#distributor small animal products

[kylesvariouslistsandstuff]

Take with a grain of salt.

It's been over a year since DreamWorks rather unceremoniously rolled out a little movie called RUBY GILLMAN, TEENAGE KRAKEN. A movie that unusually was kept under wraps until... 3 1/2 months before release date. Official announcement from the studio, title, synopsis, trailer... All on the same March day, just months before its end of June release...

Now, the movie was briefly talked about unofficially by scooper sites in around 2021/22, and some DreamWorks employees had a MEET THE GILLMANS on their resumes, otherwise... Nada. Usually an animated movie is announced a year or so before its eventual release.

But, it being intended for streaming first and then hastily being bumped up to theatrical release (which has happened to movies from other companies, such as BARBARIAN and SMILE) could explain why DreamWorks just dumped this one. It did get decent reviews and could've been a small success in its own right, had it not been released in such a crowded summer...

It does feel kinda "streaming movie", though. A lowkey little effort, but I think it's cool that Universal and DreamWorks gave it a theatrical release if it was indeed intended to be some Peacock tuck-away. ORION AND THE DARK was a straight-to-Netflix affair, despite being co-written by Charlie Kauffman. I'm sure you'll see more of those every couple of years from DreamWorks. Something that's actually neat, and you wonder... "Why didn't that go to theaters?"

But it begs a question...

Around 2022, it was reported by the Fine Tooning podcast that DreamWorks' game plan going forward was "a sequel and a non-sequel" every calendar year. 2022 was BAD GUYS and LAST WISH, 2024 had KUNG FU PANDA 4 already and we have THE WILD ROBOT around the corner. DOG MAN and BAD GUYS 2 mark 2025, in addition to a TV series adaptation GABBY'S DOLLHOUSE. 2026 only houses SHREK 5 so far, it is unknown what the non-sequel opening that year is. (I've kinda given up on RONAN BOYLE happening. Maybe it's... I dunno... An original movie from LAST WISH/CROODS 2 director Joel Crawford?)

What would've accompanied TROLLS 3 in 2023 if RUBY GILLMAN remained a streaming title? Was THE WILD ROBOT at one point eyeing a spring/summer 2023 debut? 2023 would've been pretty quick for that movie, as director Chris Sanders presumably finished up his CALL OF THE WILD movie for 20th Century Studios in mid-2019. That was supposed to be a Christmas 2019 release, but after Disney completed their acquisition of 21st Century Fox film & TV assets in early 2019, CALL OF THE WILD moved to February 2020. Blue Sky's SPIES IN DISGUISE took its spot.

Could be!

If you remember... At one point, whatever that DreamWorks movie was going to be... RUBY GILLMAN, WILD ROBOT, something else... Would've opened in the fall of 2022... Well before that summer rush.

At one time, DreamWorks' slate had THE BAD GUYS opening in September 2021. That would've been followed by a spring 2022 release of PUSS IN BOOTS 2, and then fall 2022 would've housed an original/non-sequel. Which possibly puts a hole in the "test screening" claims. Maybe another picture was in the works, and then got cancelled.

If I remember correctly, COVID-19 altered that plan, with 2021 only being the year of BOSS BABY 2 and SPIRIT UNTAMED. BAD GUYS moved to April 2022, and booted PUSS IN BOOTS 2 to September 2022. This was when parent distributor Universal was planning to roll out the MARIO movie in Christmas 2022...

... Until they wanted the release of that movie to coincide with the Nintendo theme park opening, so... April 2023, boots the DreamWorks movie set for late March 2023 to June 2023... Which boots Illumination's MIGRATION to Christmas 2023. Dominoes.

And RUBY GILLMAN ended up being the June 2023 Universal animation release... And that was right after a Disney remake of a certain redhead mermaid movie... RUBY GILLMAN, which had been in some form of development since 2016 and probably entered full production by 2021, was kind of a victim of coincidence here. A benign cartoon plot about mermaids being the enemy of krakens (usually, we associate krakens with big scary monsters, while mermaids are often portrayed as non-threatening, simple subversion), used as some sort of anti-LITTLE MERMAID movie. A new weapon in a particular group of dingus' dumbass "culture war". And then you had a weird subset of LITTLE MERMAID remake fans who interpreted the movie - minus some weird rightwing crap - as some sort of jab at Halle Bailey's take on Ariel... The internet is full of embarrassment, isn't it? All that, over a silly movie that just so happened to open close to LITTLE MERMAID.

So yeah, RUBY GILLMAN initially being a streaming movie would definitely fill in the blanks regarding its very weird rollout last summer. DreamWorks/Universal have since announced other movies well before release.

[bluepoodle7]

#YippieYiYay#SetOfTwoYippieYiYayArmadilloPlush#TexasStyledPlush#ArmadilloPlush #Plushies #PlushPals

These are a set of two Yippie Yi Yay Small San Antonio Tagged Armadillo plush and Big Texas Armadillo Plushies.

These are a very unique while interesting set of plushies.

These are pretty cute set of armadillo plushies.

These armadillo plushies have fuzzy soft fur like texture that is fake fur.

The Texas hats both plushies feel velveteen like in texture and feels like a real cowboy hat that is glued on top of both plushie's heads.

The ribbons on both plush's hats are smooth to the touch.

Both plush's eyes are smooth plastic like ovals.

The set of two Yippie Yi Yay small San Antonio tagged armadillo plush and big Texas armadillo Plushies are both in good used condition but both plushies may have wear on the plushies, scratches on the eyes of each of the plushies, lint, bends on hang tag, creases on hang tag corners, and strings loose.

The tiny San Antonio armadillo plush has a tush tag & hang tag  while the big Texas armadillo only has its tush tag.

The small Yippie Yi Yay San Antonio with tags is 10 inches from tip of nose on the head to the tip of the tail.

The big Yippie Yi Yay Texas Armadillo Plush is 14 inches from the tip of the nose on face to the tip of the tail.  

The hang tag on the Yippie Yi Yay San Antonio Armadillo plush says (Front of Hang tag) YIPPIE YI YAY DISTRIBUTORS.

(Inside of Hang tag)  THE TEXAS ARMADILLO. THE NINE-BANDED ARMADILLO IS A PREHISTORIC CREATURE FOUND THROUGHOUT MOST OF TEXAS IT BEGAN ITS MIGRATION INTO TEXAS FROM MEXICO ABOUT 200 YEARS AGO.

THE WORD ARMADILLO IN SPANISH “LITTLE ARMORED ONE.” IT HAS THE UNIQUE CAPABILITY TO CURL ITSELF INTO A BALL. AND ITS SHELL-LIKE SKIN SERVES AS PROTECTION FROM PREDATORS.

IT EATS ROOTS AND BURROWS INTO THE COUNTRYSIDE TO SLEEP AND NEST.

TEXAS HAVE FALLEN IN LOVE WITH THIS MAMMAL THROUGH THE YEARS IN SO FAR AS TO ADOPT IT AS THE STATE MASCOT IN 1981.

(Back of Hang tag) DESIGNED BY YIPPIE YI YAY DISTRIBUTORS. MADE FROM THE HIGEST QUALITY MATERIAL.

CAUTION: Any accessories or attachments on basic stuffed animal are for ornamental or novelty purposes and should be removed if given to child.

Recommended ages 6 and up. PRODUCT OF CHINA.

The tush tag of the Yippie Yi Yay San Antonio Armadillo plush says (Front AND Back of Tush tag) ALL NEW MATERIALS. POLYESTER FIBER FILLED. AGES FIVE AND UP. MADE IN CHINA. CE. 

The tush tag of the big Texas Armadillo plush says (Front of Tush tag) ALL NEW MATERIALS. POLYESTER FIBER FILLED. AGES FIVE AND UP. MADE IN CHINA. (Back of Tush tag) Distributed by: YIPPIE YI YAY DIST.INC. AGES 5 & UP. MADE IN CHINA.  

The 10 inch Armadillo plush’s white cowboy hat says San Antonio TX with two white stars on each side of the word San Antonio TX on the light blue ribbon band on the cowboy hat.

The 14 inch Armadillo plush’s dark blue cowboy hat says Texas in the middle with two blue stars on the side of the word Texas on the white ribbon band on the cowboy hat.

Both the armadillo plush both have their dark blue with white polka dots scarf’s around their necks.

These are a very cute and unique Set of 2 Yippie Yi Yay San Antonio with tags and Big Texas Armadillo Plushies With Cowboy Hats.

The Yippie Yi Yay small San Antonio tagged armadillo plush has stuffing in the face where the muzzle is, feet, and tail while the center of the plush near the butt has beans or pellets that makes it a little heavy.

This Yippie Yi Yay small San Antonio tagged armadillo plush doesn't have stuffing in the ear area, bandana, and the cowboy San Antonio Texas hat with the ribbon.

The Yippie Yi Yay small San Antonio tagged armadillo plush had some tiny strings loose in left leg area.

This Yippie Yi Yay small San Antonio tagged armadillo plush doesn't have stuffing in the ear area, bandana, and the cowboy San Antonio Texas hat with the ribbon.

The Yippie Yi Yay big San Antonio tagged armadillo plush has stuffing in the face where the muzzle is, feet, belly with butt area, and tail.

There isn't any beans or pellets in this plush.

This Yippie Yi Yay big San Antonio tagged armadillo plush doesn't have stuffing in the ear area, bandana, and the cowboy San Antonio Texas hat with the ribbon.

Both plushies are super soft in texture.

Both Texas armadillo plushies can wear both the Hobby Lobby and Build A Bear toy glasses easily.

I sold these plushies and I bubble wrapped the hang tag.

[fallloverfic]

Folks, Nimona is getting a single film. Just a film. Not a show. Not a series. A film. A movie. And only one of them. It'd be cool if it was getting more than that, but it's not. It has a runtime of just under 2 hours.

The Netflix YouTube teaser page even says this in the summary: from the Netflix Film "Nimona"

In the article Netflix released the day of the teaser, they have these:

"In the animated film that shares her name, the young changeling"

"share a first teaser trailer for our film"

"even more so in the movie now"

"[Nimona] reached out from the movie"

"You can catch up with Nimona when the movie hits Netflix on June 30."

In the extra footage reel on the New on Netflix video, there's a box of text on the top left corner of the Nimona footage that says "N [for Netflix] Film Nimona June 30".

