#msn news entertainment

[desidov]

The Structure of a Successful Game Changer pt. 1 - Make Some Noise

An analysis of the stages comprising an entertaining and innovative Game Changer episode, explained by breaking down the episode Make Some Noise.

Stage 1: Our contestants have no idea

With prompt "cow," Josh responds "cow." Sam replies, "I'm sorry, that is not the answer I was looking for."

Often only a turn or two, this first stage is comprised of the players identifying the core mechanic of the episode—getting a basic understanding of what each question will ask of them and how they might earn points or advance further. Other examples: the first forays into navigating the Jeopardy board, or Sam’s opening instructions for “Sam Says” demonstrating an instruction not preceded by “Sam says” should not be followed.

Stage 2: You all understand

With prompt "duck," Zac responds "quack quack" and receives a point. Josh comments "Okay I see, I see what this is about, okay."

Here the players realize the structure of each question, and witness some behaviors receiving points while others do not (excluding non-point-earning episodes.) Sometimes, this is all the players need to understand the fundamental premise (mimic the sound produced by the prompt) while sometimes unraveling the mystery of the premise is the overall conceit of the episode (tell us about yourself, yes or no.)

Stage 3: Escalation of Rules

After Zac's response to "frog," Sam says "I'm gonna toss it up to the other two contestants [to steal the point.] Brennan, give me your best frog."

An expansion to the initial rules is revealed, allowing players to further advance/gain points beyond the initial bounds of the premise. Here, the escalation is that players may steal prompts from each other—others include incorporated phrase bonus points from The Official Cast Recording and the hidden immunity loop-de-loops from Survivor.

Stage π: Departure

Sam says "We are now headed into our first mini game." Each player attempts to recreate a melody on an otamatone.

This optional stage, typically presented as a “mini game,” is thematically connected to the premise but operates on its own rules. Make Some Noise iterations typically include a mini game where contestants are provided a prop and must mimic a given sound with that prop—no spoken entries qualify. Similarly, A Sponsored Episode and its continuations feature a mini game of providing commercial voice-overs for stock footage (where non-commercial interpretations are not rewarded,) and a mini game of identifying brand taglines/logos.

Stage 4: Escalation of Concept

Sam introduces the next prompt, "Your word is jack hammer." Josh makes a jack hammer sound, bouncing with a hand above his head and explaining "that's him keeping the hat on."

While Stage 3 adds on to the rules of the episode, Stage 4 applies the same rules to something new—here transitioning from animal calls to all manner of sound effects. Escalation of concept can be clearly demarcated, as this example is, or more gradual, like the escalations from common animal calls to obscure animal calls or from physical prompts to intangible prompts like “anguish.” What matters is that escalations continue to push the format to new heights and prevent the conceit from stagnating.

Stage 5: Expansion of Concept

The prompt is a stock photo of a smiling young adult white man. Brennan roleplays the man arrogantly describing his improv group, ending with "This date's going well."

Though similar to Stage 4, I characterize this stage as a dramatic alteration to the format of prompts—here from text prompts to image prompts. This can be for several turns, as it is for MSN, or just one, such as “go” from Sam Says or the cockroach union from “Do I hear $1?” This builds a finale that presses the bounds of the format to their limits, capping off the episode.

[ciera-richez]

Observation: Whenever K or R are

having success in their careers or maybe giving themselves a hiatus in making movies, a pathetic excuse for entertainment news pops up with an article that has been beaten to death. An article that Noone really gives a rat's ass about. So sick and tired of reading about R's and K's so called breakup. Over 10 years have passed and someone smelling like pack down and mothballs is still writing about that mess. MSN is smelling up "entertainment news" with that tired, worn out crappie mess.

Clearly MSN stands for Mentally Slow Nuts.

"Mentally Slow Nuts" is good. I like that. 😂😂

[rainofaugustsith]

If you're curious as to why your Jewish friends feel very unsafe with this new Boy Wizard game: 1. The original lead developer who set the premise is a known alt-right presence online. According to DailyDot JKR's agency did have some involvement with the developers. 2. From MSN: Recently, an eagle-eyed early access Hogwarts Legacy player noticed a troubling Jewish reference: the goblins in the game have a horn that looks suspiciously like a ceremonial Jewish one called a shofar. It’s used to “annoy witches and wizards” in the game.

3. From DailyDot: But the 1612 Goblin Rebellion casually referenced in the same screenshot also has a real-world correlation that some have drawn a connection to a Jewish pogrom in Germany around the same time. (The Fettmilch Uprising started in 1612, while the pogrom took place in 1614.) 4. As many have noted the goblins' abducting people to use their blood for rituals to defeat the enemies echoes the accusation of abduction and blood libel /blood magic that was leveled against real-world Jews in medieval Europe.

https://www.themarysue.com/is-hogwarts-legacy-anti-semitic-hogwarts-legacy-anti-semitic-allegations-explained/ https://www.dailydot.com/unclick/hogwarts-legacy-antisemitism-goblins-horn/ https://www.msn.com/en-us/entertainment/news/hogwarts-legacy-faces-even-more-undeniable-evidence-of-being-antisemitic-as-details-about-goblin-rebellion-match-horrifying-real-life-events/ar-AA17iP46

[blurredlineswr122]

✩Scarlett Johanson and Open AI ✩

A recent piece of AI news can be seen in Scarlett Johanson’s accusations against Open AI. She claims that Open AI had requested to use her voice for the AI program, specifically the voice for Sky in the launch of Chat GBT 4. She, in the movie Her, had voiced an AI character, seemingly the inspiration for this chanced role. She is said to have denied the request, and when asked to reconsider she never got the chance before ChaptGPT 4.0 dropped, and the voice, in her words, “...is so eerily similar to hers that her closest friends could not tell the difference.” (Guynn). 

