stone) – 4:14

3.) "Screaming in the Night" (von Rohr, von Arb, Mark Kohler, Storace, Stone) – 6:38

5.) "Ready to Burn" (von Rohr, von Arb, Kohler, Storace, Stone) – 3:54

Side two

6.) "Night Wolf" (von Rohr, von Arb, Storace, Stone) – 4:10 (written for the animated motion picture Metal Hollywood)

7.) "Stayed Awake All Night" (Randy Bachman) – 4:41 (Bachman–Turner Overdrive cover)

8.) "Stand and Be Counted" (von Rohr, von Arb, Storace, Stone) – 4:07

9.) "White Din" (von Rohr, von Arb) – 1:50

10.) "Russian Winter" (von Rohr, von Arb, Storace, Stone) – 3:31

Krokus

Marc Storace – lead vocals

Fernando von Arb – lead and rhythm guitar, bass, piano

Mark Kohler – rhythm and lead guitar, bass

Chris von Rohr – bass, piano, drums, percussion

Steve Pace – drums, percussion

Additional musicians

Rob Halford – backing vocals on "Ready to Burn"

Jimi Jamison – backing vocals on "Screaming in the Night"

Bob Ketchum – sound effects recorded at Cedar Crest Studios

Production

Tom Allom – producer

Andy De Ganahl – engineer

Butch Stone – director

[multiversal-pig-outing]

Rumors in kobayashi's office had it that a headhunter for rocket industries was in the area a company that had a shiny public image and shady rumors

*She never really payed much to rumors. Usually just wanting to get work done head to the maid cafe have a drink then head home. Of course she have heard of rocket industries hard not to when you see there products quite a bit. She was working on a few pieces of code has her thoughts are filled of what to get for lunch.* " Wonder what should I get maybe some chicken?"

[katsigian]

Can't get back to sleep so it's rambling time. Also, just to be safe, there will be talk of religious imagery and symbolism in here

So I know I talk a big game about Valen's codename being the Saint and the fact that his father gave him a rosary and that his mother was a devout Catholic, but there is some real bite to it fhegdhsks and let me explain

So there's Salome, Valen's mother, who tried her very best to raise her son in a good, godly way while knowing the entire time that it'll be washed away by Callen and his rough hands.

Then there's Callen, who's a full-blooded vampire, had a worn, solid gold rosary that he gave to Valen. It was passed down from Callen's father, who received it from his sire. Where did he get it from? That's right, the fanatics who tried to kill him for being a vampire. It was a symbol of the Kinlaw bloodline remaining intact. Valen still has it today, a relic of his past and every vampire and daywalker before him that have his name. Though he doesn't believe in it the way that Callen did.

So you've got Callen, carting around a rosary that symbolizes death, and Salome, who prayed over her rosary that her son would be safe.

And then comes Valen, the product of all that. The product of Salome's good intentions and Callen's violent teachings.

Valen, who was never spiritual nor religious and is fully agnostic, choosing to believe that he's godless because Callen taught him there's nothing in Heaven that he can't have on Earth as long as he's got the stones to take it for himself.

Valen, who's given the name Saint by those who've trained him as a contractor and by those who've hired him as a headhunter. Is it a mockery, or is it because he is lifted into some kind of sainthood for the underworld?

Perhaps it's because Valen only ever finds peace in violence. Combat and conflict are the closet things he has to a religion. Instead of counting beads on a rosary, he counts casings as they hit the ground. He's morally good, he'll never hurt someone who doesn't deserve it. But once they do get that mark, he's the sword and scales.

Maybe it's because he's a daywalker and his "eucharist" is the blood of another. He's forced to listen to those baser instincts, he's free from outside influence because the vampire genetics in him dictate that he's a predator at his core. It's almost like a form of purity, in a sense.

Valen, who's never worshipped anything until he knelt in front of his love and gazed up at him with adoration and reverence. Learnt how to worship him and offered him his fragile, pounding heart like a pomegranate he could crush if he so wished. He never whispered a single word of prayer until he was telling his baby I Love You for the first time. Valen, who never even believed in Heaven until he had his love in his bed and found it in the curves of his body and each of his freckles.

Nothing about him is holy, and yet, he is somehow. Like a tarot card in reverse, kinda.