For all the other general confusion I'm seeing around, I made a Tumblr post summarizing most of the stuff with the film and its history. Shorter summary of some common confusion I'm seeing:

Nimona is a webcomic (2012-2014) by Nate Diana Stevenson/ND Stevenson (he/him) that was published as a single graphic novel in 2015. While the comic was ongoing, Nate co-wrote Lumberjanes. The Nimona adaptation rights were purchased by Fox in 2015, and it was in production to become a film under Blue Sky Studios, using the Paperman (2012) art style (one of the directors, Patrick Osbourne, was animation supervisor for Paperman, and directed Feast the short film (2015), which used the same style). Disney purchased 20th Century Animation in 2019 (including Blue Sky), and work was ongoing. Disney shuttered Blue Sky and cancelled the still in production film in February 2021. The crew went searching for a new home for the film and it was picked up by Annapurna as producer, DNEG as the animation studio (using Blue Sky materials), and Netflix as distributor (they just seem to be handling distribution and marketing, not actually working on the film), which they officially announced in April 2022, for a planned 2023 release. The film also seems to have been completed sometime around February 2023. The PG-rated film premiered at the Annecy Animation International Film Festival on June 14th, 2023, and will release in select theaters on June 23rd, and be on Netflix for streaming on June 30th, 2023. There have been preview events for crew, press, and certain small organizations going back to February 2023, and at least a few people have gotten advance review copies.

Nate was also the showrunner for She-Ra and the Princesses of Power (November 13, 2018-May 15, 2020), the reboot of She-Ra: Princess of Power (1985). Again, Nimona's adaptation rights were bought by Fox in 2015, and it was being made by Blue Sky Studios. She-Ra (2018) began production in April 2016 under DreamWorks Animation and Mattel (owner of the IP), and was distributed by Netflix. 20th Century [Fox] Animation was bought by Disney in 2019. She-Ra (2018) concluded in May 2020. Nimona was cancelled by Disney in February 2021. Nimona was officially revived in April 2022, under Annapurna Animation (production), to be made/completed by DNEG (animation) and distributed by Netflix. Netflix wasn't involved on Nimona until after it was in production for around six years, around a year, minimum, after She-Ra (their last project with Nate) ended. Every other company is different and it'd be weird for them to say "you only get this if this is successful" when that makes zero sense on timing.

Lumberjanes is being adapted into an animated series on HBO Max, with Nate as executive producer. We haven't really heard anything more about it since 2020.

You can still buy and read the Nimona graphic novel in physical and ebook form, as well as the full-cast English audiobook (also available in the link). The graphic novel has been translated into 16 languages! The only thing that changed for publication was that Nate redid some of the very early pages to improve the art/panelling and make it more in line with later pages and acceptable for physical publication. That's all!

[gfs-tanks]

Customizable Galvanized Steel Grain Silos: Your Reliable Storage Solution

Customizable Galvanized Steel Grain Silos: Your Reliable Storage Solution

As a leading tank manufacturer with over 30 years of experience, Shijiazhuang Zhengzhong Technology Co., Ltd (Center Enamel) is proud to offer customizable galvanized steel grain silos tailored to meet the specific needs of the agricultural and food storage industries. Designed for durability, efficiency, and versatility, our grain silos are built to provide reliable storage solutions for grain producers, processors, and distributors worldwide.

As a leading storage tank manufacturer in China. At Shijiazhuang Zhengzhong Technology Co., Ltd., we excel in providing high-quality bolted steel tanks tailored for the diverse needs of fish farming. Our extensive range of bolted steel tanks includes Glass-Fused-to-Steel (GFS) tanks, fusion bonded epoxy tanks, stainless steel tanks, and galvanized steel tanks, each designed to offer exceptional durability, efficiency, and adaptability for aquaculture applications.

Configuration of Customized Storage Tanks

Storage tanks

Volume

Roofs

Application

Design Requirements

GFS Tanks

SS Tanks

Fusion Bonded Epoxy Tanks

Galvanized Steel Tanks

Welded Steel Tanks

<1000m³

1000-10000m³

10000-20000m³

20000-25000m³

>25000m³

ADR Roof

GFS Roof

Membrane Roof

FRP Roof

Trough Deck Roof

Wastewater Treatment Project

Drinking Water Project

Municipal Sewage Project

Biogas Project

Fire Water Storage Project

Oil Storage Project

Water Supply & Drainage System

Seismic Design

Wind Resistant Design

Lightning Protection Design

Tank Insulation Design

WasteWater Treatment Project Equipment Supply

Pretreatment Equipment

Resource Utilization System

Sludge Treatment System

Other Equipment

Mechanical Bar Screen

Solid-liquid Separator

Submersible Mixer

Gas Holder

Boiler System

Boost Fan

Biogas Generator

Torch System

Dehydration and Desulfurization Tank

PAM Integration Dosing Device

Screw Sludge Dewatering Machine

Slurry Separation Centrifuge

Sewage Pump

Mud Scraper

Submersible Sewage Pump

Three-phases Separator

Why Choose Center Enamel's Galvanized Steel Grain Silos?

1. Customizable Designs

Our grain silos are available in a wide range of sizes and configurations, ensuring that they meet the unique needs of each customer. Whether for small-scale farming operations or large industrial grain storage facilities, our silos can be tailored in terms of:

Diameter and height to suit capacity requirements.

Accessories such as ladders, catwalks, aeration systems, and level indicators.

Vents and hoppers to facilitate proper grain handling and ventilation.

2. Superior Corrosion Resistance

Constructed from high-quality galvanized steel, our silos feature a protective zinc coating that ensures long-lasting corrosion resistance. This makes them suitable for a variety of environmental conditions, from humid coastal regions to arid climates.

3. Robust and Durable Structure

Engineered for maximum strength, our grain silos are designed to withstand heavy loads and adverse weather conditions, ensuring years of reliable service.

4. Easy and Efficient Installation

Delivered in modular panels, our silos are quick and easy to assemble on-site. This not only reduces installation time and labor costs but also ensures faster project completion.

5. Optimal Grain Preservation

Our silos are equipped with advanced ventilation systems and airtight sealing options to maintain optimal storage conditions. These features help preserve grain quality by preventing moisture buildup, pest intrusion, and spoilage.

Applications of Galvanized Steel Grain Silos

Center Enamel's grain silos are designed to store a variety of grains, including:

Wheat

Rice

Corn

Barley

Soybeans

Other cereals and dry bulk goods

Our silos are widely used in:

Agricultural production facilities

Grain processing plants

Food storage and distribution hubs

Animal feed storage centers

Key Features of Center Enamel Grain Silos

Highly Customizable Dimensions: Tailored to meet specific storage capacities and operational requirements.

Durable Zinc Coating: Long-term protection against rust and corrosion.

Advanced Ventilation Systems: Prevents condensation and ensures grain remains dry.

Leak-Proof Construction: Ensures airtight and watertight storage.

Modular Design: Facilitates transportation and quick on-site assembly.

Optional Accessories: Include hoppers, conveyors, and discharge systems to streamline operations.

Certified Quality for Global Markets

Center Enamel’s galvanized steel grain silos are manufactured in compliance with ISO 9001, CE, and other international quality standards. With a global footprint spanning over 100 countries, including the USA, Canada, Australia, Russia, and South Africa, our silos are trusted by customers worldwide for their exceptional quality and reliability.

Why Partner with Center Enamel?

At Center Enamel, we combine decades of expertise with advanced manufacturing technologies to deliver grain silos that set the standard for excellence in the industry. By choosing us as your storage solution provider, you benefit from:

Over 30 years of experience in the storage tank industry.

Global recognition for superior product quality and prompt customer service.

Tailored solutions designed to maximize efficiency and productivity.

Upgrade your grain storage capabilities with Center Enamel’s customizable galvanized steel grain silos. Contact us to discuss your specific requirements and discover how we can provide the perfect solution for your business.

Choose Center Enamel – Your Trusted Partner for Grain Storage Solutions Worldwide!

[mohitchauhan024]

Get MS Office 2024 Home and Business on  Tech Licence.

We're thrilled to be able to make Microsoft Office 2024 Home and Business available for use here at Tech Licence. The new version has been released to provide features to all of you, the users who have depended on trusted software in order to be productive. It might be a small business owner, a student, or even simply keeping yourself organized at home; Office 2024 has everything you need-and we are happy to provide this to you.

New Features in MS Office 2024 Home and Business

For a long time, trusted tools meant that Microsoft Office had to be the first thought of anyone who needed to write, calculate, present, or manage e-mails. In this new 2024 version, it amplifies such strengths through infusing the features that facilitate collaboration, streamlining tasks, and the ability to connect across all devices.

Here is a quick look at what MS Office 2024 Home and Business contains:

Word: Enhanced Editing, Writing, and Design of the Document

Excel: Analytics feature of your data get enhanced with the introduction of new templates that manage all your numbers

Power Point: New designs and Animations to help you achieve great presentational work.

Outlook: E-mails management made easy by reducing the time to synchronize further improving the order.

OneNote: Note-taking applications which are very powerful now can be taken on virtually any device.

Apart from all these core applications, MS Office 2024 has made it easier to work together. The way Microsoft has honed the features of real-time editing and commenting is such that many people can work on one document at the same time; it is perfect for teams or even study groups.

Why Upgrade to MS Office 2024?

Some of the significant factors you need to think of MS Office 2024 are integration in cloud form. It would allow considerable space in work and higher support in terms of saving in OneDrive with saving automatically without breaking in the writing pattern. Starting writing from desktop, proceeding towards the laptop and concluding in a tablet or vice versa can take place by not causing a break.

Most importantly, AI-based products have been included in the suite. This simplifies working with data in Excel and word processing in Word. With AI support, the habits you create will be tracked and assist you in completing the tasks in less time and more correctly.

Why Buy from Tech Licence?

Tech Licence offers you 100% authentic Microsoft products. Now, sometimes, it's pretty tough to find authentic software. To make things easier and safer, we have done so. Here's why many choose Tech Licence:

Authentic Licenses: We acquire our licenses directly from Microsoft or through the most verified distributors. So you could be assured that your purchase is going to be authentic.

Quick Delivery: You will receive your Office 2024 key right after the purchase. We value time, and we make it available for you to start using your software as soon as possible.

Support You Can Count On: We have a support team to guide you on any question or concern you have, including installation, activation, and product features. Tech Licence intends to provide you with a seamless journey from start to finish.

How to Download MS Office 2024 using Tech Licence

Preparing for Upgrades? Download your Office 2024 Home and Business license by using Tech Licence. All that's required is for you to follow the simple instructions listed below.

Find the Tech Licence website for MS Office 2024 Home and Business 

Now select your license with either PC or Mac since you have the device

Complete the checkout, and all that is left for you to do now is wait for your inbox with respect to the product key and the activation instructions.

Follow these activation steps below-it is pretty straightforward!

New Chapter in Productivity with MS Office 2024

Time has come to find out what MS Office 2024 has in store for you. New features will definitely energize your pace of life productivity and collaboration with MS Office 2024 Home and Business. Step on the first step toward success with Tech Licence.

[lanettcdmo]

Structure of a Pharmaceutical Company: A Comprehensive Overview

Pharmaceutical companies are complex organizations responsible for the research, development, manufacturing, and distribution of life-saving drugs and medical products. Whether it’s a large multinational or a small pharmaceutical company, the core structure usually follows a well-organized framework that allows for efficient functioning across various stages of drug development and commercialization.

