#like there are SO many nickelodeon shows that are not available on streaming and likely won't be for a very long time. if ever.

[nero-neptune]

like i love physical media and i want to own a physical collection of all the movies and television shows i've ever loved (once i have the space, time, and money), but the answer to stuff not being available to stream isn't always "just get the dvd/bluray! go to the library! burn your own copy!" bc sometimes physical copies were never made and distributed by the company (or sometimes for a show, only select episodes (of a Long show) were ever released on dvd). and in some cases, shows released on dvd might have the wrong music bc of music rights (and even the reruns that played on tv after its initial airing have the wrong music, so recordings wouldn't've helped if you wanted the right music). sometimes all the torrents are straight up dead for a movie you really wanted to download. sometimes the only version you'll ever have of something is someone's personal tv recording, crunchy pixels and vhs tape tracking and channel watermarks and all, and that's as good as it'll ever get it, even if it isn't complete. hell, some "lost media" isn't even really lost, just that the company that owns it decided that the ROI from officially remastering/releasing it wasn't (and still isn't) worth their time and money

[startrekprodigyfan]

As of this posting, Star Trek Prodigy is scheduled to be removed from Paramount+’s streaming service tomorrow. And it just got me thinking about how stacked against the odds this poor kids show has been put through.

From the start, the show as a concept struggled because long time Trek nerds were already skeptical and resentful of everything “nuTrek” related. They didn’t like that there was going to be a kids show, and many wrote it off before it even aired.

Then the series began, and fans hated Dal. They refused to give him a chance, despite the obvious story arc of him starting at a bad place and working his way to a better one. I knew he would get there eventually, but fans of Trek wouldn’t give him a chance. So they hate watched it or didn’t watch it at all.

Then the show went on hiatus after the Murder Planet two-parter. Only 5 episodes had aired and it was already gone. For months.

(This was all on the streaming service too btw, it hasn’t aired on Nickelodeon yet, let alone in other countries).

Then the show came back, and thankfully by now Trek fans were starting to get on board… until it went on hiatus… again. This time for an entire YEAR. Another 5 episodes and the conclusion of the first half of the season, and it was gone. For even LONGER.

No toys have been made. No advertising for the show. A plush of Murf was made but it was limited edition and only given out at a specific convention.

After a YEAR, the show finally comes back. And mercifully we get a full second half of the season. 10 episodes that wraps up the second half and ends with a BANG! Toys are only JUST NOW starting to come out too. The show is finally starting to connect with people and find its footing…

And then it gets cancelled.

About a 4 day warning before it gets pulled from the streaming service.

Gone.

Season 2… in the works but not scheduled to air anywhere… yet? Only the first 10 episodes are available on DVD. Season 1 still hasn’t fully aired on Nickelodeon either. And now the show is being yanked from streaming.

I’ve lived through bad release schedules with shows before but this one takes the cake for me. At every point it seems like Paramount has been trying to mess with this show. Do they even want it to succeed? It’s not going to succeed if you don’t let people WATCH IT!

I don’t have anything really insightful to say at this point, I’m mostly just frustrated with how difficult it’s been for people to even FIND this show.

[tymime]

I'm very alarmed by how many people are dismissive of the lost media community, even going so far as to spread misinformation about them. I've seen them characterize lost media seekers as ignorant whiners and brats, and that they're wasting their efforts. Do these people have any idea how difficult it actually is to find this stuff? It can take years, if copies even exist. Don't they value art preservation?

You'd be astonished by how many shows that are barely twenty years old that have simply vanished, with no clear indication of whether or not the copyright holders kept a record of it. When fans try to contact the people involved in the show, they often refuse to answer emails. These aren't old, aging shows from fifty years ago, decaying in some film can. These are shows from as recent as the 2000s and 2010s.

There's been a toxic attitude going around big media companies for a couple decades now, treating their IPs (and their customers) as disposable, moving on to the next thing as soon as profits dry up. This is a big part of the reason media becomes lost in the first place. Old show not getting enough ratings? Need to make room for a new show? Just get rid of it! Now, some of these examples aren't lost media, admittedly- but they definitely could have been, if not for an on-the-ball internet pirate downloading and backing them up. There's a series from 2002 called Whatever Happened to... Robot Jones? which hasn't been on the air in about twenty years. The original audio track was missing for many years, and had to be pieced together from several sources, with the video elements coming from a foreign dub. There was a music track heard in an episode of SpongeBob called "Humpback Hop" with several minutes cut from it, unheard of for two decades, and even the composer had lost all of his copies of it. It seemed like even Nickelodeon didn't have it in their archives, because they rerecorded it for a DVD menu. It's a miracle somebody finally tracked it down. There's a series from 2007 called Out of Jimmy's Head, whose original English version is still half missing. Even though by all accounts it's a crappy show, I still want to see it. (update: This show has been found, thank goodness.) And even though I'm not a fan, there are dozens of 2010s Cartoon Network shows that were once on HBO Max, that are simply gone. They're not in reruns, they're not officially streaming. You have to resort to piracy to view them. I wouldn't wish this fate on anybody. The Willow series from 2022 was taken off Disney+ mere weeks after its debut, just because not enough people watched it. It's stuck in the middle of a storyline.

Nintendo has been notoriously bad about this. They don't want you to play any NES, SNES, GB, or N64 games that aren't the most iconic best-sellers. They take down ROM websites, even if most of the games there aren't first party or being sold in any way. The only way to legally play a game that isn't available on the Switch is to pay hundreds or even thousands of dollars for a working console and cartridges. Most people can't afford to do that.

If it hadn't been for the efforts of unofficial programs like Ruffle and Flashpoint, thousands of flash games and cartoons would be unplayable and unwatchable.

Even if the cartoon is safe and sound locked away in some vault, instead of missing entirely, it still winds up unseen that way. The public has a right to see a show they used to be able to see and enjoyed, instead of it being unviewable for all eternity. "Oh, but they have a right to not let us see it! They own the rights to it, after all, and can do whatever they want!" some might say. What if WB went out of their way to destroy every DVD, Blu-ray, and video tape of Looney Tunes, and locked away all their copies? Would you feel the same way then? Would we not have a right to see them? Would you just roll over and take it, and let corporate overlords tell what you can or can't watch? Just shrug it off and say "Oh well, guess I'll never see it again"? How would it not irritate you? TV and movies aren't the same as some painting or statue where usually only one version of it exists in some museum or private collection. Media is meant to be distributed and seen worldwide, for everyone to enjoy in their homes. If they're stuck in some warehouse on some hard drive, they may as well not exist.

It extends out into other aspects of our lives- old buildings get torn down instead of getting restored, vintage interiors get torn out or covered up by something modern or ugly. There was a time when films and video tapes were routinely destroyed to make room for new ones, because nobody thought anybody would want to see them again. We need to get past this destructive pattern.

Am I grateful for streaming services and the content they make available? Of course I am. But as many have said before, they could take it all away, and a show can simply vanish, leaving fans to resort to piracy just to see it, if anyone even bothered to save it beforehand.

Being dismissive of these efforts is the sort of attitude that's part of the reason media gets lost in the first place.

[bestvaletiptv25]

How to Choose a Safe and Reliable IPTV Service for Streaming

Are you a big fan of streaming and looking to find the best IPTV service? With so many IPTV providers out there, it can be challenging to figure out which one is right for you. In this post, I’ll share the key points on how to choose a secure IPTV service and pay safely for it.

Key Insights:

Flexibility and Variety: IPTV services offer access to a wide range of channels and Video On Demand (VOD) content. You can watch your favorite shows, sports events, movies, and much more, all on-demand.

Secure Payment Options: It's essential to choose a secure payment method for IPTV subscriptions. Safe options include using credit cards, direct bank transfers, or prepaid cards. Always check that the website is encrypted (HTTPS) to protect your personal information.

Choosing the Right Provider: When selecting an IPTV service, consider the content availability, customer service, technical support, and user reviews. A reliable provider should offer fast support and a good selection of channels.

Optimized Streaming Experience: The quality of your IPTV service depends heavily on your internet connection speed and the quality of the IPTV provider. For high-definition (HD) streaming, you should have at least a 10 Mbps connection, and for 4K streaming, a faster connection is required.

Subscription Models: IPTV providers often offer monthly or annual subscription plans. Monthly plans are flexible, while annual plans can offer savings over time. You can also select specific channel packages based on your preferences.

Popular IPTV Channels:

Sports: Coverage of major leagues like Premier League, NBA, NFL

Movies: Access to HBO, Cinemax, Showtime

News: Channels like CNN, BBC News, and Euronews

Family-Friendly: Channels like Disney, Nickelodeon, and Cartoon Network

Tips for Safe IPTV Payment:

Use secure payment methods (credit card, direct transfer, prepaid card).

Avoid using unsecured payment methods like cash or unverified services.

Always check that the payment site uses HTTPS encryption to ensure the security of your financial data.

For more detailed guidance on selecting the best IPTV service and ensuring secure payments, check out this guide on Best Valet IPTV.

Happy streaming! 🎬

[ligbi]

With the news of Discotek taking on AnimEigo reminding everyone that there's them, amc (sentai), ponycanyon, gkids, the rare crunchyroll/nozomi/funimatiom disc, and media blasters for anime on home media in the u.s., I have to wonder

Does Media Blasters still have the home media rights to Invader Zim? Due to the length of contracts I'd guess no and Nickelodeon would probably re-release it through Paramount like with avatar. Media blasters just did such a great job on it back in the day and I'd love to see them... how do you nicely say get a win so they don't look like the stray dog of anime licensors?

I'm mostly just lamenting capitalism and monopolies but also somewhere between confused and frustrated that companies leave money on the table by not (re)releasing shows on disc. Yes this is partially about netflix and partially about zim and partially Sony being allowed to absorb and destroy every decent sized anime company that was left 5 years ago and partially about how you need to buy things on home media if they're available because I actually don't support piracy when you can buy something but companies have been making that so hard and there will come a time in not even 20 years when you think back fondly on a show you streamed that never had a disc and whose torrents are dead and its not on any backwoods cryptomining streaming site so your options are import an old japanese disc for hundreds of dollars or nothing.

Happy discotek is taking over animeigo instead of them quietly shutting down do not mistake that. But i think if sony died today we'd have a small boom of new licensors crop up to feast on its corpse in a year. May be. Other things that are worse that happen when one of the only corporations left dies but on the anime side I'd like to hope that would be good.

The best thing would be anti monopoly legislation that forces all a limit on all companies to how many other places they can buy. That company is a merger and you already bought up 3 others? Sorry that makes you 6 companies in a trenchcoat and the maximum is five. Merge denied. Oh this is retroactive? You have to split your people and profits off and you're not allowed to just shut down the businesses. You want to make a new company under your existing one? That's fine and doesn't count towards your total but if company x is already made up of three studios and a game company, studio y which is a former independent network and three studios, cannot buy x to merge them.

None of this would happen under our current stock market and the way a company is legally forced to do whats best for the shareholder, but good news. You slash the military budget in half so you're...still the largest military in the world by far, put that money into goverment supported retirment funds, and overhaul the stock market so you can enter it for growth as a smaller company, but once you git a certain size you pay out investors who only made a modest about and invested because they believed in the company and not because they like rich person gambling, and then you kick them off the market to fend for themselves.

✌ Some asshole blogger whose primary platform is more home media 2028 ✌

[eiirisworkshop]

The Fanfic Author's Guide to Metatext

(As Used on Ao3) by Eiiri

Also available as a PDF here. This thing is 13,000 words.  The PDF is recommended.

Intro: What is Metatext?

Metatext is everything we fanfic authors post along with our story that is not the story itself: title, tags, summary, author's notes, even the rating.

It is how we communicate to potential readers what they're signing themselves up for if they choose to read our story, how we let them make informed decisions regarding which fics they want to read, how we get their interest and, frequently, how they find our story in the first place. A lot of metatext acts as a consent mechanism for readers, it's the informed part of informed consent.

Since most of us who write fanfic also read it, we understand how important this is! But, for the most part, no one ever teaches us how to use metatext; we have to pick it up by osmosis. That makes it hard to learn how to use it well, we all suck at it when we first start out, and some of us may go years without learning particular conventions that seem obvious to others in our community. This creates frustration for everybody.

Enter this guide!

This is meant to be a sort of handbook for fic writers, particularly those of us who post on Archive of Our Own, laying out and explaining the established metatext conventions already in use in our community so we (and our readers!) are all on the same page. It will also provide some best-practices tips.

The point is to give all of us the tools to communicate with our audience as clearly and effectively as possible, so the people who want to read a story like ours can find it and recognize it as what they're looking for, those who don't want to read a story like ours can easily tell it's not their cup of tea and avoid it, nobody gets hurt, and everybody has fun—including us!

Now that we know what we're talking about, let's get on with the guide! The following content sections appear in the order one is expected to provide each kind of metatext when posting a fic on Ao3, but first….

Warning!

This is a guide for all authors on Ao3. As such, it mentions subject matter and kinds of fic that you personally might hate or find disgusting, but which are allowed under the Archive's terms of use. There are no graphic descriptions or harsh language in the guide itself, but it does acknowledge the existence of fic you may find distasteful and explains how to approach metatext for such fics.

Some sexual terminology is used in an academic context.

A note from the author:

This guide reflects the conventions of the English-language fanfiction community circa 2021. Conventions may differ in other language communities, and although many of our conventions have been in place for decades (praise be to our Star Trek loving foremothers) fanfiction now exists primarily in the realm of internet fandom where things tend to change rather quickly, so some conventions in this guide may die out while other new conventions, not covered in this guide, arise.

This is not official or in any way produced by the Archive of Our Own (Ao3), and though some actual site rules are mentioned, it is not a rulebook. Primarily, it is a descriptivist take on how the userbase uses metatext to communicate amongst ourselves, provided in the interest of making that communication easier and more transparent for everyone, especially newer users.

Contents

How To Use This Guide Ratings Archive Warnings Fandom Tags Category Relationship Tags Character Tags Additional Tags Titles Summaries Author's Notes Series and Chapters Parting Thoughts

How To Use This Guide

Well, read it.  Or have it read to you.

This isn't a glossary, it's a handbook, and it's structured more like an academic paper or report, but there's lots and lots of examples in it!

Many of these examples are titles of real media and the names of characters from published media, or tags quoted directly from Ao3 complete with punctuation and formatting.

Some examples are more generic and use the names Alex, Max, Sam, Chris, Jamie, and Tori for demonstration purposes. In other generic examples, part of an example tag or phrase may be sectioned off with square brackets to show where in that tag or phrase you would put the appropriate information to complete it.  This will look something like “Top [Character A]” where you would fill in a character's name.

This guide presumes that you know the basics of how to use Ao3, at least from the perspective of reading fic. If you don't, much of this guide may be difficult to understand and will be much less helpful to you, though not entirely useless.

Ratings

Most fanfic hosting sites provide ratings systems that work a lot like the ratings on movies and videogames.

Ao3's system has four ratings:

General

Teen

Mature

Explicit

These seem like they should be pretty self-explanatory, and the site's own official info pop-up (accessible by clicking the question mark next to the section prompt) gives brief, straightforward descriptions for each of them.

Even so, many writers have found ourselves staring at that dropdown list, thinking about what we've written, and wondering what's the right freaking rating for this?  How do I know if it's appropriate for “general audiences” or if it needs to be teen and up? What's the difference between Mature and Explicit?

The best way to figure it out is often to think about your fic in comparison to mainstream media.

General is your average Disney or Dreamworks movie, Cartoon Network or Nickelodeon shows, video games like Mario, Kirby, and Pokemon.

There may be romance, but no sexual content or discussion. Scary things might happen and people might get hurt, but violence is non-graphic and usually mild. Adults may be shown drinking alcohol or smoking tobacco, and some degree of intoxication may be shown (usually played for laughs and not focused on), but hard drug use is generally not shown or discussed.  There is little to no foul language written out and what language there may be is mild, though harsher swears may be implied by narration. There are no explicit F-bombs or slurs.

Teen is more like a Marvel movie, most network television shows (things like The Office, Supernatural, or Grey's Anatomy), video games like Final Fantasy, Five Nights at Freddie's, and The Sims.

There might be some sex and sexual discussion, but nothing explicit is shown—things usually fade to black or are leftimplied. More intense danger, more severe injuries described in greater detail, and a higher level of violence may be present.  Substance use may be discussed and intoxication shown, but main characters are unlikely to be shown doing hard drugs. Some swearing and other harsh language may be present, possibly including an F-bomb or two.  In longer works, that might mean an F-bomb every few chapters.

Mature is, in American terms, an R-rated movie* like Deadpool, Fifty Shades of Grey, The Exorcist, and Schindler's List; certain shows from premium cable networks or streaming services like Game of Thrones, Shameless, Breaking Bad, and Black Sails; videogames like Bioshock, Assassin's Creed, Grand Theft Auto, and The Witcher.

Sex may be shown and it might be fairly explicit, but it's not as detailed or graphic or as much the focus of the work as it would be if it were porn. Violence, danger, and bodily harm may be significant and fairly graphic. Most drug use is fair game. Swearing and harsh language may be extensive.

Explicit is, well, extremely explicit. This is full on porn, the hardcore horror movies, and snuff films.

Sex is highly detailed and graphic. Violence and injury is highly detailed and graphic. Drug use and its effects may be highly detailed and graphic. Swearing and harsh language may be extreme, including extensive use of violent slurs.

Please note that both Mature and Explicit fics are intended for adult audiences only, but that does not mean a teenaged writer isn't going to produce fics that should be rated M or E.  Ratings should reflect the content of the fic, not the age of the author.

