#iDeal Partners Film Fund

[echodeltacove]

FNAF Fan-made | Five Night's at The Owl House Studio and Entertainment | AU

"Five Night’s at The Owl House Studio and Entertainment" abbreviated, "FNaTOHS&E" is a Five Night’s at Freddy’s inspired Universe between The Owl House. The concept of this is, instead of voice actors- the series is filmed with animatronics and certain props.

| Location's Within The Owl House Studio Universe |

The Owl House Studio and Entertainment (2016-2020)

The Owl House Studio and Entertainment Facility, or also just known as, The Owl House Studio and Entertainment, is a Animated Television Filming Studio, mixed with children entertainment. It is built and station in Obion County, Union City, Tennessee. The Primary mascot and figurehead of The Owl House Studio and Entertainment is Luz Noceda, accompanied by her showmates, consisting of Hunter, King Clawthorne, and Amity Blight.

When the drawing board was being done, the Company was originally going to be a Diner or an Adventure Park. The ideal spark of becoming an Animated Television Studio business came a little time later when the founder- James Summers, realized how many diner places already have animatronics.

Coming up with the designs of the four main animatronics (Luz Noceda, Amity Blight, Hunter, and London). Early iteration of Luz Noceda was created and designed to help with the development of the programming and coding- London (King's early iteration) was soon canceled from the project and a new design counterpart was created; soon to be King.

James partnered up with his college classmate Nathan Carpenter, who was an robotic engineer - which is the inspiration, Mr. Summers got the idea of Amity becoming an "Abomination Engineer" in the epilogue.

James and Natan made a public account where they would publish their storyboards and short videos of storyboard-drawn motion pictures. Within a half-a-year; 1994, Walt Disney Animation Studios caught wind of the storyboards and grew interested in their idea of creating a series. A contract built and signed by both sides; starting a partnership and a way to build their project. Walt Disney Animation Studios gave Mr. Summers and Hayden a 'Business Starting Fund' to begin construction of the Studio.

James and Nathan both lived in Pigeon Forge, Tennessee which they both believed was too small to start their business, after a few months searching for suitable cities to move to, they discovered Union City. The City Mayor agreed to having their company built in his/her city, signing an agreement and a contract with the city. in mid 1995, the two families moved to Union City, Tennessee to start construction of the 48-acre building.

The blueprints of the Studio ended up being a single-story, with four separate buildings: the first building being the Main Building- which has, the Main Entrance Lobby, a Snack/Food Bar, an Electric Room, a Prize Room, two Arcade Halls, a few restrooms, the Security Office, a Parts and Service Room, The Editing/Revising Lab, and the Main Recording Set Area. The Second building being the Secondary Animatronic Containment Storage- which would store all the other animatronics which are 'minor' characters of the series. The third building being the Supply/Containment Storage and Loading Dock Section- which would be where all the props, merchandise, and even frozen foods would be stored properly; along with where the delivery trucks would drop off the supplies. The fourth and final building would be a bit smaller than the other buildings; which would be the Workshop. This is where Mr. Summers and Mr. Carpenter would brainstorm new studio ideas and storyboard them for the Animatronics to perform the scenes.

The Animatronics are also known to have their own rooms - which is down a secret hall that only the Staff, employee's and the Animatronics are known to. The hall is called "The Lounge Hall".

When the studio was starting up and beginning production, Nathan Carpenter hired her sister-in-law; Kailey Lakewood, to become the Animatronic Chief Officer- which she would be in charge of the Animatronics and in charge of putting in service orders for the Animatronics. Throughout college, Kailey was obsessed with the thought of the paranormal, and even possession activity. Working around Animatronics, it sparked her interest back up and she producted an "experience" to extract an substance what is called "remnant" which created from agony from an individual. This is the motion to her act of the "Four Missing Children Incident".

Events soon followed behind from Kailey's act. From "The Bite of 2019", to the Paranormal Activities during the night at the Studio. The Owl House Studio and Entertainment Facility soon became the infamous business within the city, which caused many people to move out of the city; or even avoid the part of the city that the Studio is in. Numbers of guests visiting the Studio during 'Open Public Hours' started to decrease at a slow, by fair pace.

The "New-and-Improved" Owl House Studio and Entertainment (2022-2025)

A year following the first Studio closing, James and Nathan decided to re-open as a refurbished building and new technology and program systems in the Animatronics- Criminal Database, Suspicious Alarms, ect. The "new-and-improved" Owl House Studio and Entertainment Facility opened around the late period before Season 2 ended. Once the series were finished, the City attempted to put the company out of business, however couldn't go through with the action due to the active contract with Walt Disney Animation Studios. The Company was put on a "Do Not Demolition" Order by the Local Government due to the 'still up' Contract. After two years of the Series being finished, the Contract started to get loosened up, due to Walt Disney Company not wanting to do anymore business with Owl Entertainment Inc.

The Owl House Studio: Horror Attraction and Museum (2038-2039)

Around 13 years following the Studios' closure, Owl Entertainment Inc. decided to honor the tales and rumors of the Studio by opening a Horror Attraction, and even a Museum- showcasing all the old props, including the deactivated Animatronics from "both" locations.

The Owl Cafe (2057-2059)

It is now 32 years following the Studio closing their doors The Owl Cafe is it's the first restaurant-themed setting as the others are Studio Filming/Entertainment Establishments. Owl Entertainment gained a new owner- going under Owl Entertainment LLC.

A few Employee's were assigned to head to the burn wreckage of the Horror Attraction/Museum place where they were to try to salvage what they could, but they couldn’t find anything due to everything being burnt from the fire. However, the employees were forced to return to the old rubbles and debris where the building once was a second time to thoroughly go through the burnt remains to shockingly find a polished wired glass (which is fire proof glass) jar that had withstood the major flames and contained what appeared to be four different glowing hues of spiritual essence “Remnant” - along with a flash drive. The staff took it back to the current establishment which it was unknowably installed the said remnant into the newly made animatronics thinking that it would assist with their programming.

The flash drive was plugged into the main system computer which started to glitch the system and download a virus to all the electronic devices around the restaurant over the night; without anyone noticing. The business was opened in July 2057, and the restaurant went on without a hitch and was able to thrive for two more year's until- in late 2059 a bite with one of the newer original models: Mocha Cappuccino, bit a customer due to a drink spill that went into the mechanic wires and systems, and a investigation with the local police from a few reported suspicious activities which the company denied even knowing or being apart of..the suspicious activities are unknown (A few hidden murders and missing reports) The establishment closed down after two and-a-half years open, keeping night guard hiring for another year, with finding out what’s going on in the building at night time; making the horrific realization that the animatronics were actually living and possessed with the original murdered children from the first ever “The Owl House” Studio establishment. The Remnant was shared/divided among all animatronics.

All locations falls between a duration of 63 years! The first ever related "Owl House" content was between 1995 to 2000 called, "Luz and Friends"

| Luz and Friends |

Luz and Friends is an early short-animated show that was created and aired between 1993 to 1995. The animation was flat and simple, then being followed with it's successor animated television show The Owl House. Luz and Friends was approximately eight minutes long.

Each episode would have a small conflict among the group of teen kids; or could be a simple argument, and is solved by Luz herself learned by a valuable lesson. Hunter was always known as the "trouble maker" in the teen group. Before 'The Owl House' aired, King was known as a forest stray. The program didn't have a complex/difficult plot-line. The location setting was unknown in "Luz and Friends" as the program didn't focus too much on the setting, more than the plot of the story for that episode.

| Animatronics Around The Universe |

There are many variations of the 'The Owl House' Animatronics- Originals, 2.0's, Phantoms, and the Cafe Animatronics. I will list the Animatronics in the "Universe Series" they appear in:

"Originals" Animatronics- FNaTOHS&E 2

- Luz Noceda - Amity Blight - Hunter - King

"2.0's" Animatronics- FNaTOHS&E 1

The 2.0's indicates the Second Studio- and the Epilogue "era" Animatronics

- Luz Noceda 2.0 - Amity Blight 2.0 - Hunter 2.0 - King Clawthorne 2.0 - Eda Clawthorne 2.0 - London - Shadow Luz Noceda -Shadow King Clawthorne

"Hallucinations/Nightmares"- FNaTOHS&E "4"

As the same as the "FNaTOHS&E 1" Era, the Nightmares are also the Epilogue "era" Animatronics.

- Nightmare Luz Noceda * Nightmare Stringbean - Nightmare Amity Blight * Nightmare Ghost - Nightmare King Clawthorne - Nightmare Hunter - Nightmare Eda Clawthorne - Nightmare London

"Phantoms" & "Deathtrap Luz"- FNaTOHS&E 3

As the same as the "FNaTOHS&E 1" Era, the Phantoms are also the Epilogue "era" Animatronics. Unlike for "Deathtrap" Luz Noceda is the tattered version of the springlock 'early iteration' of Luz.

