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thevalkirias · 7 years ago

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Female adolescence and prestige dramas: the case of Sally Draper

The most famous dialogue in The Virgin Suicides – “you're not even old enough to know how bad life gets” / “obviously, Doctor, you've never been a 13-year-old girl” – says a lot about the way society sees the anxieties carried by young girls growing up and building their identities around us. The afflictions that come with not only adolescence as a whole, but specifically female adolescence, which adds the burden of misogyny to the mix, including the misogyny ingrained in ourselves, seem to make teenage girls particularly interesting for the storytellers that aren’t actually talking about them, but about their parents. Dana Brody in Homeland, Grace Florrick in The Good Wife, Paige Jennings in The Americans, Sally Draper in Mad Men: these were all part of TV shows that dedicated plenty of screen time to the teenage daughters of their main characters, who were marines/ alleged terrorist agents, lawyers returning to work after stepping away to be full-time mothers, Soviet superspies by night and suburban parents by day, or sad and alcoholic ad men.

In the four shows the exact same premise can be found: raising children is hard, and it is potentially harder if you are a spy, or someone who turned against your own country, or a good wife whose husband was very publicly arrested for corruption, or perhaps just empty on the inside. When Dana Brody takes the more cliché path of the rebellious teen and has her “Dana does drugs!”, “Dana has a questionable boyfriend!”, “Dana hates her father!” moments, or when Grace Florrick – whose mother is firmly set on the agnostic-atheist territory – and Paige Jennings –- whose parents believe that religion is the opium of the people – decide to fully dedicate themselves to Christianity, it’s all done with a single goal: to make these girls a Problem for Their Parents. Consequently, they become insufferable and, above all, uninteresting from the point of view of the narrative, since all they do is disturb the main stories.

When Homeland tried to humanize Dana, exploring the consequences that being the daughter of a traitor, terrorist and national enemy brought to her life, adding up to the experience of being a girl coming of age, it was too late. Because after two years no one had learned to empathize with her and no one wanted to watch that plot unfolding, not on that show. By then Alex Gansa and his team of writers had already made Dana only a shadow of a character, completely one-dimensional, since she existed only so that Sergeant Nicholas Brody could react to her. Just like Grace existed to create drama in Alicia’s life, the working mom (and the truly excellent character, complex and well developed). It’s because she doesn’t fit in this common and cliché categorization, which can be so unfortunate (Dana could have been a great character), that Sally Draper is so special.

There is a fundamental difference between Sally and the three other girls, of course: when Mad Men began Kiernan Shipka was seven – in other words, Sally was still a child. Back then there was still not much for her to do, except showing her unconditional love for her mostly absent father who sometimes was there to tuck her in. She existed mainly to help us read Don as a pretty terrible father – this was, after all, the man who, scared by the possibility of everyone finding out he was a deserter who had taken a dead man’s identity, decides he should run away with his mistress and has to be reminded by her that he had children to raise. Don seems surprised when he’s reminded of the children, but he assures her he would provide for them, as if his relationship with his kids was nothing but a financial matter. Sally also existed, beyond Don’s universe, to show us the difficulties Betty Draper had with her role as a mother, even though she tried more than Don.

Sally’s first big moment, which showed Shipka’s precocious talent, came in season three, when Betty’s senile and ill father moves to the Draper residence, and Sally develops a close relationship with him. When her grandfather passes away, young Sally goes through her first experience of mourning and is unable to understand why the adults around her can sit at the kitchen table and laugh when her grandfather was never, ever coming back. A young Kiernan, then a ten year old, competently portrays the complicated feelings Sally had to experience so early. The situation is further complicated when Sally’s baby brother is born soon after, and Betty decides to name him after her late father: Gene. Sally then needs to deal not only with the natural feelings of jealousy awakened in a child by the arrival of a new baby who demands attention, but also with the fact that this baby receives the name and the room that belonged to the grandfather whom she liked so much, as if her parents were trying to exchange her Gene for another when he was no longer supposed to be there. This moment is also crucial in Don’s complexification as a father: he is the one who sits Gene and Sally on his lap and tells her that that’s only her little brother, just a baby, not her grandfather – he is the only person to tell her everything was going to be alright.

Sally never becomes insufferable because Matthew Weiner and his writers make the right decision of never writing her or her stories as a mere problem that Don had to deal with. On the contrary, the father-daughter relationship exists to add nuance to a character who was always rather complex. We’re talking about a man who was chronically unfaithful and addicted to extramarital adventures, but who, when Peggy suggests a campaign based on the sexualization of the female image, stating (not wrongly) that sex sells, suggests another path – one that is based on the “I love you, daddy” card he got from Sally and is sitting on his desk. What truly sells anything, he says, is to awaken some kind of feeling. This is a discussion he has within the scope of advertisement, but it’s also a discussion he has with himself, about being more than the standard executive who “likes short skirts”, as Peggy puts it (not necessarily wrongly), about not being the man who wouldn’t understand Frank O’Hara’s poetry, like the unknown man he sees at the bar reading Meditations in an Emergency assumes, or about not being just the man who can no longer have sex with his wife – everything that builds the context surrounding him in “For Those Who Think Young”, one of the many episodes that emphasize that Don has not been a young man in the margins of the system for a really long time.

In such a context it would be easy to say that Don simply did not care about Sally and would rather not have to deal with her and fully dedicate himself to his adventures – as it happened in the abhorrent episode when he has the children with him for the weekend after the divorce and decides to go on a date, leaving them with his neighbor. But that isn’t really true, and part of the problem comes from his own internal issues, including the fact that he never had any decent father figure: Don does not know how to be a good father. To the extent that he believes that a woman who has literally just met his daughter would be better at talking to her than he would. This is what makes the character so rich and fascinating. Even when Sally exists for her father to react to her, it’s done in a good way, adding complexity to him exactly because she isn’t a one-dimensional character who exists to create problems.

One of the most important moments in this relationship is season six’s “Favors”, when Sally catches her father and his neighbor and mistress in bed. The situation was not only uncomfortable, the way it would be for anyone, but Sally knew that the neighbor was the wife of a man whom Don called his friend, a man she had seen sincerely thanking her father when Don helps freeing his son from being recruited for war. Sally had gone through a lot because of her father, but this is the big moment of rupture between them. If we all eventually find out that our parents are as flawed and human as anyone else, and this is part of the process of growing up, Sally has to face the fact that her father is absurdly flawed and, more than that, is very, very distant from the heroic father figure she had idealized for so long simply because she spent most of the time very far away from him, but under the incessant scoldings from her mother. Mad Men chooses to explore the quite devastating effects of this rupture not only for Don, the main character, but also for Sally. This choice resulted in one of the girl’s most famous scenes, when Betty offers her a cigarette, saying Don surely would have offered her a beer by then, and Sally responds, cigarette in hand (a pose that mimicked Betty herself): “my father has never given me anything”. It was an obvious but powerful case of double meaning.

Beginning with Sally’s big moment in season three, and increasingly as she grew up, she was given her own plots in some of the episodes. Maybe the good response to this choice is related to Mad Men being essentially character-driven, to the inexistence of a bigger plot that lies beyond its characters; it was common for a myriad of them to be highlighted in different episodes. So, when season six came, we were given Sally’s boarding school plot, when she was finally free from the mother about whom she complained so much. Once there, Sally smokes, drinks and takes boys to the dorm illicitly, incited by her roommates. This could represent the establishment of Sally-the-rebel-girl, but it doesn’t. Because none of what happens there reflects on Don or Betty; those are not “Sally smokes! What now, Don Draper?” moments, but moments in which Sally is away from home for the first time and has to decide who she is and what she wants to do for herself. These small transgressions of the school’s code of conduct (sometimes of the law) don’t make Sally a “mean girl”, just like her increasing interactions, full of discreet flirtation, with the boys that cross her path don’t make them the absolute center of her life. All of this is part of Sally, but none of it defines her. She is not a girl-problem, neither is she daddy’s little girl.

“I’m so many people”, says Sally in the next season. In “A Day’s Work” she spends a day in the city to go to the funeral of her friend’s mother, but also to go shopping. Sally loses her wallet and has to resort to her father, the adult she had in New York. By then she and Don were speaking to each other again, after he told her his real story right after he was forced by his partners to take a compulsory leave of absence. But Sally did not know about the second part, and she finds out in the worst way: looking for her father at the office, sure he could only be there. In face of another gigantic lie, Sally is once again upset and responds to Don’s attempts at conversation with monosyllables. It’s only when he explains what was happening and that he was ashamed and did not know how to solve it – and she sees herself being treated as an adult and as an equal –, that they make it up. After this conversation she calls one of her school friends who had been in New York with her; the girl wants to talk about trivial things, on the same day they had been looking at the dead body of someone important to their friend. Sally cuts the conversation short impatiently and soon after tells her father that the funeral had been horrible, but she had only been there so she could go shopping later. Don says he doubted that, and it’s easy to see he was right. Sally seems to take what he says under consideration as well, declaring then that she was so many people.

Mad Men allows Sally Draper to be so many people, to be the version of herself she presents to her mother, to her father or to Megan, her stepmother. It allows her to be the version of herself she presents to Glen, her long-time neighbor, or the one she presents to her roommates and to the cute boy at the hall of the fancy building where Don lives. It allows her to worry about boots and sandals, but it also allows her to be affected by a funeral. The script allows her to be much more than a mere accessory in the stories of the grownups that surround her, who are traditionally considered more important and relevant. Matthew Weiner allows Sally to at last see her parents very clearly, showing a maturity that sometimes seems to surpass theirs. It’s notorious that she declares, right before leaving on a trip with other girls, that she hopes to be someone very different from her parents and that her dream is to live far away from them – in an episode in which both Betty and Don are ridiculously flattered by the attention they receive from their daughter’s teenage friends.

Eventually Sally is forced by the circumstances to go back home, because nothing in life is so simple, and in the final stretch of her story it becomes evident that she mimics many of Betty’s mannerisms and ways. But it is in the responsibility towards her brothers that she automatically takes on when it’s necessary to do so, it is in her understanding that if there is one person she cannot count on that person is her father, it is in her realizing that her mother’s cold and stoic ways do not signify she is not feeling pain, that Sally shows an admirable level of maturity. These are moments which show us that the little girl we saw growing up throughout seven seasons and ten years is someone who has the chance of being happier – and a better person – than her parents were. At the end of Mad Men, the story of Sally’s growth functions as a formidable bildungsroman: of a character who was complex, solid and well developed, who was way too many people to be the thorn in her parent’s side.

About the author

FERNANDA

Officially a translator and proofreader, Fernanda has a special love for literature and for this writing thing. A loyal follower of the uncool lifestyle, she doesn’t believe in guilty pleasures nor in the concept of liking something ironically.

This piece was originally published in Portuguese on August 23, 2017, as "Escrevendo a adolescência feminina nos dramas de prestígio: o caso de Sally Draper". Translated by the author.

#mad men #sally draper #kiernan shipka #feminism #category:TV #author:fernanda #translator:fernanda

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gigslist · 2 years ago

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14 Production and Creative Gigs for Online Series - Paid

'2'

CATEGORY:TV / SERIES: SCRIPTED SHOWGENERAL VOICEOVER

TAGS:PAIDWORK FROM HOMEUNION AND NONUNION

EXPIRES:December 31, 2022 11:00 PM

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Company

Desert Palm Productions

Greg Anderson, creator; Don Laikowski, producer; Dakota Lupo, producer

Member Since

February 14, 2013

Jobs Posted

Production Description

Casting "2," an independently produced New Media Series set in the Southwest Desert. Synopsis: Parts psychological thriller, classic tragedy, urban fantasy / sci-fi, and modern day myth.

