#film facilitation service

[productionbynomad]

Elevating Cinematic Dreams- Unveiling the Dynamic World of Film Production Services in Dubai

Dubai, with its iconic skyline, golden deserts, and vibrant culture, has emerged as a global hotspot for film-making. As a city that seamlessly blends tradition with innovation, Dubai offers a plethora of film production services that cater to the diverse needs of filmmakers from around the world. In this article, we delve into the dynamic world of film production services in Dubai, exploring the unique offerings and opportunities that make it a filmmaker’s paradise.

Location Scouting: A Cinematic Playground-

Dubai’s diverse landscapes serve as a cinematic playground for filmmakers. From the futuristic architecture of downtown Dubai to the tranquil beauty of the desert dunes, the city offers a myriad of stunning backdrops for film productions. Film production services in Dubai specialize in location scouting, ensuring that filmmakers find the perfect setting to bring their stories to life.

State-of-the-Art Facilities: Where Creativity Meets Technology-

Dubai boasts state-of-the-art production facilities that rival those found in any major film-making hub. Studios such as Dubai Studio City and twofour54 offer world-class infrastructure for shooting, post-production, and animation. Equipped with cutting-edge technology and experienced professionals, these facilities provide filmmakers with the tools they need to bring their creative visions to fruition.

Multicultural Expertise: Navigating Language and Culture-

With its diverse population and international appeal, Dubai is a melting pot of cultures and languages. Film production services in Dubai offer multicultural expertise, ensuring seamless communication on set and authentic representation of diverse cultures in films. Whether it’s Arabic, English, or any other language, Dubai’s multicultural environment provides filmmakers with the resources they need to tell their stories to a global audience.

Financial Incentives: Supporting Filmmakers-

To further support the growth of the film industry, Dubai offers financial incentives to attract international productions. These incentives include rebates on production spending and co-production opportunities with local companies. With its favorable economic environment and commitment to nurturing talent, Dubai provides filmmakers with the support they need to bring their projects to life.

Legal Assistance: Navigating the Regulatory Landscape-

Navigating the regulatory landscape can be challenging for international filmmakers. Film production company in Dubai offer legal assistance, helping filmmakers obtain permits, visas, and clearances for international crews and equipment. With their expertise in local regulations, these services ensure a smooth and hassle-free production process for filmmakers.

Conclusion-

Dubai’s film production services are a testament to the city’s commitment to fostering creativity and innovation. With its stunning landscapes, state-of-the-art facilities, multicultural expertise, financial incentives, and legal support, Dubai provides filmmakers with everything they need to bring their cinematic dreams to life. As the city continues to invest in its film industry and attract talent from around the world, Dubai solidifies its position as a global hub for film making and a destination of choice for filmmakers seeking to create unforgettable cinematic experiences.

Original Source: film production services Dubai

[mediamixs]

Meet Frodo, the star cat from A Quiet Place: Day One

Frodo, the tuxedo cat, is a standout character in A Quiet Place: Day One, serving as a crucial narrative device and emotional anchor in the film. Played by two real cats, Nico and Schnitzel, Frodo is the service animal of the main character Samira, portrayed by Lupita Nyong'o.

Director Michael Sarnoski was adamant about using real cats instead of CGI, as he wanted to capture the unpredictable and authentic nature of felines in the high-stakes, post-apocalyptic setting.Frodo's silent movements and instinctual understanding of the need for quietness in the face of the sound-sensitive alien creatures add an extra layer of tension and suspense to the film.

Frodo's presence also facilitates the chance encounter between Samira and the British law student Eric, played by Joseph Quinn. By following Frodo, Eric is able to find and assist Samira, leading to their perilous journey together through the devastated New York City. The cat's role as a narrative device is crucial, as without Frodo, the two main human characters may have never crossed paths.

Nyong'o, who was initially fearful of cats, overcame her trepidation during filming and developed a fondness for Nico and Schnitzel, the cats portraying Frodo. This personal journey is reflected in the on-screen bond between Samira and her feline companion.

Overall, Frodo's resilience, silent presence, and emotional significance make him a standout character in A Quiet Place: Day One, subverting common post-apocalyptic tropes and adding a heartwarming element to the thrilling survival story.

[aronarchy]

A copy of the reading list, if you dislike clicking on Google docs links:

The Popular University of the Palestinian Youth Movement Presents Our History of Popular Resistance: Palestine Reading List 

As Palestinians, we are bearers of a rich and beautiful history. Our history is not defined by Zionism, but by our people’s steadfast popular resistance to Zionist colonization and imperialism. For over 75 years, our people have faced Zionist ethnic cleansing and for over 75 years we have risen in struggle against it. Even prior to the 1948 Nakba, Palestinians consistently rose up against British imperialism and the Zionist movement, as exemplified in the 1936-9 Arab Revolt. Our history and struggle, therefore, cannot be defined by victimhood. Instead, they are defined by a relentless persistence toward liberation, even under the most brutal colonial conditions.

Today is no exception. In a moment when the word is rising up for Palestinian freedom, we must emphasize that popular uprisings across Palestine are deeply and firmly rooted in our history. For this reason, our recommended reading list offers historical context on Palestine through the prism of popular resistance, which continues to be our main resource in the fight for land, return, and liberation. We include sources in English and Arabic on popular resistance ranging from political histories, interviews, memoirs, poetry, films, and primary documents. By popular resistance we refer to all forms of resistance taken up by Palestinians: in the form of economic resistance, women’s organizations, unions and labor organizing, and military/armed resistance.

As the Popular University, a committee of the Palestinian Youth Movement, we believe that education must be wielded in service of struggle. Our viewpoint finds inspiration and guidance from the Popular University in Palestine, of which the martyred Basel al-Araj was a part. In our meeting with an educator in this project, Khaled Odeitallah, he emphasized how the political role of pedagogical strategies inspired the objective and vision of the Popular University. He asked: “What is the political role that knowledge production must play?” From this perspective we seek to motivate, engage and facilitate a robust engagement on the history and present of our struggle. Study and struggle are intimately tied to one another.  We do not learn and produce knowledge on Palestinian history for academic or careerist pursuits; we produce knowledge in service of our political struggle for Palestinian liberation.

We encourage you to use this reading list to educate yourself on the history of Palestine beyond the objective facts of colonial domination. This is a political responsibility for anyone concerned with Palestine’s liberation. Through engagement with our history of resistance, we may join the struggle armed with knowledge and a continued commitment not to our suffering, but to our collective strength.

Note: We included a number of texts in Arabic that offer analysis and context for this battle that is rarely offered in the English media outlets. Even if you do not read Arabic, we recommend copy pasting the texts in Arabic into Google Translate or another translation service. The translation, while imperfect, will provide you with an overall sense of the arguments and main points being made.

Introductory and Archival Materials

Decolonize Palestine 

(مكتبة سبيل (الصفحة العربية 

Sabil Library (English Site) 

Learn the Revolution

باب الواد - الجامعة الشعبية 

Revolution and Rebellion under the British Occupation:

The Revolution of 1936-1939 in Palestine: Background, Details, and Analysis, Ghassan Kanafani

(ثورة 1936- 1939: خلفيات وتفاصيل وتحليل.“ غسان كنفاني (1972”

Memories of Revolt: The 1936-1939 Rebellion and the Palestinian National Past, Ted Swedenburg (1995)

أبو جلدة والعرميط Abu Jilda & Al ‘Armit

“Abu Jilda, Anti-Imperial Hero: Banditry and Popular Rebellion in Palestine,” Alex Winder (2015)

“A century of Palestinian resistance: the legacy of Izz ad-Din al-Qassam,” The East is a Podcast (2021)

Palestine: A Modern History, Abdul-Wahhab Kayyali (1978) 

Palestinian Resistance 1948 - 1993

Palestinian history doesn’t start with the Nakba by PYM (May, 2023)

Armed Struggle and the Search for a State: The Palestinian National Movement, 1948 - 1993, Yezid Sayigh (1997)

(معنى النكبة“ قنسطنطين زريق (1948”

Palestinians: From Peasants to Revolutionaries, Rosemary Sayegh (1979)

(2006) “من التحرير إلى الدولة: تاريخ الحركة الوطنية الفلسطينية، 1948-1988” هيلغا بوبغارتن

Green March Black September: The Story of the Palestinian Arabs, John Cooley (1973)

“Interview with Fr. Shehadeh Shehadeh on the First Land Day Protest,” Sharif Hamadeh (2005)

