#and ive seen a couple people on various platforms saying

[pathetic-tboy]

not to get discoursey on the nsfw account but you do realize both "chasers fetishizing trans women for penises they may/may not have/want to use is wrong and should be warned against to young vunerable insecure trans women" and "some trans women feel indifferent or even positive about their genitals/using them during sex and/or might not want bottom surgery and theyre still equally trans women to the trans women who do have bottom dysphoria or have/want bottom surgery and also deserve protection from chasers" can both be true right? i just dont think its fair to try to erase those members of the community because they might not align with your standards for "real" or "safe" trans women who "deserve" to be trans and safe from chasers ykwim? am i making sense?

[power-rings]

Growing Pains

Chapter Two: A Bond

"I need you to know I would never be this strong without you You’ve seen how I’ve grown you took all my doubt Cause you were home..."

Weeks and months went by, and Maria succeeded in sneaking Shadow out of the lab. It happened so often to the point it was no longer a secret to her grandfather; not that he minded anymore, now. Shadow was developing just perfectly on his own, without anything from IVs, fluid, and some oxygen from a machine. So, Prof. Gerald was more than happy to allow Shadow some exercise. Although, the lifeform was developing just fine he did struggle to keep his balance every so often. With the help of Maria, he was able to maneuver around their unique home in Space. Over the time they've spent together they were becoming quite a interesting pair. It wasn't common they would get into trouble, but sometimes trouble would end up finding them.

One accident occurred between a middle-aged female nurse, which Maria swore to Shadow that she was like 150 years old and would never die. (He didn't quite understand, yet nodded in agreement either way.) Everyone called her an old hag on the A.R.K. but she did well at her job, despite her nasty attitude towards... well... everyone. For the first several years that Maria was on the Space Colony, this nurse didn't allow Maria to do anything except stay in her bed. She would force her to take some horrible medications, with worse side-effects. She didn't believe the old lady that they were helping her immune system, but Grandpa reassured her worries. Nobody really calls her by her real name, therefore she is known by That Nurse, and some other nasty names Maria would not repeat. That Nurse always wore her hair up in a bun, with a light blue pin tightly in her hair. For years, she told Maria that leaving her room would be a disaster for her health, she even hinted that she should go on Earth... because her grandfather wasn't present all the time. Unbeknownst to Maria though, she didn't have any living parents on Earth, so grandpa had to be best option for a guardian. If she was able to go out of the room, she was forced to wear a protective clothing, and uncomfortable masks. Eventually, Prof. Gerald had enough and told her that the treatments will be enough to keep her immune system strong, she of course argued with the man to no avail.

Can you guess how she felt about her friend, Shadow? She would spit out insults at Shadow, such as "you're just a lab rat", and "get back in your tube where you belong!" Maria frowned at her, and continued on her way, blocking the nasty old lady out. Thankfully, the rest of the residents were more approving of Shadow, and even found him to be quite interesting. None of them really knew what Gerald's purpose behind his creation, but that answer will come in due time.

Throughout their days together, Maria invited Shadow to try various foods from the cafeteria. Most of which was prepared by some of the greatest cooks that Gerald hired. It was quite different than some of the foods that they would enjoy on Earth. Her grandpa said that Shadow didn't have to eat, and could get away with eating one meal a week or longer. But, she insisted. Some of the foods such as veggies were packed tightly in portioned out boxes. (at that time they were trying to figure out how to grow veggies, and fruit in Space, so most of it were grown from Earth. ) Shadow was grossed out by broccoli, unless it was covered in the yellow substance called cheese. Anything else that was green, he refused to consume. Some of the other foods given were hand-prepared by the cooks among those meals... spaghetti were their favorites.

Their days would end by looking out the observation room where Earth, and some other planets orbited near them. It was absolutely stunning. Maria talked and talked about the books she read about this beautiful planet, Shadow of course soaked it all in. When it was it their curfew, this alarm would go off around the Space Colony, and everyone made their ways back to their rooms to settle for bed. Prof. Gerald would always walk Maria to bed, and would leave Shadow in the lab, but for the first night, he allowed Shadow to stay in Maria's own room. She worked on a make-shift bed for him, which was surrounded by soft pillows, and tons of stuffed animals - you would almost confuse Shadow for one! This became a routine every night from then on.

Maria's 10th birthday of all days she fell really ill. And when she got sick, it can be very deadly for her. Shadow was forced to stay out of the room, doctors, Prof. Gerald, and That Nurse were huddled around her bedside, checking her vitals, poking her with needles injected with medications. He waited outside of her door for days to come, faithfully obeying Prof. Gerald's orders. She was ill for about fourteen days, but gradually regained her strength, and Shadow was able to keep her company. No one knew what caused her to get ill, but whatever it was, almost everyone caught it and less people were seen roaming around. The next couple of weeks were slow, and their typical routine were a little different because Maria was struggling to regain her strength. When she was allowed to leave the room, because of the illnesses spread amongst the crew were no longer contagious, Shadow ended up carrying the girl to the observation room to see Earth... together. Their bond had grew drastically, and the two were inseparable.

A year went by since Shadow's creation, he grew to be typical hedgehog's height, and weight. Still a shorty, as Maria teases. During that same year, the nurse that everyone thought would never die, she ended up falling sick, and was sent back to Earth and died peacefully surrounded some of her grandchildren. It was almost weird not to hear her voice echo through the corridors of the Space Colony.

"What does it mean to die?" Shadow asked the pre-teen, he watched the screen in the cafeteria, that displayed various pictures of the nurse to pay tribute to her - they learned her name was in fact... Linda.

Maria raised an eyebrow, this wasn't a subject that children typically talked about. But, for her she had came close to the jaws of death more times than she liked. It didn't mean it didn't scare her. Any normal being would be scared... "Grandpa describes as a deep sleep..." Which he wasn't exactly wrong when he watched many of his creations go to sleep and never wake up. Maria played with her food, a little distraught, "but he says that Linda isn't suffering anymore." She gave a little smile. Shadow blinked, and the whole topic of death was completely dropped between the two.

His first year alive was literally hell from then on. Those scientists that observed him when he was tiny... they returned to discover any progress being made with the Ultimate Lifeform, he almost forgot that's what they called him. Shadow was being lead down the hallway to a room that he never knew existed, it was labeled as the "Testing Room". It was a huge empty room, no windows except for the up ahead where his creator observed, and the six other men standing before a platform that had a ton of buttons. "Let's see what it's capable of, shall we?" Stephen who had higher authority than the other 5. "Lifeform," he spoke into the microphone, his harsh voice echoing in the room. "destroy these robots." Within seconds, two robots were dropped from the ceiling. Prof. Gerald nervously watched above.

Shadow's ears pricked back, rather confused. Why did he have to destroy them? It wasn't like they were trying to harm him - OH SHIT, nope nevermind they're shooting at the lifeform now. He winced in pain, and growled. Tossing a glare at the men watching him. They kept firing. Shadow dodged left and right. Eventually, he was on all fours, panting. He was bleeding, but nothing that wouldn't heal on it's own unlike any other living being. His opponents approached him while he was down. "Lifeform! What in the hell are you doing?! DESTROY THEM!" He hollered from the control room. It was at that second Shadow's friend ran inside to his side, shielding him.

"STOP! You're gonna hurt him!" Upstairs, Gerald's face went white as the robot found a new target.

"SHUT IT OFF!" He roared, he shoved the men out of the way, and slammed his fist on the red button in the middle of the console. Immediately, the robot's systems went idle.

Maria hugged Shadow close, tears falling down her cheek - concerned deeply for her friend. Coming to reality, Shadow return the embrace. "Let's get you out of here..." She sniffled.

[yandere-ac]

Hi I've been dealing with some personal issues, and I wish I could share with you a concept I have: darling having trust issues because her ex boyfriend only used her for her body. She tries to cope with feeling like a sex object by trying to help others feel better about themselves, she sees the internal beauty of the "ugly villagers" and she tries to bring joy to them on a daily basis. Curt is my fav villager, and I'll love to see his yandere side in this scenario. (Is it too edgy ;^;??)

Yandere Curt x Reader

Midnight

Nothing good happens at midnight. It is the time of bad decisions and when people don’t think straight. It’s the time when everyone is asleep, so you are completely alone.

“Hey Y/N! Look what I made!” The gorilla in front of you said as he showed you a macaroni picture of you and him. “Aww, it looks great Al! Good job!” You said as you smiled at the big ape in front of you. He pulled you up into a big bear hug and spun you around a little. “Aww chucks, thank you Y/N!“

Y/N L/N was a sweet girl, always seeing the best in people around her. She brought smiles to everyone and could light up a room in just a couple of seconds. She was infamous for having an island full of ugly villagers. All of them were unconventional and unattractive in the community. And that’s one of the many reasons she felt the need to take them all in. She made sure to spend time with each and every one of them. Diva, Rocket, Al, Tabby, Barold, Jambette, Moose, Gigi, Moe. They all had special activities that you liked to do with them. But by far your favorite of them all was Curt. The bear always made sure you were comfortable and safe.

Once on a rainy day you had run into Redd. He had looked at you and smirked. “Why hello there cuz! Didn’t expect to run into you” he said as he let out a laugh. “Oh...yeah...hey Redd...” you said quietly as you hugged your arms, keeping your composure closed off and cold. You didn’t like Redd. Not at all. He made you very uncomfortable. The way he used people to get what he wanted, discarding any and all feelings...he reminded you of...him.

“Ah cheer up cuz. You look like someone’s just died! Can’t you give yer old buddy ol pal Redd a smile” he said, this time showing off his teeth while smirking. He was now invading your personal space, putting his arm around your shoulder. “Umm no I think I’ll just get goi-“ “is there a problem here?” Suddenly, you were interrupted by a strong voice, cutting through the tension like a hot knife through butter. It was Curt! He’d seen how uncomfortable you were and came to interfere. “O-Oh! No not at all! I was just talking to my friend Y/N about-“ before he could finish the sentence Curt aggressively shoved him away from you. He stood in front of you as some sort of shield, crossing his arms as he short a glare to Redd. “Yeah? Well she’s clearly uncomfortable with you. So why don’t you bug off before you hurt yourself you fraudster!” Curt raised his voice when he said this, asserting his dominance over the fox. He wasn’t gonna let some lowlife fox mess with you. With that, Redd quickly scurried off, tail between his legs and ears tucked behind his head. And sure enough, Redd didn’t show up to your island for another few months.

“Humph...are you alright Y/N” Curt said, turning around to talk to you, his gaze became much softer when speaking with you. “Yes, I’m alright Curt. Thank you” you answered as you gave your friend a hug. While Curt usually wasn’t one for physical touch, he’d make an exception for you. Wrapping his big arms around you as he stroked big circles around your back. “It’s okey now, fuzz ball. Curts here, curts gotcha...”

Ever since that day you trusted him completely. You had some trouble trusting others ever since the incident. Sure you loved the other residents and always tried to make them happy but you didn’t exactly trust them enough to open up to them. You did however trust Curt with that information. It was an ordinary day, you were inside of first house knitting together. You were making a beanie and he was making a sweater. The two of you were making small talk as you knit and soon Curt came with a question that you didn’t know how to answer.

“Y/N? Can I ask why your always so nice to everyone? Its not a secret that you don’t exactly have the most...conventional villagers...yet you continue to invite us and give us homes...why?” He asked, looking at you completely puzzled. “Well...ive always wanted to help people that feel sad or angry. And because I know you all have it rough in our community, I wanna make sure that everyday is a treat! I know how it feels to be treated badly so I try my best so that you guys don’t have to feel that” you said, very nonchalantly. But this caught Curt right off his guard. “Say what! Who has treated you badly!? WHY would they ever treat someone as sweet as you bad!?” Curt yelled out. “Oh...yeah. So...you remember back when Redd came to the island?” “And harassed you?” “...yeah...that one...well theres a reason Why I felt so uncomfortable...” Curt was looking at you very intensely, he wanted to know who would dare to lay a finger on you. “Well...you see...way back before I moved here, I used to live with this guy...my uh- my boyfriend actually and...well I though we had a perfectly normal relationship. I loved him and I thought he loved me. But as it turns out...that wasn’t the case...” you could feel yourself choke up at some parts of the conversation, the stinging feeling of tears welling up in your eyes were present. “Every time we would make love he would refuse to ever look at me...a-and he would never want to do any normal couple stuff...i-i-” you felt a big hand on your shoulder. Looking down at you were Curt, his eyes saddened and mouth in a frown. Needless to say, he got the picture. He brung you in for a big hug as he slowly and gently stroked your hair, whispering reassuring coos. After a few minutes Curt finally broke the silence. “What’s his name...” Curt asked. You didn’t find the question strange at the time so you answered. “Eliot, Eliot Reynolds” Good...he’d deal with him later, but now he had to comfort you. “He sounds like a coward...don’t worry, he’s never gonna hurt you again...” And so he simply wrapped his big arms around your form. You cried in his grasp as he soothes you. He offered to stay the night at your place which you accepted. Little did you know he was planning on doing something dastardly.

