#what billboard netflix

[savethegrishaverse]

The Los Angeles Billboard is up! (It was delayed a day due to weather) and already it's been shown so much love! Look at how far we have come Third Army!

[babylonqaf]

There are shows that I'm disappointed got cancelled but I'm genuinely mad about Dead Boy Detectives. Like that was a huge fuckup on Netflix's part, and Netflix being Netflix means they won't part with the show and sell it to another studio if they can avoid it, while also not actually doing anything with it.

"Yeah but it had low viewership" I live in Los Angeles, tv show and film capital of the world, and saw a grand total of one billboard and very few posters... When the show had already been released.

I think they did get the mural on Melrose, the one near Fairfax, but I don't remember seeing it complete which is usually not a great sign.

The designs for the posters and billboards were so cool too, like they legitimately just threw 3 years of hundreds of people's work straight in the trash before the show even came out. I will literally never stop being mad about this.

[mementomoriwithacherryontop]

Gently trolling Netflix with rhyme and pizzazz and a hearty dash of sass.

This is the content I came to see.

I apparently took their rhyming personally.

[txttletale]

Saw a tweet that said something around:

"cannot emphasize enough how horrid chatgpt is, y'all. it's depleting our global power & water supply, stopping us from thinking or writing critically, plagiarizing human artists. today's students are worried they won't have jobs because of AI tools. this isn't a world we deserve"

I've seen some of your AI posts and they seem nuanced, but how would you respond do this? Cause it seems fairly-on point and like the crux of most worries. Sorry if this is a troublesome ask, just trying to learn so any input would be appreciated.

i would simply respond that almost none of that is true.

'depleting the global power and water supply'

something i've seen making the roudns on tumblr is that chatgpt queries use 3 watt-hours per query. wow, that sounds like a lot, especially with all the articles emphasizing that this is ten times as much as google search. let's check some other very common power uses:

running a microwave for ten minutes is 133 watt-hours

gaming on your ps5 for an hour is 200 watt-hours

watching an hour of netflix is 800 watt-hours

and those are just domestic consumer electricty uses!

a single streetlight's typical operation 1.2 kilowatt-hours a day (or 1200 watt-hours)

a digital billboard being on for an hour is 4.7 kilowatt-hours (or 4700 watt-hours)

i think i've proved my point, so let's move on to the bigger picture: there are estimates that AI is going to cause datacenters to double or even triple in power consumption in the next year or two! damn that sounds scary. hey, how significant as a percentage of global power consumption are datecenters?

1-1.5%.

ah. well. nevertheless!

what about that water? yeah, datacenters use a lot of water for cooling. 1.7 billion gallons (microsoft's usage figure for 2021) is a lot of water! of course, when you look at those huge and scary numbers, there's some important context missing. it's not like that water is shipped to venus: some of it is evaporated and the rest is generally recycled in cooling towers. also, not all of the water used is potable--some datacenters cool themselves with filtered wastewater.

most importantly, this number is for all data centers. there's no good way to separate the 'AI' out for that, except to make educated guesses based on power consumption and percentage changes. that water figure isn't all attributable to AI, plenty of it is necessary to simply run regular web servers.

but sure, just taking that number in isolation, i think we can all broadly agree that it's bad that, for example, people are being asked to reduce their household water usage while google waltzes in and takes billions of gallons from those same public reservoirs.

but again, let's put this in perspective: in 2017, coca cola used 289 billion liters of water--that's 7 billion gallons! bayer (formerly monsanto) in 2018 used 124 million cubic meters--that's 32 billion gallons!

so, like. yeah, AI uses electricity, and water, to do a bunch of stuff that is basically silly and frivolous, and that is broadly speaking, as someone who likes living on a planet that is less than 30% on fire, bad. but if you look at the overall numbers involved it is a miniscule drop in the ocean! it is a functional irrelevance! it is not in any way 'depleting' anything!

'stopping us from thinking or writing critically'

this is the same old reactionary canard we hear over and over again in different forms. when was this mythic golden age when everyone was thinking and writing critically? surely we have all heard these same complaints about tiktok, about phones, about the internet itself? if we had been around a few hundred years earlier, we could have heard that "The free access which many young people have to romances, novels, and plays has poisoned the mind and corrupted the morals of many a promising youth."

it is a reactionary narrative of societal degeneration with no basis in anything. yes, it is very funny that laywers have lost the bar for trusting chatgpt to cite cases for them. but if you think that chatgpt somehow prevented them from thinking critically about its output, you're accusing the tail of wagging the dog.

nobody who says shit like "oh wow chatgpt can write every novel and movie now. yiou can just ask chatgpt to give you opinions and ideas and then use them its so great" was, like, sitting in the symposium debating the nature of the sublime before chatgpt released. there is no 'decay', there is no 'decline'. you should be suspicious of those narratives wherever you see them, especially if you are inclined to agree!

plagiarizing human artists

nah. i've been over this ad infinitum--nothing 'AI art' does could be considered plagiarism without a definition so preposterously expansive that it would curtail huge swathes of human creative expression.

