#review campaign advertisment

[niconebula]

I was going to see it regardless for the fun experience but, you’re telling me this movie could be genuinely good?

[leadoku]

Achieve More with LinkedIn B2B Lead Generation Automation

[hridoykarmakarr]

I am a digital marketing expert, working on growing your business worldwide.(more)

[pure-welness-max]

Unleashing Marketing Mastery - A Comprehensive Review of FunnelCockpit

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[trans-axolotl]

"Much ink has already been spilled on Harris’s prosecutorial background. What is significant about the topic of sex work is how recently the vice president–elect’s actions contradicted her alleged views. During her tenure as AG, she led a campaign to shut down Backpage, a classified advertising website frequently used by sex workers, calling it “the world’s top online brothel” in 2016 and claiming that the site made “millions of dollars from trafficking.” While Backpage did make millions off of sex work ads, its “adult services” listings offered a safer and more transparent platform for sex workers and their clients to conduct consensual transactions than had historically been available. Harris’s grandiose mischaracterization led to a Senate investigation, and the shuttering of the site by the FBI in 2018.

“Backpage being gone has devastated our community,” said Andrews. The platform allowed sex workers to work more safely: They were able to vet clients and promote their services online. “It’s very heartbreaking to see the fallout,” said dominatrix Yevgeniya Ivanyutenko. “A lot of people lost their ability to safely make a living. A lot of people were forced to go on the street or do other things that they wouldn’t have otherwise considered.” M.F. Akynos, the founder and executive director of the Black Sex Worker Collective, thinks Harris should “apologize to the community. She needs to admit that she really fucked up with Backpage, and really ruined a lot of people’s lives.”

After Harris became a senator, she cosponsored the now-infamous Stop Enabling Sex Traffickers Act (SESTA), which—along with the House’s Allow States and Victims to Fight Online Sex Trafficking Act (FOSTA)—was signed into law by President Trump in 2018. FOSTA-SESTA created a loophole in Section 230 of the Communications Decency Act, the so-called “safe harbor” provision that allows websites to be free from liability for user-generated content (e.g., Amazon reviews, Craigslist ads). The Electronic Frontier Foundation argues that Section 230 is the backbone of the Internet, calling it “the most important law protecting internet free speech.” Now, website publishers are liable if third parties post sex-work ads on their platforms.

That spelled the end of any number of platforms—mostly famously Craigslist’s “personal encounters” section—that sex workers used to vet prospective clients, leaving an already vulnerable workforce even more exposed. (The Woodhull Freedom Foundation has filed a lawsuit challenging FOSTA on First Amendment grounds; in January 2020, it won an appeal in D.C.’s district court).

“I sent a bunch of stats [to Harris and Senator Diane Feinstein] about decriminalization and how much SESTA-FOSTA would hurt American sex workers and open them up to violence,” said Cara (a pseudonym), who was working as a sex worker in the San Francisco and a member of SWOP when the bill passed. Both senators ignored her.

The bill both demonstrably harmed sex workers and failed to drop sex trafficking. “Within one month of FOSTA’s enactment, 13 sex workers were reported missing, and two were dead from suicide,” wrote Lura Chamberlain in her Fordham Law Review article “FOSTA: A Hostile Law with a Human Cost.” “Sex workers operating independently faced a tremendous and immediate uptick in unwanted solicitation from individuals offering or demanding to traffic them. Numerous others were raped, assaulted, and rendered homeless or unable to feed their children.” A 2020 survey of the effects of FOSTA-SESTA found that “99% of online respondents reported that this law does not make them feel safer” and 80.61 percent “say they are now facing difficulties advertising their services.” "

-What Sex Workers Want Kamala Harris to Know by Hallie Liberman

[askmrtorgue]

HEY! YOU THERE! WANT TO PLAY A TABLETOP ADVENTURE WITH A PROFESSIONAL STORYTELLER?

I'M MISTER TORGUE, AND THE NERD WHO HELPS ME LOG INTO THIS ACCOUNT ASKED ME TO DO AN AD FOR HIS SERVICES. I TOLD HIM I WOULD, BUT ONLY IF I GOT TO WRITE IT MYSELF. SO STRAP IN, DUMPSUCKS. IT'S PRODUCT PLACEMENT TIME:

--

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DO YOU WANT WANT TO LEARN TABLETOP RPGS BUT EVERYONE WHO TRIES TO EXPLAIN IT USES THINGS LIKE MATH AND SPREADSHEETS AND YOU CAN'T STOP THEM BECAUSE FATAL SUPLEXES ARE ILLEGAL ON YOUR PLANET?

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NOT ONLY DOES BEN OWN A PAIR OF CAT-EAR HEADPHONES, HE EXCELS AT RIPPING YOUR HEART STRAIGHT OUT OF ITS RIBCAGE USING NOTHING BUT COMPELLING, ROMANCEABLE CHARACTERS AND BADASS EPIC ADVENTURES. IN FACT, EVEN HIS VILLAINS ARE SEXY AS F*CK. JUST CHECK OUT THIS VAMPIRE FROM ONE OF HIS CAMPAIGNS:

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HE EVEN HOSTS SEMINARS THAT TEACH YOU TO BE A BETTER ROLEPLAYER OR GAME MASTER!!

