#but still this is a weird marketing strategy

[wizardsix]

is it just me or is bioware spoiling way too much about the game . talking about gameplay improvements is one thing but revealing story and companion arcs seems very insecure to me bc now the mystery is gone when people play for the first time . seems like they're trying too hard to prove that their game isn't garbage after that first trailer but this is not how you do that

[tardis--dreams]

One thing you need to know about me is that I will never reblog anything that has the addition "this should be reblogged by everyone" or anything of the like.

[intergalacticsouvenirs]

From Romans to Rectums: Thoughts on the Naming Convention in Mad Max

I think it’s fascinating how that meme about how often men think about the roman empire is materialized in the mad max world in different forms, but especially in their bastardized-latin naming convention. In my mind, it appears that post apocalyptic warlords were aware that modern society looked up to the roman empire, but they didn’t quite understand how the romans influenced us exactly. Nevertheless, the warlords (or their history men) did have access to niche knowledge such as ancient roman military strategy, enough to inspire the imperator and praetorian warrior position names. It’s as if the first history men did not keep any pre modern history on their skins, so they had to reduce the entire roman empire into fragments of ideals (for oral tradition). Such fragments of ideals would combine in weird ways to inspire these war-men to write the most beautifully grotesque poems that are their names.

In a world where words have more power, names are more than just biographical micro-poems, they are multi-used as tools as well. They could be guns pointed to your face like “People Eater” and “Toe-Cutter”, a quality seal of approval on a product like “Capable” and “Splendid”, an aggressive dog warning sign like “Furiosa” and “Mad Max”, and even a prayer amulet as in “Corpus Colossus”.

As a trend among warlords, a wacky wrestling stage name is a must for a strong branding. After all, the ferocious marketing of late capitalism and show business did not die with the atomic bomb, but rather thrived, mutated, and embraced nature, believe it or not. Darwin’s nature, not you tree-huggers’ nature.

The names of the two capable immortan brothers Rictus Erectus and Scabrous Scrotus reveal the real underlying obsession of all men: the penis. The penis is the axis mundi around which all revolves in the (mad max) world. But more than just about sex, the penis cult is about finding strength and courage in a hypermasculine god to mentally survive in a hypermasculine hell. In this context, the names of Immortan Joe's sons take on a deeper significance. Firstly, Rictus Erectus translates to something like grin and erection, as if Immortan Joe had hopped for a future full of pleasures for his son. It is also a very verbal wish for an offspring who can physically stand up by himself and for himself. Unlike his disabled brother Corpus Colossus, who received a magnificent name meaning body like a giant greek god statue, in fruitless hopes that his imperfections would also grow away. Scabrous Scrotus more explicitly describes a unique physical attribute, namely some scabby nuts. Scrotus could very well be a nickname, which would parallel ancient romans who would choose a cognomen (nickname) to be known by, like Caligula meaning “little boot”, Oedipus (greek) meaning “swollen foot”, and Verrucosus meaning “warty”, for example. Better would be if Joe had named his son after his own beat-up ballsack, in which case this ode to biological reproduction against the environment would be very on brand. I bet Darwin is grinning wide, in his coffin.

It is interesting to note that most people in the recent mad max world appear to be illiterate and uncultured, so most don’t even understand the meaning of these stupid Latin names, but just that they sound as important as they say they are. That means these men who have access to nuance are really “dressing up” for each other, like an internal joke with the bois. Three brothers named to sound like roman emperors, to rule over all the erected men, by his mighty phallus.

It goes to show how colossal and monumental… the roman empire was, that it would outlast even the best of modernity. And its shadow would still loom over humans like the mysterious milky way in the night sky.

It’s a shame that Miller’s hyper-poetry is not that accessible.

[herejusttosufferalong]

"This made me think about the press tour strategy, which was certainly planned since the beginning, way before January, I would imagine."

Sorry, this might also be long...I don't necessarily disagree completely here, but I do have a rebuttal. Yes, ShondaLand and Netflix knew what they had with Nic and Luke. However, the people who are in with them daily and see their dynamic are not the ones designing the promotional tour. Yes, they might have designed a press tour around a friends to lovers plot, but that doesn't mean they were purposefully exploiting any romantic feelings between them. There have been plenty of costars who don't get along who have had to go promote together and fake it. That's just part of the job. Studios expect them to put in the work, but they don't expect them to (fake) fall in love over the course of the tour. Nic and Luke were given talking points for the press tour. We can see that all the way back in summer 2023 when Nic first brings up the broken furniture. So the repetitive questions everyone complained about as well as saying Nic and Luke were unhinged cause they couldn't stop talking about their intimacy scenes, those were because of the marketing/PR team. HOW Nic and Luke responded was their own. That's why we saw their answers changing and the different levels of comfort between the two of them.

As far as Luke and Nic's behavior, I genuinely don't understand how people say they were purposefully playing up their connection. If anything, I think they interacted on a more surface level than they typically would. To me it has always been clear that Luke was super uncomfortable talking about anything personal. Anytime he was asked something about himself or his relationship with Nic he always brought it back to the show and his character. Seriously, go back and watch their interviews. It drove me crazy haha. This is one of the reasons people have been so frustrated with him. He very rarely shares actual personal details or feelings about Nic. She is willing to share more than him, but even still you know there is a lot more that isn't being said. She has a few key traits of his she'll hit on each time. Neither of them are being disingenuous, just different degrees of guarded. What frustrates people and makes them think they've been played are the times when their guard is dropped or they forget they're being filmed/watched and we see more than they're wanting to share peak out. We aren't owed their actual relationship, but we've seen glimpses of it and it's magical so we're all obsessed. We want to dissect and either put it on a pedestal or rip it down because we can't stand living in this uncomfortable grey space of not actually knowing anything.

Now to my biggest issue, Nic would NEVER exploit her family for show numbers. She doesn't even follow them on social media to keep them protected. You'll notice none of them were in any of the official materials put out. What we got were cell phone videos from fans inside the theater. Nic saw her mom for the first time in months in that theater. They didn't meet up prior. Her hugging her mom was genuine. Her excitement about introducing Luke was genuine. People took a sweet moment and made it weird. Marketing didn't orchestrate that. It's this type of narrative that makes celebrities stop sharing their private lives at all. If this was a marketing ploy, there would have been cameras at that dinner. We would all LOVE to see Nic's brother in law try to get Luke drunk. The teeny bit of footage we got from fan cell phone videos in that theater showed her sister in law, brother and best friend all emotional and loving the moments between Nic and her mom and Luke and her mom. Can't we appreciate and accept this was a real moment of connection? Or are we just too jaded?

Not everything with actors is fake. Not everything that happens while they happen to be on a press tour is PR. Some things are calculated, but it's not as disgusting as people are wanting to make it out to be.

another great perspective

thank you for sharing 💜

[sprintingowl]

Positioning, Market Dominance, And Having A Conversation In A Loud Room

So I'm reading Middle Earth Roleplaying 2nd ed. It's part of giant stack of tabletop I got from a publishing friend---and one of many systems I probably wouldn't be reading if I hadn't gotten it as part of a giant stack of tabletop from a publishing friend.

MERP 2e was released in '93, by Tolkein Enterprises, and is a pretty thorough book. It's packed full of nice B&W art. It lets you play as everything from a hobbit to an olag-hai. It uses a d100 system that allows for success with a complication. It's a book that feels intensely and simultaneously like it's ahead of and behind its time.

But that's not what I want to talk about.

MERP 2e has an alignment system, much like dnd at the time, but with twelve axis instead of two. Everything from whether your character is a metaphorical thinker to whether they're a literal thinker to whether they're a socialist or a libertarian is tracked.