- Deathtrap Luz Noceda * Prototype/Deathtrap Luz Noceda: Prototype is a taller and "older aged" version of Luz Noceda that was never used for the series. She has black leggings, dark purple turtle neck long-sleeved shirt wore under a light blue and white jacket- having a single dark purple stripe along the middle. An owl pendant necklace around her neck, wearing light purple, white, and blue sneakers. Prototype Luz has her pixie cut style but slightly longer. She has a singular golden rectangular earring on her right ear. (her "age" appears to be around 16) - Phantom Luz Noceda - Phantom Amity Blight - Phantom King Clawthorne - Phantom Hunter - Phantom Eda Clawthorne

"Cafe" Animatronics- FNaTOHS&E 5

Cafe Luz Noceda

- Cafe Luz keeps her styled curly shortened hair, mascara black earrings, and her permanent "scar" from the series. Due to the Cafe style, Luz dons brown trousers, black short sleeved shirt, with lighter tan jacket that has a golden clip of the Cafe's logo on the right corner of the jacket, with a pin underneath the logo clip-pin which is a pin shape and colored of stringbean. And black shoes. - Luz helps with day security guard, by looking over the whole Cafe as double security; since she's still the main mascot of the company.

Cafe King Clawthorne

- Cafe King is the same with his dark red collar and tag that has the initials "KC" on it. Along with his bright blue star sticker/bandage on the right side of his skull. On the collar is a golden pin clip that has the Cafe's logo on it. King just wears a coffee brown colored apron. - King would show "coming in" customers to their seats, handing them their menus

Cafe Amity Blight

- Cafe Amity’s hair goes back to the color from the episode “Thanks to Them” with the light pink and the brown root color on the top of her head. She is dressed with a naples yellow colored long sleeved turtle neck shirt, black pants, and a white/light tan colored waist apron that has a pocket in it - which a pad and a pen is always kept in it for Amity to take the customers orders. On the waist apron is a golden clip pin that has the Cafe’s logo. Cafe Amity also wears gray shoes.  - Amity would help the human waiters take table orders on hours that the Cafe is very busy following hourly shows.

Cafe Hunter

Cafe Hunter also stayed the same from his “Epilogue” appearance from the series- including his few face and ear scars. He wears a brown long sleeved shirt that has the cuffs of the sleeves folded. Black pants - like Amity, gray shoes, and a light orange/brown apron. - Hunter would help assist Cafe Amity with taking tables orders on hours that the Cafe is very busy between showings.

Aura the Weasel

- Aura is one of the three new characters; alongside Mocha and Echo. Owl Entertainment LLC., has decided to experiment with having animal themed animatronics as well. - Aura assists with table delivery meal orders on rush hours.

Mocha Cappuccino the Red Panda

- Mocha Cappuccino, also known as just "Mocha", is also one of the new characters Owl Entertainment LLC., has created- and is experimented on with having animal themed animatronics. - Mocha has her own place in the "Kid's Table Room" to look after the younger kids, and delivering their meals.

Echo the Hare

- Echo, is one of the three and final new characters of Owl Entertainment LLC., and has built and experimented to see how animal themed/based animatronics program around guests/customers due to a 'walk-around' four legged animal animatronics weren't made before. - Echo helps assists Aura with table delivery meal orders.

Security A.C.E.

- Mostly known just as "Ace". He is a Great Horned Owl that's black, brown, and gray. He also has see-in-the-dark features with bright yellow eyes. On both of his wings, he has a design of a 'security' shield with neon blue trims. - He is the on that holds tight security on the whole network of the restaurant.

| FNaTOHS&E 1&2 Hauntings |

• With the Animatronics - in their "normal mode setting" their eyes are normal with their color eyes and white sclera - except King, he has his yellow sclera.

• Paranormal activities began two days following the MCI - marking that Kailey's third "experience" was successful and that remnants have been collected. The Animatronics continues to program/act the same way, except that they can have tendencies to be more staredown on adults than kids. Since the ghost children are mostly in an "invisible" state most of the time, some objects and doors may seem to open, or slam close themselves. Night Guards that have ran out and/or quickly quit would report random loud scrapping sounds, the security cameras rapidly flashing/going out un-naturally, hearing ghostly whisper sounds, and even the animatronic walking around acting threatening. Often have haunting nightmares of four children stalking and injuring them - when waking up discovering that the injuries are real - a few people have actually died in their dream.

• A few sightings have also been seen of red liquid splattered along walls spelling words like: "YOU". "YOUR NOT OUR FRIEND". "IT'S ME". "SHOW ON" with a red child-sized finger print in red next to it, Or "NO SAVING". Only "IT'S ME" would appear when Luz is nearby and about to attack.

• Ghost Children Possession/Alert: light-yellow tint sclera - King's is a tad darker.

• Ghost Children Angered: fully dark red.

| The Torture Machine |

• The Torture Machine is a hallow front shelled King/horn skull head machine (like the Animatronics' Masks) that has a bunch of sharp gears, shredders, and sharp slicing blades that causes anyone that gets pressed into it ripped apart. This device was originally created by Chairman and Agents of Owl Entertainment Inc. secretly for a tool of controlling - which soon gets taken over as a tool to "fix" people that the Animatronics gets a hold of to properly fit them into the empty suits in the supply/parts and service room. in the '90's it was used a few times by Kailey Lakewood and even Mr. West to get rid of a few Agents/Employees that were caught either snooping around Owl Entertainment corporate office finding secrecy information papers - or, breaking the #8 rule in the business.

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[more-than-a-princess]

EVADE / he doesn't mean it, such a sudden grasp away from what was once considered a walk as casual as it could be in their current situation. ever since the tragedy, he supposes he has become far too attuned to the sounds around them, a little more wary to the shadow he has caught in the peripheral in his vision, the gentle crunch that sounds far too behind to be either his or sonia's own, so much so that byakuya twists for his own sudden detour. a hand on her wrist enough to guide them both to the side for a moment of security, alertness, until he can work out exactly what is going on. / aka: for one muse to pull the other into an alleyway to escape their pursuer.

An old meme that I've lost

She wasn't sure why he insisted on working with her all the time, in comparison to the other Remnants.

Well, that wasn't entirely true: Sonia had a hunch, one based entirely on superficial traits that, in her opinion, hardly elevated her to some sort of acceptability and appeal in Byakuya Togami's eyes. She was, in honesty, still Queen of Novoselic: the country still stood and it was her legal right to claim it. If only it hadn't turned into a Constitutional Monarchy (a good thing!), she wasn't so mentally and emotionally broken (a bad thing), and in the latest national polls, 57% of the surviving Novosonian citizens now demanded her return home purely for a public execution (a worse thing). That number was something both the remaining monarchists and the Future Foundation were working to lower, but much of the country didn't want to listen and she was the worst advocate for herself to begin with. Bottles and beds were far more appealing than trying to repair her tattered reputation.

Still, it had been in the best interest of the former Remnants to work alongside members of the Future Foundation, at least according to Makoto Naegi. To help them when their minds and bodies failed, to encourage and support their transition back into society. Togami, about as proficient with manual labor as she was, seemed ill-suited as her partner. Today, in an attempt to keep Sonia from the kitchen and the cabin repairs (she'd already made a mess of both), her friends had kindly suggested she spend her morning in the island's library, and so she'd set off, the former Ultimate Heir accompanying her like a shadow.

Just as well: she felt quite certain he'd cast one over the day, at least once he saw her entirely frivolous choice of reading and watching materials: romances not unlike the ones Toko Fukawa had once written, and anime targeted at children with happily-ever-afters. But they, unlike her previous literary diet of horror and true crime, did not fill her with nightmares later on. Or at least, they didn't contribute to the onslaught of memories of her time following Junko's ideals. For that alone, she'd visit the library frequently to amass novels, comics, and films.

Yet, just as they'd been minutes away from crossing the bridge to the second island, Byakuya had reached out and nearly pulled her arm out of her socket, pulling her off the main path with him. "Togami-san!" Sonia cried out, in shock and in pain, "That hurts! What is going on? The Second Island is just there-"

Another crunch, of leaves and twigs from what Sonia could tell. Her blonde eyebrows raised: had they been followed? And by whom? Most of the Future Foundation employees and her friends were busy with their own daily tasks: no one had the time, much less inclination, to pursue Byakuya Togami and Sonia Nevermind undetected. And for what? It wasn't as if they would do anything interesting anyway beyond select books and chide each other for their literary choices.

"I am going to investigate it," She told him once she'd gotten her wrist free. "Please stay here." It was a skewed sense of priorities: who would people be more upset to see harmed? A queen who nearly razed her entire country to the ground, or the leader of the Togami Corporation whose funding of the Future Foundation seemed to be what kept it, and the Earth's restoration as a whole, going? It was an easy decision for her: a good amount of the world would celebrate if she were dead. She couldn't say the same about him.

Stepping out onto the path once more, she took a step, then two, slowly and quietly as she followed the sound back along the trail. Until she came face-to-face with a pair of large, round, golden eyes. 