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THERE'S A LOT MORE TO SAY, BUT THE NERD WRITING THIS SCRIPT STARTED TALKING ABOUT CHARACTER SHEETS AND SOMETHING CALLED NARRATIVE AGENCY, SO I HAD TO BEAT HIM WITH A FOLDING CHAIR UNTIL HE STOPPED. YOU CAN HELP PAY FOR THE BODYCAST I PUT HIM IN BY SIGNING UP TODAY!

END OF ADVERTISEMENT.

[mareastrorum]

These are just initial thoughts, and perhaps I’ll learn something that changes my mind on it, but I’m glad to see Critical Role making the leap to their own subscription service with Beacon.

As a lead in: I’m an attorney that has some background in IP law, though it isn’t what I practice currently. I’ve kept in contact with several active practitioners, particularly those that represent small-time creators either in their own independent practice or via nonprofits. I do not have an extensive Rolodex of IP peers, nor do I spend the money to keep up on IP CLEs. I’m just someone who used to know a ton because I did heavy research and work in that space, and that hasn’t been the case for years.

So here’s my thoughts a bit on the IP angle:

The primary reason I’m happy to see this leap is that CR is taking active steps to keep control over its IP. It’s a boring thing to most people, but when I start paying attention to a specific creator (authors, directors, companies, etc.), I tend to be very attentive to how they use their IP. How freely do they license their marks to partner with other creators to make merch? How often do they allow others to make adaptations or derivatives of their copyrights? What is the quality of those products? What is the supply chain like? Are those third parties objectionable in some way? Were the other parties faithful to the original works or marks? Was this a cash grab or an earnest effort to make something worth the price tag?

Honestly, I like how CR run their business. They have a history of tapping fans and fellow small businesses when making new merch or spinoffs. They embrace the culture of fan-made derivative works, both by featuring fanart/cosplay and by sharing their success. Do you know how rare it is for a company to pay fan artists for their already-made and freely posted work and then sell books of it? Let me be clear: CR bought a limited license from each artist so they could print and sell each work in a physical book, then paid the cost of publishing that book with no guarantee that CR would make that money back, let alone profit. I have a copy of the collector’s edition art books: they’re actually very well made and the packaging definitely cost a pretty penny. That’s not a rainmaker idea, that’s genuinely risking financial loss to sell something people could access for free if they wanted to.

The art books aren’t a one-off either. Darrington Press is CR’s separate LLC for tabletop games. (It’s good business practice to split off companies that handle products in different industries.) CR has also made shows based on those games, and the Candela Obscura series has quite a dedicated audience. Everything about Candela belongs to them: the game itself, the rule book, all the art in the book, the web series based on the game, and merch. It’s so successful that they invested in scheduling a live show for Candela later this month. That’s HUGE.

Contrast that with the distribution of Campaign 1 and the first 19 episodes of Campaign 2. CR cannot host those videos themselves; Geek & Sundry still exists and still holds what I presume to be distribution rights (but I don’t have the contract to review). So G&S gets to host those videos on YouTube and reaps the advertising. I can’t speak to whatever share CR gets from that, but considering that CR is locked out of hosting their own copies of those videos, I doubt it’s much, if any, revenue. (If you’re wondering why CR just didn’t buy those rights back, I ask: what incentive does G&S have to sell something that’s making them money for no cost?)

Knowing that background about G&S, I was wary of CR choosing Amazon to host and distribute The Legend of Vox Machina. Originally, TLOVM was not the plan; CR had a kickstarter for an animated special based on C1. It was only because they blew past the goal that CR was able to make an entire season. The reasonable assumption is that choosing Amazon had to have secured CR additional funding for future seasons of the show, which seems evident from how quickly season 2 was announced, Mighty Nein Animated is also going to be a thing, and that season 3 of TLVOM is scheduled for fall 2024. CR had the option of just doing 1 season and keeping it purely in their control, but going with Amazon meant they could animate more of their works. Animation is expensive. I cannot stress enough how doubtful I am that CR would have been able to afford this many episodes and both campaigns if they had not gone this route. As wary as I was in the start, it paid off, and it’s going well—so far. Hopefully CR doesn’t regret that decision if Amazon tries something sleazy. But, as before, we don’t have the contracts and can’t know how secure CR’s position is if any dispute came up.

CR also partnered with Dark Horse Comics to make Vox Machina comics and Might Nein Origins comics. What’s especially surprising is that each of the cast had a hand in writing the MNO comics for their characters, with Matt listed for multiple. That isn’t very common with comic adaptations. Often times, IP owners let comic companies go ham with minimal oversight. Being listed as one of the authors comes with IP rights that have to be negotiated. That means that Dark Horse had to talk with CR about whether that warrants more or less revenue going to which party in exchange for that—or, alternatively, whether the comic gets made at all. That’s a ballsy move. You think people can just demand to write the comics that a publishing company is going to pay to print? Pffft. CR wanted some creative control, and that is a big ask. However, Dark Horse still has the distribution rights, both digitally and for physical copies. You couldn’t buy the comics from CR until they came out with the library edition, a book bound compilation of 4/8 comics. But the publisher is still Dark Horse; CR is just allowed to sell the book directly from their own site as well.

