#“a rising tide lifts all boats” is bullshit

[anonymousad]

crowdfund review: Shelterwood

Shelterwood has been on my radar for a while, since last year when they were casting (I think it was last year, but at this point we're over midway through this one so it may have been more recently). there have been rumblings about it for a while, lots of people intrigued by the initial pitch of "suburban gothic horror", so it's already gotten a bit of traction. I was unsurprised to see it announce a crowdfund. even more unsurprised to see certain aspects of it weren't up to snuff.

as usual, the link: https://www.indiegogo.com/projects/shelterwood-a-suburban-gothic

so let's start as we always do...

(Un)Realistic Goals

what is with this $26,000 number, I'm serious was there a memo that went around to all of you saying this was a magic number???

genuinely, I find it especially odd when you consider that this is the exact same amount that Arden season 3 was asking for, and that is a show that is very established with prior crowdfunding success to base it off of. and I still thought it was a lot to be asking for them as people who had proven to their fans the quality they would provide.

Shelterwood is a project helmed by Stephen Indrisano (he/they), sometimes known as Indrisano Audio. I believe this is his first project as a writer, but on their website you can find other credits for both acting and sound design. of note, he is part of the team for Re: Dracula. suddenly why they think that giant number is acceptable makes a lot more sense, doesn't it? has Tal advice written all over it.

you know we will come back to this number in the budget section, but once again I will say that a "flexible goal" is not a bad thing, but maybe it's a sign that you should set a more realistic goal and then have stretch goals on top. I went pretty in-depth on the reasoning behind that in the Arden crowdfund review (that none of you read), but again.

we'll come back to this number.

Video Time

exactly 1 minute long, a reasonable ask of any prospective backer's time. but it's not about the campaign. this is a teaser trailer that goes on the podcast feed with a video component. honestly, the video aspect is not bad, it's a live action attempt to show off the general vibe and energy with actual clips of the show playing. has the same amateur energy of a lot of short films I would say, but sometimes that's charming. and the clips used are good, they tell the story of what to expect and the framing of it.

but it's not about the campaign.

a brief mention at the end with a link is all you get, and honestly that should have just been saved for the text portion of the post. most ideally, that's the INTRO of your video and after that first minute you have a call to action that actually says more.

good information to include:

time frame of the campaign

amount looking for

mention the passion of the team working on it

you can even mention influences here, but like one or two. keep it brief if you're going to

technically the video never even asks you to support the campaign, just that it is "crowdfunding now" and you can follow the url for more details. not much of a call to action to actually get people to take a look.

the ideas they executed on in the video are done well, but you can tell it wasn't really thought about how to make this work for the crowdfund so much as it would for just making me follow the RSS feed ahead of launch.

The Story and People

What Is Shelterwood: A Suburban Gothic?

as stated in their description, Shelterwood: A Suburban Gothic is a 16-part "Docu-Horror Podcast" (not sure why they capitalize those words to be honest). up front this is really good important information that will be immediately helpful in telling someone whether they will be interested in the project. there are plenty of people in the community with strong feelings one way or the other on the "docu-series" style, and being this clear about it is a good thing. for some they'll be more excited, and others will know this isn't worth their time and be able to move on (which isn't really a loss because even if you got them to read further they wouldn't likely give money anyway).

also love to see the length of the series being stated clearly here. "a 16-part" length tells me the most important information I need about the scope of the campaign. in part because it implies that this money will cover the production of the ENTIRE series, rather than later having them come back and go "hey, we actually are doing two seasons of 8 episodes each so we need another $26k to finish the story". that better not be what fucking happens, I swear

moving on, we are introduced to the writer/producer I mentioned above, Stephen Indrisano (he/they) (along with a link to his website, thank you for showing that people can very easily add hyperlinks in these sections). this section doesn't say anymore about Stephen or their personal qualifications to be asking for this much money and trust, but if you follow through to the website you can see credits for things they've been involved with on the production side. it would be better to not have to go elsewhere or dig for this kind of thing, when you are asking for a sum this large in any setting there is an expectation of proving that you can be trusted with it. and that comes down to more than the people you bring on board to help, it matters specifically with regards to the showrunner themself.

so why should I trust that Stephen can create a product so professional it needs $26,000 USD? at this point there's no reason. but let's keep going.

very brief one sentence description of the plot, not a bad thing to have but it could be fleshed out a little more to have some of the interesting details that were alluded to in the video trailer. again, not everyone will watch your trailer, sometimes when I see a campaign I'm in public or otherwise unable to listen to something and so will skip something with sound. plus it's less accessible to not have a written component (though it does look like care was taken to make sure the youtube captions were accurate, something very easily overlooked by even full-time video creators), but that does still require someone hitting play on a video they might not be able to.

we get a short list of inspirations, including two other well-known podcasts and an iconic horror video game, and then a description of "one part Gothic, one part Found Footage, and one hundred percent terrifying." which is not a bad tagline, but I'm still thrown by the weird capitalization going on here, that might just be a me thing.

Who Is Involved With This?

here's where we get some cast and crew and the standard name dropping you might expect from this type of production. it isn't necessarily trying to coast on the people involved and their success, buuuuttttt kind of a little it is. honestly I don't blame campaigns for doing this to an extent, even fans of a thing don't always remember the names of the people behind it.

it is always a bit suspicious to see name drops without additional context however.

we all know you put The Magnus Archives first as an attention grab, even though you only have one actor from that show who did a very good job but wasn't at all responsible for it being so beloved. Alasdair is great, but people need to stop coasting on his willingness to do smaller projects as a way to make themselves look more important.

of the 8 people listed in the crew section (which when it comes to quality of the finished product is who tends to matter more), I recognize and can connect 3 of them to other projects, and only two of those in a significant aspect. now that doesn't have to mean anything, but for me it does make me ask questions and want to dig into what the rest have done before to get a sense of the quality of the final production.

a small thing: it is also weird that within the crew section Stephen is the only one not with a crew related credit. obviously we've already been told he wrote it, but I'm not sure why it isn't still included when two other people in that section have both a cast and crew role listed.

I will say that the graphic looks nice, but I've brought up before how IndieGoGo doesn't seem to have any kind of alt text feature and so when you have an image with a lot of information you should keep that in mind. all of these people are only listed on the image, not in the text. the only thing that gets the text with links out treatment is the shows that Shelterwood is bragging about their talent being from. just something I thought I'd point out, if it's about the people then you should highlight the PEOPLE.

as much as I would like to, I'm not gong to dig into each of the credentials of the people listed here, cast or crew. people deserve to be given chances even if they're new to the scene (every gig is someone's first gig), and my personal desire to know how "qualified" each of them is is ENTIRELY coming from the amount of money being asked for. for even a $10,000 goal I would not be asking all these questions, there is just a threshold after which I get really suspicious and feel that justification is necessary. which they try to do a bit in the budget section.

but let's move onto the next bit, I don't think there is all that much to comment on as far as actors except what I've already said about clout.

Campaign Rewards and Goodies

let's talk tiers and perks.

the Shelterwood campaign has a total of 9 tiers, ranging from $5 at the lowest up to $1,000. you already know what's coming when we hit that one

so first of all, I think the sidebar tier scroll is REALLY good. the images for each level are unique and eye-catching, and help add to the general feel that the show is going for. scrolling through them really helps paint the picture for the Stepford energy to expect from this fictional neighborhood. each image also good theming, relating to the different aspects of being part of a neighborhood, from "Architect" to "Licensed Realtor". very good job on that, it adds to the fun of the experience and telling your friends about the level you backed at. especially if you want to make jokes about this being the only homeowner adjacent status you can afford.

the tier descriptions are a little more verbose when you are actually looking at the options for selection, so I'm going to be referring to what is written there. I will point out if there is any substantial difference between that and the main text of the campaign, but for the most part it seems to just be an additional sentence and small wording tweaks.

NOTE: every tier includes all the rewards that are part of the prior tiers, I will not be pointing this out for all of them because that just gets repetitive and makes this even longer than it needs to be.

$5 PROSPECTIVE BUYER - a reasonable intro tier, and honestly anything lower doesn't seem to get many people on board anyway. a tip jar type $1-3 tier always seems like a good idea, but I doubt it's making up enough of the funding to justify itself when it comes down to it. but let's look at what's in this first bit of goods:

a pack of digital wallpapers - could be interesting based on the types of images we've been shown so far in relation to the campaign, and honestly it's a nice extra at this basic tier that a lot of campaigns will reserve for $20+

supporter updates through development - this is very vague and will probably come down to the way that all crowdfunding campaigns post updates. something that can usually be seen by people whether or not they backed your campaign, so I don't actually think this an exclusive anything for being a supporter. but at this tier price that's fine enough honestly.

supporter exclusive discord - perfectly reasonable to place here, helps even the backers who can't give much to feel like they are able to be part of and support the project as it becomes reality.

$15 NEW NEIGHBOR - the jump from $5 to $15 is a little odd to me, but I guess if you are trying to keep the number of tiers lower and already know your high point it is okay. personally the difference between offering $5 and $10 is a much easier choice to bump up as a supporter than going all the way to $15.

personalized shout-out on Twitter and/or Tumblr - to be fair, this was before the latest Twitter meltdown, so offering that was not quite as pathetic a couple weeks ago. BUT this is still a pretty sad upgrade for tripling your pledge?

$30 LONG-TIME RESIDENT - this has the same price increase issue as the last, there's just something about going up to $30 versus $25 that feels odd? harder to justify, sometimes numbers don't feel linear when it comes to money

curated recommendations - "everything you need to understand who we are and why" is a very vague description of what this might contain. I'm assuming we're talking books, movies, tv-shows, video games, other podcasts, and music that helped inspire the show. which honestly is fun, I don't mind that, it's just being extremely vague about it. $50 says House of Leaves is on there (no hate, it's a very important piece of architectural horror).

Haunted House micro-zine - UH OH. we all remember what this means, right? we all saw the absolutely PITIFUL micro-zine that went out to Re: Dracula supporters and with many of the same people involved here that is definitely the level of quality to expect (shoddy folding, clip art ass looking artwork, copy-pasted stuff from the web vs original content, misaligned printing, etc). granted, I think this is a PDF version (not that it specifies that itself, just based on the full tier description that says "a printable first step into the neighborhood"), but still. that zine was also at the $30 level and there were people really disappointed with it. I am not going to link to the Twitter thread in which one of the people involved with the campaign actively searched for and found a post with no hashtags or tags and proceeded to put them on blast to their own thousands of followers. but I want you all to know that I remember that happening, and it IS going to become relevant again at some point in the future.

UPDATE: right has I was doing my final checks of the campaign to make sure my images were up to date for this and things were still as I expected, an update was posted. an update that in part pertains to the micro-zine. I think everything I wrote above (and below about the physical version) is still relevant, BUT specifics of that will be revealed and discussed right before the end of this post if you want to jump down there and take a look at what I have to say now.

$50 LICENSED REALTOR - jumping up another $20 so that they can print out two sheets of paper and add 3 random stickers to send you

printed versions of the curated recommendations and micro-zine - you know what, they did at least learn that a printed copy of their zine was NOT worth going at the $100 tier. so they did make one improvement.

3 random stickers - stickers are nice and easy and can be sent worldwide for pretty cheap. a good thing to have, I just also usually like to see what these stickers might look like. in this case, that would be especially helpful because you are only getting 3 of the 5 designs, and it might actually help a backer decide to up their tier level because they really want to make sure they get the ones they want.

