#ghostbusters press tour | Explore Tumblr posts and blogs

copiousloverofcopia · 1 year ago

Text

🦇Happy Halloween Ghesties!👻

I haven't had a chance to write anything new for this year, but I would like to share my Halloween fic from last year that deserves more love!

Commissions are OPEN, please see pinned post for Carrd info!

Candy Wrappers

t's Halloween night at the Abbey, Papa IV/Copia decides to spend it sharing his love of horror films with ghoulette Cumulus and a sister of sin. The 3 decide to watch John Carpenter's HALLOWEEN and pig out on candy while it storms outside.

Also available HERE on AO3!

Read Halloween fluff below the cut!

“Oh Lucifer! He is right behind her isn’t he? I can’t watch.” Cumulus cried, pulling the throw blanket up over her eyes, almost knocking the bowl of candy from Copia’s lap. The thunder roared outside, the lights flickering a bit as the storm rolled on past the Abbey. It was Halloween night and they wouldn’t have many trick or treaters this year it seemed. Copia was determined that they could still have fun. He had put in an old VHS tape of HALLOWEEN from his collection and managed to convince Sister Ren and Cumulus to watch with him.

“God that mask is so unnerving.” Sister Ren said, grabbing another snickers from the bowl. Copia, nodding his head in agreement as he licked some residual chocolate from his fingertips. If it were up to him they would stay up all night and watch the classics. Poltergeist , The Exorcist , The Omen , so many horror gems he could muster from his collection.

“I don't see why we couldn’t have just watched Ghostbusters or Beetlejuice.” Cumulus griped. Copia was starting to regret turning it on. It was a well known fact that Cumulus did not handle scary well, being the Abbey’s resident scaredy cat. Despite her Hellish lineage, she would prefer to see people happy and smiling, not so much cut up into little pieces–even if it was all just pretend.

“Ghuleh, I did ask you if you wanted to watch…” Copia reminded her, she had gotten to this point of her own accord, “...you did say yes.” he said as Sister Ren passed him back the bowl of candy and rolled her eyes.

“I know it just…It scares me.” Cumulus admitted, a soft smile appearing over Copia’s face. He took her hand in his, her face still barely visible above the line of the blanket. The lights flickered again–the flash of lightning filling the sky outside and the inevitable crash of thunder rumbling the old bones of the Abbey. Cumulus’s heart pounded as she gripped the blanket tighter, storms also not her friend.

“Then we don't have to watch—” Copia began, pausing the movie. Sister Ren, was becoming aggravated with Cumulus’s whining and the continued stopping and starting of the film.

“Papa! I wanted to watch it though.” she pouted. Copia felt flustered, he didn’t want to upset either of them. All he wanted was to enjoy some relaxation after coming back from the tour and not deal with any more drama. This was proving to be quite the task indeed.

“It’s ok, I’ll watch.” Cumulus yielded, nestling herself deep into the sofa between the two of them. Before Copia could press play the storms flickered, the lights off and on once more, the movie restarting with the surge. Copia picked out a piece of candy, after rummaging through the half spent bowl as Cumulus curled next to him, her tail stiffened and tense. The movie continued and Sister Ren felt a sense of guilt pour over her.

It really isn’t that big of a deal if we can’t watch this particular movie , she thought to herself and then she remember something—a peace offering

Hey… Cumulus…” Ren began, tapping the ghoul lightly on the shoulder to gain her attention, Cumulus turning to face her. “I’m sorry—Truly. We can watch Beetlejuice if you really want to and I almost forgot. I got you something.” Ren apologized, pulling a bag of strawberries and cream lollie drops out from behind her and passing them to the ghoulette–Cumulus’s favorite.

“Oh Ren, thank you.” the ghoulette beamed, throwing her arms around the sister, tail wagging behind her–tickling Copia’s nose.

“Geez Cumulus don’t get too crazy over it, it’s just some candy.” Sister Ren said, Cumulus hugging her a bit too tightly.

“Oh sorry.” Cumulus said letting her go and realizing that Ren did care after all. The lights flickered off again.

“It may not matter anyways if this storm keeps messing with the power, maybe I should send the boys out to help with the generator.” Copia began, when suddenly the power came back on and the screen lit up with Michael Myers weidling his knife, front and center!