You fell asleep in your bed while he slept on the couch, but the thing is, he wasn’t sleeping at all. No, he was waiting until you fell asleep. Once he was sure you were fast asleep he snuck up, going to your computer. Searching in Eliot Reynolds, he smirked when he saw the first result.

“Eliot Reynolds, young owner of five star Island Fallington” he was signed up to various social media platforms and had foolishly left in the name of his island. And with that, Curt went over to the dodo Airlines in order for a midnight visit to good old Fallington...

The next morning you woke up, sun shining through a gap in your blinds. Stretching for a while before going up, you found Curt sleeping deeply on the sofa. Poor guy probably couldn’t sleep, there was a brown stain on his shirt, you waived it off as him probably going for a midnight snack and spilling on himself. Looking over at his sleeping form you couldn’t help but smile, he’d been so sweet lately. You appreciated his help and support so dearly. You loved him so much, and would hope that when the dust has settled, you two could become closer.

But he wasn’t worthy of your love.

Because after all. Anyone who goes out after midnight, anyone who murders a man in cold blood with an axe isn’t worthy of someone so pure. Nothing good ever happens after midnight. Curt proved that when he flied to Fallington...

[obsidianarchives]

Ashley Romans

Ashley Romans started her formal acting training at Pace University School of Performing Arts. She moved to Los Angeles immediately after graduating in 2015.  Los Angeles theater credits include:  Celebration's Charm (Beta), Rotterdam (StageRaw and LADCC award recipients).  Film/Television credits include: "I'm Dying Up Here" and "Shameless" (Showtime), "Are You Sleeping?" (Apple TV), "Hermione Granger and the Quarter Life Crisis" (Sunshine Moxie), "NOS4A2" (AMC new series).

Black Girls Create: What do you create?

I’m an actor. I create by acting. Collaborating with writers, directors, designers, and visionaries in whichever medium possible to hopefully create an honest reflection of a being’s life experience.

BGC: How do I create?

I suppose my entire creative process begins with healthy self trickery. Not quite deception but more healthy, playful, self manipulation. Naturally as creators we have a way of resisting and fearing whatever it is we most want to bring about into the world. Similar to a mother’s fear of giving birth or raising a child, we think “what if the world doesn’t receive my creation well? What if people are mean? What if it’s not healthy or ready?” I often find myself trying to bribe or trick my way out of this fear. I trick myself into going into my next audition as confidently as I can, or preparing for that day on set when I really don’t want to, or finding some connection with a character trait I find reprehensible.

I also think it is very important to stay relaxed and loose so one can reach a playful and spiritual place of creativity. So I try and keep myself healthy; mentally, spiritually, and physically by reading, eating healthy, journaling, praying, meditating, and exercising.  

BGC: How did you get into acting?

I would say my professional pursuit officially began when I went to study theater at Pace University in New York City for my undergraduate degree, but for as long as I can remember I always had an interest in acting. I loved watching ‘90s action/drama movies with my father and “I Love Lucy�� reruns with my mother as a child at all hours of the day. I became even more interested in theater and performance through high school choir, joining community summer camps, and doing the spring high school musical.

Even as an adolescent I felt it was best to keep my professional aspirations to myself in fear of naysayers. In retrospect, I understand now that high school is a time a lot of young people are dealing with self doubt and insecurity. Considering that I was far from the funniest, smartest, or most talented individual in the theater department, I, unconsciously, kept my performing ambitions quiet even from the people closest to me because I didn’t want to risk someone rubbing their self doubt on me. I worked up the courage to audition for a couple of acting schools but I told no one except my acting teacher Douglas Hooper and a few very close mates.

I still abide by this privacy philosophy even now and it hasn’t steered me wrong to this day. I still feel that speaking one’s dreams and aspirations among chaotic or unsupportive energy environment would most likely dissipate or poison their own source.  

Eventually after graduating from Pace University through a couple months of tumbling I landed representation for acting with a management company and I moved out to Los Angeles. I’ve been able to land some great acting opportunities and gain a supportive team of people and I could not be more grateful.

BGC: What has been your favorite role so far?

I have so many favorites. The roles that stand out to me as my favorite are the ones that have most challenged me and allowed me to explore a different aspect of life, and explore and connect to the full range of the human experience. I’ve received some of my most valuable acting lessons in various roles in the theater. I played Inez, a red dressed-vixen-leading lady with a passionate, deep-seeded hatred for her ex-husband in Stephen Adly Guirgis’ Our Lady of 121st. Two years ago I played Beta, a young teenage gang affiliated boy in Chicago with a secret in Phillip Dawkins’s play Charm at Celebration Theater. This coming March I will be part of the Kirk Douglas’s production Rotterdam by Jon Brittain. Set in the Netherlands, I will play Fiona/Adrian, one half of a modern London couple who decides to make a huge change in their life. My experience acting in these productions specifically has been positively nurturing. Throughout our rehearsal process, I learned what it means to be not just a more nuanced and skilled actor but also a more supportive and capable teammate in the creative process.

In terms of film/television world, my work as Hermione Granger in Sunshine Moxie’s Hermione Granger and the Quarter Life Crisis remains my greatest acting lesson in the film/television/on-camera discipline.  Eliyannah Yisrael, Megan Grogan, Alice Pierce, other writers and producers leveled up my game up. I’ve never before been number one on the call sheet and I’m not sure if I ever will again, but having that responsibility was so enlightening. It was also an invaluable learning experience getting to work with those amazing creators and seeing those women just get shit done. It was truly an honor being chosen to play such an important and monumental literary character in this version. I remember reading the Harry Potter series as a little girl in London and thinking how much I wanted to be part of and live in that magical world. Playing Hermione in the HGQLC series was by far the best artistic adventure I’ve ever had. Exploring moments, scenes and how far we can bring characters all felt like adventures. Even our trip to Dublin, Ireland this past year felt like one big adventure. I’ll be forever grateful for that experience.

BGC: Why do you create?

I enjoy acting because I love being seen and getting to disappear. It’s a paradox but it’s my truth. I enjoy exploring the range of human experience. I love that I get to feel connected to people in the safe incubator that is pretend. I love that I get to feel and say all the things I’m afraid to feel and say in my real life. I still never get bored of going to the theater, movie or stage, sitting in a dark room with other people and watching performers simply tell us a story. I hope to serve God and the people around me through my creativity and acting. I always hope to truthfully represent a human experience no matter how high or low the stakes it might seem to us at first. Losing your phone and frantically trying to find it can be as exciting and dramatic a story as losing one’s job or finding out your spouse is unfaithful. It’s all in the storytelling and truthfulness of the moment and I love as an actor I get to explore that.

BGC: Who do you hope to reach through your work?

Honestly, the most important people I aim to ultimately reach and impress are my nieces and nephews. Yes the public, my agents, and producers are all important but I feel as though they are a means to an end. Right now my oldest niece is 10 years old and she loves the Hermione series and is always pretty excited to see me act on TV. At the moment she still thinks I’m pretty cool and I hope to keep it that way.

If this was a decade ago and you asked 16-year-old Ashley the same question I probably would have said something like “I want to be a voice for the voiceless and the underrepresented… blah blah blah.” Truthfully, I don’t think I ever really knew what that meant. I mean, I knew what it meant on a superficial-runner-up-in-Beauty-Pageant kind of level but now that answer doesn’t resonate with me as the gutter truth. Whenever I’m working on scripts, deciding on content to create or post etc, I ask myself “Is this something I would be proud to let my niece see? Is this the kind of work that can help make the world even the tiniest bit better for her?” Eventually, she’s going to grow up and have a voice in this world and I hope that her seeing me embrace mine will give her the courage to embrace hers. My nieces and nephews and all the children like them are who I hope to reach.

I really love seeing how the world is changing now. Representation in the media was so limited even 10 years ago but now it’s getting more and more beautiful by the day. With so many platforms, works such as Pose, Glow, Fresh Off the Boat, Chewing Gum, Masters of None, Eighth Grade, and more, so many beings who have been underrepresented for years are getting a chance to reach their audiences and tell their stories. And we all get to identify and see ourselves in each other. I don’t have to reach out and save the world because it kind of starts with myself and our own backyard.

BGC: Who or what inspires you to keep creating?

Oh geez, that’s a loaded question. My peers are my first and foremost inspiration and motivation. Again Eliyannah Yisrael, Megan Grogan, Alice Pearce, Jessica Jenks. It’s remarkable to watch those ladies do what they do. I love being in acting class and witnessing breakthroughs or being in a really great rehearsal with a cast mate. That’s always promising when you get to be part of the creation of something honest and true.  Even if it is just a great moment in a scene. Actors who inspire me are endless. Octavia Spencer is a fantastic actress and creator who I adore. I had the blessing of working with her once and she’s an even better human.  Lovely doesn’t do her justice. I love watching Regina King. There’s a great example of an honest to God creator and storyteller. She’s accomplished so much in acting, directing, writing, and producing. That’s also how I feel about Shonda Rhimes, Boots Riley, Jim Carrey, Maggie Gyllenhaal. There are many more. I’m sure as soon as you publish this interview I’m going to think of more.

BGC: Why is it important as a Black person to create?

As Black people, we have such a specific and loaded way we walk through the world. The Hermione Series has such a beautiful tag line.  It says “HGQLC - Write Your Own Ending.”  I’ve always loved that because it gives power to the subject.  As Black people it is our responsibility to take control of our story the best way we can.  We must feed our communities the best and most honest images of ourselves to ourselves because images and representation matters. In the area of cinema, for years non-Black people have told their version of the Black experience and it has left us misrepresented.

BGC: How do you balance creating with the rest of your life?

It’s always a struggle to keep a balanced life. I have a tendency to obsess and quickly lose perspective but when I want to regain balance I plan my day to make sure I get everything I need in. Luckily for me in my particular art form, acting is about living so I know I can’t be a good actor if I’m not allowing myself to experience life and fun.   

BGC: Have you been able to build a support system around yourself? What does that look like?

I feel so grateful for my support system. I have amazing representation, an amazing day job with super awesome and motivating coworkers who are actively pursuing their life goals. I also have super supportive family and friends who tell me they’re proud of me just for being myself. My sister is also a great support system, someone I can speak and think out loud with no fear of judgment. I could not be any luckier.

BGC: Any advice for young creators/ones just starting?

It takes 10,000 hours to be a professional at anything. So just put in the hours, however that may look. Either do it, read about it, watch a YouTube video on it, whatever you have to do to learn about your craft and get better.  

BGC: Any future projects?

I’m going to be doing a remounting of the stage production Rotterdam at the historic Kirk Douglas Theater in Culver City. It’s a short run, performances run from March 28 - April 7th, but it’s such a blessing to revisit this work with such a remarkable group of people.  It’s a super funny and insightful play about gender and love.

In the television world I just finished wrapping a new AMC series starring Zachary Quinto and Ashleigh Cummings called NOS4A2. I don’t know the exact date it is to be released but it’s happening soon. The series is based of the hit novel by Joe Hill and it centers around a teenager (Cummings) who uses supernatural abilities to track down the seemingly immortal Charlie Manx (Quinto), who steals children and deposits them in “Christmasland.”  I play a Detective Tabitha Hutter trying to suss out the truth. This series has supernatural fantasy, horror, action/adventure, procedural, and family drama. Everything you want to see.

[healthcareour]

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What really is Yeast Infection No More ebook?

One can understand Yeast infection no more system as a comprehensive document which includes detailed information on how to get rid of candida yeast infection permanently. What makes this system something unique as mentioned in the Yeast Infection No More Review that, it follows a holistic approach and uses all of the natural methods.