$100 DEVELOPMENT INVESTOR - for adding $50 to your pledge (doubling it) you can get some really boring shit:

all 5 stickers - adds the other two stickers! wow, thanks. totally worth it...

a signed, printed script page - a.... single page? for $50??? I'm sorry, but what the fuck are you doing. this is an INSULTING reward for someone giving you $100. that may not be a lot of money to some people, but especially right now during a huge economic downturn? that's just pathetic.

UPDATE: while it isn't listed here (which should be updated by them when they see this), as part of Campaign Update #2 (which I cover near the bottom of this behemoth post) there was an additional perk added to this tier and above: "a unique page of blackout poetry from a book that influenced the show" - I have no strong opinions on blackout poetry. I still don't think that this makes this tier worth it, but at least they recognize how pathetic it is that it needs a little more of a boost to look appealing.

as an aside: here's some examples of $100 backer rewards that I've seen on campaigns and think ARE worth it:

Syntax - both an annotated full script AND a personalized voice message from any cast member AND credit shout-out (not even counting the earlier included rewards such as an exclusive enamel pin and AMA)

Red Valley - a signed and bound FULL SCRIPT

Two Flat Earthers Kidnap a Freemason - an autographed FULL episode script AND a t-shirt

juuussssttttt some food for thought.

but let's continue on, I'm sure nothing else will be questionable here. can you feel the sarcasm coming off of me in waves, even across an ocean I hope you can sense it

$150 HOMEOWNER'S ASSOCIATION MEMBER - add another $50 for an exclusive poster (which honestly seems pretty reasonable especially when you consider how much international shipping is and production costs of a nice print. assuming the print is high quality, but you never know with this stuff until someone gets it)

an exclusive poster - again, would love to see a design. and maybe measurement details would be nice? I am really glad to see that the artist is named and linked to. the lack of credit I've seen on some campaigns for things they've hired out for is a really disappointing thing, so I am genuinely very happy to see a link to the artist's gallery. it gives a good idea of the style without giving away the mystery (if we want to give the benefit of the doubt that it is supposed to be a fun "mystery" what you will receive) as well as introducing people to an artist who may have other work they would enjoy and like to support. big A+ for that, seriously. the bar is really low on some of this shit.

$250 ARCHITECT - fucking hell, we're jumping up a full $100 now, time for the big leagues benefits

limited edition t-shirt - honestly I can't believe that they decided to put the t-shirt behind a $250 paywall. absolutely absurd, especially after I pointed out that it was included at the $100 tier for a campaign like Two Flat Earthers. I'm serious, do you know how cheap it is to print on demand a t-shirt? it's not dirt cheap, but it is NOT $250 tier level. I am unsurprised that at this point only one person has backed at this tier.

personalized thank you note from writer/creator - this is a nice reward, but again why do you think it is worth enough to be a $250 tier perk? especially when we all know that a "thank you note" can just be a one sentence thing with your name plugged into it. doesn't even say anything about being an exclusive postcard design or anything else that might make it worth it. Stephen might just go to Sam's Club or Costco and bulk buy a box of generic thank you cards to fill out.

$500 CHAIRPERSON OF THE ASSOCIATION - here's where things get a little more interesting

name a character or location in the show - this kind of thing is fine, my one hang up is just that sometimes these things are so fleeting or hidden that they barely qualify as a fun easter egg? we all know that this isn't going to be naming something important, and that's okay, I just hope that it's going to be naming something that is actually audible and noticeable at some point in the show.

one-of-a-kind "production ephemera" - this is a very neat perk that could also be really fucking disappointing. I think to make something like this appropriately exciting you need to give a specific example, more than saying "such as a prop from the video". especially when you use a term like "ephemera" there is an implication of it being something really neat and unusual and you should want to be selling that idea more explicitly. I do genuinely like this reward though, I think it IS relatively appropriate for this level of contribution and could be something really special. could be.

NOTE: this is the first tier where I feel the need to bring up that there are no limits on the number of backers at each level. I think for most physical goods that can get produced it isn't a huge deal to leave it open because a lot of that stuff is going to be made to whatever number is needed without much issue. but when you get into the territory of a "one-of-a-kind" good, there are going to be limitations on what is classified as being good enough to give away. if you get 30 backers at this level, but only 10 of the items are really worth it, you are doing a huge disservice. capping these numbers can also entice people to jump on them for fear of missing out on the one-time opportunity, so it can in fact be beneficial. for example, the Red Valley campaign I posted earlier capped their 3 highest tiers (10, 10, and 5) and sold out of ALL of them. granted, their highest tier was $328 USD (£250 GBP) and not $1000, but still.

$1000 TOWN FOUNDER - who could have guessed that the big $1k tier was once again a vanity Executive Producer credit.

Executive Producer credit - wow. I'm so shocked by this. truly this is the fallback reward of so many campaigns and is so fundamentally USELESS. stop trying to sell people a vanity title, it's gross and doesn't mean shit, and muddies the waters when it comes to the actual creatives who are involved. stop making me point this out. the fact that some people are willing to pay for this does not make it less of a skeezy scam.

[listed] in all show notes and transcripts - there is a typo here that says "listen" instead of "listed", not a huge deal it just made me do a double-take and wonder if I was in fact correctly understanding this reward. initially I read it as "oh cool, they actually get to listen in on some production stuff maybe?" only to realize that no. it's just more shit for the vanity title.

verbal thank you at end of all episodes - generally this is a nice tier reward, but again is it worth $1000? I also pointed out above that the Syntax campaign had this as a $100+ reward, which feels much more reasonable. this does again also bring back the thought of putting limits on the number of backers, because do you really want to potentially be reading dozens of names at the end of every episode? granted at this high of a tier that was never likely, but I did point this out for my Arden write-up which had it included at a tier far too low to leave open.

notably missing things:

any images - literally anything to show off potential rewards. I pointed it out at those tiers, but having a reward for 3 out of 5 random stickers and not showing ANY of the stickers? why would I even think about backing higher to get all of them when I have no idea what I'm missing out on.

any mentions of ad-free episodes - maybe they aren't planning to put ads on the podcast anyway, but worth pointing out that it isn't mentioned anywhere

early access to episodes - this one is usually a staple, weird to find it absent when it's such an easy draw

behind the scenes content - currently there is no indication that they have any kind of platform where they might share behind the scenes stuff, and it isn't a required thing. but I know a lot of people ARE interested in this stuff so I would think that maybe it could have a place. if there is supposed to be an implication that these things will be in the supporter-exclusive Discord server, then that should be clearly said because it is something that could convince people to support.

no add-on rewards - this isn't a super common one and I kind of get why they didn't include this, but when you have some of your physical rewards like a t-shirt locked behind these hugely expensive tiers no one is going to have them. but if you add a $30-50 t-shirt add-on people will buy it. and that's publicity when they wear it, when they post about receiving it, and when they see it in their own closet and think about your show. the ongoing Tell No Tales crowdfund has an add-on option for their very cute mug design, something I personally know people have added to their contributions

some general thoughts on these rewards:

mostly unenticing and overpriced, with nothing that really is selling them as a worthwhile investment. for all the money that they are asking, none of these tiers (particularly the high ones with the possible exception of the $500 one) have anything that would make me pledge above $15. things are either too far out of reach and expensive like the t-shirt or just plain not enticing like the micro-zine.

now that THAT is dealt with, let's move onto the imaginary world of how this money would be parsed out if the campaign were fully funded.

Where Will My Money Go? AKA The Budget

NOTE: because this is a flexible goal campaign, for calculations I am going to use the $26,000 USD being asked for to demonstrate the cost breakdown of the provided budget. this is reasonable given that by asking for this much they are claiming that this is the amount it would take to produce this audio drama. whether or not they receive that, that is the implicit claim.

here you can see the budget pie chart provided by the campaign (I would like to say that visually I am a fan of this weird kind of tv psychedelic thing they have going on in the background of their images). it is... a thing. not a good thing.

Before the Dive

but let's start with what the campaign says in this section because that is also very interesting for other reasons. let's highlight what I think are the most important things:

270 page script

3 years of development already

"we are striving for nothing less than fair wages for all parties involved"

this breakdown applies AFTER crowdfund and reward expenses are accounted for

that last one is particularly important, because my first reaction to this chart was wondering if they were rolling the crowdfunding fees and reward expenses into "production" since they definitely didn't fit anywhere else. this does also slightly complicate the math because I do not know what those expenses will come out to apart from the standard 5% fee that these platforms usually take.

I do also think that the 3 years of development is really important to consider, especially when you combine it with the claim of "fair wages for all parties involved". as it stands, this budget breakdown does NOT do this, because it does not take into account those 3 years of writing and development and pre-production in terms of compensation. this problem of not paying the writers is something I keep seeing, and I think it keeps happening because the writing has already been done and it feels weird to some people to ask for retrospective payment. but if you pitch a script to a director and a studio picks it up, you get paid for that time! you get compensated for the thing you wrote that was a gamble, and if this campaign is making money off of that 3 years of work, why should that not be compensated to an extent?

in a lot of cases this would be the most important thing for me to call out here, that discrepancy between claiming to want fair wages for everyone, but that only seeming to apply when it comes to the production and post-production stages.

now, 270 pages is not nothing. that's a lot of script to write. but it's also not that much script to write if we're being honest. there are shows I listen to that have hour long episodes and their transcripts are 80-90 pages EACH. so comparing that to Shelterwood could have you thinking this is only going to come out to about 3 hours of content.

I actually had to come back to this section and make some adjustments because it's only in the FAQ (where most people forget to look) that episode length is mentioned (40-50 minutes).

now then.

