#stage industrie

[mysharona1987]

[alpaca-clouds]

Why the media CEOs will always learn the wrong lessons

Yesterday a friend and I talked about how the entire (AAA) game industrie looked at BG3 being as popular as it is and going: "Oh, we need to produce 100+ hour games, I guess! Those sell!" Which... obviously is not why it is popular. The game is not popular because it has 100+ hours of gameplay, but because it has engaging characters, that are well-acted and that work as good hooks for the players. Like, let's face it: The reason why I so far have sunken 160 hours into this game is, because I wanna spend time with these characters - and because I wanna give them their happy endings.

But the same has happened too, just a bit earlier this year, right? When Barbie broke the 1 billion and every Hollywood CEO went: "Oh, so the people want movies based on toy franchises! Got it!" To which the internet at large replied: "... How is that the lesson you learned from this?"

Well, let me explain to you, why this is the lesson they learn: It is because the CEOs and the boards of directors at large are not artists or even engaged with the medium they produce. They mostly are economists. And their dry little hearts do not understand stuff more complex than numbers and spread sheets.

That sounds evil, I know, but... It is sadly the truth. When they look at a successful movie/series/game/book/comic, they look at it as a product, not a piece of art or narrative. It is just a product that has very clear metrics.

To them Barbie is not a movie with interesting stylistic choices that stand out from the majority of high budget action blockbusters. It is a toy movie with mildly feminist themes.

Or Oppenheimer is not a movie to them with a strong visual language and good acting direction. No, it is a historical blockbuster.

And this is true for basically every form of media. I mean, books are actually a fairly good example. In my life I do remember the big book fads that happened. When Harry Potter was a success, there was at least a dozen other "magical school" book series being released. When Twilight was a big success there was suddenly an endless number of "teen girl falls in love with bad boy, who is [magical creature]" YA. When the Hunger Games was a success, there were hundreds of "YA dystopia" books. Meanwhile in adult reading, we had the big "next Game of Throne" fad.

Of course, the irony is, that within each of those fads there might have been one or two somewhat successful series - but never even one that came even close to whatever started the fad.

Or with movies, we have seen it, too. When Avengers broke the 1 billion (which up to this point only few movies did) the studios went: "Ooooooh, so we need shared universe film series" - and then all went to try and fail to create their own cinematic universe.

Because the people, who call the shots, are just immensely desinterested in the thing they are selling. They do not really care about the content. All they care about is having a supposedly easy avenue of selling it. Just as they do not care about the consumer. All they care about is that the consumer buys it. Why he buys it... Well, they do not care. They could not care less, in fact.

So, yeah, get ready for a 20 overproduced games with a bloated 100+ hours of empty gameplay, but without the engaging characters. And for like at least 15 more moves based on some toy franchise, that nobody actually cares about.

And then get ready for all the CEOs to do the surprised Pikachu face, when all of that ends up not financially successful.

Really, I read some interviews yesterday from some AAA-studio CEOs and their blatant shock and missing understanding on why BG3 works for so many people.

Because, yeah... capitalism does not appreciate art. Capitalism does not understand art. It only understands spread sheets.

[jellyfishfem]

love referring to male “artists” by their real names instead of their stage names. they name themselves something they think is cool and manly. well theyre not cool so i will address them as is appropriate. Thats not Jay Z the successful rapper thats just Shawn. Ghostface Killah? His name is Dennis. Snoop Dogg, you mean Calvin the sex trafficker? Machine Gun Kelly wow so metal punk rock. It’s actually just Richard.

[a-scary-lack-of-common-sense]

And here we have the artist who couldn’t be fucked to stay consistent during the shading stage and gave up midway through! So now you get a half rendered, half arsed drawing that combines regular shading + cel shading + flats + some other bullshit shading method that don’t go together. Enjoy.

+ some silly dancing queen doodles whilst listening to only ABBA songs for like an hour straight

Process:

[dazesanddoodles]

more like industrial revolutionary girl

[iwatcheditbegin]

“ not a girl’s girl” but having almost exclusively female openers since 2018 and consistently supporting their work

[dailyanarchistposts]

You’ll need to decide what kind of time and resources it might take to motivate people to act for a particular goal. There’s some basic criteria that you can use to evaluate how much work it might take to have an impact.

HISTORY/CONTEXT:

Have there been previous fights there?