“Ah!” Cumulus screamed, quickly burying her face in Copia’s shoulder, sending the bowl of what were now wrappers flying into the air like confetti. The 3 of them were in for quite an interesting night indeed.

33 notes · View notes

eightfifteen · 1 year ago

Text

The ghostbusters press tour... Must... Find... time... to finish TTW

#THEY'RE SIBLINGS!!!!!!!!!!!!!!!!!!#literally my favorite people in one frame i cant #ttw #the third wheel

12 notes · View notes

noahschnappinfs · 10 months ago

Note

Think we are reading too into things but I do believe that millie was told not to interact with Noah publicly where people can see you, to protect her brand her public image. Goes for the rest of the cast implicitly told to only interact on set. Noah does seem happy though right now he’s got his other friends making him enjoy his life, I can’t imagine the guilt he also felt for the cast over his situation. Like Finn receiving Noah hate on his insta comments, Caleb not being able to post a reunion picture without people making it about Noah.

millie mentioned noah explicitly because she felt like it during her damsel press tour so that debunks the whole idea of her team telling her not to interact with/mention noah publicly anyway and finn mentioned him as well during the ghostbusters press tour so yeah there’s no power behind it all telling them to ignore noah.

But yeah it still makes me sad to see the reaction of people and how he might feel guilty bc of the negative reaction his castmates and the show may receive due to this whole thing. It’s specially the fandom making it worse like when they started commenting on caleb’s posts like that.

#answered #ns #the deuxmoi rumor is 100% fake i asked around to ppl in the know and everybody said it was fake btw #deuxmoi is the one that posted that rumor saying everybody was told not to post noah publicly and that stuff #all the deuxmoi posts about noah has been fake btw

2 notes · View notes

domonicriley · 11 days ago

Text

The Need for New Ideas in Hollywood

The figures for the domestic (US) box office in 2024 were down just 3% on 2023, which doesn’t sound too bad, all things considered. It’s a total of over $8 billion all told, which sounds like a good number, until you start to look a bit deeper, and see what the numbers mean in detail.

To begin with, while this is down only -3% over twelve months, that doesn’t take into account how inflation could have eaten into that total over the same period. You also have to look into the fact that five years ago, in 2019, the box office brought in over $11 billion. You might be thinking that was just due to films like Avengers: Endgame, but no, all the way back to 2015, the grosses were over $11 billion domestically, every single year.

We also have to look at what kind of year 2023 was. It was a bad time for Hollywood, with the strikes interrupting movie production, and the press tours that accompany every big release. There were also a number of high-profile flops, like Indiana Jones and the Dial of Destiny, The Marvels, and The Little Mermaid, yet still the box office climbed more than 20% from where it had been in 2022, clearly helped by hits like Barbie and Oppenheimer, which came together under the internet craze know as “Barbenheimer”. But there were about the same number of hits in 2024, with Inside Out 2, Moana 2, and Deadpool & Wolverine all making over the billion mark.

So on balance, things could be said to be healthy in Hollywood, at the moment, but when you look at the bigger picture, a better term would be “stable”, and even that could be too optimistic. There’s a lot of bad things waiting over the horizon, and they come down to the problem that’s plagued Hollywood for a while now: new ideas, or rather a lack of them.

Here are the top 10 highest grossing movie of 2024:

Inside Out 2

Deadpool & Wolverine

Moana 21

Despicable Me 4

Dune: Part Two

Wicked

Godzilla X Kong: The New Empire

Kung Fu Panda 4

Vemom: The Last Dance

Mufasa

Do you see the pattern? All of them are a sequel of some kind, or tied to an existing franchise. Even Wicked, which could be called original, is an adaptation of a musical that’s a prequel to The Wizard of Oz. Putting it simply, there’s nothing new here.

Now let’s look at the next ten highest grossing movies:

Beetlejuice Beetlejuice

Gladiator II

Bad Boys: Ride or Die

Kingdom of the Planet of the Apes

Twisters

It Ends With Us

Alien Romulus

Sonic the Hedgehog 3

The Wild Robot

A Quiet Place: Day One

A little better here, as there are two originals, It Ends With Us and The Wild Robot. But the other eight are all sequels, as are some of the other big releases this year, like Ghostbusters: Frozen Empire, Joker 2, and Furiosa: A Mad Max Saga.