This book will be an eye opener and will expose the shallowness of the current convention treatment of yeast infection, basically in terms of their lack of permanence in comparison to the thoroughness, accuracy and in – depth approach of the holistic method.

Inside the yeast infection no more book you can find that there are several areas which it addresses specifically such as importance of nutrition, making the necessary dietary changes, using supplements, focussing on probiotics and cleansing digestive as well as intestinal system.

Features of the Yeast Infection No More system

The fact which makes this Yeast Infection No More eBook more appealing is that you won’t find any doctor or medical community discussing this solution because it works on a natural and holistic approach. Unlike the pills or medicines on which you spend so much money and they don’t even seem to work, this eBook of 236 pages will be your lifelong saviour.

Written in a simple and organised manner, the yeast infection no more pdf is not only well presented with a professional design and nice layout but gives a detailed information on what exactly is yeast infection, its causes, different types of infections, why natural medicines is better, how you can diagnose yourself and so on.

Yeast Infection No More Review states that all of this information is just to lay a basic foundation and make you understand better. The main treasure is in the golden 5 steps yeast infection no more system.

Pros and cons of ​Yeast Infection No More book

Pros

No matter how many yeast infection no more reviews you go through, every where you will find that it is a really comprehensive book which gives one detailed and accurate information on yeast infection.

The yeast infection no more book by Linda Allen will once again make you believe in the importance of consuming a healthy diet regularly, doing daily exercise, control stress and have a sound sleep. 

Other than that, they also provide an excellent customer support. So, in case you have any doubts, then they will address all your concerns professionally and expeditiously. 

Moreover, you even get to experience the exceptional free one on one counselling from Linda Allen, that too for three months which will help you greatly. 

As you go through the eBook, you will find many useful links which will assist you more in understanding the points mentioned. If you are still not so sure, then they even provide a 60 - day full money back guarantee. 

So, in short, one can say that there are literally no risks involved and is a completely win – win situation for you. With a simple transaction and download method, there is absolutely no reason why anyone would not want to try this Yeast Infection No More system.

Cons

Now, as we talk about the cons of yeas infection no more system, we will honestly tell you that

 It is very comprehensive program and can be a bit daunting for the faint hearted people or for those who are yet in the beginning stage of the infection and are not yet experiencing the full impact of symptoms. 

With a huge sea of knowledge, as the book progresses, you may feel that the information is somewhat repetitive in some sections. 

Lastly, for seeing positive results, it is suggested in this Yeast Infection No More Review, one has to successfully carry out the whole Yeast infection no more 12 hour cure accurately and for that it is essential to have patience, determination and commitment.

Main Advantages of Yeast Infection No more ebook

One of the biggest advantages of yeast infection no more system is that it cures the candida infection permanently with natural methods.

If you follow the instructions accurately, in general circumstances, you would be able to see positive results in just a couple of weeks. 

The program also tells how to prevent the return of yeast infection. Erasing all the myths and doubts, it solely works on curing you from yeast infection.

The creams and drugs which are the typical treatment methods for yeast infection, work in a limited way, that too temporarily and have loads of awful side effects too. However, yeast infection no more book is completely safe and natural according to many Yeast Infection No More Reviews.

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Yeast Infection No More Creator

Yeast infection no more program is a comprehensive system written by Linda Allen. This yeast infection eBook is a result of over seven years of thorough research, trial and error testing, several interviews and many more things in order to get the accurate thing by the author. It is really effective.

Why Yeast Infection No More is useful?

Unlike the conventional method of treatment which follow;

One - dimensional Approach 

Yeast Infection No More works on curing your yeast infection in a holistic way. Also, if you are tired of surfing and taking in information about yeast information from various platforms, then yeast infection no more program is a complete package for you which will explain everything about the diseases ranging from its causes, symptoms, effects and cure. 

Easy to read & safe to use

It is written in simple language and is thus, really easy to follow. The book will make you more aware about the causes, symptoms and effects that candida yeast infection can have on your entire body. Once you understand the seriousness of the situation, Yeast Infection No More by linda allen will also give you a holistic solution for treating it, that too in just a couple of weeks.

Effective and Straightforward

It encourages the users to follow a balanced and healthy lifestyle. Yeast Infection No More Review proves that it works in curing and preventing the return of yeast infection naturally and safely, within a span of 8 weeks. 

Is Yeast Infection No More a scam?

Yeast infection no more eBook will give you adequate information on how you can cure yeast infection, that too permanently. If you are doubting whether yeast Infection no more scam is true or that it actually works, then you would be pleased to know that this program has already helped thousands of people to get completely healed from yeast infection. The book will give you a step by step process which can cure you from this problem.

Conclusion

If you have ever suffered from a yeast infection in the past or are going through it recently, then you would know that it is really frustrating and not at all easy.

Treating yeast infection by conventional medicine can be hard mainly because as it is not caused by any external disease - causing organism which can be eliminated by medicines. In short, one can say that for treating yeast infections, one requires a natural alternative which can help in restoring the balance. 

In this yeast infection no more review, we have already told you that it is a comprehensive and detailed system which gives you complete information regarding the yeast information. 

The thing which makes this book different from the several other conventional healing strategies practiced largely is that it does not espouse the usage of chemical creams, medicines or treatment. Rather it promotes users to have a healthy lifestyle and provides safe as well as natural ways of treating oneself from yeast infection.

 In short, yeast infection no more eBook perfectly assures of zero negative side effects. Other than that, they even provide you 60-day full moneyback guarantee, an easy transaction method and an excellent customer support system too.

Moreover, if you feel that the program isn’t working for you, then you can simply request for a refund and easily get your money back. So, we can conclude this yeast infection no more review, by highly recommending you to try this product.

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Yeast Infection No More Review – A Natural Alternative To Cure Yeast Infection? Dr. Shin Fen Chow

https://ift.tt/32SeLeO Fore more information go to https://ift.tt/2V59pu7

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Director Taylor Steele breaks down his latest Documentary ӓAVE THIS RHINO

SAVE THIS RHINO is no ordinary conservation environmental documentary seen in the heritage of the creative team led by maverick AACTA winning filmmaker and producer Michael Lawrence (Bra Boys, Fighting Fear, Uncensored with Michael Ware, You and Me, Proximity) and directed by legendary award-winning filmmaker Taylor Steele.

Audiences across Australia, New Zealand, the UK and South Africa will be inspired and moved to action by this powerful new 2-part feature documentary SAVE THIS RHINO, that aired in the lead up to the World Cup of Cricket in 2019 on National Geographic Channel and then on demand.

SAVE THIS RHINO heralds the first major project for THIS. Film Studio, M&C Saatchi Group’s film and television production studio. Shot in partnership with National Geographic, Cisco, Dimension Data and Land Rover South Africa, entirely on Canon equipment, SAVE THIS RHINO follows the desperate efforts in South Africa where 80% of the world’s critically endangered rhinoceros, whose population is now hovering below 25,000 at the hands of poachers hunting for the highly sought-after rhino horn live. Presently, three rhinos are killed every day and if this continues, the animal will be extinct by 2025. If the ban on illegal rhino horn trade for alleged medicinal properties is removed, it could be as rapid as a couple of years.

Video and Filmmaker sat down the Taylor Steele (Director of Save This Rhino) to chat about his career and this project.

  VF. Tell us how to got into Filmmaking? (Brief Rundown on your career)

TS: I got started by creating surf movies at a young age and then from there I made many surf movies. Over the years I got asked to commercials with the same tone as my surf movies. After doing films and commercials that were mainly beautiful imagery and not much story I got a little bored. So I started making more documentaries with stories. Now I combine both beautiful imagery and compelling stories within my work (I hope!)

VF. When did you know you wanted to be a director?

TS: I started making short films in high school but at that point I didn’t know it was a career option, I just enjoyed doing it for fun. You could say I wanted to be a director from the age of 12 but I didn’t know it was possible until when I made my first successful surfing short film at the age of 18. From then on, my career and passion continued to grow, and I have been able to live my dream since.

VF. How did the opportunity for ‘Save The Rhino’ come about?

TS: The opportunity for Save This Rhino came about through Kevin Pietersen, he came to us with the information around the work that is being done to save the rhinos in South Africa and he wanted to create a series to inform people of this.

VF. Take us through the thought process you went through between seeing the job come across your desk and actually deciding to go ahead

TS: When the idea came across my desk, the first thought I had was that there are already a range of rhino poaching series/documentaries. I didn’t want to do something that someone else has done before. I thought deeply around how I could create emotion and empathy through the work and that’s when I myself got emotionally involved, thinking about the rhino orphanage, the people and rangers helping these rhino.

VF. Tell us about the team, have you worked with them before? And what where your initial thoughts?

TS: I had worked with the producers Mick Lawerence and Nick Cook a lot beforehand, so I knew we had the ability to make great work. The camera crew on the other hand was new, and knowing how intense the shoot was going to be I did worry they would be mentally and physically prepared for the long shoot

VF. Can you take us through your pre-production process?

TS: The pre-production process on this series was different to anything else I have worked on. We sat in a war room and wrote out all our ideas on a wall. We treated it almost as if it was a crime scene we were trying to solve, even bringing in an ex-CIA worker. We worked with the information that we had; an orphan rhino, a killed rhino mum, poachers and people helping the rhinos. We deep dived into this information for three days.

VF. How closely did you work with Thomas Labanca and Tim Walsh on creating a look and feel for the project and what was your process?

TS: Working with both Thomas Labanca and Tim Walsh was extremely easy. We would talk about the look and feel required for the day in the morning and I would show them videos to help them visualise it. It was so interesting to watch them work, they communicated through looks alone to ensure they weren’t getting the same shots and were capturing everything.

After the first day filming they both completely understood my thinking and had the look down. From then onwards, I knew I could trust them.

One moment I remember very well was one of our first shots, we had just arrived at the rhino orphanage to greet the owner and as she walks out, a grown rhino starts running straight towards her. I looked over to my camera men and they hadn’t even filched, they had stood still and got the perfect shot. The rhino was tamed, and we had it all on film. It was amazing!

VF. Take us through some of your favourite scenes to film and what where some of the challenges you faced?

TS: I loved getting in the trenches with the rangers at night, there was so much adrenaline as you knew you were at risk of getting attached by a lion or a poacher. I feel the imagery that we managed to get from this that really highlighted dangerous the rangers go through on a daily basis.

In regard to challenges, the whole shoot we were trying to get one episode with our orphan rhino and one episode with a mum and a baby rhino. The real challenge was finding the baby rhino with a mum. We tried for whole two weeks and it wasn’t until the last day we found and shot exactly what we needed.

VF. How did you overcome those challenges?

TS: When you are creating a documentary, you set out with a rough outline of what you are going to get and it’s a given that you will always end up with something different. It is all about adjusting to what you get and making that work in order to bring the story to life.

VF. Filming in remote locations has its challenges, what equipment did you decide to travel with and what were some of the challenges you faced?

TS: We were very lucky Canon supported the project and provided us with a range of gear to ensure we could shoot every angle need and shot required to make the mini-series come to life. Without this gear, Save This Rhino would not have come to life in the amazing way it has.

The biggest challenge was shooting wildlife, as if you get too close to them they act differently and will sometime dart away. To be able to shoot from a distance, we need to use a big lens and big lens ideally need to be stable to get a great shot, but we were in a big moving truck. To overcome this, we had to get a bigger truck that would allow us to tie down the tripod securely and park up. We then had to spend a lot of time waiting for the animals to arrive in shot.

VF. Apart from the camera, what was one piece of kit that you could not have done without?

TS: On this trip for Save This Rhino, coffee would have to be on the shortlist, but we could not have done it without the Canon 1000m lens. Without this we would not have been able to capture the great imagery we did.

There was some pretty impressive Canon gear used on this documentary, Paul Stewart, Canon’s Senior Product Manager, also took the time to give us the low down.

VF. Tell us about the Canon gear that was used for Save This Rhino?

Cameras used:

· A camera – Cinema EOS C700

· B cameras – Cinema EOS C300 Mark II & Cinema EOS C200

· EOS 5D Mark IV

Lenses used:

· CN-E50-1000 (PL mount)

· CN-E30-300 (EF mount) Premium Zoom

· CN-E17-120 (PL Mount)

· CN-E18-80 Compact Servo

· EF24-105f4.0 LIS

· EF16-35f2.8L III

VF. Given the challenges that the crew would face, why was this equipment the best option?