In this blog, we will explore the general structure of a pharmaceutical company, focusing on the key departments and their roles. We’ll also touch upon how small pharmaceutical companies differ from their larger counterparts in terms of structure and operations.

1. Research & Development (R&D)

Research and Development (R&D) is the heart of any pharmaceutical company. It is responsible for discovering new drug compounds and developing existing ones. The R&D department is divided into various teams, including:

Preclinical Research: In this phase, compounds are tested on cells and animals to evaluate their safety and efficacy.

Clinical Development: This involves conducting clinical trials on humans to test the safety, effectiveness, and side effects of new drugs.

Regulatory Affairs: This team ensures that the company’s drug submissions comply with local and international regulations, such as those from the FDA or EMA.

In small pharmaceutical companies, the R&D team may be limited in size, often outsourcing certain research aspects to academic institutions or contract research organizations (CROs).

2. Manufacturing & Production

The Manufacturing and Production department handles the large-scale production of drugs once they have been approved. This department ensures that the drugs are produced efficiently and meet stringent quality standards. It includes:

Production Planning: Determines production schedules and resource allocation.

Quality Assurance (QA): Ensures that all products meet regulatory quality standards.

Quality Control (QC): Involves routine testing of products to maintain quality throughout the production process.

Small pharmaceutical companies often partner with contract manufacturing organizations (CMOs) to minimize overhead costs while maintaining quality standards.

3. Marketing & Sales

Marketing and Sales departments play a crucial role in ensuring that the drug reaches healthcare professionals and consumers. Their main functions include:

Market Research: Identifies the needs of the market and how a new drug can fulfill them.

Product Promotion: Uses a variety of marketing tools to promote the drug to healthcare providers.

Sales Team: Works directly with healthcare providers to ensure that the drugs are available and prescribed.

For small pharmaceutical companies, marketing and sales may involve partnerships with larger firms or distributors who have more extensive networks.

4. Regulatory & Legal Affairs

The Regulatory and Legal Affairs department ensures that the company adheres to all regulatory requirements and legal obligations. It manages everything from intellectual property (patents) to navigating complex regulations laid out by agencies like the FDA (Food and Drug Administration) and EMA (European Medicines Agency).

In smaller companies, this function may be handled by a small in-house team or outsourced to specialized legal firms that focus on pharmaceutical regulations.

5. Finance & Administration

The Finance and Administration department is crucial for maintaining the financial health of the company. It manages:

Budgeting and Forecasting: Ensuring that resources are allocated effectively across departments.

Financial Reporting: Ensures compliance with financial regulations and transparency for stakeholders.

Human Resources (HR): Manages recruitment, training, and employee welfare.

In small pharmaceutical companies, the Finance department may be streamlined, with many financial tasks being outsourced to external auditors or financial consultants.

6. Supply Chain Management

A well-functioning Supply Chain Management team is essential to ensure the continuous availability of raw materials and the smooth distribution of the final product. It covers:

Procurement: Ensures that the necessary raw materials are available for production.

Logistics: Coordinates the distribution of finished drugs to wholesalers, pharmacies, or healthcare providers.

For small pharmaceutical companies, managing supply chain logistics efficiently is often one of the biggest challenges, and they may work with third-party logistics providers to streamline the process.

7. Executive Management

At the top level, every pharmaceutical company has an Executive Management team that includes the CEO, CFO, and other C-level executives. They provide overall leadership, make strategic decisions, and ensure the company is moving in the right direction.

In small pharmaceutical companies, the executive team often wears multiple hats, directly overseeing several operational aspects.

How Small Pharmaceutical Companies Differ

While the structure of small pharmaceutical companies may mirror that of larger firms, there are significant differences:

Resource Constraints: Small companies often have fewer resources, leading to leaner teams and reliance on outsourcing.

Focus on Innovation: Many small pharmaceutical companies are highly innovative, focusing on niche drug markets or specialized therapies, which may not be profitable for larger corporations.

Collaborations: Small firms frequently collaborate with universities, research institutes, or larger pharmaceutical companies to bring their products to market.

Cost-Efficiency: To stay competitive, small pharmaceutical companies may streamline departments or work closely with external partners such as CROs, CMOs, and distributors.

Conclusion

Understanding the structure of a pharmaceutical company provides insights into how these firms bring life-saving drugs to market. While large companies may have extensive in-house capabilities, small pharmaceutical companies often focus on specialized areas, leveraging partnerships and external collaborations. This agility allows them to contribute significantly to innovation within the pharmaceutical industry.

Whether large or small, the success of a pharmaceutical company depends on a well-coordinated effort across departments — from R&D to sales.

Key Takeaways:

The structure of a pharmaceutical company typically includes R&D, Manufacturing, Marketing, Regulatory Affairs, and Finance.

Small pharmaceutical companies often rely on external partners for manufacturing, R&D, and distribution.

Innovation, flexibility, and cost-efficiency are key strengths of smaller pharmaceutical firms.

[nowyoshop]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] From the brand kitten bottles Mini Nipple Feeding Bottle for Newborn Kittens, Puppies, Small Animals Pet Nursing Bottle Pet Nursing Bottle Jiaxix, manufacturer & distributor of Pet Supplies. Over the years our goal remains the same: to enhance the pet ownership experience. We specialize in creating excellent pet supplies for animals, both great and small. We're best known for producing pet products at affordable prices. Our brand, Jiaxix, is synonymous with innovation and quality, keeping your pet foremost in mind. Package Dimensions ‏ : ‎ 8.35 x 5.67 x 1.89 inches; 1.6 ounces Date First Available ‏ : ‎ September 17, 2022 Manufacturer ‏ : ‎ Jiaxix ASIN ‏ : ‎ B0BFLKWCPV Package Included :5pcs pet nursing bottle with mini pink nipple,1pcs measure cup The Feeding Bottle Set has been especially designed for feeding milk to puppies or other animals, The teats are made from durable silicone making it sturdy and hard-wearing, soft gentle ,desinged for good digestion and absorption. increase immunity and the rapid growth of pets The curved neck of bottle make easy to feeding puppies,kittens, and the style could facilitates a constant flow of milk into the teat, effectively reducing abdominal bloating from swallowing air while feeding. The nipple duplicate the milking action of the mother's nipple , designed by the professional veterinarians for natural feeding action,can be used from birth to all ages of pets Use Direction: Please clean bottle and nipple thoroughly after using. Customers sayCustomers find the baby bottle easy to use and effective for kittens. They mention it's fantastic for tiny neonatal kittens and works great.AI-generated from the text of customer reviews [ad_2]

[dh5ryxhgbctgr]

Portable Biodiesel Analyzer Market Overview and Growth Trajectory Analysis 2024 - 2031

The portable biodiesel analyzer market was valued at approximately $4.26 billion in 2023. It is projected to grow to $4.57 billion in 2024 and reach $8.1 billion by 2032. This growth represents a compound annual growth rate (CAGR) of around 7.41% during the forecast period from 2024 to 2032. As the demand for renewable energy solutions increases, the portable biodiesel analyzer market is poised for significant expansion.

The portable biodiesel analyzer market is rapidly evolving, driven by the increasing demand for renewable energy sources and the need for efficient quality control in biodiesel production. This article explores the current trends, key players, market dynamics, and future outlook for the portable biodiesel analyzer market.

Overview of Biodiesel and Its Importance

Biodiesel is a renewable energy source derived from biological materials such as vegetable oils and animal fats. It is an environmentally friendly alternative to fossil fuels and plays a crucial role in reducing greenhouse gas emissions. As countries strive to meet their energy needs sustainably, the biodiesel market has witnessed significant growth.

Benefits of Biodiesel

Reduced Emissions: Biodiesel burns cleaner than traditional diesel, producing fewer pollutants.

Energy Security: Utilizing local resources for biodiesel production can enhance energy independence.

Economic Growth: The biodiesel industry creates jobs in agriculture, manufacturing, and distribution.

The Role of Portable Biodiesel Analyzers

Portable biodiesel analyzers are essential tools for testing the quality of biodiesel in real-time. These devices enable producers, distributors, and consumers to ensure compliance with international standards and specifications.

Key Features of Portable Biodiesel Analyzers

Portability: Designed for easy transport, allowing on-site testing.

User-Friendly Interface: Simplified operation for quick results.

Rapid Testing: Provides immediate feedback on biodiesel quality.

Comprehensive Analysis: Capable of assessing various parameters like viscosity, flash point, and purity.

Market Dynamics

Drivers of Growth

Rising Demand for Renewable Energy: The global shift towards sustainable energy sources is a primary driver of the biodiesel market, thus increasing the demand for quality testing equipment.

Regulatory Standards: Stricter regulations regarding fuel quality and emissions are prompting the need for reliable testing solutions.

Technological Advancements: Innovations in sensor technology and data analytics are enhancing the performance of portable analyzers.

Challenges

High Initial Costs: The price of advanced portable biodiesel analyzers can be a barrier for small producers.

Lack of Awareness: Limited knowledge about the benefits and functionalities of portable analyzers in emerging markets can impede growth.

Opportunities

Emerging Markets: Increased investment in biodiesel production in developing countries presents a significant opportunity for market expansion.

Integration with IoT: The incorporation of Internet of Things (IoT) technology can enable remote monitoring and data analysis, enhancing the utility of portable analyzers.

Key Players in the Portable Biodiesel Analyzer Market

Several companies are leading the way in the development and distribution of portable biodiesel analyzers. These include:

Avaaz Innovations: Known for its user-friendly and efficient biodiesel testing devices.

Biodiesel Analytical Solutions: Focuses on high-precision analyzers and quality control systems.

Perten Instruments: Provides portable solutions tailored for the biodiesel industry.

Regional Analysis

North America

The North American region holds a significant share of the portable biodiesel analyzer market due to the presence of major biodiesel producers and stringent regulatory frameworks.

Europe

Europe is a leader in renewable energy initiatives, with robust policies promoting biodiesel use. The market for portable analyzers is expected to grow as more producers adopt advanced testing technologies.

Asia-Pacific

Rapid industrialization and increasing energy demands make the Asia-Pacific region a lucrative market for portable biodiesel analyzers. Countries like India and China are investing in renewable energy solutions, driving demand.

Future Outlook

The portable biodiesel analyzer market is poised for substantial growth in the coming years. As environmental concerns and regulatory pressures intensify, the need for efficient quality control in biodiesel production will become even more critical. Innovations in technology and increasing awareness about the benefits of portable testing devices will further propel market expansion.

Conclusion

The portable biodiesel analyzer market represents a vital segment of the renewable energy landscape. With a growing focus on sustainability, regulatory compliance, and technological advancement, the market is set to experience significant growth. Stakeholders must capitalize on emerging opportunities and navigate challenges to ensure the successful proliferation of portable biodiesel analyzers.