Strictly speaking, you don't have to choose any of these ratings; Ao3 has a “Not Rated” option, but for purposes of search results and some other functions, Not Rated fics are treated by the site as Explicit, just in case, which means they end up hidden from a significant portion of potential readers. It really is in your best interest as a writer who presumably wants people to see their stories, to select a rating. It helps readers judge if yours is the kind of story they want right now, too.

Rating a fic is a subjective decision, there is some grey area in between each level. If you're not quite sure where your fic falls, best practice is to go with the more restrictive rating.

*(Equivalent to an Australian M15+ or R18+, Canadian 14A, 18A or 18+, UK 15 or 18, German FSK 16 or FSK 18.)

Warnings

Ao3 uses a set of standard site-wide Archive Warnings to indicate that a work contains subject matter that falls into one or more of a few categories that some readers are likely to want to avoid.  Even when posting elsewhere, it's courteous to include warnings of this sort.

These warnings are:

Graphic Depictions Of Violence

Major Character Death

Rape/Non-Con

Underage

Just like with the ratings, the site provides an info-pop up that explains what each warning is for. They're really exactly what it says on the tin: detailed descriptions of violence, injury, and gore; the death of a character central to canon or tothe story being told; non-consensual sex i.e. rape; and depictions of underage sex, which the site defines as under the age of 18 for humans—Ao3 doesn't care if your local age of consent or majority is lower than that.

In addition to the four standard warnings above, the warnings section has two other choices:

No Archive Warnings Apply

Choose Not To Use Archive Warnings

These do not mean the same thing and cannot be used interchangeably. “No Archive Warnings Apply” means that absolutely nothing in your fic falls into any of the four standard warning categories. “Choose Not To Use Archive Warnings” means that you the author are opting out of the warning system; your fic could potentially contain things that fall into any and all of the four standard warning categories.

There's nothing wrong with selecting Choose Not To Use Archive Warnings! It may mean that some readers will avoid your fic because they're not sure it's safe for them, and you might need to use more courtesy tags than you otherwise would (we'll talk about courtesy tags later), but that's okay! Opting out of the warning system can be a way to avoid spoilers,* and is also good for when you're just not sure if what you've written deserves one of the Archive warnings. In that case, the best practice is to select either the warning it might deserve or Choose Not To Use Archive Warnings, then provide additional information in other tags, the summary, or an initial author's note.

Unless you're opting out of using the warning system, select all the warnings that apply to your fic, if any of them do. So if a sixteen year old main character has consensual sex then gets killed in an accident that you've written out in excruciating detail, that fic gets three out of the four standard warnings: Underage, Major Character Death, and Graphic Depictions Of Violence.

*(Fandom etiquette generally favors thorough tagging and warning over avoiding spoilers. It doesn't ruin the experience of a story to have a general sense of what's going to happen. If it did, we wouldn't all keep reading so many “there was only one bed” fics.)

Fandom Tags

What fandom or fandoms is your fic for?  You definitely know what you wrote it for, but that doesn't mean it's obvious what to tag it as.

Sometimes, it is obvious! You watched a movie that isn't based on anything, isn't part of a series, and doesn't have any spinoffs, tie-ins or anything else based on it. You wrote a fic set entirely within the world of this movie. You put this movie as the fandom for your fic. Or maybe you read a book and wrote a fic for it, and there is a movie based on the book, but the movie is really different and you definitely didn't use anything that's only in the movie. You put the book as the fandom for your fic.

All too often, though, it's not that clear.

What if you wrote a fic for something where there's a movie based on a book, but the movie's really different, and you've used both things that are only in the movie and things that are only in the book?  In that case you either tag your fic as both the movie and the book, or see if the fandom has an “all media types” tag and use that instead of the separate tags.  If the fandom doesn't have an “all media types” tag yet, you can make one! Just type it in.

“All media types” fandom tags are also useful for cases where there are lots of inter-related series, like Star Wars; there are several tellings of the story in different media but they're interchangeable or overlap significantly, like The Witcher; or the fandom has about a zillion different versions so it's very hard, even impossible, to say which ones your fic does and doesn't fit, like Batman. Use your best judgement as to whether you need to include a more specific fandom tag such as “Batman (Movies 1989-1997)” alongside the “all media types” fandom tag, but try to avoid including very many. The point of the “all media types” tag is to let you leave off the specific tags for every version.

In a situation where one piece of media has a spinoff, maybe several spinoffs, and you wrote a fic that includes things from more than one of them, you might want use the central work's “& related fandoms” tag. For example, the “Doctor Who & Related Fandoms” tag gets used for fics that include things from a combination of any era of Doctor Who, Torchwood, and The Sarah Jane Adventures.

And don't worry, from the reader-side of the site the broadest fandom tags are prioritized. The results page for an “all media types” or “& related fandoms” search includes works tagged with the more specific sub-tags for that fandom, the browse-by-fandom pages show the broadest tag for each fandom included, and putting a fandom into the search bar presumes the broadest tag for that fandom.  A search for “Star Wars - All Media Types” will pull up work that only has a subtag for that fandom, like “The Mandalorian (TV).” You don't have to put every specific fandom subtag for people to find your fic.

If you wrote a fic for something that's an adaptation of an older work—especially an older work that's been adapted a lot, like Sherlock Holmes or The Three Musketeers—it can be hard to know how you should tag it. The best choice is to put the adaptation as the fandom, for instance “Sherlock (TV),” then, if you're also using aspects of the older source work that aren't in the adaptation, also put a broad fandom tag such as “Sherlock Holmes & Related Fandoms.” Do not tag it as being fic for the source work—in our Sherlock example that would be tagging it “Sherlock Holmes - Arthur Conan Doyle”—unless you are crossing over the source work and the adaptation. Otherwise, the specific fandom subtag for the source work ends up clogged with fic for the adaptation, which really is a different thing.

By the same token, fic for the source work shouldn't be tagged as being for the adaptation, or the adaptation's subtag will get clogged.

The same principle applies to fandoms that have been rebooted. Don't tag fic for the reboot as being for the original, or fic for the original as being for the reboot. Don't tag a fic as being for both unless the reboot and original are actually interacting. Use an “& related fandoms” tag for the original if your fic for the reboot includes some aspects of the original that weren't carried over but you haven't quite written a crossover between the two. Good examples of these situations can be seen with “Star Trek: Alternate Original Series (Movies)” vs. “Star Trek: The Original Series,” and “She-Ra and the Princesses of Power (2018)” vs. “She-Ra: Princess Of Power (1985).”

Usually, this kind of mistagging as a related fandom happens when someone writes a fic for something that is or has a reboot, spinoff, or adaptation, but they're only familiar with one of the related pieces of media, and they mistakenly presume the fandoms are the same or interchangeable because they just don't know the difference.  It's an honest mistake and it doesn't make you a bad or fake fan to not know, but it can be frustrating for readers who want fic for one thing and find the fandom tag full of fic for something else.

In order to avoid those kinds of issues, best practice is to assume fandoms are not interchangeable no matter how closely related they are, and to default to using a tag pair of the most-specific-possible sub-fandom tag + the broadest possible fandom tag when posting a fic you're not entirely sure about, for instance “Star Trek” and “Star Trek: Enterprise.”

The Marvel megafandom has its own particular tagging hell going on. Really digging into and trying to make sense of that entire situation would require its own guide, but we can go through some general tips.

There is a general “Marvel” fandom tag and tags for both “The Avengers - Ambiguous Fandom” and “The Avengers (Marvel) - All Media Types.” Most of us who write Marvel fic are working with a cherry picked combination of canons from the MCU, various comics runs, both timelines of X-Men movies, and possibly several decades worth of cartoons. That's what these tags are for.

If your cherry picked Marvel fic is more X-Men than Avengers, go for the “X-Men - All Media Types” tag.

If you are primarily working with MCU canon, use the MCU specific tags rather than “all media types” and add specific tags for individual comics runs—like Earth 616 or the Fraction Hawkeye comics—if you know you're lifting particular details from the comics.  If you're just filling in gaps in MCU canon with things that are nebulously “from the comics” don't worry about tagging for that, it's accepted standard practice in the fandom at this point, use a broader tag along with your MCU-specific tag if you want to.

Same general idea for primarily movie-verse X-Men fics. Use the movie-specific tags.

If your fic mostly draws from the comics, use the comics tags. If you're focusing on an individual run, show, or movie series rather than an ensemble or large swath of the megafranchise, tag for that and leave off the broader fandom tags.

Try your best to minimize the number of fandom tags on your Marvel work. Ideally, you can get it down to two or three. Even paring it down as much as you can you might still end up with about five.  If you're in the double digits, take another look to see if all the fandom tags you've included are really necessary, or if some of them are redundant or only there to represent characters who are in the fic but that the fic doesn't focus on. Many readers tend to search Marvel fics by character or pairing tags, it's more important that you're thorough there. For the fandom tags it's more important that you're clear.

If you write real person fiction, you need to tag it as an RPF fandom. Fic about actors who are in a show together does not belong on the fandom tag for that show. There are separate RPF fandom tags for most shows and film franchises. Much like the adaptation/source and reboot/original situations discussed earlier, a fic should really only be tagged with both a franchise's RPF tag and its main tag if something happens like the actors—or director or writer!—falling into the fictional world or meeting their characters.

Of course, not all RPF is about actors. Most sports have RPF tags, there are RPF tags for politics from around the world and for various historical settings, the fandom tags for bands are generally presumed to be RPF tags, and there is a general Real Person Fiction tag.

In order to simplify things for readers, it's best practice to use the general Real Person Fiction tag in addition to your fandom-specific tag. You may even want to put “RPF” as a courtesy tag in the Additional Tags section, too. This is because Ao3 isn't currently set up to recognize RPF as the special flavor of fic that it is in the same way that the site recognizes crossovers as special, so it can be very difficult to either seek out or avoid RPF since it's scattered across hundreds of different fandom tags.

On the subject of crossovers—they can make fandom tagging even more daunting. Even for a crossover with lots of fandoms involved, though, you just have to follow the same guidelines as to tag a single-fandom work for each fandom in the crossover. The tricky part is figuring out if what you wrote is really a crossover, or just an AU informed by another fandom—we'll talk about that later.

There are some cases where it's really hard to figure out what fandom something belongs to, like if you wrote a fanfic of someone else's fanfic, theirs is an AU and yours is about their OC, not any of the characters from canon. What do you do?! Well, you do not tag it as being a fanfic for the same thing theirs was. Put the title of their fic (or name of their series) as the fandom for your fic, attributed to their Ao3 handle just like any other fandom is attributed to its author. Explain the situation in either the summary or the initial author's note. Also, ask the author's permission before posting something like this.

What if you wrote a story about your totally original D&D character? The fandom is still D&D, you want the “Dungeons & Dragons (Roleplaying Game)” tag.

What if there's not a fandom tag on the Archive yet for what you wrote? Not a problem! You can type in a new one if you're the first person to post something for a particular fandom. Do make sure, though, that the fandom isn't just listed by a different name than you expect. Many works that aren't originally in English—including anime—are listed by their original language title or a direct translation first, and sometimes a franchise or series's official name might not be what you personally call it, for instance many people think of Phillip Pullman's His Dark Materials series as The Golden Compass series, so it's best to double check.

What if you wrote an entirely new original story that's not based on anything?  Excellent job, that takes a lot of work, but that probably doesn't belong on Ao3!  The Archive is primarily meant as a repository for fannish content, but in a few particular circumstances things we'd consider Original Work may be appropriate content for the Archive as well. Double check the Archive's Terms of Service FAQ and gauge if what you wrote falls under the scope of what is allowed. If what you wrote really doesn't fit here, post it somewhere else or try to get it published if you feel like giving it a shot.

Category

What Ao3 means by category is “does this fic focus on sex or romance, and if so what combination of genders are involved in that sex or romance?”

The category options are:

F/F

F/M

Gen

M/M

Multi

Other

The F/F, F/M, and M/M categories are for stories focused on pairings of two women, a woman and a man, and two men, respectively.  These refer to sexual and/or romantic pairings.

The Other category is for stories focused on (sexual and/or romantic) pairings where one or both partners are not strictly male or female, such as nonbinary individuals, people from cultures with gender systems that don't match to the Western man-woman system, and nonhuman characters for whom biological sex works differently or is nonexistent, including aliens, robots, and inanimate objects or abstract concepts. There are some problems with treating nonbinary humans, eldritch tentacle monsters, sexless androids, and wayward container ships as all the same category, but it's the system we currently have to work with. Use Additional Tags to clarify the situation.

Multi is for stories in which several (sexual and/or romantic) relationships are focused on or which focus on relationships with multiple partners, including cases of polyamory, serial monogamy, strings of hookups with different people, and orgies.  A fic will also show as “Multi” if you, the author, have selected more than one category for the fic, even if none of those are the Multi category. Realistically, the Archive needs separate “Multiple Categories” and “Poly” options, but for now we have to work with this system in which the two are combined.  Use Additional Tags to clarify the situation.

Gen is for stories that do not contain or are not focused on sex or romance. Romance may be present in a gen fic but it's going to be in the background.  While rare, there is such a thing as a sexually explicit gen fic—solo masturbation which does not feature fantasizing about another character is explicit gen fic; a doctor character seeing a series of patients with sex-related medical needs following an orgy may qualify if the orgy is not shown and the doctor is being strictly professional—but such fic needs to be rated, otherwise tagged, and explained carefully in the summary and/or author's note.

Much like the warnings section, category is a “select all that apply” situation. Use your best judgement. For a fic about a polyamorous relationship among a group of women, it's entirely appropriate to tag it as both F/F and Multi.  A poly fic with a combination of men and women in the relationship could be shown as both M/M and F/M, Multi, or all three. A fic that focuses equally on one brother and his husband and the other brother and his wife should be tagged both M/M and F/M, and could be tagged as Multi but you might decided not to just to be clear that there's no polyamory going on. If you wrote a fic about two characters who are both men in canon, but you wrote one of them as nonbinary, you could tag it M/M, Other, or both depending on what you feel is representative and respectful.

When dealing with trans characters, whether they're trans in canon or you're writing them as such, the category selection should match the character's gender.  If there's a character who is a cis woman in canon, but who you're writing as a trans man, you categorize the fic based on his being a man. If there's a character who is a cis man in canon, but whom you're writing as a trans man, he is still a man and the fic should be categorized accordingly. When dealing with nonbinary characters the fic should really be classed as Other though, by convention, fics about characters who are not nonbinary in canon may be classed based on the character's canon gender as well or instead. When dealing with gender swapped characters—i.e. a canonically cis male superhero who you're writing as a cis woman—class the fic using the gender you wrote her with, not the gender he is in canon.

Most of the time, gen fics should not be categorized jointly with anything else because a fic should only be categorized based on the ships it focuses on, and a gen fic should not be focusing on a ship in the first place.*

*(One of the few circumstances in which it might make sense to class a fic as both gen and something else is when writing about Queerplatonic Relationships, but that is a judgement call and depends on the fic.)

Relationship Tags

The thing about relationship tagging that people most frequently misunderstand or just don't know is the difference between “Character A/Character B” and “Character A & Character B.”

Use a “/” for romantic or sexual relationships, such as spouses, people who are dating, hookups, and friends with benefits. Use “&” for platonic or familial relationships, such as friends, siblings, parents with their kids, coworkers, and deeply connected mortal enemies who are not tragically in love.

This is where we get the phrase “slash fic.” Originally, that meant any fic focused on a romantic paring, but since so much of the romantic fic being produced was about pairs of men, “slash fic” came to mean same-sex pairings, especially male same-sex pairings. Back in earlier days of fandom, pre-Ao3 and even pre-internet, there was a convention that when writing out a different-sex pairing, you did so in man/woman order, while same-sex pairings were done top/bottom. Some authors, especially those who have been in the fic community a long time, may still do this, but the convention has not been in consistent, active use for many years, so you don't have to worry about putting the names in the “correct” order. Part of why that died out is we, as a community, have gotten less strict and more nuanced in our understandings of sex and relationships, we're writing non-penetrative sex more than we used to, and we're writing multi-partner relationships and sex more than we used to, so strictly delineating “tops” and “bottoms” has gotten less important and less useful.

The convention currently in use on Ao3 is that the names go in alphabetical order for both “/” and “&” relationships. In most cases, the Archive uses the character's full name instead of a nickname or just a given name, like James "Bucky" Barnes instead of just Bucky or James. We'll talk more about conventions for how to input character names in the Characters section. The Archive will give you suggestions as you type—if one of them fits what you mean but is slightly different from how you were typing it, for instance it's in a different order, please use the tag suggested! Consistency in tags across users helps the site work more smoothly for everybody.

This is really not the place for ship nicknames like Puckleberry, Wolfstar, or Ineffable Wives. Use the characters' names.

Now that you know how to format the relationship tag to say what you mean, you have to figure out what relationships in your fic to tag for.

The answer is you tag the relationships that are important to the story you're telling, the ones you spend time and attention following, building up, and maybe even breaking down. Tagging for a ship is not a promise of a happy ending for that pair; you don't have to limit yourself to tagging only the end-game ships if you're telling a story that's more complicated than “they get together and live happily ever after.” That said, you should generally list the main ship—the one you focus on the most—first on the list, and that will usually be the end-game ship. You should also use Additional Tags, the summary, and author's notes to make it clear to readers if your fic does not end happily for a ship you've tagged. Otherwise readers will assume that a fic tagged as being about a ship will end well for that ship, because that's what usually happens, and they'll end up disappointed and hurt, possibly feeling tricked or lied to, when your fic doesn't end well for that ship

You don't have to, and honestly shouldn't, tag for every single relationship that shows up in your fic at all. A character's brief side fling mentioned in passing, or a relationship between two background characters should not be listed under the Relationship tag section. You can list them in the format “minor Character A/Character C” or “Character C/Character D – mentions of” in the Additional Tags section if you want to, or just tag “Minor or Background Relationship(s)” under either the Relationship tag section or in the Additional Tags section.