Now let’s take a quick look at the big releases that have been confirmed for 2025, and bear in mind that more could be announced in the next few months.

Snow White

How To Train Your Dragon

Captain America: Brave New World

Superman

Jurassic World: Rebirth

28 Years Later

Tron: Ares

Another Predator movie

Fantastic Four: First Steps

Avatar: Fire and Ash

Now, there’s no telling how well any of these will do, or whether there might be an unexpected original movie that breaks the box office, but more importantly, this is where studios are putting there money, into well-established legacy franchises, and that doesn’t even cover the streaming shows scheduled for 2025.

To be totally fair to the big studios, they’ve always been glad of a franchise that they could rely on; a pre-existing fanbase that would be there to support whatever they released next, hence why they love Harry Potter, Lord of the Rings, or Hunger Games so much. Basing it off a book (or series of books) means you don’t need to think up something completely original, you don’t need to worry about bringing in an audience, and half of your promotion is done by the fans, you just have to do it well enough to satisfy them.

And of course, there have always been sequels, whether it be Indiana Jones, Jaws, Star Trek, or the James Bond movies that have continued long after the books ran out. They all made money, and for the most part have been well received by fans. But in a lot of cases, as with Terminator, the more sequels they made, the worse they got, and eventually damaged the brand so much that any new announcement for the franchise is usually met with either exasperation or apathy.

This is a big problem, as Hollywood is running out of franchises to wring dry. Star Wars, Lord of the Rings, Star Trek, Jurassic Park, Indiana Jones, the MCU, DC, Terminator, Predator, Alien, James Bond, Ghostbusters, Toy Story, Shrek, Pirates of the Caribbean. All of them feel jaded and worn out by now, and it’s hard to get excited for any new announcement about these IPs. Sure, some of them still make money on release, but what kind of a cultural impact do they have? What kind of lasting effect do they have on the audience?

And all of them suffer from the spiral of diminishing returns. Way back in 1979, the first Alien movie made $187 million, a pretty solid $847 million in today’s dollars. Last year, Alien: Romulus made only $350 million. Now no mistake, that was a good return on an $80 million budget, and the mathematics of inflation isn’t so simple, but it’s a startling figure in contrast.

Other legacy movies like Ghostbusters: Frozen Empire and Furiosa were largely failures or at least disappointments, as were the most recent Terminator and Predator movies.

While the box office is an important thing to measure a film by, it’s also important to see what kind of cultural effect they have. Imagine yourself forty years from now, looking back on the 2020s, and having to pick out the movies that were the most important, that really said something about the decade, and will stand as monuments to our era. Would you choose the Dune movies, maybe? What about Barbie, will that age well? Even the big MCU hits like Spider-man: No Way Home are based on a franchise that leads back to 2008, and even further, with the nostalgia hit for the Sam Raimi Spider-Man movies.

There’s not much that stands out about our current output of movies, except that they lack originality and imagination.

It would be easy, by comparison, to choose movies that symbolize the 1980s, like Back to the Future, The Goonies, The Karate Kid, Rocky IV. Films that had a massive impact when they released, and continue to be an influence on our culture to this day, and no doubt into the future.

It could of course be argued that things have changed now. Cinema isn’t what it once was, film is no longer where we go to get our entertainment, or to savour our culture. Instead we have streaming, video games, YouTube and social media, and they will be the markers that we look back on as the biggest parts of the 2020s. But even in the ’80s, there were video games, the arcade, and TV shows, and as the numbers at the top of this article show, cinema still makes big bucks, so that can’t be the whole story.

But let’s say, for the moment, that streaming is the way we now absorb most of our visual narrative entertainment. That’s been a success story, and is often cited as one reason for the decline of cinema (I would say VOD releases are the real reason for that, though), and most big studios have tried to launch platforms of their own.

But as all figures show, most streamers outside of Netflix can’t make a profit, and the way they operate is becoming more like traditional television, with live programs and reality TV taking up more space on their sites.