[harsh24mr]

Veterinary Stereotactic Radiosurgery System Market, Global Outlook and Forecast 2024-2030

The global Veterinary Stereotactic Radiosurgery System market was valued at US$ 17.67 million in 2023 and is projected to reach US$ 29.35 million by 2030, at a CAGR of 7.3% during the forecast period. The influence of COVID-19 and the Russia-Ukraine War were considered while estimating market sizes.

Radioactive medical equipment for animals can send high-dose radiation focused on a small and precise area.

Get FREE Sample of this Report at https://www.24marketreports.com/report-sample/global-veterinary-stereotactic-radiosurgery-system-forecast-2024-2030-658

Report Sample includes:

Table of Contents

List of Tables & Figures

Charts

Research Methodology

This report aims to provide a comprehensive presentation of the global market for Veterinary Stereotactic Radiosurgery System, with both quantitative and qualitative analysis, to help readers develop business/growth strategies, assess the market competitive situation, analyze their position in the current marketplace, and make informed business decisions regarding Veterinary Stereotactic Radiosurgery System. This report contains market size and forecasts of Veterinary Stereotactic Radiosurgery System in global, including the following market information: Global Veterinary Stereotactic Radiosurgery System Market Revenue, 2019-2024, 2025-2030, ($ millions) Global Veterinary Stereotactic Radiosurgery System Market Sales, 2019-2024, 2025-2030, (K Units) Global top five Veterinary Stereotactic Radiosurgery System companies in 2023 (%) The US Market is Estimated at $ Million in 2023, While China is Forecast to Reach $ Million. Gamma Knife Segment to Reach $ Million by 2030, with a % CAGR in the next six years.

The global key manufacturers of Veterinary Stereotactic Radiosurgery System include PetCure Oncology, Varian Medical Systems, Accuray and Elekta AB, etc. in 2023, the global top five players have a share approximately % in terms of revenue.

We surveyed the Veterinary Stereotactic Radiosurgery System manufacturers, suppliers, distributors and industry experts on this industry, involving the sales, revenue, demand, price change, product type, recent development and plan, industry trends, drivers, challenges, obstacles, and potential risks.

Total Market by Segment: Global Veterinary Stereotactic Radiosurgery System Market, by Type, 2019-2024, 2025-2030 ($ Millions) & (K Units) Global Veterinary Stereotactic Radiosurgery System Market Segment Percentages, by Type, 2023 (%) Gamma Knife PBRT Cyber Knife Global Veterinary Stereotactic Radiosurgery System Market, by Application, 2019-2024, 2025-2030 ($ Millions) & (K Units) Global Veterinary Stereotactic Radiosurgery System Market Segment Percentages, by Application, 2023 (%) Animal Hospital Research center other Global Veterinary Stereotactic Radiosurgery System Market, By Region and Country, 2019-2024, 2025-2030 ($ Millions) & (K Units) Global Veterinary Stereotactic Radiosurgery System Market Segment Percentages, By Region and Country, 2023 (%) North America (United States, Canada, Mexico) Europe (Germany, France, United Kingdom, Italy, Spain, Rest of Europe) Asia-Pacific (China, India, Japan, South Korea, Australia, Rest of APAC) The Middle East and Africa (Middle East, Africa) South and Central America (Brazil, Argentina, Rest of SCA)

Competitor Analysis The report also provides analysis of leading market participants including: Key companies Veterinary Stereotactic Radiosurgery System revenues in global market, 2019-2024 (Estimated), ($ millions) Key companies Veterinary Stereotactic Radiosurgery System revenues share in global market, 2023 (%) Key companies Veterinary Stereotactic Radiosurgery System sales in global market, 2019-2024 (Estimated), (K Units) Key companies Veterinary Stereotactic Radiosurgery System sales share in global market, 2023 (%) Further, the report presents profiles of competitors in the market, key players include: PetCure Oncology Varian Medical Systems Accuray Elekta AB Outline of Major Chapters: Chapter 1: Introduces the definition of Veterinary Stereotactic Radiosurgery System, market overview. Chapter 2: Global Veterinary Stereotactic Radiosurgery System market size in revenue and volume. Chapter 3: Detailed analysis of Veterinary Stereotactic Radiosurgery System manufacturers competitive landscape, price, sales and revenue market share, latest development plan, merger, and acquisition information, etc. Chapter 4: Provides the analysis of various market segments by type, covering the market size and development potential of each market segment, to help readers find the blue ocean market in different market segments. Chapter 5: Provides the analysis of various market segments by application, covering the market size and development potential of each market segment, to help readers find the blue ocean market in different downstream markets. Chapter 6: Sales of Veterinary Stereotactic Radiosurgery System in regional level and country level. It provides a quantitative analysis of the market size and development potential of each region and its main countries and introduces the market development, future development prospects, market space of each country in the world. Chapter 7: Provides profiles of key players, introducing the basic situation of the main companies in the market in detail, including product sales, revenue, price, gross margin, product introduction, recent development, etc. Chapter 8: Global Veterinary Stereotactic Radiosurgery System capacity by region & country. Chapter 9: Introduces the market dynamics, latest developments of the market, the driving factors and restrictive factors of the market, the challenges and risks faced by manufacturers in the industry, and the analysis of relevant policies in the industry. Chapter 10: Analysis of industrial chain, including the upstream and downstream of the industry. Chapter 11: The main points and conclusions of the report.

Get the Complete Report & TOC at https://www.24marketreports.com/lif…ic-radiosurgery-system-forecast-2024-2030-658 CONTACT US: 276 5th Avenue, New York , NY 10001,United States International: (+1) 646 781 7170 Follow Us On linkedin :- https://www.linkedin.com/company/24-market-reports

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[badanicorporationn]

Badani Corporation: Your Premier Peanut in Shell Supplier and Exporter in India 

When it comes to sourcing high-quality peanuts in shell, Badani Corporation stands out as a leading supplier and exporter from India. With years of experience in the industry, Badani Corporation has earned a reputation for excellence, reliability, and commitment to delivering top-notch products to clients worldwide. 

Why Choose Badani Corporation? 

Badani Corporation is synonymous with quality and consistency. As a trusted peanut in shell supplier and exporter, the company ensures that each batch of peanuts meets the highest international standards. The company sources its peanuts from the finest farms in India, where they are grown under optimal conditions to achieve the best quality. The meticulous selection process guarantees that only the best peanuts make it to the final product. 

Quality Assurance 

Quality is at the core of Badani Corporation’s operations. The company employs rigorous quality control measures throughout the production process to ensure that the peanuts in shell are free from defects, contaminants, and impurities. From harvesting to processing and packaging, each step is carefully monitored to maintain the integrity of the product. The peanuts are subjected to thorough inspections and testing to ensure they meet the required specifications for size, color, and flavor. 

Sustainable Practices 

Badani Corporation is committed to sustainable and eco-friendly practices in its operations. The company recognizes the importance of environmental responsibility and strives to minimize its carbon footprint. By implementing sustainable agricultural practices and working closely with farmers, Badani Corporation ensures that its peanuts are grown in a manner that preserves soil health and promotes biodiversity. The company also emphasizes efficient water use and waste management to reduce its environmental impact. 

Global Reach 

With a robust logistics network, Badani Corporation is well-equipped to handle international orders efficiently. The company’s strategic location and partnerships with reliable shipping carriers enable it to deliver peanuts in shell to clients around the globe. Whether you are looking to import peanuts in bulk or require custom packaging solutions, Badani Corporation has the expertise and resources to meet your needs. The company’s dedication to timely delivery and exceptional customer service sets it apart in the competitive market. 

Diverse Applications 

Peanuts in shell are versatile and used in various applications, from snacking to culinary and industrial uses. Badani Corporation’s peanuts cater to a wide range of industries, including food processing, confectionery, and animal feed. The company’s commitment to providing high-quality peanuts ensures that customers receive a product that enhances their offerings and meets their specific requirements. 

Customer-Centric Approach 

At Badani Corporation, customer satisfaction is a top priority. The company’s team of professionals is dedicated to understanding and addressing the unique needs of each client. Whether you are a large-scale distributor or a small business, Badani Corporation offers personalized service and support to ensure a seamless experience. The company values long-term relationships with its clients and works diligently to exceed their expectations. 

Conclusion 

In the competitive world of peanut supply and export, Badani Corporation emerges as a leading player, offering premium peanuts in shell with a focus on quality, sustainability, and customer satisfaction. With its commitment to excellence and global reach, Badani Corporation is your ideal partner for sourcing high-quality peanuts in shell from India. Discover the difference that comes with working with a trusted supplier and exporter, and let Badani Corporation meet your peanut needs with unmatched expertise and dedication. 

[naturaloils]

VedaOils is a prominent manufacturer, supplier, and wholesale distributor of melt and pour soap base in the United States. We provide a natural soap base that has been intricately developed to fulfill the needs of various market sectors. They can be used by soap manufacturing firms to create huge quantities of bathing bars and toilet soaps, etc., at Wholesale Prices that make them excellent for medium and small-scale industries as well. Individuals who like making soap for themselves and their friends may also benefit from these ready to mould soap bases Manufactured from Natural Components.

The best melt and pour soap bases we provide can be used easily to make soap bars and also they don’t get washed out easily in water. All of our products are available in different packaging so that you can buy Soap Base in Bulk as well as retail quantities based on your needs. Our Soap Base Bar is made entirely of organic components that are not sourced from animals. As a result, vegans prefer them as well.

[kylesvariouslistsandstuff]

The Weird History of Western Animated Movie Sequels

This is a rewrite of sorts of a history post I did on theatrical animated movie sequels in the West (largely the U.S.) a few years ago, and how weird it is... How we went from a handful of sequels over the course of three decades to an *explosion* in them... I'll collect all this fun stuff in a timeline of sorts.

(This list will mainly focus on traditional sequels, not so much films sharing similar themes and FANTASIA being planned as an ever-updating anthology w/ every re-release had it done well initially. And also, theatrical sequels. With the exception of movies re-routed to streaming because of COVID-19. That sorta thing, ya know?)

Late 1930s-Mid 1940s: Walt Disney and his studio entertain the idea of sequels to SNOW WHITE AND THE SEVEN DWARFS and BAMBI, titled SNOW WHITE RETURNS and BAMBI'S CHILDREN. Nothing comes of them. If FANTASIA is to be successful, Walt's plan for the film is to update it every couple of years, taking some segments out and replacing them with new ones. And repeating that once more. FANTASIA bombs at the box office upon general wide release in early 1942, so the plans fall through. A feature film BONGO is developed at the beginning of the decade, and at one point it is suggested to be set in the same universe as DUMBO and would feature characters from that film. BONGO eventually became a much pared-down segment of the package film FUN & FANCY FREE in 1947.