AI art models do not contain or reproduce any images. the result of them being trained on images is a very very complex statistical model that contains a lot of large-scale statistical data about all those images put together (and no data about any of those individual images).

to draw a very tortured comparison, imagine you had a great idea for how to make the next Great American Painting. you loaded up a big file of every norman rockwell painting, and you made a gigantic excel spreadsheet. in this spreadsheet you noticed how regularly elements recurred: in each cell you would have something like "naturalistic lighting" or "sexually unawakened farmers" and the % of times it appears in his paintings. from this, you then drew links between these cells--what % of paintings containing sexually unawakened farmers also contained naturalistic lighting? what % also contained a white guy?

then, if you told someone else with moderately competent skill at painting to use your excel spreadsheet to generate a Great American Painting, you would likely end up with something that is recognizably similar to a Norman Rockwell painting: but any charge of 'plagiarism' would be absolutely fucking absurd!

this is a gross oversimplification, of course, but it is much closer to how AI art works than the 'collage machine' description most people who are all het up about plagiarism talk about--and if it were a collage machine, it would still not be plagiarising because collages aren't plagiarism.

(for a better and smarter explanation of the process from soneone who actually understands it check out this great twitter thread by @reachartwork)

today's students are worried they won't have jobs because of AI tools

i mean, this is true! AI tools are definitely going to destroy livelihoods. they will increase productivty for skilled writers and artists who learn to use them, which will immiserate those jobs--they will outright replace a lot of artists and writers for whom quality is not actually important to the work they do (this has already essentially happened to the SEO slop website industry and is in the process of happening to stock images).

jobs in, for example, product support are being cut for chatgpt. and that sucks for everyone involved. but this isn't some unique evil of chatgpt or machine learning, this is just the effect that technological innovation has on industries under capitalism!

there are plenty of innovations that wiped out other job sectors overnight. the camera was disastrous for portrait artists. the spinning jenny was famously disastrous for the hand-textile workers from which the luddites drew their ranks. retail work was hit hard by self-checkout machines. this is the shape of every single innovation that can increase productivity, as marx explains in wage labour and capital:

“The greater division of labour enables one labourer to accomplish the work of five, 10, or 20 labourers; it therefore increases competition among the labourers fivefold, tenfold, or twentyfold. The labourers compete not only by selling themselves one cheaper than the other, but also by one doing the work of five, 10, or 20; and they are forced to compete in this manner by the division of labour, which is introduced and steadily improved by capital. Furthermore, to the same degree in which the division of labour increases, is the labour simplified. The special skill of the labourer becomes worthless. He becomes transformed into a simple monotonous force of production, with neither physical nor mental elasticity. His work becomes accessible to all; therefore competitors press upon him from all sides. Moreover, it must be remembered that the more simple, the more easily learned the work is, so much the less is its cost to production, the expense of its acquisition, and so much the lower must the wages sink – for, like the price of any other commodity, they are determined by the cost of production. Therefore, in the same manner in which labour becomes more unsatisfactory, more repulsive, do competition increase and wages decrease”

this is the process by which every technological advancement is used to increase the domination of the owning class over the working class. not due to some inherent flaw or malice of the technology itself, but due to the material realtions of production.

so again the overarching point is that none of this is uniquely symptomatic of AI art or whatever ever most recent technological innovation. it is symptomatic of capitalism. we remember the luddites primarily for failing and not accomplishing anything of meaning.

if you think it's bad that this new technology is being used with no consideration for the planet, for social good, for the flourishing of human beings, then i agree with you! but then your problem shouldn't be with the technology--it should be with the economic system under which its use is controlled and dictated by the bourgeoisie.

[captain-hawks]

the look on suna’s face is anything but surprised when the door to his apartment swings open.

his gaze briefly flicks downward to take in the miserable state of your rain-soaked dress and the heels clutched in your right hand. everything about your current state is a sad, waterlogged, neon billboard advertising just how spectacularly bad your date was.

casting a glance at the rapidly flickering fluorescent light on the ceiling up above, you sigh when your best friend’s lips begin to part. “don’t even say it, rin.”

his mouth obediently snaps shut, but he can’t hide the faint hint of amusement that curves its way into the line between his lips anyway.

suna takes up so much goddamn space as he stands there in front of you, his body leaning against one side of the doorframe as his fingertips casually grasp the other. rolling your eyes, you duck beneath his outstretched arm and hip check him as you pass, unceremoniously dropping your shoes in the entryway beside his messy pile of sneakers and boots.

no words pass between the two of you as suna briefly disappears down the hall, tossing a pile of dry clothes at your head when he emerges from the depths of his bedroom a moment later. he doesn’t even bother looking at you once you make your way back into the living room in a matching ejp raijin t-shirt and sweatpants, just lifts his arm and waits for you to settle down against him on the couch.

it’s only once the movie playing on the television—a rom com that you’re well aware he only put on for your sake alone—is nearly twenty minutes in that he finally speaks.

“told you that guy was a loser.”

sighing heavily, you pinch the bridge of your nose, burrowing yourself even further sideways into the warmth of his body heat despite your annoyance.

“you said that about the last guy.”

he huffs, and you can feel his chin brush over the top of your head as he turns toward you. “no, i said that guy was a dork.”

fingertips skirting beneath the edge of his sweatshirt, you pinch the skin just above his hip, and he lets out an undignified yelp as he grasps your hand and moves it to his thigh instead.

“regardless, shouldn’t you be supportive? i seem to remember you griping about me being a—“ you pause, making finger quotes with your free hand for emphasis, “‘freeloader’ who steals your netflix account and food every night.”

suna’s quiet beside you, eyes on the television screen like this sordid love confession in the rain is suddenly the most fascinating thing he’s ever seen.

“think of how many shitty eighties movies you’ll be able to watch when i’m too busy with my new boyfriend to come bother you every day,” you continue cheerfully.

at that, suna shifts your positions, yawning as he slides his head into your lap. the odd golden green shade of his eyes glints in the dim light of the living room as he stares up at you expectantly, unblinking.