Well, face to knee was probably more like it, as she looked down into the red, wrinkled face. The several meters between them was comfortable enough to keep both of them out of hiding.

"Are you lost? Or perhaps lonely?" Sonia asked, her expression softening as she smiled down at the Japanese macaque that had so cleverly tracked them all the way through the main island. Kneeling down, the best she could in her sundress, she tried to look a bit less large and imposing for the grey-haired monkey who now sat on its two back legs, studying her intently.

Whose golden gaze darted towards the crossbody bag she wore. Sonia followed it, before connecting the mental dots as to why the animal found her so fascinating.

"Or you are simply hungry," Sonia nodded, opening the top flap of her bag and reaching for one of the canisters inside. "Just as well: if you have skipped breakfast, lunch will be quite a ways away. I think there is something in here that you will find delicious...like this!"

She'd rummaged long enough to pull out a small plastic sealed dish, opening the lid and reaching for some of the contents inside: two plump, ripe strawberries, from an arrangement of freshly-cut fruit Teruteru Hanamura had set out for the morning breakfast just an hour ago. She tossed them towards the animal, both pieces of fruit landing roughly halfway between them. The macaque dashed forth, seizing a strawberry and taking a large bite, juice running down its mouth, its chest, its paws. 

"That looks a little eerie, don't you think?" Sonia asked, turning her head to look at him but otherwise not moving from the spot. She'd likely scare the monkey otherwise. "I know it is juice, but it looks a bit like blood."

[lavelled]

5/19/2018. tweetful groom, husband, father.

Their POLO Netflix doc will be released in December.

Holiday machismo from the ongoing failed relationship of Murked-Wales. Prince Harry, a trust fund non-auteur, who has never studied cinema nor had a number of regular jobs, acquires Netflix deals because viewership is supposed to consider his projects as flip-side code netting. The counterargument is, when considering the truth, you’re a wealthy company glamorizing rapist privilege with e-payment for camera angles that are his plans to ride a child writer from long ago. Writer. Rider.

This couple shouldn’t be able to flourish. I’ve had nothing for over three decades.

The doc is also to malign Tom, zapped to miniaturization as if jockeys aren’t more athletically skilled than nobility.

My question to Netflix: is Polo the sport of kings or another devil byproduct that makes the rich richer since your emergence in 1997?

H & M 2022 doc explores brotherly rifts. His brother is his accomplice, so that’s make-believe. Family hardship. They seem to hate their jobs more than most, but it was an arranged marriage voilà divorce. The trappings of a fairytale escape. That one’s easy. She’s not a princess; she’s a Cali rental. Media bluster. He thinks he controls it and, for a while, together, they were always in the news to fetishize my rape, containment, and a cruise sinking.

A possible Netflix program from food and wine blogger who pitied my lack of body autonomy, largely thanks to her father-in-law and bad-mouthed Henry, only to fuck him a year later—filmed in Montecito, where she doesn’t live. Cybercafé fickleness. She’s a Barefoot Contestant, famous by success of relinquishing ideals and aspirational feminism.

A helpful distinction is to remember that this heir-making duo has been honored with a fan-lined wedding, movie deals, book deals, podcast deals, UN events, magazine guest-editorship, sisterhood speeches, all twofold scripture about Tom Cruise and my stationary, empty life.

Prince Harry’s book, Spare, is filth. The milieu is multiple entendre in coded, staccato sentences from his Speak & Spell toy. Breaking new ground, rape, belts, you know, humour. It offers the usual slithery racism, classism lies with flashes from his spoiled brat past. Nazi uniform. Cocaine at 17. Penile frostbite. One sharp dog bowl. Kate, a religious Suits superfan. Oh do fuck off.

He writes of his first partner: “An older lady, who loved horses very much and treated me like a young stallion. I mounted her quickly, after which she spanked my ass and held me back… one of my mistakes was letting it happen in a field, just behind a busy pub.”

Paging Netflix.

Casting light on wife:

“I was sitting around Nott Cott, scrolling Instagram. I’d crossed paths with a ludicrously large cross-section of the planet’s seven billion residents. For thirty-two years I’d watched a conveyor-belt of faces pass by and only a handful ever made me look twice. This woman stopped the conveyor-belt. This woman smashed the conveyor-belt to bits. Is there just one person on this earth for each of us? But in that moment I felt there might be only one face for me. This one.”

It’s love when he compares you to a matchmaker pulley.

Harry bought a paralegal, but who would second-guess their love or “prove them wrong.” Lock, letters, contracts, Harvey. Good scene. Unfortunately, it proves she knew the friendly childhood triangle of a stolen life: https://www.youtube.com/watch?v=MJFnXv1yL7Y

Harry is prone to slip-ups like the hate-filled besmirching of his revamped wife in piece of dirt terms. He tweets out: MattressActress, Archeficial, LiliBucks, PregnantPoloPony. Hostile as ever, he admits to incubation—even my ruin. Conversationally, since 2006, Harry has straddled the line between inking and disclosing NDA-sensitive information, using scab and scabrous to degrade and threaten.

Photos, authored by Prince Harry:

1. But Daddy I Love Calculating At My Wedding

2. The I Do King

3. Acting cats

4. CNNT

5. Megnant

6. Pampers

7. Revenge driven

8. Babe

In Linden, Alabama, on December 3 2018, seven months after their wedding, McKenzie Adams, 9, hanged herself.

DIVORCE.

K

[nsfwhiphop]

Incoming Text for Jens Stoltenberg:

(IG:@ jensstoltenberg)

Subject title:

"Partnering for Financial Success: Your Investments and Returns in Our Film Company"

"Aligning Our Financial Interests: Share in the Success of Our Film Company"

Dear Jens,

I will try to make this message as short as possible.

I don’t know if you remember some of my tweets from March, but we discussed the importance of the film industry and how it could help us achieve financial independence as military leaders. The time has come to build a brand-new film company in Luxembourg because it’s the perfect fortress and safe haven to protect us from bullies in America and France.

I’ve chosen Luxembourg as the ideal location to shield our film company from future intimidations and bullying.

To protect this film company, I have selected three key women:

Laetitia Casta

Natalie Portman

Marion Cotillard

These three women will run the film company, but they need a strong ally to guard them against any form of bullying. That’s where you come in—you will help protect these key figures.

You will join the film company as a board member and invest in many lucrative film franchises we will produce. This will hopefully make you a billionaire legally, without any handouts or outside help, as it’s a start-up company.

I encourage you to work with your close ally in America, the famous actor Arnold Schwarzenegger (@schwarzenegger).

Elon Musk (@elonmusk) will fund our future movies with his Chinese ally, Jack Ma (@JackMa).

By establishing our film company in Luxembourg, we’ll benefit from its tax haven status. Additionally, any future box office profits will be held in Luxembourg banks, which offer very low taxes. This will help minimize the tax burden on our film company.

For more information about the highest-grossing film franchises, check out these Wikipedia pages:

List of highest-grossing media franchises (Click on the blue link)

List of highest-grossing films (Click on the blue link)

There is significant money to be made in the film business. By joining the board of our film company and investing in our lucrative franchises, you will become very wealthy as a producer.

Luxembourg is the ideal safe haven to fight corruption. It’s a home for Europeans, and with our American allies joining us, we will be well-positioned to tackle corruption.

I hope you will protect these three ladies as they move to Luxembourg to create their new film company.

The film budgets will be funded by Chinese billionaire @JackMa. I encourage you to discuss this with him for our future movie budgets. We are in NATO territory, and it’s permissible to make business deals with Jack Ma’s production company, Alibaba Pictures. Here is the Wikipedia page for more information. (Click on the blue link)

With Elon Musk and Jack Ma as our allies, we’ll be able to fund our films independently and succeed in this economic war.

That’s all I wanted to convey. I hope this message helps you consider the possibilities of making money in the film industry.

Your friend and guardian angel,

Angelo

[kvibe-test]

Navigating Indie Film Finances in Uncertain Times

The film industry is going through some weird transitions at the moment, and honestly, it's tough to gauge exactly what's happening. From what I've been hearing and the conversations I'm having, producing movies on a budget over $100,000 without a bankable actor is quite risky if you're looking for a good return on investment. But what does "bankable" mean? A bankable actor isn't a B-list star; it's someone A-list. So if you're aiming to get a bankable actor on board, you're looking at making films with budgets well above a few million dollars, making things even more challenging if you don't have financial backing.

Planning Your Production Wisely

One key strategy in navigating financial uncertainty in indie films is meticulous planning. Start with a budget that is realistic and includes a buffer for unexpected costs. It's crucial to keep your budget lean but flexible. Focus on every dollar spent and find creative ways to cut costs without compromising the film's quality.

Consider using local talent and locations to minimize expenses. Hiring a bankable actor might seem ideal, but if it's out of reach, focus on actors who bring authenticity and passion to your project. You don't always need A-list stars to create an impactful film.