Anyways, I Just Think that it's all very heart wrenching and bittersweet and symbolic and heavy. The symbolism behind it drives me absolutely buckwild

[foecomettrails]

[cantsayidont]

September 1998. Abel Ferrara co-wrote and directed this notoriously dreadful, relentlessly seedy feature adaptation of a 1984 William Gibson cyberpunk short story about two corporate headhunters (Christopher Walken and Willem Dafoe) who recruit a clever sex worker (Asia Argento) to seduce a brilliant, married Japanese scientist (manga artist Yoshitaka Amano) and lure him away from his employer on behalf of a rival corporation. (The companies, Hosaka and Maas Biolabs, also appear in several of Gibson's other "Sprawl" stories and novels.)

It might sound promising, but it fails on every conceivable level: Ferrara downplays the sci-fi aspects as much as possible, but still seems uneasy with what remains, and the clumsy cinematic tricks he uses to suggest Gibson's gloomy near-future world just make the film look incredibly low-rent, barely rising to the lower end of '90s direct-to-video production quality. The script, which is punctuated by stretches of what seems like semi-improvised dialogue, is so flat that not even the combined eccentricity of Walken, Dafoe, and Argento can break the tedium, and about the only cyberpunk quality that comes through is distasteful '80s Orientalism.

That the movie isn't good is perhaps to be expected (to date, the misfired 2023 TV version of THE PERIPHERAL is as close as any screen adaptation has come to actually capturing the flavor of Gibson's prose, and even that wasn't very good), but that it's mostly just boring is unforgivable given the talent involved. CONTAINS LESBIANS? Only in nightclub live sex shows, which hardly counts. VERDICT: Worse than its dismal reputation — not even an interesting mess.

[nityarawal]

To Northwestern: @northwestern @northwezt @harvard @harvardbusinessschool @harvardseas @harvardfineartslib @harvard-art-museums-prints

My cousin James Mahoney was headhunted by US army Berets because my father was in charge of psych department and my families homes were since robbed in WW3. My father says I'm greatest psychologist he's ever met. James is an alcoholic like his atty dad. So add that filter to equation! It's a severe case of anti-jihad. Jame's mother has always been really jealous of my famous Persian princess mom who looks like Cher. I never had a mental health problem nor anyone in my family. Please stop spreading slander. James was headhunted by match.com hooker Cathy Goodwin. Militia from US Army have raped my kids. We want to move to Italy and open a museum to honor my grandfather work. I have an art degree and studied with him since I was a child. My art collection he left me was stolen by Shane Stewart of Idyllwild Realty. It needs to be returned.

Grandpa went to Harvard as did my doppelganger Natalie Portman- her family is also attacked by hookers.

James step son Decklan was pimped to Army schools and he's sold as a rockstar gigolo. It's really gross Army hires our own families to sabbotage us in name of 9/11 Jihad BS.

My brother is digitally printing Rockets for Mars and my son is greatest genius of our era. Why do men rob & rape moms? Still need to turn in Shane Stewart so I can go home. How many moms murdered there? Not one covid death was true.

Could you please help us square up with military rapists so we can move on? We feel James is sold out to military and no one else in my family would take a contract like that. Our cousin Cameron Travelli was suicided off Golden Gate Bridge too in 2007 because his dad is most famous nuclear Physicist Armondo Travelli. Lmk what you can do to defend our family from military rape. 36 times cops violated kids and I. We're From Iowa amd are concerned Trump just spread syphalis there.

Thanks for your kind response despite my court contentious family. Mahoneys are generic products of divorce. They don't know anything better than selling out celebrities in their own family. It's gross. My dad even married James there at Northwestern but he has no respect for family. His military wife is lazy and the kids are drugged comatose malnourished. She's aggressively terrorised me as a Goodwin and sent a Goodwin Marine hooker from Texas with disease. It's not syphalis- but similar covid strain. Anyways- thanks for being kind and adding my father's name to the records- since he's the greatest John Joseph Davigo Atillo Huntley on planet. I love him and am concerned he and my mom are tortured in 6 year estrangement. Lmk if you can help get my father some respect. He's had Army shots terrorising him his whole life and we don't take any benefits. We were very disappointed James took a contract to hurt tm.org where my parents have been enlightening Chicago from for 50+ years. Really maybe you could give my parents an award for the thousands we taught in Midwest? Thanks again! I love that college! Lmk if you need help with the George Huntley Estate. My Aunt's have many etruscan vases and artifacts that should be stored appropriately in my new museum. Do you want me to build one there too? My best friend Diana Danneman Cohen is a famous rockstar from Northwestern and is now Dean of students at University of Arizona. I'll see if she can offer an Italian art collection in my grandfather's name too. The Cohens opened a Waldorf school inspired by my kids villagefarmschool.org we built. (:

All Blessings & love,

Encinitasbeachhome.com

Nitya Nella Davigo Azam Moezzi Huntley Rawal

[askagamedev]

What is the hiring process like ramping up to production after pre-production for a triple aaa studio?