“then who's gonna play with my hair till i fall asleep when the movie is boring?” he asks with a lazy smile, tilting his neck just enough to brush his head against the hand currently resting on your kneecap.

you let out a huff that’s equal parts exasperated and fond, rolling your eyes as you watch his slide shut the moment you begin carding your fingers through his soft, dark locks.

(it’s always like this with rintarou, this effortless intimacy. this strange, liminal space where your friendship exists.)

and as his breathing slowly starts to even out, as the movie plays on forgotten in the background, you wonder—not for the first time—what it would be like to kiss him.

[savethedeadboys]

You've probably heard that Dead Boy Detectives got cancelled.

What you maybe haven't heard is that there is an extremely active ongoing campaign to try and get it renewed. You might have seen our billboards around lately. ✨

Want to join the campaign? Here are some things you can do to help: 💀 There's a petition to get the show renewed! It has 24,000+ signatures and counting. You can sign it here. Ask your friends to sign. Ask your family!

💀 Follow this Tumblr! Since you're here on Tumblr already, it's the easiest way to get news about the campaign.

💀 Join our Save Dead Boy Detectives Discord server. This is where a lot of the planning happens. We post regular updates and easy action items that members can take to help make the call for renewal more visible.

💀 Participate in our letter-writing initiative. Sending physical mail is one of the very best ways to get a company's attention.

💀 Visit the Netflix series request page and ask for Dead Boy Detectives. There are three slots; ask for seasons 2, 3, and 4. 💀 Make some noise on social media! Here on Tumblr, tag #dead boy detectives and #netflix for all of your posts about Dead Boy Detectives. On Twitter and Bluesky, use the hashtag #SaveDeadBoyDetectives.

💀 Find out what's coming up next with the campaign calendar. 💀 And last but certainly not least, keep streaming the show! Watch numbers are a huge indication to streaming services that there's audience demand.

The cast and crew have been nothing but supportive of our fight for renewal. As they've said time and again, never say never. Let's give them all a chance to finish telling their story. ✨

[enflixx]

Off script - jake sim

summary: Burned out and buried in student debt, you’re ready to quit acting after years of side jobs and constant rejection. But just as you’re about to give up, your agent calls and turns out you’ve been considered for the lead in a new Netflix series, Dandelion Season, alongside rising star Jake Sim. As you read the script on your walk home, something you thought you’d lost flickers back to life: hope

genre: fluff

warning(s): none!

word count: 920

The low hum of a blender buzzes through the thin drywall before your alarm even goes off.

You groan into your pillow. Another morning, another reminder that your run down studio apartment is basically a glorified closet with a toilet. You blink up at the water stain on the ceiling, a spreading patch like a bruise you’ve learned to ignore.

The phone screen lights up.

7:12 a.m. No new casting calls. No callbacks. Just a fresh rejection email from that micro-budget student film. The one where you auditioned to play “College Girl Who Screams and Dies.”

You drag yourself out of bed, bones aching like you’re twice your age. The floor is cold under your feet. You flick the light on in the kitchen where one flickers and one’s been out for weeks. And of course there is no money to replace the bulb, especially when rent’s due and your last paycheck already vanished into your student loan payment.

You crack an egg into a pan and watch it sizzle off-center. Your reflection in the microwave door looks hollow. Your brain runs on a loop:

What the hell was I thinking?Why did I major in acting of all things?Why UCSD, of all places?

But you were proud back then. A part of their theatre program. Full of hope and ambition. The campus was filled with palm trees and promises. Where everyone said you were “the one who’d make it.”

You sip your instant coffee, bitter and clumpy, and mutter to yourself, “Guess everyone was wrong.”

Your inbox is full of unsubscribed newsletters and payment reminders. One from Earnest reads: New Statement Ready Balance: $82,397.

You shut your laptop before it can suck the air out of your lungs again.

By 8:15 a.m., you’re walking to the café. You pass a billboard for a new rom-com, the lead actress looks like someone who went to your program. Or maybe she just looks like someone who made it.

You don’t feel like someone who made it.

The café smells like desperation and burnt espresso. Your apron is stiff with old stains. You fake your smile for a line of people who’ll never learn your name. One customer points at you like you’re a kiosk.

“I said iced, not hot. Can you fix it?”

You fix it. And you apologize. Twice.

No one tips.

When a kid elbows the table and ketchup flies onto your apron, the mom gasps, horrified. You just smile, dead-eyed.

“It’s okay,” you say. “Really. Happens all the time.”

You think about how you once paid $17,000 in tuition for a class called "Advanced Shakespeare in Movement" where you had to pretend to be a willow tree for thirty minutes. Now you’re taking orders from teenagers named Brooke who order “matcha with almond but like, not too matcha.”

By the time your shift ends, your feet are numb, your hands are dry from soap, and your will to live is somewhere in the floor drain beneath the espresso machine.

You walk home past an alley that smells like piss and old flowers. Your back aches. Your tote bag feels heavier with every step.

Your phone buzzes. Call from: Amanda (Agent).

You almost don’t answer. She’s probably going to offer you another non-union gig for “exposure.” Or a role as “Young Mom Who Cries in Bathroom” in some grimy short film.

But you pick up anyway.

“Hey,” you say, flat.

Amanda sounds like she just sprinted across town. “You’re not gonna believe this.”

You don’t respond. You’re too tired to play games.

“It’s a lead. I’m serious. Netflix. A YA romance series. Think The Summer I Turned Pretty but more grounded. Grittier. Twelve episodes. Working title: Dandelion Season.”