The response, was of course, that the voice was not meant to replicate hers. They claim that the voice actor was decided before they even reached out to the actress. However, Mr. Altman, the man who had reached out to Johannson and the owner of ChatGPT, had already tweeted out ‘Her,’ in reference to the AI voice and Johanson’s role. 

After receiving letters and being asked to detail how the voice was made, the voice, ‘Sky,’ has been removed. SAG-AFTRA, an important part of the entertainment industry's protection against AI, has gotten involved, siding staunchly with Johanson and expressing concern about the blurred lines and the rights that she has to her voice.

Works Cited

Guynn, Jessica, and Bailey Schulz. “Scarlett Johansson Says OpenAI

Copied Her Voice for ChatGPT’s Sky. Sam Altman Denies It.” MSN, 21 May 2024, www.msn.com/en- us/news/technology/scarlett-johansson-says-openai-stole-her- voice-chatgpts-sky-voice-is-eerily-similar/ar-BB1mKmzC? ocid=BingNewsSerp. 

[cyarsk52-20]

the news is really like, “a Black man was yelling and a fellow citizen killed him. did he deserve to die? perhaps. what do you think?”

and this is why we yell Black lives matter cuz what the fuck are y’all even talking about right now!

This is why the msn is cotdarn trash 🗑️!

like are we fucking serious with this shit right now???????

This is murder pure and simple and that marine should be under the jail . I never felt the need to kill any homeless person out of fear... I can admit to being annoyed & entertained because some of them will work hard for some support with their many talents but to kill, no. There’s a difference between killing somebody in self defense and murder. there was a cold blooded murder that took place in broad daylight and we’re doing think pieces on if that’s okay when ITS NOT OKAY?!?

when will this dystopian nightmare end??? Jordan Neely didn't deserve to be choked to death for yelling. The man was unarmed but upset because he was hungry and frustrated with his situation. The only thing threatening about him was his skin color. #JusticeForJordanNeely #BlackLivesMatter #StopKillingUs

and I can’t even deal with the part where the police misidentified the man who shot those people in Texas and had an innocent person out here being harassed! And calling the five victims illegal immigrants!!!

They(gov and media) want us to look at each other suspiciously. It’s a distraction to keep us from looking at the main culprits, them. It’s sick. We see you and you’re going to not see heaven

[sunwarmed-ash]

Hello I return with more Gavin hc for you

I firmly believe he volunteers at the local animal shelter to help take care of the cats. The shelter staff do have to keep him away from prospective adopters cause he's still Gavin

I'm crying, I love Gavin and his cats 😻

"Ugh! Mr. Sweaty napkins no!!!" Gavin shouted, louder than he probably should have at the senior tabby cat, who on the best of days tolerates humans. But he had knocked over a glass of water for the 7th time now and this time it landed all over his phone. 

In the cat's defense, he really wasn't supposed to be on his phone. Hes supposed to be working. But the customers who come into the Cat Cafe (which is attached to the Detroit Cat Rescue) on thursdays are always dicks. Its always the same 4 assholes who come in, loiter in their restaurant, spend no more than the cost of drip coffee, and worst of all, mistreat the cats.

Howell won't even kick them out. Their cafe\adoption shelter was barely scraping by as is. Any money coming in, even from bad customers, was worth it. 

However, Gavin wasn't standing for it today. He shook water off his phone and finally looked through the kitchen window to see what Mr. Sweaty Napkins must have been trying to get his attention about. 

Charles, MSN longtime boyfriend and best friend, is up on one of the red and teal booths, his hackles raised all the way up. He's hissing and swatting at Resident Jackass Number 4 who is currently shoving a fork in the animals face for fun. 

"Hear ya loud and clear buddy," Gavin says to the orange tabby before demanding it to stay put, knowing he would do whatever he damn well pleased before heading into the small dining room to address the situation. 

"Hey, asshole! What the hell do you think you're doing?" 

Gavin's sudden and angry presence startles the man and subdues the cat, who jumps immediately onto Gavin's shoulder when he gets close enough. 

"What, we're just playing," the man scoffs, confidence back now that they had an 'audience' to entertain. 

"Bullshit. I mean, are you stupid? He was phcking hissing. He's telling you he's not cool with that shit. So knock it off."

The man's smirk only grew when their spectacles humored the other dickwads that seemed to show up too often for comfort. 

"Oh I'm sorry, I don't speak pussy."

The lewd comment doesn't bother Gavin, but it does bother the other smattering of customers. Specifically the handful with kids and Gavin growled and doubled down. 

He yanked the scrawny man up by his jean jacket, reveling in the man's sudden choked surprise. 

"Time to go asshole," he mutters quietly, pushing the squirming man up, out the front door, and out of their lives. 

*

Howell, his junior, blue haired twink of a boss was furious, of course, because the man, a 'Jeremy Turnpike' left a one star review of their cafe a half an hour later and Gavin got his ass chewed for it. 