At the same time, they are suffering from the same problems as movie studios, relying heavily on their big franchises like Star Wars on Disney+ and Star Trek on Paramount+, which makes these IPs less and less relevant, as few people subscribe to their platforms, and it seems that even fewer people now watch these shows.

Things like Star Wars: Skeleton Crew and Amazon’s Rings of Power, should be the biggest shows around, but they are practically niche at this point, and completely ignored by the wider public, who know and care little for them.

You can argue that this is down to the quality of the shows being produced, which is certainly true for some, but at the same time, that could be seen as a symptom that these franchises are becoming worn out, and can’t be relied on to bring in viewers anymore, so that even when something half decent does show up, there’s no one left to care.

Even over at Netflix, which has had massive hits with their originals, they are compounding on their biggest properties, with an unnecessary Squid Game season two, and plans to make spin-offs to Stranger Things when that series comes to an end.

And how long will any of these shows remain in the public conscious once they are done? Will people choose to watch them once there’s no new season to be excited for, and when they only trend on social media for a couple of weeks when they are binge dropped all at once, before disappearing?

Much like social media, they just get lost in the stream of constant content, as the feed refreshes, and something new comes along to satisfy viewers, or one bad season puts them off watching again.

To say that something was a streaming success is so much to say that a few million people might have watched it, and considering the sketchy way “minutes watched” are reported means it’s hard to see exactly how big they really were. The cultural moment is short, and very few get out across the whole of society, so you could say a quote or mention a character and people would instantly know what you meant. Who knows how this will end up once the generation raised on TikTok is in charge of commissioning new shows, unless there is some kind of renaissance of the classic TV format, I don’t think that streaming offers much hope for the future.

While sequels might be the biggest things making studios money at the moment, they are also going to be their doom eventually, if things don’t change.

As mentioned, the biggest reason for making another sequel is that there’s a fandom there, ready and waiting for a new project, but how long will that last? The current audience for things like Star Wars is aging out. Most people find their favourite franchises when they are kids or young adults, and then stick with them for the rest of their lives, so that even forty years later, they will still pay to see a movie set in the same universe, and so it’s worth the while for studios to make things that will appeal to them, with nostalgia-bait of movies like Alien: Romulus and Ghostbusters: Afterlife, which appeal to long-time fans of these works. But there’s not much longevity in them, and they don’t pull in new, younger audiences.

How many kids now care about things like Star Wars? What’s the relevance of these brands with young people? Practically nothing, as viewing figures show, and it’s not likely to get any better, as there’s the incredible paradox happening, of studios like Disney treating these properties as exclusively legacy-based, while also making things that destroy that legacy, like The Last Jedi and Kenobi.

It’s essential that young people have their own franchises that they can grow up with, and return to in thirty, forty, fifty years, while passing on their love for them to their kids, but they aren’t being given anything real to get interested in, and naturally, when there’s so much else to take their attention, on the insistent social media platforms and apps, they find other interests.

Take a look at how LEGO, a particularly smart company, focuses its efforts. Most of their sets focus on old movies, like the Lord of the Rings or the Original Trilogy, rather than something like Rings of Power. Yes, that’s partly because they have the rights to these things, but also because it’s what sells, mainly to more mature collectors, as the sets become increasingly complex, to be displayed rather than played with, showing where a lot of the market lies. LEGO’s always been pretty savvy about what they licence, and the fact they are choosing these over new titles is a god pointer of where things are going.

Once this audience ages out, what will happen to these franchises? Will there be any new fans to replace them?

More to the point, what will happen to cinema when there are no big, original titles to step into their place, and really get people coming back to theatres?

There are two ways to correct here: on the one hand they can try to fix these franchises, by finding that perfect balance between pleasing the old fans, who are you core audience, and appealing to new viewers at the same time. This is something that, so far, studios have failed to do, so it seems unlikely they will rectify their mistakes any time soon, and that assumes that the old fans would be willing to come back anyway. After all, if streaming gives us one thing, it’s the ability to watch the classics anytime, anywhere, as often as we like, so why bother returning just for more disappointment?