Creatives and Crew

1st Assistant Director:

All normal duties and responsibilities of professional 1st Assistant Director. Working in support of Director, Producer, UPM / Line Producer to maintain efficient and safe set operations while ensuring that daily schedules and page counts are monitored and successfully captured.

Required Roles:

1st AD (Assistant Director)

Apply

2nd Assistant Director:

All normal duties and responsibilities of professional 2nd Assistant Director (or 2nd 2nd AD). Working in support of 1st AD, Director, Producer, UPM / Line Producer to wrangle talent, manage background players, as well as contribute to maintaining efficient and safe set operations while ensuring that daily schedules and page counts are monitored and successfully captured.

Required Roles:

2nd AD (Assistant Director)

Apply

1st Assistant Camera:

All normal duties and responsibilities of professional 1st Assistant Camera. Working in support of Director of Photography / Camera Operator to coordinate efficient and safe on-set camera operations, contributing positively to the needs of the Camera Department and successful photography of each day's pages.

Required Roles:

1st Assistant Camera - Focus Puller

Apply

Line Producer / Unit Production Manager:

All normal duties and responsibilities of professional Line Producer / UPM. Working in support of Director, Producers and Series Creator to oversee set operations and management of Below-The-Line Crew and coordination / management of budget and schedule adherence. Extra consideration and bonus potential for candidates willing and capable of staffing B-T-L Crew with mininum of 50% Nevada-based hires (for compliance with State Film Incentive) and reporting requirements for SAG•AFTRA.

Required Roles:

Producer

Line Producer

Unit Production Manager

Apply

Production Audio:

All normal duties and responsibilities of professional Sound Recordist. Working in support of Director, Producer, UPM / Line Producer to maintain efficient and safe set operations while ensuring the highest degree of clean, professional quality audio is captured on-set to the greatest extent possible. Extra consideration for one-man / one-woman audio professional capable of recording and boom operations.

Required Roles:

Sound Mixer / Recordist / one-woman audio professional capable of recording and boom operations.

Required Roles:

Sound Mixer / Recordist

Apply

Costume Supervisor:

All normal duties and responsibilities of professional Costume Supervisor. Working in support of Director, Producer, UPM / Line Producer to maintain efficient and safe set operations while ensuring that all costumes are prepped, catalogued and ready for each day's schedule and Breakdown sheet, Opportunity for creative input into costume selections for candidates with interest. Extra compensation for candidates capable of supervision of both costumes and properties (props).

Required Roles:

Costume / Costume Support

Apply

Property (Prop) Master:

All normal duties and responsibilities of professional Property Supervisor. Working in support of Director, Producer, UPM / Line Producer to maintain efficient and safe set operations while ensuring that all props are prepped, catalogued and ready for each day's schedule and Breakdown sheet, Opportunity for design and construction of select props for candidates with interest. Extra compensation for candidates capable of supervision of both properties and costumes.

Required Roles:

Props Master

Apply

Production Designer / Art Director:

All normal duties and responsibilities of professional Production Designer / Art Director. Working in support of Director, Producers, Series Creator, UPM / Line Producer to maintain efficient and safe set operations while ensuring production design elements and methods result in successful capture of narrative and visual elements of the show. Extra consideration and compensation for candidates interest and able to work in capacities of both Production Designer and Art Director (with Assistant support staff), but candidates for ONLY Production Designer OR Art Director happily considered..

Required Roles:

Production Designer

Art Director

Apply

Script / Continuity Supervisor:

All normal duties and responsibilities of professional Script / Continuity Supervisor. Working in support of Director, 1st AD, Producers, UPM / Line Producer to maintain efficient and safe set operations while ensuring that all necessary and relevant adherence to script is achieved / maintained, as well as a focus on production continuity elements, within a given shot, scene, sequence and production as a whole.

Required Roles:

Script Supervisor / Coordinator

Continuity Supervisor

Production Support

Apply

Key Grip:

All normal duties and responsibilities of professional Key Grip. Working in support of Director, Producers, Director of Photography, UPM / Line Producer to maintain efficient and safe set operations while ensuring that all set-ups for daily production are completed successfully and within schedule / budget requirements.

Required Roles:

Key Grip

Apply

Gaffer:

All normal duties and responsibilities of professional Gaffer. Working in support of Director, Producers, Director of Photography, UPM / Line Producer to maintain efficient and safe set operations while ensuring that all set-ups for day's shooting are successfully prepped and supported while meeting the needs / requiremements of schedule and budget.

Required Roles:

Gaffer / Lighting Director

Apply

Production Assistants:

All normal duties and responsibilities of professional Production Assistant. Working in support of Director, Producers, UPM / Line Producer to maintain efficient and safe set operations while ensuring that all various job-related needs of Cast, Crew, and Production are met. Happy to consider production crew new to the industry or early in career, but in all cases looking for energetic, pleasant demeanor, production fanatics that see the value in keeping a set and production company running smoothly.

Required Roles:

Production Assistant (PA)

Apply

Make-up Artist:

All normal duties and responsibilities of professional Make-Up Artist. Working in support of Director, Producers, UPM / Line Producer to maintain efficient and safe set operations while ensuring that all actor make-up is applied and maintained to the standards / needs of specific characters. Extra consideration and compensation for artists also capable of contributing to Cast hair style / design / maintenance.

Required Roles:

Make-up Artist

Apply

Hair Stylist:

All normal duties and responsibilities of professional Hair Stylist. Working in support of Director, Producers, UPM / Line Producer to maintain efficient and safe set operations while ensuring that all actor hair is styled and maintained to the standards / needs of specific characters. Extra consideration and compensation for artists also capable of contributing to Cast make-up style / design / maintenance.

Required Roles:

Hair Stylist

Apply

Rehearsal and Production Dates & Locations

Rehearses (contingent upon completing casting; workplace safety conditions) in California and/or Nevada; Season 1 shoots early-2023 in Nevada (contingent on workplace safety conditions).

Compensation & Contract Details

All Roles

Additional: Pay (low budget) for all performers, with all actors paid at same rate of daily or weekly pay; travel; meals; lodging; and credit provided, per SAG-AFTRA New Media Side Letter Agreement. We do not publish exact pay amounts to protect actor / crew privacy. All pay is well in excess of applicable guild minimums for our budget category.

Key Details

Seeking talent from:

Henderson, NV; Los Angeles, CA; Las Vegas, NV

Rehearses (contingent upon completing casting; workplace safety conditions) in California and/or Nevada; Season 1 shoots early-2023 in Nevada (contingent on workplace safety conditions).

Compensation & Contract Details

All Roles

https://www.facebook.com/gregatmac

https://www.facebook.com/2285997711684601

#work from home video crew jobs #web video jobs #costumer jobs near me #costume jobs #sreen writer job

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blogflicks691 · 3 years ago

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Elgato Game Capture Hd Driver

Elgato Game Capture Hd Drivers

Elgato Game Capture Hd Driver Is Unavailable

Elgato Game Capture Hd Driver

Elgato Game Capture Hd Drivers Mac

6,431 downloads·Added on: May 13, 2016·Manufacturer: Elgato

This package contains the files needed for installing the Elgato Game Capture HD60 S Card driver. If it has been installed, updating (overwrite-installing) may fix problems, add new functions, or expand existing ones. Even though other OSes might be compatible as well, we do not recommend applying this release on platforms other than the ones specified.

Solution: Unplug the Elgato Game Capture HD hardware from the Mac or PC, and video source. Wait a minute, and then attach everything again. 3) The connection between Elgato Gaming device and the computer may be damaged or defective. Solution: If the Elgato Gaming unit is connected via USB, then try another USB cable. There is no 'Capture HD' Driver in Device Manager. Howdy Partners, So, I got a HD60 off ebay the other day and as soon as it arrived I followed all the steps on the Elgato website so I could set it up perfectly. After doing this I installed the newest software and I was on my way. Except I wasn't at all on my way, I had a 'No Capture Device.

To install this package please do the following:

- Save the downloadable package on an accessible location (such as your desktop). - Unzip the file and enter the newly-created directory. - Locate and double-click on the available setup file. - Allow Windows to run the file (if necessary). - Read EULA (End User License Agreement) and agree to proceed with the installation process. - Follow the on-screen instructions. - Close the wizard and perform a system reboot to allow changes to take effect.

About TV Tuner Driver/Utility:

TV Tuner drivers act as a communication bridge between your TV tuner and your personal computer. Whether you are using an external or an internal TV Tuner, it is very important that you update your drivers as often as possible in order to use your device at its maximum potential. When bugs are found in the software, developers launch new drivers meant to solve these issues and improve compatibility with newer operating systems, as well as add new features to the device. Usually, TV tuner drivers come as part of a package that also contains the video playback software. This way, users get to enjoy a more stable, bug-free experience, but also an improved user interface for the included playback software. Most of the times, TV Tuner drivers come in an easy to use installation software bundle which guides the user through all the steps, but that's not always the case: there are situations in which, with older devices, the driver must be added manually. Before clicking the download button, please make sure that you have selected the appropriate driver for your unit and operating system. Don't forget to check with our website for the latest drivers and software in order to keep your device up to date and running smoothly.

It is highly recommended to always use the most recent driver version available. Try to set a system restore point before installing a device driver. This will help if you installed an incorrect or mismatched driver. Problems can arise when your hardware device is too old or not supported any longer.

COMPATIBLE WITH:

Windows 7 Windows 7 64 bit Windows 8 Windows 8 64 bit Windows 8.1 Windows 8.1 64 bit

file size:

5.6 MB

filename:

Game_Capture_HD60_S_1.1.0.164_.exe

CATEGORY:

TV Tuner / Capture Card

Elgato Game Capture Hd Drivers

211 downloads·Added on: May 13, 2016·Manufacturer: Elgato

Elgato Game Capture Hd Driver Is Unavailable

Changes:

- Sound Capture: Add Music, Team Chat and PC audio to your streams and recordings. - Live Streaming improvements: Better performance and quality output when live streaming from Game Capture software. - File Export: Numerous improvements to file exports. - New default overlay scenes: We have updated the default Stream Command scenes to give users more information and inspiration to help create their own overlays. - Various performance and stability improvements: A whole host of small changes to make Game Capture even better! This package contains the files needed for installing the Game Capture driver. If it has been installed, updating (overwrite-installing) may fix problems, add new functions, or expand existing ones. Even though other OSes might be compatible as well, we do not recommend applying this release on platforms other than the ones specified.

To install this package please do the following:

About Device Driver:

Elgato Game Capture Hd Driver

If you install this package, your device will be properly recognized by compatible systems, and might even benefit from new features or various bug fixes. Please note that, even though other operating systems might also be compatible, we do not recommend you apply any software on platforms other than the specified ones. Doing so might cause the installation to crash, which could even render the device unusable. When it comes to installing the package, the steps should not be much of a hassle because each manufacturer tries to make them as easy as possible; usually, you must make check for compatibility, get the package, run the available setup, and follow the instructions displayed on-screen. However, due to the large number of devices out there and the various ways for applying these packages, it would be best if you refer to the installation manual first, to be sure of a successful update. That being said, click the download button, and apply the present software on your product. Also constantly check with our website to stay up to speed with latest releases.

Elgato Game Capture Hd Drivers Mac

COMPATIBLE WITH:

Windows 7 64 bit Windows 8 64 bit Windows 8.1 64 bit

file size:

145 MB

CATEGORY:

TV Tuner / Capture Card

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vampireadamooc · 6 years ago

Link

Hey, if anyone wants to become a TV Ghost Hunter, nows yer chance (gif added by me) Just as long as you remember my rules you’ll already be ahead of the game.