1942-1944: Disney and their distributor RKO Radio Pictures release two anthology "package" features, SALUDOS AMIGOS and THE THREE CABALLEROS. During World War II, Nazi influence began to take shape in Central and South America. American filmmakers, including Walt Disney and a select team of his artists, traveled south in part of a larger government strategy to strengthen goodwill between the U.S. and Central/South America. SALUDOS and CABALLEROS are thus "goodwill" pictures, formed up of multiple segments themed around those territories. Both of them feature Donald Duck and Jose Carioca. Because of this, CABALLEROS could be viewed as a "sequel" of sorts to SALUDOS.

April 1946: Disney and their distributor RKO premiere MAKE MINE MUSIC, an anthology of musical segments not dissimilar to FANTASIA. The picture goes into general release in August.

May 1948: Disney and RKO release MELODY TIME, another musical anthology film. The film notably features both Donald Duck and Jose Carioca in a segment called 'Blame It On the Samba', reprising their roles from SALUDOS AMIGOS and THE THREE CABALLEROS. The Aracuan Bird from CABALLEROS also appears during this segment. Like MAKE MINE MUSIC, these two films can be seen as an extension of the FANTASIA concept, and MELODY TIME could be seen as a sequel of sorts of MAKE MINE MUSIC. The Disney company never considered any of these films to be "sequels", at least in a more traditional sense.

We have a long gap here because Walt Disney Productions was the only animation studio in America that was making feature films, and there were plenty of times where they could've ceased doing just that. Couple that with Walt's general hesitance to make sequels, and thus there weren't any animated feature sequels made from the 1950s to the end of the 1960s... Other animation studios in America had attempted to make features, but never got past a small number of them. The Fleischer studio made both GULLIVER'S TRAVELS and MR. BUG GOES TO TOWN in 1939 and 1941 respectively, and their studio was shuttered shortly after BUG's quiet and brief general release rollout in early 1942. The UPA tried their hand at animated features, but only got around to making two, 1001 ARABIAN NIGHTS and GAY PURR-EE.

By the 1960s, more animation studios were making feature-length productions, such as Hanna-Barbera and Rankin/Bass. By 1970, there was at least one new movie from an American house every two-or-so years. A good chunk of them were also based on hit TV shows or well-known properties. Hanna-Barbera did features based on THE YOGI BEAR SHOW and THE FLINTSTONES, there was also a PEANUTS-based movie called A BOY NAMED CHARLIE BROWN. Ralph Bakshi shook up the animation world with his adult independent feature FRITZ THE CAT in early 1972.

A BOY NAMED CHARLIE BROWN and FRITZ THE CAT would be the first American animated movie sequels to get theatrical sequels...

August 1972: PEANUTS movie SNOOPY COME HOME!, a follow-up to A BOY NAMED CHARLIE BROWN involving much of the same key crew (such as director Bill Melendez and producer Lee Mendelson), is released by National General Pictures to poor box office.

June 1974: THE NINE LIVES OF FRITZ THE CAT, a sequel to Ralph Bakshi's FRITZ THE CAT that didn't involve Bakshi, is released by American International Pictures and doesn't repeat the success of the first movie.

August 1977: RACE FOR YOUR LIFE, CHARLIE BROWN is released by Paramount, and doesn't make much of a mark at the box office.

Late 1970s: Despite the success of Ralph Bakshi's rotoscoped THE LORD OF THE RINGS in the fall of 1978, a follow-up is considered but does not materialize due to funding issues.

May 1980: BON VOYAGE, CHARLIE BROWN (AND DON'T COME BACK!!) is released by Paramount to weak box office.

1984-86: After much turmoil, the Disney enterprise sees a major corporate shakeup. Outsider executives Michael Eisner and Frank Wells become CEO and President of the newly-christened The Walt Disney Company, respectively. Upending the old tradition of not making feature sequels, Michael Eisner and the new executives ask the staff of the animation studio what their highest grossing feature was to date. When revealed that it was THE RESCUERS, a sequel to the film is greenlit.

March 1986: A fast-tracked sequel to 1985's THE CARE BEARS MOVIE is released, and only makes a fraction of what the first film - a minor hit in its own right - took in.

August 1987: A third Care Bears movie, THE CARE BEARS ADVENTURES IN WONDERLAND, is released to equally unremarkable box office.

1988-89: Following the record-breaking, game-changing success of ex-Disney animator Don Bluth's Steven Spielberg-produced AN AMERICAN TAIL in 1986, a sequel is put in development, with Bluth initially tapped to helm. Bluth later broke ties with Spielberg over creative differences, and following the runaway success of WHO FRAMED ROGER RABBIT, Steven Spielberg would set up a new animation studio called Amblimation. They took over the film.

November 1990: THE RESCUERS DOWN UNDER is released to mixed critical reception and weak box office. Within weeks of release, Disney chairman Jeffrey Katzenberg has all the marketing for the film pulled.

May 1991: Computer animation studio Pixar enters a feature film deal with The Walt Disney Company. This three-picture deal, which would later be expanded, stipulates that NO sequels be pitched. Every film pitched by Pixar for this contract is to be an ORIGINAL film, for the sole purpose of introducing new worlds/characters for the company's theme parks and consumer products divisions.

November 1991: Universal releases AN AMERICAN TAIL: FIEVEL GOES WEST, the same weekend as Disney's BEAUTY AND THE BEAST. The film flops at the box office.

Mid 1991-Early 1992: Walt Disney Home Video initially refuses, at Roy E. Disney's behest, to release FANTASIA on video formats following its 1990 theatrical re-release. Michael Eisner makes a deal with Roy: Release FANTASIA on video, and a follow-up to FANTASIA will be greenlit. FANTASIA is released in November and pulled by January 1992, selling a record-breaking 14 million units. FANTASIA CONTINUED is greenlit.

Mid 1994: Following the success of THE RETURN OF JAFAR, which was essentially an hour-long direct-to-video pilot for the ALADDIN TV series, Disney Feature Animation does not pursue making theatrical sequels to their animated features. The only exception being FANTASIA CONTINUED, which is Roy E. Disney's pet project. All other sequels are to be outsourced productions, and are produced exclusively for the home video market.

March 1996: A sequel to Don Bluth's ALL DOGS GO TO HEAVEN, which didn't involve Bluth much like FIEVEL GOES WEST didn't, is released to poor box office.

Early-Mid 1996: Following the success of Pixar's debut feature, TOY STORY, Disney immediately commissions a direct-to-video sequel that is to be made by "B-team" of sorts at a satellite studio, while work on A BUG'S LIFE takes place at Pixar's main building in Point Richmond. (This was before they moved to Emeryville.)

July 1997: Legacy Releasing released a sequel to THE SWAN PRINCESS, titled THE SWAN PRINCESS: ESCAPE FROM CASTLE MOUNTAIN, to virtually nonexistent box office grosses.

February 1998: TOY STORY 2 is changed from direct-to-video project to theatrical feature film, though it will not count as part of Pixar's then extended film deal with The Walt Disney Company. That very contract mandated that all of Pixar's productions be original features, or else they wll NOT count as part of the deal. Pixar and the Disney company also enter a gentleman's agreement, in that Disney will not push sequels to Pixar films *without* Pixar's permission.

Early 1999: TOY STORY 2 is taken over by the staff at the main Pixar building due to concerns over the quality of the story. The film is significantly revised, with the release date mere months away.

November 1999: TOY STORY 2 is released, and becomes the first animated movie sequel to outgross its predecessor at the box office. Despite the film's success, and despite the considerable stress the production was, Michael Eisner refuses to count it as part of the deal. Pixar owner Steve Jobs strongly feels that TOY STORY 2 should count.

January 2000: On New Year's Day of the new millennium, Roy E. Disney's FANTASIA follow-up FANTASIA 2000 goes into IMAX-exclusive release after a world premiere the previous month.

February 2000: Disney makes the unorthodox decision to release THE TIGGER MOVIE in theaters, a production made by the satellite units that otherwise would've gone straight to video. The film is a financial success.

June 2000: FANTASIA 2000 goes into general release. The film does not recoup its costs at the box office, and is generally a dud with audiences.

Around Early-To-Mid 2000: Despite the contractual agita over TOY STORY 2, Pixar is keen to do a TOY STORY 3. However, it is not greenlit by Disney.

November 2000: Paramount releases a sequel to their Nickelodeon-based hit from 1998, THE RUGRATS MOVIE. While RUGRATS IN PARIS does not make as much money as the first movie, it is still a financial success.

Early-To-Mid 2001: DreamWorks, who are about to release SHREK, are already at work on a sequel. When SHREK defies its pre-release odds and becomes a box office smash upon its May release, the sequel goes full-steam ahead. Unlike Disney Animation, whose sequels are farmed-out straight-to-video endeavors, and unlike Pixar who can't make another sequel per their contract with Disney, DreamWorks has none of this baggage and goes right ahead with a SHREK sequel.

February 2002: Disney releases another satellite production, PETER PAN sequel RETURN TO NEVER LAND, theatrically. The film is a box office success.

June 2002: Following the success of the Blue Sky production ICE AGE, released by 20th Century Fox, work is already underway on a sequel. Much like DreamWorks, they too don't have the baggage Disney Animation and Pixar have concerning sequels.

February 2003: Disney releases satellite production THE JUNGLE BOOK 2 theatrically, another financial success.

March 2003: Disney releases satellite production PIGLET'S BIG MOVIE to theaters. Costing double that of RETURN TO NEVER LAND and JUNGLE BOOK 2, the film is a box office flop.

July 2003: RUGRATS GO WILD, the third RUGRATS movie and something of a sequel to THE WILD THORNBERRYS MOVIE, is released by Paramount to poor box office.

Early-To-Mid 2004: Friction develops between The Walt Disney Company and Pixar, making a split between the two seem likely. Per the contract, Disney has first rights to the studio's animated movies that made up the extended film deal. (Everything from TOY STORY to a then-forthcoming THE INCREDIBLES and CARS) If Pixar were to break off from the Disney company, Disney could feasibly make sequels to their films without them involved... And Michael Eisner took full advantage, going back on the gentleman's agreement between the two parties. Disney launches Circle 7 Animation, a CG studio meant to make these Pixar-less sequels. Work commences on TOY STORY 3, MONSTERS, INC. 2: LOST IN SCARADISE, and FINDING NEMO 2. It's largely a hardball tactic to get Pixar to renegotiate and extend their film deal.

May 2004: DreamWorks releases SHREK 2 to record-breaking box office... This is where the game is truly changed... DreamWorks has three more SHREK movies lined up (the first of which aiming for a summer 2006 release), in addition to a direct-to-video prequel about the film's breakout character Puss In Boots.