Your feet stop moving.

“What?”

“They want someone fresh. Someone who feels real. I sent them your Hulu self-tape, remember the one where you broke down in the last thirty seconds? They loved it. You’re on a shortlist for the lead. Bella.”

“Me?” you croak.

Amanda’s typing furiously in the background. “Script’s in your inbox. Read it tonight. Like tonight tonight.”

You pull out your phone, still standing on the sidewalk, under a flickering streetlight. Gmail. Subject: Dandelion Season Script: CONFIDENTIAL.

You tap it open, hands trembling.

“Oh,” Amanda adds, almost too casually. “And the male lead’s already cast.”

You brace yourself.

“Guess who.”

“Just tell me.”

“Jake Sim.”

You nearly laugh out loud. “Jake Sim Jake Sim?”

“Yup. Mr. Film Festival himself. They locked him. Word is, he asked for a co-star who could actually act.”

You sink onto a bench, heartbeat thudding. “I’m not… I mean, I’m not like him.”

“You don’t have to be. You just have to be you. Read the damn script.”

You hang up, stunned.

You Google him. Of course.

First image: him in a velvet suit, jaw sharp enough to slice through glass. He’s the kind of handsome that makes people click. The kind of person you thought you’d be standing next to in your twenties, not drooling over while wearing a sour milk-scented apron.

You scroll. Photos of him reading in a bookstore. Walking his dog. He’s beautiful. Effortless. Famous.

You’re... still trying.

You open the script.

The first line:

BELLA (V.O.): I think some people are meant to feel like they’re running late to their own life.

You sit with it.

And for the first time in months you don’t feel like you’re drowning.You feel like maybe, maybe, you still have a shot.

[nnicknnelsonn]

Kit literally tops Hollywood Reporter list

Next Gen Talent 2024: The 10 Hottest Young Stars in Hollywood

From Netflix-turned-Broadway sensation Kit Connor to DC newcomer Aaron Pierre, meet the young stars climbing everyone’s call sheet.

Thank you for the tipoff @thegoldenretrieverandthegaynerd (X)

Kit Connor and Josh Rivera photographed November 11th at Broken Shaker in New York; Source: Hollywood Reporter (X)

1. Kit Connor

Connor is ready to break out beyond high school. He built his career as a child actor (see him as a young Elton John in Rocketman) before scoring the lead role in the high school rom-com series Heartstopper. This desire to graduate is part of what drew the Brit to Broadway, where he’s currently leading Romeo + Juliet with Rachel Zegler, bringing Shakespeare to the Gen Z masses. “It just felt ballsy,” Connor says. “It’s been what I’ve been trying to do with my career decisions recently, just try and do things that are a little bit more ballsy.” Connor, 20, isn’t sure if Heartstopper will return for a fourth season, but after the curtain goes down on his Broadway stint, he’ll start promoting his most adult role yet in Alex Garland’s A24 thriller Warfare. After that, he says, “I’d like to take a little break just so that I can kind of cleanse my mind and my palate, and then I’d like to do something completely different.” He adds, “I want to try and spend the next couple years just doing quite hard stuff so that I can try and force myself to get better.”

IF I WASN’T AN ACTOR I’D BE “I would first and foremost be a student due to my age. [My major] would probably be something like film studies, English or history, those are the subjects I found the most interesting in school because they were about people. I never did well with numbers. Still don’t.”

THE PERSON I AM DYING TO WORK WITH “I would love to work with Josh O’Connor. He and I are friendly, and every time I see him I think how I would love to see him at work.”

HOW I DECOMPRESS ON SET “I like my private time. On Warfare, we didn’t do that at all. Every night we did everything together and I wouldn’t have changed it at all. But a lot of time on jobs, I go home and just sit and listen to music.”

BEST ADVICE I’VE GOTTEN WORKING IN ENTERTAINMENT “Trusting the process. Quite a lot of my friends in the industry have given me that general advice.”

SONG OR ALBUM I HAVE ON REPEAT “David Bowie, The Rise and Fall of Ziggy Stardust and the Spiders from Mars. I used to, at the beginning of the run of the play, I was listening to a lot of music that would try to hype me up because I wanted to have a load of energy going into the play but then I started re-listening to that album‚ “Rock and Roll Suicide”, “Five Years”, “Moonage Daydream” — that put me in a good mindset for [the play].”

THE MOVIE OR SERIES I AM OBSESSED WITH “The Sopranos. I started watching it when I got to [New York] because I thought Jersey is just around the corner.”

MOST HOLLYWOOD THING THAT HAS HAPPENED TO ME “There is something pretty crazy about seeing your face on a billboard in any capacity.”

[ashdrinksdrpepper]

I know lots of us are expecting the teaser to be Milkvan biased (including myself *sob* *sob*), HOWEVER a part of me is open to the possibility of there being a little more Byler than we expect.

Think about it, Netflix is already promoting Will and Mike as a pair/the love triangle in general, examples being the St4 billboard and various social media posts:

(also i found one with just milkvan and I thought it was crazy😭😭)

Im not saying that they'll be outright showing mike and will making out on screen, however, it's clear that the Duffers and the ST marketing team are already comfortable to begin weaning the GA for what's to come regarding the love triangle.

I personally speculate that we may see scenes of both Byler and Milkvan on their own, that equally explore each sides of the argument to allow for either possibility (mostly Byler) to begin roaming in heads.