Are people involved in current or previous struggles elsewhere? Experience and confidence are infectious. (Example: Many of the people who started the Ferguson uprising were fast food workers organizing at work.)

Are people paying attention to other external struggles? (Eg Tim Hortons workers fighting to keep benefits)

You’ll get a lot of this information by talking to people.

[sinister-yet-satisfying]

Anyone else ever feel like bludgeoning oil executives and politicians to death with a rusty pipe over what they’ve doomed us all to?

Capitalism is a death sentence for the human race

[gunsatthaphan]

Dangerous Romance - coming August 18th

[guavagyal]

under capitalism, it's okay to kill people as long as you have an active government contract

[1134soup]

New interview with Art + Art Jr !!!!!!!!!!!

Finally we got some information on more of Paul’s response to those comments Art made a few years back. It is Real fucked up to call him a monster with a napoleon complex that you wish you never met. But I’m glad they’re working it out

And Art Jr. talking about a hypothetical reunion

[tilbageidanmark]

A NEW MANIFESTO NEEDS TO BE WRITTEN: The history of all hitherto existing society is the history of class struggles.

There are only 2,700 of them, and 8+ billion of us. The math is simple, and so is the solution.

A spectre is haunting the world — the spectre of extinction. All the powers of elites have entered into a holy alliance to accelerate this spectre: The billionaires and millionaires, the American hyper-capitalists and the Russian oligarchs, the military industrial complex and white supremacists. The old Nazis are the new fascists.

It's high time to start a new liberation movement, French Revolution 2.0. For the children's sake, for the future of this dying planet - and before it's too late.

#2700 billionaires

[randomidiocyncrazies]

i see posts where people want Till to regain his fire for Round 7 after Round 6, and joke posts about Till beating Luka up etc, but realistically I think Till's final rebellion would be to stay silent and not engage from the start; the aliens are here to watch them perform for entertainment, and there's no entertainment to be found here. It'll be the most anti-climatic round ever because he refuses to give them a show, and he gets to be free (die) at the end of it after denying them their pleasure.

(This however makes it boring for us too, so I think Luka is probably going to get a song with Hyuna instead of with Till, since they have history together. I honestly think Till is going to stay catatonic unless he reunites with Mizi and hopefully learns to see her for who she is now, instead of the idealized image he has of her in the past.)

[thewretchedsketcher]

It's true, we shouldn't tolerate violence. Allowing people to suffer and die for the sake of profits is unacceptable and should never be tolerated.

[poppytuft]

the bear s3 spoilers

below the cut! thinking about claire and stuff we saw this season re: carmy/syd/the restaurant/donna, just finished the season so itll be a mess and also im comin in way too hot on this so my bad

sometimes...... sometimes i believe you guys are all watching different tv. im not sure how this season didnt feel like a direct through line from s2?? and im not sure WHY everyone is SO MAD about claire LITERALLY "haunting" this season. girl. come on. we need to have a sit down talk about how the berzatto generational trauma is the real meat of this show (this will make sense, just trust me). thats the MAIN EMOTIONAL POINT. syd's relationship with her dad, marcus and his mom, richie and evie, even tina and louie are all examples of parental relationships that are tender, sweet, supportive, etc. these are INTENTIONAL!! by creating these relationships we see PLAINLY how fucked donna is and how much she fucked up all of these kids. thats why "ice chips" was such a FANTASTIC episode. there was SO MUCH unpacked, so much revealed, so much worked through with sugar and her but at the end of the day she's still learning how to unlearn all of this horrific narcissistic bullshit. SHES STILL UNLEARNING THOUGH. thats where fucking DONNA of all people sits right now——somehow, she's learning how to heal. EVERYONE IS LEARNING. that's also what is so important about that episode.

now lets look at carmy. in "ice chips" we are LITERALLY told about how each berzatto is born: mikey fighting against the idea of being alive at all, nat into a quiet, soothing room, and CARMY is fucking born into EVERYONE SCREAMING and ARGUING and FIGHTING. we are BLATANTLY told that all carmy has ever known is HELL and all he's ever known how to communicate is through exploding. this is so violently against what we also know about his personality from childhood in "fishes" (anxious growing up, arts-oriented, had a hard time making friends). now, he works a violently stressful job, processing the trauma from both his mother (and chef fields [joel mchale], realistically) through the high-stress environment.

NOW. ENTER CLAIRE.