Contrast that with the novels about CR characters. CR partnered with Penguin Random House to publish novels about Vex and Vax (Kith & Kin), Lucien (The Nine Eyes of Lucien), and Laudna (What Doesn’t Break). Liam and Laura were vocal about having some say in K&K, whereas Madeline Roux said in an interview that she had full control over TNEOL. Both of those novels were narrated with CR voices, but narrating a book doesn’t come with IP rights, it just brings in a paycheck. There’s a lot less IP control in there compared to the comics, but this isn’t abnormal for book publishing. To be blunt, I doubt PRH would have agreed to publish the novels if anyone from CR had been a co-author or had heavy oversight over the author or the editing. I don’t think PRH even considered that as an option. Either an author that has already managed to sell X number of copies or nothing. Creative control over a book a huge ask, asks come with reduced revenue, and switching to books from a web series is already a leap. The fact that Laura and Liam had any say is surprising, really.

That was a long meandering tour of what we’ve seen CR do with its IP. The reason I bring up each of these things is that navigating the way to protect an IP in this space is rife with challenges. Different types of IP warrant different strategies because of the cost involved in creating each medium and the challenges placed by industries that have already sprung up around them. Any time that a third party is tapped to create an IP, it’s usually because they already have the funds and resources to create the work, and CR has to negotiate for revenue, creative control, distribution, and—the big one—who gets to be the owner. These are not easy, quick, or fun conversations, and CR is always going to be the smaller company at the table.

Knowing that, I’m not surprised or worried that CR is creating its own independent subscription service with Beacon. It tells me that they’re being careful with their IP whenever they can. A subscription service means they don’t have to trade away distribution rights or give up ad revenue to a third party. They’re in this for a long term investment, and that requires solid income not tied to third parties that can definitely outspend them in litigation in the event of a dispute. A subscription for bonus content is one of many parts in a diverse revenue stream.

(All that said, this isn’t meant to criticize creators that cant afford to do this type of thing. It took 9 years for CR to get to the point where Beacon is financially feasible and a desirable business decision. They have enough ongoing, popular content to warrant paying for a subscription, and they’ve built sufficient trust with their audience that more will be added. That takes time and an awful lot of money.)

As a final note, I take this step as a sign that CR definitely intends to stick around. This isn’t a move people make when they plan on ending the business after the current campaign. I’m glad to see CR is taking steps to secure their foundation and keep making new content.

I’m sure people will chime in on other issues (cost, content exclusivity, etc.), but I hope my perspective gives an idea of why this sort of thing is good for business generally and why it would be good for CR.

[perseidlion]

Dead Boy Detectives friends, I totally respect and support those of you who feel like you want to fight. You want to make noise. You want to sign petitions and organize campaigns. I get that you don't want to give up on this wonderful show.

Normally I'd support campaigns, but in this case I think there are some very big things working against us:

The Neil Gaiman factor. I hate to say it, but the accusations against him were probably part of the reason for cancellation and why getting picked up elsewhere is a non-starter. The explicit ties to the Netflix Sandman with Death and Despair SHOULD have helped the show get renewed. But with the accusations against NG, that definitely hurt it. That's so deeply unfair because those of us who are fans of the show know that DBD is not a Gaiman show, and his contribution to the story is minimal. But Sandman is Gaiman's, and they made the connection to Sandman and thus Gaiman, explicit. When the news about NG came down, Sandman was already well into production and contracts were signed. I honestly wouldn't be surprised if S2 was Sandman's last season.

The collapse of streaming. Gone are the days when networks pick up each others' shows to try and court subscribers and steal an audience share. That barely happens anymore, and when it does it's under very unusual circumstances. Every network is cancelling well-reviewed shows with a following. Every network is cancelling queer shows more than others. Every network is greedy and looking for mega-hits only. There are no good guys in the streaming landscape.

The economy and the strikes. Don't get me wrong, the gains made by SAG-AFTRA, and the Writers and Directors' guilds were absolutely necessary and required for fairness. But it did increase production costs. Instead of adjusting their profit expectations, the streamers are trying desperately to keep the same profits from the pre-strike days. Which is why we have this mega-hit or bust model. Add to that the economic downturn and the price of everything going up, and the bar for "success" from a corporate standpoint is set impossibly high.

Streaming's metric for success is new subscribers, not how much existing subscribers enjoy the content. This is a big one. It used to be if an audience loved it and that audience was appealing to an advertiser, a show could keep going. Advertisers wanted the affinity for the show to spill over onto their product for supporting it. But with streaming, the streamers don't care how much you love something. They just care that you watch it, you stay subscribed, and that content gets new subscribers. A passionate watch is worth the same $$ wise to them as a hate watch or a half-interested watch. In that way, the loss of commercials is the reason for so many of the more niche shows getting cancelled.