The other option is to replace these franchises, or at the very least to build new ones alongside them, that will stand them in good stead for decades into the future, with their own dedicated fandoms

I wouldn’t say there are many ready and waiting. Dune has probably run its course, if Dune: Prophecy is anything to go by. The Monsterverse seems to be ridiculously popular, but even that’s been around for a decade, and has its roots back in the 1930s with King Kong. They also have the feel of forgettable entertainment, to be watched once, then completely ignored.

Maybe there will be a big new franchise waiting just around the corner to surprise us, or a book series that will become the next Harry Potter about to be published, and there are several released this year that will be big tests as to whether the titan franchises like Marvel and DC have any hope.

But even if they are successful, it won’t be a proper solution, just a delay to the inevitable. If Hollywood wants to be around in a few decades, and especially if it wants to make the kid of films that define a generation and stand the test of time, then it needs to get to grips with this problem, and get to grips as soon as possible, to save itself from total obsolescence.

#movies #films #hollywood #cinema #gladiator 2 #inside out 2 #ghostbusters #star wars #star trek #sequels

0 notes

cleverhottubmiracle · 3 months ago

Photo

In 2021, 46-year-old Kumail Nanjiani famously transformed himself from the soft-bodied uber-nerd he played in Silicon Valley to the super-ripped superhero Kingo from his Marvel movie debut, Eternals. While some actors do intense physical prep for parts only to backslide after shooting wraps, Nanjiani made his gains stick. With a change of physique has come a change of roles, including his more, well, muscular parts as a rebel in the 2022 Star Wars mini-series Obi-Wan Kenobi, strip club pioneer in Welcome to Chippendales (2023), and a Ghostbuster in 2024.In addition to the dramatic roles, Nanjiani has returned to standup comedy—he’s in the midst of a nine-month cross-country run—and is managing a fledgling production company, Winter Coat Films, with his co-founder and wife, the writer-producer Emily Gordon. He has also partnered with the nutrition company Quest. “I want to live for a long time,” he says. “And I want to feel good for a long time.”GQ: It’s the classic question for guys who want to get in shape: Do big muscles solve all your problems?Kumail Nanjiani: Oh, God no. Maybe, maybe, maybe I sleep a little better and I have slightly less anxiety because I’m working out pretty hard. But I’m seeing a therapist more regularly, so it’s hard to know what’s what. [Laughs.] So, no, it doesn’t solve shit.How has your fitness transformation affected you on set and on stage?On set, I don’t think as much. I’ve certainly grown in confidence on set, but I think that’s come from doing more reps—learning more on all aspects of filmmaking and feeling more comfortable. However, I started doing standup again about a year ago, and the last time I did, I looked very different. And so when I started doing standup again, my wife was, like, people’s experience of seeing you on stage is different now. You look different on stage. So even though you don’t see yourself differently, the audience perceives you differently. My standup used to be self-deprecating. I can’t do that as much anymore. It just has to be different. I used to talk about being a nerd—I still talk about being a nerd, but it’s changed the math.You’re on tour now for a few months, but often performing on the weekends. Do you make sure to work out while traveling, or do you just enjoy your time out of the gym and get back to it on Monday?This is so dorky, but I look up the gyms of the hotels I’m going to. I’m quite obsessed with working out now. It helps with anxiety, feeling more grounded, and my energy’s better. And so, I will look at the gym setup. Sometimes that information is hard to find. There’s a website called Hotel Gyms that ranks everything, but it doesn’t give you a ton of detail. But from the pictures, you can sleuth. Like, Oh my God, this place has a leg press machine. So, at home, I can skip legs, because I don’t have a leg press machine at home. I’m traveling Saturday, and I know that the hotel I’m in for the first few days has an amazing gym. So when I plan out my day, even with shooting, I’m figuring out when I can go to the gym.What’s the best hotel gym you’ve visited?Well, the one I’m actually going to now, the Forth Hotel in Atlanta, has a really, really good gym. And the Equinox Hotel in New York, Hudson Yards, is an actual Equinox, so it’s tough to beat.It’s said that if muscles are built in the gym, abs are built in the kitchen. What parts of that rigorous Marvel-prepping diet have you continued?When I first started trying to get in shape five years ago, I noticed how certain foods would make me feel. I didn’t know that. Eating sugar, you have the crash a couple of hours later. Eating gluten, you have a histamine response. To me, that’s been the biggest change. I have a pretty wicked sweet tooth, so I’ll still find room to eat dessert, but I know how it makes me feel afterwards. Days on set are pretty long, and when I’m on tour, I’m landing in a city, doing two shows that night, flying early the next morning to another city, doing another show or two that night. Energy’s so important. I’m finding that cutting out refined sugar has really made my energy more even through the day instead of these peaks and valleys, which I thought were [just part of] being a human. When I’m more