Let's Get Into the Numbers

it's time to crunch some numbers.

it's going to be a bit difficult to divide based on anything except the cast/crew list and the number of episodes that will be produced, but I will try my best to break it down like that.

there is also a bit of really useful information hidden a little further down in the stretch goals section of the campaign (which I am glad I made note of before doing all of my math).

in the "How Much Do You Need to Raise?" section is the following:

For this project to get off the ground, we need to raise $26,000, with a green light to start production at $20,800. But don’t worry, we’ve got some exciting milestones to hit before then! For every $5,000 of our total goal raised, we’ll be releasing a micro-sode in the world of Shelterwood

this has some VITAL information for our calculations, namely that the ACTUAL goal to start production is $20,800 USD, not $26,000 USD.

there is a slight problem with this however, in that a "green light to start" can mean a few things. because the campaign is still a flexible goal, even if they don't hit this number they will get the money, so I am assuming it does NOT mean that they have to hit it to start production at all. I think what it is meaning to say is that it's either hitting that number or the campaign ending that will be the green light.

however, there is an alternative.

this is a group of podcasters with some significant pull and connections, something we've seen some of them deploy for other projects. namely, Re: Dracula.

yeah, we're back at this one apparently.

the reason I bring it up at all, is because that was a project that IN ADDITION to their crowdfund had a $10,000 investment from Seed & Spark. now why might that be relevant? there is a chance that when Shelterwood says it needs $20,800 to green light the production, that is an absolute statement. but that they have plans to try and find other investors to help them hit it if the crowdfunding doesn't get them there. I don't have any real reason to believe this would be the case, Re: Dracula was very upfront about their outside investment. but it does feel like something to point out with regards to how this is worded.

either way, I am going to be doing the calculations for 1. reaching the full goal, 2. reaching the "green light" goal, and 3. as a per episode cost. hopefully these three ways will give a good insight into the actual budget being proposed here.

there is also something in this text about promised "micro-sodes" at each $5,000 hit. that isn't about stretch goals, it's about the whole campaign. so we need to factor it in somehow. luckily there is already the first one up on the Someone Dies In This Elevator feed (another perk of having Tal on your campaign is getting some of the promotion they only seem to reserve for friends) and so I can see that it is 7.5 minutes long (which, side note, it's kind of weird that Shelterwood isn't referenced in the name of this one? it's in the show notes, but I scrolled past it without realizing and then had to take a closer look as I was going through again to figure out which it was).

most of this feed seems to be populated by a variety of micro-sodes, lengths ranging from as low as 4 minutes to as high as 11 minutes. so this one is actual bang on the money for average length. additionally, we know from the FAQ that the actual episodes will be 40-50 minutes apiece. now, I did not know that when I DID the calculations because I didn't check that section until the end.

as a side note, before we get into it: I really appreciate it when campaigns do some of this for me and include their own actual numbers along with the percentages. maybe you don't want to make my life easier, I am in fact largely writing about campaigns that I think are not good, but still. even as a prospective backer it's nice to see the 1 to 1 of "oh if I give $100 that is paying for half of an episodes acting!"

so let's break it down with first the big percentages as numbers:

here's where that little bit of info about the micro-sodes is useful. I was going to use my calculations to basically guess at how comparable all of these were compared to a full episode, before I realized the actual expected episode length was in the FAQ. but then I realized that the phrasing of these goals is that they are already completed and just waiting to be published, about 37.5 minutes of content based on the one we currently have access to. only the stretch goal mini-sodes have NOT been written and produced. so I am actually NOT going to factor them into the costs, because I've already pointed out that we are seemingly ignoring work that has already been completed before the campaign went live, and this is definitely that. so thank you for making my math a bit easier I guess by not having to factor those in.

additionally, I did point out how the campaign says that the percentages will be applied to the number leftover after campaign related costs, but that is an impossible amount of money to guess. so for ease I will be ignoring it entirely.

(I actually just forgot to calculate what 5% of the total goal removed would change the numbers to, and I really don't want to redo all my math now that I've realized this. sorry if that makes me seem less professional with my breakdown, but I can only do so much and don't have all the time in the world to make this perfect. an impossible task as-is.)

so. let's see these numbers in full (in USD):

PRODUCTION - 10% - $2,600 (at the $26k goal) or $2,080 (at $20,800) - $162.50 or $130/episode

so first of all, "production" is a very vague term. to some creators this may or may not include sound design and other aspects of editing, but since sound design is accounted for separately it makes it less clear what this bucket means.

I think that we can get a better idea by looking at the involved crew, but there will still be some guesswork involved.

first up, I think we can assume that this does NOT include payment for writing the script. we've already covered that I think, but I just to explicitly address that since in my mind that would be in the "production" bucket for this categorization of budget.

next we have the producer. again, this is fucking vague as hell in terms of titles, means different stuff to different people. I do however think it is part of this section of payment, given the name, so there is one person.

we also have 2 directors for this project. now, I think a case could be made that the directors are getting paid from the actor pool, but what it really is is part of the production side of things so I am going to assume it is here. that brings us up to 3 people.

lastly we have the graphic designer, a role that definitely falls into production as it almost certainly entails stuff like promotional material, marketing, and unique cover art for episodes (if they go that way, plenty of shows don't).

so we have a total of 4 people to split this money, though not all of these roles are equal. but as an average payment, we're looking at about $650 or $520 per person. I do think that the rate for the directors compared to the graphic design work is not going to paid the same, though I don't really have a clear idea how either of those costs will compare to the role of the producer here.

however.

even if we were to divide this in a way that was VERY generous to the co-directors, up to $1000 each even, that is really fucking low.

if both are taking part in directing all episodes, at 16 total that is $62.50 pay each.

if they are splitting the directing work and each taking 8, that is $125 for the episode in question.

either way, it comes out to the same amount overall, which is not really fair compensation for what will come out to what I would guess is around 25+ hours of work.

that estimation could be really off, but based on my own experiences I think I'm even being a bit conservative on that point. maybe not everything is being directed, some of the smaller parts might be recorded asynchronously, but still.

for a budget this massive, to only be setting aside less than $3000 is kind of ridiculous.

moving on.

MUSIC - 10% - $2,600 (at the $26k goal) or $2,080 (at $20,800) - $162.50 or $130/episode

again, I'm a little confused by the crew list here. we have listed both a "composer" AND someone doing "in-show music". given the context of the framing device as a docu-series, I'm still left pretty confused? this designation of "in-show" kind of implies that there will be a separation between the more professional production investigative documentary-esque side and some other place that music would be. the only things I can think that that would exclude are intro and outro music, which is not hugely significant compared to the main content of the show that will be given original music as background.

it makes it a little harder to distinguish these roles, though I do believe that the "in-show music" is going to be a larger portion of the production, so will likely get a larger chunk of the funds allocated here.

but let's assume for a moment that these are equivalent roles, and look at how much each will be paid:

for the full project, that comes out to $1,300 or $1,040 each (or approximately $81.25 or $65/episode.

now I don't think that the per episode cost here is that valuable, considering music is most often something that is paid a flat fee for. additionally, it's unlikely that every episode is going to have unique music; a certain number of compositions will be done to cover the broad themes needed (i.e. music for action moments, for investigative moments, for emotional moments) and then reused throughout the series. it's not really possible to make a guess at the amount of music that is going to be produced, so whether or not this is a fair pay rate is unclear. I will point out that there is a stretch goal involving an album, so we're probably talking about more than 10 distinct compositions.

even so, let's remember that this is the same amount allocated as for Production, but only split between 2 people. which is interesting. as I said, music can have re-use, but things like direction and production usually cannot, so I would expect those things to take up more time overall. and yet the same amount of money is being split more ways too.

again, this is all educated guesswork. it isn't super common for podcasts to have entirely original music and it's also very nebulous in how many tracks are required to keep things from feeling repetitive and to match the varying tones in a story. this leaves us to kind of just take this section of the budget as a gut check, one that I wouldn't really think much about if not for the fact it is being valued at the same price as "production".

I do think it's also worth asking a question about the need for original music. for a theme and credits track I definitely get it, having something that is 100% solely identifiable with YOUR production is big and helps it feel special. but when we're talking about background music, these are things that are arguably not that important in terms of being completely original?

I do think this isn't that much of an issue here, the music budget is still very tiny compared to the rest of the proposed costs, but it is still over $1000 for something that could be achieved by using a more cost effective solution like a sound library. as an example, Epidemic Sound is $239.88/year for a commercial license, and you could possibly get away with the personal subscription at just $119.88/year (I don't endorse this service, it is just seems to be the one most commonly used). there are a huge number of tracks, more than enough to tackle sound design for a documentary-style horror podcast.

let me be clear: I love music, I love musicians, I think people should have opportunities to get paid for their talent.

but I think it says something about how highly that this production sees itself that they are pursuing costs that are arguably not NECESSARY (we will get back to this, have faith). the more the cost of the campaign climbs, the more you should be evaluating what is most important. if the music isn't integral to the story, how are you justifying that additional cost?

like I said, I don't think it necessarily applies here in the context of the percentage of the budget, but $1,040-1,300 is still a LOT for most campaigns.

but let's keep going, we're about to look at the majority of where the budget is going.

CAST - 40% - $10,400 ($26k) or $8,320 ($20,800) - $1,625 ($26k) or $1,300 ($20,800)/episode

from these numbers we can also break down approximate actor pay.

what we know for sure from the cast announcement is that there are a total of 27 actors (3 of whom are also crew). obviously there are going to be varying levels of supporting vs main, but at this point there isn't anything I can say about the breakdown of that besides a guess (in a cast this size I would personally guess that probably 5ish roles are considered main characters, with 5-10ish as supporting and the rest as flavor characters).

but let's just look at breakdown as though every role were somehow equal in terms of compensation:

that gives us about $385 or $308 per voice actor across all episodes, or an average of $24 or $19.25 per actor per episode.

again, I don't think this is an accurate breakdown, obviously our perspective character is going to be speaking for most of every episode and just from looking at character names in the cast list you can tell quite a few will only appear once or twice.

but when you factor in that over half of these actors are likely doing minor characters and getting paid probably around $25 for their entire contribution, that leaves a lot of money left.

as a quick guesstimation, let's say 15 of the actors are in this group, accounting for only $375 of this budget. that leaves over $10,000 on the table to be split among 12 people, most of whom will not be main characters and probably only make $100-250 each. even if I were to be generous with these numbers, there is still a lot of money left on the table going to the main actors in the group. more than there needs to be for it to be fair compensation.

I want to reiterate that it's difficult to do anything definitive with the information we have, but I think it is somewhat useful to do this exercise as there are some somewhat standard rates of pay within audio drama, at least for smaller sized roles.

I believe in fair pay, but there is a difference between what that means in audio drama and what that means in other voice acting career spaces. I think there is a larger conversation to be had about that, particularly as we keep seeing crowdfunding campaigns of this size that seem to be trying to make their project something that provides a "living wage" to the actors. this is not really a sustainable or reasonable expectation given the amount of work being done, especially when compared to the value that is being given to other aspects of the production process (again, why are the directors getting paid from a bucket that is so much smaller than this one?).

what this seems to be doing is trying to fit a wage mold that isn't really applicable. these are not union actors getting paid industry rates, these are just not those kinds of professional productions. there is something very off about the amount of money being asked here for a project that is not even that large.

but let's move on before I go on an even larger tangent about this side topic.

SOUND DESIGN - 40% - $10,400 ($26k) or $8,320 ($20,800) - $1,625 ($26k) or $1,300 ($20,800)/episode

finally let's address the elephant in the room.

Shelterwood is a project with 1 sound designer. just the one.

Brad Colbroock will be receiving around $10,000 just for this 16-episode project. which is a ridiculous amount.

the claim here is that Brad is worth 27 actors, and 4x the musicians and rest of production team.

oh, but what's this interesting note here at the bottom of this section?

look at that, there is an amount of recognition at the ridiculousness of putting 40% of their budget towards a single sound designer. let's dive into it.

okay, so first of all. this is an extremely unimpressive list of events. I know SEVERAL sound designers who are capable of delivering these specific scenarios in a couple hours each, MAX. if this is meant to show the justification by being the most impressive examples (excluding stuff that would be too spoilery obviously), then I am not very excited for the intensity and weirdness of the show's sound design.

this feels really basic for stuff you are trying to say justifies this high of a price.

I'm serious, this in no way convinces me that his work is going to be worth this much money.

standard sound design rates in audio drama are nowhere near $1,300-1,625 per episode, that is RIDICULOUSLY high. the most I've heard is probably around $500, and that was for an actual play which is significantly more work than your average audio drama episode.

I would like to know how on earth this is a justifiable number.

I would ALSO like to know if "sound design" includes as much as you might think it does.

there are a lot of shows where things like doing the dialogue cut is separated from the sound design aspect. I don't know if that's the case here, but as I'm still struggling to determine what the Producer is going to be in charge of if not the editing, all I can do is try and guess at what tasks are being left on the table.