Similarly, MERP has a classic six stat spread, but the explanations of the stats are all like "Strength(ST): Not brute musculature, but your ability to use your muscles to your greatest advantage."

And MERP has classes, called Professions, that each come with a little parenthetical explanation after their title. The Warrior's is (Fighter). The Scout's is (Thief). The Animist's is (Cleric).

What you might notice is that this is an officially licensed Middle Earth game *aggressively* defining and contextualizing itself vis a vis DnD. "Here's how our stats are different. Here's why our skill rolls are more granular. But don't worry, you can still play the same party roles. We promise we're not unfamiliar, just different."

Now, I don't know how intentionally-as-a-market-strategy the designers and writers were doing this---DnD's headlock on the industry was certainly less intense then than now---but it's reflective of a kind of design pressure that not only hasn't gone away. It's gotten way more intense.

DnD is roleplaying games. Anything that's not DnD might not be roleplaying games. Or at least, it's suspicious, it might taste weird, it might ruin your ability to have fun or speak english forever.

So in order to be a roleplaying game, you have to ask yourself "how do I fit into DnD?"

A critique I've seen leveled at indie systems sometimes is that they don't properly represent all of the three pillars of DnD. The three pillars is a modern creation. It's a 5e thing. It's specific to DnD. But DnD is roleplaying games, and to be a roleplaying game you need to be DnD.

So you get games as chameleons. You get endless "DnD killers" hoping that what people like about DnD isn't the name but the mechanics, and if you can just do the mechanics *more*, people will like you better. You get five hundred 5e splats. Power Rangers and GI Joe and Stargate all trying to fit into the same engine about swinging at and then missing a large rat. You get Adventure Time throwing out its original system and self-converting into a 5e hack because the market doesn't want things that don't look like DnD---even things that already look like DnD.

And back in '93 you get MERP 2e telling you don't worry, we still have the Thief, we just call it something different in our house.

[coolprettyleo]

talk of the town - will smith

tw: lowkey cringe. if ur not into it lmk lowk...

wc: 1.4k

will smith x influencer/ d'amelio sister

☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆

dylan couldn't believe the shit day she was having. she had woken up late and missed her pilates class, then she spilt coffee all over her laptop, and right now she was fifteen minutes late to her music class. it was her first ever day of college too.

even though she was having a horrible day, she was still dressed cute. she decided she wanted to start taking her school more seriously. and that meant actually going to class.

the thing about dylan though is that she didn't need school. she had over one hundred million followers on all platforms. she was what someone would call an influencer.

influencers usually didn't continue with school if they didn't need to so when dylan decided to still attend college it was a shock to a lot of people; including her family.

her family were all also influencers and didn't decide to attend college; rather deciding to work on their brand instead. a brand that dylan opted out of, she had decided to enter marketing at boston college.

she entered her music class to find that there was no less than twenty five students inside. thats what happens when you attend a private college! dylans strategy her whole life was to always sit in the back of classes. (it was easier to skip class and just lie to the professor and say you were there)

there was one seat left where three other boys sat. she set her stuff down. the boys giving her an odd look, not thinking anyone was going to take that last seat between them or probably trying to figure out why the hell she looked so familiar. dylan got that look often.

the professor though was deep in lecture about their upcoming assignment and dylan was too busy trying to find a top for her upcoming brand dinner in New York. she was pulled out of her own little world when the professor noticed she was not listening and had missed the introduction part of class and decided to call her out on it.

she felt a tap from the boy next to her getting her attention because it seemed the professor had been calling her.

"oh my gosh im so sorry what" she said removing an AirPod and sheepishly looking at the class who all seemed to be either smiling at her or giving her dirty looks.

"since you decided to grace us with your presence introduce yourself please" she said pointing to a slide that stated what exactly to say.

"uhm... im dylan. im from connecticut but I've been living in LA for the past four years, and im a marketing major" she said awkwardly feeling like everyone was judging her.

"alright thank you miss dylan. I want to see the title slide of the assignment done before I dismiss you guys" she said.

the three boys she sat with seemed to be life long friends and she was feeling a bit left out. she had zoned them out till she heard them whispering to each other.

"ask her"

"no thats weird"

"ill ask"

"your tiktok famous huh"

she looked up to a freckled boy her while the dark haired boy giggled and the blonde haired boy cringed.

"uhm, yeah... I guess" she said awkwardly. she really didn't know what to say.

"nice" he said going back to working on his assignment.

she smiled awkwardly and looked at the other two boys. who looked like they were cringing about their friends actions. the dark haired boy seemed to let it go and work on his assignment while the blonde one spoke up.

"im sorry about him, ryan doesn't know how to talk to girls"

"yes I do! if I didn't how would I of pulled frankie" ryan says.

"she basically pulled you" gabe quipped back.

dylan just giggled along to their battering. they seemed funny.

"he's fine. a lot of people don't realize its me in real life but instead just stare at me trying to figure out why I look so familiar, and thats creepier to me"

"well we knew it was you because everyones been saying you go here" ryan told her.

oh god it was a hot topic?

"people talk about it?" she said grossed out.

"yeah, but like no one ever sees you for some reason"

"I did online classes and lived in LA last semester" she told them. it was true, her family was filming their Hulu show and it didnt make sense for her to leave mid-way through filming.

"do you live on campus?" the blonde one asked her again. he seemed like the quiet and calmer one of the three boys.

hes hot

"no, I live in beacon hill, the city"

"why didnt you dorm" gabe nosily asked.

"I didn't think it would be too fun to share an apartment with random girls at first but now I regret it, because I have no friends here" she honestly told them.

"oh my god! my girlfriend has no friends!" ryan said loudly. which made will, gabe, and the people around them to laugh.

"im telling her you said that" will smiled mischievously at him.

"shutup smitty. we have a game tonight and she usually sits alone or with my parents but they're not coming tonight so she'd probably like the company!" ryan said. he was honestly just trying to do a nice thing. he knew frankie struggled with the fact she had no girl friends; even though she said it was fine, and dylan seemed nice.

"game?" Dylan said confused.

"oh ya! we play hockey" the freckled boy answered.

"oh thats cool!" dylan said. she had attended a couple games recently due to the fact her sister was dating an NHL player.

"im will, thats gabe, and ryan" the blonde one said pointing the dark haired boy and the freckled one.

"im dylan. and what's your girlfriends number, id be down to go" she said to the freckled one.

"here" he said writing it down and handing her a crumpled paper.

"her names frankie by the way"

"okay, ill text her after class" she said smiling getting back to work.

"what's your major?" will asked her. he didn't want the conversation to end for some reason. she was lowkey his celebrity crush since he was like fourteen and they first started getting famous.

"marketing. you?"

"communications"

"your quite the communicator then" she said.

oh my gosh dylan you sound pathetic what the hell even is a communicator?

what didnt help was that will looked clueless and Ryan and gabe seemed to be biting back a smile acting like they weren't listening.

"im sorry?"

"like, you like communications- like the major" dylan said, trying to save herself but digging an even deeper and awkwarder hole, turning as red as a tomato.

"uhm ya, I didn't really know what major to pick coming in" he said smiling at her. a smile that dylan liked to see.

"well what do you want to be?"

"a hockey player."

"oh... too bad hockey isn't a major huh" she said chuckling at her own joke while ryan and gabe gave her funny looks except will of course, who was laughing at the joke like it was the funniest thing ever said. (thats what your supposed to do when your crush tells a joke)

"and what do you want to be"

"honestly, I dont know. I just want to have the degree so I can have more of a say in the brands I deal with, and all that"

"so you want the knowledge" gabe said, since he's been listening.