Securing Financing

Financing is probably one of the most challenging aspects, especially under uncertain market conditions. Diversify your funding sources. Explore crowdfunding platforms, private investors, government grants, and soft money. Don't put all your eggs in one basket; this diversified approach can mitigate risks.

An essential tactic is to develop a solid pitch and business plan. Investors want to see that you have a clear vision, a well-structured plan, and a viable path for their return on investment. Take time to craft an engaging pitch that highlights the unique selling points of your film.

Managing Budgets Effectively

Once you've secured financing, managing your budget effectively is crucial. Track every expense and ensure that there's transparency in your financial dealings. Regularly update your financial plans and be adaptable to changes that may come along during production.

One practical approach is to prioritize expenditures that directly affect the film's quality and marketability. Invest wisely in crucial areas such as cinematography, sound design, and post-production while finding cost-effective solutions for other needs. Always keep an eye on the bigger picture and avoid getting sidetracked by smaller, less critical expenses.

Additionally, explore partnerships and sponsorships which can provide financial relief and added value. Partnering with brands or companies that align with your film's theme or message can offer mutual benefits and help ease financial pressures.

In these uncertain times, adaptability, and innovation are your best tools. Stay informed about industry trends, be open to new ideas, and continually refine your strategies. By planning meticulously, securing diversified financing, and managing budgets wisely, indie filmmakers can navigate financial uncertainties and still produce compelling and successful films.

#IndieFilms #FilmFinancing #Budgeting #FilmIndustry #Filmmaking

[sirobvious]

Bad Ethics Commented on this Post Masterpost

Great story ideas, terrible ethics.

"Don't worry guys, there's this type of person called a 'bad person', and if we just kill enough of them everything will be alright!"

"Vampires should just feed off of: [whatever human beings I can most comfortabley other]!"

Criminals

>Prison-industrial complex, already addressed this, already happening IRL.

>Would lead to more "tough on crime" bills like the war on drugs to put more and more people in prison so vampires never run out of food.

Cops

>Particularly hard targets.

>Always armed.

>Always in radio contact with other cops.

>Deaths more likely to be seriously investigated.

>City just hires more cops.

>Resulting moral panic from random attacks on cops easily spun towards more police funding, more heavily armed police, curfews, blame shifted onto minorities.

Politicians & Billionares

>Surrounded by security 24/7. Fucking untouchable if they're anybody who's anybody.

>Money&power just goes to the next guy in line.

>Start reading again from the top.

Nazis

>Start reading again from the top.

Landlords

>Start reading again from the top.

All of the Above

>Vampires live forever and always gotta be drinking blood. Who do they eat when they run out of bad people?

>How many provably irredeemable Nazis are there really?

>How long before they start justifying anyone with a dubious tweet from 6 years ago?

"Vampires should just pay people to give them blood!"

>Society's most desperate and poor people forced to sell part of their body to 'earn a living'.

>Already a thing IRL.

"Vampires should just find kinky goths who get off from having their blood drunk!"

>Vampires essentially sex workers then.

>What if your every meal had to be filmed and the uploaded as a mukbang fetish video on pornhub

>What if your every meal relied on the next horny John coming around to get his neck bitten

>Ugly vampires starve.

"Vampires should drink from a consenting partner!"

>Relationship is literally draining.

>"You can't break up with me, I'll starve."

>"You can't break up with me, you'll starve."

>Ugly vampires starve.

"Vampires should steal from blood banks!"

>Already addressed this.

"Vampires should drink blood from animals because animal blood is not biologically different from human blood!"

>Fuck

>off

"There should be blood donation drives for vampires!"

>Actually, pretty good.

>Unfortnately, we can't even supply enough donated blood for the existing IRL mortals who need it.

>What does a vampire do when their gofundme is $20 short?

Conclusion

All of these, as well as whatever other attempt at "solving" vampirism anyone else is going to inevitably comment in response, fail to provide a feasible way for a vampire to ethically drink human blood. However, they're almost there, just barely brushing past the point, which is that vampires are unethical. Instead of a problem to be solved in worldbuidling, this is the ideal springboard for a story that says something about fucking society! Good stories aren't about utopian societies or perfect people--unless those utopian societies and perfection are a lie--they're about societies and people with problems and who cause problems! Vampires are a curse, they exists to cause problems, you take that from them in your story and they're nothing. If you instead embrace how characters--even as protagonists--cause problems, you might actually stumble onto a theme or two.

I know that’s kind of the go-to thing to show that a vampire character is “one of the good ones” or whatever but it actually seems a little bit more fucked up for a vampire to steal blood from a blood bank than for a vampire to attack people for blood, at least as long as it’s not the kind of vampire where a bite is instantly lethal like it never stops bleeding. 

People can recover from losing some blood but blood bank blood is constantly in short supply and is reserved for people who imminently need blood transfusion of a specific blood type or else they die.

[cybercloudqueen]

China Wedding Pictures Company Cost Vary and Finances Preparing

Wedding ceremony images is a substantial expenditure in wedding preparations. Comprehension the value range of marriage ceremony photography expert services in Hong Kong and creating realistic funds designs can assist partners Manage costs although picking wedding photography satisfactory pictures providers. The Hong Kong wedding ceremony images sector is diverse, with a wide array of rates from primary capturing services to luxurious total-working day protection. This article will analyze the price range of Hong Kong wedding ceremony photography and supply budget setting up solutions to help you couples make the ideal choices for their wedding ceremony pictures.

Wedding Photography Budget

Establish Budget Cap: Determined by the general wedding price range, established a cap for your marriage pictures price range to stop overspending. The spending budget should consist of the photographer's charges, post-processing costs, and potential supplemental fees like album generation and overtime expenses.

Prioritize Crucial Goods: Prioritize critical products like ceremony taking pictures and bridal photo sessions depending on your requirements. When the price range is limited, think about deciding on a essential package deal and investing extra in essential segments.

Allocate Spending budget Moderately: Distribute the spending budget moderately throughout various service objects to make sure Every part has adequate monetary guidance. For illustration, you are able to go with a mid-vary offer and include some personalised companies like marriage ceremony quick movies or Innovative retouching as necessary.

Recommended Marriage Pictures Company

If you're organizing your marriage ceremony or hunting for a images enterprise, we advocate Berlin Marriage ceremony Pictures. They supply fair charges and excellent solutions, receiving praise from many couples. Community photographers with abundant expertise and exclusive Views can capture just about every beautiful instant of one's marriage. Irrespective of whether It can be documentary fashion or Innovative capturing, Berlin's marriage photographers can fulfill the numerous demands of couples, making sure Every couple has one of a kind and unforgettable wedding photographs. Their most economical program features a 50 %-working day 1V – Half-Working day Wedding day Pictures and Videography Package deal.

Wedding Images Setting up and Budget

Standard Pictures Offer - Essential company masking the ceremony and reception, which include a particular range of edited shots. Commonly includes 4-six several hours of taking pictures time.ten,000 – 20,000

Mid-Selection Images Package deal - Includes essential expert services, bridal Photograph classes, and extra edited pictures. Ordinarily incorporates 8-ten hrs of shooting time. 20,000 – 40,000

Superior-Stop Pictures Offer - Supplies entire-day coverage, Innovative enhancing, wedding day quick films, and various superior-conclude expert services. Typically includes all-working day capturing companies and wedding ceremony video creation. 40,000 – a hundred,000+

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Affordable price range planning will help couples Manage charges while selecting satisfactory wedding images expert services. Comprehension the assistance content material and top quality dist

[sanastasi126]

Global Awareness Initiative: Women’s Equality

Ensuring equal opportunities and decision-making authority for both women and men is a fundamental human right, yet our society grapples with a significant disparity in access to these privileges. Worldwide, women encounter fewer chances for economic engagement compared to men. Women have less access to education, greater health and safety risks, and less political representation. 

The Peace Corps’ definition of gender equality is as follows, 

“Gender equality means that men and women have equal power and equal opportunities for financial independence, education, and personal development. Women's empowerment is a critical aspect of achieving gender equality.” 

Women’s equality and empowerment enhances a woman's self-esteem, her capacity to make decisions, her access to opportunities and resources, her autonomy and influence over her life within and beyond the household.

Gender inequality is a major issue that has, and continues to persist through time. In modern society, women’s perspectives are often portrayed in the media. A recent example of this is the movie Barbie (2023) directed by Greta Gerwig. Barbie examines the societal expectations placed on women, the influence of patriarchy, and the overall female experience. Gerwig illustrates the overwhelming pressures women face from both societal norms and their own internalized expectations throughout the movie. 

One of the most memorable moments of the film is the character Gloria’s monologue:

Barbie Monologue

Some of the themes of this dialogue include self-acceptance, unrealistic expectations, idealized femininity, and male vs. female roles in society. Gloria's frustration regards the contradictions women encounter. This begins to enlighten Barbie about the expectation for women to navigate a delicate balance between their authentic selves and societal expectations. However, it becomes evident that this tightrope inevitably leads to failure. This teaches women they should not worry about whether others approve of them because trying to meet their expectations is a waste of time. A lesson that young girls must learn is to embrace your genuine self, including your imperfections, because self confidence comes from within, and not from the approval of others. 