Gender in Crisis: Women and the Palestinian Resistance Movement, Julie Peteet (1991)

“What the Uprising Means,” Salim Tamari (1988)

“The Stone and the Pen: Palestinian Education During the 1987 Intifada,” Yamila Hussein (2005)

Popular Resistance in Palestine: A History of Hope and Empowerment, Mazin Qumsiyeh (2011)

(وقع الانتفاضات الشعبية الديمقراطية - تاريخ المنظمة و الحر كات“ جميل هلال (2011”

“Fighting on Two Fronts: Conversations with Palestinian Women” Soraya Antonius (1979)

“100 Years of Palestinian Popular Resistance” by Nasreen Abd Elal (May, 2023)

Contemporary Palestinian Resistance 

Zionism in crisis: Palestinian resistance forges a new horizon (April, 2023)

“The Palestinians’ inalienable right to resist,” Louis Allday (2021)

“No Choice but to Break Free: An Interview with Ahmed Abu Artema,” Ahmed Abu Artema and Lara Sheehi (2019) 

Interview with Ahmad Saadat, Leading from Prison, Ending Negotiations, and Rebuilding the Resistance (2013) 

“Palestinian Resistance and Sheikh Jarrah,” Devyn Springer, Mohammed el-Kurd, and Abu Shuwarib, Groundings Podcast (2021)

Notes from the Great March of Return w/ Tareq Loubani, The East is a Podcast (2022)

(هبّة باب العامود: نصر جديد وتحدٍّ جديد 2“ خالد عودة الله (2021”

(حراك «طالعات» الفلسطيني: لا وجود لوطن حرّ إلّا بنساء حرّة“ حلا مرشود (2019”

Operation Sword Edge [2018] - Sayaret Matkal’s Covert Operation, Silah Report (2021)

Battle of Shujaiya - The 51 Day War: Ruin and Resistance in Gaza

The Evolution of the Palestinian Resistance and Its New Strategy (October, 2022)

On the Joint Operations Room

Palestinian Institutions and Political Parties

PLO: History of a Revolution - Six-part documentary series about history of the Palestinian Liberation Organization (2009)

The PLO: The Struggle Within, Alain Gresh (1985)

“The Joy of Flying 1967-73” in The Palestinian Liberation Organization: People, Power, and Politics, Helena Cobban (1984)  

“The Palestinian National Covenant,” published in Basic Political Documents of the Armed Palestinian Resistance Movement, Leila Kadi (ed.) (1969)

“PLO Institutions: The Challenge Ahead,” Jamil Hilal (1993)

“A New Hamas Through Its New Documents,” Khaled Hroub (2006)

Worker Mobilization, Labor Movements, and Economic Resistance 

“When pickles become a weapon: Economy of the first Intifada,” Palestinian Journeys

(أداء المؤسسات الاقتصادية في المناطق المحتلة قبل الانتفاضة وخلالها“ عادل سمارة (1990”

“Developing a Palestinian Resistance Economy through Agricultural Labor,” Rayya El-Zein (2017)

Resistance in Zionist Prisons

(2021) كلام الأسرى.. عيون الكلام 

Video: Steadfastness and Resistance — the Palestinian prisoner’s movement and the case of Ahmad Sa’adat

“One Man as a Whole Generation: The Unfinished War of Zakaria Zubeidi,” Ramzy Baroud (2021)

“Liberating a Palestinian Novel from Israeli Prison,” Danya Al-Saleh and Samar Al-Saleh (2023)

“The Prisoner Walid Daqqah: a stubborn conscience that cannot be seared,” Wisam Rafeedie (2023)

“Freedom or Martyrdom: Walid Daqqah’s fate is in our hands,” PYM (2023)

“Resistance and Revolutionary Will: Soha Bechara and Nawal Baidoun’s Testimonies of Khiam Prison,” Mary Turfah (2023)

Role of Palestinian Women in the Resistance

Interview with Samira Salah (2013)

Behind the intifada: Labor and Women’s Movements in the Occupied Territories, Joost R. Hiltermann (1991)

Palestinian Women and the Intifada, Rana Khoury (1995)

“The Palestinian women’s autonomous movement: Emergency, dynamics and challenges,” Rabab Abdulhadi (1998)

“Women of the Intifada: gender, class and national liberation,” Nahla Abdo (1991)

Women, War, and Peace: Reflections from the Intifada, Nahla Abdo (2002)

Palestinian Women’s Activism, Islah Jad (2018)

Memoirs and Personal Profiles 

“Committed to Liberation: Remembering Soha Bechara’s Clandestine Mission” (includes chapter 7 of Resistance: My Life for Lebanon by Soha Bechara)

My People Shall Live, Leila Khaled (1971)

Liberation, Wonder, and the “Magic of the World”: Basel al-Araj’s I Have Found My Answers, Hazem Jamjoum (2021)

(وجدت أجوبتي: هكذا تكلم الشهيد باسل الأعرج“ باسل الأعرج (2018”

(مذكرات نجاتي صدقي“ ،تقديم وإعداد حنّا أبو حنّا، (2001”

“I Went to Defend Jerusalem in Cordoba: Memoirs of a Palestinian Communist in the Spanish International Brigades,” Najati Sidqqi (2015)

“Two Portraits in Resistance - Abu ‘Umar and Mahjub ‘Umar,” Jehan Helou and Elias Khoury (2012)

My Life in the PLO: The Inside Story of the Palestinian Struggle, Shafiq al-Hout and Jean Said Makdisi (2019)

Lightning through the Clouds: ‘Izz al-Din al-Qassam and the Making of the Modern Middle East, Mark Sanagan (2020)

جيفارا غزة - القصة الكاملة لبطل فلسطيني حارب الاحتلال ببسالة

جيفارا غزة - وثائقي الميادين 

Historical fiction, literature, and poetry 

The Trinity of Fundamentals, Wisam Rafeedie

“Live Like a Porcupine, Fight Like a Flea,” A Translation of an Article by Basel Al-Araj

“Here We Will Stay,” Tawfiq Zayyad (1966)

Poetry of Resistance in Occupied Palestine, translated by Sulafa Hijjawi (Baghdad, Ministry of Culture and Guidance, 1968)

Returning to Haifa, Ghassan Kanafani (1969)

الأدب الفلسطيني المقاوم تحت الإحتلال 1948ـ1968“ ,غسان كنفاني”

“Resist, My People, Resist Them,” Dareen Tatour (2015) 

(نظرية اللعبة“ خالد عودة الله (2018”

Rifqa, Mohammed El-Kurd (2021)

“A Place Without a Door” and “Uncle Give me a Cigarette”—Two Essays by Palestinian Political Prisoner, Walid Daqqah (2023)

On Zionist Literature, Ghassan Kanafani (1967 original, 2022 English translation)

Films

Fedayin: Georges Abdallah’s Fight (2021)

Naila and the Uprising (2017)

Off Frame AKA Revolution Until Victory (2015)

When I Saw You, Lamma Shoftak (2012)

Slingshot Hip Hop (2008)

Leila Khaled: Hijacker (2005)

Jenin Jenin (2002)

Naji al Ali An Artist With a Vision (1999)

Tell Your Tale Little Bird (1993)

Everything and Nothing (1991)

They Do Not Exist (1974)

Palestine Books Library

To search for the book you’d like:

[responsivethoughts]

The F-14 Tomcat

The F-14 Tomcat, an iconic American supersonic fighter jet, gained fame for its swing-wing design and role as a carrier-based interceptor. Developed by Grumman for the US Navy, it entered service in 1974 and was retired in 2006.

The F-14 Tomcat garnered notable performance records during its illustrious service. In 1974, an F-14A set a world speed record, reaching 1,606.342 miles per hour (2,585.086 kilometers per hour) over a 500-kilometer closed-circuit course. Its remarkable speed capabilities were underscored by its ability to exceed Mach 2.

In combat, the F-14 demonstrated exceptional effectiveness, participating in pivotal military operations such as the Gulf War and Operation Enduring Freedom. Its swing-wing design and Pratt & Whitney TF30 turbofan engines endowed it with agility and versatility, enabling precise maneuvering and long-range engagements.

Armed with radar-guided missiles and a powerful radar system, it was designed for air superiority and fleet defense. The Tomcat played a crucial role in various conflicts, including the Gulf War. Its advanced avionics and long-range capabilities made it a formidable adversary.