No Trespassing

Damage Nothing

Don’t be an asshole to the dead people - don’t cuss em out, don’t scream at em. Dead people are still people.

GET OUT is not a threat, it’s a sarcastic dead fucker having fun.

From the listing:

Untitled Paranormal Investigator Casting CATEGORY:TV & VIDEO: REALITY TV & DOCUMENTARY TAGS:PAIDNONUNION EXPIRES:March 1, 2019 Company Hudsun Media

Production Description Casting a new unscripted program. Casting producers state: "Do you have a sixth sense? A special knack for the occult and the paranormal? Are you a talented up and coming paranormal investigator? Are you interested in going to some of the most haunted places in America to get to the bottom of the legends? If so, we want to hear from you.

You must have some real-life experience and/or knowledge of paranormal hunting, EMF meters, other tools and equipment, etc. We are looking to build a crack team of the 'next generation' of paranormal experts, investigators, and hunters."

Roles Collapse All Roles Young Paranormal Investigator (Lead): Males & Females, 14-30 this is a casting for the next generation of paranormal investigators, haunting experts, thrill seekers and parapsychologists. If you dedicated to shedding light on some of the most mysterious areas in the country with a team of serious paranormal investigators this series is for you. Looking for new, young, fun voices in the space. ETHNICITY: All Ethnicities REQUIRED MEDIA: Headshot/Photo

Rehearsal and Production Dates & Locations Production dates are TBD. Production company is based in NYC.

Compensation & Union Contract Details Pay is TBD.

Key Details Seeking talent: Nationwide (United States)

#Ghost Hunting #Ghost Hunters #Casting Call #Paranormal Shows

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nostalgiamare · 5 months ago

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NOSTALGIAMARE ENTRY 33

NAME: BIG TIME RUSH

COMPANY/FRANCHISE: NICKELODEON

BIG TIME RUSH

SONY MUSIC

CATEGORY:TV SERIES (LIVE ACTION)

YEAR: 2009

DESCRIPTION: A Nickelodeon music sitcom that would kickstart the fame of the titular band. The main storyline of the show would revolve around the 4 band members of Big Time Rush, who were once Minnesota hockey players now taken to Hollywood fame. Rebellious leader Kendall, beauteous and prideful heartthrob James, wacky daredevil Carlos and intellectual straight-man Logan. All the while, the boy band must deal with the many misadventures that come from not just Hollywood, but the people surrounding the industry including their hot-headed and overly-ambitious manager Gustavo.

MOD THOUGHTS

1: The fact this band and sitcom is not more popular compared to the other uncomfortable Nick sitcoms out during this time is a crime against humanity.

youtube

2: Gustavo is such an embodiment of the fictional character that we love but never wanna meet in real life. Exhibit A:

youtube

3: Butch Hartman BTR squirrels. That's it.

LINK TO SOURCES:

Viacom hates everyone so i'm sorry but your not getting a link to all the episodes that ISN'T on a piracy site that's filled with strange suggestively explicit scam ads this time. So for compensation have this hour long YT video of the band being icons by Nick Rewind. Sorry-

https://www.youtube.com/watch?v=TNfd5Jl2Jis

#nostalgiamare #nostalgia #childhood nostalgia #nostalgiacore #2000s nostalgia #nostalgiamare entries #nickelodeon #big time rush

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thevalkirias · 7 years ago

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Problematizing Rory Gilmore: the revival

Back when we were waiting to know where Rory Gilmore (Alexis Bledel) would be – mid 2016, before Gilmore Girls: A Year in the Life was released – we made a point of saying that the apple of Stars Hollows’ eyes was far from perfect, which was great: Rory Gilmore is complex, and therefore a human character. Since then, the revival peaked and its buzz went away, and nothing in it was more controversial or discussed to exhaustion than the characterization of the younger Gilmore. Rory Gilmore is a monster. Rory Gilmore is a disaster. Rory Gilmore never became a real adult. Rory Gilmore is… complicated.

Beware: this piece contains spoilers of all four instalments of A Year in the Life.

Before the revival hit Netflix, Amy Sherman-Palladino wanted us to wonder in which newspaper Rory would be working and whether she would have already won a Pulitzer. The first episode, “Winter”, came to break many of the expectations surrounding Rory’s career, since she couldn’t be any further from where we thought she would be. Rory has no steady job; her biggest achievement is the publication of an article in The New Yorker – reproduced on every single one of Luke’s menus – and what she’s up to is the memoir of an eccentric British celebrity, which comes to an end before it even starts. By the end of the original series Rory was fresh out of Yale and working as a journalist following the electoral campaign of the then-candidate to the presidency of the United States, the Democrat Barack Obama (2007, good times). Even if her life wasn’t exactly on track (Logan, played by Matt Czurchy, ended their relationship of three years after Rory rejected his – very public – proposal, and her job, intriguing as it was, had an ending date), it seemed promising that Rory was following her dreams, with a job in her field of interest – political journalism –, after the crisis she went through between seasons five and six.

The revival comes to disappoint everyone that saw Rory as a role model. The year we follow in A Year in the Life leaves the younger Gilmore feeling even more lost and uncertain about her future. In a single year, she loses the book proposal, has her meeting with Condé Nast postponed again and again, throws a story away because she finds it uninteresting and arrives completely unprepared to a job interview for a hip website she completely despised, only to be despised by them. Rory ends up coming back to her mother’s house in Stars Hollow, but spends the whole summer telling everyone that wishes her welcome that she’s not back, as if coming back meant acknowledging her failure.

When it comes to her personal life, things aren’t much better. Rory apparently has a boyfriend, Paul (Jack Carpenter), so uninteresting to the whole family that no one – not even Rory herself – seems to remember he exists. Paul is not a character; he is a recurring joke through the four episodes, so Rory conveniently forgets to break up with him, finding it easier to have an affair with Logan. The affair is one of the most complicated issues of the revival: not only Rory is cheating on her boyfriend but, as we come to know later, Logan has a fiancée somewhere in Europe, a woman who never gets a face, let alone a chance of becoming a relevant character. The irony is that in the past Rory herself went through similar situations: first with Dean (Jared Padalecki) and Lindsay (Arielle Kebbel) when she was nineteen; afterwards with the same Logan she can’t bear to let go. Nothing, however, makes Rory nurture any kind of empathy towards Odette, the never-presented bride – she is not a character, she is an obstacle. The fact that she doesn’t have a face doesn’t seem to be fate’s work, but an intentional choice that tries to make the situation seem less serious than it really is, in order to make the plot all about Rory and Logan, as if all the rest were just details; as if Paul and Odette were mere plot devices and not just like any other human being: complex and with plenty of feelings, deserving to be treated respectfully regardless of their role in other people’s lives.

Once again, Rory takes on her most selfish side, of someone incapable of thinking about anyone other than herself. This is the same character that, in the past, had an affair with a married man without thinking twice, that was never capable of recognising her privileges and that has always thought herself superior, even if she never said it out loud. By the time she turns 32, Rory seems to have learned nothing at all from her previous experiences. It’s a radical departure from the teenager and young adult she once was, who always tried her best to be perfect and correspond to the expectations that were imposed on her. However, in 2016 Rory is no longer the apple of Stars Hollow’s eyes, the young journalist with a promising career ahead of her, whose dream was to be like Christiane Amanpour, and she is no longer the young girl who is too good for every guy in her life: nearly ten years passed by since she was this girl and ten years are more than enough to change a whole life.

Throughout the classic series of Gilmore Girls, Rory gave us enough proof she was far from the picture that dehumanized her full time: as any person building her own identity and facing a world of possibilities ahead of her, Rory would sometimes put her foot in her mouth, mess everything up and get frustrated with life not always going the way she expected it to go. This didn’t make her a bad person, but the opposite: as the complex young adult that she was, Rory had many nuances and never limited herself to being just one thing. She was the leading lady of her own story, the kind, smart and understanding heroine loved by all, the young girl with the best grades who never got into trouble and had a promising future ahead of her. But she could also be the villain of someone else’s story – Lindsay’s, for example –, the spoiled little girl that thought only of herself, incapable of accepting that life doesn’t owe her anything. At the same time, Rory would walk on the thin line between being herself and being what others expected her to be. Unlike many teenagers that vehemently deny the images projected on them, going to the extreme opposite, Rory embraced it, basically what her mother, her grandparents, her father, Luke (Scott Patterson) and the whole town wanted her to be, even when that wasn’t exactly what she wanted, even when Rory herself seemed to be close to changing her mind.

The sixth season of the classic series is essential to this line of thought because it presents a Rory that is far from perfect. She steals a boat, has a huge fight with her mother, drops out of college and is condemned to community services, but this is also the crucial moment when she breaks all expectations – not only everyone else’s, but her own too. Nearly ten years later, she still needs to deal with these unfulfilled expectations, but this time the frustration is more her own than it is anyone else’s. Her life took a 360º degree turn: she went around the world, wrote several articles, met and interacted with many people, but curiously returned to the same spot. However, at age 32, being back to the starting point is not the ideal and Rory knows it just as much as everyone else around her. Though she is reluctant to admit her alleged failure and finds it profoundly difficult to deal with it, Rory knows her life is far from what she expected it to be when she was 22. The difference is that instead of trying to evolve and mature she continues to be the same immature and presumptuous Rory she always were, who believes the world owes her a special future just because.

All of these – and many others – recurring slips on the plot have us wondering whether the Palladinos underestimated our judgment capacity, which evolved properly along the years. Our generation may find it difficult to stand on our own feet, but that doesn’t mean we have no clue about what’s going on in the world or have no critical opinion. Which brings us to the “thirty-something gang” and millennials being used as comic relief, presented as people who have embraced failure and spend their days together drinking milkshakes. Actually, sane people who return to their childhood bedrooms spend sleepless nights thinking of ways to put their lives together – that is exactly what Rory does, but in the series that’s pictured as something exceptional rather than obvious. Though it’s hard to take her seriously in her not-back-to-Stars-Hollow state of denial, what she really means is that she doesn’t want to be back because she doesn’t want to feel defeated. In other words, to judge Rory’s new character based on this sentence is a matter of semantics.

Taking the lead in the Stars Hollow Gazette was the (desperate) way she found to fill her time in a way that kept her connected to journalism – even though the citizens are more concerned with the seasonal first-page poem. When she decides to write a book about her relationship with her mother, a suggestion from Jess (Milo Ventimiglia), Rory seems to have found her true project. However, though this was positive for her career, the argument she has with Lorelai (Lauren Graham) based on the latter’s concerns about exposing their personal lives, and Rory’s choice of disrespecting her mother’s preoccupations, bring up, once again, questions about the selfishness that remains a trace of her personality. It is comprehensible that Rory clings to the idea of the book because, amongst her great professional crisis, it comes as a gift and gives her a north. The story of the Gilmore girls belongs to them both, of course, but Rory doesn’t even consider the fact that telling it would inevitably expose her mother. Rory is not a monster for it, of course. These are desperate times for her (obviously according to her point of view, that of someone who still has a ceiling to live under and means to travel around as she wishes). Who can judge her so easily? Who would give up such a concrete, real and doable project, when there is nothing left? But it’s Rory’s incapacity to empathize with her mother, the outrage she seems to feel when confronted by her mother’s point of view and the fact that she simply doesn’t talk to Lorelai before going on with the project that causes so much discomfort.