The big reason I think we're sunk for either getting Netflix to reverse the decision or for it to get picked up elsewhere is honestly, because Yockey posted a pretty big S2 spoiler. The showrunner wouldn't do that if he thought there was any hope. My guess is the show is tied to Netflix because of the Sandman connection, and because they commissioned scripts for S2 that they own. There's probably some contractual reasons that make network hopping impossible.

I don't want to be a downer, and like I said if you want to campaign to let your heart heal or just to not let this happen quietly, I fully support that.

But in my heart, I think we have to lay our beloved Dead Boy Detectives to rest - at least as a show. They'll live on in our hearts and our fanworks.

[sgiandubh]

What happened with Barbour ?

Dear Barbour Anon,

My favorite kind of Anon, even if I know the question has recently been asked again and not in this corner. Never mind, I think it's time to talk about it, too.

I bought my first Barbour (entry-level, so olive) Bedale wax jacket 25 years ago, from their (long gone, now) shop on Boulevard Raspail, in Paris. It was a mandatory clothing item to own if you wanted to properly mingle with the law school crowd (it still is) and it ended up being one of my most prized possessions, possibly a part of me. I still have it somewhere, back home. Two more followed, along with a fetishist array of shirts, scarves, beanies and even one of those sturdy crossbody bags you can fit half a house in. So you can imagine my absolute thrill when I found out, very very late, that S had had a rather substantial collaboration with them, from 2016 and until 2019.

I am very bad with timelines, as you probably know and possibly even cackle about, but still: S was appointed as the company's first ever Global Brand Ambassador on July 16, 2016. His mission statement was very precisely defined by the brand and for some reason we'll analyze a bit later, this is important:

(Source, heh: https://www.astonbourne.co.uk/is-barbour-a-luxury-brand-unraveling-the-mystique-of-classic-outerwear/).

A shirt and vest signature collection followed in 2017 and 2018, with the contract being renewed. Advertisement was absolutely gorgeous and designed to shape a very positive image, both for S and the brand. Last autumn's SS Gin promo retained some of that irresistible aesthetic DNA and I discussed it at length.

See for yourself, Anon. The fandom endlessly discussed the first long clip (with the chocolate labrador), but I have no idea if these two have been seen, let alone debated. If they did, let that be my nostalgic mistake.

Spring/Summer 2018:

Fall 2018:

And then disaster stroke, with S's trip to Ha-wa-wee 1.0, in the spring of 2019. A short reel, featuring a rather agglomerated boat trip, was posted on socials. Unfortunately for S, it also featured an allegedly horrifying scene involving the 'traditional' bludgeoning to death of a tuna fish. Emotions ensued and as it often happens here, they spun out of control. Many people, including some of the most vocal S haters, tagged Barbour in their diatribes, filled with environmentalist indignation. They suggested this guy (who did not participate to the savagery and I would be even unsure he realized what was going on) was, by no reasonable means, a proper 'embodiment of the brand's identity, values and aspirations' (remember that mission statement?).

Tone deaf as ever in the midst of a serious PR crisis, S put friendship above anything else, and publicly praised the boat's owner, calling him 'the heart and soul of the island', if I remember well. I still would like to think he has no idea what the hell exactly happened. And then, when somebody finally (August 2019) asked Barbour on Insta about their collaboration with S, they got this politely dry, but clear answer:

"We don't have any plans for a collaboration with SH in the near future" means, in my book and to my understanding, "we are never going to work with this guy again". Truly, some people in here who dare to give morality lessons to others, should be proud of themselves: they did it knowingly and in a very organized way, using multiple sock accounts, to give the impression of a collective retching reflex. To cut the story short, the dread of any ad campaign on this planet.

The effort was genuine. The result of that collaboration was very good. Take, for example, this somewhat heartbreaking customer review by an American guy who has no idea who SRH is and who bought one of those jackets from a Barbour factory warehouse, in 2021, with a hefty rebate (70% off). Clearly something Barbour wanted to get rid of at all costs - what a pity and really what a SHAME on all those hypocrites who will never admit to a public assassination by the book:

This time, I am absolutely not sorry for the length, Anon. This is something that still makes me boil. Unfairness and cheap nastiness simply disgust me.

(Thank you, sweetheart, for the screenshot, always. You know who you are 😘😘😘).

[ultrainfinitepit]

When you first started making pins, how did you advertise them? And vs now? I really want to get into making some of my own :]

That's a great question! There's lots of ways to advertise and I'll share what worked for me. But your mileage may vary or you might find ways that work better for you than they did for me.

Here are my first angel pins, by the way, it's been four years since I first started if you can believe it.

Here's what I did at the beginning that I still do now:

Build your following on social media and post about your pins. This is probably the most important thing to do, but also the hardest. Focus on a small number of social media profiles that you can manage comfortably, don't stretch yourself too thin as it is important to engage with your audience to build it. Each site has their own quirks as well. I can go into detail on my favorites and what I've observed for each if anyone is curious, just send a follow-up ask.