The F-14's advanced radar systems, including the Hughes AN/AWG-9 and later the AN/APG-71, facilitated multi-target tracking and engagement, particularly with the AIM-54 Phoenix missile system.

Beyond its performance in flight, the F-14 left an indelible mark on popular culture, immortalized in the film "Top Gun." Its enduring legacy as a symbol of American military power and aviation excellence continues to captivate enthusiasts and historians alike.

Though retired, its legacy endures as a symbol of naval aviation prowess and technological innovation.

[astroismypassion]

✨PART OF FORTUNE IN SIGNS AND HOUSES SERIES: 9TH HOUSE✨

Credit: Tumblr blog @astroismypassion

ARIES PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Aries and Sagittarius Sun people in your life. You would do well as a personal trainer or fitness instructor since you have great energy and motivation that can inspire clients to achieve health and fitness goals. You feel abundant when you are inspired and inspiring others and when you can experience the childlike joy and share it with those around you.

TAURUS PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Taurus and Sagittarius Sun people in your life. You can earn money via teaching about practical skills, business, economics or the arts, via creating and selling educational content (online courses, e-books, instructional videos), by becoming a travel writer or blogger, starting or managing a tourism-related business (travel agency, boutique hotel or guided tour company), via international law.

GEMINI PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Gemini and Sagittarius Sun people in your life. You can earn money via developing or working with educational technology platforms that facilitate online learning, via work in international business/trade, via diplomacy, engaging in media production, creating content for TV, radio or online platforms.

CANCER PART OF FORTUNE IN THE 9TH HOUSE

You can feel the most abundant when you have Cancer and Sagittarius Sun people in your life. You can earn money via selling home-brewed beer or offering brewing classes, via media content (podcasts, videos) connected with family relationships, emotional health, cultural traditions, life coaching, via real estate related to family homes, community housing, vacation properties that provide a sense of home and comfort, via non-profit organizations that focus on family support, emotional well-being and cultural preservation.

LEO PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Leo and Sagittarius Sun people in your life. You can earn money via providing high-end services, such as image consulting or bespoke travel planning, via engaging in theatre, film, directing, producing, via creative arts (music, painting, dancing), via sharing your experiences by storytelling, via teaching, arts, philosophy or leadership.

VIRGO PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Virgo and Sagittarius Sun people in your life. You can earn money via nutrition counselling, naturopathy, wellness coaching, preventative care, via writing for technical and scientific publications, via developing or managing programs that facilitate cultural exchanges and study abroad opportunities. You feel abundant when you are focused on service and when you have clear communication.

LIBRA PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Libra and Sagittarius Sun people in your life. You can earn money via becoming a make-up artist, creating tutorials or selling beauty products. You feel abundant when you travel with your loved ones, your partner or as a part of the team. You find wealth via becoming a teacher in subjects like art, design, law or philosophy. You find abundance in starting a business in art (art gallery, design studio, fashion brand).

SCORPIO PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Scorpio and Sagittarius Sun people in your life. You can earn money via esoteric studies, sociology, spiritual transformation, via energy work, shamanic healing, transformational coaching. You feel abundant when you dive into transformation, healing and deep psychological insights. You can also offer consulting services in areas, like crisis management, organizational transformation or deep personal development. You feel abundant when you promote healing and transformation via self-help books, wellness products or spiritual tools.

SAGITTARIUS PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Sagittarius Sun people in your life. You can earn money via offering tailored travel plans, starting a business in adventure tourism (offering hiking, trekking and cultural tours), offering spiritual counselling or coaching, helping others find their path and purpose.

CAPRICORN PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Capricorn and Sagittarius Sun people in your life. You can earn money via import/export, global consultancy, multinational corporations, via offering historical tours, archaeological digs, via eco-tourism, via international law or corporate law. You feel abundant when you are disciplined, patient and persistent.

AQUARIUS PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Aquarius and Sagittarius Sun people in your life. You can earn money via writing or speaking about progressive philosophical or spiritual ideas that align with modern, futuristic or humanitarian values, via online courses, workshops or alternative education methods, via technology, social sciences or futuristic studies.

PISCES PART OF FORTUNE IN THE 9TH HOUSE

You feel the most abundant when you have Pisces and Sagittarius Sun people in your life. You can earn money via producing media content (podcast, video, documentary) on spiritual, artistic, cultural topic, via creating educational programs/workshops that blend traditional learning with holistic or spiritual perspective, via spiritual coaching, astrology or psychic readings.

Credit: Tumblr blog @astroismypassion

[drdemonprince]

don’t know if this is relevant to your ask box, but I thought you might find it interesting.

I’m a 20 yr old trans man who’s just started an ongoing thing with a new Dom, who is over twice my age. I’m currently finishing up my second year at uni, and he’s, you guessed it, also the, uh…. academic sort.

He’s a busy guy so obviously we can only meet up every once and a while, but we text almost every day. From the beginning he was always curious about my school endeavours, but recently it’s become more of a thing.

He won’t let us meet until certain assignments are done. He’s flexible and understanding, like any good dom, but holy shit this man had me at a cafe for ten hours on 40mg of vyvanse writing my final essay like my life depended on it. I didn’t even know who I was, motivated by the pure need to please and, quite frankly, desperate desire to be absolutely taken and used. This man has “cured” my ADHD (not really, but damn well is he fucking helping it).

I think the point I’m getting at here it that I can’t believe it took the motivation of my D/s relationship to get me to get shit done. Like, I’m done DAYS before the deadline for things I usually would have left last minute. I’ve been honest with my struggles with motivation and difficulties taking care of myself, and he is genuinely invested in my well-being so I know it all comes from a place of care and respect.

At the moment I’m working on my final short film for a class, and he told me to make a list of all the foley sounds I thought would help drive the narrative (he knows I love making lists, it’s also the autism), and as probably one of the best rewards for my good behaviour, he shared with me a collection of audio files (he dabbles in audio mixing) that were relevant to the list I shared. Can you believe this??!!

All these studentxprof fics are getting it wrong. Sometimes nothing comes between a teacher’s genuinely investment in student learning (if they enjoy what they do, like he does) and that is absolutely true in this case. Absolutely unbelievable this is my life right now. Would love to hear your thoughts on this!

This sounds so fucking sweet and HOT anon! I'm so glad you're having an exciting time with an older dom who cares about you and helps you meet your goals! And the phrasing of this guy making you write for hours on vyvanse is especially titilating...making it sound like an intox scene omg drool

ADHDers are generally very socially motivated, which is not rare for human beings at all. It makes sense that having the external structure that an outside observe can provide and the sense that your actions actually matter to other people and that people care about you would help facilitate you focusing on shit and getting organized! Not to mention how much fuckin easier it is to perform any kind of household task or bit of drudgery once it becomes sexual service. Shit gives boring regular life a charge of excitement, and the abdication of power gives you the discipline to actually follow through, because you're not the only one on the hook for everything and that's less scary!

I have nothing much more to say other than this rules and I hope you keep having a fun time!

[dynared]

As Dreamworks's deal with Netflix for exclusive shows expires (they first signed a deal with Hulu for exclusives and now seem to be given shows to them and Peacock), shows have begun to leave the service en masse. However, due to the nature of staggered contracts, many of these shows will not be leaving Netflix for at least a year, while others may have several years left on the service. What's on Netflix did some calculations based on when the final seasons were added and came up with some removal dates for the shows -

Voltron: Legendary Defender (N Original)December 14, 2018 December 14, 2024

She-Ra and the Princesses of Power (N Original)May 15, 2020 April 10, 2026

3Below: Tales of Arcadia (N Original)July 12, 2019 August 7, 2026

Wizards: Tales of Arcadia (N Original)August 7, 2020 August 7, 2026

Trollhunters: Tales of Arcadia (N Original)May 25, 2018 August 7, 2026

There are plenty of other expiration dates on that list, but these are the big ones I noticed, mostly because they were attempts at franchise creation that fell completely flat. Voltron's big-budget Amazon movie is due for a 2025 release in a best-case scenario (worst-case scenario is more Robotech-style development hell) and with the rollout of a lot of classic Voltron merchandise including the oft-mentioned Voltron beer, the plan to erase VLD from everything come the film release is well underway. Dreamworks doesn't seem to mind, since they're still the video distributor for DOTU on behalf of World Events Productions, their name is on the Voltron beer.