thoughtful about what I eat, I certainly feel better, and I have more energy for the work that I need to do.Are there other areas besides sugar where you have shifted your diet?For a long time, I was tracking everything I was eating. But I stopped doing that almost two years ago, because now it’s a feel. I try to maximize protein, and I try to minimize simple sugars. I’m not keto or anything—I eat fruit. So what’s really stayed is the idea of protein content, which is where all the Quest stuff helps: It’s high protein, low carbs. Unless I’m preparing for something specific, if I’m eating high protein and minimizing simple sugars, I’m going to stay on track. Lean meats: chicken, steak. I love going to steak places. I ask, What’s the leanest cut of steak you have? I know that’s not the tastiest, but to me, the difference in taste and experience isn’t that big.So you’re not a Wagyu guy then?Listen, Wagyu tastes amazing. And I’ll do it every now and then, and if someone else gets it, I’ll try a bite. But generally, no, I’m getting a lean cut—a filet.You got married pretty young compared to many Americans. How has your change in your fitness affected your relationship with Emily?Well, at the beginning, she’s just, like, you just feel so different. She’s like, “It’s like hugging the corner of a building.” [Laughs.] But now, we have a gym at our home, and Emily’s started doing serious weight training, too, so that’s been the biggest change. She loves doing it. And the way she looks and feels is very different.Does she feel like the corner of a building as well?[Laughs.] Yes, just a couple of building corners bumping into each other. Sparks. But she really loves it. She saw what I was getting out of it, she got a trainer, and now she does it on her own. She loves it. But beyond that, when you’ve been married 17 years, you change a lot. So much about you changes, obviously. We’ve both changed in so, so many ways. So I think the biggest excitement in being in a relationship this long is how you change and how you change together, right? Because you’re changing as people, so your relationship has to change. There’s never a point where you’re, like, And now the relationship is done. It’s a growing, evolving thing that you need to keep talking about. It’s really about communication. And we just started a production company, so we’re working together more now than we ever have. All this stuff requires constant communication. “Hey, when you said that in the business meeting that we had, it hurt my feelings.” [Laughs.] So that’s the most exciting thing to me about being with her: Watching her change and watching us change together.You’ve described your weight room prep for your Marvel role as “vomit-inducing” and “chasing the pain.” Has that level of intensity changed as you’ve moved past that movie?It ebbs and flows based on my mood. Right now, I’m in a non-hardcore training phase. I just sort of go based on how my body’s feeling and how I’m feeling mentally. I also change up my workouts quite a bit, because you get bored. Right now I’m on a pretty easy split—it’s not a ton of exercises per workout. But honestly, if you have a stressful day or a tough day or a bad day, you feel like I want to work out really, really hard. And it really helps me feel better. It’s one to one. I’ll be in a bad mood, I’ll work out really hard, and I’ll be great. That said, I’m not able to put myself through a vomit-inducing workout. Like you said, I’m not trying to peak. I’m trying to maintain. There’s no reason for me to be buff anymore—it’s just because I like doing the thing, you know?In their 40s, guys start to think about longevity rather than performance. So when you think about training to stay healthy for the rest of your life, how does that change your approach to fitness and diet?I’ve read studies that say stronger muscle is good for longevity—older people break bones and get hurt, and having more muscle mass helps with that. My whole family has a history of cardiovascular issues, and working out helps with that. I take my blood pressure all the time, and at my age, and I can see the difference working out has made. I thought it would hit me at 40, mentally. It didn’t hit me at 40. In your early 40s, you’re like, OK, double that, 80s, a lot of people make it to their 80s. But when you hit 45, you’re like, OK, most people don’t make it to 90. At 45, I was, like, Oh, I’m probably more than halfway through this journey. For a long time, I was scared of opening that door to taking care of my cholesterol or my blood pressure, because it feels so scary—I’ve lost family members to it. Everyone I know in my family is dealing with it, to some degree. My generation is generally healthier; we’re more aware of what we eat, so we’re doing better than the older generation.I want to live! [Laughs.] And I want to live for a long time. And I want to feel good for a long time. Right now, I feel better than I did through most of my 20s and 30s, and I think a lot of that has to do with what I’m eating and what I’m not eating, and how I’m exercising. But also, a lot of psychological stuff: Being more in touch with myself and my emotions, being aware of what I’m feeling and why I’m feeling it, talking to therapists, talking to Emily, talking to friends about stuff that’s scaring me or making me sad. I think all that stuff I’m prioritizing more now.In Real-Life Diet, athletes, celebrities, and other high performers talk about their diet, exercise routines, and pursuit of wellness. Keep in mind that what works for them might not necessarily be healthy for you. Source link