"yeah, basically" she said. making eye contact with will who looked to be studying her a bit.

he knew she wanted to say more but seemed to be putting up a wall which was understandable seeing as she just met these boys twenty mins ago.

"well im all done." she said closing up her laptop and standing up.

"maybe ill see you guys later!" she said waving to them.

"look for 6" will said to her.

"six what?" she said confused.

"what?" he said equally confused now

"six of what" she said cluelessly.

"like the number six" he said smiling awkwardly.

"oh!! omg I knew that! okay!" she said grabbing her bag and waving bye to them.

gabe and ryan gave each other a knowing look before immediately chirping will.

"you are such a flirt"

"that was painful"

"and he said I dont know how to talk to girls"

"shutup guys" he said packing his stuff away before leaving. hoping to see her in the stands tonight. her personality was even cuter.

☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆

im so sorry for not uploading! I just keep overthinking everything so I end up just deleting it! but thats just a me problem lol. but I hope u guys like this au. I plan to the it all together.

[27goldensun]

Is it worth it? An analysis on Louis’ stunts

Lately there has been a shift in how Louis’ stunts are being presented to the fandom, with babygate mentions growing and seemingly being pushed by Louis himself.

I have taken some time to go over some (very arbitrary) success indicators that could possibly justify this push in stunts as a marketing ploy, however I have only confirmed my suspicions that the fanbase IS NOT HAPPY and that has been translating in Louis’ numbers.

(May I add that I focused more on louis’ relationship with his fanbase and I know that’s not everyone’s definition of success so I also added streaming numbers)

I took my numbers from this website and I looked through late 2021 and 2022 mostly

Starting off, lets look at Louis’ twitter following and activity:

Number of followers

Throughout August, September, October and November 2021, louis gained between 20k and 40k followers each month, those numbers were much higher during the earlier months of 2021, so what could have sparked that change?

The first picture of louis with F in years dropped in August, which happens to coincide with the sudden drop in Louis’ following

In December, the First Christmas BS happened, and that generated a drop in his following (he didn’t actually start losing followers until 2022, but he only gained 4K in December 2021) that would be weird on its on, but paired with the start of his tour (in which his numbers should be increasing much more) it was very obviously correlated.

Now onto 2022, which was quite an eventful year

2022 marked the start of LTWT which was not only an incredible time for preexisting fans could have been a great opportunity to increase his fanbase by giving him more visibility, especially paired up with a new album. We’ll see that this wasn’t the case

The beginning of the year presented Louis with a slow, especially if compared to 2021, but steady raise in following. This drastically changed in July.

The infamous dm leak happened on July 30th 2022 and it greatly impacted the fandom, which was translated into Louis social media following. Looking at it comparatively, in June 2022 he gained 129k followers, in July that number dropped to 26k, showing the impact of those final 2 days. In August, his numbers only continued to drop.

With the album announcement, one could’ve expect a raise in following and activity, but the opposite happened, and I can’t help but link it with the marketing strategy that was chosen, with further mentions of his “personal” life, especially bbg

The promotional interviews began July 2022 still during LTWT and, at first, they were stunt free (with the exception of one Interview on July 21 2022, in which he stumbled when saying F’s name, something he seemed much more comfortable with later on).

September 6, 2022: It is during an interview with Radio Deejay Itália that the mentions truly begin. Louis brings up Freddie unprompted and says he travels to LA often to visit him, from this point forward, the kid is often brought up.

November 2022 we get all those articles saying “louis finds parenting to be challenging”, over 100 copy and paste articles of this nature were posted.

December 2022 the Christmas Bs 2.0 took place, with the kid being flown to the UK and spending around a week there, between Christmas and New Years. The only footage of louis and F interacting was posted on Louis’ birthday, in a short video of the two in a dinner with the rest of the Tomlinsons.

How did this translate in his twitter following? When FITF promo started, Louis only lost followers

August 2022 he lost 7k

September 2022 he lost 33k

October 2022 he lost 24k

November 2022 he lost 29k followers (not good right after an album announcement)

December 2022 he lost 28k followers

January 2023 he lost 43.9k (the most so far)

But did all this only happen to his twitter following? Surely that’s not the only indicator of his success and relationship with his fanbase?

I agree, although louis does seem to use twitter the most when connecting with fans, lets look through his instagram

When FITF promo started, Louis only lost followers

August 2022 he lost 24k

September 2022 he lost 18k

October 2022 he lost 30k

November 2022 he lost 49k followers (not good right after an album announcement)

December 2022 he lost 33k followers

January 2023 he lost 62.8k (the most so far)

Looking at his streaming statistics

(I’m using walls as a comparison for timeline purposes, although im well aware walls promo was far from stunt free, it seems most fans have, understandably, a harder time dealing with bbg than Eleanor)

*Walls debuted at number nine on the US Billboard 200 with 39,000 album-equivalent units

*Faith in the Future debuted at number five on the Billboard 200 selling 43,000 album-equivalent units

So there was obviously an improvement on FITF debut, but has it been consistent since the album release?

The “this is Louis tomlinson playlist” on Spotify

May 2021 The "This Is Louis Tomlinson" playlist reached 250k likes

February 2023 The "This Is Louis Tomlinson" playlist reached 320k likes

Album stream milestones

Walls

Over 100 million streams on Spotify: February 6th, 1 week after its release

FITF

Over 100 million streams on Spotify: December 10th, 1 month after its release

So, overall, the situation does not seem to be improving…

I will later go through his tour sales, but given the different venue sizes this could be a bit tricky

My interpretation of those numbers i presented is that no, it is not worth it. Regardless on your opinion about bbg, from a marketing standpoint this image doesn’t seem to be doing Louis any favors…

(Please feel free to add your thoughts, I’d love to deepen this discussion)

Also, I don’t think any stunt that furthers a queer person’s closeting could ever be “worth it”, this was just my attempt to try to see what could be their motivations for this (although if its commercial success, it’s definitely not working)

[passerkirbius]

Where are all the Audio Fiction Fandoms?

To be clear, this isn't me complaining, and I know, there are plenty of fandoms for audio fiction podcasts and the like.

But I have always found it weird how few shows get the big, self-sustaining kinds of fandoms, the ones where there's always at least a little trickle of fanfic and fanart. So weird, in fact, that I've been thinking about it on and off for the last 5-6 years, and I have a few theories I'd like to share with y'all as to why, and to see if I can't get some feedback from the audio fiction fans on Tumblr.

Theory 1: Audience Size

The first theory is mostly about demographics - fundamentally, a fandom has to be large enough to sustain itself, and only a certain number of audience members are going to become the kind of fans who make fan works, so ultimately, an audio fiction show needs to get popular enough before fan works start appearing.

There's plenty of support for this theory, of course - Welcome to Night Vale, Wolf 359, The Adventure Zone and The Magnus Archives are titans in the fiction podcast space, and indeed they have big fandoms. But, with that said, there's plenty of other podcasts that are just as big that don't have fandoms, so this can't explain it all.

Theory 2: Audience Distance

This one is similar to the first, but subtly different. A few creators in the space I've talked to have noted that they'd never make fan works of their friend's shows - that feels weird, like deliberately treading on their friend's work. They don't have this feeling when playing in big fandoms, or fandoms where they don't know the creator. This implies to me that fans need a certain level of distance from creators in order to feel comfortable playing with that fictional space. While this is less the case now with the fall of Twitter, a lot of shows, for better or worse, used social media as the primary pillar of their marketing, as well as using Patreons with special access as part of their monetization strategies.