February 2005: Disney releases one last satellite production to theaters, POOH'S HEFFALUMP MOVIE. Costing half of what PIGLET'S BIG MOVIE cost, it does alright at the box office.

Mid-To-Late 2005: DreamWorks sees another box office success in MADAGASCAR, and greenlights a sequel. This makes it the second ever DreamWorks movie to get a theatrical sequel. (Oddly, SHARK TALE from the year before, despite being a box office success and Oscar nominee, doesn't get a sequel.)

September 2005: After a campaign ran from the outside by Roy E. Disney, Michael Eisner resigns as the CEO of The Walt Disney Company. His successor, Bob Iger, seeks to renegotiate fairly with Pixar. Pixar's final film for the original contract, CARS, is less than a year away from release.

January 2006: In a historic move, The Walt Disney Company announces a $7.4 billion acquisition of Pixar.

March 2006: 20th Century Fox releases ICE AGE: THE MELTDOWN to great box office. Another film is on the way.

Early-To-Mid 2006: Following the announcement of Disney's purchase of Pixar, Pixar regains control of sequel production. Circle 7 Animation is shut down, and Pixar immediately begins work on *their* TOY STORY 3 for a 2009 release. Since a MONSTERS, INC. sequel and a FINDING NEMO sequel got to the script stage, Pixar eventually has to make their sequels to override those. A MONSTERS, INC. follow-up quietly begins development around this time as well. In addition to all of this, Pixar head John Lasseter takes over Disneytoon Studios and shuts down all traditionally-animated direct-to-video Disney sequels. This indicates that a future Walt Disney Feature Animation production, now named Walt Disney Animation Studios, will get a theatrical sequel if it's a box office success.

November 2006: HAPPY FEET, released by Warner Bros., is the biggest of the non-Disney/Pixar/DreamWorks/Blue Sky movies of the year and up until that point. Makes a big splash. Sequel likely.

May 2007: SHREK THE THIRD opens and is another blockbuster for DreamWorks.

January 2008: A rather unorthodox development, Big Idea makes a theatrical sequel to JONAH: A VEGGIETALES MOVIE, with THE PIRATES WHO DON'T DO ANYTHING. Universal distributes. It flops upon release.

April 2008: Two years into The Walt Disney Company's ownership of Pixar, a massive movie slate with Disney Animation, Pixar, and Disneytoon productions is unveiled. The game plan is the first announcement of a CARS sequel. This makes CARS the second-ever Pixar film to get a sequel. At the time, this movie is penciled in for a summer 2012 debut. TOY STORY 3 has also moved back a year, to 2010.

Mid-To-Late 2008: DreamWorks sees a new breakout hit with KUNG FU PANDA in the summer, and a sequel success with MADAGASCAR: ESCAPE 2 AFRICA.

July 2009: ICE AGE: DAWN OF THE DINOSAURS is released by 20th Century Fox, and scores excellently at the box office.

September 2009: Three features in, relative newcomer Sony Pictures Animation scores a good-sized hit with CLOUDY WITH A CHANCE OF MEATBALLS. A sequel is planned thereafter...

So now... We see where it all waxes... With that, we'll just look at things year by year...

2010: TOY STORY 3 is released and becomes the highest grossing animated feature of all-time. Earlier in the year, Pixar confirms that they are in production of a MONSTERS, INC. follow-up. DreamWorks sees another breakout hit with HOW TO TRAIN YOUR DRAGON, a sequel is also imminent. Newcomer Illumination scores big with DESPICABLE ME, a sequel is also inevitable. DreamWorks scores another hit with SHREK FOREVER AFTER.

2011: It's a sequel/franchise film explosion, kinda unprecedented in feature animation up until this point... KUNG FU PANDA 2, CARS 2, and PUSS IN BOOTS all come out this year and make big money. Disney Animation makes a 2D animated WINNIE THE POOH, but it is sadly a box office bomb. HAPPY FEET TWO, from Warner Bros., also bombs. HOODWINKED TOO! HOOD VS. EVIL is belatedly released this year, it is also a money-loser. New films make a splash and are to get sequels.

2012: Two sequels this year, the highly successful MADAGASCAR 3: EUROPE'S MOST WANTED and ICE AGE: CONTINENTAL DRIFT. Disney Animation, after years of misses and mulligans (TANGLED didn't really make much of a profit theatrically, but was a very popular film), notably scores a profitable hit with WRECK-IT RALPH, a sequel slowly begins development.

2013: Plenty of follow-ups here, with MONSTERS UNIVERSITY, DESPICABLE ME 2, THE SMURFS 2, CLOUDY WITH A CHANCE OF MEATBALLS 2, and CARS spin-off PLANES (produced at Disneytoon and not Pixar). The majority of them do pretty good at the box office, some of them *very* good. DESPICABLE ME 2 is named by Universal as their most profitable film ever released, to date.

2014: This year saw the releases of RIO 2, HOW TO TRAIN YOUR DRAGON 2 and PLANES: FIRE & RESCUE. MADAGASCAR spin-off PENGUINS OF MADAGASCAR is deemed a disappointment by DreamWorks, leading to company-wide ramifications.

2015: DESPICABLE ME spin-off MINIONS debuts and is a rare animated feature to cross a billion worldwide, with only TOY STORY 3 and FROZEN having previously done that. Elsewhere, HOTEL TRANSYLVANIA 2 and THE SPONGEBOB MOVIE: SPONGE OUT OF WATER - a belated sequel to THE SPONGEBOB SQUAREPANTS MOVIE from 2004 - are released and also do well. Notably, Disney Animation announces FROZEN II this year. The first of the post-Eisner animated features to get a follow-up announced, though the WRECK-IT RALPH sequel - announced a year later - opened before it.

2016: KUNG FU PANDA 3, FINDING DORY, and ICE AGE: COLLISION COURSE are released this year. The fifth ICE AGE movie does fine, but not well enough to lead to a sixth film. A CG remake of Disney's 1967 THE JUNGLE BOOK - with a single real-life actor - is released this year to massive box office.

2017: THE LEGO BATMAN MOVIE, spin-off of 2014's THE LEGO MOVIE, debuts this year and does well. The other LEGO spin-off, THE LEGO NINJAGO MOVIE, doesn't. Elsewhere, CARS 3 does okay at the box office, DESPICABLE ME 3 breaks the billion, and Sony reboots the Smurfs movies with an all-animated film SMURFS: THE LOST VILLAGE. They deem the film a box office disappointment. THE NUT JOB 2: NUTTY BY NATURE, a sequel to the 2014 ToonBox-produced movie, debuts to muted numbers.

2018: Big year for sequels: Billion-dollar smash INCREDIBLES 2, big hits HOTEL TRANSYLVANIA 3 and RALPH BREAKS THE INTERNET, and... Belated flop sequel to 2011's GNOMEO & JULIET, SHERLOCK GNOMES.

2019: Two Disney smashes in TOY STORY 4, the 99.99% CGI LION KING remake, and FROZEN II, though Universal's THE SECRET LIFE OF PETS 2 doesn't make half of what the breakout 2016 original made. HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD does fine, while THE ANGRY BIRDS MOVIE 2 and THE LEGO MOVIE 2: THE SECOND PART underperform.

2020: COVID-19 impacts the theatrical market, re-routing many films to streaming. TROLLS WORLD TOUR and THE CROODS: A NEW AGE debut this year, ditto a U.S. release of Aardman's first-ever movie sequel, FARMAGEDDON: A SHAUN THE SHEEP MOVIE. A third SPONGEBOB movie, SPONGE ON THE RUN, rolls out internationally before a quiet U.S. debut in the next year.

2021: The theatrical market slowly crawls back upon the unrolling of COVID-19 vaccines. Sequels this year include SPACE JAM: A NEW LEGACY, THE BOSS BABY: FAMILY BUSINESS, THE ADDAMS FAMILY 2, SING 2, and the unusual SPIRIT: UNTAMED: A follow-up to a TV series that was a follow-up to a flop DreamWorks movie.

2022: HOTEL TRANSYLVANIA: TRANSFORMANIA, TOY STORY spin-off LIGHTYEAR, MINIONS: THE RISE OF GRU, and PUSS IN BOOTS: THE LAST WISH make up this year, as we all know.

Last year: SPIDER-MAN: ACROSS THE SPIDER-VERSE, PAW PATROL: THE MIGHTY MOVIE, TROLLS BAND TOGETHER, and - notably - straight-to-streaming Aardman sequel CHICKEN RUN: DAWN OF THE NUGGET that still was theatrical-caliber.

This year: KUNG FU PANDA 4, INSIDE OUT 2, DESPICABLE ME 4, MOANA 2, MUFASA: THE LION KING, WALLACE & GROMIT: VENGEANCE MOST FOWL...

Next year: THE BAD GUYS 2, ZOOTOPIA 2, THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS, PLANKTON: THE MOVIE

2026: UNTITLED MARIO FILM, TOY STORY 5, SHREK 5, PAW PATROL 3, MUTANT MAYHEM 2, ICE AGE 6

2027: MINIONS 3, FROZEN III

Also on the horizon: SPIDER-MAN: BEYOND THE SPIDER-VERSE, INCREDIBLES 3, THE BOSS BABY 3, a third LEGO MOVIE, THE SEA BEAST 2, SECRET LIFE OF PETS 3, SING 3, a PEANUTS MOVIE sequel, and probably many more I'm forgetting at the moment...

Basically, the major cracks in the dam were TOY STORY 2, SHREK 2, and ICE AGE 2... Making sequels to animated movies was for a long time not ideal, getting an animated feature out period was at one point a gamble. (Still is, but not like it was many decades ago.) But yeah, a lot was at play for a while and then after it all blew up... Yeah, that's why there are so many of them.