One scene that I've imagined is perhaps either Mike or Will have just made it out of a big life or death fight situation and they show one hugging the other similarly to how Lucas held Max after she escaped Vecna the first time. (Tearing up at the thought of "It's okay, I got you, I got you" rn 🥲🥲)

The majority of the GA have not been keeping up with Stranger Things since 2022, and the three year break between seasons has probably caused a memory lapse. This does mean however that once the Teaser has been released that they are more likely to accept the chance of Byler due to their biases from the previous season being left behind.

Obviously, Byler is meant to be a plot twist, so don't expect much from whatever we do get, but all i'm saying is don't keep your expectations too low ;))

(plus guys this is the first dribble of water since the dawn of the content draught I'M SO EXCITED!!)

[savethegrishaverse]

The billboards are here!! 🎉

If you can't come see the billboards in person, come join our livestream (that last photo is me tuning in haha)

[edwin-paynes-bowtie]

You know, I've been mulling over how the streaming business model - specifically the @netflix business model - actively discourages the creation of diverse shows.

Netflix's idea that everything has to be a Big Hit caters to the concept that everything that's worth making should be mass-streamlined for the largest possible audience. That audience is, of course, going to fall into majority demographics - straight, cisgender, neurotypical, probably white (though I don't really feel comfortable speaking about that so much as a white person myself. If a PoC wants to add onto this post, I'll reblog it.)

Anything with queer representation is going to be heavily watered down or tailored to a cishet audience if we are to follow the Netflix business model to its natural conclusion. Shows like Dead Boy Detectives, Ratched, First Kill, Shadow and Bone, and Warrior Nun include nuanced stories about queer characters and their journeys, and the sad fact is that many cishet people simply don't even care to try to relate to these stories. They're overlooked in favour of straight-made, straight-majority shows like Bridgerton, Never Have I Ever, or Stranger Things. All three of these shows include a queer side character, but that character is either never fleshed out or made queer in the most perfunctory and performative way possible. Straight audiences still care to watch them for the straight characters. This leads to the cancelation of authentic queer shows because they don't "have the numbers" to be hits.

(Btw, I can say with confidence that Dead Boy Detectives at least did have the numbers needed to be a hit, and they're ever-growing. But walk with me and take Netflix's stupid ass claim at face value for a second.)

No shit queer shows are going to get canceled if you're basing everything on "hit" numbers.

According to the Williams Institute, 5.5% of US adults identify as LGBT. That's a pretty huge minority, which is surprising for most of us queer people who tend to hang out in groups like little queer magnets. But it's true. Even if half of the cishet population is happy enough to watch queer shows, that's still only 55.5% of people who are maybe going to watch. And we can't expect everyone to watch every Netflix show. That's unreasonable.

So, to summarize, you're going to only make hit shows? That means you're only catering to majority-audiences. That means that we are going to have NO diverse media that doesn't get the ax.

It also really sucks that Netflix seems to use Heartstopper (a great show!) as its "bbbut we're not homophobic" billboard. Like, okay! You have one cute little coming out show. And we love it! Doesn't make you an A++ Ally, though.

But what about other queer stories? Ones that aren't about queerness? Why can't we see ourselves as supernatural detectives or vampire debutantes or morally gray psychiatric nurses?

In the immortal words of one of the best, most complex queer characters ever to exist, "it's so fucking stupid it's unbelievable."

[rapunzellovesbooks]

I think that one of the biggest misconceptions in the Bridgerton fandom is what "the show is supposed to do with its actors once their season airs" and what people think if that does not happen.

Let me explain.

I always hear that once your BGT season airs, you then will get all of these amazing opportunities. And the example that always comes up is Jonathan Bailey. It all boils down to him and the massive success and recognition he has earned since his season of BGT aired. The problem is... JB has been around for quite a while. I knew him from Broadchurch, Doctor Who and other minor roles in shows. Sure, BGT is his most well known role, but this also has changed since then and now it is Wicked. There are people who genuinely had no clue he was in BGT. But the fact that most of these big roles came out after his BGT season made people look at the BGT effect. Netflix is a massive platform so, yes, I understand that having your show on it and being advertised everywhere in the world will do wonders for your career. However... is it really the BGT season that does it all?

This is then used as a way to insult other actors whose rise to fame and billboards has not been as fast as JB (I say fast meaning after the BGT season, the dude has been around and I am sure he disagrees with BGT being the reason of where he is now), like, Rege Jean Page. I cannot tell you the amount of jokes I have seen at his expense for "only" starring in one movie as a side character since season 1 aired, paired with people being pissed at him for not returning. Phoebe also did not get roles immediately and I can only recall one Netflix movie of hers. Simone is the same thing, again, she has had roles before and after BGT Season 2 starred in a minor role in the Little Mermaid and then this year she made her own rom com.

Which brings me to Luke Newton and Nicola. It is safe to say that Nicola is way more online than Luke, way more present at award and fashion shows, at events in general. Luke disappears and is only seen every few months. Him not booking a role right after BGT 3 was used to call him jobless and many other things, comparing him with JB and even Nicola, who went straight from the premiere to a movie in Malta. Never mind that Luke went to Rome in November and show two projects at the same time. But people do not see that. They believe Nicola got her roles because of BGT, following the BGT effect. No, she did not. The effect is in our minds. Nicola has also been around, she was in Derry Girls and that show only became the phenomenon it is now because it went up on Netflix, which is great. But BGT did not get her that role.

Because if we go by the BGT effect, why is Claudia Jesse still only Eloise to so many people? She has been in every single episode of the show and she is clearly a fan favourite. So, why? Exactly. There is no why.