Gavin didn't care. Even if Howell didn't have his back, he knew he made the right choice. He did the job he was hired for. He protected Charles, and all the other cats from cruel assholes.

"Well?!?" Howell demands suddenly and Gavin grimaces because he definitely checked out the second his boss started bitching him out. 

"Well what?" He asks anyway, getting another pretentious scoff from the younger man.  

"I can't believe you Gavin. I just can't believe you." 

Me? I can't believe you don't have my back! Gavin shook his head and made up his mind. 

"You don't gotta believe me anymore. I quit and I'm adopting Charles and Mr. Sweaty Napkins when I leave." 

*

So, how is Sumo with multiple cats… 1:23 PM

His phone was still struggling to load certain apps and would need a rice bath when he got home but he was at least able to text Hank and Connor, forewarning them of the two new roommates coming home with him. 

Hank texted back a

How many we talking? Knowing Gavin all too well and Connor called requesting video proof. 

The camera only loaded partially, gaining confused remarks from the other side. 

"Sorry if you can't see much. This guy, decided to knock a glass of water onto my phone. But it was to save his partner. So I guess I can't be too mad." 

The cats were currently sitting in the zipped up fur of his winter jacket, looking at the inside of his car while the old engine roared to life. 

"They sure are cute Gav," Hank says, a softness in his voice he only gets when he's talking about animals or babies. 

"How soon until you're home Gavin?" Connor asks, a child-like eagerness in his voice that accompanies the addition of animals. The first time Gavin brought a kitten home Connor and the thing were practically inseparable. 

"You'd know that better than me wouldn't you, computer boy?" Gavin teased gently. No longer holding any malice for the android. 

Whatever Connor was gonna say next was halted by an inhuman static squeaking noise that confused both the humans and the cats. When they realized it was Connor's verbal reaction to the cats falling asleep in Gavin's jacket, they all laughed collectively. 

"I'll be home soon as I can. I think you're gonna get along with these guys Con. They are a couple of old grumpy gays like Hank and I."

"Hey!" Hank rebuffed, causing another wave of laughter to fill his car, adding a bit of silver lining to his storm cloud of a day.  

The cat cafe, Howell, Mr. Sweaty Napkins and Charles are all characters from Bee and Puppy cat lazy in space. I just rewatched Gentle touch as I was thinking up this ficlet

[wherewhereare]

U.S., states sue to ‘break up’ Ticketmaster parent Live Nation© Drew Angerer/Getty Images

The landmark case — joined by 30 state and district attorneys general — could dramatically reshape an ecosystem that has long sparked outrage from artists and fans alike, whose frustrations erupted in 2022 when high fees and site outages disrupted early sales for Taylor Swift’s “Eras” tour.

Live Nation is an entertainment titan: It is a concert promoter, artist manager, venue owner and ticket seller and reseller, constituting a sprawling empire that its executives publicly herald as the “largest live entertainment company in the world.” Last year alone, Live Nation produced more than 50,000 concerts and other musical events, and it sold more than 620 million tickets globally, the company boasted to investors in April.

But the U.S. government contends that the company’s vast power and reach have also afforded it unfair advantages over competitors, allowing Live Nation to evolve into an illegal and harmful “monopolist” — with the power to box out rivals, reduce consumer choices and raise ticket prices.

“We allege that Live Nation relies on unlawful, anticompetitive conduct to exercise its monopolistic control over the live events industry in the United States at the cost of fans, artists, smaller promoters, and venue operators,” Attorney General Merrick Garland said in a statement, later adding: “It is time to break up Live Nation.”

State and federal officials allege that Live Nation threatens to retaliate against performance venues unless they agree to use the company’s Ticketmaster service. Otherwise, these venue operators risk losing access to popular performances and tours — an unfavorable ultimatum, according to the government, that has allowed Ticketmaster to lock up more than 70 percent of sales at major concert venues.

State and federal antitrust watchdogs contend these arrangements ultimately have restricted artists, arrested the growth of competing ticketing services and cost audience members, who are forced to pay high, mandatory ticketing fees. In response, they asked a federal judge in New York to order structural changes to Live Nation, which could effectively force the company to break up.

A long, arduous court battle is now likely to follow, one that will see the Justice Department argue for unwinding a merger that the agency itself approved more than a decade ago.

“It’s also clear that we are another casualty of this administration’s decision to turn over antitrust enforcement to a populist urge that simply rejects how antitrust law works,” he added.

The lawsuit marks only the latest federal antitrust case initiated under President Biden, who came to office promising to crack down on corporate power and profiteering. Over the past three years, federal watchdogs have sued major technology companies including Apple, Amazon, Facebook and Google for allegedly anticompetitive practices, and they have blocked major mergers involving airlines, biotech firms and grocery chains.

“Maybe it took people by surprise, but the president said [the government] wanted to do something on this, and they have,” said Sen. Amy Klobuchar (D-Minn.), the top lawmaker on the chamber’s antitrust panel. She added that Washington never should have allowed Live Nation to acquire Ticketmaster in the first place.

“However you look at it,” she said, “that’s a monopoly.”

Nearly 15 years ago, it was Washington’s blessing that paved the way for Live Nation to expand its corporate footprint: The Justice Department in 2010 gave the green light for the company to purchase Ticketmaster, combining what was already the largest concert promoter with the most prominent ticketing platform.