What we see in Rory throughout the revival, what bothers us, is the presumption that she deserves certain things simply because. That she has the right to tell the Gilmores’ story because it is an interesting life and it can help her find a way. That she can simply show up to a job interview completely unprepared because the site’s boss showed interest in her work (okay, plenty of it, to be fair). Rory has all the right in the world to believe she can do something better than working in a hip website – showing a very conservative opinion, by the way, of what it takes to be a Real ProfessionalTM. Rory also has the right to think that writing about people queuing in lines in order try new things everyone is talking about is boring. But her choice to look down on both things as if they were inferior creates a profound unease, because it sounds as if Rory still believes on the version of facts people used to sell her when she was little: that she was special, too good, the smartest, the best among her pairs – and everything she learned from her unsuccessful internship with Mitchum Huntzberger (Gregg Henry) seems, when we are watching the revival, to have served for nothing in her arc. The teenaged Rory, the one who could talk about the repaving of Chilton’s parking lot in a touching and profound way – or at least that’s what her teacher assured us she did –, seemed way more willing to try, something the new Rory seems to think she is too good to do.

At the closing of the revival, it’s hard to understand what Amy Sherman-Palladino was trying to do with Rory. In an interview with Vogue, she declared that she gave the character this complicated path because it seemed very real to her.

“I had friends who went to college and put themselves through college and worked two jobs. They [thirty-somethings] don’t do that anymore! It’s a lot of kids coming home and staying with their parents after college and saving their money for a condo. […]And these are kids who have all the benefits—they’ve had a great education, supportive parents, but sometimes I believe a little too supportive. Sometimes you have to kick someone out the door and say, ‘Apply to Starbucks, sweetie, I don’t care that you have a master’s degree. Go work, that’s what the world does.’”

It’s hard to understand whether the Palladinos chose to sacrifice the character in order to fulfil some kind of badly-shaped social criticism aimed at the next generation, or if, because between the original series and the revival many years went by, they decided that the public’s vision of Rory was still too idealized and wanted to tell us she is just human and, as such, makes mistakes like all of us. However, regardless of their intention, it was still a bad call, a badly stitched attempt at multitasking that is unable to not make anything coherently. If we are invited to understand and empathize with Rory, a character that must be seen as an imperfect human being that makes mistakes and doesn’t have her life on track by the time she hits 30, why was the “thirty-something gang”, which has no real purpose, turned into comic relief? Why is Rory still put on a pedestal, as if her conflicts were so much bigger, so much more complex than the feelings of many others that find themselves in the same situation?

To problematize (or not) the Rory Gilmore we have last seen is a hard task because the truth is that analysing the revival critically is a complicated – and a bit ungrateful – task. The Palladinos seem to have never accepted their own premature departure from the series or the ending it was given without their approval, just like they seem to have not accepted the fact that ten years that separate the series finale and their chance to revive it on their own terms. What is left to see, even when we glance beyond Rory (at Luke and Lorelai, for example, and the fact that they did not discuss marriage and kids for nearly a decade), is that the Palladinos decided to write a story that did not remain frozen in time in theory – time left its mark on the cast, after all – but did in practice. The Gilmores’ story is theirs, of course, and they had the right to do what they wanted with it. But the way in which they coped with the unexpected paths life takes seems rather immature, contradicting the foundations of their own story. It’s almost ironic to see them turning the alleged immaturity of an entire generation into joke. It’s probably not by chance that the revival really shone when it showed the Gilmores dealing with Richard’s death (portrayed by the late Edward Herrmann) – the storyline in which the Palladinos had to take a turn from whatever plans they had. When the script fails from the beginning, it’s hard to look at Rory in a definitive way.

Rory Gilmore is still the complex and human character she always was, but ten years later perhaps she is no longer the woman with whom we identified so long – or not so long – ago; the girl that inspired us deeply the way only well-constructed and coherent characters can do. For better or worse, Rory Gilmore has grown, became a woman who is far from what we expected, but this does not make her a monster. Life is not a magical genie lamp that grants us all our wishes, and Rory learned it the hard way. However, in choosing to treat her once again as a little snowflake, Gilmore Girls: A Year in the Life shows a reductionist view of an entire generation, disregarding the fact that the privileged youngsters who had a great education and constant parental support are not all simply spoiled people who believe they are too good to do anything other than the dream job, and that behind all the frustrations there is a world of expectations and pressures that do not exist in the void. For as long as we keep ignoring these issues, it’s hard to imagine a future for Rory that is not filled with darkness and some dragons.

Written by Ana Luíza, Fernanda and Yuu.

This piece was originally published in Portuguese on April, 2017 on Valkirias. Translated by Anna Viduani.

#gilmore girls #gilmore girls: a year in the life #rory gilmore #amy sherman-palladino #alexis bledel #netflix #category:tv #author:ana luíza #author:fernanda #author:yuu #translator:anna viduani

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thevalkirias · 7 years ago

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The Crown and the Solitary Queen Elizabeth

Netflix’s The Crown was advertised as the most expensive show ever developed by the streaming service. Though tells the story of real people, it’s easy to understand why the expenses were so elevated: the show enchants us with the grandiose beauty of its sceneries, the strictness of the costumes and the impeccable characterization, all in order to transport us to a time of political and social turbulence in an Empire that had just gone through an arduous world war and, moreover, was facing other kinds of agitation, including the ascension of a young woman, Queen Elizabeth, to the throne.

Warning: this article contains spoilers!

It takes no time at all for the plot to be set in motion, and in the very first episode we are invited to the wedding of the then-Princess Elizabeth (Claire Foy) to Philip of Greece and Denmark (Matt Smith), in 1947. We know from History classes that royal houses were famous for arranging marriages according to what was most convenient, but here, between Elizabeth and Philip, all was done in agreement and for love. Philip, upon marrying Elizabeth, has to let go of all of his titles and of his position as a Navy officer. More than that, he has to accept that he would always be hierarchically below his wife. At first it doesn’t seem like an obstacle for the relationship, but as the episodes pass we begin to realize that it bothers the prince consort that he always has to stand in the background -- and it’s practically impossible not to remember Queen Victoria and her own prince consort, Albert.

Marriage is only the first stage in the Princess’s changing life. As the health of her father, King George VI (Jared Harris), decreases, it becomes just a matter of time before she has to replace him on the throne. Though Elizabeth was the first daughter, she didn’t grow up with the intention of carrying the Crown, since it was her father’s older brother, Edward VIII (Alex Jennings), who was King when she was a child. Edward abdicated from the throne so he could live with the woman he loved, who was divorced and, according to the strict rules of the Anglican Church, could never marry a royal. When Edward abdicated, his younger brother ascended to the throne, and Elizabeth, then a ten-year-old, became next in the line of succession.

With the intention of initiating his daughter in her duties, King George VI decides to send her and Philip on a long journey through the British territories. The King had been diagnosed with cancer and saw his days coming to an end, but he needed to make sure Elizabeth was aware of everything that was happening in the kingdom. The Princess embarks on a long journey that would keep her away from her home and her children, young Prince Charles and Princess Anne, while the King tries to reestablish himself. Unfortunately the worst happens and George VI passes away while Elizabeth is far from home, so she has to return to England in a hurry in order to take her rightful place.

And while you mourn your father, you must also mourn someone else. Elizabeth Mountbatten. For she has now been replaced by another person, Elizabeth Regina. The two Elizabeths will frequently be in conflict with one another. The fact is, the crown must win. Must always win.

At the age of 25, Elizabeth is now Queen Elizabeth II of England and feels from the start the weight and the burden that it is to carry the crown. This interlude in her life as a monarch is portrayed in a delicate and poetic manner, and we can see that she had very little time to take in the loss of her father and her ascension to the throne. In an instant Elizabeth and Philip were enjoying the hospitality in Kenya, but in the very next moment the Princess was made Queen. Though she had been educated on the British laws and constitution her whole life, Elizabeth felt that she had little aptitude or preparation to take on the role. The Queen needed to deal with men who were much older and much more experienced than she was, men who in many cases treated her in a condescending way just because she was a young woman; in other words, nothing new under the sun. In the vast array of powerful men and politicians that she had to deal with was included the then-prime minister Winston Churchill, beautifully portrayed by John Litgow.

The Crown puts a strong focus on the duality existing between career politicians and the monarchy, and frequently highlights the importance each of them had in leading what once was the British Empire. At that moment Winston Churchill was already an old man, approaching his eighties, and he had been responsible for leading England in the fight against nazism; Elizabeth, on the other hand, was still young and in need of more experience in order to deal with the duties that came with her position. Churchill was an experienced man when it came to the public life; he knew how to handle people according to his needs and made his position count through the use of both his intelligence and his sarcasm. If at first he sees Elizabeth as a raw and insecure woman, by the end of the first season he comes to see her as the strong and resolute Queen that we now know.

It’s a fact that being in a position of power demands more from women than it does from men. When it comes to men, mistakes are always forgiven, forgotten or ignored, but for women they are pretty much a proclamation of perpetual failure. If this happens in our daily lives, or even in Hollywood, what could we expect from an ancient institution such as the British monarchy? That’s the reason why Elizabeth was always attentive to her duties and did what she could in order to be the best possible queen to her people. That becomes evident in a very symbolic moment when she requests private lessons with a tutor. Because she was raised to be beautiful, modest and preoccupied with the affairs of the private home, Elizabeth felt that there was a large gap in her education: like every girl coming from a royal house, Elizabeth learned embroidery and how to play the piano, to be beautiful and quiet, but she never got more comprehensive or even basic lessons, the education that everyone should have access to; fearing that she would not be sufficiently intelligent to deal with her ministers and other politicians she would eventually meet, Elizabeth tries to educate herself by her own means.

Never let them see that carrying the crown is often a burden.

In her first years as Queen -- The Crown’s first season covers the first ten years of her reign -- everyone seems to believe they can manipulate Elizabeth in whatever way suits them best. Taking into account Elizabeth’s relative naivety and inexperience, everyone around her -- from the Prime Minister to her uncle and former king Edward to her grandmother, Queen Mary (Eileen Atkins) -- believes they know what’s best for her. Elizabeth, however, shows a unique ability for diplomacy, and manages to navigate the personal interests which are disguised as advice and, more than that, gets everyone to believe that she is accepting them. The Queen may be young and inexperienced, but she has the strength and fiber which are necessary if one wants to join the gallery of great British queens -- which is, as we know now, a fait accompli.

At the same time she has to deal with her royal duties, Elizabeth also needs to manage her husband. After giving up his titles and position in the Royal Navy, Philip seems to resent his wife. Though the prince consort had faced the situation in the best possible way in the beginning of the relationship, everything changed when Elizabeth decided to keep her family name, Windsor, instead of taking Philip’s last name, Mountbatten, as the name of the royal house she would preside.

Philip accuses her of taking his career, his house and his name from him, but he knew from the start that his duty as prince consort would be exactly that: to stand by her side and support her. This particular scene put a scornful smile on my face, since once a woman gets married, whatever her status, whatever society she belongs to, that is exactly what is expected from her: to give up her career for her new family, to abandon her house and name and take her husband’s. Philip doesn’t face this the way one would expect; his ambitions and sexism seem to be greater than his duty as prince consort and this brings turmoil to the marriage. On the show, Philip is portrayed as a bon vivant who goes to gentlemen’s clubs and comes home late and completely wasted. It’s hard to feel sympathy towards the prince consort when he seems to completely forget about his duties and focuses on nourishing misplaced grievances instead.