She-Ra is a similar story. The franchise is also with Amazon via Dreamworks, for a live-action show directed by one of the directors of the Watchmen TV show. Hopefully, whoever plays Hordak can chew the scenery as hard as Jeremy Irons did. It probably will air sometime in 2025-2026 best case scenario as well, just in time to see SPOP eliminated from everything (something Mattel is only too happy to facilitate given their release of classic She-Ra figures for their Masterverse brand of toys).

Trollhunters was meant to be a franchise but despite a lot of big names attached to it, it went absolutely nowhere and everyone seems to have disavowed the whole thing after the ending. So it's just getting tossed to one side.

The internet means IP gets recycled and discarded faster and faster these days. And these are three examples of shows set to disappear from the face of the earth, to the glee of the license holders.

[visit-new-york]

What is the purpose of the Brooklyn Bridge?

Standing majestically over the East River, the Brooklyn Bridge is not just a remarkable feat of engineering; it is a symbol of ingenuity, resilience, and progress. Completed in 1883, the bridge has played a pivotal role in connecting the boroughs of Manhattan and Brooklyn, fostering economic growth, cultural exchange, and urban development. As we delve into the history and design of this iconic structure, it becomes clear that the Brooklyn Bridge serves a multifaceted purpose that extends far beyond its physical function as a pathway for vehicular and pedestrian traffic.

Connecting Communities

The primary purpose of the Brooklyn Bridge is to serve as a vital link between the bustling boroughs of Manhattan and Brooklyn. Before its construction, travel between these two areas was primarily dependent on ferries, which were often unreliable and limited by weather conditions. The bridge, with its impressive span of 1,595 feet, revolutionized transportation, making it more efficient and accessible. This connectivity not only facilitated the exchange of goods and services but also brought together diverse communities, fostering social and economic integration.

Architectural Marvel

Designed by John A. Roebling, a German-born civil engineer, the Brooklyn Bridge is a masterpiece of 19th-century engineering. The use of innovative techniques, such as the use of steel cables to support the bridge's weight, set new standards in bridge construction. The twin towers and the Gothic-style arches give the bridge a timeless aesthetic appeal, contributing to its iconic status. Beyond its functional purpose, the bridge stands as a testament to human innovation and serves as an inspiration for architects and engineers worldwide.

Economic Catalyst

The Brooklyn Bridge played a pivotal role in stimulating economic development on both sides of the East River. By reducing travel time and facilitating the movement of goods and people, the bridge catalyzed economic growth in Brooklyn, turning it into a more accessible and attractive location for businesses. The increased connectivity contributed to the expansion of trade and commerce, transforming the economic landscape of the entire region.

Cultural Symbolism

Beyond its tangible contributions to transportation and commerce, the Brooklyn Bridge holds immense cultural significance. Its iconic silhouette against the Manhattan skyline has made it a symbol of New York City and the American spirit. Countless films, novels, and artworks have featured the bridge, embedding it in the collective consciousness of people around the world. The bridge represents not only physical connection but also the aspirations and dreams associated with the American experience.

Legacy and Influence

As the Brooklyn Bridge approaches its 150th anniversary, its legacy endures. The bridge has become a cultural touchstone, inspiring poets, writers, and artists to capture its essence. Moreover, its design and engineering principles have influenced subsequent bridge construction projects globally. From San Francisco's Golden Gate Bridge to Sydney's Harbour Bridge, the Brooklyn Bridge has set a standard for excellence in bridge design and construction.

Conclusion

The Brooklyn Bridge's purpose extends far beyond its role as a physical connector between Manhattan and Brooklyn. It is a symbol of progress, a testament to human ingenuity, and a catalyst for economic and cultural growth. As it continues to stand as an enduring icon, the Brooklyn Bridge remains a testament to the power of infrastructure to shape cities and define the spirit of a nation.

[bronzetomatoes]

do y'all fuck w my essay

The Shift From Broadcast TV To Made-For-Streaming Has Hurt Its Impact As A Medium

TV shows have long been one of the most widely efficient ways to share a story, but could that be on the decline? While it is considered by some to be a subpar medium, here on the tail end of the Golden Age of Television we have seen the impact a good show can make. While TV shows have invented new subcultures, or new technology (Star Trek, inspiring both the concept of Fandom and the invention of the mobile phone), and series finales have brought whole communities together (M*A*S*H’s finale, Goodbye, Farewell, and Amen, was watched in over 60% of American households), the decrease in popularity of broadcast television could be spelling an end to this. While the concept itself isn’t going away, TV has seen some major shifts over the last number of years, and a lot of it is not looking good. The rise in streaming services is bringing changes to television that negatively impact the viewers, the creators, and the content itself.

Since 2018, networks have seen a decline of over 70% in TV shows with more than 20 episodes per season (Daniel Quinaud, Why Your Favorite TV Shows Are Getting Shorter, March 15th 2024). There hasn’t been a corresponding decrease in runtime, however, with episodes ranging from 40-60 minutes long, compared to the traditional 22-25. This shift has been facilitated by streaming services, as network television was not so often able to accommodate for inconsistent episode lengths. The weekly release schedule of broadcast television also encouraged the longer seasons that used to be typical, but are no longer necessary.

Sources reason that viewers prefer a more tightly-knit narrative, and that it is a struggle to retain viewership all the way through a 20-episode season (Quinaud), but how much of that can be explained by the nature of streaming services? The average viewer is far less likely to binge through 2-dozen episodes within a week of a series being released than they are to tune in once a week for 6 months. Not only this, but the scheduled broadcast will pick up new fans over the course of its airing and rerun cycle, while Netflix (for example) has a tendency to cancel any show that isn’t an overnight success. 

Whether or not the runtime itself has been decreasing, it still feels as though we, the viewers, are receiving a fraction of a TV show. They have too much plot to fit into their 6-episode mini-series, so they cut filler episodes. They cut filler scenes. They reduce any moments of chatter that fail to actively further the plot down to 20 minutes of their 200 minute run time; 10% is enough to explore our characters, how they work, how they act when they’re comfortable. Showmakers are so afraid of our boredom that they refuse to give us time to breathe. Action shows become messy and rushed, sitcoms shove an A, B, C, and D plot into each episode, and dramas give little-to-no time to process emotions because they need your attention. They cannot risk you losing interest.

Quality isn’t the only thing suffering from the shorter seasons, which made their way into the 2023 Writers Guild of America (WGA) strikes. What could have been a stable job becomes gig work; writers are used for 8 episodes (“13 at best,” says Miranda Banks, Marymount University’s chair of film, TV, and media studies (Gili Malinsky, TV and film writers share why they’re on strike, May 13th 2023)), when, in years past, a season meant being “guaranteed to be working for about nine months every year.” This, combined with shrinking writing rooms making it harder to find a job (unrelated to streaming services), was a major blow to writers’ job security. The aforementioned trend of cancelling made-for-streaming programs after a single season was another contributing factor to the writers struggling for work, and all three were components in last year’s strike.

While they don’t have the same problems with writing rooms, actors have struggled with cancellations and short employment periods. An issue exclusive to streaming that impacts both actors and writers, however, is that of residuals. While the creatives involved receive additional earnings from cable reruns, dvd releases, and even licensing to streaming services, they were given little-to-nothing by these services themselves (a major aspect of the 2023 WGA and Screen Actors’ Guild (SAG) strikes). While necessary progress was made, the fact remains unavoidable that those who are underpaid must overwork themselves to make ends meet. As long as artists are hopping between gigs with nothing to hold them over, writing and acting quality cannot be at its best.

The scheduled nature of broadcast television brings more than just structure, though. The consistent release of new episodes, watched at the same time nation-wide, brings a sense of community to fans of the programs. While more streaming services (namely Disney+) have been picking up on the benefits of a weekly release schedule, it isn’t on the same scale (one show at a time being released weekly for a month and a half, compared to multiple channels putting out a year-round new-episode-to-rerun cycle).

Other made-for-streaming programs that drop whole seasons at once are actively limiting the potential levels of discussion around them. Most viewers can’t afford to drop everything to watch a new TV show in one sitting, and in efforts to avoid spoilers they isolate themselves from fans that can. The minority that can binge all of Stranger Things does so, stopping to talk once they’ve completed the series. In doing so, details are missed or forgotten, certain aspects of the second or third episode are glossed over in favour of the more interest premier/finale, and so on. The rush to watch as fast as possible places attention to detail, appreciation of the art form (was it well written? Well directed? How was the acting? How much attention were you paying?), and serious thought as an afterthought to staying ahead. By the time everyone has finished the series, the hype will remain for about a month. By then, there will be something new to watch.