0 notes

norajworld · 3 months ago

Photo

0 notes

ellajme0 · 3 months ago

Photo

0 notes

stylestream · 4 months ago

Text

Kristen Wiig | Jenny Packham dress | Ghostbusters Los Angeles Premiere | 2016

#kristen wiig #jenny packham #premiere #2016 #pink #ghostbusters press tour

5 notes · View notes

chilimili212 · 3 months ago

Photo

0 notes

oliviajoyice21 · 3 months ago

Photo

0 notes

castlebyersafterdark · 5 months ago

Note

Heyyy so I’m really curious about when Finn called himself alpha and a wolf? 😂 I don’t think I’ve ever seen that video! Can you post a link to it?? Plssss 🙏🙏

Ooooh I have no idea, I don't think I've posted it here personally? I feel like I watched it on another blog but that could be a lie. Maybe someone sent it here. My memory is wacky. Both great and not great. I know it was during the Ghostbusters press tour to narrow it down. I'd look for it but I don't have the investigative time but, I do know there's people who keep pretty through bookmarks so if anyone has it readily saved 😊

1 note · View note

warningsine · 6 months ago

Text

On Aug. 28, Amandla Stenberg, the lead of the “Star Wars” series “The Acolyte,” posted an eight-and-a-half-minute video to her Instagram Stories about Lucasfilm’s abrupt decision not to pick up the show for a second season just a month after the Season 1 finale streamed on Disney+.

“It’s not a huge shock for me,” Stenberg said. Since the series was announced in 2020, she continued, “we started experiencing a rampage of, I would say, hyper-conservative bigotry and vitriol, prejudice, hatred and hateful language towards us.” (Stenberg was unavailable to comment for this story.)

In other words, “The Acolyte” was the latest high-profile target of “toxic fandom,” the catchall term for when fan criticism curdles from good-faith dissatisfaction into a relentlessly negative, often bigoted online campaign against either the project or its stars or creative leaders. In a franchise economy increasingly dependent upon established audience devotion to drive the bottom line, the threat of toxic fandoms poisoning that enthusiasm has become a seemingly intractable headache for almost every studio. And it’s only getting worse.

“It comes with the territory, but it’s gotten incredibly loud in the last couple years,” says a veteran marketing executive at a major studio. “People are just out for blood, regardless. They think the purity of the first version will never be replaced, or you’ve done something to upset the canon of a beloved franchise, and they’re going to take you down for doing so.”

Sometimes, toxic fandoms behave reactively. A “House of the Dragon” episode featuring two female characters kissing and an episode of “The Last of Us” focusing on a gay couple were both review bombed — the practice of mobbing sites like Rotten Tomatoes and IMDb with negative user reviews, which gained mainstream attention following the premiere of 2017’s “Star Wars: The Last Jedi.” And an entire YouTube ecosystem is devoted to declaring projects like “The Marvels” and “The Boys” “woke garbage” (among other pungent sobriquets).