Another situation that demands caution from Elizabeth is the relationship between her sister, Princess Margaret (Vanessa Kirby), and Captain Peter Townsend (Ben Miles), a former equerry to King George VI. Like Edward, Margaret falls in love with a commoner and meets resistance from her family. Townsend did not come from a noble family, but he was also married and a father of two. The relationship between the Princess and the equerry began when he was still married and working at the Buckingham Palace, but it became public when Townsend got divorced.The hindrance faced by the couple was the same the former King had gone through: in order to marry a divorced man, Princess Margaret, who didn’t get support from the Parliament, would have to give up her title and privileges. More than that, Elizabeth, being both Queen and head not only of the monarchy but also of the Anglican Church, was divided between doing what was best for her family and what was best for the Crown.

It wasn’t the first time -- and certainly won’t be the last -- that Elizabeth needed to ponder over her duty as Queen and put the many women existing in her her on a scale. We find her questioning her position in the world on several occasions, as she tries to balance the roles she has to fulfill. The issue regarding how she should reconcile the woman she was with the mother, the sister, the wife, and the Queen was very present in the first years of her reign, and it made Elizabeth wonder how to proceed on many occasions. In addition to all of her doubts and to having to deal with a predominantly male world, Elizabeth has to endure judgement from anyone who believes to be better than her at doing her job.

I am aware that I am surrounded by people who feel that they could do the job better. But, for better or worse, the crown has landed on my head.

The Crown manages to navigate different plots, showing us a little of the Palace’s routine, filled with many rules, the work of the Prime Minister and a bit of the characters’ private lives. We can see the first traces of the media’s obsession with the royals’ private lives -- there is, for instance, a car chase in which journalists and photographers harass Princess Margaret and Captain Townsend. For me at least it was impossible not to connect the scene with the death of the Princess of Wales, Diana, in 1997, after a car chase in Paris. The fact is that the royals have a mystique that fascinates people -- a fascination that even the show points to -- and everyone keeps watching them, waiting for the next steps of people who, once the robe, scepter and crown are removed, are as human as any of us.

The truth is that carrying the Crown is a solitary role. Elizabeth has advisors and relatives she can count on, but the burden will always rest on her shoulders and the final decision will always be hers. The Netflix show did a great job in displaying the difficult part of being a monarch and how exhausting it can be to face obligations and conflicts. There is certainly glamour in balls, jewelry and dresses, but they are all presented simply as palliatives for one of the most difficult roles to fulfill.

Forget Elizabeth Windsor. Now you are Elizabeth Regina.

About the author:

THAY

Tomb explorer, shadow assassin, pirate captain and sailor soldier. Hunts demons in her free time, wears a Gryffindor scarf and is an occasional getaway driver. Addicted to Supernatural and to buying books as if there was no tomorrow.

This piece was originally published in Portuguese on November 11, 2016 on Valkirias. Translated by Fernanda.

#the crown #claire foy #matt smith #netflix #feminism #category:tv #author:thay #translator:fernanda

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gigslist · 2 years ago

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35 Roles For Series - On Screen & Voiceover -Paid Remote

'2'

CATEGORY:TV / SERIES: SCRIPTED SHOWGENERAL VOICEOVER

TAGS:PAIDWORK FROM HOMEUNION AND NONUNION

EXPIRES:December 31, 2022 11:00 PM

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Company

Desert Palm Productions

Greg Anderson, creator; Don Laikowski, producer; Dakota Lupo, producer

Member Since

February 14, 2013

Jobs Posted

Production Description

Casting "2," an independently produced New Media Series set in the Southwest Desert. Synopsis: Parts psychological thriller, classic tragedy, urban fantasy / sci-fi, and modern day myth.

Roles

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Actors & Performers

Hope:Lead, Female, 18-31

Dowan Tenant:Lead, Male, 25-40

Big John:Supporting, Male, 40-60

Mama Freya:Supporting, Female, 35-59

Ying:Day Player, Female, 18-25

Juliana:Supporting, Female, 20-29

Lathrop:Supporting, Male, 23-33

Savannah:Day Player, Female, 18-25

Delilah:Day Player, Female, 18-27

Sheriff Lance Jansen:Supporting, Male, 32-45

Sheriff Greer Moffat:Supporting, Female, 35-50

Macie:Supporting, Female, 18-29

Masika:Supporting, 18-30

Jasper:Supporting, Male, 25-40

Sondo:Day Player, Male, 8-12

Riley:Day Player, Female, 23-35

Bertram:Supporting, Male, 35-45

Earnst:Supporting, Male, 30-45

Sean:Supporting, Male, 24-30

Tommy:Day Player, Male, 18-29

Cinnamon:Day Player, Female, 22-29

Eris:Supporting, Female, 20-30

Monk:Day Player, Male, 27-35

Bobby:Day Player, All Genders, 40-65

Richard Shanks:Day Player, Male, 50-65

Mikki (Brothel Woman 1):Day Player, Female, 24-40

Vikki (Brothel Woman 2):Day Player, Female, 24-40

Virginia:Day Player, Female, 60-75

Doctor Leigh:Day Player, Female, 35-55

Melcia:Day Player, Female, 25-35

Farkas:Day Player, Male, 40-55

Clinton:Supporting, All Genders, 25-45

Dalton:Supporting, All Genders, 30-45

James:All Genders, 25-35

Liza:Day Player, Female, 18-29

Andres:Day Player, Male, 40-50WORK FROM HOME

Building Manage / Superintendent for moderately upscale urban high-rise of condominiums. An immigrant, he takes his job seriously and values his position of prestige and responsibilities. He is (or would be) kind and welcoming with most all he encounters, whether customer or visitor to the building. Too few of the residents see him as much beyond another building "fixture," but those that do take notice find assurance in his seeing to the needs of the building and tenants. This is a RECURRING ROLE that continues into Season 2,

Ethnicity: Asian, Black / African Descent, Ethnically Ambiguous / Multiracial, Indigenous Peoples, Latino / Hispanic, Middle Eastern, South Asian / Indian, Southeast Asian / Pacific Islander

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Harper:Day Player, Female, 25-35WORK FROM HOME

Janet:Day Player, Female, 29-39WORK FROM HOME

Voiceover

Ben:Voiceover, Male, 60-75WORK FROM HOME

Few people can remember a time when BEN was not a deputy in the White Plains County Sheriff’s Department. He was a deputy for SHERIFF GREER MOFFAT’s father for 30 years, continuing right on through with the second-generation SHERIFF MOFFAT. Though there is likely nothing he would not do for GREER, he is an example of the need for an adjective like, “cantankerous.” Unintentionally comic, sarcastic, caustic — a combination perfect to mask a kind heart.

Languages:

English (North American)

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Judge Dempster:Voiceover, Female, 40-60WORK FROM HOME

Judge Dempster is an honorable woman and caretaker of the Court... for the most part. In a county where judges must seek election... and re-election, she has long learned that they are sometimes conflicting "constituencies." And when her most powerful constituent, BIG JOHN ALLEN, needs the scales of justice tipped in his favor, she is reminded of the safety and security found in the adage, "Go along to get along."

Languages:

English (North American)

Rehearsal and Production Dates & Locations

Rehearses (contingent upon completing casting; workplace safety conditions) in California and/or Nevada; Season 1 shoots early-2023 in Nevada (contingent on workplace safety conditions).

Compensation & Contract Details

All Roles

https://www.facebook.com/gregatmac

https://www.facebook.com/2285997711684601

#remote acting giigs #voiceover casting calls #work from home voice over work

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gigslist · 2 years ago

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80 Roles Models Influencers Content Creators Paid Remote Jobs

10 Roles

TikTok-style Mobile Game Launch Video

CATEGORY:COMMERCIALS: ONLINE COMMERCIALS & PROMOS

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:August 12, 2022 6:59 AM

Company

Vidsy

Casting TikTok-Style videos for a new mobile game launch that is themed upon one of the world's most popular fictional characters. Production states: "Seeking people who can create 'killer' TikToks promoting the launch of a new mobile game. We need you to create TikTok-style content (Six 20-second videos) that feel authentic and relatable to promote a major new mobile game.

Roles

Content Creators & Real People

Content Creator:Content Creators & Real People, All Genders, 18-35WORK FROM HOME

if selected, we'll provide a full brief with directions for six 20-second TikTok-style videos; you'll conceptualize, shoot, edit and submit those six videos using software of your choosing (Adobe Premiere Pro, Final Cut, Videoleap etc. etc.); the objective of the video is to promote a major new mobile game in an influencer-style; the content you produce needs to feel authentic and relatable. A link to your TikTok account or TikTok-style content would be perfect.

Ethnicity: All Ethnicities

Required Media: Headshot/Photo, Video Reel

Apply

Rehearsal and Production Dates & Locations

Shoots between Aug 12th and Aug 22nd remotely. Managing your own production.

Compensation & Contract Details

All Roles

Pays: £950.00 (Flat Rate)

Total: £950.00 for an estimated 16 hours of work

Key Details

Seeking talent:

Worldwide

https://vidsy.co/creator/

====================

40 Roles

Casting Middle & High School Parts For Disney Educational Collaborative

CATEGORY:TV & VIDEO: SCRIPTED TV & VIDEONATIONAL COMMERCIALSPRINT & DIGITAL MODELING

TAGS:PAIDWORK FROM HOMEUNION AND NONUNION

EXPIRES:August 19, 2022 4:59 PM

Company

FLEX College Prep / Disney Imagination Campus

Dr. Joshua Arnold, Executive Producer (Superintendent Of Schools: https://www.linkedin.com/in/iamjosharnold/; Danny Byun, CEO (https://www.crunchbase.com/person/daniel-byun-aeab)

Verified

Background Checked

Production Description

This is a great gig! In partnership with Disney’s Imagination Campus, FLEX College Prep is excited to create educational content around youth leadership and the power of teams. As the largest after-school College & Career Counseling company in California, FLEX services more than 120,000 students in 18 counties across the state. In our latest project with Disney, we've developed a series of blended-learning experiences designed to teach middle and high schoolers the requisite 'soft skills' necessary for college and career success. The classes are great, highly effective, and our enrollment is through the roof... now we just need some fabulous actors! That’s where you come in :) We're looking for authentic middle and high school-aged students (if you’re older, you’ll need to look and act younger), to record educational content videos remotely — from your laptop, home studio, or even your iPhone. We have about 10-30 minutes of recording per week that we’re looking to fill, and we pay $150-$400 per minute depending on your experience. We’ve found the best actors for these roles to be young people who don’t “overact.” So if you’re able to be yourself, demonstrate growth and development as a young person (think “Before & After”-style videos), and communicate genuinely over video, this work will be right up your alley! This is a great opportunity for young talent to get exposure, get paid, and work with reputable brands like FLEX and DISNEY. Contact us immediately as we're hiring right now.

Roles

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Actors & Performers

Middle & High School Parts For Disney Educational Collaborative:Lead, All Genders, 13-20WORK FROM HOME

In partnership with Disney’s Imagination Campus, FLEX College Prep is excited to create educational content around youth leadership and the power of teams. As the largest after-school College & Career Counseling company in California, FLEX services more than 120,000 students in 18 counties across the state. In our latest project with Disney, we've developed a series of blended-learning experiences designed to teach middle and high schoolers the requisite 'soft skills' necessary for college and career success. The classes are great, highly effective, and our enrollment is through the roof... now we just need some fabulous actors! That’s where you come in :) We're looking for authentic middle and high school-aged students (if you’re older, you’ll need to look and act younger), to record educational content videos remotely — from your laptop, home studio, or even your iPhone. We have about 10-30 minutes of recording per week that we’re looking to fill, and we pay $150-$400 per minute depending on your experience. We’ve found the best actors for these roles to be young people who don’t “overact.” So if you’re able to be yourself, demonstrate growth and development as a young person (think “Before & After”-style videos), and communicate genuinely over video, this work will be right up your alley! This is a great opportunity for young talent to get exposure, get paid, and work with reputable brands like FLEX and DISNEY. Contact us immediately as we're hiring right now."