There are two main reasons to not tag all those minor relationships. The first is to streamline your tags, which makes them clearer and more readable, and therefore more useful. The second reason is because certain ships are far more common as minor or background relationships than as the focus of a work, so tagging all your non-focus focus ships leads to the tags for these less popular ships getting clogged with stories they appear in, but that are not about them. That is, of course, very frustrating for readers who really want to read stories that focus on these ships.

If your fic contains a major relationship between a canon character and an OC, reader-insert, or self-insert, tag it as such. The archive already has /Original Character, /Reader, /You, and /Me tags for most characters in most fandoms. If such a relationship tag isn't already in use, type it in yourself. There are OC/OC tags, too, some of which specify gender, some of which do not.  All the relationship tags that include OCs stack the gender-specific versions of the tags under the nongendered ones. Use these tags as appropriate.

For group relationships, both polycules and multi-person friendships, you “/” or “&” all the names involved in alphabetical order, so Alex/Max/Sam are dating while Chris & Jamie & Tori are best friends. For a poly situation where not everyone is dating each other you should tag it something like “Alex/Max, Alex/Sam” because Alex is dating both Max and Sam, but Max and Sam are not romantically or sexually involved with each other. Use your judgement as to whether you still want to include the Alex/Max/Sam trio tag, and whether you should also use a “Sam & Max” friendship tag.

Generally, romantic “/” type relationships are emphasized over “&” type relationships in fic. It is more important that you tag your “/”s thoroughly and accurately than that you tag your “&”s at all. This is because readers are far more likely to either be looking for or be squicked by particular “/” relationships than they are “&” relationships. You can tag the same pair of characters as both / and & if both their romance and their friendship is important to the story, but a lot of people see this as redundant. If you're writing incest fic, use the / tag for the pair not the & tag and put a courtesy tag for “incest” in the Additional Tags section; this is how readers who do not want to see incestuous relationships avoid that material.

Queerplatonic Relationships, Ambiguous Relationships, Pre-Slash, and “Slash If You Squint” are all frequently listed with both the “/” and “&” forms of the pairing; use your best judgement as to whether one or the other or both is most appropriate for what you've written and clarify the nature of the relationship in your Additional Tags.

Overall, list your “/” tags first, then your “&” tags.

Character Tags

Tagging your characters is a lot like tagging your relationships. Who is your fic about? That's who you put in your character tags.

You don't have to and really should not tag every single background character who shows up for just a moment in the story, for pretty much the same reasons you shouldn't tag background relationships.  We don't want to clog less commonly focused on characters' tags with stories they don't feature prominently in.

You do need to tag the characters included in your Relationship tags.

A character study type of fic might only have one character you need to tag for. Romantic one shots frequently only have two. Longfics and fics with big ensemble casts can easily end up with a dozen characters or more who really do deserve to be tagged for.

Put them in order of importance. This doesn't have to be strict hierarchal ranking, you can just arrange them into groups of “main characters,” “major supporting characters,” and “minor supporting characters.” Nobody less than a minor supporting character should be tagged. Even minor supporting characters show up for more than one line.

If everyone in the fic is genuinely at the same level of importance (which does happen, especially with small cast fics), then order doesn't really matter. You can arrange them by order of appearance or alphabetically by name if you want to be particularly neat about it.

Do tag your OCs! Some people love reading about OCs and want to be able to find them; some people can't stand OCs and want to avoid them at all costs; most people are fine with OCs sometimes, but might have to be in the mood for an OC-centric story or only be comfortable with OCs in certain contexts. Regardless, though, Character tags are here to tell readers who the story is about, and that includes new faces. Original Characters are characters and if they're important to the story, they deserve to be tagged for just like canon characters do.

There are tags for “Original Character(s),” “Original Male Character(s),” and “Original Female Character(s).” Use these tags!  If you have OCs you're going to be using frequently in different stories, type up a character tag in the form “[OC's Name] – Original Character” and use that in addition to the generic OC tags.

Also tag “Reader,” “You,” or “Me” as a character if you've written a reader- or self-insert.

You can use the “Minor Characters” tag to wrap up everybody, both OC and canon, who doesn't warrant their own character tag. Remember, though, that this tag is also used to refer to minor canon characters who may not have their own official names.

Just like when tagging for relationships, the convention when tagging for characters is to use their full name. The suggestions the Archive gives you as you type will help you use the established way of referring to a given character.

Characters who go by more than one name usually have their two most used names listed together as one tag with the two names separated by a vertical bar like “Andy | Andromache of Scythia.” This also gets used sometimes for characters who have different names in an adaptation than in the source text, or a different name in the English-language localization of a work than in the original language. For character names from both real-world and fictional languages and cultures that put family or surname before the given name—like the real Japanese name Takeuchi Naoko or the made up Bajoran name Kira Nerys—that order is used when tagging, even if you wrote your fic putting the given name first.

Some characters' tags include the fandom they're from in parentheses after their name like “Connor (Detroit: Become Human).” This is mostly characters with ordinary given names like Connor and no canon surname, characters who have the same full name as a character in another fandom, such as Billy Flynn the lawyer from the musical Chicago and Billy Flynn the serial killer played by Tim Curry in Criminal Minds, and characters based on mythological, religious, or historical figures or named for common concepts such as Lucifer, Loki, Amethyst, Death, and Zero that make appearances in multiple fandoms.

Additional Tags

Additional Tags is one of the most complicated, and often the longest, section of metatext we find ourselves providing when we post fic. It's also the one that gives our readers the greatest volume of information.

That, of course, is what makes it so hard for us to do well.

It can help to break down Additional Tags into three main functions of tag: courtesy tags, descriptive tags, and personal tags.

Courtesy tags serve as extensions of the rating and warning systems. They can help clarify the rating, provide more information about the Archive Warnings you've used or chosen not to use, and give additional warnings to tell readers there are things in this fic that may be distasteful, upsetting, or triggering but that the Archive doesn't have a standard warning for.

Descriptive tags give the reader information about who's in this fic, what kind of things happen, what tropes are in play, and what the vibe is, as well as practical information about things like format and tense.

Personal tags tell the readers things about us, the author, our process, our relationship to our fic, and our thoughts at the time of posting.

It doesn't really matter what order you put these tags in, but it is best practice to try to clump them: courtesy tags all together so it's harder for a reader to miss an important one, ship-related info tags together, character-related info tags together, etc.

There are tons and tons of established tags on Ao3, and while it's totally fine, fun, and often necessary to make up your own tags, it's also important to use established tags that fit your fic.  For one thing, using established tags makes life easier for the tag wranglers behind the scenes. Using a new tag you just made up that means the same thing as an established tag makes more work for the tag wranglers. We like the tag wranglers, they're all volunteers, and they're largely responsible for the search and sorting features being functional. Be kind to the tag wranglers.

For basically the same reasons, using established tags makes it easier for readers to find your fic. If a reader either searches by a tag or uses filters on another search to “Include” that tag, and you didn't use that tag, your fic will not show up for them even if what you wrote is exactly what they're looking for.  Established tags can be searched by exactly the same way as you search by fandom or pairing, your off the cuff tags cannot.

Let's talk about some well-known established tags and common tag types, divvied up by main function.

Courtesy

A lot of courtesy tags are specific warnings like “Dubious Consent,” “Incest,” “Drug Use,” “Extremely Underage,” “Toxic Relationship,” and “Abuse.” Many of these have even more specific versions such as “Recreational Drug Use” and “Nonconsensual Drug Use,” or “Mildly Dubious Consent” and “Extremely Dubious Consent.”

Giving details about what, if any, drugs are used or mentioned, specifying what kinds of violence or bodily harm are discussed or depicted, details about age differences or power-imbalanced relationships between characters who date or have sex, discussion or depictions of suicide, severe or terminal illness, or mental health struggles is useful. It helps give readers a clear sense of what they'll encounter in your fic and decide if they're up for it.

One the most useful courtesy warning tags is “Dead Dove: Do Not Eat” which basically means “there are things in this fic which are really screwed up and may be disturbing, read at your own risk, steer clear if you're not sure.” This tag—like all courtesy warnings, really—is a show of good faith, by using it you are being a responsible, and thoughtful member of the fanfic community by giving readers the power and necessary information to make their own informed decisions about what they are and are not comfortable reading.

Saying to “Heed the tags” is quite self-explanatory and, if used, should be the last or second to last tag so it's easy to spot.  Remember, though, that “Heed the tags” isn't useful if your tags aren't thorough and clear.

“Additional Warnings In Author's Note” is one of only things that should ever go after “Heed the tags.”  If you use this, your additional warnings need to go in the author's note at the very beginning of the fic, not the one at the end of the first chapter.  If your additional warnings write up is going to be very long because it's highly detailed, then it can go at the bottom of the chapter with a note at the beginning indicating that the warnings are at the bottom. Some authors give an abbreviated or vague set of warnings in the initial note, then longer, highly detailed, spoilery warnings in the end note. It's best to make it as simple and straightforward as possible for readers to access warnings.

Tagging with “Dead Dove: Do Not Eat,” “Heed the tags,” or “Additional Warnings In Author's Note” is not a substitute for thorough and appropriate courtesy tagging. These are extra reminders to readers to look closely at the other warnings you've given.

While most courtesy tags are warnings, some are assurances like “No Lesbians Die” or “It's Not As Bad As It Sounds.”  A fic tagged for rape or dub-con may get a tag assuring that the consent issues are not between the characters in the main ship; or a fic with a premise that sounds likely to involve lack of consent but actually doesn't may get a tag that it's “NOT rape/non-con.” A tag like “Animal Death” may be immediately followed by a freeform tag assuring that the animal that dies is not the protagonist's beloved horse.

Descriptive

There are a few general kinds of descriptive tags including character-related, ship-related, temporal, relation-to-canon, trope-related, smut details, and technical specifications.

Many character- and ship-related tags simply expand on the Character and Relationship tags we've already talked about.  This is usually the place to specify details about OCs and inserts, such as how a reader-insert is gendered.

When it comes to character-related tags, one of the most common types in use on Ao3 and in fandom at large is the bang-path. This is things like werewolf!Alex, trans!Max, top!Sam, kid!Jamie, and captain!Tori. Basically, a bang-path is a way of specifying a version of a character. We've been using this format for decades; it comes from the very first email systems used by universities in the earliest days of internet before the World Wide Web existed. It's especially useful for quickly and concisely explaining the roles of characters in an AU. Nowadays this is also one of the primary conventions for indicating who's top and who's bottom in a ship if that's information you feel the need to establish.  The other current convention for indicating top/bottom is as non-bang-path character-related tags in the form “Top [Character A], Bottom [Character B].”

Other common sorts of character tags are things like “[Character A] Needs a Hug,” “Emotionally Constipated [Character B],” and “[Character C] is a Good Dad.”

Some character-related tags don't refer to a particular character by name, but tell readers something about what kinds of characters are in the fic. Usually, this indicates the minority status of characters and may indicate whether or not that minority status is canon, as in “Nonbinary Character,” “Canon Muslim Character,” “Deaf Character,” and “Canon Disabled Character.”

Down here in the tags is the place to put ship nicknames!  This is also where to say things like “They're idiots your honor” or indicate that they're “Idiots in Love,” maybe both since “Idiots in Love” is an established searchable tag but “They're idiots your honor” isn't yet. If your fandom has catchphrases related to your ship, put that here if you want to.

If relevant, specify some things about the nature of relationships in your fic such as “Ambiguous Relationship,” “Queerplatonic Relationships,” “Polyamory,” “Friends With Benefits,” “Teacher-Student Relationship,” and so on. Not all fics need tags like these. Use your best judgement whether your current fic does.

Temporal tags indicate when your fic takes place. That can be things like “Pre-Canon” and “Post-Canon,” “Pre-War,” “Post-Captain America: The Winter Soldier,” “1996-1997 NHL season,” “Future Fic,” and so on.  These tags may be in reference to temporal landmarks in canon, in the real world, or both depending on what's appropriate.

Some temporal tags do double duty by also being tags about the fic's relationship to canon. The Pre- and Post-Canon tags are like that.

Other relation-to-canon type tags are “Canon Compliant” for fics that fit completely inside the framework of canon without changing or contradicting anything, “Alternate Universe - Canon Divergence” for fics that are compliant up to a certain point in canon, then veer off (maybe because you started writing the fic when the show was on season two but now it's at season four and you're not incorporating everything from the newer seasons, maybe a character died and you refuse to acknowledge that, maybe you just want to explore what might have happened if a particular scene had gone differently), and the various other Alternate Universe tags for everything from coffee shop AUs and updates to modern settings, to realities where everyone is a dragon or no one has their canon superpowers.

The established format for these tags is “Alternate Universe – [type],” but a few have irregular names as well, such as “Wingfic” for AUs in which characters who don't ordinarily have wings are written as having wings.

If you have written an AU, please tag clearly what it is! Make things easy on both the readers who are in the mood to read twenty royalty AUs in a row, the readers who are in the middle of finals week and the thought of their favorite characters suffering through exams in a college AU would destroy the last shred of their sanity but would enjoy watching those characters teach high school, and the readers who really just want to stick to the world of canon right now.

Admittedly, it can get a little confusing what AU tag or tags you need to describe what you've written since most of us have never had a fandom elder sit us down and explain what the AU tags mean. One common mix up is tagging things “Alternate Universe - Modern Setting” when what's meant is “Alternate Universe - Canon Divergence.”  The misunderstanding here is usually reading “Alternate Universe - Modern Setting” and thinking it means an alternate version of the canon universe that is set at the same time as the canon universe, but is different in some way. That's not how the tag is meant to be used, though.

The Modern Setting AU tag is specifically for fic set now (at approximately the same time period it was written), for media that's canonically set somewhere that is very much not the present of the real world. This can mean things set in the past (like Jane Austen), the future (like Star Trek), or a fantasy world entirely different from our own (like Lord of the Rings or Avatar: the Last Airbender). Fic for a canon that's set more or less “now” doesn't need the Modern Setting AU tag, even if the world of canon is different from our own. If you're removing those differences by putting fantasy or superhero characters in a world without magic or supersoldier serum, you might want the “Alternate Universe - No Powers” tag instead.

Some of the most fun descriptive tags are trope tags. This includes things like “Mutual Pining,” “Bed Sharing” for when your OTP gets to their hotel room to find There Was Only One Bed, “Fake Dating,” “Angst,” Fluff,” “Hurt/Comfort” and all its variants.  Readers love tropes at least as much as we love writing them and want to be able to find their favorites. Everyone also has tropes they don't like and would rather avoid. Tagging them allows your fic to be filtered in and out by what major tropes you've used.

Explicit fics, and sometimes fics with less restrictive ratings, that contain sex usually have tags indicating details about the nature of the sexual encounter(s) portrayed and what sex acts are depicted. These are descriptive tags, but they also do double duty as courtesy tags. This is very much a situation in which tags are a consent mechanism; by thoroughly and clearly tagging your smut you are giving readers the chance to knowingly opt in or out of the experience you've written.

Most of the time, it's pretty easy to do basic tagging for sex acts—you know whether what you wrote shows Vaginal Sex, Anal Sex, or Non-penetrative Sex.  You probably know the names for different kinds of Oral Sex you may have included. You might not know what to call Frottage or Intercrural Sex, though, even if you understand the concept and included the act in your fic. Sometimes there are tags with rectangle-square type relationships (all Blow Jobs are Oral Sex, but not all Oral Sex is a Blow Job) and you're not sure if you should tag for both—you probably should. Sometimes there are tags for overlapping, closely related, or very similar acts or kinks and you're not sure which to tag—that one's more of judgement call; do your best to use the tags that most closely describe what you wrote.

Tag for the kinks at play, if any, so readers can find what they're into and avoid what they're not. Tag for what genitalia characters have if it's nonobvious, including if there's Non-Human Genitalia involved. Tag your A/B/O, your Pon Farr, and your Tentacles, including whether it's Consentacles or Tentacle Rape.

Technical specification tags give information about aspects of the fic other than its narrative content.  Most things on Ao3 are prose fiction so that's assumed to be the default, so anything else needs to be specified in tags. That includes Poetry, Podfics, things in Script Format, and Art. If it is a podfic, you should tag with the approximate length in minutes (or hours). If a fic is Illustrated (it has both words and visual art) tag for that.

Tag if your fic is a crossover or fusion.  The difference, if you're not sure, is that in a crossover, two (or more) entire worlds from different media meet, whereas in a fusion, some aspects of one world, like the cast of characters, are combined with aspects of another, like the setting or magic system.

If the team of paranormal investigators from one show get in contact with the cast of aliens from another show, that's a crossover and you need to have all the media you're drawing from up in the Fandom tags. If you've given the cast of Hamlet physical manifestations of their souls in the form of animal companions like the daemons from His Dark Materials but nothing else from His Dark Materials shows up, that's a fusion, the Fandom tag should be “Hamlet - Shakespeare,” and you need the “Alternate Universe - Daemons” tag. If you've given the members of a boy band elemental magic powers like in Avatar: the Last Airbender, that can be more of a judgement call depending how much from Avatar you've incorporated into your story. If absolutely no characters or specific settings from Avatar show up, it's probably a fusion.  Either way, if the boyband exists in real life, it needs to be tagged as RPF.

Tag if your fic is a Reader-Insert or Self-Insert.

You might want to tag for whether your fic is written with POV First, Second, or Third Person, and if it's Past Tense or Present Tense (or Future Tense, though that's extremely uncommon).  For POV First Person fics that are not self-inserts, or POV Third Person fics that are written in third person limited, you may want to tag which character's POV is being shown. Almost all POV Second Person fics are reader-insert, so if you've written one that isn't, you should tag for who the “you” is.