PS: Having a flexible kit which will work across various platforms in hostile conditions is essential. The crew needed the gear to be maneuverable with the ability to work with multiple vehicles (cars/helicopters), gimbals and hand holding.

The C700 and CN-50-1000, which are a large sized camera and lens combinations, were used to capture video/shots on the moving vehicles. Due the high magnification of the 50-1000 (up to 1500mm with 1.5x extender), the camera kit required a rigging in the back of the truck to maintain a stable shot.

When shooting from the helicopter, an EF Lens was used with the C series cinema cameras due to space and size restrictions. The EF16-35f2.8LIII was used to provide the look required without compromising image quality.

are renowned for their colour accuracy. Matching colours across the Cinema system (C700, C300MKII, C200) and the EOS5D Mark IV is made possible by Canon’s image processing.

The cameras and lenses had the reliability and durability needed to work in various hostile conditions.

VF. Tell us about some of the stand out products that really made this project come to life?

PS: C700 – Canon’s flagship Cinema EOS camera provided wide dynamic range, 4K performance and flexible operability.

CN-E50-1000 PL – This unique servo zoom lens has astounding 20x optical zoom with a built in 1.5X extender. It provides up to 1500mm focal length on a Super 35mm format, all in a 6.6kg package.

Relevant Links:

https://www.canon.com.au/cameras/eos-c700 · https://www.canon.com.au/cameras/eos-c300-mark-ii

https://www.canon.com.au/cameras/eos-c200 · https://www.canon.com.au/camera-lenses/cn20-x-50-ias-h

https://www.canon.com.au/camera-lenses/cn7-x-17-kas-s

https://www.canon.com.au/camera-lenses/cn-e-30-300mm-t2-95-3-7-l-s-sp

https://www.canon.com.au/camera-lenses/cn-e-18-80mm-t4-4-l-is-kas-s

  Watch the documentary here:

https://www.nationalgeographic.com.au/tv/save-this-rhino/episodes.aspx

  The post Director Taylor Steele breaks down his latest Documentary “SAVE THIS RHINO” appeared first on Video & Filmmaker magazine.

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These Are the Best Work-From-Home Jobs We’ve Found in 2019

Are you tired of the 9-to-5 grind? You stash the kids in day care, fight traffic on your commute, trudge into a workplace that’s blasted by harsh fluorescent lights and settle in for another day of toil.

Working from home starts to sound pretty good, doesn’t it? The problem is you’ve probably seen plenty of work-from-home job postings that promise way more than they deliver. (We’re looking at you, multi-level marketing schemes.)

Heck, just Google “work from home scam” and you’ll get 225 million hits. It’s a jungle out there, people.

We’ve got good news, though: There’s never been a better time to earn a living without leaving your house or apartment. Our internet-saturated society keeps creating tens of thousands of ways to work at home that didn’t exist just a few years ago.

(Want proof? Keep an eye on The Penny Hoarder’s Work-From-Home Jobs Portal, where you’ll see the most up-to-date listings we’ve found. These job alerts are for positions that are open right now.)

To give you an idea of what’s out there, we’ve rounded up this list of legitimate work-from-home jobs. They range from full-time positions to side gigs, and none of them are scams.

Table of Contents

Start Your Own Business

Launch a Side Gig from Home

Find a Remote Customer Service Job

Start Your Own Business

Start your job search by looking in the mirror. Being your own boss has its pros and cons. You’re working without a safety net, but you have maximum flexibility. Here are some options:

1. Make up to $60/Hour as a Bookkeeper

The job: Would you like the freedom to work remotely while helping others succeed? Those are the perks of working as a bookkeeper, says Ben Robinson, a certified public accountant and business owner who teaches others to become virtual bookkeepers through his online course, Bookkeeper Business Launch. We asked him for advice for making this career track work for you. You can read the full interview here.

Requirements: You don’t have to have a CPA to be successful in this business. In fact, all you really need are decent computer skills and a passion for helping business owners tackle real-world problems.

Average earnings: The average full-time bookkeeper earns nearly $40,000 per year (almost $19/hour), according to the U.S. Bureau of Labor Statistics. But Robinson pointed out that as a freelancer or contractor, you can actually earn a higher hourly rate while working fewer hours. He says to aim for $60 an hour.

How to get started: Check out Bookkeeper Business Launch to see if the career is right for you.

2. Earn an Easy $2,000/Month as a Transcriber

The job: Listen up, take notes and get paid. Transcribe Anywhere offers online transcription courses that teach students how to transcribe and also how to start their own freelance transcribing businesses. The online course will lead you through modules, practice dictations and quizzes. It even shows you how to create a website and how to secure clients.

This worked out well for Alaina Roth. She had worked various jobs in management and hospitality, putting in long hours on nights and weekends — until she got pregnant. Now she works on a contract basis with two companies and puts in about 30 hours a week, transcribing anything from training webinars and audiobooks to radio broadcasts.

Requirements: Do you have mad typing skills? Do you have the stick-to-it-iveness needed to finish an online training course?

Average earnings: On average, Roth earns $2,000 per month, happily taking jobs when it suits her.

How to get started: If you’re even a teeny bit interested, try Transcribe Anywhere’s free introductory mini-course.

3. Earn $17.50/Hour Catching Typos as a Proofreader

The job: Do you have an eye for typos and a serious dedication to the laws of grammar? You could be a perfect candidate for a side hustle (or full-time hustle) in proofreading. Proofread Anywhere founder Caitlin Pyle can show you how to do this out of your own home.

Requirements: A good eye.

Average earnings: The average per-page rate for freelance proofreaders is 35 cents, according to Pyle. If you read at an average pace of 50 pages per hour, you could make $17.50 per hour!

How to get started: See if proofreading is right for you — and how to find your ideal clients — through Pyle’s free introductory workshop.

Launch a Side Gig from Home

A lot of work-from-home gigs are ideal for working part-time or supplementing your main income.

4. Make an Average $1,000/Month as a Dog Sitter

The job: If you’re looking for a flexible, independent way to earn money — and you love hanging out with dogs — Rover might be your perfect gig. The online network connects dog walkers and sitters to local dog owners through its 4.9-star-rated app, so you don’t have to staple flyers on every utility pole across town. You can choose to offer a variety of services, including dog walking, overnight boarding at your home or theirs, and daycare.

Requirements: They vary by location. In general, you must:

Be 18 years or older.

Pass a background check.

Have access to the Rover app (iOS or Android).

Average earnings: Rover says sitters can earn as much as $1,000 a month.

How to get started: You’ll create an online sitter profile where you’ll answer questions about your experience with puppers and your schedule availability. Boarding is the app’s most popular service, so offering it can get you more gigs. You set your own rates. (Rover keeps a small percentage as a service fee.)

Dog owners will reach out to you. Accept which gigs you want, then start snugglin’ pups. As soon as you complete a service, you’ll be paid within two days.

5. Earn $500+/Month Listing Your Place on Airbnb

The job: Have you got a spare room? Might as well list it with use Airbnb to try to make some money with it. If you’re a good host with a desirable space, you could add hundreds — even thousands — of dollars to your bank account that way.

Requirements: Airbnb lists guest houses, apartments and single rooms, but you can also list a couch, if that���s all you’ve got available.

Average earnings: Earnest, a personal loan platform, found that the average monthly income for Airbnb hosts among its customers is $924 and that nearly half of hosts earn more than $500 a month. Enter your information into Airbnb’s calculator to receive a free income estimate.

How to get started: Read through our beginner’s guide to Airbnb before you list your space.

6. Earn $22/Hour Teaching English Online

The job: Here’s a gig that allows you to work from anywhere: online English as a Second Language (ESL) teacher. They’re in high demand, so requirements to become one are low, especially if you want to teach English abroad.

Many online English education companies focus primarily on Chinese grade schoolers, meaning teaching hours tend to be in the early mornings or late evenings for U.S. time zones. That’s perfect to supplement a 9-to-5 job.

Because the demand is so high, there are a lot of less-than-reputable companies out there. It’s important to vet each company to see which one will fit your schedule and income needs. Two we like are Qkids and VIPKid.

Requirements: VIPKid applicants must have a bachelor’s degree. Qkids is more flexible but also prefers a degree. Each company requires you to commit to a six-month contract.

Average earnings: With most ESL sites, it’s possible to teach two lessons per hour. Total hourly pay ranges from $14 to $22.

How to get started: Here are some things you’ll need:

Erasable whiteboard and markers.

Props like charts, pictures, posters or stuffed animals.

A web camera.

A high-speed internet connection.

A computer, tablet or smartphone.

7. Build Your Freelance Career $5 at a Time

The job: Have you got skills? Can you shoot photos, edit videos or design websites? Can you write blog posts or code? Can you draw? If you’ve got game, list your services on freelance sites like Fiverr.

Requirements: Depends on the gig — use your existing skills!

Average earnings: It’s called Fiverr because every job listed on the website used to cost five bucks. Nowadays the jobs start at $5 apiece, but you might charge up to thousands of dollars, depending on the complexity of the work.

How to get started: Study the website. Gigs on Fiverr range from standard data entry and research tasks to the truly out-there. On any given day, sellers in the “Fun & Lifestyle” section are offering thousands of unique services — from polishing a Tinder profile to creating a family tree.

8. Earn $300+/Week Driving People Around Town

The job: Need a fun, flexible way to earn money while also meeting lots of new people? Try driving with Lyft. Because it’s simple to switch between apps, many Lyft drivers also sign up as a driver partner with Uber.

Requirements: To be eligible for either Lyft or Uber, you’ll need to be at least 21 years old with a year of driving experience, have a valid U.S. driver’s license, and pass a background check. Your car must be registered in-state and be covered by in-state insurance.

For Lyft, you must own a car made in 2007 or later. For Uber, your car must be a four-door and seat at least four passengers (excluding the driver).

Average earnings: According to Uber, the average driver earns $19 an hour. More neutral sources offer a wide range of numbers, from $10 an hour to $50 or more.) The average Lyft driver pockets $377 a month, according to Earnest’s findings.

How to get started: You’re an independent contractor. Set your own schedule and work as much or as little as you want.

9. Make $15/Hour Cleaning up Search Engines

The job: Search engines use complicated algorithms to determine the results you see. But they don’t always get it right. They’re actually full of errors, so companies need real humans to look at the results and judge them for quality, relevance and usefulness. That’s where you come in.

Requirements: You’ll have to take qualifying tests. They can take a couple hours, and you won’t be paid for this time. Some companies also interview you by phone.

Average earnings: A search of publicly available information shows that most companies pay workers in these positions between $12 and $15 per hour. You’re hired as an independent contractor, not an employee.

How to get started: You can find search engine evaluator jobs through firms like Lionbridge or Appen.

Remote Customer Service Jobs Are Booming

There are many work-from-home jobs available in the customer service realm. Here’s what you should know:

10. Provide Customer Service From Your Couch

The job: Large corporations often contract smaller companies to provide phone and online customer care, and these smaller companies specifically hire home workers instead of staffing call centers in an office somewhere. Typically, you’ll spend the day on the phone in front of your computer and will answer calls or respond to questions online.

Think back to all the times you’ve called a company for help or typed questions into an online help box. The customer service agents you dealt with could have been working at home, which gives you some idea of the kind of work you might be doing.

Requirements: You should be good at multitasking — talking on the phone while working on a computer. Speaking Spanish is also a good skill to have, and it can earn you extra money.

Average earnings: $10 to $19 an hour, with an average of about $13.70, according to PayScale. Although these positions generally don’t pay high wages, many do provide a regular paycheck and health insurance, among other benefits.

How to get started: Numerous staffing companies work in this field. You should also keep an eye on The Penny Hoarder’s Work-From-Home Jobs Portal.

11. Work for Amazon Without Leaving Home

The job: Amazon is a huge company that sometimes hires seasonal or permanent work-from-home customer service associates.

Requirements: You should have a high school diploma or equivalent and a year or more of exposure in a service environment. You should also be able to type, speak on the phone and navigate a computer.

Average earnings: It varies. Jobs start at $10 per hour.

How to get started: Check out Amazon’s remote jobs page.

Bonus: Find Work-From-Home Jobs Through This Site

If you’re trying to land that perfect work-from-home customer service or virtual assistant job, we recommend starting your search with ZipRecruiter.