In short, it's never been easier to get close to the creators of your favourite shows, and for smaller shows, the most exuberant fans - the kinds who might make fan works - are also the kinds of fans who will take those opportunities to get closer to the creators. In short, there just might not enough social distance for fans to be comfortable creating works, not at least until the audience grows sufficiently that a creator simply cannot be that close with their entire audience.

This theory I'm not so sure about these days - this one is probably a lot more dependent on the generation of fandom you belong to. Older generations of fandom are more likely to have this queasiness around creator closeness, because they were creating in a time where fandom was a shadow realm, desperately hidden from The Powers That Be, and "No Copyright Infringement Intended" was carved into fan works as an eldritch attempt at legal protection.

Theory 3: Audience Age

To be clear - there are fans of all ages out there. But it is clear to me that fandom trends young, and part of that is just the time needed to participate in fan culture - creating and consuming takes a lot of time, time that tends gets scarcer and scarcer as you get older (there are obvious exceptions of course - stay-at-home mothers have consistently been a major force in fandoms!). It's possible that audio fiction fans just tend to trend older, and thus don't have the time available to create and consume fan works.

Honestly, I'm not sure how relevant this one is - Audio fiction is becoming more popular with younger audiences and slowly shedding the "old fuddy-duddyness" that surrounded it when I was first getting into the space. And, ya know, there are audio fiction fandoms out there, so obviously either the youth aspect of fandom isn't a thing, or it is, but audio fiction audiences are still trending young anyway.

Theory 4: We're getting what we need!

A lot of academic discourse often focuses on the idea that fandoms create for a reason - and that reason is often to focus on parts of a fiction that the original text, for whatever reason, doesn't. The most obvious form of this is the many, many, many examples of ships and erotic fanfiction. You, as a fan, watch a show, see something between two characters, and get frustrated that the show isn't giving you more of that, won't make what is clearly obvious to you, explicit. So, you consume and/or create fan works that help relieve that tension instead.

Or, in shows where the focus is primarily on plot advancement or action, you feel a desire to get to know the characters better - you see the stirrings of these characters, you want to know them better, but the show just isn't the type of show to give you that slow, character-heavy scene/episode that you know would give you exactly what you need, so, again, you go consume and/or create fan works to fix that.

It's very possible that a lot of audio fiction is already built to give these sorts of fan audiences what they want. There's already romantic relationships, characters are openly queer, the nature of the audio medium means that character-heavy scenes are something that the medium directs creators towards, so there's already a lot of character engagement. So, for many fandoms, there just isn't much need to create fan works - there's no tension between what the show is and what it could be.

Theory 5: We can make our own at home!

One interesting theory is that one reason that people make fandom is because, fundamentally, the creators understand that they're not going to be making a film, or a TV show, or a book. They have creative urges, and they're not in a situation in life where they're likely to overcome the enormous barriers to entry in mainstream media, so, in combination with the stuff in theory 4, they play in other people's worlds instead. They know that there's already an audience who will consume their work (they're part of that fan community, after all!), so they can get that validation of creation without needing to create their own TV show or film or book, etc.

Podcasts, however, are different. Now, it's not true to say that podcasts have low barriers to entry - to create a podcast, there's a lot of skills you either need to learn yourself, or find collaborators with those skills. But, those barriers to entry are much lower than visual media. At the very least, audio production is significantly cheaper and less complicated for an equivalent runtime.

Better, podcasts have absurdly low barriers to publication - There are no gatekeepers to satisfy, no distributors you have to convince. Once your thing is made, pretty much no one can stop you from distributing that work. You don't even really need to pay for a podcast host - there's a few free podcast hosts now. So, once you've done the work, pretty much nothing stops you from publishing said work.

So... If you're a creative fan, who loved a show but thinks you can do better? Well, you can! You don't need to play in other people's spaces, you can be inspired by the podcasts you listen to to create your own original work, in the same medium and genre.

What do y'all think? Which of these feel right, which of these feel obviously wrong? Are you part of a audio fiction fandom? What does your fandom feel like to you on the inside? As a audio fiction creator, it's kinda hard for me to get into the inside of fandom culture, so insider perspectives would be super neat for me, so please reblog this to anyone you feel might have an interesting perspective on the whole thing!

[jav-uni]

As someone who works in marketing & PR (NOT IN THE FILM INDUSTRY!! But I guess it could be adjacent ish bc I work for a marketing agency that works with a lot of celebrity brands - like Beis Travel & The Outset & Spotify) …

Posting press / videos at night… is WEIRD & that’s what I find the most weird about these videos of Evans. They’re each coming out day by day, and releasing in the strangest ways at night.

We literally have a rule at my company about it. We like almost every day at 10am, it’s a sweet spot. But it’s not the only time, the afternoon has good sweet spots too. And even then, unless it’s an event happening AT night - that’s when you’ll see content for it. But we still post recaps the next MORNING.

A lot of the time we don’t prefer Fridays / Saturdays / Sundays for articles going out (because sometimes our news won’t get picked up right away) but social media is active on those days so it works in our favor. But at night, never. It’s just not a common practice in marketing unless it’s being posted it so less people see it. So less people pick it up.

Which typically, is never the goal.

Thank you so much, nonnie. What you are saying makes sense because is very similar to what I see in my country, and that company rules? Yeah, we have that one too.

People who don't work in marketing & PR probably don't see it, but there is always a strategy behind every post, pics, video, and interview. Especially if it's paid.

[wavesoutbeingtossed]

Seriously from a comms perspective I cannot stress enough how incredibly smart and strategic this launch/evolution/whatever you want to call it is. And to be clear I’m not saying it’s because they are PR. THAT IS NOT IT. Taylor and Travis are real people who happen to live in extraordinary circumstances that necessitate a plan in this regard because people can be so fucking weird about it.

The idea of acknowledging the elephant in the room instead of ignoring it and letting it take up space is what it all comes down to. Sure it was a frenzy when they first went public and the first bits of PDA hit the airwaves, but in the end what it does is normalize it. By this point, everyone knows they’re a couple and it’s not weird when they do hold hands or kiss or acknowledge each other in public. Because that’s what anyone would do with their significant other and trying to make it secret just makes it weird, for both the media and the people involved in the relationship.

So the way they’ve navigated this again has been masterful. There clearly are boundaries (it seems especially on Taylor’s end which Travis happily obliges) but that doesn’t mean they can’t just be themselves either. So, they’re not inviting people into their living room each week, but the gradual public meshing of their image served a purpose to normalize it. From Taylor’s first game to the occasional fluff pieces to trusted outlets to steer the narrative to acknowledging the public outings to dipping their toes in social media official, it’s making it so that now that they’ve moved into the next phase of their lives (whatever that may mean now but whatever it is it’s clearly serious and clearly considered permanent by both of them), they can share what they want without it being a stressor.

So if Taylor wants to be goofy, she can change her song lyrics or invite him up onto the stage and it’s newsworthy because she’s her but it’s not weird. Travis can be interviewed and be asked about his partner who is a public figure and speak highly of her without it turning into a maelstrom. Gradually their domestic status is going to be normalized so that their every move isn’t as big of a deal. (It’ll still be news because they are who they are, but it won’t seem like they’re sitting down for a root canal every time.)

I hate to call this a “rollout” because they’re people, not products, but in terms of a PR strategy, it’s excellent. And it’s not that every move they do is PR!!! It’s that every move they make is public, so they need to navigate that so that they can maintain their personal boundaries as they wish. It’s not that every interview is calculated, but it’s more that what they do or don’t choose to share at any moment in time is helping them figure out what they’re comfortable with, and it’s also lessening the market value, if you will, of any anecdotes. The more people become accustomed to them as a unit, the less each quote like this is bound to make huge headlines. (I mean other than fans like us because we want our pop star bestie to have everything she wants.)