A fic is “POV Outsider” if the character through whom the story is being conveyed is outside the situation or not familiar with the characters and context a reader would generally know from canon. The waitress who doesn't know the guy who just sat down in her diner is a monster hunter, and the guy stuck in spaceport because some hotshot captain accidentally locked down the entire space station, are both potential narrators for POV Outsider stories.

Other technical specifications can be tags for things like OCtober and Kinktober or fic bingo games.  Tagging something as a Ficlet, One Shot, or Drabble is a technical specification (we're not going to argue right now over what counts as a drabble). Tagging for genre, like Horror or Fantasy, is too.

It's also good to tag accessibility considerations like “Sreenreader Friendly,” but make sure your fic definitely meets the needs of a given kind of accessibility before tagging it.

Personal

Even among personal tags there are established tags!  Things like “I'm Sorry,” “The Author Regrets Nothing,” “The Author Regrets Everything,” and “I Wrote This Instead of Sleeping” are common ones.  Tags about us and our relationship to the fic, such as “My First Work In This Fandom,” “Author is Not Religious,” and “Trans Porn By A Trans Author,” can help readers gauge what to expect from our fic. Of course, you are not at all obligated to disclose any personal information for any reason when posting your fic.

The “I'm Bad At Tagging” tag is common, but probably overused. Tagging is hard; very few of us have a natural feel for it even with lots of practice.  It's not a completely useless tag because it can indicate to readers that you've probably missed some things you should have tagged for, so they should be extra careful; but it can also turn into a crutch, an excuse to not try, and therefore a sign to readers they can't trust your tagging job. Just do your best, and leave off the self depreciation. If you're really concerned about the quality of your tagging, consider putting in an author's note asking readers to let you know if there are any tags you should add.

You might want to let readers know your fic is “Not Beta Read” or, if you're feeling a little cheekier than that, say “No Beta We Die Like Men” or its many fandom-specific variants like the “No Beta We Die Like Robins” frequently found among Batman fics and “No beta we die like Sunset Curve” among Julie and The Phantoms fic. Don't worry, the Archive recognizes all of these as meaning “Not Beta Read.”

The Archive can be inconsistent about whether it stacks specific variants of Additional Tags under the broadest version of the tag like it does with Fandom tags, so best practice is usually to use both.  You can double check by trying to search by a variant tag (or clicking on someone else's use of the variant); if the results page says the broader or more common form of the tag, those stack.

There's no such thing as the right number of tags. Some people prefer more tags and more detail, while other people prefer fewer more streamlined tags, and different fics have different things that need to be tagged for.  There is, however, such a thing as too many tags.  A tagblock that takes up the entire screen, or more, can be unreadable, at which point they are no longer useful. Focus on the main points and don't try to tag for absolutely everything.  Use the “Additional Warnings In Author's Note” strategy if your courtesy tags are what's getting out of hand.

Tag for as much as you feel is necessary for readers to find your fic and understand what they're getting into if they decide to open it up.

A little bit of redundancy in tags is not a sin.  In fact, slight redundancy is usually preferable to vagueness. Clear communication in tags is a cardinal virtue. Remember that tags serve a purpose, they're primarily a tool for sorting and filtering, and (unlike on some other sites like tumblr) they work, so it's best to keep them informative and try to limit rambling in the tags. Ramble at length in your author's notes instead!

Titles

Picking a title can be one of the most daunting and frustrating parts of posting a fic. Sometimes we just know what to call our fics and it's a beautiful moment. Other times we stare at that little input box for what feels like an eternity.

The good news is there's really no wrong way to select a title. Titles can be long or short, poetic or straight to the point. Song lyrics, idioms, quotes from literature or from the fic itself can be good ways to go.

Single words or phrases with meanings that are representative of the fic can be great. A lot of times these are well known terms or are easy enough to figure out like Midnight or Morning Glow, but if you find yourself using something that not a lot of people know what it means, like Chiaroscuro (an art style that uses heavy shadow and strong contrast between light and dark), Kintsukuroi (the Japanese art of repairing broken pottery with gold), or Clusivity (the grammatical term for differences in who is or isn't included in a group pronoun), you should define the term in either a subtitle, i.e. “Chiaroscuro: A Study In Contrast,” or at the beginning of the summary.

As a courtesy to other writers, especially in small fandoms, you may want to check to make sure there's not already another fic with the same title in the same fandom, but this is not required. In large fandoms, there's no point in even trying. After all, there are only so many puns to be made about the full moon and only so many verses to Hallelujah.

It may be common practice on other platforms to include information such as fandom or ship in the title of a fic, but on Ao3 nothing that is specified by tags belongs in the title unless your title happens to be the same as a tag because, for instance, you've straightforwardly titled your character study of Dean Winchester “Dean Winchester Character Study” and also responsibly tagged it as such.

Summaries

Yes, you really do need to put something down for the summary. It might only need to be a single sentence, but give the readers something to go off of.

The summary is there to serve two purposes: one, to catch the interest of potential readers, give them a taste of what's inside, and make them want to know more; and two, to give you a space to provide information or make comments that don't really fit in the tags but that you want readers to see before they open the fic.

We've already talked some about that second function. When you put an explanation of the title or clarification about tags in the summary, that's the purpose it's serving. You can also put notes to “Heed the tags” or instruct readers that there are additional warnings in the author's note here in the summary, rather than doing so in the tags.

The first function, the actual summarizing, can be very hard for some of us.  It's basically the movie trailer for your fic, butwhat are you even supposed to say?

There are two main strategies as to how to approach this: the blurb, and the excerpt. Blurbs are like the synopses you at least used to see on the backs of published books, or the “Storyline” section on an IMDb page. Writing one is a matter of telling your readers who does what, under what circumstances.

Depending on the fic, one sentence can capture the whole thing: “Sam and Alex have sex on a train.” “Tori tries to rob a bank.” “If anybody had mentioned Max's new house was haunted, Jamie wouldn't have agreed to help with the move.”

Sometimes a blurb can be a question! “What happens when you lock a nuclear engineer in a closet with a sewing kit, a tennis ball, and half a bottle of Sprite?”

Of course, plenty of blurbs are more than one sentence. Their length can vary pretty significantly depending on the type and length of fic you're working with and how much detail you're trying to convey, but it shouldn't get to be more than a few short paragraphs. You're not retelling the entire fic here.

An excerpt is a portion of the fic copied out to serve as the summary. This, too, can vary in length from a line or two to several paragraphs, but shouldn't get too long. It should not be an entire scene unless that scene happens to be uncommonly short. It's important to select a portion of the fic that both indicates the who, what, and under what circumstances of the fic and is representative of the overall tone. Excerpts that are nothing but dialogue with no indication of who's talking are almost never a good choice. Portions that are sexually explicit or extremely violent are never ever a good choice—if it deserves content warnings, it belongs inside the fic, not on the results page.

Counterintuitively, some of the best excerpts won't even look like an excerpt to the reader if they don't contain dialogue. They seem like particularly literary blurbs until the reader reaches that part in the fic and realizes they recognize a section of narration.

Some of us have very strong preferences as to whether we write blurbs or use excerpts for our summaries. Some readers have very strong preferences as to which they find useful. Ultimately, there's no accounting for taste, but there are things we can do to limit the frustration for readers who prefer summaries of the opposite kind than we prefer to write, without increasing our own frustration or work load very much. Part of that is understanding what readers dislike about each type so we know what to mitigate.

Blurbs can seem dry, academic, and overly simplified. They don't automatically give the reader a sense of your writing style the way an excerpt does. They can also seem redundant, like they're just rehashing information already given in the tags, so the reader feels like they're being denied any more information without opening the fic.

Excerpts can seem lazy, like you, the author, don't care enough to bother writing a blurb, or pushy like you're telling the reader “just read the fic; I'm not going to give you the information you need to decide if you want to read or not, I'm shoving it in front of you and you just have to read it.” That effect gets worse if your tags aren't very informative or clear about what the plot is, if the excerpt is obviously just the first few lines or paragraphs of the fic, if the except is particularly long, or, worst of all, if all three are true at once.

A lot of the potential problems with blurbs can be minimized by having fun writing them! Make it punchy, give it some character, treat it like part of the story, not just a book report. A fic for a serialized show or podcast, for instance, could have a blurb written in the style of the show's “previously on” or the podcast's intro.  Make sure the blurb gives the reader something they can't just get from the tags—like the personality of your writing, important context or characterization, or a sense of the shape of the story—but don't try to skimp on the tags to do it!

Really, the only way to minimize the potential problems with excerpts is to be very mindful in selecting them. Make sure the portion you've chosen conveys the who, what, and under what circumstances and isn't too long.  You know the story; what seems clear and obvious from the excerpt to you might not be apparent to someone who doesn't already know what happens, so you might need to ask a friend to double check you.

The absolute best way to provide a summary that works for everybody is to combine both methods. It really isn't that hard to stick a brief excerpt before your blurb, or tack a couple lines of blurb after your excerpt, but it can make a world of difference for how useful and inviting your summary is to a particular reader. The convention for summaries that use both is excerpt first, then blurb.

If you're struggling to figure out a summary, or have been in the habit of not providing one, try not to stress over it. Anything is better than nothing.  As long as you've written something for a summary, you've given the reader a little more to help them make their decision. What really isn't helpful, though, is saying “I'm bad at summaries” in your summary. It's a lot like the “I'm Bad At Tagging” tag in that it's unnecessarily self depreciating, frequently comes across as an excuse not to try, and sometimes really is just an excuse. Unlike the “I'm Bad At Tagging” tag, which has the tiny saving grace of warning readers you've probably missed something, saying you're bad at summaries has no utility at all, and may drive away a reader who thought your summary was quite good, but is uncomfortable with the negative attitude reflected by that statement. Summaries are hard. It's okay if you don't like your summary, but it's important for it to be there, and it's important to be kind to yourself about it. You're trying, that's what matters.

Author's Notes

Author's notes are the one place where we, the writers, directly address and initiate contact with our readers. We may also talk to them in the comments section, but that's different because they initiate that interaction while we reply, and comments are mostly one-on-one while in author's notes we're addressing everyone who ever reads our fic.

The very first note on a fic should contain any information, such as warnings or explanations, that a reader needs to see before they get to the body of the story, as well as anything like thanks to your beta, birthday wishes to a character, or general hellos and announcements you want readers to see before they get to the body of the story. On multi-chapter fics, notes at the beginning of chapters serve the same function for that chapter as the initial note on the fic does for the whole story, so you can do things like warn for Self-Harm on the two chapters out of thirty where it comes up, let everyone know your update schedule will be changing, or wish your readers a merry Christmas, if they celebrate it, on the chapter you posted on December 23rd but is set in mid-March.

Notes at the end of a fic or chapter are for things that don't need to be said or are not useful to a reader until after they've read the preceding content, such as translations for that handful of dialogue that's in Vulcan or Portuguese, or any parting greetings or announcements you want to give, like a thanks for reading or a reminder school is starting back so you won't be able to write as much. End notes are the best place to plug your social media to readers if you're inclined to do so, but remember that cannot include payment platforms like Patreon or Ko-fi.

As previously mentioned, warnings can go in end notes but that really should only be done when the warnings are particularly long, such that the length might cause a problem for readers who are already confident in their comfort level and would just want to scroll past the warning description. In that case, the additional warnings need to go in the note at the end of the first chapter, rather than at the end of the fic, if it's a multi-chapter fic; and you need to include an initial note telling readers that warnings/explanations of tags are at the bottom so they know to follow where the Archive tells them to see the end of the chapter/work for “more notes.”

When posting a new work, where the Preface section gives you the option to add notes “at the beginning” or “at the end” or both, if you check both boxes, it means notes at the beginning and end of the entire fic, not the beginning and end of the first chapter. For single-chapter fics this difference doesn't really matter, but for multi-chapter fics it matters a lot. In order to add notes to the beginning or end of the first chapter of a multi-chapter fic you have to first go through the entire process to post the new fic, then go in to Edit, Edit Chapter, and add the notes there.

Series and Chapters

Dealing with Series and Chapters is actually two different issues, but they're closely related and cause some of us mixups, especially when we're new to the site and its systems, so we're going to cover them together.

Series on Ao3 are for collecting up different stories that you've written that are associated with each other in some way. Chapters are for dividing up one story into parts, usually for pacing and to give yourself and your readers a chance to take breaks and breathe, rather than trying to get through the entire thing in a single marathon sitting (not that we won't still do that voluntarily, but it's nice to have rest points built in if we need them).

If your story would be one book if it was officially published, then it should be posted as a single fic—with multiple chapters if it's long or has more than one distinct part, like separate vignettes that all go together. If you later write a sequel to that fic, post it as a new fic and put them together in a series. It's exactly like chapters in a book and books in a series. Another way to think of this structure is like a TV show: different fics in the series are like different seasons of the show, with individual chapters being like episodes.

If you have several fics that all take place in the same AU but really aren't the same story those should go together as a series.  If you wrote a story about a superhero team re-cast as school teachers, then wrote another story about different characters in the same school, that's this situation.

Series are also the best way to handle things like prompt games, bingos, or Kinktober, or collect up one shots and drabbles especially if your various fills, entries, and drabbles are for more than one fandom. If you put everything for a prompt game or bingo, or all your drabbles, together as one fic with a different chapter for each story, what ends up happening is that fic gets recognized by the Archive as a crossover when it isn't, so it gets excluded from the results pages for everyone who told the filters to Exclude Crossovers even though one of the stories you wrote is exactly what they're looking for; and that fic ends up with tons and tons of wildly varying and self-contradictory tags because it's actually carrying the tags for several entirely different, possibly unrelated stories, which also means it ends up getting excluded from results pages because, for instance, one out of your thirty-one Kinktober entries is about someone's NoTP.

Dividing these kinds of things up into multiple fic in a series makes it so much easier for readers to find what of your work they actually want to read.

If you've previously posted such things as a single fic, don't worry, it's a really common misunderstanding and there is absolutely nothing stopping you from reposting them separately. You may see traffic on them go up if you do!

Parting Thoughts

Metatext is ultimately all about communication, and in this context effective communication is a matter of responsibility and balance.

Ao3 is our archive. It's designed for us, the writers, to have the freedom to write and share whatever stories we want without having to worry that we'll wake up one day and find our writing has been deleted overnight without warning.  That has happened too many times to so many in our community as other fanfic sites have died, been shut down, or caved to threats of legal action. Ao3 is dedicated to defending our legal right to create and share our stories. Part of the deal is that, in exchange for that freedom and protection, we take up the responsibility to communicate to readers what we're writing and who it's appropriate for.

We are each other's readers, and readers who don't write are still part of our community. We have a responsibility as members of this community to be respectful of others in our shared spaces.  Ao3 is a shared space. The best way we have to show each other respect is to give one another the information needed to decide if a given fic is something we want to engage with or not, and then, in turn, to not engage with fic that isn't our cup of tea. As long as our fellow writer has been clear about what their fic is, they've done their part of the job. If we decided to look at the fic despite the information given and didn't like what we found, then that's on us.

Because metatext is how we put that vital information about our fics out in the community, it's important that our metatext is clear and easy to parse. The key to that is balance. Striking the balance between putting enough tags to give a complete picture and not putting too many tags that become an unreadable wall; the balance between the urge to be thorough and tag every character and the need to be restrained so those looking for fics actually about a certain character can find them; the balance between using established tags for clarity and ease and making up our own tags for specificity and fun.

Do your best, act in good faith, remember you're communicating with other people behind those usernames and kudos, and, most importantly, have fun with your writing!

[avatar-news]

Avatar Studios masterpost!

Here’s absolutely everything there is to know about the big Avatar news from today’s ViacomCBS Paramount+ Streaming Event and investor day!

Summary of facts

Avatar Studios is a new studio at Nickelodeon. Avatar: The Last Airbender and The Legend of Korra co-creators and showrunners Bryan Konietzko and Michael Dante DiMartino are the co-Chief Creative Officers of Avatar Studios.

Avatar Studios will create original movies, series, and shorts set in the world of Avatar.

The first project is an animated theatrical film set to start production later this year.

One or more Avatar Studios Paramount+ Original Series will be among the 50 original shows coming to Paramount+ in its first two years.

The above image has been included in many articles and official social media posts. It’s presumably the current official logo of Avatar Studios.

That is a distilled list of the cold, hard facts from the whirlwind of news that has come out today, from many different sources. With that out of the way, the rest of this post will delve deeper into everything we’ve learned, including full-length quotes from the people involved.

Today’s event

Today, ViacomCBS (the company that owns Nickelodeon, and thus Avatar) held their “Streaming Event” and investor day. ViacomCBS is launching their big streaming service, Paramount+, on March 4th. It’s a rebrand and relaunch of their current streaming service, CBS All Access. Paramount+ is meant to be their big push to compete in the streaming wars with Disney’s Disney+, Hulu, and ESPN+; WarnerMedia’s HBO Max; NBCUniversal’s Peacock; Apple’s Apple TV+; and, yes, Netflix’s Netflix by Netflix in collaboration with Netflix.

Avatar: The Last Airbender and The Legend of Korra are already on CBS All Access in full, and they, like all the rest of the content on the service, will automatically transfer over to Paramount+. (Currently we know absolutely nothing about when or if either show will leave Netflix. They’re currently on both Netflix and CBS All Access, so it’s possible they’ll remain on both Netflix and Paramount+ for some time.)

Here’s my livetweet thread from today’s event. Below, I’ll cover the notable stuff:

The first big mention of Avatar was when it was called out by the CEO as one of the ViacomCBS properties that were big hits on other streaming services last year.