The deal created a powerhouse that could manage every part of a performance: It could plan and execute the logistics around an artist’s tour, handle all of their initial sales through Ticketmaster and stage some of the shows at Live Nation’s venues, including the Hollywood Palladium in Los Angeles and the Brooklyn Bowl in New York.

In a bid to preserve competition, the Obama administration approved the merger only on a conditional basis. It required Live Nation to divest some of its business, and it prohibited the combined company from retaliating against venues that opted to use other ticketing platforms. At the time, federal officials said their consent decree would pave the way “for strong competitors to Ticketmaster, allowing concert venues to have more and better choices for their ticketing needs.”

But the legally binding agreement didn’t quell broad opposition from concert venue owners and artists, who grumbled in the years to follow about the ease with which Live Nation allegedly flouted federal restrictions. The accusations are laid bare in the government’s roughly 120-page complaint, filed Thursday in a federal court in New York.

“With this vast scope of power comes influence. Live Nation and its wholly owned subsidiary, Ticketmaster, have used that power and influence to insert themselves at the center and the edges of virtually every aspect of the live music ecosystem," the complaint alleges. "This has given Live Nation and Ticketmaster the opportunity to freeze innovation and bend the industry to their own benefit.”

The state and federal lawsuit also charges that Live Nation gobbled up some of its rivals — and struck anti-competitive arrangements with others — in a bid to further establish Ticketmaster as a dominant sales platform. It offers the example of Oak View Group, described by the government as a “competitor-turned-partner” with which Live Nation brokered a deal to avoid competing with each other over artists and tours.

“The live music industry in America is broken because Live Nation-Ticketmaster has an illegal monopoly,” Assistant Attorney General Jonathan Kanter, who leads the antitrust office, said in a statement. “Our antitrust lawsuit seeks to break up the Live-Nation-Ticketmaster monopoly, which will restore competition to the benefit of fans and artists alike.”

In response, Live Nation said in a blog post that its integration had actually helped concertgoers and artists alike, since it resulted in “better prices and better services than they would receive if these complementary businesses were separated.”

The Justice Department launched its latest Live Nation investigation in 2022, two years after the agency under President Donald Trump found that the company had “repeatedly” broken its promises to antitrust enforcers. As a federal lawsuit became imminent this spring, competition experts urged the Biden administration to remedy its predecessors’ mistakes by unwinding a company that they said had leveraged its dominance to the detriment of rivals.

“It’s clear what the DOJ has tried previously … has not worked,” said Sumit Sharma, a senior researcher at Consumer Reports. “Live Nation-Ticketmaster’s market share has remained the same.”

The first word of the federal probe arrived on the heels of another fiasco — a surge of demand for Taylor Swift presale tickets in 2022 that crashed Ticketmaster and left countless fans unable to buy seats for her 2023 tour. The widely documented incident put a fresh spotlight on the company, its dominance in ticketing and the fees that it charges consumers.

Policymakers around the country soon unleashed a battery of legislative proposals meant to crack down on abuse in ticketing and better highlight the fees that customers face before they reach the checkout page. On Capitol Hill, Klobuchar summoned Joe Berchtold, the president of Live Nation, for a lengthy grilling over his company’s business practices.

“We hear people say that ticketing markets are less competitive today than they were at the time of the Live Nation-Ticketmaster merger,” Berchtold said in his testimony. “That is simply not true.”

But the company’s critics and competitors swiped at Live Nation for issuing ultimatums to concert halls and sports venues that could not afford to lose the company’s business. Jack Groetzinger, the chief executive of SeatGeek, a competing platform, said the fears of retaliation had allowed Live Nation to grow unchecked: He estimated that Ticketmaster came to amass a market share exceeding 70 percent in primary ticket sales, especially for professional basketball, hockey and football games.

“Major venues in the United States know that if they move their primary ticketing business from Ticketmaster to a competitor, they risk losing the substantial revenue they earn from Live Nation concerts,” Groetzinger said.

The heightened scrutiny promoted Live Nation to scale up its political operation dramatically in recent years: The company spent $2.3 million to influence Washington policymakers in 2023, more than double the year prior, according to OpenSecrets, a money-in-politics watchdog.

Live Nation has continued its spending spree into 2024, helping to host a party around the annual White House correspondents’ dinner — a swanky performance that touted the company’s bona fides on cocktail napkins.

“We’ve seen an uptick in their lobbying spending,” acknowledged Morgan Harper, the director of policy and advocacy at the American Economic Liberties Project, a left-leaning group that has advocated for Live Nation to be broken up. “It’s not surprising an entity like Live Nation, whose business model has allowed them to engage in anti-competitive conduct, would be bringing to bear all the resources it has.”

[purplesurveys]

1755

Millennial survey In which a Gen Z-er takes over a survey meant for millennials 😜

What year were you born in? 1998.

Do you remember a time before smartphones and social media? Yeah, of course. I'd talk to friends mostly through landline or text; memorizing the program schedules per channel was the norm because streaming and on-demand stuff were pretty much nonexistent then; and playing outside was the best way to have fun with friends. There was also still the element of surprise when watching...well, pretty much anything, because there was no concept of spoilers unless you had access to the (early days of the) internet, which had been damn near impossible to use anyway because of how expensive it used to be.

I remember when Friendster, Multiply, YouTube, and Facebook all started getting popular and it being very exciting because the concept of social media didn't exist til then and it was like discovering a new world that I thought I'd never get tired of, lol.