It’s not just that their teams have set a great example, it’s that THEY are handling it with such skill and grace. I’m honestly blown away by it from a professional perspective and suspect that they figured out early on that getting a handle on it and guiding the narrative instead of pretending it didn’t exist might have been scary at first but has proven to make things so much easier and takes up way less space in all their brains.

[immaturityofthomasastruc]

IOTA Reviews: Pretension

Oh joy, another Felix episode. Because the last one was just so good, wasn't it?

Let's get into the nineteenth episode of Miraculous Ladybug's fifth season: Pretension

We start off with Kagami and Adrien heading to school, with the former making plans with Marinette to spend a little time together, all while Argos stalks them. We then cut to Gabriel, who's attempting to heal his Cataclysm wound with a machine that drains the energy from his imprisoned Kwamis. It fails because... uh... uhhhh... it just doesn't?

Kaalki: I told you. No magic can heal this wound.

Barkk: A Cat Noir Cataclysm can't be healed!

Yeah, they just say nothing can heal the wound, and don't even mention the fact that we've already seen the Ladybug Miraculous heal Adren when he was wounded by his own Cataclysm in “Miraculer”. And before you say it was a weaker version of the attack, check out what Astruc said a few years ago when the subject was brought up.

Whether you want to take this as fact or not since it wasn't explained in the show itself, the point is that we've seen Ladybug heal someone who was wounded by Cataclysm before. Then again, considering the recent reveal, that episode only opens up another can of worms.

Back at school, Marinette talks with Adrien and Kagami about how Gabriel only sees her as some crazy fan, though she doesn't do a lot to help her case.

Tomoe arrives, and just like she's done this whole season, is only here to provide exposition while nagging Gabriel to get Ladybug and Cat Noir's Miraculous already. Gabriel comes up with a plan involving a gadget Felix accidentally dropped at the end of the last season. If you forgot, I understand, since it's a pretty weird thing to call back to.

Marinette: He feels worried and I would be too if I were him. He thinks I'm one of those fans who follows you everywhere, showers you with hand-knitted gifts and knows every single one of your middle name days.

Kagami: Isn't that what you used to do, Marinette?

Marinette: Yes... except no! I mean, yes, but I was doing it out of love and, besides, I've changed a lot.

Kagami: You are correct.

Marinette: Really? You think I've changed a lot?

Kagami: No. Well, not that much.

I love when even the show points out how little character development there is. Makes my job a lot easier.

Adrien goes with Marinette to talk to Gabriel about their relationship. We get a pretty somewhat chilling moment where Gabriel's kind father facade briefly fades as he orders Adrien to go to his room so he and Marinette can talk, all while he still puts on a welcoming image. After Plagg reminds Adrien that all Gabriel knows how to cook is pancakes, Gabriel then lectures Marinette about why he doesn't want her to see Adrien.

Gabriel: I don't think you understand, child, so let me put things differently. Life is like fashion. You think you have a choice, but all you have is the illusion of choice. And I decide what choices are given to you.

Marinette: You're wrong! (Shows Gabriel her sketchbook with her designs) Fashion is about listening to people, it's about understanding who they are, what excites them and creating the clothes that will help them express their inner world. Help them connect with others and make their dreams come true.

Gabriel: (Laughs and looks over Marinette's sketchbook) No, that's not fashion. That's making dresses for your dolls. Fashion is a product, a marketing strategy, an industry that relies on uninterrupted trend renewal that forces you to either throw away everything you have and buy more or, worse, to be out of fashion.

That bastard! I can't believe Gabriel wants to make an honest living by using market research data to his advantage! What a piece of scum...

I joke, but the rest of Gabriel's little rant is even worse, as he acts as if he decides what people like and don't like, even though he just mentioned the importance of keeping up with current trends. Seriously, this dude's talking as if the entire world revolves around his brand.

Gabriel: Thanks to the clothes I create, the celebrities who wear them, the advertisements I design and the Alliance rings that broadcast them, I create an idyllic vision. A perfection that everyone aspires to achieve, while keeping it just out of their grasp. You finally understand the difference, don't you? You listen to people's desires and create what they want. Somehow, people make you. Whereas I create people's desires. They buy what I decide to buy. They think what I want them to think. I'm the one who makes people. You think you love Adrien, but you're just under the spell of this world I've created. A world where Adrien is the star, shining high above. A world where you're just part of the crowd below looking up at him.

Let's see... a complete narcissist with an obsession with controlling others, puts on a facade to make himself look more approachable, uses his influence to sell something to the masses that are part of his greater operation, and acts as if his products are necessary for society to function when they're more of a luxury than anything else? Where have I seen this before?

Marinette goes against Gabriel's wishes and tells Adrien she loves him before rightfully telling him to piss off... through a pancake metaphor, for some reason.

Marinette: You know what the problem is with your pancakes? Way too much flour, not enough butter. You're using an old, completely outdated recipe. No one likes them like that anymore. And that's the good thing about being a baker's daughter. I don't even need to try them to know that they're tasteless.

You know, I could make so many jokes about the state of the show with this little speech, but I feel like it'd be too easy.

Meanwhile, Kagami tries to tell her mother that she's not interested in Adrien anymore, but we get the same crap Tomoe has been saying ever since Season 3. “You must follow our family legacy, Kagami!”, “Stop letting your emotions control you, Kagami!”, “I'm only blind for a cheap visual metaphor, Kagami!”, yadda, yadda, yadda. During this, Argos overhears this and outright kidnaps Kagami. Rather than call the police to report a kidnapping, Tomoe calls Gabriel, who had transformed into Monarch offscreen, and tells him to akumatize him (even though she's still carrying her useless Magical Charm), which he does, turning her into Matagi Gozen.

Matagi Gozen is basically Ikari Gozen, only instead of a centaur, she now rides a robot dog for some reason and has a bow and arrow now. Her powers are basically related to her size and riding a robot dog, mostly so we can focus on her Miraculous powers for the day. Even though Tomoe was seen wearing six Alliance rings before she called Gabriel, she only gets three powers, the Bee Miraculous' Venom, the Rooster Miraculous' Sublimation (which she uses to give herself an enhanced sense of smell), and the Mouse Miraculous' Multitude. It's really just the same setup we got in “Multiplication” with a few changes, and it's nothing special. Although, it's too bad that Monarch doesn't have the Dog Miraculous, as that would have really gone well with her powers.

As the four Matagi Gozen clones go on the hunt, Argos takes Kagami to the Eiffel Tower to hide out, where we get—wait, it's, it's, BY GOD, IT'S KAGAMI WITH A WOODEN CHAIR!

Argos transforms back into Felix, and unintentionally throws Matagi Gozen off the trail since she was tracking him through one of the feathers on his fan. It turns out that after that single conversation they shared last episode, Felix is suddenly developing feelings for Kagami, and the whole reason he kidnapped her, aside from “protecting her from her mother”, is to get to talk to her again.

Felix: We have so much in common, and yet, you're also so different. I've never met someone like you.

Kagami: We don't even know each other!

Felix: I know you. I've been following you non-stop.

Kagami: Even better! You follow me, you spy on me and now you've kidnapped me to get to know me?!

Felix: Uh... yes?

Kagami: You are utterly incompetent at social relations.

See? Felix isn't a sociopath who just tried to wipe out all of humanity last episode! He just needs to make friends, that's all.