TV shows aren’t going anywhere, but it’s difficult to not see the trends of its decline. While cable becomes less and less popular in favour of on-demand streaming, there are fewer restrictions preventing these patterns from continuing. While we have seen major victories for the workers’ rights of creatives involved, we can only hope that an effort is made on other fronts; that they keep petitioning for shorter episodes and longer seasons, to go with their larger writers’ rooms and extended break times. We can hope that weekly release schedules become more popular across various platforms, but until then, we will continue the same way we have been, lately: rather poorly.

[thedreadvampy]

We had our team Christmas party/goodbye Ruth do today. and I need to show you what my friend at work made me for a leaving present because even for him it's a work of mad genius, I was just sitting there like WHAT. WHAT IS HAPPENING.

so you know, I get leaving gifts from my team, it's lovely, notebooks, pens, gift card, fond farewells, it's lovely, people say nice things about me

then my friend Zain says "I also got you something"

Now the thing to know about Zain is his party acumen is legendary. every year we're all resigned from the off to losing at Secret Santa because his gifts are insane. last year he made his secret santa a custom play set of one of our services in a branded box with tiny props. this year he made a custom Ken doll and box representing our colleague and it has a tiny collection bucket and a "collect them all!" sticker on the back where he'd found pictures of Barbies and Kens that looked like the rest of the Fundraising team. we'd just got done with a quiz where he made a custom video package, a Family Feud round with buzzers, and TWO Photoshop picture rounds. once. ONCE. we asked him to facilitate a team meeting and he wrote and animated a theme song. the man is insane. everything he does is so thoughtful, so labour intensive, and also so off the wall weird.

so I'm intrigued. especially since all he's holding is an envelope.

he says "I got you something. It's kind of an experience."

and hands me this letter.

(there's a bunch of good bits in here but I will particularly note that "It's going" has been his perpetual refrain for months every time I ask how it's going, to the point he usually doesn't even bother saying it any more.)

ok. I am confused. what is. THE DEVICE.

he puts THE DEVICE on the table. he hands me 4 cardboard floppy discs.

THE DEVICE is a large cardboard box. You will observe that THE DEVICE has an LED on the front. You may also observe that THE DEVICE has both a button. and a set of speaker holes.

this is because upon pushing the button on THE DEVICE, it makes a jaunty startup noise and an AI voice launches into a full minute setup speech before instructing me to load the included floppy discs into THE DEVICE. during the period of silence as I feed them into the slot, THE DEVICE says things like "ow, careful!"

THE DEVICE then makes loading noises, and instructors me to open THE DEVICE to see the contents of the discs.

inside the box, there are 4 gifts, each corresponding to a floppy disc and also to a conversation we've had at some point in the last 2.5 years.

this, of course, is in reference to my infamous Blobbyland post, and indeed to the fact that Zain, who is 3 years younger than me, actually FOUND OUT ABOUT MR BLOBBY from me taking about my popular Tumblr post

Gawrsh.zip references a conversation about Goofy dying in Kingdom Hearts, the first video game I remember finishing

EIGHT MONTHS AGO Zain asked me what my top 5 films of all time were and I said easy, Mirrormask, 10 Things, Angels In America, Everything Everywhere All At Once, Fury Road, boom. He's been just HOLDING THAT INFORMATION IN HIS HEAD FOR MONTHS.

the last one is my favourite. I was like oh no what could be in this poster tube cause what's left of the floppies is NIGHTMARE.EXE.

at my Halloween party last month, to which Zain was my only work friend who made it, we watched Nightmare on Elm Street and Zain, who had recently watched some video breakdowns on it, was pointing out humorous background details. and in the sleep therapist scene, both he and Tim pointed at the screen and started shouting TRAM CATS!!! and we were all losing our shit

the thing is there's a Very Weird poster in that scene. and now. now it's in my house also.

anyway I legit almost cried this may be the most unhinged and lovely gift that anyone has ever given me. I'm going to miss working with this weirdo so much.

[productionbynomad]

Unveiling the World of Film Production Services in the UAE

A Hub for Global Filmmaking

The UAE’s strategic location and unique blend of modern and traditional elements make it an ideal destination for filmmakers seeking diverse and exotic settings. Here are some key aspects of film production services in the UAE:

Diverse Locations: The United Arab Emirates boasts an eclectic mix of urban and natural settings. From the futuristic skyline of Dubai to the pristine desert dunes, historical forts, and lush oases, the country offers a rich tapestry of locations for a wide range of film genres.

Production Support: Film production services in the United Arab Emirates encompass a range of logistical and administrative support, including obtaining permits, visas, and clearances for international crews and equipment. Production By Nomad in Abu Dhabi offer state-of-the-art facilities for film production, post-production, pre-production and even animation.

Local Expertise: The UAE’s film industry is supported by a growing pool of local talent, including directors, cinematographers, and technical crew members. The blend of local knowledge and international experience adds a unique flavor to productions.

Incentives and Investments

To further boost the growth of the film industry, the UAE has implemented several incentives and investments:

Financial Incentives: The UAE offers financial incentives to attract international productions. This includes rebates on production spending and co-production opportunities with local companies.

Dubai Film and TV Commission: The Dubai Film and TV Commission provides valuable assistance in securing permits, location scouting, and connecting with local resources.

Film Festivals and Promotion: The UAE hosts renowned film festivals such as the Dubai International Film Festival and the Abu Dhabi Film Festival. These events not only promote local talent but also serve as a platform for international networking.

International Blockbusters and Local Productions

The UAE has been the backdrop for a variety of international blockbusters, including the ‘Fast & Furious’ series, ‘Star Trek: Beyond,’ and ‘Mission: Impossible — Ghost Protocol.’ These films not only showcased the breathtaking landscapes of the UAE but also provided opportunities for local talent and businesses to collaborate with Hollywood.

In addition to hosting international productions, the UAE is also nurturing its indigenous film industry. Local filmmakers have been gaining international recognition with thought-provoking works that reflect the cultural diversity and modernity of the UAE.

The Future of UAE Film Production Services

The UAE’s film industry is poised for continuous growth. The country’s commitment to nurturing talent, expanding infrastructure, and providing a conducive environment for international collaborations is attracting filmmakers from all corners of the globe.

As the UAE continues to carve its name in the world of cinema, its film production services are sure to play a pivotal role in creating spectacular visual experiences that captivate global audiences and shine a spotlight on the rich culture and diversity of the region. With its strategic location, financial incentives, and a passion for storytelling, the UAE’s cinematic journey is set to unfold in ever more thrilling and captivating ways.

Original Source: film production uae

[lesb0]

when you say porn is filming rape and trafficking what do you mean or where did you learn that? i almost got into the industry when i was dating a girl who was up & coming in the industry, but as i met more and more women i was startled by how many of us are survivors of childhood sexual abuse! and i am one too. the only time i’ve met that many survivors in one place is literally in support groups. there were also a couple instances i heard where women would say their consent was violated in some way with a popular male actor and not much happens, sometimes the male actor is dropped from that production company but then makes his own or moves to a different one. it isn’t always like that, i’ve met many women who said they enjoyed their job a lot and i did know women who were self sufficient away from professional porn, they would do pro shoots when they wanted (but didn’t necessarily need) more money. i think most of them would say they enjoyed what they do.

i’ve also met full service sex workers and all of them said they wanted to be able to stop doing that and hopefully get into porn instead. the two aren’t mutually exclusive though. when i asked “if you felt that you could do something else with your career, would you?” sometimes they seemed hesitant to answer, and sometimes they would say “nope, i like what i’m doing!” i think it would be offensive if i didn’t believe them so i did, i believed they had agency as women and i don’t want to patronize or infantilize them. but i was aware the choice to stay in the career is a choice made under patriarchy. i worried for my reputation because you can only do the job for so long, and i didn’t know many women 50+ or what they do after their career slows. i knew one over 40 who has her own production company.

all that was enough for me to steer myself away from porn. there’s something called The Whorearchy and what I wanted to do was be at the top where cam girls, only fans, and amateur self-owned productions were - and then sometimes choose to do professional porn with my girlfriend and a female producer. i knew many women who were happy doing it this way. still, i felt it really wasn’t worth it. i’d rather be poor now and wealthy in old age than the other way around.i was told saying they film rape and trafficking is a popular “swerf” talking point, and i’ve heard conservatives say it too. the statement conjures an image of women on drugs in dank and dirty rooms being told what to do by their pimps. the majority of the women in the porn industry i did know were seriously offended by people saying that, especially those in their amateur productions or doing cam work. however the truth was that they and i knew that once you were famous it would make it difficult to do anything else outside of adult industries. some would say we are all coerced to do work and the industry is abusive not because it’s sex work but because it’s under capitalism. i support decriminalization laws and destigmatization that make life harder for sex workers and increase violence against them.

so when you say that statement do you mean it’s because women can’t leave the industry without serious financial hardship so their consent is not full consent? i’m wondering if there is something i don’t already know.

thank you so much terra!