"sound design" does not necessarily imply all parts of the editing process, and at a price this high that is majorly concerning.

THIS was the reason I decided to do a write-up.

there are a lot of things in this campaign that I think are suspect or just outright bad, but this was the moment that I went "holy fucking shit, these people have completely passed the point of being reasonable in their crowdfunding goals."

I am SO tired of seeing goals placed this high, the only thing it does is take away community funds and resources that could be better spread to a variety of diverse projects.

I'm not saying that Shelterwood doesn't deserve funding and to be made, I AM saying that Shelterwood asking for $26,000 when other campaigns struggle to raise even $2,000 is a big part of the fucking problem with audio drama crowdfunding right now.

this is a form of resource hoarding.

and it's the same people who keep perpetrating and benefitting from it.

I'm just really fucking tired of seeing so many interesting and diverse voices not be given the benefit of the doubt the way that people like this with connections to more established names do. because being friends with people who have a lot of sway DOES make a difference in the long run.

RANT OVER.

before we move on to stretch goals, just a couple small things:

I find it insulting that this team is justifying some of these expenses while still not compensating the writing that Stephen already did. I know I've already brought it up, but having crunched through all those numbers and had to see just how much more they are valuing the sound designer than the person who created the damn thing (which likely included already thought through notes about what the sound design should be), it is a spit in the face of all of the writers in the community. sound designers are very important, yes. but so are the actual minds and writers behind these stories.

Shelterwood is an interesting project because of its concept, NOT because of the promise of the sound design. I would listen to a low budget show with this concept and pitch because it sounds interesting, even if the production quality were barebones. because the actual value is in the story, not the presentation. I think these people have forgotten that.

I would also like to say that as part of a good budget section for a flexible goal campaign, I would expect to see something addressing if there will be changes to the breakdown if that goal is NOT met. before you address stretch goals you really need to talk about this.

now, it IS addressed, but not right here where it should be. it is in the FAQ section (where no one ever looks), so we will be dealing with it there.

I'm not doing a great job at holding back the salt, am I. out of practice forcing professionalism I guess, it's been a bit since I did one of these.

Stretch Goals

I briefly touched on this earlier during the budget section as there was information revealed here that was important for that.

but now let's take a look at it in full and talk about what's left.

Shelterwood has outlined 5 stretch goals:

at $28,000 is promised "off-week micro-sodes with extra scares added to the release schedule". this is an odd one to unpack, but it does reveal a small interesting tidbit in that Shelterwood will not be releasing weekly, most likely every other week. not hugely relevant, just good to know.

what I think IS relevant is that there isn't really a claim to how many of these bonus micro-sodes will be made? the use of the term "off-week" could imply that it is filling every gap in the schedule (i.e. there will be 15 micro-sodes added, one for between each major release and not counting the 6 that would already be out in the world as a side effect of hitting this level of funding).

in conjunction with that, this is only $2k above the fully funded goal, the implication there being that this is enough additional money to cover the cost of what is being promised. which seems pretty impossible at the prices we have been led to believe are needed by the budget section, the math just seem like it would work out to cover that.

at $30,000 the 7th micro-sode is written and released. I would hope that this work includes paying Stephen for their time writing, but the rest of this campaign has made me suspicious that he is not in fact paying himself for that work so I won't hold my breathe on that point. especially since we know that the mini-sodes will require sound design, and that the sound designer is very expensive.

at $32,000 we see "actor payscales increased!"

hm. well that's interesting. there are people involved in this campaign who have been VERY outspoken about how actors should NOT be paid more than sound designers and other parts of production. and yet here we are with a stretch goal that is only going to apply to actors getting paid more?

at $34,000 there is a Shelterwood Album. that's all it says, no clue if that means anything specific as it relates to campaign supporters? might just mean uploaded to Bandcamp for you to purchase if you'd like. to be clear, this isn't a bad stretch goal, I'm just unsure if it's actually going to be something that people get to enjoy "for free" after they've paid enough to the campaign to unlock it.

and finally,

at $35,000 the 8th micro-sode is written and released. I don't have anything to say about that that I didn't say about the $30k stretch goal.

moving on, I promise we're nearly done and all the hard stuff is out of the way now.

Other Ways To Help

always a good thing to have, though to be honest I don't know if it actually ever does anything? I think people are more likely to retweet or reblog a post they see naturally on social media, rather than getting to the bottom of a campaign spiel and deciding to write something up fresh.

giving some examples is a nice touch that makes it much easier, I hope that it is intentionally that they are all somewhat cringey (cringe can be a good thing).

I also this it's really great that there are already crossover episodes lined up with a few other podcasts (though I can't say I'm familiar with any of them apart from Someone Dies In This Elevator, and several seem to be non-audio drama and even nonfiction in aspects, which is an interesting choice for this project?)

I would also like to say that I genuinely LOVE the "more uncanny way to help" section. it is honestly the best part of the campaign and is a model for creative and interesting marketing. I don't know how effective it will be, but this is the kind of fun interesting shit that makes a campaign stand out. it's also a great opportunity for spreading the word if people actually do it. not because I really think people will go to a url on a random flier (I think if you want actual throughput that way you need to add a QR code instead of just the typed web address though, much easier for people to follow through), but because those people will post on social media which will get attention and then you can reblog with some in-universe type response and get free marketing that is engaging.

FAQ

we're done looking at the main bit of the campaign, let's jump over for a look at the FAQ, aka the most frequently ignored part of a campaign.

How long will the show be?

here is the only place that there is mention of the length of the episodes, which gives us a good idea of the full length of the finished product. we are told 40-50 minutes per episode (not including any micro-sodes) so if on average it's going to be 45 minutes each we can math that out to around 12 hours of content. pretty solid amount, I'm not sure why that is buried here though? to me this is important information, I would have expected it to be proudly presented at the top of the campaign when the 16 episodes was first stated.

What makes Shelterwood different from other horror podcasts out there?

honestly this is a good pitch, so good that it shouldn't be hidden away here. move this to your introduction, you want to be sure that people read this when deciding whether to give you money. there are a LOT of horror podcasts, and it's really important to set yourself apart from the get-go. talking about being horror and Gothic in passing isn't going to be enough, you need to really emphasize it.

this is ALSO important in that it is the justification given for the music budget that I was looking for earlier. granted, the necessity of this as being vital to the show will remain to be seen, but "in-universe songs that haunt the whole show" is the kind of thing that would make me more excited to give. highlight that in the main body of the campaign, make a point of clearly calling out why these things are so necessary to the fabric of the show. it helps you stand out and it helps you communicate their importance.

How scary will the show really be?

I honestly don't think this is really a provable thing, people will know if it's scary once they hear it. usually I would lean on the creator's previous work, but we have nothing here to look at for that. so like all things, it will come down to personal taste whether listeners find it scary. hard to quantify something like that, honestly I think the only reason this is here is to try and bolster Stephen Indrisano's experience and why you should trust them to make a good horror show.

the problem being that this isn't being put where we as a prospective backer are introduced to him, but somewhere most will never look.

What happens if the goal isn't reached?

now as I said earlier, I really feel like this should be addressed in the main body of the campaign because most people won't look here.

but here it is, and here we are. so let's talk about what this says:

If we cannot reach our goal, we will have to go back to our budget and start making tough decisions about pay scales, characters, and whether the show can be made at all while still fairly compensating our team. If we cannot raise the funds, there will be large delays in production until we can determine outside funding. We are dedicated to paying our cast and crew what they deserve for high-quality work.

overall, the way this is worded and framed is kind of vague? yes, there's no reason to get into details here about what would need to change, but it feels like a dangling threat that you are meant to fill in with your own worst case scenario "what-ifs". it's also a bit concerning in some aspects, because which pay scales are we talking about here?

while going through the budget earlier, it was very clear what work was valued most of all: the sound designer. now, it's also important to note that he is probably being paid a fixed rate that will be non-negotiable, most sound designers have a per hour rate they give and you don't really haggle that. so I don't believe any of that shortfall would come from his budget.

the next obvious pool is actors, which makes sense given it also calls out whether characters will need to be cut. this is kind of shitty, as all of these people are already promoting this project they got cast in and might get removed from without warning. this is a FLEXIBLE GOAL, so to get cut after putting in time and effort to help get more money means that you just did that labor for free that you would have been compensated for in some way before. just because you aren't paying cast and crew to do promotion doesn't mean that their actual pay isn't in some part FOR that. this is true in any job, if you were organizing a money-making event and then got fired right before it happened, the money that the company made off of the thing you planned is not benefiting you.

I think in a lot of these cases, it's production that takes the brunt of these cutbacks first. these are the people who feel the most investment in making the project happen, and the most willing to undercut themselves to try and make sure it does.

now then. the most egregious part.

we will have to go back to our budget and start making tough decisions about pay scales, characters, and whether the show can be made at all

"whether the show can be made at all".

this is a "flexible goal" campaign. that means that any money they raise is going to be kept by them, whether or not they decide they can actually make the show "at all".

a charitable reading of this would be that in that case they will refund all the donations and not keep any money.

but it's weird not to say it outright because all that does is make you look like someone who will try to get away with keeping the money, even if the project falls apart.

there's also something else I think we should talk about with regards to this:

I think that by creating a flexible goal, you are implicitly saying "we don't think we'll reach the full goal, and we'd still like to get some money if we don't."

if this is the case, then why aren't you creating the initial budget with that in mind?

I think I touched on this in the Arden post, but you should be presenting your "minimum viable product". what this means is that you are stating that for the project to exist it MUST have at least this. and I don't mean in terms of money, I mean in terms of cast and crew and episodes and time that can be given to create the most bare version of the thing that will get to the goal.

that might mean no original music, that might mean fewer side characters, that might mean half as many episodes.

whatever it means, THAT is what you need to be thinking about when you start asking for money. especially if you are already approaching it from the stance of "we will take whatever we can get", you need to know going in what that looks like. it is NOT something to be decide later if you don't hit the goal, it is something that needs to be known upfront and used as the basis for your decision-making.

doing anything else is irresponsible to all parties involved, including those trusting you to put their money to good use.

Campaign Updates

you thought we were done?

so did I god fucking dammit why are we not done yet.

since campaign launch there have been 3 updates.

the first is from about 2 weeks ago, just sharing that the first bonus micro-sode was released with a link and reminder that at every $5k another one will be released.

the second was posted at the end of the first week of crowdfunding (just over a week ago as of right now).

this update actually has something interesting that I pointed out earlier. at this point, the campaign decided to add another reward at the $100 tier and above, a unique page of blackout poetry. which is fine, except that again this is hidden away where most people won't see it, and the actual tiers and body of the campaign need to be updated to reflect this additional perk for it to do any good in convincing supporters to give money at that level. right now it's basically just a hidden easter egg reward.

however this post also alludes to something in the 3rd update. something I fucking hate.

can I just say how much this reminds me of those Instagram "follow and tag 2 of your friends!" contests? I can't be the only one.

but let's actually look at what this is:

We are pleased to announce that, effective immediately, we will be running a referral contest. What does that mean? In a nutshell, we will be offering one of three very special, unique perks to the top three individuals who can gather new pledges through referral links: 1. A walk-on part in the show, to be recorded when production starts 2. A personalised list of horror recommendations from the cast and crew 3. A character named after you, who will die spectacularly in Shetlerwood The rules of our contest are simple: whoever gets first place gets first pick of the rewards. 2nd place gets 2nd pick, and 3rd place gets 3rd pick.

so there is a lot about this that I think is bad, some of which might just come down to personal ethics and what I would be willing to do as part of a fundraiser?