Required Media: Headshot/Photo

Apply

Content Creators & Real People

Middle & High School Parts For Disney Educational Collaborative:Content Creators & Real People, 13-20WORK FROM HOME

Required Media: Headshot/Photo

Apply

Rehearsal and Production Dates & Locations

This work will be completed remotely. The actual time of recorded video lessons will be minutes (not hours), but we are amenable to paying talent for prep time and revision time.

Compensation & Contract Details

All Roles

Pays: $150.00 - $400.00/ Day

Total: $750.00 - $2,000.00 for an estimated 5 days of work

Additional: This work will be completed remotely. The actual time of recorded video lessons will be minutes (not hours), but we are amenable to paying talent for prep time and revision time.

Key Details

Seeking talent:

Nationwide (United States)

FLEX College Prep / Disney Imagination Campus

Dr. Joshua Arnold, Executive Producer (Superintendent Of Schools: https://www.linkedin.com/in/iamjosharnold/; Danny Byun, CEO (https://www.crunchbase.com/person/daniel-byun-aeab)

======================

30 Roles

Australian Sleepwear/Lingerie, Female Models/Influencers/Ambassadors

CATEGORY:MODELING: PRINT & DIGITAL MODELINGPROMOTIONAL & EVENT MODELINGCOMMERCIAL & FIT MODELING

TAGS:PAIDWORK FROM HOMEUNION AND NONUNION

EXPIRES:September 6, 2022 5:00 PM

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Company

Aloha 2 Muscle, LLC

Daniel Corona, owner

Production Description

Seeking female global ambassadors to promote and market a growing Australian sleepwear/lingerie company called Zahlii Sleep. Company states: "Zahlii Sleep specializes in sustainably made intimates, loungewear and sleepwear (+Swimwear in 2023). Zahlii translates to 'Graceful Princess (or) Highborn Lady' and our name was inspired by making women feel like royalty when wearing our sleepwear and intimates. Our current customer base is located in Australia and now we’re looking to expand to the US and Europe! ZAHLII has been worn by ‘A list’ influencers such as Kylie Jenner for TMRW Magazine and we have a strong following across our social media."

Roles

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Actors & Performers

Global Female Models/Influencers/Ambassadors:Lead, Female, 18-40WORK FROM HOME

Required Media: Headshot/Photo

Apply

Rehearsal and Production Dates & Locations

TBD.

Compensation & Contract Details

All Roles

Pays: $25.00 - $200.00 (Flat Rate)

Total: $25.00 - $200.00 for an estimated 1 hour of work

Additional: Depending on social media following, ambassadors will either be paid, receive incredible site wide discounts or receive free clothing to help promote the brand.

Key Details

Seeking talent:

Worldwide

Additional Materials

https://zahliisleep.com.au/collections/shop-all-sets

https://www.instagram.com/aloha2muscle/

=================

#influencer casting calls #content creator jobs #model casting call

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gigslist · 3 years ago

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8 Productions Seek Crew, Creatives, Directors, Editors, Writers, Costumers, NFT Designers - Remote

Switch Is On-Clean Energy PSA/Video

CATEGORY:TV & VIDEO: DEMO & INSTRUCTIONAL VIDEOS

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:February 6, 2022 3:59 PM

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Company

School of Thought

Tom Geary, dir.

Production Description

Seeking someone to serve as talent for a roughly two minute long clean energy PSA about the benefits of clean electric appliances. Familiarity with the basics of home electrification is not needed, but definitely a plus. Requirements: This is a modest PSA. We aren’t expecting Adam Driver or Chadwick Boseman-type performances. But you have to have experience in front of a camera and be able to memorize and deliver a few paragraphs of material, confidently. (Not all at once, but some scenes might be 25 seconds each.) You would have to be available for one-two days, sometime in late January, at a location somewhere in the Bay Area. (We’re working on that in parallel). It may or may not be a weekend. We’ll be employing Covid precautions, including daily testing. For everyone’s safety, proof of vaccinations will be mandatory. You will be paid at least $500, and gain experience in front of a professional production team that will leave you with a high quality sample for your reel. (We’ll also leave you reeling with more than a few Dad jokes). But more than that, you will also be helping educate your fellow Californians on simple things they can do to improve our air quality, reduce pollution, save energy (and even cook better). This PSA will be created as part of the Switch Is On campaign. To see examples of the creative team leading the shoot, visit SchoolofThought.com

Roles

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Actors & Performers

Main Talent: All Genders, 25-55

Creatives and Crew

After Effects Designer: WORK FROM HOME

Rehearsal and Production Dates & Locations

Somewhere in the Bay Area. (We are working on the location in parallel)

Compensation & Contract Details

Professional Pay

Estimated Payment: $500.00 - $1200.00 Flat Rate (Estimated duration: Not Provided)

Pays $1200/flat rate.

Key Details

Seeking talent from:

Oakland, CA; San Francisco, CA

https://www.schoolofthought.com/contact

==================

First Responders Procedural Drama, Writers

CATEGORY:ENTERTAINMENT JOBS & CREW: FILM & TV CREW

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:February 4, 2022 3:59 PM

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Company

Paine Lake LLC

Robert Philips, coord.

Production Description

Seeking writers for a new weekly television drama about first responders.

Roles

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Creatives and Crew

Writer for Drama about First Responders: WORK FROM HOME

Required Skills:

Script Writer

Apply

Rehearsal and Production Dates & Locations

Shoots TBD remotely.

Compensation & Contract Details

Professional Pay

Estimated Payment: $1000.00 - $10000.00 Flat Rate (Estimated duration: Not Provided)

Compensation based on experience.

Key Details

Seeking talent:

Worldwide

[email protected]

===========

'I Wish I Knew Then What I Know Now'

CATEGORY:VOICEOVER: CORPORATE & INTERNET VIDEOS (VOICEOVER)

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:January 25, 2022 3:59 PM

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Company

The Dream Media Group

Duncan Hoffman, owner-president

Production Description

Casting voice-over talent for "I Wish I Knew Then What I Know Now," a web based training.

Roles

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Creatives and Crew

Editor: WORK FROM HOME

Required Skills:

Editor (Final Cut Pro)

Editor (Premiere Pro)

Professional Pay

Estimated Payment: $200.00 - $300.00 Flat Rate (Estimated duration: 2 Hours)

Apply

Rehearsal and Production Dates & Locations

Talent works remotely.

Compensation & Contract Details

Professional Pay

Estimated Payment: $100.00 Flat Rate (Estimated duration: Not Provided)

Pays $100. Production states: "Projects will be delivered via web with no restrictions. Wwe’re willing to discuss royalty arrangements."

Key Details

Seeking talent:

Nationwide (United States)

https://www.linkedin.com/in/duncanhoffman87899298

=================

PlayZoomers, Directors for Online Plays 2022

CATEGORY:THEATER: PLAYSSTAGE STAFF & TECH

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:October 31, 2022 4:00 PM

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Company

PlayZoomers, Inc. www.playzoomers.org

Jan Carpman and Mary Ann Nichols Hubbard, co-prods.

Production Description

Casting all lengths and genres of online plays for PlayZoomers, Inc., a national online theater company

Roles

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Actors & Performers

Directors & Assistant Directors: WORK FROM HOME

seeking experienced directors for online plays. Send a directing resume, highlighting your Zoom directing experience.

Required Media: Headshot/Photo, Cover Letter

Required Skills:

Production/Crew: Directing

Apply

Rehearsal and Production Dates & Locations

Online. Monthly plays between Jan.- Dec. (August off).

Compensation & Contract Details

Stipend

Estimated Payment: $50.00 - $150.00 Flat Rate (Estimated duration: Not Provided)

Stipend provided depending on length of play (short/medium/full-length). There is a directing contract.

Key Details

Seeking talent:

Nationwide (United States)

Additional Materials

Website:http://www.playzoomers.org

[email protected]

==================

Plays Presented on Zoom, Directors

CATEGORY:THEATER: PLAYS

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:February 28, 2022 3:59 PM

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Company

PlayZoomers, Inc.

Jan Carpman, co-prod.

Production Description

Seeking experienced directors (especially directors of color) for monthly Zoom plays throughout 2021 and beyond. Production states: "We produce a variety of genres and lengths, from 10-minute plays to full-length plays. We began in April 2020 with a desire to keep theater alive, at least virtually, during the pandemic, and by the end of 2020, we produced 31 plays with 90+ actors, directors, and playwrights - and scores of audience members - from 27 states, as well as Canada, India, Australia, and Great Britain. In addition to monthly performances, our plans for 2021 include the development of a website and incorporation as a 501 (c)3 nonprofit organization, guided by a Board of Directors. We’re also working on a new initiative called, 'Act Me a Story,' with a children’s advocacy nonprofit in Michigan. We seek and welcome participants of all ages and backgrounds."

Roles

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Actors & Performers

Directors: WORK FROM HOME

experienced, well organized, patient, and skilled at working closely with actors, playwrights, and producers.

Apply

Rehearsal and Production Dates & Locations

Rehearses and performances over Zoom.

Compensation & Contract Details

Stipend

Estimated Payment: $35.00 - $50.00 Flat Rate (Estimated duration: Not Provided)

Directors will be paid a small honorarium in Amazon gift cards.$35 for short plays, $50 for full-length plays.

Key Details

Seeking talent:

Nationwide (United States)PlayZoomers. [email protected]

================

NFT Project, Graphic Designer

CATEGORY:ENTERTAINMENT JOBS & CREW: GIGS

TAGS:PAIDWORK FROM HOME

EXPIRES:March 10, 2022 3:59 PM

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Company

Mammoth Media

I. Joannou, coord.

Production Description

Seeking graphic designers. Company states: "Mammoth Media is looking to work with designers on a royalty basis for a new exciting NFT project. Our team is thrilled about the potential here and with our previous success in the digital space, we are confident this group of designers will be creating the next trending art for Gen-Z."

Roles

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Creatives and Crew

NFT Graphic Design Project: WORK FROM HOME

Required Skills:

Graphics Designer

Apply

Rehearsal and Production Dates & Locations

Information session Dec. 21 (9 a.m./PST) remotely.

Compensation & Contract Details

Professional Pay

Estimated Payment: $1000.00 - $10000.00 per Year (Estimated duration: Not Provided)

Production states: "All creators will be paid on a royalty basis."

Key Details

Seeking talent:

Nationwide (United States)

[email protected]

==================

#video editor jobs #costume designer jobs #nft designer jobs #work from home voice over work

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gigslist · 3 years ago

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73 Roles - Casting Calls, Paid, Work From Home

'One World' - 10 Roles

CATEGORY:TV & VIDEO: REALITY TV & DOCUMENTARY

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:February 28, 2022 10:59 PM

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Company

Golden Film

Diane Eskenazi and Anthony Arnello, coords.

Production Description

Casting ambassadors that live outside of the United States to contribute to the international award winning series, "One World" (www.oneworldseries.com). The series has won 20 prestigious awards in the last 8 weeks. Series 1 will be distributed this month on many platforms including: Comcast InDemand, Tubi, Vudu, Roku, Apple TV, Google Play, Amazon Fire TV. Production states: "The series will air and stream on platforms promoting you and your content to over 200 million viewers around the world. We will share your hashtags and handles to make sure that you receive acknowledgement, promotion, and credit. The purpose of the series is to take a virtual tour around the world exploring diversity and finding unity."