The "Dream Gap" 

The Mattel Toy Company, makers of Barbie, have started an international initiative called the Barbie Dream Gap Project Fund. It is “a global mission dedicated to closing the gap by challenging gender stereotypes and helping undo the biases that hold girls back from reaching their full potential.” While strides have been taken towards achieving gender equality, lingering stereotypes and societal biases persist, potentially influencing a girl's path and future decisions. As part of their commitment to the cause, Barbie donates $1 from every doll sold in the U.S. to the Barbie Dream Gap Project Fund, and since 2019, Barbie has donated $250,000 every year to non-profit partners that work directly with girls and enable them to reach their full potential.

The Dream Gap is the space in between young girls’ wildly imaginative ambition and their full potential. Starting at age five, many girls begin to develop limiting self-beliefs. They stop believing their gender can do or be anything. This is the Dream Gap, and this is what Barbie is working hard to combat. 

Sources:

https://arbiteronline.com/2023/08/28/come-on-barbie-lets-go-party-the-barbie-movie-is-a-raw-analysis-of-the-female-experience/

[local-legal-marketing]

6. Budgeting Ambitiously For Growth

Aligning Resources to Ambitions A firm can only fulfill its envisioned future position with sufficient resources allocated to realize it. This requires self-awareness around priorities - whether to fund commitment toward innovation, client experience upgrades, talent development, or expanded community engagement. Project 5-year scenarios reflecting different funding levels and growth rates. Which vision resonates across partners? Backcast the talent, systems, and marketing funding essential to progress toward this goal. Following ABA and SBA Guidelines The marketing concepts of ABA (Applied Behavior Analysis) and SBA (Small Business Administration) guidelines are quite distinct, each in different fields. Here's an overview: Applied Behavior Analysis (ABA):  ABA is a scientific discipline concerned with applying techniques based on the principles of learning to change behavior of social significance. In marketing, ABA can be applied to understand consumer behavior and modify marketing strategies accordingly. - Application: ABA in marketing involves analyzing consumer behavior, identifying patterns, and implementing strategies to influence purchase decisions. For example, this could involve analyzing how consumers react to different advertising approaches and adjusting campaigns to maximize engagement and conversion rates. - Benefits: By employing ABA methods, marketers can achieve more targeted and effective campaigns, leading to higher customer satisfaction and loyalty, and ultimately, increased sales and market share. Small Business Administration (SBA):  - Concept: The SBA is a U.S. government agency that provides support to entrepreneurs and small businesses. SBA marketing methods refer to strategies and practices recommended or utilized by the SBA to help small businesses effectively market their products and services. - Application: SBA in marketing might include guidance on developing a strong marketing plan, utilizing social media and digital marketing tools, understanding market research and customer segmentation, and employing cost-effective strategies for small business promotion. - Benefits: Small businesses that follow SBA marketing guidelines can optimize their marketing efforts with limited resources, reach the right audience, and grow their customer base. The SBA also provides resources for training and mentorship in marketing, which can be particularly beneficial for new entrepreneurs and small business owners. In summary, while ABA focuses on the behavioral aspects of marketing to understand and influence consumer behavior, SBA methods provide a framework for small businesses to develop and implement effective marketing strategies. Both approaches offer unique benefits and can be pivotal in creating successful marketing campaigns. While targets must align with strategy, guidelines do exist across the legal sector: - ABA suggests at least 3-5% of gross revenue directed toward marketing - Solo firms target 7-9% of gross on business development - Marketing leadership salaries reach $100k+ at mid and big firms Track your competitor's budget trends through informal peer networks. Gather client opinions on appropriate marketing staffing and activity levels to inform responsible resource planning. Benchmarking the Client Journey Evolving client expectations shape required marketing programs and activities. Map common paths prospects take from awareness to retention. Assess satisfaction, pain points, and preferences at each stage through online reviews and client panel feedback. When evaluating companies, search for shortcomings like limited access to experts in the subject matter. Budget to address weaknesses revealed compared to an ideal journey. For example, developing more educational content if prospects desire deeper self-education before meetings. The following is a dramatization and is not an actual event: Andersen Tax allocated a budget to film an original video series highlighting the diversity of their advisors after clients critiqued a lack of transparency around who would be working on their matters. Defining and Tracking Return on Investment Marketing is money spent to increase sales, not just lost money on ads. Maintain financial accountability by instituting budgets, reporting, and dynamic allocation to highest performing initiatives based on attributable ROI. Tie activity back to contacts, prospects, and clients directly influenced. For example, event sponsorships should link to new matter openings beyond just branding value. Likewise, check how well content leads to actual sales or actions to measure real interest. Integrating Advanced Analytics in Marketing Strategies Advanced analytics tools are transforming how legal firms understand and engage with their target audience. By leveraging data analytics, firms can gain deeper insights into client behaviors and preferences, helping to tailor marketing efforts more effectively. Implementing tools like client segmentation and predictive analytics can significantly enhance the accuracy of marketing campaigns. For instance, segmenting clients based on their legal needs allows for more personalized communication, increasing the likelihood of client engagement and retention. The following is a DRAMATIZATION AND IS NOT AN ACTUAL EVENT: A mid-sized law firm utilized predictive analytics to identify potential clients who might need legal assistance in specific areas, resulting in a targeted marketing campaign that significantly increased client acquisition. Leveraging Social Media for Brand Building and Engagement Social media platforms offer a powerful avenue for legal firms to build their brand and engage with clients. A well-structured social media strategy can enhance visibility, establish thought leadership, and foster community engagement. It’s important to choose the right platforms and content types that align with the firm's target audience. Engaging posts, informative articles, and interactive sessions like Q&As or webinars can significantly boost online presence and client interaction. Regularly measuring social media performance using metrics like engagement rates, follower growth, and content reach is crucial to understanding the effectiveness of the strategy and making necessary adjustments. Emphasizing Client Testimonials and Success Stories Client testimonials and success stories are powerful tools in legal marketing. They provide prospective clients with relatable, real-life examples of the firm’s expertise and client satisfaction. Encouraging satisfied clients to share their experiences, either through written testimonials or video interviews, can significantly boost the firm's credibility. These testimonials should be prominently featured on the firm's website and in marketing materials. Success stories, especially those highlighting challenging cases or significant wins, can be used as case studies to demonstrate the firm’s competence and effectiveness in handling complex legal issues. Including these in marketing communications not only showcases the firm's successes but also helps to build trust with potential clients. By integrating these strategies into your legal marketing plan, your firm can enhance its client engagement, build a stronger brand, and achieve a higher return on investment. Contact our marketing experts today to explore how these approaches can be tailored to fit your firm’s unique needs and goals. In conclusion, the landscape of legal marketing is ever-evolving, requiring firms to constantly adapt and innovate. By aligning resources with ambitions, adhering to established guidelines, and benchmarking the client journey, firms set a solid foundation for their marketing efforts. The incorporation of advanced analytics, strategic use of social media, and showcasing client testimonials further elevate these efforts, making them more targeted, engaging, and effective. As legal marketing continues to develop, staying ahead of these trends is key to maintaining a competitive edge. For firms looking to refine their marketing strategies and achieve greater success, exploring these avenues offers a pathway to not only meet but exceed client expectations and business goals.   Read the full article

[futurecommpr]

FutureCommPR Talks with Three Female Entrepreneurs

These Women Excel in their Leadership Roles

[November 27, 2023, San Francisco, CA] A gamer, a chocolatier, and a business consultant stand as extraordinary examples of innovation, resilience, and leadership.  At the forefront of their respective industries, these women have not only carved out distinctive niches but have also become living testaments to the transformative influence of women in business.  Each of these leaders has forged a distinctive path, showcasing the potency of determination and strategic vision in accomplishing remarkable milestones.  FutureCommPR sat down with these three leaders to find out more about their individual paths to success.

Brandii Grace, CEO of Games by Brandii (G.B.B.), boasts an impressive two-decade tenure in the gaming industry.  Her background features roles as a designer on AAA, console, and mobile games for companies like Disney, Activision, and Warner Bros.  She was also a programmer at Microsoft Games, helping to launch their most successful console system.  As a game design instructor for programs at DigiPen and the New York Film Academy, Grace earned the International Game Developers Association’s MVP award for her industry leadership.  She was also a founder of Versus Systems currently traded on NASDAQ.  “The success of the Barbie movie has shown us that if we want our stories told, we’re going to have to do it ourselves” Grace said. Leveraging her extensive experience, she embarked on her new venture – establishing a studio focused on creating games tailored for women (ThreeDaysGame.com). 