HOW is she not fascinating to you all. we don't see her whole story (because the bear, duh) but we are given just enough pieces here to put together that her story runs parallel to carmy's. how are you not getting this. walk with me.

claire. glasses, nerdy, quiet, sweet, girl next door. family friend! cute, but considered mid for a long time by everyone at school, but suddenly the berzatto men all badger carm, "oh she got a glow up, oh shes looking for you, she wants to see you," etc etc etc. what happened in between?

she finds herself. she finds the stressful thing she LOVES, which is the hospital. her job is objectively more stressful than carmy's (illustrated by that scene earlier in the season but i forgot the episode, where claire talks about the girl who got her shit wrecked by the glass table), and while we don't have an exact understanding of what her home life was like, we understand that her and carmy both have a level of internal anxiety that thrives on the stress of their careers. HOWEVER, claire does it because she loves it. carmy just doesn't know how to stop.

this is what makes claire feel like "peace" to carmy——because her high-stress job is a choice, an active choice she is making because it fulfills her. it's not to prove her dead brother wrong, or to honor his own legacy, or to prove that dickbag boss wrong, or to leave a mark on the world, or to make her own life worthwhile, or to prove that she doesn't need anyone else. she genuinely enjoys helping people even when the days are stressful, or scary. he's obsessed with this. he wants to know how she does this. every day she leaves that stress at home——and he wants to learn how to do that too.

claire is VITAL to this season and to understanding carmy's stress——and how far back he is in his healing process. it should only become more and more apparent, as we see characters like tina (the beef/the bear became vital to her success/development as a chef AND person, both for the people AND her love of food), marcus (not hiding his grief, but using it to help rationalize how much his mother loved him and wanted to be surrounded by people that love him), and richie (finding a purpose through service/expo and understanding he can start over again) push through their own traumas and struggles to become better people. if donna can be not only present at sugar's bedside during labor, but WELCOMED at this point in the show, it makes carmy's inability to heal all the more present. claire is an important part of this puzzle: she helps us see a window into a world where carmy is balanced emotionally, but unbalanced professionally, because he has no idea how to make the two coexist.

however, the idea that he can be balanced emotionally at all is so fucking enticing——with the help of someone who experiences stress in the same way as him (and who is familiar with his familial trauma), he has the opportunity to grow up and move on from his family trauma and wounds perpetuated by the industry he works in.

on the flip side of this....... his inability to process any of this is starting to impact syd. and frankly, that's some bullshit. his lack of communication, inability to community build/trust ANYONE, and his violent stubbornness is pushing her into the same space that he was in under chef fields, in a much slower, more subtle manner, and for slightly different reasons. her panic attack at the end of the season could read in two directions to me: her stress over the responsibility of changing so many people's lives has boiled over once she remembered that the beef once was truly great (hey five star review on the fridge!), OR, she realizes how much she isn't in it for the food. fuck a Michelin star: she wants to cook with her family. chef terry says at the end of "forever", in the garage with carmy, that she's so grateful she got to do whatever she wanted, whenever she wanted, where she wanted, with the people she wanted to do it with. sydney is so close to having those things at the bear——but carmy's dysfunction is keeping it just out of arms reach. the two of them are now on opposite sides of the approach from last season: syd dying for a star, and carmy dying to cook for the woman he loved. now, carmy is hungy for recognition again, desperate to prove something, and sydney is remembering (thanks to the conversation with other chefs during the ever funeral service) why she loved cooking in the first place. so this leaves us to wonder: should she stick it out? for the people? or make something of herself? is she carmy, or is she terry? i guess we will just have to see.

all this to say: every character is connected. the bear is a show about family, found and blood, and the choices we make for, with, and because of the people we love, for better or for worse. food is only the center of it, because it's the center of all of our lives. you can't hate claire without understanding where she sits in the web of the berzatto family. and really, you can't hate her if you understand what her presence means for carmy, for syd, and the restaurant as a whole.

[dailyanarchistposts]

Going Public (or not!)

One of the key parts of strategy and tactics involves whether or not to go public as a union/organization/committee/group of concerned folks. This decision can lead to a lot of goodwill, as we saw with neighbors and friends surrounding our Burgerville and Stardust campaigns, but it can also lead to a lot of angry energy and union busting techniques.

One of the reasons to go public is to show your unity and strength together — that none of their cheap intimidation is working. This is a step in which inoculation and reorganization becomes extremely important.