Were you part of the generation that experienced the transition from dial-up internet to broadband? Yes. We had dial-up up til the early 2000s and didn't get a taste of broadband until around 2008 - 15 years ago. That noisy dial-up sound is permanently etched in my brain.

Did you grow up watching Saturday morning cartoons? I absolutely did. For some reason they kept the actual entertaining shows in the early morning, so that's how I learned to want to wake up early even on the weekends to catch them. I hated the Nick Jr block they had on in the morning and always skipped over it unless Hi-5, my only favorite, was airing.

Do you have any memories of using floppy disks or cassette tapes? Not floppy disks, but I am very familiar with cassettes since our first family car had a cassette player. My first Beyoncé album is a cassette and I wasn't able to get the CD version til, like, well into the 2010s because it was the first time I saw the CD in the wild haha.

How did you communicate with your friends before the advent of text messaging? Landline.

Were you a fan of any particular boy band or girl group during your teenage years? Ok this is 100% where my Gen Z card would show because my answer to this would be One Direction hahaha.

Did you ever own a portable CD player or a Walkman? I had a CD player and my own radio.

What was your favorite video game console when you were growing up? PlayStation 1 and 2. I had always wanted to try playing on the GameCube but we never had one.

Did you ever use AOL Instant Messenger (AIM) or MSN Messenger to chat with friends? Not those, but I did have Yahoo! Messenger for a time.

Were you aware of the Y2K bug and the associated concerns leading up to the year 2000? No, I had been too young for that whole thing.

Did you ever rent movies from a physical video rental store like Blockbuster or Hollywood Video? I didn't.

Were you into MySpace or LiveJournal during the early days of social networking? I made a Myspace because I had heard of its popularity, but quickly realized that it was only popular in the west because what was big here instead were Friendster and Multiply. LiveJournal yes, I did do a few attempts to start blogs and stuff but I always ended up abandoning them after 1 or 2 posts.

What was your first experience with online shopping? I only started online shopping in like 2017 - the Philippines caught on pretty late. Before that I would either have to go to an actual store to get something, or ask my dad to buy something for me whenever he was in the US.

Did you ever participate in a flash mob or witness one in person? I've done neither.

How did you discover new music before the rise of streaming platforms like Spotify? It was mostly through either recommendations of my favorite celebrities or word of mouth in school.

Were you a fan of the "Harry Potter" book series or the "Twilight" saga? I was never into Harry Potter but I was obsessed with Twilight (still am, lol). I caught on to the hype in 2008 when the first movie came out – quickly breezed through all the books and got to watch New Moon up to Breaking Dawn Part 2 in the cinema.

Did you ever have a MySpace profile and customize it with HTML and CSS? I didn't do HTML on Myspace but I definitely did on Tumblr. This is where I learned all my website customization knowledge tbh.

What was your favorite TV show or cartoon during your childhood? In early childhood, my favorite was without a doubt Hi-5. I was hooked and I remember feeling so distraught when I graduated preschool and realized I was never gonna get to watch Hi-5 again once I'd start grade school and have full-day classes.

Growing up more I started to gravitate towards shows like Drake and Josh, The Suite Life, and That's So Raven. Apart from those, Spongebob also remains a favorite no matter what age I get.

How did you feel about the transition from traditional television to streaming services? It was hard to grasp at first. I remember in 2020 when my dad was asking us if we can get rid of cable and I felt genuinely scandalized lol like why would we ever get rid of cable when it's been part of our everyday lives since even before I was born??? Anyway, my siblings and I eventually gave in when we too realized that we never even went through the cable channels anymore.

Streaming services are definitely the 'new' way of consumption now and my family has fully eased into it - we're subscribed to Netflix, Disney+, and Prime Video. I don't have too many strong feelings about this topic, but if anything it does feel extremely bittersweet whenever we'd hear a channel permanently sign off for good – recently it had been NatGeo.

[ms-cellanies]

A miraculous life-saving event.

@russalex, @angreav, @iamthebadwolf85,  @catedevalois, @maneth985,   @ogtumble, @amatasera, @cricketcat9, @booksandcatslover, @fuckdumblr,  @ladyoftheteaandblood, @sirrah22, @stripedsilverfeline, @larouau12, @ughseriously, @usearki, @ladytuarach, @glendathegoodone, @lost-carcosa, @aregrettablehullabaloo, @micaleann, @toasty-hancock, @hellcatblues,  @middleagedandoutoftouch, @sabbykatt3, @cursethedarkness, @gretchenk0720,  @aliceliddellsmirror, @inkededucatednnerdy, @pedeka, @photoboybg69,  @contemplatingoutlander, @nildespirandum, @izhunny, @ladytigrane,  @catchester, @wolfsmom1, @phoenix-maat, @writernotwaiting,  @glitterypeanutmugnickel,  @captain-krazy, @bitchycatwizard, @paulfe,  @mishlady, @dorcascristyforever, @beerboy100, @ultimatenutshackfangirl,  @lokilickedme, @bakufuhakutaku,  @a-sundry-bag, @prettyhatemachine01, @texmexdarling, @oshea52,  @posttexasstressdisorder,  @evieplease, @queen-of-cats,   

[saintmeghanmarkle]

Breaking News: Harkle Christmas Card Shows Kids? by u/KelenHeller_1

Breaking News: Harkle Christmas Card Shows Kids? I just saw on MSN feed that the Harkles are threatening to release a Christmas card claiming new photos of the kids. I didn't click on the puff piece so I'm not sure what it says but sounds like they're getting right down to the nitty gritty of having nothing left to attract public attention. post link: https://ift.tt/TrxuYQd author: KelenHeller_1 submitted: December 16, 2024 at 09:07PM via SaintMeghanMarkle on Reddit disclaimer: all views + opinions expressed by the author of this post, as well as any comments and reblogs, are solely the author's own; they do not necessarily reflect the views of the administrator of this Tumblr blog. For entertainment only.