Getting roles has nothing to do with BGT or how well your did in your season. BGT is not the reason someone gets famous or books a lot of roles. It can certainly help for visibility but it is not the catalyst.

Stop comparing them. Stop trying to replicate JB and stop acting as if you know anything about booking acting jobs in Hollywood or what each of these actors want.

I had to get it off my chest because it makes me quite angry to see all of these actors compete in an imaginary race to be the next JB. That is not how it works.

[bbl1te]

Electric state (netflix) and Electric state art book comparisons

Cat

VR addicts

Canoe

Big omnipresent structures

Ducks

Heart Billboard

what do you think?

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Interview with W Magazine (2024)

Jonathan Bailey has traveled the world to promote Wicked, but there was one person he was especially eager to share the film with: his 94-year-old grandmother. She nurtured his love for musical theater and encouraged him to pursue ballet as a child, thus shaping his career in the arts.

So, the day after Wicked came out in the U.K., Bailey hosted a private screening at a local cinema for four generations of his family. While sitting in between his nana (who had painted her nails green for the occasion) and his mom and dad, Bailey became overcome with emotion.

“It’s a miraculous thing to know that what it came down to is having parents who let me go to the local village hall, and a grandparent who let me play, dance around and sing, and be free at such a young age,” Bailey tells W. “If you can catch a passion and just ring-fence it at such a young age, you never know what it can amount to.”

Adapted from the iconic Broadway stage musical, the film, which is set before the events of 1939’s The Wizard of Oz, chronicles the friendship between Elphaba (Cynthia Erivo), the future Wicked Witch of the West, and her classmate Galinda (Ariana Grande), later known as Glinda the Good.

Bailey’s scene-stealing portrayal of Fiyero Tigelaar, the charismatic Crown Prince of Winkie Country, only reaffirms his status as a Hollywood triple threat. In fact, “Dancing Through Life,” the earworm that serves as his character’s introduction at Shiz University, just cracked Billboard’s Hot 100 charts this week. (“That’s amazing. Do I get a certificate? What happens now?” Bailey quips.)

Bailey began rehearsing for Wicked in 2022 while shooting Fellow Travelers, the groundbreaking Showtime limited series that earned the 36-year-old his first Emmy nomination, and the third season of Bridgerton, the smash-hit Netflix romantic drama that made him a household name. Speaking on a video call from London in early December, the British star reveals that he is in the middle of reprising his role as Viscount Anthony Bridgerton, who is expecting his first child with wife Kate Sharma (Simone Ashley).

“There’s such an important relationship with the [Bridgerton] bros that has been developed over the series. Season four is going to be Luke [Thompson] and Yerin [Ha] being absolutely extraordinary, and there’s a whole plethora of new characters coming in,” Bailey says. “It’s so nice to come back, and it’s about celebrating the romance stories we’ve had and digging into the ones that are starting.”

Patience will have to be a virtue for Wicked and Bridgerton fans alike; the second half of the former, which Bailey coyly describes as “rich, bruising and hopeful,” will premiere next November, while the latter will debut in 2026.

How did you think about building your own interpretation of Fiyero?

The starting point was “Dancing Through Life.” He creates chaos around him, like he does in that song, because he’s got to match the chaos that’s going on inside. The challenge that I felt was the trope of a cool caddish prince. He’s deeply unnerved by stillness and adhering to rules and structure. That is probably a sign of someone who’s never really experienced love. When you see someone causing that sort of disturbance, it’s usually because they’ve never felt seen. An organizational psychologist, Adam Grant, sent me a message saying, “It’s a masterful portrayal of superficiality masking depth.” Out of all the things I’ve heard, that is the thing I’m going to get printed on a T-shirt.

The Shiz library scene was inspired by the work of Fred Astaire in Royal Wedding. What did you want to convey in those moments?

Fiyero has to come in and change the physical language and the emotional landscape of that school in one number. His fluidity, ease, and elasticity speak to his ability to maneuver and avoid. He’s quite avoidant. He has these bright, shining moments with everyone but never really allows the other person to land it with him. For those who understand the physical language of Fiyero, there are many Easter eggs and nods to what happens to him later in the story.

Fiyero is at the center of a love triangle between Elphaba and Galinda. What do you think he sees in each of them?

The brilliant thing about the film is that these slightly trivial tropes mask extraordinarily deep and shifting understandings of social experiences. The superficiality, the privilege, and the sense of easy chemistry make sense with Glinda. But I feel like he’s yearning for something more, and, as Elphaba sees, he’s unhappy and depressed. Fiyero and Elphaba can click in terms of the way they sing, dance, and move together. Elphaba has a calming presence on Fiyero and allows him to be himself. It’s a real privilege to meet someone who sees you for who you really are.

Are there any songs from the second Wicked movie you are most excited about?

“No Good Deed”—I cannot wait to see that come together. And “Thank Goodness”—it’s just such an incredibly operatic, Wagnerian opening. We know how brilliant the girls are, and I’m so excited to see the tonal shift that will inevitably happen to get to the end of the story.

You’ve been leveraging the success of projects with massive, global appeal (Bridgerton, Wicked, the next Jurassic World) to return to the theater (like your next role in Richard II).How have you been balancing these big tentpole franchises with projects that feel more niche and intimate?

I always lead with joy, and I’ve never accepted a job cynically. It goes back to this instinct—it feels like romance—where you have butterflies in your stomach and clarity of thought. I go back to the stage because I want to get better—and I want to be the best I can be. The best performances I’ve ever given on screen have been directly after coming off stage, where you hone your craft every single night. It’s brilliant, joyful, academic, and exhausting.