I hope it's at least clear why I find this kind of thing gross and exploitative. in a way you are dangling rewards that are reliant on someone having a relative position of privilege. referrals only count if the person follows through and donates, which means that you need to be friends with people who can afford to do that.

I will say that I am VERY thankful it seems to be based on the number of referrals and not the AMOUNT that is garnered by them, but there is still something very gross feeling about this that I can't shake.

part of it might be that these feel like backer rewards that were withheld for the sake of this contest. like they were going to do this no matter what and they looked at the things they could offer and went "let's hold back these enticing things specifically for that". especially when the actual campaign rewards are really lackluster, to hold these back and have fans compete to try and get them is gross to me.

I fully accept this might just be a "me thing" that I find this to be icky, but none of us are original so at least one other person is going to agree with me. that doesn't make it the right opinion, it just reinforces that it is a valid one.

I don't think that contests are a bad thing, there is just something about a "referral contest" that makes me think of MLMs and other financially exploitative systems.

but now let's talk about the fun part of this update, which is the reveal of the "Haunt-Your-Own-House Micro-Zine".

I am happy to report being right about the quality of this "micro-zine". allow me to draw your attention to the fact that the printed "shingles" are not oriented correctly. you cannot convince me this was a design choice, I'm pretty positive it's just sloppiness.

would just like to point out that this is not a zine of any kind, this is just papercraft. which is fine, but that's a REALLY different thing. I don't want a bit of papercraft taking up space, a small zine that can slip onto a little bookshelf is much more desirable to me.

as an idea, it's not a bad one though. like this is a fun little thing for you to put together and maybe customize, but you should advertise it for what it is, which is NOT a zine of any kind.

but also, the ghost shown in the image is NOT part of it. I thought that was another bit of papercraft when I was writing the image description above, but no apparently it isn't even part of it, they just stuck it in there to make the thing look less boring. if it can't look impressive as the thing you are giving, maybe that's a sign it isn't a good reward.

before we move on from this, they also say the following:

The PDF for these will be sent out to all backers at the $30 level and above within the next 48 hours, so be on the lookout for that!

now I might be wrong, but I'm pretty sure that backers haven't actually given money yet. they can still cancel their pledge, but you are already looking to fulfill the reward?

I can understand this as a marketing move, get the thing in people's hands so they can make it and post on social media to help the campaign gain traction. but you are jumping the gun and if I wanted to I could back, get the PDF, and then fucking bounce now that I have it. just thought I should point that out.

no, I will not be doing that, I don't need this kind of clutter on my desk and I don't even own a working printer.

okay, one last part of this update: "even more bonus audio!"

here we get an acknowledgment that the campaign is not really on track to hit full funding, so they are adjusting their goals in terms of releasing additional content to try and attract more support.

Unfortunately, our funding has been a bit too slow to reach many of those [$5,000 micro-sode] goals... which is why we're lowering the bar and releasing new audio on our YouTube channel every $1000 instead! This will include exclusive micro-interviews with some of our iconic cast and crew about all things horror podcasting, as well as other terrifying glimpses into the world of Shelterwood

can we stop using "micro" as a prefix on everything?

so I am a little confused by the wording here, in the sense that "lowering the bar" is a phrase usually used to talk about a change to something, rather than the addition of new things? so I'm a bit unsure of whether this is going to impact the existing every $5k micro-sode goal, or if this is something entirely separate that is being introduced to try and get more excitement.

I think it's fine either way, I was just a bit confused by the wording and curious if they are considering adjustments to the micro-sode goals to ensure they will get to release all of them (since I think it's pretty clear the first 6 are completely produced and ready to go).

as for the actual content being promised here, it seems fine enough? I'm assuming that they are having to dig into some stuff they were hoping to save for later, and I hope that the "micro-interviews" are at least somewhat substantial enough to justify their existence.

as a note, it's weird that they hyperlinked to the first micro-sode, but not to their YouTube channel where these new things are going to be posted? there's nothing up yet (unless you could some Shorts) so I'm assuming they mean every additional $1k after the update was posted.

that is all for the updates because I am determined to publish this before they can put another one out. I need this to be done, and we are NEARLY there.

please bear with me, the last section is extremely important.

The Catch-All Section

here's just random stuff that I noticed or thought of but didn't have a real place anywhere else:

in the Cast and Crew graphic, why is Karim Kronfli the only person who's name is at the bottom of the image rather than the top? just a weirdly random inconsistency that bothers the perfectionist in me

please more images and pictures, they don't need to be much (especially since as I stated before we unfortunately don't have any kind of alt text feature for campaigns to utilize) but they keep people from getting bored staring at a massive wall of unbroken text

there were more than a few typos across the campaign (the show's name on one occassion). it's a good idea to put all your text in a word processor first to catch these things, you just aren't going to see it yourself the 5th time you are re-reading the campaign before publishing. let a computer check your work.

it would be nice generally to see more creativity when it comes to rewards. things don't have to be expensive or extravagant to be interesting, even at lower tiers. think about the world you are creating, think about what works within it. as an example, the WOE.BEGONE patreon has a tier at which the creator writes in-character postcards to patrons that when put together reveal a larger story (this is an example of something that I find really creative and like. I know it's not a crowdfunding campaign but whenever I think about rewarding listeners for their support I think about this). and he does this every month. that is an incredibly clever use of the world that show has built and connecting the fans to it in a unique way. you only have to figure out something like that once for your campaign, I believe in you.

Conclusion and a Larger Conversation

so why am I once again talking about a high profile campaign that is asking for a lot of money?

I think there needs to be a recognition of the importance of the context surrounding when you launch a campaign as well. because the financial situation right now is very different from the financial situation a year ago is very different from the financial situation of 2019.

as an example, let's look at the Afflicted Season 2 crowdfunding campaign that just ended in failure.

this was a FIXED GOAL campaign. they were asking for $23,500 USD and they only made it to $13,283, just over 50% of the way there. so they got none of it. it was all or nothing and the result this time was nothing.

and that really sucks for a lot of reasons.

I had some criticisms about that campaign that I kept to myself at the time, in part because diverse voices in audio drama is really important. Afflicted provided a lot of opportunities for marginalized creators to get established and share their unique voices. so often the campaigns that are getting met are the ones that continue to prop up the same types of voices and experiences as we've all heard before.

I am much more interested in the unique horror that a show like Afflicted is bringing to the table as a production driven by a Black woman than I am with hearing from the same types of voices we are used to. we have a lot of similar people making stuff in the community, and frankly a lot of our "diversity" is mostly driven by being white and queer. these voices are important too and there's a lot that is good, but that is the majority in this space. that's why we need to make sure we are getting opportunities to the people who don't have the privilege or connections.

this is a personal opinion, not one everyone will agree with. but we are better as a community when we do extra work to make sure that more varied diversity is highlighted and supported.

Afflicted planted their foot saying "this much or nothing" and took the gamble that most of these high number campaigns are unwilling to do. a gamble that they succeeded in last year to fund the first season.

the difference is partly that the economy looked really different last year. disposable income, rent prices, general cost of living. it wasn't great, but it was better than it is now and that MATTERS. we all know how fucking bad it is right now, especially in the US, so to be asking these massive amounts of money is tone deaf. in this case, Afflicted was even asking for MORE than they raised for season 1. you could argue some of that is because they already managed to prove themselves as creators who were good for the money and deserved that kind of chance.

but the fact of the matter is that people just don't have that kind of cash to give over and over.

which leads into my main point.

every time I see a campaign with this high of a goal I think one thing:

"this is hurting the community."

now, that may not sound reasonable to some of you, especially if you are one of the people who believes that numbers this high are justifiable.

when we talk about supporting each other from a audio drama creator standpoint, it is done so freely and with an understanding that new listeners isn't really a thing we're going to run out of. if I recommend 10 podcasts I like, that doesn't hurt MY show. it just helps the community by sharing things we generally enjoy and care about it. this is how you end up with the networks of support that we've seen in newer places like the Audio Drama Lab.

unfortunately, money is not the same.

the amount of money that each of us has to give to support the things we like is limited based on our individual situations. anyone recommending a specific crowdfunding campaign to give money to DOES have an impact on the amount of money left in the pool for others.

so when something like Shelterwood or Arden or Afflicted or Among the Stacks or The Magnus fucking Protocol asks for these amounts, this is ACTIVELY impacting whether other campaigns will succeed.

while The Magnus Protocol raised over £700,000 (or about $940,000 USD), DOZENS (probably more) of smaller projects were struggling to get less than half a percent of that.

that was money that could have done a lot more community good than supporting a blatant RQ cash grab.

we're looking at a different scale here, obviously. I do not think that the absolutely disgusting amount raised for one of the most beloved audio drama's sequels is directly comparable to what these campaigns are asking.

but it certainly did help them when trying to legitimize those numbers.

$26,000 is a LOT of money.

there are a lot of people who would be able to change their lives on even just 20% of that, be able to create new and interesting things if given just a little bit of support. and most of them are not asking for much.

but repeatedly having these large projects that position themselves as more worthy and better is hurting us all.

I think we also need to talk about what it means to pay "fair wages"? because a lot of people don't even make that at their day jobs. a "fair wage" is a capitalist idea that most don't benefit from, and it isn't necessarily applicable to every industry.

most voice actors do not get by doing projects they care about, they get by doing commercials and audio books and training videos for random corporations. because a "fair wage" in voice acting is not necessarily a set thing where hours and effort given always corresponds to money received.

all creative industries have trouble supporting that, this is a capitalism problem that you are trying to fix with more capitalism. you can't force the concept of "fair wages" into a space that monetarily cannot support it.

because what you are doing is creating an ecosystem where only YOUR cast and crew will get fair wages for their work. everyone else will have to do the compromise for YOUR sake.

there's that phrase, "a rising tide lifts all boats". I think people cling to this when they see these kinds of things, especially when they are successful. "isn't that good for all of us? doesn't that mean everyone will get more?"

again, no. money is a resource that is limited (for us as non-rich oligarchs).

the "rising tide" is not the ocean that freely gives and takes water in cycles. where we actually are is a dam, where water levels are carefully controlled and directed and distributed during times of drought. campaigns like this are part of that, they direct the water towards the richer and more privileged neighborhoods, the people who already have connections and opportunities.

there is less water left for everyone else.

THAT is what these campaigns do, THAT is why it is important to really assess what is necessary.

I don't think think that people shouldn't be able to make a living off of what they love, but I think that there are exploitative ways to do it and non-exploitative ways. these campaigns are exploitation in a way. crowdfunding in theory shouldn't be that, but it becomes that. especially when you start to enter the territory of these numbers, both in what is being asked for and what tiers are being presented as "normal and reasonable amounts for a single person to be giving".

we need to fucking stop this before we let these kinds of campaigns empty the dam completely.

that's it. that's all I have to say on this.

this is a conversation, one that I want us to have. I am tired of watching people who are already privileged continue to hoard the resources.

we can do better.

anyway, I think this campaign is a product of a larger issue. it is NOT "the problem", but it is a symptom of it. one that you are making a statement about in deciding to give or withhold money. it's not in my hands, it's in yours.

just keep what I said in mind, and maybe search the terms "audio drama" on whatever crowdfunder you like best.

take note of all the other projects you see, projects that have promise and talent and don't have connections that make them feel like they deserve to take half the pie home.