There is a noticeable absence in the gaming landscape when it comes to addressing social topics that women can connect with.  “I started making games because I’m a storyteller at heart.  Games can serve as an unparalleled medium for conveying meaningful narratives about systemic issues, providing a safe space to explore diverse experiences” she said.  Rooted in real-life stories and dedicated to addressing significant social issues, there are two games currently in development “Redlined,” and “Three Days.”  “Redlined” is a narrative city builder that plays through a century of historic, real-world housing policies.  “Three Days” is a visual novel that will launch first.  It’s an edgy drama about love, loss, and pregnancy.  The inaugural game is slated for release in 2024, and Grace is actively working to secure a modest marketing budget of $50k. 

Transitioning from the tech sector to healthcare, we spoke with Bridget Ludy, President, and Founder of Pivotal Health.  With heightened awareness on the importance of maintaining personal health via dietary habits, Ludy is preparing to launch a line of chocolate products that are sugar-free, kosher, keto-friendly, non-GMO, vegetarian, and suitable for diabetics.  Ludy has over forty years of experience in chocolate making and drawing from her own personal journey with a diabetes diagnosis, she identified a market need for gourmet-level chocolate products.  This realization fueled the establishment of her company (PivotalHealth.biz).  “We have developed a solution that provides a premium quality chocolate experience that delivers both a delicious taste and the health benefits of being sugar-free” Ludy said.  The diabetic population, currently at 37.3 million in the U.S., is projected to exceed 54.9 million by 2030.  Her product line has emerged as an ideal solution for individuals that are health conscious but still crave that chocolate treat.  The official launch is January 2024, and they are currently working to secure funding to scale production and bring their product to market.

Moving from healthcare to business consultancy, we spoke with Elizabeth Italiano, Managing Partner, at GTM Advisors (GTMAdvisors.com).  Italiano’s entrepreneurial journey commenced with her first startup Radian6, which was later acquired by Salesforce.  Following experiences with various early-stage startups, she found herself interested in working for herself and launched WNTD Partners, eventually paving the way for the establishment of GTM Advisors alongside her co-founders.  Specializing in diagnosing go-to-market (GTM) issues, the company is dedicated to guiding companies through problem resolution.  “We wanted to truly partner with our clients every step of the way from diagnosing problems to identifying opportunities through implementation of recommendations,” said Italiano.

The company offers bespoke solutions rather than cookie-cutter frameworks.  “Throughout my career I’ve had the opportunity to work in marketing, sales, customer success, and even accounting and I wanted to share those experiences and knowledge” she said.  The company’s original mission is still in place today, continued Italiano, “make a difference for our clients.”  The company launched in early 2023 in challenging economic conditions but has found themselves with a robust number of clients via their network and marketing efforts.  The keys to success for GMT Advisors have been to “test, learn, and iterate” she continued.  She encourages other entrepreneurs to ask trusted friends or mentors for advice.  She says that “tenacity is critical, and you need to have the ability to persevere through failures.”

The successes of these three founders highlight their creativity and resourcefulness but also underscore their unwavering commitment to a mindset of perpetual learning and adaptability.  This dynamic approach, responsive to the ever-evolving landscape of their respective industries, has played the main role in steering their ventures toward notable achievements.  As we look forward to 2024, the anticipated growth and expansion of these companies promises to be intriguing narratives.

###

Jim Burkhart is the Executive Director of FutureCommPR.  Headquartered in San Francisco and New York, FutureCommPR provides PR services with a focus on small businesses and startups. https://www.FutureCommPR

[monikaodint]

Exploring Ideal Sectors for Company Registration in Vancouver

Choosing the right sector is a pivotal decision for entrepreneurs aiming to register a company in Vancouver, Canada. Vancouver’s dynamic and diverse business landscape offers a range of promising industries, each with its unique advantages and opportunities. This article will explore and highlight ideal sectors for company registration in Vancouver, shedding light on the strengths, potential, and strategic considerations for entrepreneurs seeking to establish their businesses in this thriving Canadian city.

Understanding Vancouver’s Business Environment

Vancouver, nestled on the Pacific Coast, is a vibrant economic hub, known for its diverse economy and thriving sectors. The city's strategic location, innovative culture, and supportive business infrastructure make it an appealing destination for various industries.

Ideal Sectors for Company Registration

1. Technology and Innovation

Vancouver is rapidly becoming a technology and innovation hotspot, attracting startups and established companies. The city is home to a burgeoning tech scene, including software development, biotech, clean technology, and digital entertainment. Advantages of registering a tech company in Vancouver include:

Access to a skilled talent pool due to the presence of top-notch universities and research institutions.

Proximity to tech hubs, fostering collaboration, networking, and access to potential investors and partners.

Support from local incubators, accelerators, and government initiatives, offering funding, mentorship, and innovation-friendly environments.

2. Green and Clean Technology

Vancouver is committed to sustainability and environmental initiatives. Companies focusing on renewable energy, sustainable practices, waste management, and green technologies find a conducive environment in the city. Advantages include:

A supportive ecosystem embracing green initiatives, with access to funding, research, and development opportunities.

Collaboration with various industries and government bodies promoting green practices and creating business opportunities.

3. Real Estate and Construction

With its growing population and development projects, Vancouver's real estate and construction sectors offer significant opportunities for businesses. Advantages include:

The city's ongoing infrastructure projects and urban development, creating a demand for construction services.

A thriving market for real estate development, renovation, and property management due to the city's evolving landscape.

4. Tourism and Hospitality

Vancouver's natural beauty and diverse cultural offerings make it a hotspot for tourism and hospitality businesses. Advantages include:

An attractive destination for travelers, fostering opportunities in hotels, restaurants, tour operations, and leisure services.

Access to a diverse consumer base due to the city’s cosmopolitan culture, fostering a rich market for various hospitality services.

5. Film and Creative Industries

Vancouver is a major film production hub in North America, offering vast opportunities in the creative sector. Advantages include:

Access to a pool of talent and infrastructure supporting film, television, gaming, and digital media production.

Tax incentives and government support for the creative industry, attracting major studios and fostering a thriving ecosystem for content creation.

6. Healthcare and Biotechnology

Vancouver is home to a robust healthcare and life sciences sector. Advantages include:

Access to cutting-edge research institutions and a skilled workforce, fostering innovation in pharmaceuticals, biotech, and medical technology.

Opportunities for collaboration with local universities and healthcare institutions supporting research and development.

Conclusion

Choosing an ideal sector for company registration in Vancouver requires careful consideration of industry strengths, market demands, and growth potential. Vancouver's diverse business environment presents a multitude of opportunities across various sectors, each with its unique advantages and growth prospects. By understanding the dynamics of these sectors and aligning business goals with the city's economic strengths, entrepreneurs can effectively position their companies for success in Vancouver's thriving business landscape. Whether venturing into technology, sustainability, real estate, tourism, entertainment, or healthcare, Vancouver offers a rich and diverse tapestry of industries ripe for entrepreneurial pursuits.For more insights detail contact us ONDEMAND INTERNATIONAL

[ailtrahq]

Surreal Events and Streaming Global have signed a 3-year partnership agreement. It enables Surreal XP to gain access to real-time pixel streaming, GPU Multitenancy, and remote rendering capabilities. This marks a significant milestone for Surreal Events, with the partnership being termed a new era of metaverse experiences. The collaboration brings a way to deal with the cloud services for a seamless experience. XP currently relies on WebRTC protocol, but the speed is just one GPU every second. The partnership with Streaming Global increases it by 9 times for a higher capacity, unparalleled fidelity, and lower rates. Josh Rush, the Chief Executive Officer of Surreal, has said they are ecstatic to join forces with Streaming Global, adding that it will help introduce the GPU Multitenancy solution to the market. Josh has also acknowledged that Streaming Global is helping to address challenges in streaming gaming experiences that are in high resolution. Richard Oesterreicher, the Chief Executive Officer of Streaming Global, has responded that they aim to enable unparalleled scale while paving the way for superior unit economics in the market. Richard has also appreciated Surreal for having a reputation for delivering immersive experiences. The development follows Creal’s unveiling of its AR solution, which is tentatively scheduled to launch in 2024. The venture has raised $18 million in funding, with the round seeing participation from Verve Ventures, Swisscom Ventures, and DAA Capital Partners. Creal is bringing its light field display technology with a holographic film applied to a standard or prescriptive lens. This helps to deal with the challenge of AR and VR headsets, which ideally lead to headache, fatigue, and nausea. It further deals with the visual challenge by enabling users to see objects closer to 20 cm. Thus offering an immersive and genuine experience. Regarding Surreal and Streaming Global’s partnership, it is dedicated explicitly to Metaverse and XR. The fact that it brings a combination of multitenancy, pixel streaming, and remote rendering is worth noting. All of them will be available to the users of Surreal XP for an immersive experience. The partnership amplifies the capacity by 9 times. This is on top of two benefits that the community can count on – visual quality and reduction in deployment of resources. There will then be the benefits of scale and superior performance. Streaming Global has called Surreal an ideal partner in providing such a solution for the kind of reputation it carries in the market. Surreal is known to deliver top-tier performances for immersive experiences. The technology will now enable users to interact with real-time rendered immersive experiences without needing a dedicated GPU on the client device. Per the reports, the development is only available in the latest installment of Surreal XP. There is no confirmation if the older versions can be updated to match the innovation.