I’ve read more scripts in the last four years than probably in 20 years of working. It’s amazing to get sent scripts that you’re like, “This is absolutely brilliant. It’s not quite right for me, but I wonder if I can help that get made.” I’ve got a producer's hat that’s been popped on a few times in the last year, and I’m sure it’ll be coming out to play soon.

I want to keep working until something like Fellow Travelers isn’t seen as niche. We’re only on this planet for a short time, but if Fellow Travelers can be a mainstream show by the time I’ve finished my innings, I’d be very happy.

The last time Bridgerton viewers saw Anthony and Kate, they were on their way to India to meet with Kate’s family. Now that those characters are married, what are some of the new layers you’ve found in their relationship?

Anthony and Kate are these two planets that have always been in orbit of each other, and they finally come together. But then, what is life beyond [their courtship]? What’s so interesting about Anthony and what I so enjoyed in his season one arc is his relationship with duty and the power that he wielded over Daphne and his family, the isolation that he felt, and the anger that ensues because of [the passing of] his father.

I always said that you want Anthony to smile, and he does with Kate; he’s found his soulmate. In season three, they have that playfulness and, for the first time, they disregard anything that’s going on around them. They were the heart of every bit of drama and complication and, my God, how dramatic it was! Now suddenly, they’re having the time of their life, getting to play games again. They’re having a baby—everything they’ve ever wanted. What’s brilliant is to see how there are elements of yourself that you can’t grow out of. So, maybe, we’ll see hints of Anthony from season one.

Source

[brf-rumortrackinganon]

How did you like her interview in People? I wonder, when this attempt fails, what mask will she put on next time...

I'm reading the article now...typing my thoughts here in real time.

People was on site when Harry was still in Vancouver for the Invictus Games - meaning that Meghan 1,000% lined up this article after she forced Netflix to postpone the release from January 15th, along with the NYC billboard and her NYC trip. Meaning she had ZERO PR planned for the original launch date because there's no way - with how much this article cost and the price of billboards in Time Square - Netflix would've just eaten the cost.

"Mama, don't work too hard" -> The real Prince Charles: Future king is a workaholic who 'falls asleep at his desk and wakes up with paper stuck to his face' says Harry (November 2018)

“I love that that is something that Archie, Lili, H and I all have together. It means a lot to me.” -> Devaluing phase!

The Sussex name, she adds, “is part of our love story." -> just say yessssssssssssssss AGREE WITH ME DAMMIT. Seriously - aside from Taylor Swift (who is contractually obligated by her fans to keep singing Love Story), is there any woman over the age of 19 who keeps bleating on about her love story the way Meghan does?

“As a woman, a mom and a wife, to be able to find yourself again...is a wonderful feeling.” -> Too bad instead of finding this grace towards another woman, mom, and wife, you went for the jugular and talked about her hormones.

this time there’s no mention of anything royal -> Reading between the lines: they're completely cut off and don't have anything to share but they're going to make you think it's their choice.

“Whenever Harry visited set, he was always super polite and friendly,” -> tracks with Vanity Fair. Also this is not Meghan saying Harry's name; it's a Netflix staffer.

“My husband met me when I had The Tig, and I see this spark in his eye when he sees me doing the thing that I was doing when he first met me,” she says. -> Sounds more like "thank God now she'll leave me alone" relief

Chinese food delivery is a favorite, “but even when I get takeout, I will try to plate it beautifully,” -> “It’s so beautifully arranged on the plate, you know someone’s fingers have been all over it.” -Julia Child...aka keep your filthy paws off my food unless you wash your hands (with soap) in front of me.

In the process, Meghan says, Montecito has become protective of the Sussexes: “Once you know us, I think you want us to have the same normalcy as parents and for our children as they do, despite however unique our situation is.” -> Royal expert reveals how 'protective' Norfolk locals help Kate and William enjoy date nights (September 2021)

The family’s sprawling estate is their sanctuary, which is why Meghan chose to film her show in a nearby rental that echoes their own space. -> But she has noooooooooooo problem inviting People Magazine into her bedroom where her child is sleeping.

so I’m normally up at 6:30 -> So much for that 5am go-getter lifestyle, huh?

“My husband and Archie both love fried eggs," -> in this economy?!

I want my kids to have those same formative memories of things that I cook. We call them Mama Meals...[a]nd it’s the same roast chicken I’ve been making since they were little.” -> Reading between the lines again...it sounds like a blink-and-miss-it confession that she doesn't cook as much as she claims to. Are they ordering takeout that much? Do they have their own chef or meal kit service? No shame if they do, but if you have a special name for the meals your mom cooks...she's not cooking that much. Also this would've been much better if she said she was making roast chicken since before they were born, you know, considering how it's their engagement story. Well, one of them. She probably forgot that, let's be honest. It's hard to keep them all straight.

They would also come with my husband -> still can't bear to say his name.

“Being able to have my own little girl, as I’ve spent so much of my life championing the rights of girls and women, and to be able to see this as a multigenerational story — Archie is of course included in that, my husband is of course included in that — but I love the heritage feeling of it and knowing this is something that I can create in front of my daughter and teach her what it’s like to be a working mom,” she says. “This is something that hopefully can be part of her legacy too.” -> Maaaaaaaaaaybe if you want her to have ownership...name something after her? You named your charity organization, production company, and podcast company after her brother. What does she get? A name scandal.

rinse and repeat,” -> Hey, remember when she had this phrase in nearly every single PR article? Remember when this was her username in the DM comments section?