When you click here to search, ZipRecruiter sends you to a list of geo-tailored work-from-home job openings. (Because, yes, even some work-from-home job opportunities have location restrictions.)

As soon as you start your search, you’ll see the average salary for work-from-home jobs in your area. This will help you know what to expect. Peruse the listings to find information about the company, pay and type of employment. You’ll find details about requirements as well as information about how to apply.

ZipRecruiter will even let you know if you qualify for a position based on your credentials. (We always recommend applying, anyway!)

A Work-From-Home Golden Age

There’s never been a better time for Americans to do real work from home. Across the United States, remote jobs are a godsend for stay-at-home parents, college students and anyone else who needs this kind of flexibility.

All you need is a laptop or a phone, a work ethic and internet access.

Mike Brassfield (mike@thepennyhoarder.com) is a senior writer at The Penny Hoarder. He mostly works in an office.

This was originally published on The Penny Hoarder, which helps millions of readers worldwide earn and save money by sharing unique job opportunities, personal stories, freebies and more. The Inc. 5000 ranked The Penny Hoarder as the fastest-growing private media company in the U.S. in 2017.

These Are the Best Work-From-Home Jobs We’ve Found in 2019 published first on https://justinbetreviews.tumblr.com/

[limejuicer1862]

Wombwell Rainbow Interviews

I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger. The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.

James Dennis Casey IV

James D. Casey IV is a southern poet with roots in Louisiana & Mississippi. He currently resides in Illinois with his Beautiful Muse, their retarded dog, and two black cats. Mr. Casey has authored five books of poetry, and his most recent title is Isomorphic released September 24, 2018, through Cajun Mutt Press. His work has also been published extensively by literary magazines and small press venues including Outlaw Poetry, Beatnik Cowboy, The Rye Whiskey Review, Dope Fiend Daily, Under The Bleachers, Zombie Logic Review, Horror Sleaze Trash, Pink Litter, Spillwords Press, and several others internationally. Mr. Casey mainly spends his days writing poetry, but also enjoys practicing magick, and cooking Cajun cuisine. Links to his books and other projects can be found here: https://­cajunpoetjames.wordpr­ess.com/

Drunk on Metaphors cajunpoetjames.wordpress.com

The Interview

What inspired you to write poetry?

It was a few things that happened to me throughout my life, then some things that hit me all in the same year. I started writing at a young age, but I didn’t begin to take it seriously until I broke my neck and back in 2009. Then my Mom passed away of cancer, and a good friend of mine overdosed and died on my living room couch. I had a lot of down time and was severely depressed so I was writing really heavily every day, and I decided to submit some work to a few places. After I had a few publications under my belt I decided to go through all the back-log of poems I had written over the span of 20 years or so and publish a book. Now here we are, five books later, and it’s the love of my life. If I didn’t have writing I don’t know where I’d be today, probably dead.

2. Who introduced you to poetry?

It was something I kind of stumbled upon on my own. My Mom was an avid reader, but she wasn’t really into poetry, though she used to take me to the local library with her when I was young. I remember running across a book by Robert Frost, and that sparked my interest. As I got older I started reading a lot of the beatnik generation poetry, and that’s what really made me want to become a writer. I love Bukowski, Ginsberg, Kerouac, Burroughs, but especially Buk. His work just resonated with me on a level nothing else could.

3. What was it about Frost that sparked your interest?

I’d never read poetry before his work, and I fell in love with it. I even wrote one titled Fire & Ice not too long ago that was a nod to his poem with the same title. He was the first rhyming poet I remember reading, and it was so musical to me, that’s what drew me in. Since then I’ve steered away from the rhyming end of the spectrum when it comes to writing, and it’s still something I enjoy now and then, but I’m not a big fan of it like I was in my youth. After reading more free verse and other unstructured styles of writing that’s where I found my true love for the craft. But it was Frost’s musical way with words that sparked my interest.

4. How would you describe the level at which Buk resonates with you?

He has a way of slipping in between sleaze and beauty with an ease and style all his own that I’ve never seen anyone else able to achieve quite like he does. I dig that. He can speak to me on so many different levels. My favorite poems by him are from two completely opposite ends of beauty and sleaze as well. One is The Roach Hotel and the other is The Laughing Heart. It’s incredible the amount of ability he has to write in such a no filter way. He can express human emotion like no other writer I’ve read, and I love him for it.

5. What is your daily writing routine?

I have two different routines when it comes to writing. Sometimes I’ll wake up early, make some coffee, put on some tunes and have a mellow day just pecking out a few poems. Other times I’ll wake up late, start drinking booze, and chain smoke while I’m violently clacking away at the keys for hours without a single break. But both methods usually produce several poems, and I do write every single day. Even on days where I feel a bit mentally blocked I’ll force myself to sit down and write. It may not be any good, but I do it just so my head doesn’t explode. There’s always so much going on up in my grey matter that it feels like it will sometimes anyway. Writing has always been a therapeutic tool for me.

6. Is therapy the only motivation to write?

No, I write for several different reasons. If I need to get something off my chest, express myself in various ways, for creative or artistic purposes, personal goals, love, hate, all forms of passion whether it’s good or bad, and I find that most times writing is the only way I can say some of the things I need or want to say in the way I intend them to be said. Poetry is language in its most distilled form, and it’s easier for me to communicate that way most of the time.

7. What Is your work ethic?

Well I do admit, writing is definitely a full-time job for me, even though not a very profitable one. Especially doing it all on my own. Self promotion can be a bitch sometimes, but I put 100% of myself into everything I do. I also run Cajun Mutt Press, initially I started it to publish my own books, and now I’m publishing other writer’s work. I put 100% into that as well, and I love doing it. We have 5 titles published so far, two of which are mine, and we just started in early August.

8. How do the writers you read when you were young influence you today?

I feel like I’m part of the old Beatnik Poetry scene, even though it’s in the past and there’s a new generation of poets at the helm. They still influence me now that I’m older. Sometimes I feel like I was born into the wrong generation because it’s so different and more complicated now. Even poetry, you can read from the old greats and see that things were different – better in a way – and now things are on a totally different level. There’s still some of the same stuff going on in poetry, but it’s magnified into a whole new creature. The writers I read in my youth, and still to this day, influenced me to concentrate on simpler things in life. I try not to get caught up in the hype of today’s bullshit and just live in the now of my own reality, because everyone’s reality is subjective. That is how they influence me today.

9. Who of today’s writers do you admire the most and why?

There are a lot of great writers out there today, and I’m a big fan of a lot of the stuff I’ve been seeing on Facebook and other social media platforms. If I was to name them all the list would be ten feet long, but there are a few I can name from the top of my list of poets/writers that I admire. Ron Whitehead, I love his style of Kentucky Gonzo Poetry. John Patrick Robbins, not only a great outlaw writer but also a dedicated Mad Editor to more than one venue – The Rye Whiskey Review being my favorite. Ryan Quinn Flanagan, that man is one of the most prolific poets I’ve ever had the pleasure of running across. K.W. Peery, I love how he integrates blues and outlaw history into his work. There are several more, but like I said the list is ten feet long. These are just a handful of my favorite current writers that also happen to be friends of mine.

10. Why do you write?

I don’t really have a choice in the matter. I’m a writer, that’s what we do, we write. If I didn’t write every day I think my head would explode, it’s as simple yet complicated as that.

11. What would you say to someone who asked you “How do you become a writer?”

I think you know if you’re a writer, I’ve always known. No matter how many degrees you earn or brevity you claim, good writing isn’t something you can teach. It has to be learned by personal experience. I’ve been writing for many years, but I’m no master of the craft by any means, and it gets to me when people say they are. Especially young writers with a degree from somewhere and a cocky attitude about it. Some of the best writers I know weren’t taught, they learned on their own. So to “become” a writer I guess you kind of need to already be one, and know it, in the first place.

12. Tell me about the writing projects you have on at the moment.

I have several irons in the fire right now. Also, I just published a book that will be the first in a series I plan on doing titled Owls in Hot Rods with Pink Elephants and Dead Bats. That one came out on August 2nd, and I just published another book of poetry September 24th titled Isomorphic. They’re both through my own publishing company, Cajun Mutt Press. I’ve also published a few other writers’ work, and have a couple of books in progress from myself and various others. So I’ve been pretty busy in that department, but I love doing it. We also have a featured writer spot we do twice a week on Wednesday and Friday. If anyone reading this is interested they can look us up on Facebook for details.

Wombwell Rainbow Interviews:  James Dennis Casey IV Wombwell Rainbow Interviews I am honoured and privileged that the following writers local, national and international have agreed to be interviewed by me.

[amazingviralinfo]

Ashu Garg Crunch Network Contributor

Ashu Garg is a general partner at Foundation Capital.

How to join the network

This has been my Summer of Video several months when it became clear to me that weve reached an inflection point in the transition from linear TV to online video.

It started at the beginning of the season with the release ofThe Revolution Will Not Be Televised,which discussed the shift and how its transforming media and marketing. From studying these trends for the past five years, I understood intellectually that the video revolution was imminent. What I hadnt anticipated is that real-world events this summer would make a born-again believer out of me.

A few weeks later, I went to my first VidCon, the annual convention devoted to all things video. Of the 25,000 attendees, the majority were teenaged (and tweenaged) girls. They were there to see their favorite YouTubers video megastars like Nigahiga, Jenna Marbles, PewDiePie and countless other, um, names(?) that made me feel irreparably out of touch with pop culture.

There were panels by creators on VR storytelling, shooting drone footage and running a gaming channel. On the industry floor, large brands like Nestl and eBay gave presentations on how they were doing video marketing for todays consumers. It was an amazing experience like seeing the IRL instantiation of our whitepaper.

Then, for the rest of the summer, it seemed as though every time news broke, there was a video aspect to the story. A military coup in Turkey was thwarted in part because its president was able to rally his supporters via video sent from his iPhones native FaceTime app. Shootings and arrests were captured and shared instantly by private citizens on Facebook Live and Periscope. We witnessed the first widespread use case of AR, as millions of people around the world shambled along streets playing Pokmon Go.

On the business side, legacy media invested as never before in creating digital video and in video streaming. CNN launched CNN Air, its drone-video-newsgathering operation. Twitter made eyebrow-raising forays into live programming, inking deals with Bloomberg, Major League Baseballand the National Hockey League.

Meanwhile, Instagram decided that rather than beat Snapchat at video, it might as well join them. Netflix released its first piece of original VR content. Finally, as a too-perfect coda to this video summer, the last-known manufacturer of VCRs just ceasedproduction.

If youre an entrepreneur, you should be excited that the online video landscape is inchoate.

There have been a few moments in my life when it felt like the world was in the middle of installing an update; this is one of them.

Not to get too carried away, let me temper my enthusiasm by saying that the future hasnt arrived whole and in its shiny entirety. The innovations are out there in the real world, but these are still Wild West days for the new era of video, and realizing the transition wont be without its difficulties. But I believe if youre an entrepreneur, you should be excited that the online video landscape is inchoate, because that means there are enormous rewards awaiting anyone who can solve the challenges. Ill elaborate on a couple of areas of great opportunity

Content creation

One thing I took away from VidCon is that human needs and motivations are consistent across time the adolescent attendees werent so different from my peers when I was a youth. But the expression of those desires takes different forms in different generations. New media platforms are pervasive among the millennial generation and Gen Z. In her keynote presentation at the convention, Susan Wojcicki, YouTubes CEO, reported that more millennials watch YouTube during prime time than network broadcast TV. For Gen Zers who are growing up with Snapchat, Vine and Pokmon Go Im not sure it makes sense to say that traditional TV is dying, because I doubt its ever been a meaningful part of their lived experience.

Therefore, to start with, there are countless direct-to-consumer opportunities to innovate with content creation tools for these new media. Consider that only just this year have we seen (maybe) breakout tools for live streaming, in the form of Facebook Live and Snapchat Stories. Some early successes, like Vine, appear to be flailing.

Creators and audiences remain agnostic as to platform and application. They simply want frictionless means to create and view which is why YouTube rolled out new features in its app to make it effortless to go live. In other words, I dont think any tool has an insurmountable lead yet. And thats just live streaming a form of video that has analogs in old-school TV. When we turn to more novel forms of video content, like VR and AR, there are no household names in apps, even in the homes of Silicon Valley.