Run crowdfunding campaigns to fund your pins and then advertise to backers. Specifically start on Kickstarter if you are a beginner. While I am loving Backerkit it is a lesser-known site and it's harder to get discovered on it. I have gotten comments from artists who worry that they need to be popular before doing crowdfunding. However in my case it was my first campaign that built my audience the most. And in my opinion, it is never a waste of time to try out a campaign. If it fails you still have the artwork ready, you can gauge interest and see which designs are popular, and you will have a starter pool of people interested in your art that you can build off of.

Create a merch newsletter and share monthly updates. Since it is independent of social media it is a lower barrier to entry for customers interested in your art; and doesn't require them to check social media and happen to catch your posts. It takes some time to build a list but you can be assured everyone who signs up is invested in your merch.

There's quite a few things I did at the beginning to get started pin making and then advertise, that I don't do now. Mainly it is an issue of time. I used to spend hours and hours running around on all these sites, as well as reading over posts for research. Nowadays, social media and shop following are enough for me. But I would recommend the following for anyone looking to start out in pin making.

Things I used to do that I would recommend, but don't do much of now:

Join PMR on Facebook and post in their weekly share thread. "Pin Maker Resource" is the best place for beginner pin makers. It is a huge group of dedicated pin makers, all eager to answer questions and provide valuable insights into pin making. Most of all, it has those manufacturer reviews and names that everyone is always asking for! I have personally posted many reviews to this group. It is open for applications once a month. You have to apply because they specifically prohibit pin manufacturers from joining so people can post their reviews freely.

Post in Facebook groups. These communities can be large so your post may get lost in the crowd, but it will be seen by people specifically looking for pins. I like "Pin & Art Collector Marketplace" and "Pin Nation." "Enamel Pin Collectors, Artists, Trades and Kickstarters!" is decent but smaller.

Join a pin Discord server and share your designs in promotion channels. Many pin collectors such as myself join these servers to look for pins to buy. We are also in multiple servers and will crosspost if we like something. I have found these servers mainly by joining pin creators' Patreon clubs.

Post on Reddit. The communities are small but a guaranteed place to find people interested in pins. I like r/EnamelPins and r/pinprojects. If your pins are for a specific audience, you can post to relevant subreddits. For example, I have shared my work on angel art subreddits.

That's just about everything I can recall. I hope this is helpful, good luck on your pin journey!

[justinspoliticalcorner]

Al Jazeera:

Israel has approved a resolution to cut ties with the Israeli news outlet Haaretz and ban government funding bodies from communicating or placing advertisements with the newspaper. The government said its decision was due to “many articles that have hurt the legitimacy of the state of Israel and its right to self-defence, and particularly the remarks made in London by Haaretz publisher Amos Schocken that support terrorism and call for imposing sanctions on the government,” Haaretz reported on Sunday. The left-leaning news outlet added that Prime Minister Benjamin Netanyahu approved the decision, which did not appear on the government’s agenda for the weekly cabinet meeting. In response to the decision, Haaretz said it was an “opportunist resolution to boycott Haaretz, which passed in today’s government meeting without any legal review … [and] another step in Netanyahu’s journey to dismantle Israeli democracy”. “Like his friends [Russian President Vladimir] Putin, [Turkish President Recep Tayyip] Erdoğan, and [Hungarian Prime Minister Viktor] Orbán, Netanyahu is trying to silence a critical, independent newspaper. Haaretz will not balk and will not morph into a government pamphlet that publishes messages approved by the government and its leader,” the outlet added.

Israeli government approves sanctions to left-leaning outlet Haaretz by barring its government bodies from communicating or placing advertisements with Haaretz over the paper’s critical tone towards Israel Apartheid State’s genocide campaign in Gaza.

This is a grotesque attack on the free press in Israel.

See Also:

Middle East Eye: Israeli apartheid government sanctions Haaretz, severs all ties

Haaretz: Israeli Apartheid Government Imposes Sanctions on Haaretz, Cuts All Ties and Pulls Advertising

[langernameohnebedeutung]

watching these adult right-wing bozo dudes write/film giant reviews about how the Barbie movie is an anti-man hate campaign is so funny. I don't even have a take other than it's the fucking Barbie movie. Ben Shapiro paid for a ticket to see the Barbie movie and then he bought some Barbie dolls and set them on fire (!) on camera because he was offended about poor Ken not becoming president of Barbieland or whatever. It's the Barbie movie. It's the Barbie. Movie.

These guys paid to see it. The whole pink Barbieworld is an evil matriarchy (because there are no male presidents) and it will corrupt young girls against motherhood because of the opening scene THE BARBIE MOVIE! HATES MOTHERS! They sat in those theatre chairs on opening night between the girls and the gays and the glitter and the pink and watched Ryan Gosling slide down a pink doll house slide. I saw someone comment how this movie will 'produce another generation of broken people'. They watched the giant beach fight and now they say this movie will teach little girls to hate men. It's the Barbie movie. It's the Barbie movie.

It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. they PAID to SEE it and honestly, being hated by podcast losers is free advertising for Mattel's and Barbie's attempt at feminist signalling.

It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie. It's the Barbie movie.

[wishingmyhairred]

Loockwood Fandom: PLAN OF ATTACK!!!