“Anyone who has children will tell you, it’s a huge evolution as a woman during that time.” -> Hey, you know what would be really cool to show your evolution as a woman? Apologizing to Kate for insulting her because you didn't know how exhausting a motherhood journey could be.

“And my gosh, in 10 years, Archie will be driving!” -> Really? That's what you think of? Your kid being your chauffeur in 10 years?

Why are all the photos exclusive from June 2024?

So overall thoughts: This is a classic People story. Someone launches a new chapter of their lives, and they sit down for a "my life now" intimate tell-all interview. Like so:

I did a google search of "People magazine my life now", clicked over to Images, and these are the top results. That's 12 People covers of "my life now" intimate tell-alls. This is not groundbreaking in any way, shape, or form. Well, the amount of photoshopping on the cover photo is probably groundbreaking.

And lastly, once again proving there's never an original bone in Meghan's body:

Kate wears a hat on the cover, so Meghan wears a hat on the cover.

Kate brings her dog to the photoshoot, Meghan brings her dog to the photoshoot.

I'm honestly shocked Meghan didn't bring out her bike for this one too.

[chaifootsteps]

To the anon who asked if there's a difference between Murder Drones being on Amazon and Helluva being on Amazon, I'm pretty sure there is, assuming I'm interpreting Glitch's statement right.

We know that Helluva is being funded by Amazon, and that new episodes of Helluva going forward will be on Amazon exclusively for a month before going onto Youtube. Amazon having exclusive rights for a month seems to imply that Viv outright sold it—heck, since Hazbin and Helluva are in the same universe, I feel like she had to have sold Helluva to A24 in order for that to happen (with Amazon having some jurisdiction in that acquiring, albeit not in a creative control sense).

Now, look at Glitch's statement.

Notice Glitch's wording: "multi-title licensing deal".

That wording is important.

Licensing does not mean "we sold it". Licensing only gives permission for the service, in this case Amazon, to stream the show on their platform. Similar to how The Amazing Digital Circus is on Netflix, but all creative control and funding for the show is done by Glitch.

While a licensing agreement can include funding the project, as showcased on Investopedia (https://www.investopedia.com/terms/l/licensing-agreement.asp), that isn't a standard for how licensing agreements operate.

Correct me if I'm wrong, but Viv, to my knowledge, didn't say what type of deal her deal was. What we do know is that Helluva's coming to Prime, a crossover will happen, Amazon gets exclusive rights for a full month, and Viv claimed "I still own Helluva".

But honestly I doubt her claim that she still owns Helluva. Or, at minimum, I think she might believe she still owns Helluva because she has full creative control, though legally A24 now owns the characters and world fully.

Notice what Glitch also says in the above statement

They say they are still completely independent. Indicating that while Amazon is hosting the shows, they aren't funding it, just like how Netflix isn't funding TADC.

"But wait," I hear some Viv fans saying, "Viv said she has 100% creative control! And Glitch says Prime Video is giving support necessary. The deals are the same, either both are still indie or neither are, checkmate!"

Not so fast.

Yes, both Viv and Glitch do say they have 100% creative control. Which, isn't too surprising, as Amazon seems pretty lenient on control when it comes to show content, if The Boys and Invincible are any indication.

But that doesn't mean that both Viv and Glitch are still indie.

Glitch clearly still seems to be. They not only retain full creative control, but the deal is explicitly a licensing deal and that their shows will always remain on Youtube.

Viv has not said what kind of deal the Hellaverse deal is, Amazon gets the show for a month first, and there's indication Amazon is directly funding the show.

"But Raven," I hear some saying, "both Viv and Glitch say they're getting support from Amazon!"

You're right. They do. But it's the nature of how they describe that support that's key here.

Let's look at what Glitch says.

Glitch says "the support necessary to do more for indie animation and creators that we could have previously". That is more vague, but they don't mention that support being funding. We know advertising had to have been one of them, given the Murder Drones billboards now in NYC and LA. And as mentioned above with the typical practices of licensing agreements, royalties from the shows being hosted on the platform are likely received—TADC is likely the same way with Netflix. Also, in the following paragraph, Glitch says they're still operating completely independently, which indicates Amazon is not helping funding their shows. They're providing more outreach, more advertising, but not directly funding the production of the shows themselves.

Now look at the Hellaverse Update video.

They explicitly say that Prime is teaming up with Spindlehorse to support the making of Helluva Boss's remaining seasons.

That wording indicates, to me anyway, that Amazon is directly contributing to the funding of the show. Ergo, Helluva Boss is no longer indie.

Yes, there are still some things up in the air. And I think there will be a little more clarity once Gaslight District and Knights of Guinevere are there. If we wait a month for episodes on Youtube like Helluva, then sure, then you could argue that it's possible Viv didn't sell out. If however the episode releases of Glitch shows are on Youtube the same day, and first, without a month wait... I think that would make things pretty clear.

Even with what we know, even though Viv says she still owns Helluva, at bare minimum, by their own admission within the Hellaverse update video itself, Helluva Boss is no longer indie.

Food for thought.

(Also as a side note, for those wondering "Why isn't Glitch's multi-licensing deal with Netflix instead, they already have TADC".... they tried to take it to Netflix before, but Netflix wanted the name changed to Meta Drones. At least with Amazon they kept the title.)

As always, your detective skills and attention to detail are a blessing, Raven. Thank you for this!