It’s notable that it was mentioned among a list of exclusively adult, live-action series.

This is totally in line with the earlier stuff where the CEO mentioned it as having potential for Paramount+ original content.

The presentation also included something along the lines of: if you helped make one of our properties popular on another streaming service, there’s a good chance originals will be coming to Paramount+.

Basically, they saw how huge Avatar was on Netflix last year, and that visibility was up to the highest levels of the company.

And of course, finally they announced the creation of Avatar Studios. This was actually a few minutes after the news went up officially online, so at that point I lost track of the stream as I covered the news. But, I do know they didn’t show/announce anything else in the event besides the news that went up online.

Official quotes/statements

Here are the official quotes about Avatar Studios sent out today:

Joint official statement from Bryke:

“It’s hard to believe it’s been 19 years since we created Avatar: The Last Airbender. But even after all that time, there are still many stories and time periods in Aang’s world that we are eager to bring to life. We are fortunate to have an ever-growing community of passionate fans that enjoys exploring the Avatarverse as much as we do. And with this new Avatar Studios venture we have an unparalleled opportunity to develop our franchise and its storytelling on a vast scale, in myriad exciting ways and mediums. We are exceedingly grateful to Brian Robbins and Ramsey Naito for their enthusiasm and respect for the Avatar property and us as its stewards. From the start, they’ve supported our ambitious plans and created a positive, proactive environment for us. We’re excited to be back at Nickelodeon where Avatar began, doing what we do best in the biggest way possible. We can’t wait to build the great teams and productions to make all of this fantasy a reality.”

via Entertainment Weekly

Bryan on his Instagram and Tumblr:

“Bryke is back at Nickelodeon in a big way. ⚡️💙⬇️💙⚡️ Mike and I are heading up a new studio dedicated to expanding the Avatarverse.”

Mike on his Instagram:

“BIG announcement! @bryankonietzko and I are returning to #Nickelodeon as co-chief creative officers of Avatar Studios to develop new animated projects in the #avatarverse and oversee the franchise. Couldn't be more excited and inspired!”

Brian Robbins:

“Avatar: The Last Airbender and Korra have grown at least ten-fold in popularity since their original hit runs on Nickelodeon, and Ramsey Naito and I are incredibly excited to have Mike and Bryan’s genius talent on board to helm a studio devoted to expanding their characters and world into new content and formats for fans everywhere. Creator-driven stories and characters have long been the hallmarks of Nickelodeon, and Avatar Studios is a way to give Mike and Bryan the resources and runway to open up their imaginations even more and dive deeper into the action and mythology of Avatar as we simultaneously expand upon that world and the world of content available on Paramount+ and Nickelodeon.”

via Deadline

Brian Robbins was referred to as the president of Nickelodeon on Entertainment Weekly, and “President, ViacomCBS Kids & Family” on Deadline. Ramsey Naito is the president of Nickelodeon Animation.

Press release

The post-event ViacomCBS press release mentioned Avatar in two places:

First, right up at the top:

“Over 50 original series to premiere on Paramount+ over next two years, including Halo, Frasier, Criminal Minds, iCarly, The Real World, Grease: Rise of the Pink Ladies, shows from the Avatar, Yellowstone, Star Trek and SpongeBob SquarePants universes and more”

The wording makes it unclear if it will be multiple shows from each of the final four franchises mentioned, or if it’s plural because it’s listing multiple franchises. It’s talking about the first two years specifically, so it’s likely that in that timeframe only one Avatar show would be ready, but in general it’s basically guaranteed that there will be multiple in the coming years.

The second place it’s mentioned is in the “Expansive Slate of Upcoming Paramount+ Original Series” - “Kids & Family” section:

“Avatar – Nickelodeon’s new animation studio division dedicated entirely to creating content based on the wildly popular world of Avatar: The Last Airbender and The Legend of Korra. Led by the series’ original creators Mike DiMartino and Bryan Konietzko, in partnership with the Nickelodeon Animation Studio, Avatar Studios will produce for Paramount+ a wide-range of Avatar-inspired content, ranging from spinoffs and theatricals to short form.”

Info from news

Across the many news sources today (sites, social media, etc.) this info has sort of coalesced:

What is Avatar Studios?

It has been referred to as a studio, a venture, a division of Nickelodeon, an animation studio division, etc. etc. etc.

As far as we know, it’s not an animation production studio and so doesn’t employ animators who draw the frames of animation themselves.

What does Avatar Studios make?

The various sources have said they’re making series, movies, and short-form stuff. The first two are pretty self-explanatory. The third, shorts, remains to be seen what it is. I could honestly see official TikTok videos or something, but that’s just my speculation. 😂

Right now it has been said that Avatar Studios will be making Avatar stuff only. Various wordings like “based on” and “Avatar-inspired” and “in the Avatarverse” have been used.

The question of live-action has arisen. Some places, including Mike’s post, specifically say animation, while Bryke’s official statement also says “myriad [...] mediums”. It’s highly likely there will be both animation and live-action at some point. Currently it’s probably animation-focused, with the first project being an animated movie.

Where will Avatar Studios content come out?

Another case where there have been various wordings used throughout the different news sources.

It has been said that Avatar Studios’ content will be made for Paramount+, Nickelodeon’s “linear” (meaning old-fashioned live TV) and digital outlets, third parties, and theaters.

Paramount+ is self-explanatory, that would be Paramount+ Originals streaming exclusively on Paramount+.

Nickelodeon complicates things a bit. I find it a little hard to believe that within a few years, new Avatar shows specifically for Nick’s TV channel will start being made. It’s possible statements to this effect are indicating the content will also end up aired on TV. ViacomCBS’s Star Trek universe’s first Nick show will be taking that route: first on Paramount+ and then later airing on TV on Nick, so I’m guessing something similar could be the case here. As for Nick’s digital side, they have episodes to watch on their website and apps, so I’m guessing that’s what that refers to-- I wouldn’t read into it too much. Nick itself is one of the sections on Paramount+, which also just makes my head spin a bit more.

Mention of third parties is also a little weird at first. ViacomCBS does double-dip a lot, so maybe Avatar Studios will also end up making shows for, like, Netflix and others, but it just seems like a weird business decision when they just announced Paramount+. One thing this could be referring to is potentially other mediums like books and games, for which it would make sense to be for other companies.

Lastly, theatrical. In their movies strategy, ViacomCBS announced that Paramount movies like the Mission: Impossible franchise will still be in theaters, but go to Paramount+ exclusively after a reduced 30-to-45-day theatrical window. (Some movies will also have the regular window, also a little confusing.) Some movies will also just be Paramount+ Originals in the first place, like the newest SpongeBob movie. Avatar Studios’ first project has been exclusively called a theatrical animated film. This seems to suggest that it will be in theaters at first, then a Paramount+ Original shortly after (probably the shortest, 30-day window if I were to guess). This is interesting because if it’s theatrical, that could suggest a big budget, especially if this is their first project they intend to make an impressive splash with. It could also potentially suggest 3D/CGI animation rather than 2D, but I personally don’t find that super likely. However, it could mean fancier 2D animation than we’re used to, and that’s saying a lot because we’re used to some pretty good animation from the Avatar franchise! The wording of “theatricals” could also just be used as a synonym for “films”, to indicate prestige, theatrical release quality and budget rather than made-for-TV or direct-to-DVD vibes.

In summary, it seems like right now, they’re covering all the bases, but if Paramount+ is as successful as they want it to be, it’s likely they would eventually (maybe quite soon) move more and more stuff into it exclusively. Currently, there’s also still a lot of uncertainty due to the COVID-19 pandemic, and so the new state of the theatrical, linear, and streaming marketplaces hasn’t really crystallized yet either. The world does seem to be moving to streaming quite hard though, so while they’re covering all the bases right now, again, it’s likely most of this stuff will end up mainly as a Paramount+ thing.

And again, I mentioned TikTok as a possible experimental place for short-form content. Maybe. Especially if they make the next Avatar after Korra modern day?! Ok, let me not get ahead of myself...

Who will work at Avatar Studios?

We only know about Bryke so far. They’re the co-Chief Creative Officers.

Brandon Hoang, who was working with Bryke on live-action ATLA at Netflix, has confirmed he’s not involved. He also left Netflix at some point; not sure if it was at the exact same time or for the same reasons as Bryke, but he’s neither here nor there, as it were.

No, I don’t have anything to tell you about Jeremy Zuckerman. :)

Given that there will be multiple shows and movies, it’s likely that lots of different people will end up working on them. Bryke’s official statement said that they will “build [...] teams and productions” at Avatar Studios, and Mike also said that they will be “oversee[ing] the franchise”. Right now, we don’t know what exact role Bryke will have. They might write/direct/showrun some stuff themselves, or they might oversee other creatives they hire for those roles, or, likely, both-- different levels of involvement for different shows and movies.

As mentioned previously, Avatar Studios (probably) isn’t an animation production studio. This means they will still hire animation production studios, like Studio Mir, to do the animation itself. I say “like” Studio Mir, because I’m not sure if Studio Mir itself is free right now. They recently officially partnered with Netflix and have plenty of things on their plate there. So, it remains to be seen who will be doing the actual animation for Avatar Studios’ projects.

Lastly, this is an awesome opportunity to have the “culturally appropriate, non-whitewashed cast” assurance Bryke originally made for live-action ATLA both on and off the screen at Avatar Studios!

Netflix and live-action ATLA

There has been no news or updates on the live-action adaptation of ATLA being developed at Netflix, which Bryke was originally showrunning but left (to do all this!) over creative differences.

No, it’s not cancelled.

I suppose this makes it a little more likely that Netflix would choose to give up on it, but right now there have been no changes. The existence of Avatar Studios almost definitely has no effect on the licensing rights Netflix obtained to make a live-action ATLA adaptation-- that stuff is usually pretty iron-clad. Again, maybe in light of all this Netflix will choose to not go through with it, but they also might want to make it even more now to compete with Paramount+ on Avatar. We don’t really know the stances of the decisionmakers at Netflix, so we’ll have to wait and see.

Personal note

Over the last few months I’ve gotten a lot of, err, rude comments and messages whenever I said there could be new stuff coming. I’m really not here to say “I told you so”, because I don’t care-- I run Avatar News for fun.

But, I hope this goes to show that I wouldn't be posting things if I didn't have good factual reason to believe them, and that very much panned out very correctly here. Sometimes it’s directly or indirectly based on stuff I can't say publicly. I always have and always will post in a trustworthy, fact- and reason-based manner.

In light of that, and for just a bit of “I told you so”, here’s a timeline of all the Avatar News posts that led up to today. Definitely had a lot of fun re-reading these just now:

August 12th, 2020: Bryke left the Netflix live-action ATLA series two months ago. It’s not the end of the world.

September 15th, 2020: ViacomCBS is relaunching their streaming service next year as Paramount+, the future home of Avatar shows and movies?

September 17th, 2020: Anonymous asked: Do you think now that the original creators left the live action remake that they will make a new avatar animated series?

November 6th, 2020: CEO says Avatar franchise has potential for new original series on Paramount+, the new streaming service launching next year to compete with Netflix, Disney+, and HBO Max

January 4th, 2021: “This also brings up another interesting point, which is that Bryke actually originally pitched this storyline to Nick as an animated movie after the show. That obviously didn’t happen, but now that Paramount+ is coming and teasing potential new Avatar content…”

January 5th, 2021: Investor day announcement

January 21st, 2021: The Fire Nation Awaits 🌺 An in-depth look at the ever-elusive islands in the era of Korra and when we will finally pay them a visit. See section: Are they saving the Fire Nation for an animated movie?

February 12th, 2021: All seven seasons of Avatar: The Last Airbender and The Legend of Korra are coming to Paramount+ on March 4th!

February 20th, 2021: The musical themes of Avatar: An Avatar News interview with Jeremy Zuckerman. See section: “So, another streaming service: Paramount+.”

February 24th, 2021: Avatar Studios masterpost :)

[j4gm]

The Adventure Time Pilot

So I decided to begin a kind of mega-rewatch of Adventure Time, where I watch, read, and play every episode, short, book, comic, graphic novel, video game, etc etc that I can get my hands on, in the order that they were released as per this list: https://atchronology.com/media. I don't know if I'm going to write something for every single thing (probably not because bloody hell there's a lot of Adventure Time), and I haven't even decided on any specific format so most of these will just be random streams of consciousness, but let's see how it goes. And we are starting, of course, with the pilot, which first aired on the eleventh of January 2007; over fourteen years ago at the time of writing.

It's impossible to legitimately watch the pilot because it's in a weird situation where the pilot itself belongs to Nickelodeon even though the actual show was later picked up by Cartoon Network. The closest thing we have to an official release is a copy of the pilot uploaded onto Fred Seibert's Vimeo account late last year, which is the copy embedded in this post. Unfortunately it has some nasty scan line artifacting, and most other copies you will find online are television recordings with Nicktoons watermarks and the famous Jimmy Neutron banner that pops up while Finn - uh, I mean Pen - is throwing snowballs.

Many shows began their lives as pilots on programmes like Random Cartoons, but the uniqueness of Adventure Time was its popularity on new and emerging online platforms like YouTube. It can't really be compared to anything before it so instead we can compare to something that came much later. I remember some advice given by Infinity Train creator Owen Dennis recently that your pilot episode should not attempt to be archetypal or representative; it should just feel like a regular episode. And this did indeed work for Infinity Train, with its surreal, push-you-in-the-deep-end pilot aiding the mystery elements of that show and doing well enough on YouTube to get developed into a full series. But Adventure Time is the antithesis of this theory, giving us a very typical plot where the Ice King kidnaps Princess Bubblegum and Finn and Jake work together under their brotherly bond to rescue her. It too was immensely popular online, for the opposite reason to Infinity Train: it was simple and it made people laugh. And even as Adventure Time's plot got more complicated later on, that kind of energy remained at its core. So evidently, that advice doesn't apply to everything.

I never had the same connection to the pilot as a lot of people within the fandom did, because I didn’t start watching the show until nearly ten years later, when the series was on Death’s doorstep and the golden age of the fandom had come and gone. But I still appreciate it for the amazing things it led to.

Ok I'm not gonna spend too long rambling. If I spend this long talking about every single piece of media then it’s gonna be another fourteen years before I finish.

All the storyboards for the pilot are also available but there's almost no difference between the boards and the final thing. You can read them here: https://www.scribd.com/document/55449230/Adventure-Time-original-short-storyboard

Feel free to send asks and stuff.

[caelum-in-the-avatarverse]

just saw your old post about the fandom from legend of korra's early days and you said this "very young or new fans who just could not understand why Korra wasn’t Aang’s daughter" what even? okay if they were young but ???? 😆

Lol yeah, very young. Those fans were centered on the Nickelodeon-run message boards, so we're talking, like, 10-year-olds probably. If even. I imagine many of them were kids whose storytelling and story comprehension muscles were too young to have gotten much exercise yet, so they were likely operating off of standard tropes they were familiar with - ie, the sequel is about the original hero's child and successor.

To be fair, given their probable age in 2012 and the fact that the only ways you could watch ATLA after it ended in 2008 was either DVD (if your parents bought it) or steadily-decreasing reruns (legal streaming wouldn't be available for years), I also suspect a lot of those kids just hadn't seen much of ATLA, or barely retained any info if they had.

The only reason the fandom took note of the whole phenomenon is because Nickelodeon really pushed advertising for those message boards. Practically every commercial break and post-episode timefiller included the same advertisement encouraging people to join up and talk about the show; I think only the infamous Madagascar 3 Circus Afro was more common. The commercial included a few extremely fake forum posts with voiceovers - one was a girl saying something like "I love Bolin! He's so funny!" and I distinctly remember a guy saying "I know who Amon really is." You could tell they were fake because of the grammar quality and the fact that there seemed to be actual coherent thought put into them. They were very much not indicative of the sort of conversation to be found on the Nickelodeon message boards.

But the commercials were so common that many fans did indeed go check out the message boards, and they all came back to Tumblr and ASN and wherever else to report that it wasn't worth older fans' time, and also that "There are...a lot of kids asking why Korra isn't Aang's daughter."

Needless to say, it just kinda became an ongoing joke.

[aion-rsa]

Streaming on Plex: Best Movies and TV Shows You Can Watch for FREE in September

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This article is sponsored by Plex. You can download the Free Plex App now by clicking here!

There’s an overwhelming amount of new movies and TV shows hitting streaming services this fall. If you’re starving for new content, it’s set to be a fantastic time, but if your wallet is starving for funds, it can be pretty stressful. With studios and content providers spreading their libraries out across so many different streaming services, keeping up with all of your favorites can get expensive. Thankfully, Plex TV is here to keep you entertained without breaking the bank.

Plex is a globally available one-stop-shop streaming media service offering thousands of free movies and TV shows and hundreds of free-to-stream live TV channels, from the biggest names in entertainment, including Metro Goldwyn Mayer (MGM), Warner Bros. Domestic Television Distribution, Lionsgate, Legendary, AMC, A+E, Crackle, and Reuters. Plex is the only streaming service that lets users manage their personal media alongside a continuously growing library of free third-party entertainment spanning all genres, interests, and mediums including podcasts, music, and more. With a highly customizable interface and smart recommendations based on the media you enjoy, Plex brings its users the best media experience on the planet from any device, anywhere.

Plex releases brand new and beloved titles to its platform monthly and we’ll be here to help you identify the cream of the crop. View Plex TV now for the best free entertainment streaming and check back each month for Den of Geek Critics’ picks!