[mr-entj]

Has your success caused other people at your jobs to absolutely hate you? If so, how did you handle them?

Yes, but few outwardly showed it even though it was slightly apparent if not glaringly obvious. I ignored them. Cream always rises to the top and if you’re great, then continue being great regardless of how other people feel about you. Be objective and neutral, keep it cordial, never gossip or slander, stay focused on the goals, and deliver excellent results. Don’t get sucked into the drama because as soon as you take the bait you’ll be trapped in the arena of bullshit internal politics. Instead, find others who share the same mentality, ambition, and work ethic as you. Keep these people close and excel together as a team. Over a longer period of time, you’ll see that success multiply throughout your careers even after you go your separate ways. Those people become your network.

For the most part, the exact opposite happened to me when I became successful and that’s the bigger threat because fake love is worse than real hate. There’s a saying: “A rising tide lifts all boats” and if you’re a rising tide (a superstar), you’ll soon find that many people who may or may not have liked you in the past will suddenly appear in hopes of capitalizing on your career momentum, your positive reputation, and your strong professional network to propel their own careers. The same effect happened in my personal life with certain relatives, ‘friends’, and distant acquaintances. I became much more popular when my career took off, when my ‘social status’ rose, and when my income and net worth multiplied to seven figures. Suddenly, everyone remembered my birthday, everyone knew my phone number, and I was invited to more dinners, gatherings, weddings, and events than ever before. These same people were predictably absent when I was a college dropout and janitor making minimum wage scrubbing toilets at the local mall. This is why it’s crucial to know the difference between flattery and encouragement. Flattery has ulterior motives so develop objective measures to gauge performance, stay grounded and humble, and always hold yourself to your personal definitions of happiness so you don’t seek external validation from other people. Keep your head on straight. 

People gravitate towards success which is why it’s important to surround yourself with friends, family, colleagues, mentors, and confidants who are immune to the amount of money you earn, the career you have, the car you drive, the things you own, the ‘social status’ you have, and so on and so forth. I’ve always maintained a tight inner circle in my life; I have people I’ve thoroughly vetted over the years who I trust to be honest with me even when it’s a difficult conversation, to stay objective even when it’s a messy situation, to call me out on my shit when I’m wrong, and to have my best interests in mind even when I can be too stubborn to see it at the time. You’ll find that you can weather most storms in life with a strong foundation of authentic, supportive, and loving relationships. Build your tribe.

[popculturebuffet]

Amphibia Season 2 Reviews: The Second Temple and Barrel’s Warhammer “The First Drumbeats of War”

Welcome back all you happy people! We’re in the final stretch of the season now, only three more episodes after this. And with this episode the end trajectory of the season becomes clear and the anticipation to the finale mounts.. and the dread as boy oh boy is this one going to hurt. Join me under the cut for a recap and spoiilers as I break down my thoughts and prepare for war. 

The Second Temple:

Our heroes head to the great north for their next temple...

No no I just mean the arctic part of Amphibia. That’s sadly not a crossover we’re getting.. yet. One can dream.. or write weird fanfiction. Point is it’s time for an ice adventure. Also Hop Pop now has his own “Hop Pocket” in Joe’s sweater> Aww. Also Joe has a sweater now. Awwww. And he crashed upside down. Awwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwww. I keep thinking I love this bird as much as humanly possible and he keeps going and finding new ways to make me love him more. 

Our heroes soon run into a problem though: While Marcy’s coordinates got them there the temple isn’t in sight. Anne does find them some help though as she spots a familiar stand. It’s some lady they met back in the bizzare bazzar named valeriana?

Yeah clearly a lot of you have better memories than me, which isn’t hard my mind is a never ending sinkhole and while I remember a LOT of stuff, I often forget just as much. So a vendor lady who was hinted to be important but didn’t do much in the episode itself totally slipped my mind and I didn’t even notice she was apparently in the season 2b trailer. I have no memory for a character who turns out to be vitally important yet all the memory for Stoopy. 

Your doin Odd’s work Stoopy. But she is as she offers to take them to the temple, revealing herself as part of a hiden order dedicated to the calamity box and protecting it.

But like most hidden orders, Val seems to be a huge prick, and chastises and berates Anne constantly questioning her worthness and skil, and chastising her for giving up her coat to save her friends when a cardinal Val summons goes after their catapillar skin coats, and goes out of her way to rescue a family in the path of an avalanche. Val decides from all of this Anne is not worthy and she won’t guide them.. which causes Anne to rightfully call her out on her episode long streak of irritating condesencing bullshit. Val responds as you’d expect.. by warping Anne to another dimension and trying to steal the box from her leading to a fight. The fight is engaging with Anne giving it her best, though weirdly she didn’t take her sword along, while Val points out a lot of anne’s thefts over the years: from bessie to hop pop’s wallet.. to the box. Which Anne admits.. but also admits as shitty as it is it’s better to learn from bad things you did and do the right thing now, than to dwell on them and let htem drown you. 

Anne wins and val is dangling by a ledge and while she points out Anne can’t escape without her.. Anne figured out the staff. But Anne.. is a good persona nd as much as she’d like to let val die when her hand slips...she dosen’t. SHe’s her enemy sure but she’s still a person and her death does nothing and solves nothing. And that.. turned out to be the whole point. Val was simply testing Anne’s character: The whole journey was the temple and while the previous temple tested for intellegence.. this one tested for heart, anne’s greatest trait. Val powers the gem with her staff glad to have found something worthy.. but much like Luke or Aaang, Anne hears her friends in trouble and leaves with the gem only mostly charged. She returns.. to find everyone okay, Marcy showing the plantars stuff on her phone, and they set off... but the gem blinks a bit as they leave. 

Final Thoughts on the Second Temple: The second temple is a decent episode. It has some great worldbuilding, some good gags and really shows off anne’s character development, her empathy and her bravery while giving us an intresting side character and possible future Ally in Valeriana and increasing the mystery around the calamity box. If it’s REALLY as bad as it’s name implies... then why are these people protecting it? And why are the protections, the order the temples.. benevolent, based on personal character and making sure the right person passes. Did Andrias name it that.. and if so.. did he do it for his master? I have a lotta questions and i’m excited to get the answers. All in all a very decent ep.. but like last week the second one majorly upstages it. 

Barrel’s Warhammer

So we finally check back with Sasha and I was excited as her previous spotlight episode earlier in the season is still the best episode of the season. But this one brilliantly builds on that. 

The various leader of the toad towers are having a summit and well...

So i’m just going to call them the cryptkeeper, bad haircut and grime’s sister. Their all doubtful of whatever pitch Grime has while Grime and Co are preparing, and have bonded with Percy and Braddock more and the two having designed a cool one eyed logo for their army. 

The pitch is intrigues the toad with even Grime’s Sister he used to tease as a kid being impressed.. and reveals to our anti-heroes that his name is Grimothy. Grimothy. GRIMOTHY

But their not impressed with the idea of a disgraced captain and his “Hummus” leading them, even if Andrias has his own Humuss’... and this reveals to Sasha her best friends exes are doing just fine without her and working together. She takes it how you’d expect.. by taking it out on Bad Haircut’s guards and angrily asking waht it’llt ake. it’s then the cryptkeeper rises, turning out not to be dead with one request: Barrel’s Warrhammer. Sasha agrees to retreive it for them, but both Percy and Braddock are terrified.. as is GRIME of all people. 

We find out why as they take a lava boat to go fetch the thing: Barrel’s Warhammer is a legendary weapon, wielded by the Toad Hero Barrel, who used it to fight off a great monster and keep it from destroying a villiage dying in the process with his hammer apparently still guarded by said beast. Grime doubts it’s actually real and feels i’ts just a legend. But Percy and Braddock are more concerned with posisbly dying but Sasha reassures them that they’ll be fine and if it gets too dangerous, she’ll bail, using a Kawaii pose as a signal and making me feel very old. 

They find the Hammer but can’t lift it because “Only those who be worthy can”.. oh wait wrong hammer. No this one is just really heavy. They soon find the beast, a narwhaal worm, a massive armored horned worm. Phrasing. So naturally Braddock and Percy want to opt out... but Sasha chooses going after the worm over honoring her promise, and hooking the things horn to ride it to the tower. They just need to bring the hammer there.... even if it costs her friends their lives and saftey and involves betraying them. And this creates a marvelous parallel to the other episode in this pairing: Anne time and time again puts her family and girlfriend, random strangers and even an enemy’s life above her own. To Anne it’s helping other people what’s important damn what happens to her. If she’s cold, buired or something else fine. What matters is someone else is safe.  Sasha by contrast.. is willing to risk herself and other sif it means getting waht she wants. It’s her will to matters.. and it’s her lack of empathy that’s holding her back. Anne is strong because she has her new family, Marcy, and an army of loayal friends in Wartwood. Sasha may be strong in ablility.. but her weakness in heart costs her. She has grime.. btu that end sup being it as while they sucessfully arrive and get the troops they need.. Braddock and Percy can’t bear the cost or danger or the hurt of Sasha’s betryal and depart with Grime noting that getting what you want costs. But as we’ve seen with Anne and Marcy’s respective temples, it was doing the right thing NOT getting what they wanted, that made them better as people and got further. And as the look on Sasha’s face shows as her friends depart her, and she realizes she’s almost entirely alone.. she’s not sure world domination is really WHAT she wants. OR that it was worth the prices she keeps having to pay. 

Final Thoughts:

Barrel’s Warrhamer is another masterpiece following sasha. While not as strong as Toadcatcher it’s still damn good, showing Sasha’s further travels down a bad road, and her starting to doubt if this path is really worth it. The acting and animation are topnotch, as is the world building. It’s a truly stellar showing that just ratchets up tension for the fianle.. and for the inteivitble reunion between our three heroines and the clash between their three sides; the king Marcy serves without realizing his true malevoence, the Toads  Sasha and grime are leading to war.. and the frogs Anne once swore to protect that are about to be swept up in the tides of war.. and possibly take a stand against both sides. War is coming for our heroines and they are not ready for the hell that is to come.. and neither am I. Frog this is going to be painful isn’t it? 

If you liked this review follow me for more, shoot me an ask or comment with your own thoughts, send me a dm if you want to comission a review and join my patreon at patreon.com/popculturebuffet so I can keep making these reviews. Until the next rainbow it’s been a pleasure. 

[godsporncollection]

Saturday GC Sessions Summary

Topics, quotes, and summaries of the talks given in the Saturday sessions of the fall 2020 General Conference (with occasional commentary in parenthesis)

*This is (mostly) written from a TBM pov, so I’ve glossed over many... unsavory things. That said, if you’re gonna quote this, definitely proofread it first because I occasionally switch to exmo pov. 

Sunday Sessions (long version)

Sunday Sessions (shorter version)

Russel M Nelson

Hopeful, holy bullshit/look at all the spiritually awesome stuff we're doing/gonna do. (idk, there didn't really seem to be much of a talk there)

David A Bednar

Tests in school are as important as the tests of us living on earth. 

"Prove, examine, and try."  

"If ye are prepared, ye shall not fear." 

Susan and I looked over our food storage and learned that we did well in most areas, but found some expired things we were afraid would unleash another global pandemic. 