Yeah I mean porn and sex work as an industrial complex has a systemic structure in which women are tricked into accepting large sums of money, trips, vacations, gifts, drugs, etc on high profile "dates" and then told she will need to "work it off". Sometimes it's filmed, that's how the porn industry thrives now. it's become much easier via influencers and only fans to facilitate this kind of "glamour" trafficking and rape. It's not that they'll leave with a big debt, it's more that they'll make her murder look like a suicide.

Celebrities like prince, drake, diddy, have made money from these kinds of yachting trafficking rings for decades. My ex was in this lifestyle as a dominatrix and stripper before she became trans masc, has to change her name and identity and address every few years. it was all extremely traumatic. I have nothing against girls who stay in the industry but it is absolutely not "just a job".

[mariacallous]

One hundred individuals were sanctioned by Ukraine's National Security and Defense Council on Nov. 18 for their involvement in the kidnapping and illegal deportation of Ukrainian children, including an alleged collaborator whom the Kyiv Independent identified in its investigative documentary film "Uprooted."

Forty Russian legal entities were also included in the sanctions list.

Svitlana Maiboroda, 53, is a former Ukrainian official who began to collaborate with Russian authorities after Russian forces invaded Donetsk Oblast in 2014. She currently works as the head of all social services for families and children in the Russian-occupied parts of the region.

The Kyiv Independent's documentary film "Uprooted," revealed how Russian occupation officials like Maiboroda prevented children in Russian-occupied Donetsk Oblast from being reunited with their legal guardians and were sent to Russia against their will. The Kyiv Independent received a list of 31 Ukrainian children that was deported as a group. Maiboroda facilitated their deportation.

In the documentary film, a journalist from the Kyiv Independent called Maiboroda and asked why she'd organized the illegal deportation of Ukrainian children to Russian territory.

Maiboroda first denied any involvement but then said to put in an official information request. However, the Kyiv Independent is unable to send such requests to Ukrainian territories under Russian occupation.

The Ukrainian government organization Children of War estimates that at least 19,546 Ukrainian children have been kidnapped and forcibly taken, although the actual number is likely much higher.

[upatov]

Building the World's First True Reverse Video Search Engine

While it may not be widely known, no true video search engine currently exists. Services that claim to offer "reverse video search" are, in fact, merely searching via static images or individual frames, and they are transparent about these limitations.

The reason for this is simple: searching entire videos is a highly complex and resource-intensive task. The technical challenges and costs associated with processing full-length videos have made it prohibitive—until now. 

At Comexp Research Lab, we have developed a new approach, based on the Theory of Active Perception (TAPe), that allows us to tackle these challenges with a fraction of the usual computational resources.

Leveraging TAPe, we’ve created an innovative solution capable of handling complex information processing problems in a more efficient manner. This breakthrough has enabled us to develop a new video search engine—essentially Google for videos—which we’ve named TAPe Reverse Video Search (RVS). In this article, we detail the journey toward building this pioneering technology and outline the progress we’ve made to date.

A Tangible Milestone: Creating the First True Reverse Video Search Engine

At Comexp Research Lab, our work has focused on developing services based on our proprietary video-by-video search technology, which mimics the efficiency of human perception. The TAPe model represents a significant departure from traditional search methods by utilizing a perceptual approach rooted in group theory.

In our discussions with peers, investors, and the general public, we typically delve into the Theory of Active Perception (TAPe) and present demonstrations that are conceptually straightforward. Yet, the feedback is often the same: “This is fascinating, but can you show us something more concrete?”

This year, we reached that milestone. We’ve launched a prototype of our video-by-video search engine. Although still in its early stages, the engine indexes videos much like how Google began by indexing text-based websites. In Google’s case, as the volume of indexed sites grew, so did its ability to deliver rapid, relevant search results. The same principle applies to video search, albeit with far greater challenges.

Indexing video content requires substantially more computational resources than indexing text. Even with modern technologies, the process remains slow, costly, and inefficient. For this reason, no major company—Google included—currently offers a fully realized video search engine that searches entire videos. This is where TAPe provides a significant advantage.

Revolutionizing Video Search with TAPe

Our search engine, powered by TAPe, enables users to search a vast archive of indexed video content to locate specific videos. The process begins by comparing the user’s video query against the indexed database and delivering the most relevant matches.

The Theory of Active Perception (TAPe) is a set of novel methods we’ve developed that fundamentally changes how information is processed. This approach allows us to achieve results that are orders of magnitude more efficient than conventional methods—using thousands of times less computational power, less time, and fewer resources overall.

Given the rapidly increasing volume of video content, we began by indexing feature films, documentaries, and TV series. As of now, our system has indexed 80,000 movies. This forms the foundation of our search engine, similar to how textual search engines require comprehensive indexing to be effective.

Additionally, we’ve expanded our capabilities to include television search. Our system tracks broadcasts from major global TV channels, allowing users to discover when and where specific video content, such as TV episodes, has aired. Our next major goal is to index YouTube content, which will significantly enhance the power of TAPe RVS.

Introducing ComexpBot: A Practical Application of TAPe Video Search

To facilitate the use of TAPe RVS and explore potential applications, we’ve developed a Telegram-based bot called ComexpBot. This tool allows users to search for films, TV series, and broadcasts by submitting video fragments instead of traditional text or image queries.

For example, a user might upload a brief clip or GIF, and the bot will quickly identify the corresponding film or series if it exists in our database. The bot returns detailed information, such as the title of the content, links to related websites (like IMDB), and even available trailers.

One of the most striking features of the bot is its ability to recognize videos from small, low-resolution snippets—sometimes as small as 260 pixels. This showcases the efficiency of TAPe’s video sequence processing, which significantly reduces the computational overhead compared to traditional frame-by-frame analysis.

The Underlying Technology: How TAPe Works

Unlike traditional computer vision techniques that rely heavily on convolutional neural networks (CNNs) and deep learning, TAPe employs a unique methodology. Rather than focusing on individual frames, TAPe processes sequences of frames—typically around 5 seconds of video—at once. This approach is counterintuitive but far more efficient than analyzing frames individually, especially considering that a 5-second video segment can consist of 120 to 300 frames.

Importantly, TAPe does not require pre-trained models, as most computer vision systems do. Instead, it learns in real time during the recognition process, much like human perception. This real-time learning enables TAPe to bypass many of the computationally expensive steps involved in traditional video processing. As a result, TAPe can extract the minimal number of features necessary to identify video content, leading to a significantly more efficient search process.

By creating a lightweight “cast” of each video—known as a tape-index—TAPe captures the essential characteristics of the content, which allows for fast and accurate searches. This method drastically reduces storage requirements and computational complexity.

Looking Forward: The Future of TAPe and Video Search

TAPe’s potential extends far beyond its current application in video search. While we are focusing on video recognition and analytics, the underlying technology has broader implications for fields such as artificial intelligence, machine learning algorithms, CPU and GPU development, autopilot systems, and real-time video analytics.

We are also planning to offer the TAPe Video Search API, which will enable researchers and enterprises to analyze vast amounts of video content more efficiently. Additionally, we are developing an extension of the TAPe API for website developers, making it accessible to a wider audience.

One of our most ambitious goals is to index YouTube content, beginning with the platform’s most popular videos. Although this represents only a small fraction of the total content on YouTube, it still amounts to a staggering 2,500 years' worth of video footage. We are confident that TAPe’s efficiency will allow us to tackle this challenge within a reasonable timeframe.

As the use of video content continues to grow exponentially, the demand for efficient, large-scale video search solutions will only increase. TAPe’s revolutionary approach positions it to play a key role in meeting this demand, providing a sustainable and scalable solution for video search in the digital age.