I have been a part of 2 major campaigns to save my favorite shows plus contribute to some minor ones. It took years for us to save the shows which was only possible because they were animated. Everything we are doing now was also done back then. But Lockwood is live action with aging actors/actresses; it has to be save sooner. We won our battle back then but this one will be harder. However, we have one golden opportunity that other campaigns did not have. 

Let me lay the field down for you. If you google Netflix cancellations you will see dozen of articles written over the years and you would basically be reading the same article over and over: Despite high viewership and reviews Netflix cancels another show, does not advertise/promote enough, does not want to pay residuals for shows past 3rd seasons, Fans/subscribers not happy, and criticism about Netflix playbook and questioning it’s wisdom. Not to mention that Damn quote “we have never cancelled a successful series”. You can also find articles of Fandoms efforts trying to save the show just like us. But it’s become the Same article over and over. We need something new to be reported on.

You know what is also being reported? The WGA strike. With the strike going in to it’s 3rd week most of the basic reporting is done and now it’s just repeat of picket lines. But we can change the narrative. We can give the news something new and different to report on.

There is a WGA strike fund you can donate to support the strikers but more importantly you can tribute your donation to someone. Someone named Lockwood & Co.

It doesn’t have to be a large donation. Let’s say we get 400 fans to donate $5 (+transaction fee) in tribute to Lockwood. That’s $2000 US and 400 tributes. Now let’s say those same fans do this 4 days in a row. That’s $8000 in funds plus 1600 tributes. This might gain attention by the WGA and strikers. They might feel compel to comment on it. They might want to say something about it as they stand protesting in front of Netflix. And there’s your new Headline.

Entertainment blogs will report how the growing frustration of Netflix cancellations has now lead to donations to WGA. The movement will hopefully gain traction and more news will be written. Other fandoms might join in for revenge of their cancellations. If we are successful a news broadcast is done showing the picket line but also showing clips of the show. That will get the show attention it’s never been given before. Attention that will hopefully get it back on the Top Ten. That would be another headline and even more attention.

You can click here to make the donation. But don’t forget to Tribute to Lockwood & Co.

Edit to add the lowest donation you can make is $5.

Make any size donation you want (don’t forget the transaction fee). Make a one time small donation. Make a large donation. Make multiple small donations.

It would really help if other people can blast this idea on other social media platforms. Make Memes, videos, TikTocks, Instagram posts, etc.

A lot of people are hurt by Netflix cancellations but Netflix has never cared no matter how many angry letters, comments and posts are made. It's the same old song and dance. But now We actually have a chance to hurt Netflix back in a way it never has been. Let the cancellation of Lockwood & Co be the straw that broke the camels back. Lets be reckless enough.

[docgold13]

Batman: The Animated Series - Paper Cut-Out Portraits and Profiles

Batman: The Mask of the Phantasm 

December 25th, 1993; exactly thirty years ago today, Warner Animation released the first Batman animated feature to play in theaters.  Directed by Eric Radomski and Bruce Timm, and based on a story written by Alan Burnett, the movie hit screens between the first and second seasons of Batman: The Animated Series.  

Despite largely glowing reviews, the lack of a strong advertising campaign contributed to the movie doing quite poorly at the box office.  The feature was later released in home theater format and played on television, ultimately garnering it huge acclaim among the fan community… with many (myself included) considering it to be the very best of the various Batman movies.  

The story centers on a mysterious vigilant who has come to Gotham to hunt the members of a once prominent crime family.  At first, the deaths of these criminals are attributed to The Batman, leading to the Gotham Police Department to deploy a special task force to arrest the Caped Crusader.  As such, Batman is forced to evade the police whilst tracking down this mysterious new threat.  Discovering the secrets of the Phantasm harkens back to Bruce Wayne's earliest days as a crimefighter, and a great love that nearly led to his never becoming Batman in the first place.  

Romance, tragedy, terrific action and top notch animation, it is not to be missed.  Staring the voice acting of Kevin Conroy, Dana Delany, Mark Hamill, Efrem Zimbalist Jr., Abe Vigoda and Stacy Keach.    

[inthemaelstrom]

ART ISN'T SUPPOSED TO MAKE YOU COMFORTABLE

By Jen Silverman (NY Times)

(Mx. Silverman is a playwright and the author, most recently, of the novel “There’s Going to Be Trouble.”)

When I was in college, I came across “The Sea and Poison,” a 1950s novel by Shusaku Endo. It tells the story of a doctor in postwar Japan who, as an intern years earlier, participated in a vivisection experiment on an American prisoner. Endo’s lens on the story is not the easiest one, ethically speaking; he doesn’t dwell on the suffering of the victim. Instead, he chooses to explore a more unsettling element: the humanity of the perpetrators.

When I say “humanity” I mean their confusion, self-justifications and willingness to lie to themselves. Atrocity doesn’t just come out of evil, Endo was saying, it emerges from self-interest, timidity, apathy and the desire for status. His novel showed me how, in the right crucible of social pressures, I, too, might delude myself into making a choice from which an atrocity results. Perhaps this is why the book has haunted me for nearly two decades, such that I’ve read it multiple times.