[darlenefblog]

From MSN. a story with very little detail on the new Suits TV show. It'll be on NBC, a step up from the original show on USA - a cable network no one watches.

"‘Suits L.A.’: Cast, Release Date, Plot, and Everything You Need to Know about the Legal Drama’s Reboot

Story by Anushka Bhattacharya

Updates on Aaron Korsh’s Suits L.A. have been pouring in like droplets filling the bucket after his original series became the most-watched show on Netflix. While intrigue built around the show’s future, Korsh and NBCUniversal joined forces in 2023 itself to declare this new reboot. NBC revealed a short teaser for the spin-off, scheduled to premiere next year on February 23 at 9 PM EST. Filming for Suits L.A. began in November this year.

Steering the ship of the series is Stephen Amell as Ted Black, with a star-studded crew featuring Josh McDermitt as Stuart Lane, Lex Scott Davis playing Erica Rollins, and Bryan Greenberg suiting up as Rick Dodsen. Troy Winbush plays Kevin, Alice Lee is Leah, Rachelle Goulding portrays Samantha, and Kevin Weisman becomes Lester Thompson. Victoria Justice will step in as Dylan Pryor, the late John Amos will make a meta arrival as himself, and Gabriel Macht will become Harvey Specter.

Aaron Korsh’s Suits spin-off is set to share the same universe as its predecessor, but it is far from a mere rerun. Suits L.A. will unfold at a high-powered entertainment film in Los Angeles, following former prosecutor Ted Black as he grapples with a professional crisis while defending the elites of the city’s entertainment industry. Enter Erica Rollins, a driven Black woman with dreams of heading the firm’s entertainment division.

Though she might follow a path similar to that of Suits characters, the exact direction of the plot remains a mystery. NBC revealed the first teaser, which is a whirlwind of flashy LA footage with slick character shots that offer nothing beyond a tantalizing sneak peek. However, there is hope that more will be revealed in time when the network releases a full trailer in the future."

[hc-geralt-23]

Here are Red Dead Redemption's PC requirements https://www.msn.com/en-gb/entertainment/news/here-are-red-dead-redemption-s-pc-requirements/ar-AA1rX9sX

[translationandbetrayals]

ANIME IN CHILEAN MILLENIALS’ CHILDHOOD

In the early 2000s, when technology wasn’t as advanced or affordable for the average Chilean, television, especially national channels, was the primary source of entertainment. Since satellite TV was not widely accessible, most millennial children grew up watching the shows that national channels aired, which were primarily anime.

Chilevisión took a risk in 1994 by creating a children’s TV space dedicated to anime called “El Club de los Tigritos”. This space featured shows like “Ranma ½”, “Saint Seiya”, “Digimon”, “Doraemon” and “Slamdunk”. The success of “El Club de los Tigritos” led to its continuation until 2004. In that year the show was reinvented as a new kids’ TV space called “Invasión” hosted by Matías Vega and Isabel Fernandez. “Invasión” aired from 2005 to 2008.

One key difference between “El Club de los Tigritos” and “Invasión” was its focus on youth and Japanese culture. “Invasión” included sections like “MSN in love”, “Cortes Invasión”, “Descárgate” and invited artists like KOKESHI to perform anime openings. The success of these children’s TV spaces inspired other national channels to try similar formats, such as “ZooloTV” created by MEGA but they didn’t achieve the same success as CHV.

Thanks to “El Club de los Tigritos” and “Invasion”, many millennial children grew up with anime. As a result, collective millennial culture has a strong foundation of anime classics like “Dragon Ball” and “Pokemon”. Anime shows transcended the screen and became a part of school recess activities, through snacks’ “tazos”, Pokemon’s and Yugi-Oh’s cards and Beyblade battleships. So, as a millennial kid I can say anime has a special place in my heart and many others’.

By Josefina Zúñiga

[habourseo]

MSN Magazines: A Digital Evolution in Lifestyle and Information

In the fast-paced world of digital media, MSN Magazines have emerged as a notable player, offering a diverse range of content that caters to various interests and demographics. Originally part of Microsoft's MSN portal, these magazines have evolved significantly, blending traditional magazine elements with the dynamic nature of online publishing.

A Brief History

MSN Magazines began as an extension of the MSN brand, which launched in 1995 as an internet service provider. Over the years, MSN has diversified its offerings, including news, entertainment, and lifestyle content. With the rise of digital media consumption, MSN recognized the need to adapt and innovate, leading to the creation of a variety of magazines focused on specific niches.

Content Variety

One of the standout features of MSN Magazines is their wide-ranging topics. From health and wellness to travel, technology, and home improvement, there is something for everyone. Each magazine aims to provide insightful articles, engaging visuals, and practical tips that readers can easily implement in their daily lives.