Yeah, in case you can't tell, it seems like the show is still trying to course correct the characterization of Felix. Rather than the overconfident and manipulative wild card he was for his last five appearances, the episode is now trying to make Felix out to be a secretly awkward person with noble goals. Afterall, he saved Kagami, so by that logic, he has to be a good guy. Yeah, he technically stalked her like a creep, but it ended up being good in the end, didn't it?

After Marinette and Adrien transform into Ladybug and Cat Noir respectively, the Matagi Gozen clones start to track Felix through the scent of the aforementioned gadget. Right as Matagi Gozen finds Felix, Ladybug and Cat Noir arrive on the scene, giving Felix the chance to transform into Argos and escape with Kagami again.

Matagi Gozen: This is what heroes do? Not only did you help that monster escape, but now you're going to fight me? A mother trying to save her daughter?

Cat Noir: Hey, my lady. When you think about it, they're not wrong. We all want the same thing. If we let them save Kagami, we could seize the opportunity to get Felix's Miraculous back.

Ladybug: Too risky. They're under Monarch's influence.

Yeah, but you can't even try to negotiate a temporary alliance between Matagi Gozen? Yes, we know that she's working for Monarch, but the heroes don't know that. All we get is Ladybug asking Matagi Gozen to reject the Megakuma, and she goes back to fighting them. How interesting would it have been for Ladybug and Cat Noir to make an uneasy alliance with someone they don't know is working for Monarch?

After Cat Noir gets ignored during one of the few times he makes a decent point, he escapes to the sewer and detransforms, Matagi Gozen losing their scent trail. Matagi Gozen goes back to looking for Kagami, and decides to shoot her with some arrows tipped with Venom. Argos defends Kagami, and breaks up his fan to throw the pieces around and create multiple fake scent trails to throw off Matagi Gozen before detransforming. How Argos even came came up with this plan when I don't think he figured out Matagi Gozen could smell really good is anyone's guess.

As Kagami and Felix keep running away, Kagami asks the question I'm sure you've all been thinking.

Kagami: I don't understand. You have the Miraculous of the peacock, why don't you create a Sentimonster to get us out of here?

Felix: First of all, don't call them that.

Fine, “walking sin against nature” it is. Got anything else to say there, buddy? Maybe anything that isn't a half-assed speech meant to make the audience sympathize with you?

Felix: I refuse to create a being to manipulate them, control them, abuse them, and end up destroying them. When you bring a living being into this world, you have a responsibility towards them. Your duty is to protect them, love them, help them discover the true meaning of their existence. To deprive them of that... is monstrous.

Kagami: Are you talking about... yourself?

Felix: I'm talking about... us.

Come on dude! I said anything that isn't a half-assed speech meant to make the audience sympathize with you!

Okay, I've been putting this off long enough. Let's talk about Felix's ideology, his little speech, and, how it contradicts his previous appearances.

First off, for someone who refuses to create a Sentimonster to control and abuse, Felix had no trouble screwing around with Adrien in his first episode when his main goal was to get one of the rings from Gabriel. Hell, it makes even less sense why he'd keep that ring that we know can be used to control Adrien if his plan ultimately amounted to trading it away along with the fifteen Miraculous in Ladybug's possession.

Second, Felix literally created a Sentimonster to destroy humanity with just last episode, and he doesn't even mention that. Yeah, you can chalk it up to character development, but we don't even get a line about learning about the burden of ending a life you yourself created. It just feels like a way to make him seem more sympathetic after he went all “I'M THE GOD! I'M THE GOD!” last episode.

Third, and I'm just going to be honest about this, but why should I care about the life of a Sentimonster when the show has shown it doesn't care either? Ever since the end of Season 2, we've seen Sentimonsters be summoned and erased from existence left and right, and other than a single occasion (Ladybug), nobody has really brought up the fact that Sentimonsters are living beings too. Even putting that aside, most of the Sentimonsters we've seen have either been giant monsters, clones of other people, or mindless tools, none of which showed any desire to be alive other than to serve their purpose. It's only because Adrien, Felix, and now Kagami are revealed to be Sentimonsters that we should care about the ethics of summoning a Sentimonster in battle. Even in the last episode, Felix never brought up than Ladybug is essentially taking innocent lives whenever she de-evilizes an Amok.

And finally, the fact that this speech was used to set up a romance between Felix and Kagami, not because he saw a kindred spirit in her, but rather, because he believes that she's a Sentimonster too. You know that episode of South Park where Cartman tried to set up Token with a new girl, where the entire joke was that it was because Cartman believed that black people can only date other black people? This is basically that story with none of the irony. The episode seriously treats Felix taking an interest in Kagami specifically on the basis that she may be the same kind of artificial creation as him, as if he isn't capable of relating to anyone who also has to deal with abusive parents and isn't a Sentimonster. On a completely unrelated note, isn't it funny how out of the four rich kids with abusive or neglectful parents, Chloe is the only one who isn't a Sentimonster and is the least sympathetic?

Ladybug (having gotten a pair of scissors from activating her Lucky Charm offscreen) and Cat Noir try to stop Felix, but after a single speech from him, Kagami is now completely on his side for some reason.

Kagami: Felix is not your enemy! He's like me! He doesn't know how to express himself. Everyone is wrong about him! Including me.

Funny, I don't seem to remember you dooming all of Paris by giving over a dozen magical artifacts to a supervillain. Also, speaking from someone who struggles to socialize in real life, I can confirm that social awkwardness isn't really an excuse to kidnap someone. Just remember what happened in Misery.

Ladybug realizes that Felix and Kagami are vital to her Lucky Charm working, she decides to trust Felix. Felix then transforms into Argos and immediately escapes without contributing to the plan, while Kagami uses the scissors to cut the string of Matagi Gozen's bow after Ladybug and Cat Noir restrain the Akuma.

Ladybug then de-evilizes the Megakuma, uses Miraculous Ladybug to fix the damage caused by the fight, gives Tomoe yet another useless Magical Charm after the last useless one broke because it was completely useless, and Argos once got away without facing any consequences for his actions.

Afterwards, Kagami tries to stand up to Tomoe, but she orders her to hand over her ring containing her Amok—I mean, her ring that has absolutely no control over her, and is part of this thrilling mystery. Adrien also tries to stand up for Marinette, and Gabriel tells him to enjoy her time with Marinette... before saying he's moving to London next year. This is supposed to be a dick move, but with how often Adrien gets caught in the crossfire of Akuma attacks, with or without the mask, this is arguably the smartest thing Gabriel has done for the past five seasons. Adrien chooses not to tell Marinette about London, because I guess all that whining about hating secrets only mattered when someone else was withholding information from him.

The episode ends with Felix revealing that the ring Kagami gave her mother was a fake. Of course, this makes no sense because not only did we never see Felix steal the ring from Kagami, but Tomoe has a mental connection to Kagami, she should notice the ring is a fake. Also, you know how Kagami's arc so far has been a mixture of finding independence from her controlling mother while coming to terms with her breakup with Adrien? Get ready for all of that to be thrown out the window, because the writers are desperate to make him look good, Felix is now the one to save her from her mother and give her independence back, while also hinting at a relationship starting between the two. I'd say this episode fumbled the landing, but I haven't even gotten to the season finale yet.

This episode started out pretty poorly, and quickly went downhill afterwards. The idea of explaining why Gabriel's Cataclysm wound can't be healed was convoluted, Felix continues to be unlikable, Tomoe once again shows how terrible of an antagonist she is.

I'll admit, the chemistry between Marinette and Adrien was decent, but it's far too late to really establish a proper rivalry between her and Gabriel more than halfway through the fifth season, especially while discussing fashion when it's only been used to justify plots where she tries to make stuff for Adrien. The writers had plenty of time, yet rather than build up tension between the main hero and main villain, they decided we needed more episodes revolving around Chloe, Lila, and Felix.