I was reminded of that novel at 2 o’clock in the morning recently as I scrolled through a social media account dedicated to collecting angry reader reviews. My attention was caught by someone named Nathan, whose take on “Paradise Lost” was: “Milton was a fascist turd.” But it was another reader, Ryan, who reeled me in with his response to John Updike’s “Rabbit, Run”: “This book made me oppose free speech.” From there, I hit the bank of “Lolita” reviews: Readers were appalled, frustrated, infuriated. What a disgusting man! How could Vladimir Nabokov have been permitted to write this book? Who let authors write such immoral, perverse characters anyway?

I was cackling as I scrolled but soon a realization struck me. Here on my screen was the distillation of a peculiar American illness: namely, that we have a profound and dangerous inclination to confuse art with moral instruction, and vice versa.

As someone who was born in the States but partially raised in a series of other countries, I’ve always found the sheer uncompromising force of American morality to be mesmerizing and terrifying. Despite our plurality of influences and beliefs, our national character seems inescapably informed by an Old Testament relationship to the notions of good and evil. This powerful construct infuses everything from our advertising campaigns to our political ones — and has now filtered into, and shifted, the function of our artistic works.

Maybe it’s because our political discourse swings between deranged and abhorrent on a daily basis and we would like to combat our feelings of powerlessness by insisting on moral simplicity in the stories we tell and receive. Or maybe it’s because many of the transgressions that flew under the radar in previous generations — acts of misogyny, racism and homophobia; abuses of power both macro and micro — are now being called out directly. We’re so intoxicated by openly naming these ills that we have begun operating under the misconception that to acknowledge each other’s complexity, in our communities as well as in our art, is to condone each other’s cruelties.

When I work with younger writers, I am frequently amazed by how quickly peer feedback sessions turn into a process of identifying which characters did or said insensitive things. Sometimes the writers rush to defend the character, but often they apologize shamefacedly for their own blind spot, and the discussion swerves into how to fix the morals of the piece. The suggestion that the values of a character can be neither the values of the writer nor the entire point of the piece seems more and more surprising — and apt to trigger discomfort.

While I typically share the progressive political views of my students, I’m troubled by their concern for righteousness over complexity. They do not want to be seen representing any values they do not personally hold. The result is that, in a moment in which our world has never felt so fast-changing and bewildering, our stories are getting simpler, less nuanced and less able to engage with the realities through which we’re living.

I can’t blame younger writers for believing that it is their job to convey a strenuously correct public morality. This same expectation filters into all the modes in which I work: novels, theater, TV and film. The demands of Internet Nathan and Internet Ryan — and the anxieties of my mentees — are not so different from those of the industry gatekeepers who work in the no-man’s land between art and money and whose job it is to strip stories of anything that could be ethically murky.

I have worked in TV writers’ rooms where “likability notes” came from on high as soon as a complex character was on the page — particularly when the character was female. Concern about her likability was most often a concern about her morals: Could she be perceived as promiscuous? Selfish? Aggressive? Was she a bad girlfriend or a bad wife? How quickly could she be rehabilitated into a model citizen for the viewers?

TV is not alone in this. A director I’m working with recently pitched our screenplay to a studio. When the executives passed, they told our team it was because the characters were too morally ambiguous and they’d been tasked with seeking material wherein the lesson was clear, so as not to unsettle their customer base. What they did not say, but did not need to, is that in the absence of adequate federal arts funding, American art is tied to the marketplace. Money is tight, and many corporations do not want to pay for stories that viewers might object to if they can buy something that plays blandly in the background of our lives.

But what art offers us is crucial precisely because it is not a bland backdrop or a platform for simple directives. Our books, plays, films and TV shows can do the most for us when they don’t serve as moral instruction manuals but allow us to glimpse our own hidden capacities, the slippery social contracts inside which we function, and the contradictions we all contain.

We need more narratives that tell us the truth about how complex our world is. We need stories that help us name and accept paradoxes, not ones that erase or ignore them. After all, our experience of living in communities with one another is often much more fluid and changeable than it is rigidly black and white. We have the audiences that we cultivate, and the more we cultivate audiences who believe that the job of art is to instruct instead of investigate, to judge instead of question, to seek easy clarity instead of holding multiple uncertainties, the more we will find ourselves inside a culture defined by rigidity, knee-jerk judgments and incuriosity. In our hair-trigger world of condemnation, division and isolation, art — not moralizing — has never been more crucial.

[mariacallous]

Stories about AI-generated political content are like stories about people drunkenly setting off fireworks: There’s a good chance they’ll end in disaster. WIRED is tracking AI usage in political campaigns across the world, and so far examples include pornographic deepfakes and misinformation-spewing chatbots. It’s gotten to the point where the US Federal Communications Commission has proposed mandatory disclosures for AI use in television and radio ads.

Despite concerns, some US political campaigns are embracing generative AI tools. There’s a growing category of AI-generated political content flying under the radar this election cycle, developed by startups including Denver-based BattlegroundAI, which uses generative AI to come up with digital advertising copy at a rapid clip. “Hundreds of ads in minutes,” its website proclaims.