One marketer colleague thinks theres a need for a content production hub, one that allows people to make video and distribute it simultaneously across the various channels. Personally, Im skeptical. Past indicators are that no one-tool-fits-all model will do. You cant take video made for Snapchat and simply dub it for Periscope. Consumers demand authenticity, and that now means being true to the platform.

The most potent content is the kind that says something compelling and is a psychic echo of who its audience is or wants to be.

Even legacy media is abandoning its afterthought approach of either lazily dumping leftover TV scraps into digital, or halfheartedly cranking out B-side video. ABC, for example, recentlyannouncedit is producing dozens of digital shows that are viewable only via mobile or TV apps. Audiences wont sit for second-class content. They want video for Snapchat Stories, or Facebook Live, or VR that was specifically made, and appropriately well-made, for each particular platform.

Speaking of makers, video creators at least the more serious ones are a market waiting to be served. At VidCon we met many who made their living producing videos for YouTube and other platforms, and what they wanted was a) easy ways to create and share, b) to be paid for their work and c) to be treated like professionals with real jobs. Amazon.com is trying to address the monetization and professionalization issues with recently launched Amazon Direct. But theres little other innovation in the payment platform and creator services ecosystem.

Personalization and distribution

We wrote in The Revolution Will Not Be Televised that when CMOs achieve video nirvana, scalable personalized content will be ever present. Well, easier said than done. But within each piece of that prediction is a promising marketing tech opportunity.

Scalable. A particular challenge that marketers face is simply how to produce compelling video, and enough of it. Agencies are prohibitively expensive for most businesses, and too slow to respond to the social web. Native advertising looks far less promising than a few years ago, as its become clear that even the biggest players in the space, BuzzFeed and Vice being prime examples, are running into trouble trying to scale and Facebook continues to eat their lunch as content distributors. Taking it all in-house might be an option for the largest brands. But for SMBs, what are reasonable ways to staff up in order to be able to create myriad kinds of video for myriad platforms?

Personalized. Figuring out what kind of video content individual consumers should be served and when/where they should see the content is another opening for startups. Data has transformed the rest of modern marketing, and it will do so with video marketing. By collecting and analyzing data from mobile, payment systems, wearables and the Internet of Things, marketers will be able to build a 360-degree profile of particular consumers in order to educate their content and micro-target potential customers. Individuals will only see videos that are of interest to them, in the channels most appropriate for them. It shouldnt surprise anyone that the industry thats taken a lead on mining data to deliver (intimately) personalized video content is the online pornography business.

Contemporary audiences wont be dictated to by faceless institutions anymore.

Ever present. The new mechanisms for distributing video are also still being worked out. Ive already mentioned the scaling issues with media outlets. Blogs continue to have currency, but are not nearly as influential as a decade ago. So-called influencers have grown in importance as channels for content distribution but does a viable business model exist for harnessing the power of these disparate individuals who hold sway over millions of loyal followers? Perhaps its still the medium itself with a twist thats the message: Pokmon Go, case in point, recently launched in Japan with its first major sponsor, McDonalds. Or maybe theres a way to work with creator communities to make, test and distribute content via their channels. Theres a danger, however, that a brand working with a creator will erode the trust that their fans place in them, which brings me to my final observation.

A concluding word about authenticity

If I were to boil down to one key point all the developments Ive witnessed in video over the last few months, it would be that the power has shifted to consumers. Gone are the days when three TV networks dictated what everyone watched; when news anchors were the trusted authorities on whats happening in the public affairs; when slickly produced commercials were all you needed to sell your wares.

TV viewership is in steady and irreversible decline. The police-shooting videos were captured by ordinary citizens. The celebrity YouTubers who fans were screaming for at VidCon werent like the big record label-manufactured boy bands of the recent past. Susan Wojcicki shared a remarkable survey finding that 60 percent of teenagers say YouTube stars understand them better than their friends.

Contemporary audiences wont be dictated to by faceless institutions anymore. They only trust real people, and they insist that their content be authentic. Or at least that the content and its creator do a credible job of passing for real. Even global celebrities like Taylor Swift have had to manufacture verisimilitude, despite maybe being, in actuality, cold-blooded pop stars.

Nor are the most engaged consumers satisfied with passive entertainment. Amusement will always be welcome, but todays audiences also value media that allow them to connect and to have a say be that through chance meetings with other Pokmon catchers, finding a nurturing YouTube subculture of ones own or tweeting in solidarity with digitally enabled social justice movements. The most potent content is the kind that says something compelling and is a psychic echo of who its audience is or wants to be.

The people rule. The populi demands that the vox be theirs. And what that voice is calling for on many different levels, from viewing habits to voting preferences, from consumer behavior to civil disobedience is revolution. Entrepreneurs and marketers would do well to listen as well as watch.

[thevanitychariot]

The Chariot: Issue IV

Original Publication Date: 02 September 2017

Pioneering the Asian Age By: Aramis Giordano

The Carlsburgh Mysteries finale signaled the end of The Stagnant Age, which spanned three years (2013-2016) starting with The Eternal Fire (April 16, 2013) and ending with Inferno (November 11, 2016), and gave rise to the new era in the entertainment industry – The Asian Age - which began with Death Note (March 24, 2017). The growing interest towards the Asian culture, history, and language began in Davis Wylde’s revolutionary short-lived series Dandridge (2016) through his incorporation of various taboo storylines and diverse characters. One of the main supporting characters, Daniella Kobayashi, played by Keira Kuyama, drew public interest in the Japanese and Korean cultures through her weekly vlogs reacting to Korean popular music videos, trying out Japanese and Korean cuisines, and her vacation video blogs in Asian countries. Through Keira’s videos, her viewers, who are mostly avid fans from the Western hemisphere of both Carlsburgh Mysteries and Dandridge, celebrate various Asian cultures with her – something that is unprecedented in the White-majority entertainment industry.

This growing interest in Asian culture lead to the MC Company (now MC-Wylde) releasing the first live adaptation of Death Note, which was initially criticized for casting White actors for its major roles. The success of Death Note prompted then-MC Company to release more live adaptations of Japanese anime (the Sword Art Online series and Your Lie in April). Interest in Korean films followed with the release of Boys Over Flowers after an increase in KPOP react videos by Keira Kuyama herself.

​During the promotion tour for ALfheim Online in the summer of 2017, Keira stayed in Seoul, South Korea to immerse herself in the Korean culture, which led to a number of Korean videos further increasing the public’s growing interest on the cultural and historical videos outside the White Western media. This fast-growing interest of both Japanese and Korean cultures is the reason Davis Wylde created a new series manufacturing new celebrities, called Surveillance, which will go against The X Factor after the show faced backlash earlier in the year for its lack of diversity.

Former X Factor director, Omar Vanderkoff, steps down and is replaced by Alistair Sullivan for the upcoming ninth season after facing criticism of how he handled the diversity issue in Season 8. Omar Vanderkoff helmed the successful series since its conception in 2012, which saw the rise of Music Generation’s Aubree Jones. With his resignation as The X Factor’s director, Hollywood Studios President, Lawrence Harland, acknowledged his contribution to the entertainment industry in the last five years and promoted him as the company’s chairman (who is also responsible for the Ross Awards) after the previous chairman, Francis Daehler, resigned last week. Hollywood Studios has recently been facing a lot of backlash due to its lack of diversity in its movies. In this year’s contenders for the Ross Awards, Hollywood Studios is releasing Omelas and 1872, both studded with White casts, and the studio is facing a growing pressure to incorporate more diversity in its workplace and movies.

MC-Wylde, officially used for the first time in Your Lie in April, is aiming to release more movies within the next few years that celebrates diversity, especially catering to the Asian wave. Davis Wylde particularly incorporates celebrities from very diverse backgrounds in his films, gaining public approval after an unprecedented hiring of Asian directors for Death Note (Itsuki Nakamura), Sword Art Online (Erika Yamamoto), and Your Lie in April (Eliza Maleenon), and casting Asians of different nationalities in major roles such as Rohan Kumar (Boys Over Flowers) and Park Jungmin, Riza Yuki, and Bodhi Zhao (You Lie in April). Davis cites that he wants to “normalize diversity in the entertainment industry by acknowledging the creative contributions of non-White artists” amid criticism from his White viewers accusing him of racism towards Whites. “People of color are very underrepresented since the conception of the entertainment industry in 2009. I cannot name a movie or a show with a Latin American or Asian as its lead”. Davis further defends his stance by saying he wants to provide a platform for people of color to catch up on the achievements that White celebrities have experienced in the last eight years. This year’s contenders for the Ross Awards are very racially and culturally diverse; and frankly, this might be a very exciting era of change and progress.

Indiana Jenkins: Dead in Phuket By: Aramis Giordano Original Publication Date: 10 September 2017

Phuket, Thailand. It was supposed to be a fun weekend for the group consisting of Indiana Jenkins and her fiancé Rutherford Jackson, and the couple Emilio Rojas and Madison Leigh Stewart, which ended in Indiana’s body washing ashore Raya Island in the evening of Friday, September 9, 2017. The Thai police was notified of Indiana’s disappearance early morning Friday when her friend, Madison Leigh, found her missing in the yacht they were aboard on. The four left Los Angeles to Phuket on Wednesday, September 6, 2017, and stayed at a local hotel upon arrival. Madison Leigh claims that the couple has been arguing over Indiana’s nightclub life over the labor day weekend a few days before, but didn’t treat it as something worrisome. The four planned to board the yacht on Thursday evening, September 7, 2017, which was rented by Rutherford Jackson as a getaway. Indiana invited Madison Leigh for the trip last week without any arguments from Rutherford. “It was very last minute and Diana said that Rudy was very excited about it”, Madison Leigh claims.

As this story progresses, Vanity Chariot has interviewed both Madison Leigh as the memories are still fresh in her head. “We went drinking at a club near where the yacht was docked,” Madison Leigh starts. “We’ve had a few drinks, but Indiana maybe had a little bit more wine”. Madison Leigh describes Rutherford as “quiet” and “reserved” that night, which is completely different than his usually loud personality. “Something was odd that night and I thought it was just from their argument earlier”. It was Indiana’s idea to go drinking before they boarded the yacht, which Rutherford was against with. Before leaving the hotel room, Madison Leigh overheard them from the other room arguing over Indiana wanting to go out, and Rutherford worrying over her “throwing herself to another guy”. She heard the door slam and Indiana knocked on her door asking if she’s ready.

It was an hour after they arrived at the club when Rutherford catches up to Indiana, Madison Leigh and Emilio. Rutherford had a blank expression on his face and didn’t seem angry. It was Indiana’s fifth shot when she started dancing with Emilio, in which Madison Leigh wasn’t worried about.

Half an hour later, Rutherford walked Indiana, Madison Leigh, and Emilio to board the Serendipity. There was a small dinner set up for the four, but Indiana wanted to rest for a while. Rutherford asked Madison Leigh and Emilio to go ahead and finish the dinner and he’ll set up another one just for the two of them later in the night. He walked Indiana to the bedroom, and that was the last time Madison Leigh saw Indiana that night.

The captain of the yacht, Klahan Chankul, claimed not to hear any suspicious arguments throughout the rest of the night.

Meanwhile, Madison Leigh and Emilio had dinner and went to the game room around midnight - an hour after Rutherford walked Indiana to the bedroom. Madison Leigh wanted to check up on Indiana, but Emilio told her to not bother the couple. That was the last memory Madison Leigh had before crashing on the couch.

Around 2:30 AM, Madison was the first one to wake up, noticing Emilio absent in the game room. She found him sleeping on the deck, but neither Indiana nor Rutherford were around. Madison Leigh checked the bedroom to see Rutherford pacing back and forth sweating - he asked Madison Leigh if she had found Indiana yet and said that he fell asleep when he was supposed to be watching over her. They both go to the captain and Emilio who have not seen her. After looking through the yacht, the captain of the yacht found that the dingy has been detached. That was when Madison tried calling Indiana, but to no avail. The captain docked the yacht and asked Madison to phone the police.

A search was conducted throughout dawn and there were still no signs of Indiana. Thai police took Rutherford Jackson into custody for questioning and as a possible suspect. Emilio and Madison followed.

Rutherford was held until early afternoon where he called his parents in Los Angeles about the issue.