[writemarcus]

Victoria Detres and Helen Park with Marcus Scott

R.I.S.E.’s launch event. Photo: Heather Gershonowitz.

During the 2018-2019 Broadway season, 100 percent of general managers and 94 percent of producers identified as white, according to a 2021 report from the Asian American Performers Action Coalition. These numbers were reflected in onstage representation as well, with actors who identified as white being cast in 80 percent of the lead roles in musicals and 90 percent of the lead roles in plays.

Since then, there’s been a reckoning with “We See You, White American Theater” disrupting the status quo, promoting over one hundred theater organizations nationwide to respond with action to demands for better BIPOC representation, visibility, and leadership. Several collectives popped up, most notably Black Theatre United, which negotiated “A New Deal for Broadway” between Broadway shows and their touring productions in 2021. However, one might argue that these institutions, while transformative, are primarily concerned with the optics onstage, whilst larger issues loom behind the scenes. In order to incite incremental change, it will have to take those with clout, capital, and connections that operate sub rosa and in the spotlight. Enter Lin-Manuel Miranda.

On June 8, numerous theater artists and industry insiders gathered on the rooftop of the Civilian, a 27-story luxury boutique hotel in Hell’s Kitchen on the edge of the Theater District, for a special announcement: Maestra Music and the Miranda Family Fund partnered to establish RISE (Representation, Inclusion, & Support for Employment) Theatre, with the aspiration of generating more equitable hiring exercises within the theater community by centralizing Diversity, Equity, Inclusion, and Access (DEIA) tactics and resources through a network of partners. This came to be when the Hamilton creator approached Georgia Stitt, the illustrious composer and music director who developed Maestra, to discuss launching the RISE Theatre Directory, a free national digital almanac created to promote visibility and hiring of underrepresented artists, backstage crews, and other vital theater employees.

The Brooklyn Rail spoke over Zoom with Victoria Detres (the project coordinator at RISE) and Helen Park (a member of its community of advocates and a Tony Award nominee for her KPOP score) to discuss its service, mosaic of diverse supporters, and subsequent sea change they hope to witness in the years to come.

Marcus Scott (Rail): What was the spark for RISE and how did you get involved?

Victoria Detres: I’ll start with the logistics of it all. So, Maestra Music is a not-for-profit that supports female and non-binary musicians working in musical theater. They had a program formerly called Get To Work. It was designed to share the statistics about where our industry is with hiring practices, and it was formed as a reaction to the pandemic, where everyone recognized where we were failing, and we had a larger movement.

So, we started sharing the resources. It was cultivated with community partners who were also working in various lanes of equitable progress, wanting to move the needle forward. That was happening in 2020, and they were moving the needle forward with the small programming they were doing for Get To Work; it was 2021 when Georgia and Lin-Manuel, oddly enough, ran into each other at a pumpkin patch in upstate New York. Lin had previous conversations with Ava DuVernay because he had given some funding for the ARRAY Crew, which is designated for BIPOC representation in film and television. He was working with Ava to create the same ideal database directory for theater. They recognized that film and television are very different from theater, so they wanted to part ways amicably recognizing that they didn’t have the insight or the knowledge about the theatrical industry that would serve creating the directory.

At the same time, that’s when Lin had run into Georgia. He knew about Georgia’s work at Maestra, and she mentioned the Get to Work program, and the partnership felt like a natural next step. The partnership began officially in 2022. I came on in 2023. There was some formulating about what the program would be. They recognized that Maestra didn’t have the infrastructure to do the entire push of the RISE Theatre Directory on their own, and they needed to hire additional help. That’s where I came in, along with my colleague Adam Hyndman. I came on in January to start the program when they mentioned, “Oh, yeah, we’re launching in June of this year.” I said, “OK, great. Happy to do that!” Adam came on in February, and it was all systems go, ready for the launch, figuring out what RISE Theatre would be.

It wasn’t RISE at that time. It was Get to Work. We had a hot five months of just working to make it happen. And then that’s where Helen comes in with our launch aiming for June. We really wanted to be intentional about the partnerships that we were building and how we actually got the community involved. We wanted to reach out to industry changemakers; cultural leaders who are doing the work in the industry to really get the name out there, but also cultivate partnerships so that we can highlight the good work that’s being done and amplify artists who are doing everything they can to move the needle forward.

Rail: The acronym of RISE stands for Representation, Inclusion, and Support for Employment. What does RISE mean to you in this moment?

Detres: We have this adage of “a rising tide lifts all boats,” and I think in our industry specifically, we are stuck in a scarcity mindset. When you’re seated at the table, you can’t open the door for someone else, and we kind of wanna challenge that. Or, at least, I wanna challenge that with the work that I do. Doing this work, elevating and cultivating community in more intentional ways is only gonna benefit the greater community. But I think we are stuck in a place where we are so at odds and we worry. I feel like the word “equity” doesn’t actually have a good rep because people don’t understand it. Equity means to create an equal playing field for everyone involved, and that’s not the current state of our world, in our industry. And by creating an equitable platform, everyone’s gonna benefit in the long term. For me, it’s really about moving from a place of abundance. RISE is abundance; it’s the abundance mindset. It’s cultivating community for long-term standards. That means everyone is represented at the table.

Rail: Between 2021 and 2023, Broadway saw a major boost in diversity. However, virtually all of those shows shuttered within months or closed early. What are some of the problems or issues that need addressing? Because we’re going into very uncertain times, as indicated by the various layoffs, cutbacks and cancellations by national and regional theaters across the country. How can RISE and organizations like it answer the call?

Helen Park: What I love about RISE in particular is the feeling of action, the emphasis on the action. I think right now it’s hard to see the culmination of this movement that started during the pandemic, like with Black Lives Matter… this reckoning of Broadway. Broadway is actually like “the Great White Way,” you know? I think it’s a problem to just look at it as “Oh, it’s such an easy fix! Let’s just do a play written for the Black community! Let’s do K-pop, let’s do a Korean show!” But then in order to actually execute it and pull out the best capabilities to really make meaningful actual change that does represent the culture accurately, I think there’s a lot of different reasons why these shows in the past season didn’t succeed or run for as long as they maybe deserved. One of those reasons I think is that the people who have always been in this field, who have always done things the way things are done, are doing the same thing over and over again. Then when they’re met with something that’s not familiar territory (in terms of the story or the source material or the cultural background of said project), there is difficulty and they need help. It’s not also just about replacing who’s always been there. It’s not just like giving up space to have someone else to take over, you know?

Rail: You mentioned a reckoning.… In the midst of a global quarantine, there was a cultural and societal reckoning, particularly in the arts and media landscapes where advocates, activists and artivists came out of the wilderness to shine a light on many of the problems facing those who were not cisgender heteronormative white men. Right? In that time, we saw various movements take place, such as #MeToo and We See You White American Theatre and during that time various organizations either generated a listserv or directory. One that comes to mind is “Underrepresented Theater Critics.” How is this one different?

Detres: We have to, first of all, acknowledge the platform that we are on. That I can’t go about saying we are on an elevated platform because of the associations we have. There are so many Excel spreadsheets that I have used in my lifetime that are about BIPOC designers, Black directors, but only because I was in the community did I know those existed. And when I would speak to people I worked with in spheres—when I spoke to white people in spheres—they didn’t know about these. But I think that’s the disconnect with the communities that exist in the industry and I’m really excited about the potential of actually being the connective tissue for our industry. So much of the time we talk about “our voice is power.” Communication is power. How can RISE be the connective tissue for all of these systems to exist? We want to be clear that we don’t wanna override any work that has been created before. We’re not trying to steamroll. But we’re actually trying to recognize what has come before us and understand that this is a natural evolution, that we can ride on this wave of amplification and visibility to become a centralized source, so that we can fight that narrative. Like, we don’t exist. Okay, well then, here’s an easy digestible way to find us. It really is capitalizing on this situation now and understanding that this is a natural evolution of years of work in our community and how we can continue moving the needle forward by understanding that our history cannot be erased, but we can actually evolve from the history that we’ve had.

Park: Right now, we are at a critical time where people acknowledge the need for better representation and more authentic storytelling. It can only enrich our community and this medium of theater. I think everybody’s sort of onboard with the theoretical, you know? Like, “Of course, inclusivity!” But I’m really hopeful that through this very specific directory we will see gradual change.