BattlegroundAI positions itself as a tool specifically for progressive campaigns—no MAGA types allowed. And it is moving fast: It launched a private beta only six weeks ago and a public beta just last week. Cofounder and CEO Maya Hutchinson is currently at the Democratic National Convention trying to attract more clients. So far, the company has around 60, she says. (The service has a freemium model, with an upgraded option for $19 a month.)

“It’s kind of like having an extra intern on your team,” Hutchinson, a marketer who got her start on the digital team for President Obama’s reelection campaign, tells WIRED. We’re sitting at a picnic table inside the McCormick Place Convention Center in Chicago, and she’s raising her voice to be heard over music blasting from a nearby speaker. “If you’re running ads on Facebook or Google, or developing YouTube scripts, we help you do that in a very structured fashion.”

BattlegroundAI’s interface asks users to select from five different popular large language models—including ChatGPT, Claude, and Anthropic—to generate answers; it then asks users to further customize their results by selecting for tone and “creativity level,” as well as how many variations on a single prompt they might want. It also offers guidance on whom to target and helps craft messages geared toward specialized audiences for a variety of preselected issues, including infrastructure, women’s health, and public safety.

BattlegroundAI declined to provide any examples of actual political ads created using its services. However, WIRED tested the product by creating a campaign aimed at extremely left-leaning adults aged 88 to 99 on the issue of media freedom. “Don't let fake news pull the wool over your bifocals!” one of the suggested ads began.

BattlegroundAI offers only text generation—no AI images or audio. The company adheres to various regulations around the use of AI in political ads.

“What makes Battleground so well suited for politics is it’s very much built with those rules in mind,” says Andy Barr, managing director for Uplift, a Democratic digital ad agency. Barr says Uplift has been testing the BattlegroundAI beta for a few weeks. “It’s helpful with idea generation,” he says. The agency hasn’t yet released any ads using Battleground copy yet, but it has already used it to develop concepts, Barr adds.

I confess to Hutchinson that if I were a politician, I would be scared to use BattlegroundAI. Generative AI tools are known to “hallucinate,” a polite way of saying that they sometimes make things up out of whole cloth. (They bullshit, to use academic parlance.) I ask how she’s ensuring that the political content BattlegroundAI generates is accurate.

“Nothing is automated,” she replies. Hutchinson notes that BattlegroundAI’s copy is a starting-off point, and that humans from campaigns are meant to review and approve it before it goes out. “You might not have a lot of time, or a huge team, but you’re definitely reviewing it.”

Of course, there’s a rising movement opposing how AI companies train their products on art, writing, and other creative work without asking for permission. I ask Hutchinson what she’d say to people who might oppose how tools like ChatGPT are trained. “Those are incredibly valid concerns,” she says. “We need to talk to Congress. We need to talk to our elected officials.”

I ask whether BattlegroundAI is looking at offering language models that train on only public domain or licensed data. “Always open to that,” she says. “We also need to give folks, especially those who are under time constraints, in resource-constrained environments, the best tools that are available to them, too. We want to have consistent results for users and high-quality information—so the more models that are available, I think the better for everybody.”

And how would Hutchinson respond to people in the progressive movement—who generally align themselves with the labor movement—objecting to automating ad copywriting? “Obviously valid concerns,” she says. “Fears that come with the advent of any new technology—we’re afraid of the computer, of the light bulb.”

Hutchinson lays out her stance: She doesn’t see this as a replacement for human labor so much as a way to reduce grunt work. “I worked in advertising for a very long time, and there's so many elements of it that are repetitive, that are honestly draining of creativity,” she says. “AI takes away the boring elements.” She sees BattlegroundAI as a helpmeet for overstretched and underfunded teams.

Taylor Coots, a Kentucky-based political strategist who recently began using the service, describes it as “very sophisticated,” and says it helps identify groups of target voters and ways to tailor messaging to reach them in a way that would otherwise be difficult for small campaigns. In battleground races in gerrymandered districts, where progressive candidates are major underdogs, budgets are tight. “We don’t have millions of dollars,” he says. “Any opportunities we have for efficiencies, we’re looking for those.”

Will voters care if the writing in digital political ads they see is generated with the help of AI? “I'm not sure there is anything more unethical about having AI generate content than there is having unnamed staff or interns generate content,” says Peter Loge, an associate professor and program director at George Washington University who founded a project on ethics in political communication.

“If one could mandate that all political writing done with the help of AI be disclosed, then logically you would have to mandate that all political writing”—such as emails, ads, and op-eds—“not done by the candidate be disclosed,” he adds.

Still, Loge has concerns about what AI does to public trust on a macro level, and how it might impact the way people respond to political messaging going forward. “One risk of AI is less what the technology does, and more how people feel about what it does,” he says. “People have been faking images and making stuff up for as long as we've had politics. The recent attention on generative AI has increased peoples' already incredibly high levels of cynicism and distrust. If everything can be fake, then maybe nothing is true.”

Hutchinson, meanwhile, is focused on her company’s shorter-term impact. “We really want to help people now,” she says. “We’re trying to move as fast as we can.”