[rwrbmovie]

RE: adapting the book

Quotes from interviews on #RWRBMovie about adapting the book

This post will be updated as content is released

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Last updated: August 9

From Glamour

Says Galitzine, “We were all aware that we wanted to make one a classic rom-com but with a sort of new spin. Matthew's a very sensitive, very feeling person, and we obviously wanted to inject our movie with that kind of emotionality. He had a great balance in being able to facilitate both lightness and emotion within his work.”

Fans of McQuiston's novel will be pleased to know that, with a few exceptions, the movie largely follows the book's enemies-to-friends-to-lovers tale. And the tone and spirit that made everyone fall in love with the book are certainly still there. “Casey has been an incredible source of support for me throughout the making of this film,” López says. “I respect them for being appropriately protecting of the novel and am grateful to them for also giving me space to tell my own version of their story. Obviously when translating a nearly 500-page book to the screen, there are things you have to lose and things you will need to change. It is an adaptation, not a recitation. I like to think that, as a fan of the novel, I was able to find the balance of serving Casey’s story while also serving the needs of the movie.”

For López, the most important element to maintain from the book was Alex and Henry’s individual personalities as well as their shared story together. “If there was one lesson I kept learning over and over while making this film it’s that if it’s not about Alex or Henry, it doesn’t belong in the film.”

While the movie is, as López describes, “an adaptation, not a recitation,” McQuiston was available to the actors. “I remember Casey coming in on a really fun day,” says Galitzine. “It was a scene where Taylor and I were bickering in that sort of Alex/Henry banter way that we do, and it gave us time to talk to Casey and understand the influences that went into the book. We obviously have a lot of fan service, and I hope they love my interpretation of Henry.”

From Entertainment Weekly

But the thing that weighed most on all of them was not royal protocol, chemistry, or even comedic timing. It was honoring McQuiston's novel, which hit the New York Times bestseller list and even earned a release in a special collector's edition last year. "[The biggest challenge was] quite simply how to delivery Casey's story in a way that honored the novel but that didn't result in a three-hour film," says Lopez. "There are a lot of wonderful scenes and characters in the book that didn't make it into the film because they didn't fit. I don't regret any of those decisions but, as a fan of the book, they weren't easy to make."

From Vanity Fair

López turned to romantic comedies of the past as inspiration: screwball affairs from the ’30s and ’40s like Bringing Up Baby and Sullivan’s Travels, as well as more recent hits like When Harry Met Sally or Moonstruck. All of those films revolve around “very smart, very clever people who often find themselves in over their heads, and the only way to really get themselves out of trouble is to talk their way out,” he explains.

From the outset, there were two scenes considered make-or-break. One was the wedding cake food fight, a chaotic sequence that, ironically enough, had to be carefully choreographed. Those three days of filming contained “the least bit of goofing off on set,” López explains. “We really had no room for error. And so we all really approached that with a sense of seriousness, which I hope does not in any way translate onscreen.” Then there was Alex and Henry’s romantic stroll through London’s Victoria & Albert Museum. “It’s sort of a dream come true—your own personal night at the museum,” he says of the late-night shoot. “So that was less daunting than an endurance test, but it was just such a magical night for us. And I hope that did translate onto screen.” Both of those moments live vibrantly in the minds of those who love Red, White & Royal Blue—an impassioned group of people bringing all of their enthusiasm to the movie version when it premieres August 11 on Prime Video. But the film’s director isn’t nervous about answering to an opinionated, online fan base. “It’s absolutely undeniable that the fans love the book for the same reasons that I do, so I think of myself as one of them,” says López, who himself was excitedly making plans to see Barbie with his husband at the start of our conversation. “You could argue that I’m such a rabid, passionate fan that I made the most expensive bit of fan fiction ever. I hope the fans take solace from the fact that one of them has made this movie.”

From Out Smart Magazine

“The most important thing to me is the end result. You’d have to be a moron to make this movie without certain themes in it. I would be justifiably run out of this business if I didn’t include certain things in this book,” López says with a laugh. “Any act of adaptation is almost exclusively an act of exclusion. In any adaptation, there’s going to be more left out than there is included, because that’s just the nature of the beast. My main goal for myself was to make sure audiences feel the same way at the end of the movie as they felt when they finished reading the book.”

When news broke earlier this year about the film receiving an R rating for “language, some sexual content, and partial nudity,” fans rejoiced. The director explains that giving the film’s sex scenes the royal treatment was an important factor for him. “One of the things in the novel that I knew needed to be in the film was the fundamental truth that these two people have really good sex with each other, they are very attracted to each other, and they find ways of expressing it physically. I inherently knew that there were a multitude of ways that we were going to express intimacy in this movie and that we were tracking the progression of their closeness. They sort of meet-cute and not only go from being enemies to lovers, but one of them is not fully aware of the extent to which he’s into guys before they meet. I thought a lot about the intimacy themes in the movie as a way of bringing them incrementally closer and closer together.

From What to Watch

"I knew that there were a lot of expectations of this adaptation, I knew that people really feel very personally about the book. I think there’s something really wonderful that happens, this transference when you fall in love with a book and it’s yours, ignoring the fact that billions of other people also feel the same way about it, so I knew that it would be a bad idea to screw it up! [laughs] That was always at the forefront of my mind. The thing that is also true is that I am one of those crazy obsessive fans over the book, and for me it was like, the ultimate in fanfiction that I got to make. But I recognise that I was very fortunate and lucky to be the person to make this movie, because I think there are a lot of people who are counting on me not to screw up — and I took that very seriously!"

From RadioTimes

"I think there are certain things in that book that, as the director of the movie, if I hadn't put it in the film I would never be allowed to direct a movie again," he revealed. "There was no chance that I was going to cut the cake scene out of the film," Lopez said, while also revealing an amusing behind-the-scenes detail about filming that moment. "The thing about the cake scene is that that shot of the cake landing in their faces is actually me and my production designer throwing cake in Taylor and Nick's faces," he laughed. "After about three weeks of filming [that] was a really great way for me to burn off some steam!" And that scene was just one of many that Lopez was excited to bring to the screen after first reading and falling in love with McQuiston's book in early 2020. "While I was preparing the film, I was really... I put a lot of thought and a lot of care into the V&A scene," he explained. "We got to film overnight at the V&A one evening and it was very magical. "And so, as a filmmaker looking at the book, there were just a lot of things that I was excited to film."

From Pink News

While fans will be thrilled to see that heady physical attraction between the two play. out, they appear less impressed about some character choices in the adaptation. June, Alex's sister, is a favourite among the fandom, while senator Rafael Luna is – spoiler alert – pivotal to how Alex and Henry come out to the world. López has cut June out completely, and merged the character with Alex's pal Nora (played by Love, Victor star Rachel Hilson). Rafel has been replaced with a new character. After it became clear that June wasn't going to be in the adaptation, the film's social media pages were targeted with a "justice for June" hashtag. Fans were upset, but the reasoning behind the decisions, López says, is simple. When you're writing a book, you can do whatever you want with the characters, you have no actors to talk to, you have no mouths to feed in certain ways," he explains. "When it came to the character of June and the character of Nora, I knew implicitly that if I had both of them in the movie, I would have two young women with half a meal. I decided to give a full meal to one young woman." As for the book's several subplots, López believes they would have been too "unwieldy" for a two-hour film, and he needed to focus on "bringing danger in a very streamlined way." Could he have opted to make a TV series, instead? In short, his answer is no. “For whatever sacrifices you have to make in adapting it for a feature film, an extended eight-episode thing would stretch it out too much,” he says. “You’d lose a lot of the magic.”

From OutSFL

Ellen is a staunch Democrat. As a Florida native, and considering what has occurred here during the reign of the current governor, was that in any way what appealed to you about directing and co-adapting the screenplay for “Red, White & Royal Blue”? ML: No, I loved the story, and I didn't give a shit what the governor of Florida thinks about it. I couldn't care less what that man thinks, only as it relates to the health of the union. I didn't have this story growing up. I didn't have access to characters such as these when I was younger. It took until I was in my 40s to read it, to get a novel that had a character like Alex. That I knew implicitly was really special. To me, it was really powerful to read a novel that had a queer, Latine, young man at the center who was a very positive characterization of a queer Latine man. Someone who was filled with hope and possibility. I wanted to bring that into the world. The politics in the novel and in the movie are a hopeful one. It's not something that is, I hope, too much of a fairy tale.