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DEN OF GEEK CRITICS’ PICKS

Teenage Mutant Ninja Turtles

They’re the world’s most fearsome fightin’ team. They’re heroes in a half-shell and they’re green. I mean, what more do we need to say? 2014’s Teenage Mutant Ninja Turtles is no Citizen Kane, but comic book movie fans flock to it like the four titular turtles to pizza. The film knows exactly what it is, providing cheesy one-liners, silly action, and unpretentious fun. Throwing in Will Arnett as a sidekick for April O’Neil was an inspired choice that paid dividends in laughs and whoever tapped Tony Shaloub to voice Splinter should get a pay raise. Produced by Nickelodeon Pictures, Teenage Mutant Ninja Turtles wasn’t only the highest grossing film in the series, but also the highest grossing Nickelodeon film of all-time. This reboot of the classic ninja team helped spawn further films, new TV series, and a renewed interest in one of the most beloved comic book properties ever. Cowabunga, dude!

Noah

This isn’t your Sunday School’s Noah. Darren Aronofsky’s adaptation of the story of the biblical figure Noah is an awe-inspiring epic that takes the bones of the famous story and infuses themes about environmentalism, self-doubt, and yes, faith. Pulling liberally from texts like the Book of Enoch, the film has far more action than just leading animals onto a boat and a storm. Shot by Matthew Libatique, the movie looks absolutely gorgeous and at times can be genuinely breath-taking, but it’s not just about the visuals. Russell Crowe stuns in the title role, but the entire ensemble is great, including a post-Potter Emma Watson and a ferocious Ray Winstone. No one expected Noah to be more akin to a thought-provoking art house film than a straight-forward epic, but that’s the sort of genius you get from Aronofsky, one of the most exciting and inventive filmmakers working today. 

Shine a Light

Even if we hadn’t just lost the immortal, suave Charlie Watts, the heartbeat of rock and roll’s longest institution, The Rolling Stones, we’d still be recommending Martin Scorsese’s Shine a Light. Capturing the legendary band during their A Bigger Bang Tour in 2006, Scorsese spends a lot of the time rightfully focusing on Watts. With the camera fixated on Watts, you witness his unflappability; the way that he can make such raucous playing look so effortless. You also catch the man’s unique, jazz-influenced technique, like how he rarely hits the center of his snare, or how he changes his grip whenever he hits a cymbal. Even in their old age, the Stones are still one of the tightest, most electrifying live acts, and Shine a Light puts you right on stage with them as they barrel through one of the deepest catalogs in recorded music. It’s simply a masterful concert film.

The Virgin Suicides

Sofia Coppola likely has to deal with accusations about nepotism to this day, but anyone who saw her directorial debut The Virgin Suicides knows that Francis’ daughter would have made it as a filmmaker even without her famous last name. This haunting adaptation of Jeffrey Eugenides’ novel of the same name taps into the melancholy of childhood, the dreamlike haze of memory, and the mystery that lurks inside suburban homes. Coppola expertly captures the pull that an ethereal group of sisters have on the imaginative group of boys that pine for them in a way that is relatable for anyone that had an unrequited crush in high school. As a coming-of-age movie, it is one of a kind. As an exploration of trauma and grief, it is crushingly effective. The original score by the band Air only adds to its hypnagogic vibe. 

Rock ‘n’ Roll High School

Punk rock music and Roger Corman pictures are some of the core tenants that Den of Geek was founded on, so of course we’re going to recommend 1979’s Rock ‘n’ Roll High School, which features possibly the coolest band of all-time, The Ramones. Let our resident punk rock movie expert Jim Knipfel break it down for you:

“After producing so many dozens of teen rebellion films over the years, Corman finally hit the pinnacle, the ultimate teen rebellion picture, with the cartoon antics ratcheted up more than a few notches. There are so many bad jokes flying around, so many visual gags and film references packed into every scene, so many overwrought teen film clichés pushed way past absurd, it’s a film that demands multiple viewings. Even if “Riff Randall, rock ’n’ roller” (P.J. Soles) doesn’t look much like any punk chick I ever knew, I’m perfectly willing to accept it. And in historical terms, it really was this film more than the 4 albums they had out at the time that spread the word about The Ramones to mainstream America, and that’s worth something. Old as I am I still get a thrill every time the students and the Ramones blow up Vince Lombardi High, and anyone who doesn’t must be wrong in the head somehow.”

New on Plex in September:  

1000 Times Good Night 

13 

13 Assassins 

The Accidental Husband 

All Good Things 

Assassination of a High School President 

Awake 

Bent 

Bordertown 

Brain Dead 

Cold Mountain  

The Descent 

The Descent Part 2  

Even Money 

Fear City 

First Snow 

Freedom Writers  

Gray Matters  

The Jesus Rolls 

Johnny Was  

Keys to Tulsa  

The Legend of Bagger Vance  

Mad Money 

Marrowbone 

Murder on the Orient Express 

The Ninth Gate 

Nothing but the Truth  

Ordinary People 

Rememory  

Rock ‘n’ Roll High School  

Sanctuary  

Shine a Light  

Soul Survivors  

Taboo  

Teenage Mutant Ninja Turtles  

The TV Set  

The Virgin Suicides  

What Doesn’t Kill You  

Winter Passing  

World Trade Center  

Catch before it leaves in September: 

31 

Absolution  

Accident Man  

Aeon Flux 

After.Life 

Angel of Death 

Answer Man 

The Bang Bang Club 

Battle Royale 

Blood and Bone 

The Broken 

Cashmere Mafia  

Child 44 

Cleaner 

Cold Comes the Night 

Coming Soon 

The Connection 

Conspiracy  

The Cookout  

Critical Condition  

Dark Crimes  

The Death and Life of Bobby Z 

Death Proof 

Dickie Roberts: Former Child Star 

Downhill Racer 

Dragged Across Concrete  

The Dresser  

The Duel 

Dummy 

Flight of Fury 

Flirting with Disaster  

The Foreigner  

Goat  

Gutshot Straight  

Halloween III: Season of the Witch  

The Hard Corps  

Hesher  

High Right 

Honeymoon  

The Hunt 

I Saw the Devil 

In the Mix 

Jason and the Argonauts 

Jeff, Who Lives at Home 

Jiri Dreams of Sushi  

Joe 

Journey to the West  

Kill ‘Em All 

A Kind of Murder 

The Kite Runner 

Lake Placid 2 

Lake Placid 3 

Last Resort 

The Lazarus Project 

Misconduct 

Mr. Church 

Mutant Chronicles 

Mythica: The Godslayer 

Mythica: The Iron Clown  

Never Back Down: No Surrender 

News Radio  

Noah 

Ong Bak: The Thai Warrior  

Ong Bak: The Beginning  

The Order 

Out for a Kill 

The Outcasts  

Phantoms 

Pistol Whipped 

The Protector 

Pulse (2001) 

Reprisal  

Return to the Blue Lagoon 

The River Murders  

The Romantics 

Second in Command 

Shadow Man 

Shattered  

The Shepherd 

Southside with You 

Space Station 76 

Square Pegs 

Standoff 

Starship Troopers 2: Hero of the Federation  

Starship Troopers 3: Marauder 

Steel Dawn 

Substitute  

The Super  

SWAT: Under Siege 

The Terminal  

The Three Burials of Melquiades Estrada  

Touchy Feely  

Trollhunter 

UFO 

Universal Solider: Day of Reckoning  

Vamps  

Vicky Cristina Barcelona  

Walking Tall: Lone Justice 

Warlock 

What Planet are You From?  

World’s Fastest Indian 

World’s Greatest Dad  

The Yellow Handkerchief  

Still streaming on Plex: 

2:22 

2 Days in New York 

21 Jump Street  

22 Bullets  

24 Hours to Live  

3rd Rock from the Sun 

6 Bullets  

99 Homes 

A Little Bit of Heaven 

A Walk in the Woods 

The Air I Breathe  

Alan Partridge 

ALF  

Alone in the Dark 

Amelie 

American Pastoral  

And Soon the Darkness 

Andromeda  

Are You Here 

Arthur and the Invisibles  

Awake 

Battle in Seattle 

Bernie 

Better Watch Out 

Black Death  

Blade of the Immortal 

Blitz 

The Brass Teapot 

Bronson 

The Brothers Bloom 

The Burning Plain 

But I’m a Cheerleader 

Cake  

Candy  

Catch .44 

Cell  

The Choice 

Clerks II 

Coherence  

The Collector  

Colonia  

Congo  

Cooties 

The Core 

The Cotton Club 

Crossing Lines  

Croupier  

Cube  

Cube 2 

Cube Zero 

Cyrano de Bergerac  

Death and the Maiden 

The Deep Blue Sea 

Deep Red 

Derailed 

Detachment 

The Devil’s Rejects  

Diary of the Dead 

District B13 

DOA: Dead or Alive 

Dr. T and the Women  

Eden Lake 

The Edge of Love  

The post Streaming on Plex: Best Movies and TV Shows You Can Watch for FREE in September appeared first on Den of Geek.

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[vumanenc1102]

2D Animation’s Past, Present, and Future

(Pencil test for Sleeping Beauty) (original video source)

Traditional animation, also called hand-drawn animation, classical animation, cel animation, or by its modern handle, 2D animation, was the main form of animation from the late 19th century up until the creation of the modern computer, when computer-generated animation became the norm. Thanks to animation programs, there’s now a new mode of animating called computer animation, also known as 3D animation, where a figure is rigged to move about in a determined stage, similar to how real-life programs and films are made – the only difference being that the actors are now the animators through a character. Many North American studios had started out with 2D animated movies, but then shifted to focus on creating 3D animated movies thanks to the ease of the technology.

(Gif from Toy Story 4) (source)

Today in our modern world with many technologies at our hands, 3D animation has become the favored animation style, as proven by how much gross they procure at the box office compared to 2D animated films. Disney has virtually abandoned 2D animated movies, seeing as how their last movie in the medium was The Princess and the Frog released in 2009. The movie did well at the box office, but not as good as other 3D animated movies released since then. Seeing as how Disney has monopolized the animation film industry, anything they do will be copied in other animation studios, most notably American ones: DreamWorks Animation, once a studio where both 2D and 3D animated films were worked on in harmony, hasn’t made a 2D animated movie since 2003, when Sinbad: Legend of the Seven Seas was released. 2D animation just doesn’t cut it anymore, and is the main reason why North American studios have opted to stop using it entirely in their films. Because of this shift in power, 2D animation can now mainly be seen in T.V. programs and commercials, with many programs being made from independent creators who’re not affiliated with any studio.

(Gif from She-Ra and the Princesses of Power) (source)

Since 2D animated movies have been booted out of the theaters, it seems that 2D animation will – and has been able to – find a home on the T.V. screen. Thanks to many streaming services available, the services are able to host a multitude of programs and movies, included in these would be 2D animated movies and shows, making them accessible to a larger audience. Independent, or indie, creators are creating their own shows and movies in this medium, examples including Cannon Busters, Urbance, Ernest and Celestine, Hullabaloo, among many others. Additionally, television channels such as Cartoon Network and Nickelodeon are creating and hosting majority 2D animated shows, these including Steven Universe, Adventure Time, The Loud House, and SpongeBob SquarePants. Even bigshot Disney, on their channel Disney XD, has been creating and hosting 2D animated shows like Phineas and Ferb and Star vs. the Forces of Evil. While there are T.V. programs that’re rendered in 3D animation – Miraculous Ladybug, Lego Ninjago, etc. – this goes to show that 2D animation isn’t going anywhere, it’s just migrated someplace new.

That being said, many indie creations aren’t able to access a large audience due to needing the economic support of traditional animation fans who want to see the content. Since indie creators are working alone without much support aside from their small teams, they’ve had to resort to creating Kickstarters in order to raise enough money to start working.

(Gif from Spirited Away) (source)

On the other side of the ocean, Japan has had a long history of 2D animation, so far as to say that it’s its only animation medium. Astro Boy, originally a manga – Japanese comic book – circulating from 1951 to 1981, was first made into an animated program that ran from 1963 to 1976. While the show has been remade two times, with a third adaptation being made, the first show was the one to set in motion what would become known staples of anime. Since then, innumerable animes have been made for every genre, ranging from robot and mecha anime Gurren Lagann to romantic comedies like Ouran High School Host Club. Anime isn’t just programs either, it boasts many exceptional movies such as Akira, Ghost in the Shell (1995), Ponyo, Wolf Children, and more. One of the biggest anime studios is Studio Ghibli, who can be said to be the Japanese Disney. Studio Ghibli has even collaborated with Disney to promote their movies in the North American venues, most notably with Spirited Away.

(Gif from Samurai Champloo) (source)

American audiences love anime. Everywhere you go, there’s anime: today’s kid’s cartoons are always making references to Sailor Moon or Naruto; Pokémon Go made a giant impact all around the world as people of all kinds are trying to catch Pokémons; millennials and Gen Z’rs keep using slang that relates back to anime, like “You are already dead/Omae wa mou shindeiru;” even Disney has been making references to anime, as seen in their films Frozen and Brave, which feature intrepid female leads, something that can be owed to changing gender attitudes, but ultimately “owe a direct line of thanks to Studio Ghibli’s humble hand-drawn animations of years past”. Anime itself was inspired by old Disney cartoons, so it has now come full circle. But why? Why are American audiences so captivated by anime? For one, anime is now more accessible than ever. In the early 2000’s, there wasn’t readily-available subtitled anime, much less dubbed anime, and what was subtitled was made by fans and hosted on YouTube, or it was a collector’s item that would cost a pretty penny. Thanks to new streaming services, especially ones that focus on animes, anime and manga is a lot more accessible now. Take for example Crunchyroll.com: it’s an American company created by university students that streams anime, manga, and dramas (what we Latinos would call “telenovelas”) for free and offers a paid subscription for an even wider access. The website has anime available in eight languages, and has offices in San Francisco, Los Angeles, Chișinău, and Tokyo.

(Gif from One Piece)

Another reason why anime has been such a hit is that anime is as diverse as Western media: there’s something for everyone, and it’s just a matter of exploring and enjoying the content available. Part of that is the creative liberty authors are given, letting them be the one to decide how long the story will stretch for, an example being Eiichiro Oda, the author of One Piece, an ongoing manga and anime. He’s been stated to willing “die for One Piece,” a level of dedication “manifested throughout his series.” On top of that, the East doesn’t have the same sensibilities as the West, making for a larger range of topics that anime can touch upon that Western shows and films would be too frightened or just plain embarrassed to broach, especially given how nowadays people have many hang-ups about many things, and don’t seem to tolerate differences – just look at the outrage Starbucks caused in 2015 when they rolled out a new holiday cup that was just plain red. Every year since then, Starbucks manages to somehow anger everyone about their holiday cups. Anime isn’t made to reach a wider audience, it just wants to tell a story in its own way, and authors and content-creators should know what it feels like to want to tell a story that you know not everyone is going to understand. The movie Spirited Away blew everyone away at the 75th Academy Awards in 2003 where it beat Disney’s two films Lilo & Stitch and Treasure Planet for Best Animated Feature Film, and because of it, put Japanese animated film under the spotlight. Now everyone is informed that anime is not just for kids but can be a compelling medium for storytelling in films, enough to be able to win an Oscar.

(Gif from The Artist) (source)

Noticing how 2D animation is falling to grace in the West despite Western audiences clamoring for anime, a 2D animated medium, makes for a very interesting oxymoron. That being said, this could open up new – or old – doors for 2D animation in the entertainment industry. The Artist is a silent, black-and-white film released in 2011, directed by Frenchman Michel Hazanavicius, and it won Best Picture at the 84th Academy Awards. It was the first silent film to win an Oscar for Best Picture since Wings won it in 1927, and the first totally black-and-white film to win Best Picture since The Apartment won it in 1960. The Artist is mentioned here to demonstrate that old formats such as silent films and black-and-white films can still be successful in this modern age, even going so far to be the most awarded film in France. If silent and black-and-white films could make an astounding comeback, even if just for one moment, then surely the same could be said for 2D animated movies. It’s just a matter of someone driven enough to achieve it.

(Ramen from Gobelins, L'École de L'Image) (also here)

2D animated movies have started to lose their luster in the American film industry. Because of this, 2D animation has seen a new life in T.V. programs and commercials. Unlike their Western counterparts, the East has been producing a vast array of 2D animated anime and films, being able to even win the highest award a film can get in the West, an Oscar. This proves that 2D animation doesn’t have to be a lesser artform in film, because it can be revitalized and recontextualized just as if it were a silent movie being created in the modern age. 2D animation doesn’t have to be a medium of the past and can instead gain some of its grace again as a respected film mode.

Bibliography

Jozuka, Emiko. Japanese anime: From 'Disney of the East' to a global industry worth billions. Ed. Takashi Murakami. 28 July 2019. Article. 12 November 2019. <https://www.cnn.com/style/article/japan-anime-global-identity-hnk-intl/index.html>.

Macdonald, A.G. Why Western Culture is Beginning to Embrace Anime. 7 August 2017. Article. 12 November 2019. <https://the-artifice.com/western-culture-embrace-anime/>.

Mc Bain Jr., Everard J. Is 2D Animation Dead? Not Really. 2 February 2018. Article. 12 November 2019. <https://celflux.com/is-2d-animation-dead-not-really/>.

Morr. Why We’re Seeing Less 2D Animated Movies and Why They Probably Won’t Make a Comeback. n.d. Bloop Animation. Blog Post. 12 November 2019. <https://www.bloopanimation.com/why-were-seeing-less-2d-animated-movies-and-why-they-wont-make-a-comeback/>.

Riki, J.K. Why Should 2D Animation Be Abandoned? (Part 1). 2015. Commentary. 12 November 2019. <https://www.animatorisland.com/why-2d-animation-should-be-abandoned-part-1/?v=7516fd43adaa>.