Roles

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Actors & Performers

Host: All Genders, 16-28WORK FROM HOME

host for an award winning series about the world, different cultures, and world cooperation.

Ethnicity: All Ethnicities

Required Media: Headshot/Photo, Video Reel

Apply

Rehearsal and Production Dates & Locations

Talent works remotely.

Compensation & Contract Details

Professional Pay Pays $50.

Key Details

Seeking talent:

Worldwide

https://www.goldenfilms.com/contact

Website: https://www.oneworldseries.com

====================

Dipsea, Asian Actors for Sexy Audio Stories - 30 Roles

CATEGORY:VOICEOVER: GENERAL VOICEOVER

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:January 21, 2022 3:59 PM

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Company

Dipsea

Angela Sarakan, senior prod.

Production Description

Seeking to cast Asian actors for sexy fictional audio stories for Dipsea (dipseastories.com), a female-founded app and story studio that produces fiction audio erotica that is feminist and believable. Synopsis: Through our highly produced stories, we empower people to tap into their sexuality more easily, and on their terms. We are seeking more Asian Actors for upcoming stories. Only audition if you meet this criteria. We accept all authentic accents, no fake accents accepted. All roles are anonymous and directed remotely, whether at a home studio or local professional studio.

Roles

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Voiceover

Sonia or Alex: All Genders, 24-50WORK FROM HOME

Languages:

English

Apply

Rehearsal and Production Dates & Locations

Can record either at a local studio or at a professional home studio if available.

Compensation & Contract Details

Professional Pay

Estimated Payment: $200.00 per Hour (Estimated duration: Not Provided)

For use by Dipsea in perpetuity.

Key Details

Seeking talent:

Worldwide

https://www.dipseastories.com/voice/

=======================

Fun project for Boba tea lovers - 30 Roles

CATEGORY:COMMERCIALS: ONLINE COMMERCIALS & PROMOS

TAGS:PAIDWORK FROM HOME

EXPIRES:January 30, 2022 3:59 PM

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Company

Boba Tribe

Arthur Chang, Marketing Director

Production Description

Film yourself using and reviewing our product, the Boba Straw ([Pending Approval]). Will require you to travel to your local Boba tea shop and film some shots there. All filming will be done yourself using your phone. Filming and script guidelines will be provided. Required video content will only be 1-2 minutes long.

https://d26oc3sg82pgk3.cloudfront.net/files/media/uploads/casting_call/511d816e-5eb9-4e47-87a3-1085c9101da2.pdf

Roles

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Actors & Performers

Actor/Content Creator: Female, 18-33WORK FROM HOME

Ethnicity: Asian

Required Media: Headshot/Photo, Video Reel

Apply

Rehearsal and Production Dates & Locations

Film date is as soon as possible. The filming location will be at your local Boba tea shop, your car and your home.

Compensation & Contract Details

Professional Pay

Estimated Payment: $100.00 - $250.00 Flat Rate (Estimated duration: Not Provided)

Travel, props and Boba tea expenses will be fully covered.

Key Details

Seeking talent:

Worldwide

https://www.bobatribe.com/pages/contact-us

=============

Lumber Jerks - 3 Roles

CATEGORY:VOICEOVER: ANIMATION & VIDEO GAMES (VOICEOVER)

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:January 14, 2022 3:59 PM

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Company

Third Coast Films

Wes Fleming, Executive Producer

Production Description

Casting for Animated Series Pilot

Roles

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Voiceover

Chains: 9+WORK FROM HOME

CHANDLER “CHAINS” CHANEY, a talented preteen junior woodsman desires to follow in the footsteps of his father, CURTIS “CROSSCUT” CHANEY, a prolific lumberjack for the rich and powerful logging company.

Languages:

English

Required Media: Voice Reel

Apply

Chipper Woods: Male, 30+WORK FROM HOME

CHIPPER WOODS, the ruthless magnate of Arboneco, orders Crosscut to mow down trees in a protected forest.

Languages:

English

Voice Styles:

Abrupt

Aggressive

Antagonistic

Required Media: Voice Reel

Apply

CURTIS “CROSSCUT” CHANEY: Male, 30+WORK FROM HOME

CURTIS “CROSSCUT” CHANEY, a prolific lumberjack for the rich and powerful logging company, the ARBONECO CORPORATION.

Languages:

English

Voice Styles:

Confident

Required Media: Voice Reel

Apply

Rehearsal and Production Dates & Locations

Records remotely

Compensation & Contract Details

Stipend

Estimated Payment: $150.00 - $350.00 Flat Rate (Estimated duration: Not Provided)

This is for a trailer to produce for a proof of concept.

Key Details

Seeking talent:

Worldwide

[email protected]

http://www.hellomynameiswes.com/

============

#remote acting giigs #podcast casting call #casting calls for youtube #voiceover roles avalable

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gigslist · 3 years ago

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47 Roles - Casting Calls - Work From Home - Paid

Clean Beauty Promotional Videos - 20 Roles

CATEGORY:TV & VIDEO: DEMO & INSTRUCTIONAL VIDEOS

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:January 13, 2022 3:59 PM

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Company

Sulte Group

Sulte Group Productions, coord.

Production Description

Casting a few fresh, energetic personalities to document their journey trying a new clean beauty soap. In this role, you'll receive a gift package of the products, which is an organically-made, vegan, cruelty-free olive oil-based soap. Note: We ask that you create three quick videos and take a few photos of the following moments: 1. Receiving the package and unboxing the product. 2. Washing your face, hands, or hair with the product. 3. Following up a week later after using the product a few times to discuss how it makes your skin feel. We want people who will provide engaging reactions, talk about the benefits of the product, and how they plan on incorporating it into their daily beauty routine.

Roles

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Actors & Performers

Clean Beauty Expert: All Genders, 26-55WORK FROM HOME

Ethnicity: All Ethnicities

Required Media: Headshot/Photo, Video Reel

Required Skills:

Hosting/Presenting

Professional Pay

Apply

Rehearsal and Production Dates & Locations

Virtual Production online shoot in January 2022.

Compensation & Contract Details

Professional Pay Pays $100 total, we'll break the payments down for each video that you submit.

Key Details

Seeking talent:

Nationwide (United States)323-538-2454

3435 Ocean Park Blvd 107-234 Santa Monica, CA 90405

[email protected]

http://sulte.io/

=============

'Farmer' - 1 Role

CATEGORY:COMMERCIALS: ONLINE COMMERCIALS & PROMOS

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:January 31, 2022 3:59 PM

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Company

The Talent

Dorian Velinov, casting dir.

Production Description

Casting "Farmer," an online, digital ad for entertainment company.

Roles

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Actors & Performers

Buff Farmer: Male, 25-60WORK FROM HOME

looking for great-looking, physically fit (buff) men who have access to a farm and at least one type of farm animal; if you know of someone that fits this role, have them submit via [email protected].

Ethnicity: White / European Descent

Professional Pay

Apply

Rehearsal and Production Dates & Locations

Requesting self-taped auditions; shooting remotely via iPhone one day in the next few weeks.

Compensation & Contract Details

Professional Pay

Estimated Payment: $200.00 Flat Rate (Estimated duration: Not Provided)

Pays $200 total for All-Media, Full Buy-Out. Remote shoot for up to four hours.

=====================

Ruggedly Handsome Men for Men's Retail Brand 20 Roles

CATEGORY:COMMERCIALS: ONLINE COMMERCIALS & PROMOS

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:January 16, 2022 3:59 PM

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Company

TubeScience

Production Description

Casting ruggedly handsome men for a men's retail brand. Note: TubeScience, a video advertising company, is now casting men to appear in ads for a men's retail subscription box service. We're looking for the "ruggedly handsome" type, so apply if you have that look.

Roles

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Actors & Performers

Ruggedly Handsome Man: Male, 18+WORK FROM HOME

Stipend

Apply

Rehearsal and Production Dates & Locations

Ongoing, remote shoot.

Compensation & Contract Details

Stipend Paid, nonunion.

Key Details

Seeking talent:

Nationwide (United States)

Become a Backstage member orlog into view additional details, including key audition and/or submission instructions.Join Now

Additional Materials

Mandatory Casting Application (select you're submitting for "Men for Subscription Box")

https://app.miniextensions.com/form/WTBEj6JSlyPcmjYBmLnk

https://www.tubescience.com/careers

========================

American Dream(s), a virtual reading - 6 Roles

CATEGORY:THEATER: PLAYS

TAGS:PAIDWORK FROM HOMEUNION AND NONUNION

EXPIRES:December 23, 2021 3:59 PM

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Company

Transformation Theatre, Inc.

Carl Randolph, Producing Artistic Director Steven Hill, Playwright Shanea N. Taylor, Director Ethan Joshua, Dramaturg

Production Description

Casting for a virtual reading of American Dream(s) by Steven Hill. Synopsis: A mixed racial, working class family struggles to accept their transitioning son and brother. When he goes missing, the Armstrongs are torn by conflict. A mysterious envelope arrives during a snowy Christmas, unlocking secrets that send the family hurtling toward a bitter clash in which identity -- as well as life itself -- is at stake: can we be who we want to be? Can we love who we want to love?

Roles

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Actors & Performers

HAL (HENRY/HANK) ARMSTRONG: Male, 55-75WORK FROM HOME

65 years old, husband and father of an inter-racial family with three children. He is a Caucasian with a “Ronald Reagan haircut,” a former civil rights activist, and an auto mechanic by occupation who owned his own garage-businesses that always failed. Those bitter experiences have left him a frustrated believer in the American Dream, even as he has tried to instill his convictions into his inter-racial children.

Required Media: Headshot/Photo

Stipend

Estimated Payment: $100.00 Flat Rate (Estimated duration: 2 Weeks)

Apply

VAL (VALERIE): Female, 50-70WORK FROM HOME

62 year old African American mother and housewife who works as a local librarian. Her father was a university professor, and in her manners and speech she sometimes sounds more refined and educated than Hal, fluidly switching between “black-tois” and “white talk.” She sees herself as the rock of her troubled family, and feels guilty about her affair with the next-door-neighbor Louis, prompted by years of alienation from her difficult, combative husband.

Ethnicity: Black / African Descent

Required Media: Headshot/Photo

Stipend

Apply

HALLIE: Female, 25-35WORK FROM HOME

(also sometimes called HAL, like her father): 30 year old daughter, oldest child, lighter-toned African American, alpha female, up-and-coming business woman, college-educated, sharp dresser, politically conservative, slightly homophobic, former star athlete, favorite of her father. She’s assertive and fit, confident, and can be quickly and harshly judgmental.

Ethnicity: Ethnically Ambiguous / Multiracial

Required Media: Headshot/Photo

Stipend

Apply

MOSES/MR. CERVANTES: Male, Gender-Nonconforming, Trans Female, Trans Male, 25-35WORK FROM HOME

(a.k.a Mose) 28 year old son, African-American, a cross-dressing transgender and counter-cultural rebel, argued frequently with their father over politics and culture, and has been missing for a year following a heated confrontation during the previous Christmas. Mose is kind, courageous, confused, scared, seeking clarity regarding their identity – in short, they is kind of a mess. MR. CERVANTES: gravelly-voiced private detective, African-American, late 50’s, a stoic, “Just the facts” kind of guy (must be played by the same actor as MOSES).

Ethnicity: Ethnically Ambiguous / Multiracial

Required Media: Headshot/Photo

Stipend

Apply

REGGIE: Male, Trans Male, 20-35WORK FROM HOME

26 years old, African American from the hip-hopish generation. He is slowly discovering his own alternative sexuality, and has difficulty standing up for himself to his father -– yet now due to his desire to find his missing trans brother Mose, who is a role model as someone who “does his own thing,” must do precisely that. He is a recent college graduate, and like his mother fluidly switches between “black” and “white talk.” He is a bundle of anxieties, trying to find his voice, and has been in rehab for alcohol abuse.