Health & Wellness: These sections delve into fitness tips, nutrition advice, and mental health strategies, often featuring expert opinions and user-friendly guides.

Travel: With stunning photography and in-depth travel guides, MSN Magazines inspire wanderlust and offer practical advice for the modern traveler.

Technology: As technology rapidly evolves, MSN Magazines provide readers with the latest trends, product reviews, and how-tos, making tech accessible to everyone.

Home & Garden: These features focus on home improvement, DIY projects, and gardening tips, catering to both novice and seasoned enthusiasts.

User Experience

MSN Magazines are designed with user experience in mind. The website interface is intuitive, allowing readers to navigate easily through various categories. Content is optimized for mobile devices, ensuring that users can enjoy their favorite articles on the go. Interactive features, such as quizzes and polls, engage readers further, creating a community feel.

Collaboration and Contributors

Another noteworthy aspect of MSN Magazines is their collaboration with various contributors, including industry experts, influencers, and everyday enthusiasts. This approach enriches the content, offering multiple perspectives and expert insights. By featuring diverse voices, MSN Magazines create a more inclusive platform for readers.

SEO and Digital Marketing Strategy

In today's digital landscape, effective SEO and marketing strategies are crucial for success. MSN Magazines employ targeted keywords, engaging headlines, and shareable content to enhance visibility. Social media integration allows for wider reach and engagement, inviting readers to share articles and participate in discussions.

Conclusion

As the digital landscape continues to evolve, MSN Magazines stand as a testament to the power of adaptation in media. By offering rich, diverse content and prioritizing user experience, they cater to the needs of modern readers. Whether you’re looking for the latest health tips, travel inspiration, or tech news, MSN Magazines provide a valuable resource for navigating today’s world.

[tmarshconnors]

When Being Online Was Pure Magic!

There was a time when logging onto the internet was an adventure, a digital frontier brimming with excitement and wonder. I remember those days vividly. The mere act of coming online felt like opening a treasure chest full of endless possibilities. Every click, every page load, and every notification held the promise of something new and exhilarating.

YouTube was once a gateway to a world of fascinating content. I used to spend hours watching videos, diving down rabbit holes of creativity, humour, and knowledge. It was a revolutionary platform where anyone could become a creator, and everyone had a chance to discover something unique and entertaining. The novelty of user-generated content was mesmerising.

But as time passed, that magic seemed to fade. YouTube became just another app on my phone, another website in my bookmarks. The excitement of finding a new, must-watch video was replaced by a sense of routine. The platform that once felt like a playground now feels like a familiar, sometimes monotonous, part of daily life.

Remember MSN Messenger? It was the hub of my teenage social life, where every "ding" of a new message brought a rush of anticipation. The art of crafting the perfect status message or selecting the right display picture was a serious endeavour. And then there was MySpace, the social network that let you  customise your profile with your favourite music, quirky backgrounds, and top friends list. It was a place where individuality thrived. 

Those platforms weren't just tools; they were experiences. They were a digital canvas where we could express ourselves, connect with friends, and explore the burgeoning online world. There's a pang of nostalgia when I think back to those simpler times. The digital landscape has changed so much since then, and sometimes it feels like we've lost something along the way.

Maybe it’s not the internet that’s changed; maybe it’s me. Growing up often means losing some of the wonder and excitement we once had for things. The thrill of discovery is replaced by familiarity, and the extraordinary becomes ordinary. I know I have normalised the incredible technology at my fingertips, taking for granted what would have once blown my mind.

The internet has become an integral part of our lives, but in doing so, it has also become mundane. Social media feeds are filled with the same recycled content, streaming services offer endless choices yet nothing truly captivates, Yes I am looking at you Amazon Prime and Netflix and even the novelty of new gadgets wears off quickly. The sense of wonder that used to accompany being online has faded, replaced by a habitual scrolling and clicking.

Oh I don’t know. I guess that’s why I started blogging in the first place somewhere to put all my collective thoughts, regardless what they may be. 

Never mind, I am off to bed it’s 2.45am here in the United Kingdom. 

Until next time! 

[msclaritea]

Netflix Debuts a Bloated, Baffling Post-Strike SAG Awards Telecast

The 2024 SAG Awards allegedly only ran ten minutes over its two-hour time slot on Saturday, but it felt a whole lot longer.

Unlike most awards shows, the SAG Awards and other guild ceremonies award winners only in their respective discipline, but that didn't make the telecast more efficient or memorable in any way. While the room full of nominees and winners were endlessly thankful to their union and outside solidarity during the strikes, the telecast failed to sufficiently honor the talent on display in a worthy manner - that too on the show's 30th anniversary.

And it was no ordinary SAG Awards year for another obvious reason; the telecast aired live on Netflix for the first time ever (including pre-show hosted by Tan France and Elaine Welteroth). Netflix is one of the only streamers that doesn't dabble in live TV, so teaming up with the SAG Awards was both surprising and smart. The world's most ubiquitous streaming platform could prove that it does traditional TV as well, and that it could be a home for other awards shows looking to reach new audiences worldwide.

It also meant no commercial breaks, as Idris Elba pointed out at the top of show (he commended anyone smart enough to bring a flask, which led to a brilliant cutaway of Rhea Perlman offering hers to Lisa Ann Walter) - at least not in the traditional sense. Instead, France returned in between awards to interview previous winners backstage, starting with Jeremy Allen White after his win for "The Bear." Despite being an inventive alternative to traditional commercial breaks, this creative decision killed the telecast's momentum early in the night and it never recovered.