Later in the evening, Thai police contacted Rutherford, Emilio, and Madison that Indiana’s body had been found. Upon initial inspection, she had multiple bruises throughout her arms and legs, but no signs of bleeding. Her body is being sent back to Los Angeles upon her parents’ requests for autopsy. Thai police asks Rutherford to stay for further questioning.

The Vanity Chariot will continue reporting as the story progresses.

The Asian Saga By: Aramis Giordano Original Publication Date: 30 October 2017

The Asian Age has been conquering the entertainment industry ever since it started with Death Note on March 24 this year. Following the release of the first movie of the trilogy, MC-Wylde introduced more Japanese-based movies, the Sword Art Online series and Your Lie in April. Even after the success of these movies, Davis Wylde starts off another avalanche by announcing the Asian Saga – a proposed five to ten Korean-based movies to be released throughout the first six months of 2018. Production for four confirmed Asian Saga movies have already concluded: Erica Maleenon’s Descendants of the Sun (February 24, 2018) stars Evan Tanaka, Keira Kuyama, Park Jungmin, and Joanna Park, Jang Minho’s W and W2 (November 3, 2017 and March 9, 2018) stars Park Jungmin, Joanna Park, Nam Taemin, and Lee Jiyeon and is the first movie to ever be studded with an entire Korean cast, Anh Siyeon’s Feral (January 12, 2018) stars Lee Jiyeon, Yoon Jaehwa, and Jeong Minhyuk, and Choi Soohyun’s The Pinocchio Syndrome and The Pinocchio Syndrome 2 (March 16 and March 30, 2018) stars Nam Taemin, Song Yeonhee, and Jeong Minhyuk.

Due to the complicated plot lines and the anticipation and hype surrounding Jang Minho’s W, Davis Wylde confirmed that the original movie will be split into two parts – with the release of the first movie being moved up to November 3, just a week prior to the Grand Nomination Event on November 11. This year marks the first time Davis will be participating in the Ross Awards competition as the president of an established film studio. He cites the unprecedented movie with W to his confidence on the success of the movie and the dedication of the fans to the Asian wave. W2 remains in its March 9, 2018 slot to mark the weekly release of the Asian Saga movies.

Following the move of splitting W into two movies was another announcement of a two-parter, The Pinocchio Syndrome and The Pinocchio Syndrome 2 to be both released alongside the other Korean-based movies. With The Pinocchio Syndrome, Davis was dedicated on presenting and elaborating a storyline that would be too dense for one movie and he is optimistic that the two films would greatly contribute to the success of the Asian Saga. Together with the news of The Pinocchio Syndrome, two more Korean-based movies have been greenlit and are ready for production: I Can Hear Your Voice and While You Were Sleeping. Davis opened Surveillance: Reel 2 to fill the cast of the future Asian Saga movies with the chosen housemates, all of Asian descents. The first two evicted housemates, Jeon Jihoon and Rio Tran are confirmed to have been casted for the Asian Saga.

In response to his unconventional casting, Davis shares his fear of what is now called the Spencer-McKinley Syndrome, in which the same actor is casted for all the main roles. In some cases, the actor plays a similar role in every movie, known as typecasting, due to its success from their previous similar roles. The combination of typecasting and Spencer-McKinley Syndrome lead to audience fatigue, which was very prevalent during the Stagnant Age. Although, this has been plaguing the industry since the Golden Age, it did not come into scrutiny until the previous age, notably with Jaci Spencer and Shannon McKinley. Davis plans to have different actors playing the main roles in each of the Asian Saga movies to avoid the syndrome and hoping to prolong the current prosperous era.

During an interview about the future of the entertainment industry beyond the Asian Saga, Davis Wylde teased the remake of Carlsburgh Mysteries for its five-year anniversary in 2019 with a working title of just Carlsburgh alone; he also continued hinting that iCarly will also be released that same year to celebrate its ten-year anniversary. Any further information on the two future movies are not shared until closer to the production dates.

2018 is right around the corner and MC-Wylde has already finished filming nine movies for the next year’s awards season proving to be a tough competition for Lawrence Harland’s Hollywood Studios, which has been facing backlash on its attempt to join in the Asian Age by confirming the production of Daisy Campbell’s Tokyo Ghoul, slated to be released April 14, 2018. The backlash started from the announcement of Alexander Avanda and Riella Harland playing the main characters Ken Kaneki and Touka Kirishima, both of whom are of Japanese descent. No comments have been made from the representative of the studio, although it is certain that the movie will be released without any changes in its cast.

[viralhottopics]

The Epic Story of O.J.: Made in Americas Creation

When Ezra Edelman set out to make the documentary O.J.: Made in America, he had one goal: To make a five-hour movie about howthe 1995 O.J. Simpson murder case became a flashpoint for talking about race and the American criminal justice system. Not only didhe hit his goal, but he overshot that runtime by about three hours.

“No sane person would do this,” Edelman says now, sitting in a lounge in New York’s Post Factory, where his doc was edited. Talking about it now its like ‘This is fucking crazy.’ The whole thing is a huge leap of faith. You have no knowledge of what exists from an archival standpointyou dont know anything. You just go, ‘Lets try to tackle this to the best of our abilities.’”

In the end, he took some 800 hours of footagesome from archive material, some from interviews with 72 peopleand boiled it down into one single 467-minute movie. It took him more than two years. But he didnt do it alone. In fact, it wasnt even entirely his idea. We spoke with Edelman and his creative partners to get the story ofhow they created the wildly ambitious documentary.

February, 2014: The Beginning

Connor Schell, executive producer and senior VP, ESPN Films: Weve been producing a series of documentary films at ESPN called 30 for 30 since 2009. In that time, we gained more of a foothold in documentary filmmaking, working with various directors, and tackling topics of real cultural importance where sports is your window in. I certainly knew Ezras work and Id been thinking about O.J. Simpson for a long time, but our pursuit of wanting to do something on O.J. Simpson always started from, Well, how do you conceive of something thats not obvious? This is territory thats very well-covered, be that in books, articles, or other documentary films. Obviously, theres a section of this story thats from [the murder of Nicole Brown and Ron Goldman in] June 1994 to [Simpson’s acquittal in] October of 1995 that, if you make a project about O.J. Simpson, youre going to have to cover. But I was always interested in the full picture. What came before and what came after. And where could O.J.s story take you? That led to a few conversations between Ezra and I and he conceived of this approach and of this film.

Edelman:The thing he first said was We want to make a five-hour film. Thats what interested me. That was before he even told me what it was about. When he told me what it was about I was not that interested. My thought was What can I add to this story? They had already done a film on O.J.June 17, 1994, Brett Morgens rendition of the day of the Bronco chase. Connor wanted to do something more challenging and that jibed with something I wanted to do.

Schell:We were interested in the context, in the story of race, of celebrity, and how O.J. helps you tell that story. We started the conversation about a really long movie by saying OK, when you get to that period, why was it so meaningful? Why did it mean so much to white American and black American and why did they view it so differently? Thats a story were really interestedin telling and therefore, it needs to be long.

April 2014: The Research

Because Edelmans movie details thehistory of the relationship between the the Los Angeles Police Department and African-American communities long before Simpson was a student the University of Southern California, his team had to find footage of events like the Watts riots and families from the South moving to LA.

Edelman: From there it was a few months of me just reading. That’sall I did: I got up and I read. Jeffrey Toobins bookThe Run of His Life, Lawrence Schillers bookAmerican Tragedy. This great book by Lou Cannon called Official Negligence, which is about the history of the LAPD. But the first thing I did, was address the practical question of How the fuck do we get this done? So that meant just calling Caroline [Waterlow, the movies producer] and being like Caroline, so theres this thing. Its going to be big. I think itll be interesting. It might not be so fun, but I can think of no other person who I would want to help me craft this.

Caroline Waterlow:I remember we had pizza. My initial reaction was O.J.? You feel like its a story that surely we know about. All the films Ive worked on have been predominantly archival, historical docs, so the idea of being able to get into the early context and history became interesting to me quickly. Then my job was to hire people to figure out how to do that. This is not a job for a young associate producer whos like just starting out. You cant ask them, “So, can you call the former DA of Los Angeles?” We needed really experienced people who knew what they were doing.

Edelman: She found all the people for the team and from there it was just the combination of experience and alchemy.

Edelman and and Waterlow soon brought on producer Tamara Rosenberg, who was tasked with tracking down all of the docs sources, and producer Nina Krstic, who had to find and create a database of 500-600 hours of archival footage.

Tamara Rosenberg: I got a phone call from Caroline first and I was like, O.J.? Nothing in my resume points me towards that subject. But then I had my first meeting with Ezra and he already had an outline of what he wanted to do and it was very apparent to me that that wasnt going to be any other O.J. story. This was going to be differentand great.

Nina Krstic:His enthusiasm was a clincher. Also, it was like, “How can you refuse such a challenge?” How do you find archive of that that someone has never seen before? I think it was a challenge Id dreamed about my whole life and there it was.

Edelman: [Deadpan] I just want, for the record, to note how much both of them talked about my enthusiasm.

Schell: He jokes about it, but when hes engaged, its all he can think or talk about. Hes in.

Edelman: Which I imagine is comforting for an executive. [Laughs.]

August 2014: Building the Story

Edelman: With this large of a canvas, there was a need and an ambition to tell O.J.s story with some sort of thoroughness. I was interested in telling the story of what happened to him after the trial; at the same time, I wanted to tell this other story about therelationship between the black community and the police department in LA, and that that was going to inform this greater story about race in America. Then there was this story about him as a cultural icon that existed on this other level. But it all came back where we were going with the trial. It feels like the ultimate American Studies paper.

O.J. Simpson arrives next door to Watts a year after the riots, but hes in this really white, conservative, apolitical place, right next to a place that had just burned out of frustration. You see all these parallel tracks and its like, ‘Isnt this everything we were talking about with the trial years later?’ Thats a core place to start the story.director Ezra Edelman

O.J. becomes famous for football, and thats all he has to do to get noticed. Then right down the coast theres a community of people in Watts that were so frustrated and outraged with how they were being treated by the police that this sort of ends up inciting the riots in 1965. And this is what this community is doing to have their voices heard. So theres this juxtaposition. Then O.J.arrives next door to that like a year later, but hes in this really white, conservative, apolitical place, right next to a place that had just burned out of frustration. You see all these parallel tracks and its like, Isnt this everything we were talking about with the trial years later?

Waterlow: There was a big bulletin board that I had made. That was the first place that we started building timelines of O.J.s life and what was going on in the world. Then just names. [Prosecutor] Marcia Clark, of course, but also the names of childhood friends. It was just a board of a million names.

Edelman: It was organized chaos. I was looking for first-person voices:people who lived through this history at every point, whether its O.J.s football career or the LAPD. When you look at the people who are the most important and impactful people in the film, youre like I didnt know who any of these people were. I was standing on a train platform somewhere in Connecticut, and Tamaracalled me up and she was like, So I just talked these guys, I dunno, they were a couple of O.J.s childhood friends… and I had never heard of them, but thats exactly where this whole thing comes together. Every time that happens, its like a small victory.

Rosenberg:My character list is a 100-page Word document. In there are people we did interview, people who were maybes, and just people we looked at, and people who just said no. It was a big casting job. It was a constant dialogue with Ezra. As he felt ready to tackle a certain period of O.J.s life, then we started populating those areas with people. So it would be OK, were ready to talk about his USC years, and then I would go on the hunt for his team players from those years.

We had a great PA on the team, who was very good at tracking people down. I would just send names to him, and he would triangulate and I dont know what to find people. He would post on message boards. I dont even know what he did and I dont want to know. He would just send me a phone number and be like I have a good feeling about this one.”Then it was just a job of calling them and saying Hey, this is what were doing and really trying to impress upon them that this was not just another O.J. doc, and that was hard because a lot of these people had approached by the press before, so we were guilty by association.

Waterlow: And then as soon as we found a person it was a matter of Is there any footage of that amazing USC game? and Nina [Krstic] would have to get involved.

Nina Krstic: When I got started in September the first goal was: find every single interview with O.J. And then it was filling in the historical stuff. So there weretwo layers to it. There was also finding stuff that was pre-90s and then it was Rodney King, murder trial, and everything else. Once you get to the 90s theres tons of stuff, but we dont want to see the same footage all over again. Also, with news stories, I wanted raw footage, because I dont want a news editor from 94 deciding whats good and whats not good.