Ethnicity: Black / African Descent

Required Media: Headshot/Photo

Stipend

Apply

LOUIS DAVIDSON: Male, 60-75WORK FROM HOME

next-door neighbor, recent widower, about 65 years old, African American, is a well-spoken Southerner from ‘Nawhlins’ (New Orleans) who worked at a university and recently retired. He has a somewhat gentlemanly air of calm well-being, which is in contrast to the coarser, abusive Hal; he is having an affair with Val Armstrong.

Ethnicity: Black / African Descent

Required Media: Headshot/Photo

Stipend

Apply

Rehearsal and Production Dates & Locations

Rehearsals will begin January 4, 2022 with the reading scheduled for January 18, 2022 at 7pm ET All rehearsals and the reading will be conducted online. We are working under an AEA Benefit Agreement through Theatre Authority which allows for a total of 25 hours of rehearsal. Rehearsal will be spread over the two weeks prior to the reading with specific days and times TBD dependent on cast/crew availability.

Compensation & Contract Details

Stipend

Estimated Payment: $100.00 Flat Rate (Estimated duration: Not Provided)

Stipend: $100.00 Rehearsals will begin January 4, 2022 with the reading scheduled for January 18, 2022 at 7pm ET Please Note Time Zone: This will be a love reading and broadcast online at 7pm ET All rehearsals and the reading will be conducted online. We are working under an AEA Benefit Agreement through Theatre Authority which allows for a total of 25 hours of rehearsal. Rehearsal will be spread over the two weeks prior to the reading with specific days and times TBD dependent on cast/crew availability.

Key Details

Seeking talent:

Worldwide

https://www.transformationtheatre.org/contact.html

https://d26oc3sg82pgk3.cloudfront.net/files/media/uploads/casting_call/a07ea6cf-981d-4e6e-b69a-08a370709a1d.pdf

#remote acting giigs #remote jobs for actors #csting calls

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gigslist · 3 years ago

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20 Voiceover Roles - Paid Work from Home

FOUNDATION FOR WOMEN'S CANCER Webinar VOICEOVER

7 Roles

CATEGORY:VOICEOVER: E-LEARNING (VOICEOVER)

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:October 8, 2021 4:59 PM

Foundation for Women's Cancer

Jessica DiGiovanni - Casting Director and Director

Production Description

Casting different roles to pre-record VO from home for a live webinar for the Foundation for Women's Cancer. Possible recurring job. PLEASE ONLY SUBMIT FOR ROLES YOU ARE AN EXACT MATCH FOR. We will be casting true to ethnicity, gender identity and sexual orientation.

Roles

Suzy Douglas (Voiceover): Female, 50+WORK FROM HOMESuzy Douglas African American Female To sound 64 years old (has southern dialect) - must be able to do southern dialect PLEASE ONLY SUBMIT FOR ROLES YOU ARE AN EXACT MATCH FOR. We will be casting true to ethnicity, gender identity and sexual orientation.Accents:

Southern American Required Media: Voice Reel

Alexandra Hernandez (Voiceover): Female, 25-46WORK FROM HOME

Alexandra Hernandez Hispanic Female To sound 36 years old PLEASE ONLY SUBMIT FOR ROLES YOU ARE AN EXACT MATCH FOR. We will be casting true to ethnicity, gender identity and sexual orientation.

Required Media: Voice Reel

Pragma Patel (Voiceover): Female, 50+WORK FROM HOME

Pragma Patel Indian Female To sound 60 years old PLEASE ONLY SUBMIT FOR ROLES YOU ARE AN EXACT MATCH FOR. We will be casting true to ethnicity, gender identity and sexual orientation.

Required Media: Voice Reel

Ella Grace Reed (Voiceover): Female, 45+WORK FROM HOME

Ella Grace Reed Caucasian To sound 55 years old Lives in Appalachian Mountains (slight accent) / Speaks in short simple sentences PLEASE ONLY SUBMIT FOR ROLES YOU ARE AN EXACT MATCH FOR. We will be casting true to ethnicity, gender identity and sexual orientation.

Accents: US Appalachia

Required Media: Voice Reel

Kendall Richardson (Voiceover): Trans Male, 35+WORK FROM HOME

Kendall Richardson Caucasian To sound 50 years old Transgender Male assigned female at birth PLEASE ONLY SUBMIT FOR ROLES YOU ARE AN EXACT MATCH FOR. We will be casting true to ethnicity, gender identity and sexual orientation.

Required Media: Voice Reel

Camilla Souza (Voiceover): Female, 50+WORK FROM HOME

Camilla Souza Hispanic To sound 70 years old Grandmother PLEASE ONLY SUBMIT FOR ROLES YOU ARE AN EXACT MATCH FOR. We will be casting true to ethnicity, gender identity and sexual orientation.

Required Media: Voice Reel

Marie Jakes (Voiceover): Female, 40+WORK FROM HOME

Hoa Nguyen (Voiceover): 36-50WORK FROM HOME

Rehearsal and Production Dates & Locations

Records Remotely. MUST HAVE HOME BOOTH SETUP (Sound proof booth, mic, interface) and have DAW you are comfortable working with. PLEASE SPECIFY THE SPECS BELOW in your submission. Microphone: Interface: Computer: DAW:

Compensation & Union Contract Details

Stipend: $125 - $150Pre-recorded Audio will be used one time for a live webinar.

Seeking talent: Nationwide (United States)

[email protected]

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Competition TV Series Sizzle 'Untitled Cooking & Building TV Project'

11 Roles

CATEGORY:TV & VIDEO: REALITY TV & DOCUMENTARYFILM & DOCUMENTARY (VOICEOVER)

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:October 1, 2021 4:59 PM

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Company

Paul Head Casting

Paul Head, casting dir.

Production Description

Boutique TV Production company is seeking a male V.O. artist for a perpetuity buy out for their voice for a presentation sizzle tape for a male skewing documentary television project. Dialog is no longer than 5 mins and most likely TRT is 4:30. Working with a major television network on a presentation.

Roles

Collapse All RolesMALE VO ARTIST (Voiceover): Male, 25-35WORK FROM HOMESeeking male, "guy's guy" voice, gritty, deep, masculine, relatable, guy's guy and the guy next door. Shouldn't be too over the top that it becomes comedic or a caricature. Please note if you have a professional at home setup.Languages:

English

Voice Styles:

Aggressive

Approachable

Aged

Blue Collar

Charismatic

Extreme

Gravelly

Manly/Masculine

Required Media: Voice Reel, Cover Letter

Apply

Rehearsal and Production Dates & Locations

Records remotely, so talent should have professional recording setup. Los Angeles local talent have the opportunity to record with the production company's studio.

Compensation & Union Contract Details

Stipend: $100 - $200Audio is owned by the production company in perpetuity. Non-airing presentation tape. Talent will be asked to sign a NDA and release to use their voice.

Key Details

Seeking talent:

Nationwide (United States)

www.linkedin.com/in/pauldhead

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Hollow

CATEGORY:VOICEOVER: AUDIOBOOKS & PODCASTS

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:October 29, 2021 4:59 PM

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Company

Maria Corso, Director/Producer

Production Description

Hollow is a 13-episode sci-fi epic - think Heart of Darkness/Apocalypse Now, but in space.

Roles

Donner (Voiceover): Male, 40-60WORK FROM HOMEDonner is a Corporate Liaison in his mid 40s, smug, greedy, corporate. He begins the mission with seemingly good intentions, then turns to his own interests. Need someone who can balance both sides of the character.

Hannah/Keane (Voiceover): Female, 25-35WORK FROM HOMEPVT Hannah/Keane is a tough, no nonsense leader of her crew, willing to take control of a situation and do what's necessary. She also becomes possessed at one point in the script so the actor will need to play both sides.

Carlos (Voiceover): Male, 20-45WORK FROM HOMECarlos is both a man of science and faith. A priest who is cares deeply for his people and also a top tier scientist who has designed the ship the podcast takes place on and is invaluable to the well being of the characters on it.Languages: Spanish

Issac (Voiceover): Male, 20-30WORK FROM HOME Issac is a former prisoner/slave turned confidant to our main protagonist. Loyal, goes above and beyond. Must be able to sing a little bit, he has a song in one of the episodes. Accents: Australian Required Media: Voice Reel

Jordan (Voiceover): Female, 25-35WORK FROM HOME The love interest to our protagonist Amelia. Jordan is witty, serious, and kind.

Nellie (Voiceover): Female, 30-50WORK FROM HOME Nellie is a motivational speaker, a poet. A wise mentor to our protagonist Amelia.

Anika (Voiceover): Female, 50-65WORK FROM HOME

Garcia (Voiceover): Male, 20-40WORK FROM HOME

Aquino (Voiceover): Male, 40-80WORK FROM HOME

Lacrima (Voiceover): Female, 60+WORK FROM HOME

Amelia (Voiceover): Female, 20-35WORK FROM HOME

Rehearsal and Production Dates & Locations

Records remotely, talent must have professional setup.

Compensation & Union Contract Details

Professional Pay: $50 - $200

Key Details

Seeking talent:

Worldwide

[email protected]

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Copper & Wool

CATEGORY:FILM: SHORT FILMSFILM & DOCUMENTARY (VOICEOVER)

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:October 15, 2021 4:59 PM

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Company

Lux Daze Media

Tyler C. Peterson, Executive Producer & Director

Production Description

The weekend before her wedding, a young Jewish woman seeks clarity in a hilltop getaway where she forms a life changing bond with the eccentric, divorcee who owns the property. We are casting a voice to play the concerned mother of the lead character, Elisheva. Actress should be able to play around 60 years old. She is a long time member of the Los Angeles Jewish community.

Roles

Collapse All RolesIma (Voiceover): Female, 55-70WORK FROM HOMEWe are casting a voice to play the concerned mother of the lead character, Elisheva. Actress should be able to play around 60 years old. She is a long time member of the Los Angeles Jewish community.Languages:

English

Accents:

US West Coast (California, Portland)

Voice Styles:

Worried

Mature

Concerned

Annoying

Required Media: Voice Reel

Apply

Rehearsal and Production Dates & Locations

Talent must have a home studio set up to record virtually with the director on the phone with you.

Compensation & Union Contract Details

Professional Pay: $100/HourlyVoice over to be used in a phone call sequence during the film. This film will be playing the film festival circuit and be released online afterwards. A performer release form will need to be signed.

Key Details

Seeking talent:

Nationwide (United States)

https://www.luxdazemedia.com/contact

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First Look Sizzle

CATEGORY:VOICEOVER: CORPORATE & INTERNET VIDEOS (VOICEOVER)

TAGS:PAIDWORK FROM HOMENONUNION

EXPIRES:October 15, 2021 4:59 PM

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Company

Pinna Creative

Chris Del Sordo, dir.

Production Description

Casting a sales and web based video.

Roles

Collapse All RolesVO Artist (Voiceover): All Genders, 18+WORK FROM HOMELanguages:

English

Apply

Rehearsal and Production Dates & Locations

Remote recording; talent must have professional home studio.

Compensation & Union Contract Details

Professional Pay: $500Audio to be used for one year.

Key Details

Seeking talent:

Nationwide (United States)

Chris Del Sordo Principal & Creative Director [email protected] 310.948.9296

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#voiceover casting calls #voiceover roles avalable #work from home voice over work

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