Speaking of, Felix once again shows how poorly written he is. He was the one to instigate the conflict, it wasn't established if he even had a plan on what to do once he gets away with Kagami, and if anything, only made things worse because of his refusal to surrender, much less acknowledge his fault in this situation when the Akuma chasing after him is only as powerful as she is now because he gave his evil uncle multiple Miraculous to use for his Akumas. But no, he has to be the one to wreck Kagami's character arc and be the one to try and liberate her from Tomoe's influence because he's a good guy now! It says a lot when Cat Noir is the only one who still isn't trusting Felix at this point.

While it's nowhere near as bad as “Emotion”, this was still a really bad episode to follow up on.

THE BIGGEST IDIOT OF THE EPISODE IS...TOMOE

While Felix came dangerously close to winning the award, he at least showed more restraint here, and was able to throw off both Matagi Gozen a few times. Tomoe, on the other hand, got nothing to show any real intelligence, and if anything, proved she was just as incompetent as Gabriel is. She chose to nag Gabriel while he was suffering from the effects of his fatal wound, decided to akumatize herself instead of even considering contacting the cops to stop a single kidnapping, while ironically drawing more attention to herself in her attempt to save Kagami and stop Felix, decided to try shooting her daughter instead of the one who abducted her, and didn't even realize the ring capable of controlling her daughter was replaced by a fake when she should obviously be able to sense something.

[brf-rumortrackinganon]

It's a very different world now. 2016 PR shenanigans are not going to work. If they want their PR to be effective at changing public perception, they need to play the 2024 game. But they refuse to.

what would the 2024 game be like?

Old asks from April 2nd. (These came in 5 minutes apart, so grouping them together here.)

So PR is managing reputation/image and relationships. Note that this is a very broad generalization. PR is actually much more complex but we're going to keep it simple here.

"Old" PR is very much about controlling how people perceive you. The celebrity (or the company) develops relationships with journalists and communicates to their audience through those journalists, who are largely using traditional media (e.g., newspapers, magazines, television interviews). There's not much interaction with the audience or if there is, it's very one-way; i.e., the celebrity/brand/company is speaking to the audience via a spokesperson (whether a journalist or an actual representative) and there's no chance for the audience to respond, engage, or interact back.

And when social media is involved, the celebrity is still using social media in an "old" PR kind of way - to send messages directly to their audience but they're still not engaging. It's kind of like the old fan clubs of the '80s and '90s, where if you subscribed, you got the newsletter; the celeb's social media account is the new fan newsletter.

"New" PR has evolved to be more about communications and content marketing and, increasingly, involves more and more crisis management. It prioritizes direct, personal two-way relationships with the audience (so no spokesperson or journalist in the middle), where the celebrity is engaging/interacting with the audience and the audience is engaging/interacting with the celebrity, and largely using new digital media - e.g., social media, podcasts, etc.

More and more nowadays, "new" PR is also about authenticity and transparency. It's still a form of controlling your image, but done correctly, it feels more organic, not as constructed or manufactured. Particularly with the crisis management aspect of "new" PR - that's why we see celebrities making apologies or personal statements directly to their audiences via iNotes screenshots posted on social media (like Dave Grohl's statement today) instead of going through a media rep or a journalist spokesperson.

"New" PR uses social media as storytelling and for content marketing. Celebrities/brands/companies still post photos and messages, but that's not the only thing they're doing with those channels and accounts. They're creating videos, they're producing content, they're interacting with audiences and they're connecting with peers.

But all that said, it's the content of how "new" PR uses social media that has evolved the most, and that's the change I was thinking about when I made those comments about the Sussexes.

Ten years ago, the content celebrities/brands/companies were creating for social media was about and for the celebrity. They were using charities/philanthropy, public appearances, their work (e.g. movies, film, theatre, books, etc.), their brands, their merching to promote or market themselves.

Nowadays, it's mostly the opposite. Celebrities are using their platforms to promote charities, philanthropy, speaking engagements, their work, etc. They're still promoting themselves, it just isn't as obvious and it's more carefully done (especially with new rules for merching and sponsored content).

Now with specific regards to the Sussexes, they're in kind of a weird place. Their media strategy is still very much "old" PR like the BRF - they've courted specific journalists, they communicate to their audiences through spokespeople (whether they're friends or Archewell or journalists), they predominantly use traditional media to communicate, all of the communication is very one-way (no personal or direct engagement with the audience) (Sussex Squad doesn't count), and everything they put out is very controlled.

Their content strategy, which drives their PR and media/audience relations, is still very 2016 in that it's almost exclusively designed to promote and market the Sussexes. There's very little (if any) information about the charities they support, the people they visit, the work they actually do, because all of that is meant to prop up the Sussexes and give them publicity. And that is one of the biggest criticisms they deal with; they're so obsessed with promoting themselves and managing their own images that it sucks all the attention, spotlight, and air from their actual work, such that the legit, real, movers and shakers and king-makers they want to connect with ultimately want nothing to do with them.

The Sussexes are uniquely positioned that they could go full-force into "new" PR with a modern content strategy focused on visual storytelling of their work and their philanthropy and it would be quite successful and innovative - and this is, in fact, what they demanded in the Megxit Manifesto. They wanted to be more "new" PR, to not have to deal with the media, to be able to connect and interact and communicate directly to their audience. But someone somewhere lost the plot - it probably happened when Facebook refused to port over all the bots followers from Sussex Royal IG to whatever their new IG was and they threw a massive "well we're just not going to have social media anymore (which was honestly very much a kiss of death for them, PR-wise and image-wise) - and now we're seeing the Waleses start to do this, so the Waleses are getting the innovative edit.

The videos the Waleses have made (for their 10th anniversary, Earthshot, the coronation, and now Kate's message) is very much "new" PR in terms of a content strategy for engaging and interacting with their audience. That kind of visual storytelling is exactly what social media is today, and look how much more effective that's been for them in terms of PR and image management than relying exclusively on the palace's machinery of press releases and portraits.

They're also using their social media platforms to share their personal statements - while it's certainly not the iNotes screenshot of Hollywood lore, it's still personal and it's still direct to their audience in a way that Buckingham Palace's press releases are not - and they're no longer using favored journalists to release and distribute their photographs. They're still using traditional media (and journalist relationships) to communicate longer-form stories to their audience, but I wouldn't be surprised if we see that start to change when William becomes King.

William and Kate do still need to get a better handle on the crisis management side of "new" PR. They have the right attitude of "never complain, never explain and it all blows over sooner" but they do shoot themselves in the foot, quite a bit, with their approach to work, which affects their crisis management. They tell us all the time that they do a lot of behind-the-scenes work, valuing quality over quantity, and that's why they're not as publicly engaged as we may want or expect them to be, but there's mounting frustration and mounting impatience over a lack of visible, transparent results from that work. And because there's no visibility into that work - no Court Circular records, no behind-the-scenes documentation, no tangible outcomes, no public disclosures, no public engagements - it makes the crises they deal with (well, some of them) really easy to explode into huge maelstroms. That's why it's so easy for Sussex Squad to spread the conspiracy theories and rumors; there's nothing coming from KP to offset it or redirect the narrative because their work is their crisis management strategy. Right now - for perfectly legitimate and valid reasons - because there is no work, there is no crisis management and because there is no crisis management strategy, KP looks, and is, caught with their pants down when these crises do pop up.

My hope is that when Kate is back to full health, whenever that is and however long it may take her, the Waleses do escalate their work and do become more visible with their behind-the-scenes work so that their work truly becomes as effective and as powerful for crisis management as it is for the rest of the BRF. Once they improve their work performance, they'll have a crisis management strategy, which should take the sting out of Sussex Squad's social media attacks.