From The Fresno Bee

Why a movie and not a play? “You can’t beat the locations! Buckingham Palace, the Oval Office, the White House, and all those great locations,” said López. “It really, really wanted to be a movie. “And I really wanted to shoot in all of those beautiful locations.” López doesn’t see much difference between directing a play and a movie. “I got to take a lot of the things I learned as a playwright about storytelling and apply it to this movie,” he said. “There’s a lot of overlap between the two disciplines.”

From Windy City Times

Were there parts from the book that were difficult to cut out? ML: It was a very simple and straightforward thing for me. This is a movie about Alex and Henry. I had two hours to tell the tale. The mandate was it needed to help me understand Alex's journey with Henry for it to go in the movie. If it doesn't, then it comes out of the movie. We shot a lot of scenes that were in the book, but once in the editing room, I realized what we didn't need. I looked at it from the perspective that it was two characters on a journey in two hours. That made it clear what belongs in the movie and what doesn't.

From MetroSource

At the end of the day in a story like this, you need to care. Sometimes in order to make an audience care, you need to put your heroes in danger, but you also want the audience to fall in love. And there is nothing more deliriously fun than falling in love. Just as Alex and Henry fall in love with each other, the audience has to fall in love with them. And that is such a fun thing to be able to create. That’s a fun story to tell. I never thought that we were making something completely lightweight and disposable. I definitely didn’t want the movie to feel disposable. I didn’t want people to see it and then forget about it the next day, because the characters stayed with me after I read the book. I wanted the movie to feel exactly the same way the book felt. I wanted those characters to linger in the audience’s mind once the movie was over in the days, in the weeks after they’d seen the film. And that was the most important thing to me.

From Billboard

“Casey was never insistent that I make Casey’s Book: The Film,” Matthew Lopez, the film’s director and co-writer, tells Billboard. “Casey always wanted me to make Matthew’s movie and trusted that someone who loved the book was in charge of the film.”

[tinylittlecubby]

In the following possibly concerning for my psychiatric health rant , I will be covering what the actual definition of parasocial is, the function and normalness of regular parasociality, why some mediums invite stans more than others and what would need to change to eradicate stan culture. Im unfortunately just someone with an internet connection and im writing this on mobile so if any degree of understanding in regards to those facts can be maintained I would be very grateful!

1) i would rather do a flip off the bellagio instead of meet any of the people who's art/content I consume I just want to say that first

1b) however I have participated in fandom since I was literally 7 years old so I know way too much about fandoms in general and also parasociality.

2)the partition between social worlds is an illusion. If it happens in one place it happens in another. People putting artists on a pedestal and then tearing them down is something that also happens in arenas outside of popular culture like the sciences and in peoples very own homes. Uniqueness of circumstance is rare and the breadth of human capability in terms of horror and beauty is present no matter the field.

3) Parasocial relationships have an actual psychological function (more on this later) Because of the term 'relationship' and the cultural baggage around that term it is assumed that it is something that is purely done outside of the bounds of the time it takes to consume the media. Even the term caring is loaded more than it should.

Art and media should push us to care and ultimately, a parasocial relationship is JUST caring about a subject ( like a person or object or idea) BUT they/it LITERALLY can not care about you back due to lack of knowing SPECIFICALLY you.

Off of that definition that is why in order for media to be effective a parasocial relationship has to exsist. It makes sense to care about one character over another depending on how a film is written, and this state/relationship of caring last the duration of the film.

That feeling of caring about the character can persist beyond the literal duration of the film due to how emotionally moving it could've been however I find that for films most people do not continue that state beyond the literal duration of the film (in terms of fantasies about the character as I dont find that there are many fanfictions for example about movies -unless they have been made into TV shows as well- etc), due to it being one of the shorter mediums today both in the media itself and the promotion cycle/exposure to the people involved, which is why I picked movies.

I want to make that distinction cause people often say we need to eradicate parasocial relationships altogether and I dont think they understand that parasocial is a sociological term that was coined in 1956/57 and has an extremely long history OUTSIDE of social media. And if the term was coined then that means the phenomenon was going on prior.

Also, films are fake. Literally everyone knows this, no one gets mad at anyone for saying that cause we all know this. However films, when the term was coined, were seen as THE medium that facilitated parasocial relationships (in the sense i described above in terms of the duration of the film, rather than the sense that is used now in terms of being a stan)

And about movies being fake and maybe that being why people stan actors less (sometimes def not all the time)

A) the amount of films and TV shows that try and use this narrative to go far beyond actors zone of consent ìs one of THE main problems with the entertainment industry. They are real people doing fake things but they are still people first.

B) i personally believe that it is in a streamers best interest to create a degree of a character to be on stream (can be a genuine persona or just to the degree of customer service agent. Aint nobody their god damn selves when being a customer service agent but they also aren't not being themselves. If you know you know.) So they too are in an arena of fakeness as well. This lack of understanding is why they constantly have to tell their audience "bro i don't know you AND you don't know me"

4a)and in regards to the statement that I made in terms of parasocial relationships having to exsist, I'm saying that with finances/politics/sociology in mind. There is a business theory in the arts that if you have 1000 true fans (defined as someone that will buy ALL of your merch, concert tickets,will listen to 90% of your music and genuinely enjoy, talk about the music to their friends to get them to like it as well etc etc) you can make your art on your own terms and consistently from a financial stand point. However, that kind of consumer is the exact type that participates in the parasocial relationship outside the duration of the medium and can take them to stan town. And record labels know this, that is why pop music lyrics are the way they are and even when they aren't romance oriented they still market the artist to be as 'authentic' as possible so the development of the parasocial relationship can continue outside the literal duration.

4b) in terms of the psychological function of parasociakity I would read into how children develop relationships with their toys. During active play it is developmentally normal for the child to act as if the toy can react back to the child's own affect/actions, that's why children will talk to or feed etc their toys. Outside of active play sometimes the child will mention the toy (usually in terms of requesting for it to begin active play OR talking about it like they are a friend and saying to a parent "do you think Bella would like this dress?" And the parent knows they are talking about the toy and would respond in kind and maybe they buy the little dress to dress up the toy (think of build a bears model of the type of inventory they sell) it is also common that if they are playing with a sibling or a friend and the other child is being rough with the toy the main child will use language such as "you are hurting them!" suggesting the child believe that the toy can feel literal pain the same way they can (because they are a literal child duh)

A child being able to show the capacity to communicate, empathize, emote and respond to stimuli the object may provide back (like if its a talking to) is absolutely MAJOR and is used in clinical studies during neurological testing in children literally all the time. And if you as an adult were to go up to a child and start berating them for this dynamic pal....you yourself got problems.

This is one of the many types of ways that children learn how to socialize and it happens concurrently with other types of learning in terms of interacting with peers, adults that may use language they dont know but helps them build they own language tool kit etc etc. It is absolutely NOT to be seen as the ONLY type of socializing. That is horrifying and I dont know what the hell would happen if it was literally the only type of socializing a child or even an adult would be receiving (also I dont know how that would literally happen either like do they live in the woods with literally no one else around??)

I say all of this to say that parasociality should NOT be demonized because doing so would be inconsistent with the overall cultural narrative about being social animals. If we are social animals then it makes sense that parasocialism exists. UNHEALTHY!!!!!!!!!!!!! parasocialism ABSOLUTELY needs to be extinguished i am not fighting anyone on that at all. Being a legit stan is VERY VERY SCARY! and I dont mean arguing about charting stan I mean hacking airport security cameras stan (if you know you know unfortunately)

My personal hesitation in terms of putting hope into this changing though is we would need to do the following

Reduce the social capital tied to perceived authenticity

Remove profit motives tied to artists being accessible

Eradicate amanormativity

Build safe,accessible and thriving third spaces

Invest in psychiatric infrastructure and resources

Create a healthy culture that supports the notion that individuality and interdependence can exsist at the same time

Eradicate misogyny

Eradicate ageism

Eradicate racism

Eradicate classism

Eradicate ableism

Eradicate whorephobia (BIG ONE!! the amount of female/non binary stans that are wild about their targets because they feel like its the only safe place they can express their sexuality via fanfiction, fan erotic audios (which is new and the audio stuff i dont know too much about but its something I'm seeing more and more)amongst other things is a proportion that is tooooooo high!

And the list goes on and on and on honestly

(Added this poll on accident because I'm on mobile and it won't erase oooppss)

I dont know if any of this made sense I feel like I just blacked out and I'm coming to but yeah yell at me if you like or ignore this its just my thoughts about parasociality and the like okay byyeeeeee