When we finish preproduction and move into production, we've essentially finished figuring out the bones of the game. We've got the outline for what we want to do, and the remaining task is filling in the gaps, putting flesh on the bones, and coloring in the blank spaces. These tasks, large and small, usually require additional help in order to finish. The leadership figures out how much work needs to be done to finish the game out, how much the team as it currently stands can do, and the difference represents how many additional people we will need to hire in order to finish the project.

The specifics determine the kind of roles we need to hire - the cinematics team might need several animators, the quest team might need two narrative designers and a gameplay engineer, the item art team might need a VFX artist and a technical artist, and so on and so forth. The needs of the project determine what kind of roles we need to fill. These requests then get sent up to the executive level for approval - they want to make sure the team isn't going to break the game's budget.

Once the openings are established and approved, it's up to the recruiting team to find candidates to fill the open positions. Usually this is a combination of recruiting events, reaching out to candidates on social media, posting to job boards, crawling LinkedIn networks, hiring external headhunters/staffing agencies, and collecting referrals from current employees. From there, the recruiters collect and vet candidate resumes. The recruiters then set up calls with promising candidates to gauge their interest in potential employment, answer basic questions that the candidate might have, and (assuming that the candidate wishes to proceed) [start the candidate process]. From there, depending on the availability and impressiveness of candidates, we start hiring developers and bringing them up to speed on how the work is done.

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[courseyoulovemeyoudontknowme]

Monte Carlo (2011, Thomas Bezucha)

27/11/2023

Monte Carlo is a 2011 film directed by Thomas Bezucha.

The protagonists of the film are Selena Gomez, Katie Cassidy and Leighton Meester who in the film play three friends who organize a trip to Paris. The film is based on the novel Headhunters by Jules Bass.

Grace Bennett is a high school senior from Texas who works as a waitress with her best friend Emma Perkins to earn money for a trip to Paris after graduation. After admiring the view from the top of the Eiffel Tower, they lose the bus and their tour guide, and to take shelter from the rain they find refuge in the lobby of a luxury hotel where Grace is mistaken by everyone, including the paparazzi, for an heiress Englishwoman named Cordelia Winthrop-Scott. The heiress, however, secretly leaves the hotel to join her friends in Ibiza, so they spend the night in Cordelia's suite and from that moment a new holiday begins for the three friends.

As scheduled in Cordelia's agenda, the three leave together with the heiress' luggage, on a private jet for Monte Carlo where Cordelia must participate in a charity auction for which she must donate an expensive Bulgaria diamond necklace. During a party organized in her honor, Grace meets Cordelia's aunt, Alicia who actually mistakes her for her niece thanks to her incredible resemblance and Emma dances with Domenico, a French prince. The following day, Meg reunites with Riley, a globetrotting Australian boy she met briefly in Paris. When Grace take part in a polo match, Alicia quickly discovers that she is not her niece, who is a real talent in that sport.

The evening before the auction, Prince Domenico invites Emma to a dinner on a yacht. Meanwhile Cordelia sees a photo of her in a newspaper at a party with two girls and after discovering that her necklace is missing, she calls the police.

Cordelia manages to escape and reveals Grace's fraud, also demanding that she be arrested, but after Grace makes a public confession, Aunt Alicia, believing in her good faith, unexpectedly makes a generous offer for the necklace of 6 million euros.

Eventually Meg decides to join Riley on his trip around the world which is on a peak of Machu Picchu; Owen and Emma get married and live in Texas; while Grace volunteers in schools in Romania where she meets her love, Theo.

Nicole Kidman, Denise Di Novi and Alison Greenspan are the producers of the film for 20th Century Fox and New Regency Productions. The production began filming in Hungary on May 5, 2010 in Budapest.