The decision to include post-win interview might stem from how such clips tend to perform on social media during or after other awards shows, but making viewers sit through the entirety of every interview is not the way. It places extra pressure on both interviewer and winner to perform - to deliver a winning interview that's not being watched by its usual discerning audience, and further still to manufacture viral moments in the haze of earning an award (a height achieved only by Pedro Pascal's drunk interview, where flirted with France, declared his plans to make out with Kieran Culkin, and was finally interrupted by a hug from Steven Yeun, who came to return Pascal's envelope from the stage). If nothing else, it was constant whiplash for viewers to essentially jump back several categories for an interview with a winner who already accepted their award.

It also didn't happen for everyone! Netflix aired France's interviews with White, Ayo Edibiri, Pascal, and Da'Vine Joy Randolph, and then a baffling interview with Walter - a fantastic actor and part of the exceptional "Abbott Elementary" ensemble, but neither actor nor show won during the show. It turned out to be part of an extended bit where Walter revealed that there was a camera following her all night, recording every conversation - a bit that yielded close to zero entertainment, despite Walter's best efforts.

This was unfortunately a pattern throughout the telecast. SAG took a leaf from the 50th Emmys in January, by uniting iconic casts on stage, including the winning TV ensembles of "Modern Family" and "Breaking Bad" and mini-reunions for "The Lord of the Rings" and "The Devil Wears Prada" (an easy high in the night that took place less than ten minutes into the show). Elsewhere, paired presenters plowed through stilted, scripted banter, all of which could have been trimmed down or sped up in the best interest of everyone watching. White noted "Wow, they give you a lot of time at this one," during his acceptance speech before gracefully exiting the stage. Heck, even Barbra Streisand's heartfelt and well-deserved tribute dragged - and clocked in at close to 20 minutes.

But as awards seasons ramps for its final act, the SAGs are the final tee-up for the Oscars, and Saturday's winners certainly pointed the way of major predictions. The supporting actors awards went to Robert Downey Jr. ("Oppenheimer) and Da'Vine Joy Randolph ("The Holdovers") and the lead actor awards to Cillian Murphy ("Oppenheimer") and Lily Gladstone ("Killers of the Flower Moon"). The award for Outstanding Cast in a Motion Picture went to "Oppenheimer," proving that all eyes will be on Christopher Nolan's blockbusting drama come March 10.

The 2024 Screen Actors’ Guild Awards were hostless – and pointless, too

Lack of presenters aside, the big novelty was that the SAG Awards were airing live on Netflix. The streamer has been dipping its digital digits into live broadcasts for several years: 12 months ago it broke new ground with a live Chris Rock comedy special (in which he flubbed his big joke about Will Smith slapping him at the Oscars).

With live broadcasts, of course, comes the headache of time-zones. In the UK, the SAG Awards kicked off at midnight – with the first 60 minutes consisting of yawn-inducing red carpet interviews by Tan France before the ceremony finally began.

Pedro Pascal accepts the Outstanding Performance by a Male Actor in a Drama Series - Matt Winkelmeyer© Provided by The Telegraph

The SAG Awards are organised by the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) and are thus a fountain of luvvydom. The 2024 event began with a trio of actors – Michael Cera, Colman Domingo and the ubiquitous Hannah Waddingham – walking through the crowd, explaining how and why they joined the profession.

They were followed by Idris Elba, the closest the night came to an actual host (he was back later with further jokes). He delivered a few playful quips and then got on to the meaty business of commending his colleagues for holding firm in their industrial dispute with the big Hollywood studios (and the streamers – including Netflix).

Winning a SAG Award clearly means a lot to the actors. Pedro Pascal revealed he was both drunk and astonished when collecting the accolade for Best Male Actor in a Drama Series for The Last Of Us – and was still agog in an awkward backstage interview/ambush by Tan France. Pascal’s joy was infectious – as was his tipsiness. Alas, it wasn’t enough to paper over the cracks in a ceremony lacking the gonzo absurdity of the Golden Globes or the blockbuster heft of the Oscars.

One SAG Award speciality is hosting on-stage reunions by the cast of beloved shows and movies. True to that tradition, the 2024 edition welcomed the stars of Modern Family and Breaking Bad – during the latter Jonathan Banks dropped one of several F-bombs sprinkled throughout the evening. “It’s an award show, for God’s sake, they can’t fire us. F--- ‘em,” he declared. Elsewhere, Barbra Streisand accepted a lifetime achievement award with charm and dignity – revealing a teenage crush on Marlon Brando was her portal into acting.

In the main, though, the event was an Oppenheimer victory lap. Robert Downey Jr collected his Best Supporting Actor statuette with a quirky speech in which he thanked everyone he has ever worked with (including the cancelled Mel Gibson). The Oppenheimer cast subsequently won an ensemble award. It was an opportunity for Kenneth Branagh – apparently he was in Oppenheimer – to debut his alarming new beard and again reference the actors’ strike. He seemed excited. The rest of us will wonder when the awards season phoney wars will finally end and we can proceed to the serious business of the actual Oscars. At the end of a long night, the real prize at the SAG Awards should surely go to viewers who stayed up for this snoozy extravaganza.