Remember, when loved ones die, and you don't know why, god does. It's a lesson in faith. 

Scott D Whiting

How to be more like christ. 

Wife and I were in Japan, hiking up a mountain; it was hard because altitude. 

One step at a time is how we become more like christ. 

Honesty is important, honesty with ourselves.

You can ask others how they view you, but god is a better person to ask, with his perfect view of us. 

REPENT! to be the best version of ourselves. Change your heart and mind to be like christ. 

Choose one attribute to focus on at a time. Constantly ask god for help, but don't be selfish. 

"Be the tide that raises all boats in the harbor." 

Recognize that desired attribute in others. Put in a lot of effort. 

Caution- don't feel guilty, unworthy, or unloved; that is not what life is about. 

You are good enough and loved, but that doesn't mean you're a perfect version of yourself.

Michelle D Craig

Story of Elijah for allegory of struggling to see how god is in your life. 

Wait and trust in god. Pray for the lord to open your eyes. Understand how god sees you. 

Ask yourself: what am I doing that I should stop and what should I be doing? 

Stop looking at your phone. I think it's a good time to multitask, but the spirit told me to stop and the next day, while in line at the grocery store, I looked at the people around me instead. I saw old man and struck up a conversation with him based on what was in his cart (cat food). He said it was his birthday so I wished him a happy birthday. This guy needed me to see him. 

A story of a friend who separated from her husband and hoped nobody would talk to her at church. A young woman kept looking back at her and came up to her after sacrament meeting. The young woman told her she loved her and they became friends and it helped her because she felt noticed and cared about. 

Ask god to help you see others and act to affirm their lives. This is how we identify our own purpose.

Quentin L Cook

Righteousness. Female followers of brigham young found career opportunites in Utah and friends in the native americans. (Gave a whole bullshit Utah thanksgiving story, complete with rewriting history so white people can feel better about themselves for feeding the natives). There is unity in respect. Historically, we have not been perfect, but that is the goal. We don't need to have all the blessings of god to be righteous. Love god and fellow man to live in eternal peace and happiness with god. "Historical record" in 1 nephi shows there were no happier people because of righteousness. But then that society was destroyed so much that mormon asked how they would avoid punishment. We live in that latter time, not unity. Our challenge is to lift and bless society as a whole. Demonstrated by ethnic harmony and an all inclusive doctrine. Unity and diversity are not opposites. All races and colors are children of god. Laws written in god's chosen land (US) were written by imperfect men, but inspired by god for equal treatment of all men. Remember that we were onced very opressed because we wanted to share jesus' love. If you are not united, you are not god's children. Gosple culture is greater than regional cultures. We honor pioneers because of their struggles.

Ronald A Rasband

Supplying the world with temples is a holy duty. 

Sacred ordinaces lead to exaltation. 

"Temples rise above the ways of the world. Every temple... stand as testaments to our faith and eternal life and the joy of spending it with our families and heavenly father. They increase understanding of the godhead and the everlasting gospel and commitment to live and teach truth and our willingness to follow the example of jesus." 

I learned an important lesson while visiting my father in law as he was dying; that temple recommends are important, even while dying. 

The worthiness interview "is not about do's and dont's. It is about finding your worthiness and to testify of your devotion to the gospel teachings." 

(I stopped paying attention for a while.) 

Hunter said his biggest desire was to have every member hold a temple recommend. 

Come get yo rec's! "Whether you have access to a temple or not, it is still important to remain and prove your worthiness." 

(I'm really struggling to pay attention to this guy and holy shit he stressed "be patient" while I was typing that.)

Dallin H Oaks

"The lord's teachings are for eternity and for all of god's children." 

My examples will be US-centric, but I'm sure that the issues the US face are universal, right? 

Destrucitve behavior in political statements are not good. 

Remember that JC said to love your enemies. Contention is of the devil, not JC. It isn't easy. Seek and ye shall find the strength to love. 

Follow the laws of man. 

Nobody can make us angry, it is our choice to be angry. 

(Reference to The King and I-) learn about other people's culture. 

Don't participate in rioting. 

Wait, he's supporting the first ammendement- oh, the stress here is on the word "peaceful". We must do better to end racism. But remember to be peaceful! No violence. Anarchy is evil. Lincoln said "there is no greivance that is a fit object of redress by mob law". It undermines individual rights, not protects. 

The US was started by diverse people! We're inherintly diverse! Here's a diverse (british) example!

AFTERNOON SESSION

D Todd Christofferson

There's a 2030 sustainable development agreement thingy. It's got 17 goals including- no poverty, no hunger, quality education, gender equality, clean water and sanitation, and decent work. It is interesting and important. 

More important is a sustainable society. 

Two biblical examples: 1. The city of enoch. They were of one heart and one mind. 2. The 1st generations of nephites an lamanites. No envies nor strifes. No murders or lying. No happier people than them. Love thy neighbor. Every man seeking the interests of his neighbor. Virtues uphold these societies. 

Then they became exceedingly wicked and millions died in wars amongst themselves. 

"When people turn from a sense of accountability to god and begin to trust instead in the arm of flesh (?)", disaster lurks. 

A good life is more important than a long life. 

I'm so fucking blessed, so this really isn't a good topic for me, but here we are. 

The light of christ is what uneducated people call a consience. 

"When one has no higher god than himself, and seeks no greater good than satisfying his own appetites and preferences, the effects will be manifest in due course. A society, for example, in which individual consent is the only constraint on sexual activity is a society in decay. Adultery, promiscuity, elective abortion and out of wedlock births are but some of the bitter fruit that grow out of the immorality sanctioned by the sexual revolution." This leads to poverty and fatherless families, sometimes in multiple generations, and deficient education and mental destruction. 

"Our joyous message is that there is a better way through god... (the core truths of this message are) god lives, he is the heavenly father of our spirits, that as a manifestation of his love, he's given us commandments that lead to a fullnes of joy with him, that JC is the son of god and our redeemer, that he suffered and died to atone for sins on condition of our repentance, that he rose from the dead, bringing to pass the resurrection of human kind, and that we will all stand before him to be judged."

Steven J Lund

My son had cancer. It was hard. He was in lots of pain, but still wanted to go to church even when his mom suggested he stay home. He knew he inspired others when they saw him there, representing the savior by willingly suffering to serve. 

All youth programs are there to help them be more like JC. 

They are surrounded by things that keep helping them do that, but they're still making mistakes, so parents and leaders need to step up (potterheads grab your wands).

Gerrit W Gong

Family of 10 is hated by neighbors, nobody likes them until their house burns down. Then they were showed kindness, hope, and understanding by their neighbors helping them. 

"Our 2020 bicentenniel proclamation begins with the profoundly inclusive promise that god loves his children in every nation of the world. Each of us in every nation... god promises covenants, and invites us to come partake of his abundant joy and goodness. God's love for all people is affirmed throughout scripture that love encompasses the abrahamic covenent, gathering his scattered children, and his plan of happiness. In the house of faith, there are to be no strangers, no foreigners, no rich and poor, no outside others. As fellow citizens with the saints, we're invited to help the world for the better, from inside out; one person, one family, one neighborhood at a time. This happens when we share the gospel." 

Church materials are available in many regions and languages. We're gonna focus on that for a while. (And I stopped paying attention again. This dude is boring af. And I have a high threshold for boring right now) 

Talking about how members do charity work.

W Christopher Waddell

Some kid said it was the greatest day of his life to meet this guy who talks to the profit a couple of times a week. The story is given with the obvious topic of "we thank thee oh god for a prophet". 

Prophets tell us to prepare for crisis. 

We understand your struggles and want to express that there are better days ahead. Church leaders can help you. 

The lord loves effort. 

Have stores of food and money, but don't go to extremes in your efforts to establish those things. 

We have a brochure on finances with quotes from people about how god will provide. 

Remember Joseph in Egypt. 

"All things are spiritual to the lord and not at any time has he given us a law which is temporal." 

Manage your finances and have food storage.

Matthew S Holland

The feeling of Alma remembering his sins are as painful as passing a kidney stone (?!). 

Repentance will bring us relief. 

We have no idea how bad our suffering will be if we don't repent. 

"Medical science, professional counseling or legal rectification can help alleviate such suffering but note, all good gifts including these, come from the savior. Regardless [of] the causes of our worst hurt or heartaches, the ultimate source of relief is the same: JC. He alone holds the full power and healing balm to correct every mistake, right every wrong, adjust every imperfection, mend every wound, and deliver every delayed blessing." 

When you feel like nobody could understand your suffering, remember that jesus can. 

"Suffering in righteousness helps qualify your for, rather than distinguishes you from, god's elect."

William K Jackson

An Indian dude didn't want to turn his back on his culture in order to convert with the rest of his family. But JC was able to open his eyes to a different viewpoint. 

Our original culture is the culture of Adam and Enoch. It is the greatest of all cultures. There is no "us v them" mentality in the greatest of all cultures. 

"We believe that we are responsible and accountable for ourselves, each other, the church, and our world. Faith in JC is the first principle of our culture, and obedience to his teachings and commandments is the outcome.” 

“It is a culture of covenants and ordinances, high moral standards, sacrifice, forgiveness, repentance, and caring for the temple of our bodies. It is a culture of the preisthood, the authority to act in god's name, the power of god to bless his children. It edifies and enables individuals to be better people, leaders, mothers, fathers, and companions- and it sanctifies the home. In the culture of christ, women are elevated to their proper and eternal status. They are not subservient to men, as in many cultures in today's world, but full and equal partners here and in the world to come.” 

“The family is the basic unit of eternity. The perfection of the family is worth any sacrifice" because, as has been taught, "no other success can compensate for failure in the home." 

This culture is concerned with things of lasting worth. 

It is inclusive, not exclusive. 

"Because this culture results from the application of our savior's teachings, it helps provide a healing balm of which our world (cue crying) is in such desperate need. What a blessing it is to be a part of this grand and (voice wavering) *noble* way of life. The church is hardly a western society or an american cultural phenomenon. it is an international church, as it was always meant to be. New members from around the world bring richness, diversity, and excitement into our ever-growing family!" (hallelujah!) 

Indian dude joined the church, of course. 

"What a marvelous heritage (quiet sob) we all share!"

Dieter F Uchtdorf

Because of a threat from the US military, the SLC temple was buried during constrution. When the threat had passed, they excavated it and found that many stones in the foundation had cracked and were replaced. "Finally, the saints could sing How Firm a Foundation and know their holy temple was built on a foundation that would last for generations.” 

“This story can teach us how god uses adversity to bring about his purposes." Which is an appropriate topic these days.

We mourn with those who have lost loved ones to covid. 

"My message today is that even though this pandemic is not what we wanted or expected, god has prepared his children and his church for this time." 

We will do more than survive, we will move forward and we will be better as a result. 

We are like seeds that must be buried before they can sprout. "The love of god and blessing of the restored gospel of JC will bring something unimaginable to spring forth." 

Hardships strengthen our character. 

"What we learn from biblical examples? 1. The righteous are not given a free pass that allows them to avoid the valleys of shadow... 2. Our heavenly father knows that we suffer, and because we are his children, he will not abandon us..." 

"Our best days are ahead of us, not behind us. This is why god gives us modern revelation." 

(I stopped paying attention during an aviation allegory.) 

Stories of new/potential converts going to appointments early because of excitement. "Our missionaries are busier than ever."