Shutterstock. How Hayao Miyazaki Influenced American Animation with Spirited Away. 20 July 2016. Article. 12 November 2019. <https://www.shutterstock.com/blog/miyazaki-influence-on-american-animation>.

Smith, Brandon. Former Disney Veteran Explains Why Big Studios Have Abandoned 2D Animation. Ed. Kelly Conley. 27 February 2015. Opinion. 12 November 2019. <https://www.rotoscopers.com/2015/02/27/former-disney-veteran-explains-why-big-studios-have-abandoned-2d-animation/>.

[pokefan531]

Miraculous Ladybug Production Analysis

Today, I will be reviewing Miraculous Ladybug on the production quality. This goes on video quality and knowing its original format. We will be going over the base resolution, framerate, audio, and others. I've done some test by analyzing different sources of the show, and to see the techneical side.

Miraculous Ladybug credit goes to Zagtoon. Images are used for demonstration.

Video Resolution

On TV stations and on digital distribution, it is common to air or stream it on 1080p. In fact, most anime are digitally drawn on lower resolution than 1080p. For Miraculous Ladybug, this is the case.

Miraculous Ladybug is rendered at 720p, across all episodes and specials as of current. By taking some frames from Netflix stream, it is clearly upscaled from 720p. I did some check by looking at individual screenshots of the show and look at it on Photoshop. Looking at the characters hairs and some edges, you can tell that the source is upscaled.

It is common for a 3D animated TV show to render at lower resolution than 1080p, aside from the texts and the credits. The credits are clearly 1080p while the background is just upscaled to 720p. The text are clearly sharp and doesn't have anti-aliasing. The Ladybug icon on the left is also 1080p. On the opening, only the text are rendered at 1080p, but it's not as sharp as the credits. Still, it doesn't have jagged edges on the texts. Again, it is mixed with 720p background. Also, the logo scene seems to fit well with debicubic filter. I've tested upscaling filters with Avisynth on the frames to see what was the best. It seems like the studio actually use Bicubic scaling with Blur=1, and Ringing=3 setting. It is the default filter setting on Avisynth's Bicubic filter. I've check some masking between original frame and debicubic and use bicubic again, there was no difference aside from blurring out small compression artifacts caused by streaming.

So clearly, the show is upscaled from 720p with Bicubic filtering, with texts being full HD, especially seeing the credits.

(Although, the scene where Plagg gets sucked in on Stormy Weather, the vertical resolution looks like it's half. We know the show is not interlaced, but what happened?)

(Look at the edges of the objects when watching 1080p quality. It is certainly upscaled. Images from Robostus episode and The Bubbler)

Tonemapping

Like most 3D television shows, all scenes are tonemapped to sRGB/rec.709 colorspace. No HDR or wide color gamut is natively supported. Since it is tonemapped to SDR displays, at certain points, Ladybug's outfits seems to have slight red value cut. It is seen when the red shades are over 255 red value, that it can't go brighter and either shows red banding, or red highlight details may be lost. However, the problem is minor, since other color values are present to shade over it.

Overall, the show looks colorful and looks nice for any displays.

(The suit seems to lost some the bump mapping due to compressed tonemapping? Images from Stormy Weather.)

Framerate

By looking at available sources, it seems like the show is rendered at 24fps. By watching Princess Fragrance and The Mime from official Miraculous Ladybug Youtube channel, I can hear the speed difference from most sources that plays at 25fps. It supposed to sound like the 24fps version. Background music tracks and the theme song are available. They seem to match the episodes' audio speed by reconizing the tempo. A lot of sources are seen as 25fps, with the audio sped up without altering the pitch. Technecally speaking, it would be 23.976fps instead of 24fps, but still is.

Framerate Conversion list

As said above, a lit of sources found are playing the episodes at 25fps with sped up audio, but no audio pitch has changed. It's common for PAL conversion to speed up 24fps content to match their 50hz displays (aside from portable displays and computer monitors show natively 60hz). However, in recent years, they use better technology to speed up the audio without altering the pitch, so that it stays true to the pitch of the original format. That way, no one can tell the difference.

Since PAL regions use the format above, I'll list the countries and channels that airs in 60hz or NTSC regions.

South Korea:

The show is aired in the original format. It's 24fps on all channels that airs the show.

Japan:

The show airs in the original format.

Brazil:

The show airs in the original format.

Canada:

Quebec airs the french version, but airs it at 24fps. Family Channel airs it the same way too.

United States:

On Nickelodeon, they would air it at 25fps. Even though most content in the country would air at 24fps, 30fps, or 60fps, Nickelodeon decides to air their shows at 25fps to make more room for commericals to earn more revenue. That also means they cut the credit sequences for the same reason too, with the credits displayed on last 30-seconds of each episode. The audio pitch is unaltered, however. Even their streaming services airs the show at 25fps. Few of their early episodes has wrong conversion on their website, by converting from 25fps to 24fps, albert, with interlaceing, for some weird reason. They look terrible when Nickelodeon had them on their website back in 2015. It is unknown if KidsClick airs it in the original format since I never watch the show from their platform.

Latin America:

This is the most weird conversion of them all. While the show airs at 24fps, Disney Channel LA did the inverse of PAL conversion. THAT MEANS the audio pitch is LOWER than most sources! When I saw their commericals or clips of the recordings taken from their channel, I can hear the audio pitch being altered, but not the typical PAL way. It is very uncommon for NTSC standards to do this sort of thing. I even went to Costa Rica to hear how the show plays over there. I hear the audio pitch being lower as of last year. This is very rare for any channels over there to do this. I don't know what source Disney Channel LA got for the episodes, but it seems like they got 25fps ones and decides to think it is converted already for PAL regions. Very weird. However, streaming services outside the channel never had this issue. It is unknown if PAL countries like Argentina did this too. Their Disney Channel is basically the same, except it's their timeline and broadcasts in PAL format, 50hz.

It is possible that each country can air the show in their own local channel. However, you would have to be in the spanish community to know if they're playing the show correctly.

Netflix:

As far as I know, they have the episodes at 25fps everywhere. iTunes:

Not sure if they still have it, but I remember them having 25fps playback.

Youtube:

Only Princess Fragrance and The Mime are available. It is in the original format, and so as the clips on their Youtube channel.

Overall, it is commonly seen as 25fps in most platforms. I'm not sure if they preserve 25fps on Shouts Factory's DVDs R1.

Blu-Rays

There hasn't been a Blu-Ray release for the series. It's not uncommon for the series to be released on Blu-Ray. Star Wars The Clones Wars, Avatar: The Last Airbender, Samuari Jack, and Batman Animated series has got blu-ray releases at 1080p. DVDs are never HD, and are usually compresses poorly due to using MPEG2 codec from 1990s. You can only find the HD versions on digital platforms. I only know iTunes would do digital release of their episodes. You may have to rip the episodes yourself from other digital platforms. I know not many TV series here have blu-ray releases, but majority of the medias are movies and anime. In Japan, they have very high sale rates on Blu-Ray releases. Not only you get to watch the episodes without internet, but you have very high quality studio like video at the highest resolution with barely video compression artifacts.

Audio

It is common to have stereo audio on TV shows. However, Netflix seems to have 5.1 Surround Sound audio for the show. Usually, the voices are at the front speakers, while you hear the rest of the sound everywhere, with panning from one or multiple speakers to the next. Nickelodeon has aired the show in surrounded sound format before on their HD channels.

Censorship

Miraculous Ladybug is a family friendly TV series, and nothing weird or inappropiate is in it. It was intentionally made for worldwide audience. However, very few television networks made their censorships to any shows. Miraculous Ladybug never got cuts or alterations for anything, but rather small decisions.

On Disney Channel UK, they did a simple motion blur on some scenes to avoid or reduce fast motion lights to reduce risks of seizures. Most notably, the transformation scenes, catching the Akumas, flying butterflies restoring damaged properties, and fast fight scenes that takes big part of the screen. On Frame-by-Frame, the image either have the next frame blended on the current frame, previous frame blended on the current, or both.

Reducing seizures by motion blur may help, but the show doesn't have any strobe or seizure induring scenes. Most broadcasts would leave the show alone. Even Japan leaves the video untouched, despite having paka-paka laws in place on TV broadcasts for airing Electric Soldier Porygon in December 1997. All TV shows have the "Watch in bright lit room" notice on the beginning of the episode in Japan.

Saudi Arabia has skipped Copycat for some reason.

(The bottom one is from Disney Channel UK. All episodes are censored this way to reduce fast bright objects.)

Conclusion

Miraculous Ladybug is rendered at 720p 24fps, with sRGB/rec.709 colorspace. The framerate, whether you're watching 24fps or 25fps, you wouldn't hear the audio pitch being different on the latter, so it's fine. The audio is maxed to 5.1 Surround Sound. Censorship goes from very small to none.

The overall TV show's quality seems pretty good for a TV series. Netflix has all the episodes for two seasons. Even if watching upscaled content, it still looks pretty fine. The audio and sound editing seems pretty great. The animation is smooth overall. The second season is the best season so far. It can be possible that later on, the series may start doing native 1080p rendering. It could be due to the fact that ray tracing on the studio's budget would take too long to render 1080p. Hopefully, native 1080p may soon be used for the future.

[anthonyguidetti]

Pluto TV: Viacom's Different Answer to Streaming

First, Some Context and History

All the major media conglomerates are beginning to reign in their content from Netflix, Hulu, and Amazon, and are bringing them to their own streaming services for maximum profits. AT&T, who owns WarnerMedia, Comcast, who owns NBCUniversal, and Disney, who also own Marvel and 21st Century Fox, have all announced that they are developing their own streaming services to house all of their valuable content available for a monthly fee. Want to watch Friends? You'll have to subscribe to AT&T's thing. Want to watch The Office? You'll also have to subscribe to Comcast's thing. They'll both probably cost around $10 a month, and you're also going to want Disney+, the home to Marvel. All of these companies are taking a non-linear subscription approach to delivering content, something that we first fell in love with when Netflix introduced their instant streaming service back when they were better known for delivering DVDs through the mail. One major conglomerate has been left out of the mix: Viacom. The parent company to Viacom is National Amusements, a company that also owns the CBS Corporation. Because Viacom and CBS operate independently, of which negotiations are constantly rumored that they are in talks to join as one, CBS runs their All Access streaming platform with just CBS content, priced at $5.99 with commercials and $9.99 commercial-free. Viacom initially chose to keep their content off streaming platforms in order to please linear cable providers from dropping their channels. This, however, is not a future-proof solution. Viacom has grown to understand the importance of staying relevant through streaming, and now embraces social networking services where they post original content, and clips from current and classic content from their library. There's more money to be made in delivering the full content, as the other conglomerates have noticed, however, Viacom has chosen to acquire a streaming platform rather than develop their own. The one they chose, however, is very different from what the other companies either have or will develop.

Enter a New Kind of Streaming Platform

Meet Pluto TV, a linear streaming platform. Founded in 2013, the platform started out as a YouTube playlist aggregator run on a schedule. The playlists were disguised as channels, complete with channel numbers, and names, with commercials and bumpers in between content. Channels were separated by genres. There was a tech genre with content from various companies, like CNET, with videos randomized. Another example from their music genre was a Weird Al channel, where Al's music videos were on a repeat cycle. The unique part about Pluto TV was the fact that, at the time, the content could be easily found elsewhere, but what was so intriguing for a person like me who is very indecisive is the fact that the content is pre-programmed like regular TV, and it never ends, in addition to being free. As years went by and their funding improved, they moved away from YouTube and into their own hosted streams. This brought more content acquisitions, like Mystery Science Theater 3000, and content from companies like Shout Factory. More news, sports, movies, and TV shows were added over time, and it grew to reach over 15 million monthly users.

Viacom's Acquisition

In January 2019, Viacom announced they had acquired Pluto TV, and in May, brought much of their content older than 18 months onto new channels named after their brands like Paramount, Comedy Central, MTV, Nickelodeon, and so on. They aren't the same national feeds you can watch on cable, but they feature both content from their brands and acquired content. All of this brings further value to Pluto TV for people like myself who want to see more of the content I am familiar with on linear cable. The reason Netflix is as big as it has become is because of syndicated content like The Office and Friends, coincidentally, two shows that air on Viacom's cable channels like Comedy Central and the Paramount Network. People want to watch current content, and the Viacom content can bring in more viewers onto the platform.

Pluto TV's Positives and Negatives

One of the things I love about Pluto TV that no other streaming platform does is have a linear never-ending stream of scheduled content. Netflix, Hulu, and the rest of the streaming platforms are all on-demand only. Sure, they offer autoplay to whatever the platform believes would make sense to play next, or they autoplay the next episode. None of the platforms offer a smart playlist option, where users can either program a never-ending playlist of different shows and movies, or it develops playlists that never end like a TV channel. I'm not sure how many people are with me on this, but I like having something else choose something for me to watch. I don't always know what I want, and many times linear cable doesn't either, but I like having the option to just play a channel and the content shows up.

As far as the negatives go, there's a few.

The linear side of Pluto TV is very well done. The on-demand side, however, could use some work. There's no search function, and it doesn't work like cable, where individual channels get an on-demand feature. You either watch the show when it is scheduled, or you don't. There's a ton of movies from the Paramount library, as well as other distributors, in addition to some TV shows, but if Viacom wishes to position Pluto as their streaming platform to compete with the other conglomerates, this needs to change. Considering Viacom also jointly owns Philo with A&E Networks, AMC Networks, and Discovery, and is an over-the-top online cable provider which emphasizes on-demand content heavily over live TV, maybe they could combine these services, or perhaps develop a paid version of Pluto which is reworked to be a more traditional streaming platform. Any plans they may have in the future are irrelevant. What matters now is Pluto does not feel 100% ready for primetime in the on-demand side.

The other negative is platform instability and interface design. The app on most platforms is heavy to load, and sometimes crashes when changing the channel, or loading a menu on my Roku Ultra. Also, I'm not a big fan of the overall layout of the app, which automatically opens to a guide of the live channels. The guide format works for actual cable boxes you get a company like Comcast or DirecTV, where their remote has a large amount of buttons. With a Roku, Fire TV, or Apple TV, you generally just get arrow keys, an enter button, a back button, and a menu button. As such, I really don't think companies like Pluto, along with Sling and others, have figured out an elegant way to interact with the screen with the limited amount of buttons. Cumbersome is a word I would use for Pluto, and other streaming platforms. The app also opens right away in a channel, meaning without selecting a channel, a show is already playing, which I would like the option to turn off as the app can be slow to respond, so if something inappropriate or loud is playing, you have no way of knowing beforehand what will play. As such, it would be nice if there were an option to turn off autoplay at startup.

One last con: there's no schedule of the channels past around three or four hours, so how am I supposed to wrap my life around Pluto TV when I won't know what is on? There's a ton of great content on Pluto TV, but if I don't know it exists, I'll never find it. I'm sure this is done to prevent piracy, but it would still be nice to have some sort of schedule so I know what will be on.

Overall, I love the idea of Pluto TV, and I love that because it has the financial backing of a large conglomerate, it will continue to greatly evolve into something more competitive. Until that time comes, we have to keep in mind that because the app is free, we can excuse some usability issues as there's a lot of valuable content for the price. Because viewership is growing, I'm sure the app will get better over time, but for right now, be patient. For anyone looking to cut the cord and find a free alternative, an antenna plus Pluto TV is a great value option for consumers who prefer a linear TV platform, but are not looking to pay cable prices.

[kellymalhotrab12]

How to Activate Fubo on TV?

Watching TV the old fashioned way is great until you're stuck away from home and miss today's game or a new episode of your favorite show. With fubo.tv/connect, you can watch live TV channels and sports broadcast anywhere - even away from home - using a device such as a smartphone or tablet.

Finding out how to activate FuboTV on your TV, smartphone or other device is quick and easy. Though of course you need to have an active FuboTV membership first. The FuboTV starter plan costs $64.99/month and supports up to three simultaneous streams, while the Elite plan costs $79.99/month and allows up to ten simultaneous streams.

FuboTV plans start at $69.99 per month and include access to streaming over 100 live TV channels with your subscription! There is also a tier where only Spanish-language channels are available for only $33 per month. Start your free trial now to test the service without paying a single cent.

With a Fubo com connect subscription; you will have access to over 100 live TV channels, including some of the most popular news and entertainment channels, as well as many sports channels. Fubo.tv/vizio-connect have the most extensive channel offerings when it comes to sports and also includes a free Cloud DVR service in case you need to record a game and watch it later.

What is fuboTV?

fuboTV offers up to 166 channels, a 1000-hour cloud DVR and a user-friendly interface that accurately reflects what you're used to when using cable or satellite TV. It's also just fun to say "fubo".

We also named fuboTV the best sports streamer in our ranking of the best live streaming services.

Is fuboTV good?

fuboTV launched in 2015 as the "Netflix for football" but has since set its sights on becoming a full-service TV streaming destination. Don't worry football fans, it still covers the world of sports ridiculously well - fuboTV hasn't given up on its original hooray!

In fact, most of fuboTV's live streaming is still made up of sports channels. So if you compare it to other streaming services that offer a more balanced mix of entertainment and sports programming, fuboTV still falls short.

But as a live TV streaming service with hundreds of live channels and a fat DVR, Fubo com connect is another enticing option for those who are ditching cable TV. It's a bit more expensive than most, but there are a lot of features that make it worth it.

How to watch Fubo TV from anywhere with VPN?

Choose a VPN with lots of American servers. We recommend NordVPN, now 68% off!

Download and install the software and complete the registration process.

Connect to a US server.

Go to the Fubo TV app or fubo.tv/connect twebsite and sign up for a free trial.

Have a drink and enjoy watching Fubo TV.