[canmom]

jackie bringing the excellent analysis as usual <3

want to add some extra bits from the POV of a pro-piracy game dev

as a brief aside, the form of copyright (and in general 'intellectual property') we ended up with by the late 20th century is very historically contingent, the result of a lot of arbitrary decisions to expand the domain of copyright, or not. the authors of the book who owns this sentence, which I highly recommend pirating off libgen, do an excellent job of fleshing out this history, and how flawed so many of the arguments for copyright are.

should you pirate my game? (sure)

as someone who presently makes her living from game dev, and also pirates a lot of shit and believes quite strongly in the work of pirates being a good thing, I would be a huge hypocrite to say you shouldn't pirate my upcoming game when it comes out. you have no moral obligation to me to buy it, pirate it if you like!

if you do nevertheless buy my game I appreciate it of course, this makes it 0.x% more likely that my company will continue to employ me so I can keep this job, but if you don't, whether you pirate it or not makes little difference to me. hell, if you pirate the game and have a great time and tell me about it, I'd appreciate that a lot! if you pirate the game and write a review which causes three other people to buy it who otherwise wouldn't, the company does better than if you bought it and never said a word.

does that benefit me? well, sorta. I get paid a fixed salary by the company. the value of that salary is something I negotiate with my boss. if the company is doing well they might very well be likely to pay me more, but there isn't a direct line from 'copies of game sold' to 'euros in the pocket of bryn and the other ~10 devs'. right now my salary is being paid from the revenue of sales of the studio's other games, from before I joined the company. indeed, since my game hasn't released yet, I actually have yet to earn any dollars at all for the company, despite working here for a year and a half. that's before you get any distributors or whatever involved, it's just how capitalism works. (marx would say, in the ideal abstract, the capitalist buys from me a commodity called labour-power, whose value is determined by the cost of reproducing bryns.)

in some industries, the line from 'sale' to 'artist benefits' is even thinner. in anime, it is normal for studios to be paid a fixed price by the production committee. if the studio isn't on the production committee (and they usually aren't), that is all they will ever see from BD sales or whatever. this limits what they can pay their animators, who are typically paid by the cut, or by the drawing. for this reason, anime is largely used to promote other more profitable industries, like manga, music or figurines. about the best you can say is that buying anime BDs makes it more likely that more anime will be made in the future.

a similar case is streaming services, who sell access to a basket of assorted shows, and then spend money on new shows based on their statistics of what people watch, and how likely it will be that a given show will help them retain or gain subscribers. (similar subscription models, called things like a 'game pass', are being introduced into the games industry, as yet unclear whether they'll catch on.)

outside of books and very small-scale production (solo indie dev scale of stuff) it's honestly quite rare for artists to directly receive most of their compensation per sale (i.e. as royalties) instead of a one-time salary.

a pirate's autoethnology, or some shit

to get on my own soapbox, the problem with many discussions about piracy is they conflate a bunch of different questions. assuming 'people work full-time on creating artworks without starving for it' is a good we want to promote, creating artificial scarcity by prohibiting certain types of copying is a mechanism that attempts to achieve that end. we can evaluate whether it's fit for purpose from a sort of floating, society-eye view. personally I think it's not fit for purpose and should be abolished in favour of some other model.

we can also ask on the individual level, given the society we ended up with is not changing in a hurry, should you pirate stuff as a personal, moral question? after all, generally speaking the people who create the artworks I enjoy are people who I think well of, and even if I never meet them, I hope they will be able to live comfortably and (selfishly) continue to do make that unique thing. however, I only have limited resources. I give away a significant amount of money to friends, or people in desperate need who I encounter. so you could say, that if I spent £10 on a movie, perhaps that's £10 less for a homeless person I meet on the street, or Peter in South Sudan, who arguably needs it more.

but. I also spend a reasonable amount of money acquiring things that make me happy which I can't easily pirate, like physical artbooks, or meals at restaurants. (these things are, unlike copies of artworks, intrinsically scarce. they're a much better fit for being a commodity.) however, it's not like I made a decision at some point that I value printed books or travel more than I value movies or anime. in fact, I probably spend more time talking and thinking about movies. I will pay for a movie at the cinema, but I will prefer to pirate it rather than own it on BD, or download it from a VOD site.

most things I pirate I never would have bought. however, sometimes if I can't find a thing on any pirate sources, I might just buy a copy. so we can say the option of piracy represents a lost sale with some small probability. if torrenting became less reliable, maybe I would spend more money on movies, and by the same token, less money on other things. (though I would definitely watch far fewer movies.)

however, I would spend that money either way. the result would be, money would flow through the economy slightly differently, boosting x kind of production and reducing y kind of production.

since it is in fact not very difficult or dangerous to pirate stuff, the main reason selling copies of things is still profitable is 1. it is sometimes more convenient to buy it (steam is super convenient to use for example, even with trusted sources like fitgirl existing; not everyone is as comfortable as I am with the tech), 2. fear of violence (not necessarily credible) and 3. there is a moral norm against piracy so most people choose not to even if they are confident they can get away with it, or don't consider it in the first place. I don't really know what the weighting on these three factors is!

in this sense, the current model turns 'supporting the artists whose art we want to continue to exist' into a collective-action problem. if any given individual pirates instead of buying, the effects of that decision are lost in the noise. but if the norm shifted towards piracy, that can shift the industry. maybe f2p games-as-a-service become more dominant (though piracy is only one of a bevy* of reasons for this).

*haha game engine jokes

anyway, as far as a norm to follow, there really are all kinds of strategies you can adopt given the lay of the land here. for me? if something is 'small' and 'indie', like a solo creator on itch.io, i'm more likely to buy it for example - their margins are probably thinner and they are more directly dependent on sales. if someone is a personal friend I'm also more likely to buy their creations (you already mentioned Charity, so let me mention another example: after meeting director Louise Weard at a festival and getting on very well with her, I bought her movies on gumroad, rather than searching for them on pirate sites) - even though, ironically, they are the most likely people to straight up give me things for free.

but I can't claim to apply this principle in anything like a rational way. it's pretty much entirely feelings-driven, and shaped by social norms. this is probably just fine, like, before it is an economic activity, art is just culture, making and sharing art is a game we play together. spending money on things is a move in that game, but it's far from the only meaningful move. thank the gods we aren't Homo economicus, that guy sounds like a bore!!

really all I ask, as someone who makes stuff, is that if you engage with my things, you do it in a way that feels true to you. if that moves you to spend money, thanks!! - obviously I quietly hope my game does in fact sell, because the number going up would feel like a pat on the back that says 'good job, you game developed well', and it might lead to me getting paid more which lets me do more nice things for people. today I bought a book of photos after discussing it with the artist for a good little while, because that felt like a nice way to express that I liked what she was doing. but it's never really been about the money. money is such a stupid and ugly abstraction, a very crude mechanism for directing social production and structuring human relationships.

and if you'd rather pirate my game and spend your money on, idk, drugs, like go for it man. (but tell your drug dealer about my game, maybe they'll buy it instead :p)

tirade on pirating software. 1.7k words.

i recently read a post by someone who is anti-piracy (better: against making copies of software). they said that if you can't afford something you should wait for a sale or find a free alternative. and then they said that the only time that they find piracy (better: finding a copy online) acceptable is for games that are so old that you cannot buy them from a licensed vendor, but only from resellers, because in that case the developer doesn't get the money anyway.

i feel like i could make a sort of loophole argument in this framework, which is that i can watch ebay until the game is listed by a reseller, and then pirate it, because i'm no longer making a choice between paying the developer or not paying, but paying a reseller and not paying, and i've decided not paying a reseller is morally permissable.

but i think it can go a little further. they specified developer. i should pay the developer. even though i don't buy directly from the developer, but a licensed vendor. but the vendor's surcharge is not worth bringing up.

this is because we don't believe in following the law, exactly, and thus you should follow all copyright laws for that reason. it's because of, usually, one of two reasons: developers deserve to be compensated, or that we have a moral obligation to support the developer.

on the first view, the "just deserts argument", it's not clear to me that the moral obligation to not pirate is watertight in this case (when i said "pirate" before, i made a silly gesture, meant to indicate that i'll say that for brevity, but am not acquiescing). a developer deserves to be compensated for their work; but what do they deserve exactly?

does every developer deserve to become as rich from their game as Notch, and every time they don't there's been an injustice? you probably don't think that.

do they deserve some particular amount that we would say is 'fair'?—it isn't unjust if they do better (although you might think so, and complain about how much of the spotlight they take up compared to others just as deserving), but we only require that much success of them. this might be dependent on the kind of game that it is, for example, a better game deserves more success. if that's the case, then we've exonerated at least some pirates; so long as the developer is as successful on the market as they deserve to be, we've done nothing wrong.

you might say that it's wrong to pirate games that haven't yet reached the threshold of just success, because you place them in jeoprady of never achieving the success they deserve. further, you might say that this threshold is epistemologically unknowable to human beings (see: click), and therefore in practice you can never justify piracy, because you never know if a game has reached the threshold of justice. pirates, therefore, gamble with justice, and only Minos will pay their winnings.

i think this would be a good argument, except that i don't understand why i, as someone who wants to download a copy of the game, am the one who bears the moral responsibility. if the success of this developer is a matter of justice, then surely we all bear that responsibility, even people who don't play videogames. therefore we should all purchase and promote every game, and so forth.

this isn't what any anti-piracy advocate believes, even if they seem to take a deserts line. instead they restrict our obligations to participating in ordinary market mechanisms. the game is being sold as a commodity; therefore people should buy that commodity from a point of sale apporved by the producer, and so forth. it's taken for granted that the anarchy of the market is the right way to guarantee justice, and other possibilities are never explored. ultimately, the deserts argument naturalizes capitalist relations. once you remove these blinders, the mechanism for delivering justice it actually proposes seems obviously unreliable and unsatisfactory (in fact, i believe this criticism applies to all deserts arguments).

here i will quickly add my complaint against the second argument, that we should support the developer. the argument runs: if you like a developer, you should support their work by purchasing their products. i am a lot more sympathetic to this argument and so i won't spend much of the post attacking it. it's enough to say that it suffers from the same problem we just mentioned: why is participating in ordinary market mechanisms the best way to support the developer? capitalism is likewise naturalized by this case when it is advanced as a moral argument against piracy. therefore we can run the same argument: if we have a moral obligation to support game developers, then it's not clear to me why only potential players have that obligation, and so forth (but this time the criticism doesn't apply to all similar arguments, just this one).

however, it often isn't advanced that way, and as a pragmatic argument i tend to agree with it. in fact sometimes they actually have a case for participating in normal market mechanisms: DMC fans want you to buy DMC games because then Capcom will look at their sales figures and decide it's worth making another game. you could argue that they still have capitalist blinkers on because they only advocate you buy one copy, the one you'll play, which is how the game is sold. maybe they should be asking you to buy a hundred copies or whatever. but we don't want them to do that, LOL. and the feeling is usually that there are limits of what you can ask out of someone; when one DMC youtuber was spending quadruple digits on a DMC-themed gacha, his viewers expressed concern and encouraged him to stop. so cheers to DMC players.

in fact, there might be ethical reasons to only ask someone to purchase a copy of something in the normal way: when i try to get you to buy one of Xraftstar / Charity / Porpentine's games, i am doing it because i personally want my friend to succeed, and i want to see their art recognized. this is a kind of moral motivation, but it's the morality of rendering personal obligations; you are not likewise obligated. however, i of course feel there are limits on what i can ask of you, and so, unlike when i make donation posts for my friends who are struggling, i'm only comfortable encouraging you to purchase a copy of something i think will actually render a use-value to you (even if you could still obtain it in other ways and get the same use-value).

but anyway, why specify the developer in the first place? the work put in by the publisher, the developers and maintainers of the platform its sold on, the bandwidth of the payment processor, and so forth, all get left out of the question, even though they are all more or less necessary parts of the normal market mechanisms we're encouraging you to participate in.