Just as frequently, the backlash begins before the project has seen the light of day: a Reddit mega-thread dedicated to outrage over “Bridgerton” casting a Black woman (Masali Baduza) as the love interest for Francesca (Hannah Dodd); social media epithets directed at the actors of color cast as elves and dwarves in “The Lord of the Rings: The Rings of Power”; death threats aimed at Leslie Jones during the press tour for 2016’s “Ghostbusters.”

Perhaps the greatest irony of this phenomenon is the disproportionate impact these toxic fandoms have relative to their actual number.

“The vast majority of any fandom are casual fans,” says John Van Citters, VP of Star Trek brand development, who has been with the storied franchise since the 1990s. “The number of people who live and die on their franchises are very, very few, and then those who come after things that they espouse to love with venom are a really, really tiny subset of that already smaller subset of fandom. It’s just much easier to see it now. I don’t know that it’s really that much broader than where things were in 1995 — it’s just that the bullhorn wasn’t there.”

For some, combating that bullhorn amounts to acting as if they can’t hear it. “Particularly when it’s a negative, toxic conversation, we don’t even engage,” says a TV marketing executive. “Like with toxic people, you try to not give it too much oxygen.” One principal concern is that reacting to these kinds of attacks risks alienating fans who are unhappy with creative choices about a franchise but haven’t tipped over into abusive behavior. So a studio may attempt to amplify friendlier voices instead. “We’ll reply to comments that are positive and elevate those things,” says the TV exec.

Still, toxic fandoms have grown so pernicious that they’ve become a fact of life for many — and so powerful that while talent, executives and publicists will privately bemoan the issue, fear of inadvertently triggering another backlash kept several studios from speaking for this story even on background. (As one rep put it, “It’s just a lose-lose.”)

Those who did talk with Variety all agreed that the best defense is to avoid provoking fandoms in the first place. In addition to standard focus group testing, studios will assemble a specialized cluster of superfans to assess possible marketing materials for a major franchise project.

“They’re very vocal,” says the studio exec. “They will just tell us, ‘If you do that, fans are going to retaliate.’” These groups have even led studios to alter the projects: “If it’s early enough and the movie isn’t finished yet, we can make those kinds of changes.”

Several studio insiders say they often put their talent through a social media boot camp; in some cases, when a character is intentionally challenging a franchise’s status quo, studios will, with the actor’s permission, take over their social media accounts entirely. When things get really bad — especially involving threats of violence — security firms will scrub talent information from the internet to protect them from doxxing.

In some particularly egregious cases, a direct response has been necessary. In 2022, after “Obi-Wan Kenobi” actor Moses Ingram denounced the “hundreds” of racist messages sent to her about her role — “There’s nothing anybody can do about this. There’s nothing anybody can do to stop this hate,” she said — Lucasfilm posted a statement to its Star Wars social media accounts that read, in part, “There are more than 20 million sentient species in the Star Wars galaxy, don’t choose to be a racist.” The Star Wars accounts also shared a video of “Obi-Wan” star Ewan McGregor saying the abuse made him “sick to my stomach” and that “if you’re sending her bullying messages, you’re no ‘Star Wars’ fan in my mind.”

Later that year, the cast of “The Rings of Power” condemned “the relentless racism, threats, harassment, and abuse some of our castmates of color are being subjected to on a daily basis,” and actors from the “Lord of the Rings” film trilogy posted photos of themselves wearing clothing featuring the ears of Middle-earth creatures in multiple skin tones underneath the message “you are all welcome here” written in Elvish. Those efforts may have had an effect. In an August interview with Amazon MGM Studios TV chief Vernon Sanders about “The Rings of Power,” the executive said the show hadn’t experienced the same racist hostility in advance of Season 2 that had greeted its 2022 debut. “People have had a chance to actually engage with the show,” he said. “Overwhelmingly, what we’ve seen is that folks who came with an open mind can discuss and debate their favorite things — which takes you out of the place of that ugly conversation that happened with some folks who may have been infused with an agenda that’s separate from the show itself.”

There is one other way to handle toxic fans on the internet: Stay off it. “I’m not online, so I’m protected,” says frequent Marvel star Elizabeth Olsen (“WandaVision”). “Generally, it’s a lot of positive experiences of making kids happy. I ignore the other stuff.”

#i know this article has been making the rounds but it bears repeating #fandom

1 note · View note