Fubo’s Channels

What can you watch on Fubo? With over 200 channels, there is something for every TV viewer to choose from, and there are additional benefits for sports fans.

Some of the channels included in the standard FuboTV package include:

Prestigious dramas like AMC and Sundance.

Reality TV specialists including Bravo, Food Network, MTV and VH1.

Sports programs such as BeIN Sports, the golf channel, the NFL network and ESPN (starting August 1!)

News channels including CBSN, MSNBC and FOX News

Spanish language channels including Telemundo

Kind’s channels like Nickelodeon, Universal Kids and Disney (starting August 1st!)

Want to know if your favorite channel is included? Check out the complete channel lineup.

Where Can I Watch Fubo?

One of the benefits of moving away from cable TV is that you can use your subscription services on more than one streaming device. By subscribing to Fubo, you will be able to watch your favorite shows and series on one of the following channels:

Your internet browser

Tablets

Floating TVs like Apple TV, Android TV, Amazon TV and Roku.

All devices with Chromecast

You can watch Fubo anywhere you have access to a browser or download the FuboTV app, including Apple and Windows computers.

Fubo connection with your favorite devices

www.fubo.tv/connect allows you to link your fubo.tv account to your TV. Fubo.tv/vizio-connect is currently available on multiple platforms including streaming devices, computer browsers, smart TVs, mobile devices, tablets and more! All Fire TVs and Fire TV Editions with built-in Fire TV running: Android OS 5.0 (Lollipop) or higher

www.fubo.tv/connect is the official unified resource locator where you can register your TV and stream certain FuboTv shows, movies and more, most notably famous movies, TV shows. fubotv Starter Standard plan offers 250 hour family DVR for $64.99/month, FuboTV basic plan for 1000 hours DVR with unlimited screens for $79.99/month, FuboTV Latino, 250 hour family DVR for $99.00 per quarter ($33.00 per month).

fuboTV broadcasts sports, sports and more sports - even ESPN channels (a recent development). This placed Fubo com connect in first place as we named it the best live sports service. FuboTV Inc. is an American streaming television service that primarily focuses on channels that broadcast live sports events including the NFL, MLB, NBA, NHL, MLS and international football, as well as news, online television series and movies.

How to Create Your FuboTV Account Free Trial

Most programming on fubo.tv is only available in the United States and within the United States. FuboTV also has services available in Canada and Spain. Following are the steps mentioned below to start a free trial account with a FuboTV account:

Go to fubo.tv/connect and set up your account.

Select any browser of your choice on your computer.

Click "Go to Your Account Trial" to create a new Fubotv account.

Enter your user ID and password.

Enter your zip code or leave it if it is automatically detected.

Click "Create Account" to register.

Choose the membership that's right for you.

Your Account will be successfully registered.

How Do I Connect My FUBO To My Samsung Smart TV?

The first step in connecting FUBO to your Samsung Smart TV is to download the SmartThings app on your smartphone. It will help you find compatible devices and connect them to the same network. Then launch the SmartThings app on your Samsung phone and click on the "Add device" button. After installing the app, you need to enter your smartphone's PIN to connect it to your Samsung TV. When the process is complete, select the "Smart View" option.

After you download the FuboTV app, you need to log into the app. You will need to enter a six-digit activation code. After logging in, you can watch live TV channels on your Samsung TV. If you use the SmartThings app on your phone, you can mirror your phone's screen on your TV. If you don't have a Samsung SmartTV, you can still connect FUBO to your Samsung TV over the Internet.

Now you need to download the FuboTV app on your Samsung Smart TV. It's free and you can download it directly to your Samsung TV's built-in storage. Once installed, you can launch it by finding it in the app store. If you are using an older version of your smart TV, you can also download the latest version from Google Play. You can then connect FUBO to your Samsung Smart TV and watch movies, TV shows and more.

How To Install Fubo TV App on All Devices

Fire stick/TV/cube

To find Fubo TV on your Amazon Fire device, follow these steps.

Press the Home button (Looks like home on the remote)

At the top, scroll left to the "Search" magnifier

Type "Fubo TV" (no spaces)

Click on the word "Fubo TV"

Scroll down to the Apps & Games section.

Select the "Fubo TV" app.

Click on the "Download" cloud icon.

Android (TV) Boxes

You can install the Fubo TV App on a supported Android box by following these steps:

Go to the home screen on your device.

Go to the Google Play Store on your device.

In the Google Play Store, search for "Fubo TV".

Click on the Fubo TV app.

In the app store, click "Install".

When the download is complete, click "Open".

When the Fubo TV app is open, log in with the email address and password you have associated with your Fubo TV account.

Now you can enjoy all the great content that Fubo com connect has to offer!

Roku

You can add Fubo TV to your Roku:

On the Roku home page, select Streaming Channels.

Select Search Channels.

Enter "Fubo TV"

Select "Fubo TV"

Download channel

Log in to Fubo TV with the email address and password you used when registering with Fubo.tv/vizio-connect.

After that, you will be able to access all the great content we have to offer.

Android Phones & Tablets

You can install the Fubo TV app on a supported Android device by following these steps:

Go to the Google Play Store on your Android device.

Search the Google Play Store for "Fubo TV".

Select the Fubo TV app and download it to your device.

After it downloads, open the app.

Log in using your username and password created during registration on Fubo com connect.

Apple TV

You can install the Fubo TV app on your Apple TV by following the steps below.

On the main screen of the TV, you will see the App store icon. Find and select it.

At the top of the screen, you will see: Favorites, Top Charts, Categories, Purchased, and Search. Go ahead and select Search.

In the text field, enter fubo.tv/connect. You will see that the application has appeared.

Select an app and select "Download. After downloading the app, enter your email address and the password you created when you created your Fubo.tv/vizio-connect account. After that, you will be able to access all our materials.

How Much Does fuboTV Cost?

A fuboTV subscription starts at $54.99 per month for the Standard plan, which is for over 100 live channels including Comedy Central, AMC, SNY, MSG, FS1, NFL Network, and MSNBC. You can stream 2 screens at the same time and get 30 hours of free space on the DVR.

The next tier option is the $59.99 family plan which gives you over 100 channels, plus you can use 3 screens at the same time and get a whopping 500 hours of DVR space. For $64.99, you can get a family plan with Showtime (which adds 9 Showtime channels on demand).

There is an Ultra package that gives you 176 channels, as well as additional fubo (adding 40 entertainment channels), Showtime (+9 channels) and Sports Plus (22 high-energy sports channels). Cloud DVR for this location is still 500 hours.

There are also a few add-ons you might want to consider, including $4.99/month for AMC Premiere, Sports Plus with NFL RedZone for $10.99/month, fubo Extra for $5.99/month (which adds networks such as MTV Classic, Nick Music, NBA TV, NHL Network, and Cooking Channel), Adventure Plus for $4.99 a month (adds Outdoor Channel, Sportsman Channel, and a few others), plus a couple of international options.

[elonluic999]

Vidgo TV : A Complete Guide of Video Streaming Service

What Is Vidgo TV?

Vidgo Tv is a great entertainment platform that has been developed to take advantage of the technological advancements in the world. The online platform offers a wide range of options for its users and it can be used by both local and international users.

 Best Vidgo TV Channels To Watch Your Favorite Shows on Live.

With vidgo, You can Enjoy the following features:

Vidgo is an upcoming Vidgo streaming Service that is in the process of being released. It will be geared towards cord cutters and those who have cable but want more flexibility and features.

Live TV Channels – Watch over 200 TV Vidgo channels in real time, including ESPN, FOX Sports, CBS Sports Network and Many More.

On –Demand TV Shows – Stream popular shows like The Walking Dead, The Flash And Arrow Without ads.

Unlimited DVR Storage- Record up to 100 hours of Live TV to watch later on your mobile device or PC.

Flexible DVR Storage Options – Choose from different storage

Options for you DVR storage needs: 500 GB for $10 per month

Or 2 TB for $25 Per month.

If You’re a Vidgo Customer , you can Account online to access your account information , view your billing history, and more. Here’s how to Vidgo login to your vidgo account.

Visit the vidgo website and click on the “Vidgo Sign In” button in the top right-hand corner of the page.

Enter Your E-mail address and Password in the fields provided.

Click on the “Sign In” Button.

If you have any problems logging in, feel free to contact vidgo customer service for assistance.

There's no shortage of great kids channels on vidgo! Here are just a few of our favorites: PBS Kids: Featuring all-time classics like Sesame Street, Clifford the Big Red Dog, and Daniel Tiger's Neighborhood, PBS Kids is a great option for preschoolers and early elementary schoolers. Disney Jr.: Disney Jr. features shows like Sofia the First, Jake and the Neverland Pirates, and Doc McStuffins. It's perfect for kids who are starting to get into longer episodes and storylines or Disney ,Disney XD are also Available on Vidgo. Nickelodeon: Nick offers classics like SpongeBob SquarePants, PAW Patrol, Dora the Explorer, and more recent hits like Shimmer and Shine and The Loud House. There's something for every type of kid here! Cartoon Network: From Adventure Time to We Bare Bears to The Powerpuff Girls, Cartoon Network has something for kids of all ages (and even some adults) And Also nick jr, nick toons, teen nick etc!

The best news channels on vidgo are CNN, MSNBC, Fox News, and ABC News. They all have their own unique take on the news, and each one has something different to offer viewers. CNN is a great all-around news channel that covers a wide variety of topics. You can always count on CNN to provide accurate and up-to-date information on the latest news stories. MSNBC is another great option for viewers who want to stay informed about current events. MSNBC offers a more liberal perspective on the news than other channels, so it's a great choice for those who want to hear all sides of the story. Fox News is the perfect choice for viewers who want a more conservative take on the news. Fox News is known for its fair and balanced reporting, so you can be sure you're getting accurate information when you tune in.

ABC News is a great option if you're looking for an all-around news channel that covers a wide range of topics. ABC News is known for its unbiased reporting, so you can trust that you're getting accurate information when you watch this channel

Some Vidgo TV Channels Names Here:

BET

Comedy Central

A & E

OWN

HGTV

Paramount

Hallmark

History channel

Lifetime

food Network

National Geographic

Cooking Channel

Animal Planet

[onestowatch]

Q&A: Nina Nesbitt Might Be The Britney Spears of our Generation

Already off to an impressive start to 2018, which includes numerous sold-out tour dates and amassing upwards of 100 million streams to date, Scottish singer-songwriter Nina Nesbitt is just getting started. Nesbitt’s vibrant voice is derived from her musical influences Britney Spears and Whitney Houston, and her rapid growth as an artist only further contributes to her confident classic pop style. Her flair for catchy pop and R&B blended with her own confessional songwriting has gathered fans such as Chloe Grace Moretz and Taylor Swift, who included ‘The Best You Had’ on her “Favorite Songs Playlist.”

Earlier this year, Nina Nesbitt partnered with Spotify for their Louder Together program to record the first ever collaborative Spotify Single Original called “Psychopath” with fellow Ones To Watch Sasha Sloan and Charlotte Lawrence. 

Fresh off her summer tour supporting Jesse McCartney, Nina released a brand new single, “Loyal To Me,” which was inspired by the “independent-women spirit of the 90s and is a self-help to dating.” She plans on releasing a full-length album in early 2019.

Ones to Watch recently chatted with Nina Nesbitt to chat about her musical journey, Spotify’s Louder Together program, post-tour plans, and more. Read more below and be sure to catch the rising songstress on her upcoming fall tour with MAX:

10/4, Neumos, Seattle, WA 10/5, Fortune Sound Club, Vancouver, BC 10/6, Hawthorne Theater, Portland, OR 10/9, Holy Diver, Sacramento, CA 10/10, Slim’s, San Francisco, CA 10/11, Voodoo Room @ House of Blues, San Diego, CA 10/12, The Observatory, Santa Ana, CA 10/13, El Rey Theatre, Los Angeles, CA 10/16, The Crescent Ballroom, Phoenix, AZ 10/17, Sunshine Theater, Albuquerque, NM 10/19, The Complex, Salt Lake City, UT 10/20, Bluebird Theater, Denver, CO 10/23, Scoot Inn, Austin, TX 10/24, Bronze Peacock @ House of Blues, Houston, TX 10/25, Cambridge Room @ House of Blues, Dallas, TX 10/26, Voodoo Lounge @ Harrah’s Kansas City, Kansas City, MO 10/27, Delmar Hall, St. Louis, MO

OTW: Let’s start from the very beginning. Why music? What made you realize music was path you wanted to pursue?

NN: It’s something I have loved doing ever since I was a kid. I was the only child--I had a lot of spare time by myself, and so my parents often times encouraged me to do something that I enjoy and that is creative. I did a lot of art, story writing, and music. Music was my favorite thing out of all the creative arts. Eventually, I put my stories into music and so I started songwriting. It’s something I never thought I could do as a career but I really enjoyed it. Suddenly, one day, I ended up doing it as a career I guess and earning a living from it, and it kind of just stuck.

OTW: How have you grown musically and personally since you’ve released your first EP “Live Take” in 2011?

NN: I’m from a little small village in Scotland, which is very far from the music industry and anything else, so the only opportunity I had was to buy an acoustic guitar and put my music out that way. There were no studios or really any other artists that I could work with. I really liked acoustic music and once I got signed, I moved to London. I feel like the move was key to my sound and style changing and just overall growing as a person. Coming from a small place to one of the biggest cities in the world is a culture shock. You have to grow up. You get to know a lot of different characters as people, and you figure out how things work a bit more. I think that’s what personally matured me. And musically, I had the chance to collaborate with so many amazing people like writers and other artists that have influenced my music. I have a studio set up as well where I produced “The Moment I’m Missing.” I wrote all of the new album there.

OTW: Which of your songs took the longest to write and why?

NN: “The Best You Had.” I had the lyrics, “It’s crazy that you’re moving on so fast but baby it’s okay if I am still the best you had,” in my notebook for a good six months. I was really pleased with that line but kept trying to get it into a song. It means a lot to me. Those lyrics have been in about five different songs that never came out. I kept persevering with it and one day, I was in the studio with my friend Jordan, who I write quite a lot with, and we played these chords, and the song literally wrote itself within twenty minutes. I’m glad I kept trying to better it because I wasn’t happy with it before. It was a nightmare to write but in the end, it was actually one of the easiest songs.

OTW: What has it been like supporting the Jesse McCartney tour?

NN: Great! So many different audiences from what I’m used to playing to. I wasn’t familiar with his music until before the tour.  All my friends absolutely love him, but I never had Nickelodeon as a kid so I never knew about him. He’s great. He knows how to work the stage. He’s so lovely.

OTW: Do you have any traditions you like to do pre-show/on tour?

NN: I try to stay healthy but in America, it’s impossible because you have so much space here. Like sometimes the drive is 10 hours some days and the only thing available is fast food, so I’m just enjoying being unhealthy. My tour ritual for this tour is to enjoy food and eat as much as I can.

OTW: Most memorable moment from your music career so far?

NN: There’s quite a lot of different memorable moments especially because I’ve been doing this for about six to seven years. I would have to say playing to ten thousand people at festivals -- that’s something I’ll never forget. “The Best You Had” got over 30 million streams, which is a really crazy number to me. It was so unexpected. I signed an independent deal with a label, a very casual record deal, just to put out songs that I like, and then suddenly I had over 30 million streams, I’m on a billboard in Times Square with Spotify, and all these things just happened so fast which I’m so grateful for. I feel like a lot of times you only get one shot as an artist and so I feel blessed.

OTW: What’s a city you’d like to someday perform in?

NN: Tokyo. I’m obsessed with Japan and I’ve never been. I’ve been to Hong Kong. I’m really obsessed with Asian culture because it’s so different from British culture. I’ve heard from other artists that go there just have the most amazing time.

OTW: We love your recent release “The Sun Will Come Up, The Seasons Will Change.” What does that song mean to you?

NN: That song was released because it was on a TV show, Life Sentence. That one is part of a collection of songs and represent a journey from start to finish. For example, “The Moments I’m Missing” is the intro track, and it’s about losing yourself and feeling lost. The middle point is “Somebody Special” because you feel like you’ve found your worth again and remember who you are. The last one is “Sun Will Come up, The Seasons Will Change,” and it sums up the whole album for me as a concept and represents the light at the end of the tunnel. I’m hoping people listen to it and take what they want from it. It’s also the message I keep with me in life. Nothing is permanent. Whatever you’re going through whether it’s really shit or really great, don’t take anything for granted. Don’t think your life will be like this forever. If you’re having a bad day, just remember things keep changing all the time.

OTW: What is the first thing you’re going to do once you return home post-tour?

NN: Give my dog a big hug. I’m also shooting a new music video the day I get back.

OTW: Wow! Can you tell us about that?

NN: Yes! I’m really excited for the video I’m shooting because I think it’s going to be something people won’t expect.

OTW: We can’t wait to see it. “Psychopath” was the first ever collaborative single from Spotify’s ‘Louder Together’ program. What was it like being a part of that with Sasha Sloan and Charlotte Lawrence?

NN: It was great! I’ve never actually collaborated with other female artists before and I think like for so long, we’ve been conditioned to think that other females are competition -- don’t work with them, don’t support them. And it’s like come on, we can all have space here to put out music. I think Spotify has done given girls a platform, especially girls in pop. They put you on so many playlists to get your streams up, which means more people come to the gigs, and it really helps. This collaboration was really cool because I’m a big fan of both of them and Sasha is an amazing song writer and Charlotte is an amazing new artist. It’s cool to get in a room with like-minded females that also do pop and understand what we do on a daily basis.

OTW: Who are some of your Ones to Watch artists?

NN: So later this summer, I will be touring with Lewis Capaldi, who I think is amazing. He’s Scottish. He’s great. I think he’s going to do really well and everyone should check him out.