i think it's obvious that the anti-piracy advocate of this kind doesn't actually want to advocate for participation in the market economy, like Bush during the recession. they want to be just by the developer because they see the developer as a fellow individual like themselves; they actually want to cut through the market alienation and simply do right by another person. therefore all of the other capitalists who make money off the sale—publisher, platform, payment processor—are just more big companies, perhaps even leeches we'd be better off without.

it's funny, because historically this view was used to support piracy when it came to music. you used to see a lot of charts like this:

how much of a CD goes to the label, manufacturers and distributors, to show how little really goes to an artist, to shut down people who said you should buy the CD to support them. there's a sort of naive anarchism underlying this: i want to help the individual who made the music i love, who needs manufacturers and distributors anyway?

in this kind of simple moral reasoning, resellers really get shafted. they're seen as scalpers, taking money without producing any value. no one says: 'make sure to support resellers!' thus we never ask who the individual behind all of the market alienation the resller is. whoever they are they don't deserve the money. then, when you are poor and struggling, and cannot afford to buy things for yourself, what do people tell you to do? sell your games, CDs...

but i don't want to be too sarcastic here, because there is nothing funny about this impulse to reach through market alienation and connect morally with another individual. it is the essence of emancipation. but hear my argument: purchasing commodities from them is an unsatisfactory way to realize it. it's true that you can certainly help someone by buying what they sell; many of us rely on this to a greater or lesser extent, and, pragmatically, i hope we'll all buy Nadia Nova's next game and put food in her belly. but systematically, not in this or that case, but as a general moral principle, the commodity form, the exchange of cash for things or copies of things—this is the very thing that reproduces these conditions of alienation in the first place. and these relations—their predictability as a feature of the market, or even their scarcity as a part of a volatile and impermanent system—is what habitually places the developer in a condition of alienation from their labour, coaxing them to give up their so-called intellectual "property", then forbidding them from using the games they made; or by seducing them into placing their music on a platform, then offering them increasingly small margins and less control; or to post their content (qua sex workers) on a paywall platform, which then imposes complex payout structures to keep them from claiming their earnings. and so forth. the desire to reach through all of the noise and support the individual is inevitably captured, redirected, and fed upon in as many ways as it can be, until the whole thing crashes down and the cycle starts again.

therefore, should you purchase or pirate the next game you want to play? Remember Ptahhotep: "The noble who sitteth before food divideth it as his soul moveth him; he giveth unto him that he would favour."

[gfs-tanks]

The Essential Role of Grain Silos in Modern Agriculture

Grain silos play a vital role in agriculture, providing a secure and efficient means of storing harvested crops. With global demands for grains continuously rising, proper storage solutions have become essential to minimize losses and maintain crop quality. This article explores the importance of grain silos, their benefits, and how Center Enamel’s innovative solutions support agricultural efficiency and productivity.

What Are Grain Silos?

Grain silos are large storage structures specifically designed to hold bulk materials like wheat, corn, rice, and other grains. Silos help protect these crops from environmental factors, pests, and spoilage, ensuring that harvested grains remain fresh and viable for extended periods. Silos are typically cylindrical and made from materials such as steel, concrete, or epoxy-coated panels, depending on specific storage needs and regional requirements.

Benefits of Grain Silos

1. Extended Shelf Life for Crops

   By providing a controlled environment, silos help extend the shelf life of stored grains. They keep moisture levels low and maintain a stable temperature, protecting crops from mold and rot, which can occur with prolonged exposure to humidity and temperature fluctuations. This ensures farmers and distributors can store grains over longer periods without sacrificing quality.

2. Protection Against Pests and Contamination

   Silos are designed to be airtight and are often equipped with advanced sealing systems to prevent pest infiltration. By keeping out insects, rodents, and birds, silos protect stored grain from contamination and waste, which helps preserve the integrity of the harvest and ensures food safety for consumers.

3. Efficient Use of Space

   Grain silos maximize storage capacity while occupying minimal ground space, which is essential for large-scale agricultural operations. With a vertical structure, silos can hold significant quantities of grain in a compact area, making them an ideal solution for farms where space is limited.

4. Cost-Effective and Scalable Solution

   Investing in a high-quality silo can be cost-effective over time, as it reduces crop loss and eliminates the need for frequent maintenance. Silos are also easily scalable; they can be customized to accommodate varying storage capacities, making them suitable for both small farms and large agricultural enterprises.

Applications of Grain Silos

Farm-Level StorageMany farms use grain silos for on-site storage immediately after harvest. This allows farmers to store their grain until market prices improve, ensuring they can achieve optimal revenue from their harvest.

Commercial Grain OperationsGrain silos are widely used by commercial storage facilities that handle grain from multiple farms. With their high capacity and advanced ventilation and aeration systems, commercial silos ensure that grain remains fresh during prolonged storage periods.

Feed and Biofuel ProductionGrain silos are also essential for industries that use grains for animal feed or biofuel production. They provide a consistent and reliable supply of raw materials, supporting efficient production workflows and meeting high demand for feed and biofuels.

Why Choose Center Enamel Grain Silos?

With over 30 years of expertise, Center Enamel is a trusted provider of high-quality grain storage solutions. Our silos are crafted with durable materials like glass-fused-to-steel, offering corrosion resistance, enhanced durability, and low maintenance requirements. Center Enamel grain silos are designed to meet international standards and can be customized to meet specific storage needs, making them ideal for any agricultural or commercial operation.

Grain silos are indispensable to modern agriculture, offering a cost-effective, efficient, and secure way to store bulk grains. Center Enamel provides tailored silo solutions that enhance productivity and ensure long-term crop preservation, helping to meet the demands of the global agricultural market. For reliable and innovative grain storage solutions, Center Enamel is the ideal partner in advancing agricultural storage capabilities.

[ashu-digiroads-01]

 Navigating Climate Change: The Middle East Red Meat Supply Chain

Introduction:

In recent years, climate change has emerged as a defining challenge of our time, impacting every corner of the globe, including the Middle East. As temperatures rise and extreme weather events become more frequent, various sectors, including agriculture, are grappling with the consequences. Among the industries feeling the heat is the Middle East red meat market, which is facing complex challenges along its supply chain due to climate change.

Understanding the Middle East Red Meat Market:

The Middle East has a rich tradition of consuming red meat, with beef, lamb, and goat being staples in many regional cuisines. However, as the population grows and urbanization accelerates, the demand for red meat has surged, putting pressure on the entire supply chain, from livestock production to distribution and consumption.

Climate Change Impacts on Livestock Production:

Climate change poses significant challenges to livestock production in the Middle East. Rising temperatures, prolonged droughts, and unpredictable rainfall patterns affect the availability and quality of grazing lands, making it harder for farmers to sustain their herds. Heat stress also takes a toll on animal health and productivity, reducing meat yields and increasing mortality rates.

Water Scarcity and Feed Shortages:

Water scarcity exacerbates the challenges faced by the Middle East red meat market. With limited freshwater resources, farmers struggle to provide adequate hydration for their livestock, leading to reduced feed intake and slower growth rates. Moreover, the cultivation of feed crops, such as alfalfa and grains, requires substantial amounts of water, further straining local water supplies and contributing to environmental degradation.

Supply Chain Disruptions:

Climate-related disruptions ripple through the entire red meat supply chain, affecting processors, distributors, and retailers. Extreme weather events, such as floods or sandstorms, can disrupt transportation routes, damage infrastructure, and cause delays in delivering meat products to market. These disruptions not only increase costs but also undermine the reliability of the supply chain, making it vulnerable to further shocks.

Adapting to Climate Change:

Despite the challenges posed by climate change, stakeholders in the Middle East red meat market are taking steps to adapt and build resilience. This includes investing in more sustainable farming practices, such as water-efficient irrigation systems, drought-resistant crops, and improved animal husbandry techniques. Additionally, efforts to diversify feed sources and promote alternative protein sources, like plant-based meats, can help reduce the industry's environmental footprint.

Harnessing Technology and Innovation:

Technology and innovation play a crucial role in mitigating the impacts of climate change on the red meat supply chain. Advances in precision agriculture, data analytics, and remote sensing enable farmers to monitor environmental conditions, optimize resource use, and enhance productivity. Furthermore, research into climate-resilient livestock breeds and genetic engineering holds promise for developing animals that are better suited to withstand heat stress and thrive in challenging conditions.

Collaborative Solutions:

Addressing the challenges of climate change requires collaboration across sectors and stakeholders. Governments, industry associations, research institutions, and civil society must work together to develop and implement sustainable strategies for the Middle East red meat market. This includes policies that incentivize climate-smart agriculture, support small-scale farmers, and promote consumer awareness about the environmental impact of meat consumption.

Conclusion:

Climate change poses profound challenges to the Middle East red meat market, threatening the sustainability of livestock production and the resilience of the entire supply chain. However, by embracing innovation, adopting sustainable practices, and fostering collaboration, stakeholders can navigate these challenges and build a more resilient and environmentally friendly red meat industry for the future. In the face of climate change, adaptation and innovation are not optional – they are essential for ensuring food security, preserving natural resources, and safeguarding the livelihoods of millions across the Middle East.

[kartikchoudhary]

Requirements for Obtaining FSSAI Central License

The FSSAI Central License, a crucial legal authorization granted by the Food Safety and Standards Authority of India (FSSAI), is available to food businesses meeting specific criteria:

Mandatory Criteria:

Annual turnover exceeding Rs 20 crores, or

Operations spanning multiple states, or

Monthly or annual production surpassing the prescribed threshold limit.

Special Conditions for Application:

Initiating a business in Nutraceuticals and Health Supplements.

Engaged in transportation with a fleet of more than 100 vehicles.

Operating a hotel with a 5-star or 7-star rating.

Additional Criteria for FSSAI Central License Include:

Dairy facilities producing milk solids with an annual production of 50,000 liters or 2,500 megatons.

Processing facilities involved in vegetable oil production with a daily volume of 2 MT.

Slaughter facilities with a daily capacity of:

50 large animals,

150 small animals,

1,000 poultry birds.

Meat processing facilities with a daily production capacity of 50 KG or 150 megatons.

Food processing facilities with a daily production volume of 2 megatons.

Food businesses engaged in shipping food articles abroad.

Facilities with refrigeration or cold storage having a storage capacity of 1,000 megatons or more.

Wholesalers in the food business with an annual turnover exceeding Rs 30 crores.

Retailers and distributors of food articles with an annual turnover exceeding Rs 20 crores.

Catering services or food marketing businesses with a yearly turnover exceeding Rs 20 crores.

Restaurants and eating houses with an annual turnover of INR 20 Crore.

Food catering services operating in government-based agencies, including seaports, airports, etc.

Adhering to these comprehensive criteria ensures that businesses obtain the FSSAI Central License, emphasizing compliance with food safety standards and regulatory measures.