Fall 2014-Winter 2015: The Interviews

Waterlow:Ezra did every one of those interviews, so to prep for those was major.

Edelman:There is a method to the madness. You know you want Marcia Clark, you know you want these bigger characters, but youre not going to call them up initially. You want to be as prepared before you get to that point. But also, you just have to start. So we interviewed 72 people; 66 are in the film, but two of the people that arent we interviewed on the first day because you just need to get going.

Rosenberg:Some people I would talk to for many months before we finally got them. Hands down, as a group, the jurors [for Simpsons murder trial] were the hardest to convince. We reached out to a bunch of them. Some we couldnt find. Ezra and I met with Yolanda Crawford at some stage and although she was hard to find, once we found her and talked to her she was on board.

Edelman: We ended up going to shoot in Las Vegas in January of 2015 to interview someone we didnt actually end up getting to interview, which is one of the jury consultants for the defense. But we were going there so it was like, We should probably try to talk to people involved in the robbery. Talk about a place were not at yet. But sometimes you just have to figure it out.” Thats where youre making a mini movie within the massive movie.

Waterlow: With this film, more than any others that Ive worked on, there was a lot of Dont say nolet me have coffee with you. We had to make our case about who we are and what we were doing. There were several trips to LA, in October, November, and December. Las Vegas in January. There were five or six shoots in the fall.

Some people I would talk to for many months before we finally got them. Hands down, as a group, the jurors were the hardest to convince.producer Tamara Rosenberg

Edelman: The jury was a big part of the canvas, but the prosecution was an even bigger part. And we were having no luck. There were just four main people [in the prosecution], and we need at least one. That was really stressful. I really wanted Chris Darden. I spent a week reading his book and writing him a letterno response, no response, no response. But we had to keep going. I finally got [district attorney] Gil Garcetti’semail from a family friend in January or February, four months after wed started shooting, and he said, Youre welcome to come out and talk to me next time youre in LA, but I wont do an interview. You go and have a lovely conversation for two hours and hes like Im still not doing an interview and Im like, Dude, that could have been the interview. This could be done. But after three conversations and two visits to his house, it was like 10:30 pm on a Tuesday nightand he wrote me an email or sent me a text and said, Alright, Im going to do it. There was a palpable sense of relief.We had already gotten to the point where we were going to start editing.

February, 2015: Editing Begins

Waterlow: There was lots of archival being gathered the whole time. We knew there would be plenty for [Bret Granato, one of the film’s three editors]to start. Thirty interviews, maybe.

Granato:I had wasted a lot of my sophomore year in college following the trial. When we first started, the first thing I put my hands on was the Watts riots section. When I first talked to Ezra I had mentioned that I knew a lot about the trial, and he was kind of unimpressed by that. [Laughs] He said that he really wanted Los Angeles to be a character. So that was the first thing we touched.

Edelman:While he was working on another film, before he was officially working on this, he was taking the audio of the interviews that we had shot and listening to them on his own. So he showed up with this sense of where we were going.

Granato:How Ezra works is he creates this 50-60 page document of the roadmap. We met a few times before the edit to go over that. Its very specific with him: Were going to start with Watts.

Krstic: I made sure that every section of O.J.s life had at least a representative amount of footage to give Bret the freedom to start with it. Then there was also the massive job of organizing over 500 hours of footage, sub-clipping it, keywording it, making the job a year down the line so much easier. My eyes still cross when I think about this, but I basically made a huge database, and then every entry in the database has a clip and its all searchable.

Schell: The amazing thing is the exercise in logistics. Ezras off researching and doing an interview, Tamara is three or five shoots ahead of him, trying to get people lined up. Then Brets trying to tell a story around all of these parts

There was the massive job of organizing over 500 hours of footage, sub-clipping it, keywording it, making the job a year down the line so much easier. My eyes still cross when I think about this, but I basically made a huge database, and then every entry in the database has a clip and its all searchable.producer Nina Krstic

Waterlow: And Nina is IM-ing all day with three people being like What do you need? What do you need? What do you need?

Schell: The idea that it could all come together to fit the vision laid out is quite astonishing.

Edelman: Im used to feeling like I have to be in control of everything. But this was the first time where it was like, That shit aint gonna work. I talked to Tamara a lot because were talking about the characters and interviews. And Caroline and I have this its a little more fraternal.

Waterlow: Im the truth-teller.

Edelman: We just have our own thing. Bret and I get to talk about the story, butunfortunately for himIm sitting behind him like Pig-Pen and the sky is always falling and hes like Dude, this is hard enough. But with Nina, shes the one person, and I say this lovingly, shes a machine.

Krstic: It was never-ending. Even when we were locked, there was still always one little thing wed need.

Granato: I feel like all of our scenes were built initially to just tell it the best way it could be told, then we would make it betterbut when we were making it better, we werent necessarily making it shorter.

Spring/Summer, 2015: Interviews Continue

Rosenberg: We found Carrie Bess, one of the jurors, pretty early on and Ezra and I met her and had coffee and she was fairly non-committal. I made it a habit ever time wed land in LA to drive to her place. She didnt use email and barely used the phone, so it was just about me showing up and saying hi. She would give me lemons from her lemon tree. We had a cute relationship that way. But she never fully committed. So finally on one of our last trips to LA, I remember sitting with her under her lemon tree and saying, Carrie, you have to do this. Luckily enough she was like, OK, come back in a couple of days.

Edelman:She didnt have any interest in us and this thing. Sometimes shes engaged and sometimes not. Sometimes shed say something profound and wonderful, sometimes she says something kooky. Theres a realness to her. As a documentary filmmaker, what more do you want?

Rosenberg: I had a feeling on the day of the interview that I had to show up before the team, so I drove over and of course Carrie Bess had completely forgotten. She was covered in paint because she was re-painting her house. I pushed her in the shower and went to her closet and opened it and took out like three different outfitsand was like Wear this!

Edelman: That wasnt even the last LA trip. The last real shoot that Tamara and I went on in LA was we interviewed [Ron Goldmans father] Fred Goldman and Mark Fuhrman.Fuhrmanwas reluctant to do the interview and, like a lot of people, was not thrilled at the idea of this being donebut healso didnt know who we were. Why would you trust someone with your sensitive feelings and your past? I found someone who engaged us respectfully, and in a trusting manner. I think the guy deserves a lot of credit.

Waterlow: Thats a testament to the job Tamara and Ezra did on the interviews. Many people after the interview would say Thats the smartest interview anybodys ever done and Ive talked about this a lot. Including Marcia Clark.

I remember just sitting for a whole week just reading Marcia Clark’s book, reading articles, watching stuff, and not picking up the phone.producer Tamara Rosenberg

Rosenberg:I remember just sitting for a whole week just reading her book, reading articles, watching stuff, and not picking up the phone. I think its in Slouching Towards Bethlehem where Joan Didion just sits next to the phone for three hours, staring at it. I had the same thing. And by the time I talked to her I was fully prepared. The first 10 minutes of the phone call did not go so well, and I remember in that call where I was like, Ugh, shes gonna say no. Then we turned a corner. She asked me what I was doing during the trial and I wasnt here. [Rosenberg was studying in Israel.] I think that made a huge difference. The fact that I wasnt one of these people who was obsessively following it and aware of every single flaw and what was going on with her hair and wardrobe, that changed something. Then she was great. I love Marcia. And she sat for how long? Six hours?

Edelman: About five hours. Shes pretty fierce. She is so in control of who she is and what she experienced.

Rosenberg: Somebody like [news helicopter pilot] Zoey Tur, was one of those wonderful moments where archival and casting were working together because she was on both our radars for different reasons. Nina was looking at her because the footage she had shot of the riots and the Bronco chase and I had her on my radar as a storyteller. We both pursued her and got this great material.

It felt infinite. Its like looking at the sun, though, you dont want to ever look at the big picture.editor Bret Granato

Waterlow: And I loved how unabashed she was about things. Shes like Yeah, Im a journalist, Im going to get the fucking story. She represented that so well, and owned it.

Krstic: All told, there was about between 500-600 hours of archival footage and then 72 interviews.

Waterlow: Its probably 800 hours total, if were talking about interviews and archival footage.

Granato: It felt infinite. Its like looking at the sun, though, you dont want to ever look at the big picture. You trust the process. My job is to create as compelling a five-minute thingas I can, and then take a step back and see if it connects. But I wouldve melted if Id actually thought about what we were trying to do. Its too much to comprehend.

January, 2016: That Other Massive O.J. Show

Edelman had known about it for a while, but in January 2016, when he took his forthcoming doc to a Television Critics Association event, he had to come face-to-face with the fact that Ryan Murphy and his FX juggernaut were also releasing a massive retelling of Simpson’s tale: The People v. O.J. Simpson: American Crime Story. Not only would it be based on a book by Jeffrey Toobin, who was one of Edelman’s sources, it would be coming out months before Made in America hit theaters or ESPN.

When youre making this huge thing and you find out someone else is doing a 10-hour series nominally about the same thing, youre like ‘What the fuck?’director Ezra Edelman on The People v. O.J. Simpson

Edelman: To be honest, there were concurrent documentary projects that were being done that were causing a lot more stress than that. Having said that when youre making this huge thing and you find out someone else is doing a 10-hour series nominally about the same thing, youre like What the fuck? But you can only worry about it so much. Ill admit to being personally not thrilled. What are the odds? When we went to the TCAs in January to basically publicly announce the existence of this film three weeks before Sundance, all the journalists in the room had already seen the first six episodes of the FX series and they were all telling us how incredible it was.

Waterlow: We kept being like, “I didnt make that. I dont know how to answer that.”

Edelman: My legitimate fear was: Here is a 10-hour television series about O.J., about the trial, its going to be on television before ours will be out in the world, I dont know that people have that appetite to watch another huge thing about O.J. Thats why it was important for me for it to screen at Sundance, because that was before it was on TV. That way it was clear we werent drafting off of the success of that. That made me feel OK. Frankly, that didI can now sayabsolutely whet the appetite and re-engage people with this story in a way that they wanted the non-fiction narrative. It worked.

January to May 2016: The End (Sort of)

Granato: Ezra and I would stay late nights and work on the film and I dont think there was a single walk back to the train that wasnt about the film and how to make the film better.

Edelman: I didnt ask about your kid?

Granato: Did you know I have a kid? [Laughs] The last night when we locked itit didnt feel like a lock, but it was my last night therewe were still talking about the film. I dont know that I ever had a moment where I was like Ah, thats done! It is such a living, breathing creature. It still doesnt feel done.

Schell: Even when we had gotten to picture lock and submitted the film to Sundance, and it was accepted Even after it screened there, Ezra was obsessed with the fact that it was still a temp score.

Edelman: That was causing me a lot of angst. Itwas a continual process. The first few months of this year, I was still working on the film. We upgraded footage after Sundance, we swapped out the score. We were working up until the time it was screened in theaters in the middle of May. We were working up to the day we had to deliver the hard drives [to theaters]. I watched the last two hours of this on Vice the other night, against my better judgment, and if I could go into the edit room today there would be some things Id want to do.

Waterlow: Because we had these intermissions built in, theres three drives for each version of the film. I remember calling box offices and calling theater managers and being like Did you get it?!

Because we had these intermissions built in, theres three drives for each version of the film that we had to send. I remember calling box offices and calling theater managers and being like ‘Did you get it?!’producer Caroline Waterlow

Schell: This is not a small ask of someones time, to have people commit to an entire day of having someone watch something. But then to understand how engaged they are and the conversations they want to have afterwards is incredible to see.

Edelman: Again, if we knew what we were doing, we wouldve never started.

Schell: But to add to that, whats incredible about the media environment we exist in right now, is that this can exist as a film, and also on ESPN and via video-on-demand, and via DVD, and streaming.We can expose millions of people to that story.

Edelman:People dont necessarily have eight hours and 15 minutes to spend in a movie theater. I get that. So, we worked really hard to create this thing, and if people watch it on their TVs streaming, thats fine. Ive never seen it on TV. Ill never watch something Ive done on ESPN with commercials. Not the previous film I did, not this one. It makes me want to throw up in my mouth. I know this should be experienced as this beginning-to-end thing, but we have fractured lives. Thats not the world we live in.

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from The Epic Story of O.J.: Made in Americas Creation