Detres: I think what’s lacking overall is support. All of these shows that closed early because producers broadcast to this audience once and then never invited them back for a different show. The audiences at KPOP showed up because they were excited about this; because they were actually welcomed for the first time. What happens when we start doing that with every show? We gotta stop that model that’s, like, “You’re only welcome to go see a show that fits your personality and your identity.” How many white shows have I seen in my lifetime that I don’t resonate with but I was excited because it was on Broadway and I wanted to go see it and be part of that?! How do we create systems to support people of color when they aren’t given leadership roles, when they’re set up to fail? That’s what I’m really excited about. I think we just don’t talk about what support looks like and how to create structures of support for new things that we’re bringing in.

Contributor

Marcus Scott

Marcus Scott is a New York City-based playwright, musical writer, opera librettist, and journalist. He has contributed to Time Out New York, American Theatre Magazine, Architectural Digest, The Brooklyn Rail, Elle, Essence, Out, Uptown, Trace, Hello Beautiful, Madame Noire and Playbill, among other publications. Follow Marcus on Instagram.

[gigslist]

50 Major Film Company Paid Internships

INTERNSHIPS

About The Program

Providing students from diverse backgrounds the opportunity to gain hands–on experience working in the entertainment industry. Every intern has the opportunity to network with industry professionals, attend a multitude of events aimed at furthering their entertainment knowledge, and play an integral role in their department’s success.

Eligibility Requirements

Undergraduate and Graduate (MBA, MFA, JD) students currently enrolled in an accredited educational institution.

Undergraduate students must be going into their junior or senior year.

Graduate students must have completed their first year.

Qualifications

Hiring decisions are based on your major field of study, past work / internship experience, and any extracurricular activities.  Ideal candidates will be organized, hardworking, self motivated, and enthusiastic.

Compensation

All internship positions are paid employment opportunities.

Internship Departments

Interactive Marketing

The Interactive Marketing department develops and implements digital marketing strategies for all Paramount Pictures theatrical releases including official sites, creative and advertising content, online publicity, and social media. The department also analyzes industry and technology trends to help execute innovative marketing campaigns.

In-Theater Marketing

The In-Theater Marketing department is responsible for all promotional collateral or materials in movie theaters nationwide. This includes the distribution of one sheets, posters, interactive or standalone displays and trailers. In-theater marketing is charged with building excitement for upcoming Paramount releases via theater advertisements.

Home Media

The Home Media department is responsible for marketing and distributing Paramount content via home media platforms including; DVDs, Blue Ray, iTunes, and Ultraviolet.

International Creative Advertising

The International Creative Advertising department acts as liaison between creative segments and international territories. They are responsible for communicating and creating all print and AV materials used to promote Paramount films abroad.

Creative Advertising

The Creative Advertising department is in charge of creating the marketing material for upcoming theatrical releases. The two main functions include creating the posters and trailers as well as the television spots that will be released prior to the movie.

National Advertising

The National Advertising department focuses on the marketing of all Paramount films, with a concentration on outdoor advertising. They come up with unique campaigns for every film, and develop creative ways to promote the films throughout the United States. 

Publicity

The Publicity department handles everything involving the press for Paramount’s upcoming releases including; organizing press junkets, special screenings, movie premieres, and press tours. They also research media outlets, partner with film festivals, and develop press contacts. The department also manages scheduling for talent promoting films worldwide.

Stills Department

The Stills department is in charge of sorting, organizing, editing, and sending out all the photos from movies, premieres, events, etc. They work with a variety of departments but the main focus is with the Publicity department.

Distribution

The Distribution department is in charge of growing and managing all digital, IPTV, cable, satellite, and mobile video distribution services and accounts in North America and internationally.

International Theatrical Distribution

The International Theatrical Distribution department is responsible for developing and implementing release strategies in 60+ countries for all titles released by Paramount Pictures. The department also undertakes industry analysis and builds forecasting models to predict box office projections for greenlight and acquisition purposes.

Finance

The Finance department is responsible for managing all funds, allocating assets, and making financial decisions for the company.

Development Finance Department

The Development Finance department oversees the costs and reporting functions associated with development projects and Producer/Writer Term Deals. The department monitors costs and charges to ensure they’re in line with contractual terms and within their budget.

Accounting

The Accounting department is responsible for coordinating, analyzing, and reporting financial data for internal and external purposes. It is an integral part of the company as its overall goal is to monitor and manage the incoming and outgoing flow of its cash.

WW Compliance & Controls

The WW Compliance & Controls department is responsible for coordinating, analyzing, and reporting financial results not only for internal compliance, but third parties as well. The department also supports compliance audits by ensuring that internal accounting records are accurate and in accordance with what is stipulated in related contracts. 

Studio Operations

The Studio Operations group includes; special events, government and community relations, engineering, and health and environmental safety. They manage all day to day operations that take place on the studio lot.

Human Resources

The Human Resources department provides frontline support for all employees, including but not limited to; finding, screening, recruiting and training job applicants, administering employee-benefit programs, managing employee relations issues, and administering employee engagement programs.

Information Technology

The IT department is responsible for all communications and telecommunications equipment.

Creative Affairs

The Creative Affairs department tracks the development of upcoming projects from conception through production, and focuses on getting new projects up and running.

Casting

The Feature Casting department works to find and place talent in all of Paramount’s feature films. Duties include, script coverage, casting sessions, general meetings with actors, screenings and much more!

Music

The Music department handles all details related to the implementation of music in Paramount Productions. These include music supervision, licensing, clearances, and hiring artists for original scores and soundtracks. The department also conducts research on new music and creates a library of resources which are made available to filmmakers working on Paramount projects.

Physical Production

The Physical Production department oversees all productions from development through post productions. They work to ensure that all projects align with the vision and goals of the studio.

Post Production

The post production department is responsible for all film editing, including; sounds, video, and audio.

Television

The television department is charged with creating original content for TV.

Global Market Research

The Market Research department is responsible for gathering global consumer insights for Paramount’s upcoming theatrical releases. They are responsible for organizing and analyzing all primary consumer research for both the marketing and production teams at Paramount. Their work includes audience test screenings, production studies, qualitative focus groups, quantitative surveys, and creative testing.

Licensing

Paramount Licensing oversees global licensing of all Paramount classic catalog titles and new properties for consumer products, publishing, video games and film clips. Activities are quite varied and include: asset management, creative development, strategic planning, partner pitching, deal negotiation, product development, art direction, finance and accounting.

Apply for an Internship

To view and apply to internship opportunities at Paramount, please visit https://careers.paramount.com/go/Interns/8710100/?utm_source=Direct&utm_campaign=Interns

About Paramount

Our story began in 1912.  Flash forward a century later and Paramount Pictures remains a global leader in film production and distribution with hits ranging from The Godfather and Titanic to Mission: Impossible and Paranormal Activity.  With a beautiful 62 acre studio lot in the heart of Hollywood, CA and offices around the world, Paramount’s employees are the key to our success.

Whether you gravitate toward executive boardrooms or creative storyboards, you possess a unique set of talents and skills.  If you are ready to seize the perfect opportunity and are driven to succeed then join us.

Your Paramount story starts here!

[moidse]

Just found out i didnt get into the sundance thing that i stayed up all night writing a script for last week 🙃 i truly feel so defeated right now. Like ahhhhhh, i was nominated to apply for this and STILL got rejected. I dont even apply to anything anymore because I don't have any hope. Nobody likes my shit anymore... it sucks. I dont even like my shit anymore... idk if i ever did i was just in school before and had a lot of positive feedback.

I just feel lost creatively. Like fully. I don't feel confident in my music. I dont feel confident in my writing. I just feel like I can't make anything that good nor do i have the funds to even if i had a good idea.

I just don't want to apply to any of these things anymore because I know they aren't looking for stuff like my work. Idk i just am tired and feel like i didnt take advantage of my first films success because i didnt know how and was still in school. Whatever, it doesnt matter how i could rewrite the past now... i just need to think about the future ... which is also depressing..

Like i cant afford to live on my own out here and i dont feel 100 about our relationship but i cant afford to live on my own so i feel trapped like i gotta still live in the same house which i do not want. I just feel stuck and depressed and i was really hoping i was going to get into this sundance thing and it could lead to more opportunities for me. Idk what to do... i feel like a has been.

In an ideal world, I'd like to live in a different apartment, possibly in LA. I'd like to start producing and making music for fun, making video ideas I have for fun and not stressing about how the world will perceive my art. I want to have a job that isn't super stressful and ideally works with my degree. I need a car.

---- few days later vv

I just want to be financially independent but its so hard because this world sux. I have been feeling like im in this relationship as a means of survival and i hate it!!! This has gone on too far and is just toxic and bad for everyone. I just need to break up with them like fr... and talk out me moving out soon and figure it out. I can't keep this up much longer im TIRED. And i hate how im jusy hurting them more and more like i just need to go and be like yo I'm sorry my feelings have just gone away and i honestly have felt like i cant talk about this because i rely on you so much for housing and transportation and so ive felt stuck.

Its fucked up that im with someone i dont think is hot... but like what do you do if you arent as into your partner... you break up so they can find someone who will be a good partner to them.