I think I lost the plot here. Oh, well. It's late. Enjoy the rambling.

So that's the PR paradigm shift, with a little bit of social media evolution. Hopefully that explains things a little better. Remember, this is all VERY boiled-down-and-simplified because PR is so nuanced and complex.

If anyone who actually works in PR or media or communications or crisis management wants to chime in, please do!

[shabbytigers]

a dark night of the soul has hit, due to reasons.

got into a horrible catastrophizing spiral of realization that every single move i have made in the last five years and arguably in my whole life has been a Mistake and consequently i am thoroughly and irretrievably fucked

then i was like, okay, but setting aside a huge tranche of deeper personal shit and the moon falling out of the sky (which i am not getting into), most of my terrible horrible irresolvable problems of a practical nature* will go away or at least recede into manageable quiescence if i just get myself another remote nyc job

*briefly. saddled with a silly huge n expensive apartment that i rented when i had a nyc payscale salary and considerably more space reqs; now have neither, but cannot look for smaller cheaper flat because no one will rent to me because i’m jobless 🙃 kafka auflauf of a gordian knot, but another nyc job would slice right through it. (German job listings dire; there may be a strategy where i get, like, a job at a bookstore and qualify for a cheap flat, but i’m not sanguine about it)

unfortunately this is not quite a one-weird-trick fix

if i succeed, i have a new problem: the job 💀 i seriously have the screaming doanwannas about it

this is the worst job market i’ve ever looked in, my industry is going through something similar to tech with layoffs all over for the last year

partly in response to that, partly just bc the pendulum is on a natural swing away from all-remote, employers are pulling back on remote-friendly policies. which i need, unless i want to crawl back to nyc with my tail between my legs, and i still have enough will to live to not want to do that. have struck out a few times on this one stupid sticking point already

anyway

today i applied directly to two jobs online, talked to a recruiter about a third (no), “reached” “out” “to” (vomitous expression) two former colleagues at agencies that have plausible job postings, another who seems to be freelancing in Paris successfully, and an old manager who was theoretically putting me forward for yet another job last month

also: found a detailed english walkthrough for how to register as a ‘sole proprietor’ freelancer

also also: registered with a Mieterverein and looked up open clinic hours. someone is going to have to walk me through the ins and outs of the housing sitch

also also also: found a Pberg language school that offers a twenty-hour B1-B2 grammar course priced at only a bit more than the VHS charges for half of B1. I am into this. just explain me the damn grammar and check my work at the next class. queried them about dates, will see if the VHS has anything faster too

tl;dr i’ve bought a big stick. i’m all ready, you see. now my troubles are going to have troubles with me

[prof-saxafras]

This whole Brazilian Miku trend was really pushed miku into the same category as Garfield, at least as I pertains the sort of malleability of the design.

This is less about the actual “Miku from insert culture” trend, but about what that has started to spawn. I’ve seen necromancy miku, ork miku, airplane cockpit miku, hell I saw a car with some turquoise parts and immediately thought, hatsu-car miku.

Of course we’re still in the discovery phase as to how much we can mess with her design before it becomes unrecognizable, but from what I’ve seen so far, it can stretch pretty damn far.

My reference to Garfield was mostly to connect what we’re seeing now to a very tame version of something like r/imsorryjohn. All I believe miku needs to be an actual “successful” im sorry John-like is to tap into a pre-existing horror in the nature of hatsune miku as a program. I believe that there’s not only some very strong directions to take with the potential horror of hatsune miku, I believe that it’s only a matter of time before we start to see a deeper exploration of these implicit realities.

The main route that I’ve found is in miku’s existence as both an idol, and a program. While it might be a great marketing strategy, it also leaves her in a weird spot, used to share messages, but without a voice of her own. Meant to appeal to people but unable to interact with them. A great little dabble on this is Louie Zong’s “I’ll Sing Your Song”. (https://youtu.be/2rHIlStUv8A?si=mPjBB--hyaEE0Ykv) this a very introductory dive into the sort of melancholy that comes with thinking about miku deeper.

Of course, I might be wrong. But I’m excited to see what people will find in this inspirational little star going forward.

[cabin-3-counselor]

I have to be honest guys, I am not so happy about these posters of the pjo series coming out, it feels like a huge marketing strategy to make people forget the strikes that are happening, perhaps i may be wrong, perhaps the wga and the sag have totally agreed with propaganda but still it feels weird specially after bob iger's comments and interview, because of that i don't feel comfortable sharing them, but I am extremely happy and excited about the show

[shih-coulda-had-it]

short and fun bit from the OFA band (of vigilantes) AU, wc: ~500

//

“I don’t know why the strategy is just ‘get out there and prevent harm’,” En complains, throwing himself onto a couch. “Why can’t we just follow Sorahiko?”

“Hey,” Sorahiko says, half-threat and half-amusement. He slaps at En’s legs and takes the freed space for himself, easing into the cushions with a sigh. Around them, Hikage and Daigoro are setting down cartons of food, paper plates, disposable chopsticks; Kudou and Bruce have gone to fetch Yoichi, and Nana has dipped into their room to check that Toshinori went to sleep on time.

“You finding a dive bar where villains gather is more of a guarantee than trawling an unlit street for trouble.”

“That’s not true.”

“It’s a little true,” Hikage helpfully interjects, kneeling by the coffee table. He’s tall enough that kneeling doesn’t affect his presence. Daigoro steals two pillows and joins his boyfriend on the floor. “Do you remember the one drinking American beer who wanted to—?”

Sorahiko rolls his eyes. “Yumi wasn’t actually going to sell my organs on the black market.”

“No,” Daigoro recalls with a grin, “she was just going to double your organs and sell them on the black market. Some weird-ass Quirks popping out of the woodwork these days. That, or you’re just attracting that shit, Torino. Things weren’t weird until you and Shimura joined up.”

“Sandaime’s told me a few stories…”

The door’s opened silently, but the new voice that travels through the air is a familiar rasp. “Bruce, gossip? I thought he put our origin story under an N.D.A.” Kudou steps further into the room, eyes the couch that En and Sorahiko are taking up, and chooses the loveseat instead. His white-haired lover trails after him; Yoichi beams at En and hoists up a twelve-pack of canned soda.

“They almost forgot this in our room,” he laughs. Sorahiko sees a tendril of Blackwhip wiggle into existence. “Oh, Banjo-kun, would you—?”

“I’ve got it, Shodaime,” says Daigoro, and hooks his Quirk through the thin cardboard, reels it to the table to the sound of a breathless thank-you. “How was the kid? Still antsy about being babysat?”

Yoichi frowns. “He’s not being babysat. If anything, I feel as though Toshinori-kun is babysitting me. Who told him I’m not allowed to drive the bus?”

“Me,” says Sorahiko. Betrayed green eyes lock onto him, but Sorahiko’s too haunted by the memory of Yoichi driving into oncoming traffic to feel any kind of regret. He heaves himself up from the couch and doles out a portion of stir-fried noodles, vegetables, and chicken. “And the N.D.A. doesn’t apply to anecdotes about stupid stunts.”

Bruce, still at the door, admits Nana into the room. Toshinori guiltily shuffles in behind her, a windbreaker thrown over his pajamas; he straightens up with a bright smile as most of the band greets him with a cheer. Sorahiko is not one of them.

“Welcome back!” Toshinori says.

“Why aren’t you passed out,” says Sorahiko, narrowing his eyes. “I made you run three kilometers today.”

En makes a sympathetic sound like he’s dying.