WOMEN'S SESSION

Sharon Eubank

Story of a kid rewarded with his favorite pie for doing chores. He was selfish when his sister asked if she and her friend could have some because they didn't earn it, but changed his mind later. This showed that he was willing to change and show kindness to those who didn't deserve it. 

"By union of feeling, we obtain power with god." 

I don't like this world. It sucks and I want to make it better and sometimes I feel powerless, but I have done lots of soul searching and have three suggestions. 

1. Have mercy. Jacob 2:17, but replace the word "substance" with the word "mercy". We need more mercy in our ministering. "If you would have god have mercy on you, have mercy on each other." 

2. Make your boat swing. Rowing definition: "swing" is when all are rowing in such perfect unison that not a single action is out of sync. Somehow, individuality is crucial to this; clones couldn't do it. "Differences can be turned to advantage instead of disadvantage." This makes you go fast and they won because of that. 

3. Clear away the bad as fast as the good can grow. Jacob 5: good tree is planted in good ground but was corrupted. A servant asks that the tree be given another chance and then the tree grows good fruit. JC is like the owner of the vinyard, and gives us mercy, if we can give it to each other. 

"I believe the change we seek in ourselves and in the groups we belong to will come less by activism and more by actively trying every day to understand one another" because we're building zion. 

As women, we have broad influence to remove prejudice and build unity. "I offer this invitation: be part of a collective force that changes the world for good." We're supposed to help others. "The women of this church have the potential to change society."

Rebecca M Craven

(I... I can't focus on this woman long enough to piece together what the fuck she's saying. Sorry.) 

I think the overall topic is changing yourself to atone/repent.

Cristina B Franco

This year has given us many surprises that have left us broken. 

Personal story about getting a piano. One of the delivery guys slipped and broke it. The delivery guys went back to arrange the delivery of a new piano, but her husband asked if it could just be repaired instead. The manager said "the wood is broken, and once the wood is broken, it can never sound the same." 

We are like the broken piano, feeling broken and that we'll never be the same again. "However, as we come unto JC by exercising faith in him, repenting, and making and keeping covenants, our brokenness, whatever it's cause, can be healed [by the savior's healing power to make us better than we were.]." Faith in god heals us. 

Story of Alma where god promised to ease their burdens. 

(Really long quote  from Alma that she doesn't source). 

The savior is a refuge from the storm. 

(Is there a rule that women can't have more than 20% original content in their talks? What is with all the quotes from other people, with barely anything to make them relate to each other?)

THAT'S MY HIGH SCHOOL CHOIR TEACHER DIRECTING THE SEPT 2014 CHOIR!!!

Bonnie H Cordon

JC is the light and the life of the world; the light that shines in the darkness. 

Shit's been hard these last few months, but we see you praying and working hard to seek out JC.

Video

Gloomy shit and then "inspiring/soothing" pics of JC, then those same gloomy people are shown being happy while doing normal, everyday stuff. Lots of black people to show diversity and even a deaf woman signing in a video chat on her phone. (It's driving me crazy that i can't remember the song that's playing.) Then back to a pic of JC.

Henry B Eyring

"Every day we are approaching closer to the glorious moment when the savior JC will come to earth again." 

"As the beloved daughters of heavenly father, and as the daughters of the lord JC in his kingdom, you will play a crucial part in the grand times ahead." 

Prepare to live as the people in the city of enoch did. 

Another unsourced quote of "what will happen in this last dispensation of the fulness of times": (was that wording really necessary?) dark skies, earthquakes, etc, but chosen people will be fine. They'll all be gathered into one place (that we could... maybee.... do something to? jk. unless...?). 

Women will be at the heart of creating that society. 

Quotes about the importance of women and the relief society. 

Quotes about how pure and faithful the city of Enoch was. 

"My experience has taught me that heavenly father's daughters have a gift to allay contention and to promote righteousness with their love of god and with the love of god they engender in those they serve." (fuck you) 

Seeing a household without a preisthood member gave me glimpse of zion because the women were supportive and loving.

Why is it Oaks again?

"In the world, ye shall have tribulation, but be of good cheer, i have overcome the world." 

Today, "we are also troubled on every side, and we also need that same message not to despair, but to be of good cheer." 

JC knows your wants and fears. 

"Be of good cheer." 

"Be of good cheer." 

"Be of good cheer." 

Opposition is essential (anyone know of that musical 'my turn on earth' or am i just old? I've got 'opposition' stuck in my head). 

Shit sucks right now. Covid and election shit, the election shit is bad "the most severe many of the oldest of us can ever remember." People are dealing with "the many adversities of mortality: poverty, racism, sickness, job loss, wayward children, bad/no marriages, and the effects of sin" but "be of good cheer." (broken record much?) 

Poor JS had lots of adversities! But he still managed to "maintain his native cheery temperament and the love and loyalty of his people." The pioneers had it hard, too, but they still "were of hope and good cheer." 

(If I heard this right) The orignal missionaries were sent out for up to 7 years. 

The presidency loves you and cares about you and we pray for you (y'all should look up 'ill pray for you' by Jaron Lowenstein, btw. i promise it's hilarious). 

"There is boundless power in the doctrine of the restored gospel of JC. Our unshakeable faith in that doctrine guides our steps and gives us joy. It enlightens our minds and gives strength and confidence to our actions. This guidance and enlightenment and power are promised gifts we have recieved from our heavenly father. By understanding and conforming our lives to that doctrine, including the divine gift of repentance, we can be of good cheer as we keep ourselves on the path of eternal destiny, reunion, and exaltation with our loving heavenly parents." (sidenote- I typed that quote really fast with very few mistakes and I'm very proud of myself. I'm sure I've never typed that fast and correctly in my life.)

Russel M Nelson

Shit's been hard and different than normal. 

We greive with the women who have experienced loss. 

Social media is evil for young women, but "many of you have found ways to encourage others and share our savior's light." 

The future gonna be lit, yo. 

"If ye are prepared, ye shall not fear." 

"Moroni prepared his people in three essential ways:”

“1. He helped them create areas where they would be safe; places of security, he called them.” "Create a home that is a place of security." 

“2. He prepared the minds of the people to be faithful unto the lord.”  "Each time we have the faith to be obedient to god's laws, even when popular opinions belittle us, or each time we resist entertainment or ideaologies that celebrate covenant breaking, we are exercising our faith, which in turn increases our faith." "Life without god is a life filled with fear. Life with god is a life filled with peace." 

“3. He never stopped preparing his people; physically or spiritually." "The adversary never stops attacking, so we can never stop preparing. The more self-reliant we are, temporally, emotionally, and spiritually, the more prepared we are to thwart satan's relentless assualts." 

"We have so much to look forward to. The lord placed you here, now, because he knew you had the capacity to negotiate the complexities of the latter part of these latter days. He knew you would grasp the grandeur of his work and be eager to help bring it to pass. I am not saying that the days ahead will be easy, but I promise you that the future will be glorious for those who are prepared, and those who continue to prepare to be instruments in the lord's hands." 

"Embrace the future with faith."

[jwood718]

NPR’s 1A featured an interview with a not-so-representative of the 1%.  Oh, yes, he has the money, he’s a venture capitalist, he has all the toys, and he basically says “Yeah, I got that.”  He also advocates for a much higher minimum wage, yes, at the expense of more profits for the 1% and their corporations.

Now, you can tell me I’m down my own silo here, but this man sums up what I’ve thought for decades.  A rising tide may lift all boats, but if you have a canoe, and your neighbor has a 200′ yacht, what does it matter if the tide comes in?  You’re still in a canoe, and your neighbor can trade up for a yacht that’s another 50′ longer.

On 1A’s show page are links to two opinion pieces penned by Hanauer for Politico.  The second,��“To My Fellow Plutocrats, You Can Cure Trumpism,” was the basis for the radio interview.  Published in July of this year, Hanauer lays out his case for a re-imagining of socio/eco/political modes: pay everyone a living wage of at least $15/hour and the economy will improve.  That business leaders and the chambers of commerce don’t want this has nothing to do with “killing jobs,” it has to do with the fact that people with money don’t want to give up getting more money (I’ll save my own commentary for some other time).

To wit (and with apologies to Mr. Hanauer and Politico):

Since Election Day, I’ve been overwhelmed by anguished calls, emails and conversations from you, my wealthy friends, who, for the first time, are confronting the real possibility that our cozy utopian, urban, pluralistic lifestyles may be in peril. I share your fear. And with good reason.

Three years ago, in these pages, I warned you that the pitchforks were coming. I argued that 30 years of rising and accelerating inequality would inevitably lead to some sort of populist revolt that would disrupt the fantastic lives we elites enjoy. I cautioned that any society which allows itself to become radically and indefensibly unequal eventually faces either an uprising or a police state—or both.

Our new president was swept into power through exactly the kind of populist anger I predicted. He was an historically terrible candidate, and his behavior and actions as President have confirmed my worst fears. There is a thuggish, violent undercurrent to everything he says, tweets and does. Even scarier, his supporters relentlessly attack our democratic norms and institutions...People are hurting, and they lashed out—by voting for the guy who was lashing out too.

Don’t say I didn’t warn you. And don’t console yourself for a minute that in electing a fellow plutocrat, our side won. President Trump isn’t on any side but his own...

My own ideas about the effect of inequality on social instability align with the work of social scientist Peter Turchin. He and his collaborators use mathematical models to study the rise and fall of societies—an analysis that postulates a new American civil war arriving as soon as 2021 (and in a highly-armed nation already suffering from an epidemic of gun violence, he doesn’t mean “civil war” metaphorically)...if you have a deep sense that something is very wrong with our nation, you are almost certainly correct.

...Yes, Trump is a manifestation of a serious civic sickness. But treating the symptom by removing Trump won’t cure the disease, even if it temporarily makes us feel better. No, to heal the body politic we must confront the disease itself.

I believe that we in the American political and economic elite face an extraordinarily inconvenient but undeniable truth: Our country will not get better until our fellow citizens feel better; and they will not feel better until they actually do better. And this is the hard part for many of you: The American people will not do better until they are actually paid more.

And they won’t be paid more until we change the way we manage our economy. This is the stark, simple fact at the heart of our ailing political system. Nothing is going to get better until we enact laws and standards that persuade or oblige every business to pay every worker a fair, dignified and livable wage. Everything else, from Trump on down, is a distraction or a lie.

Pretty much everyone Hanauer talks to mumbles something about “you can’t pay them more ‘cause...” and trot out the same lines of denial we’ve heard for decades about not raising the minimum wage.  Hanauer’s response? “Bullshit.”

The truth is that when economic elites like us say “We can’t afford to adopt these higher standards,” what we really mean is, “We’d prefer not to.” We like to frame our claims as objective truths, like the so-called “law” of supply and demand, but what we’re really asserting is a moral preference. We are simply defending the status quo.

And he goes on.  Seattle for instance, as a case study of sorts, having rolled-in higher wages has seen an increase in labor participation, and an unemployment rate of less than 3%.  If restaurant workers get paid more, they also spend more - on eating out, say - which leads to more and better services available - like more restaurants.

Listening to him tell it on the air was like a breath of fresh air.

ANYway, go read his full piece: “To My Fellow Plutocrats...”

PoliticoMagazine

NPR     1A     1A story page with audio link.

Also: see this post on heroes.

From the Department of Irony files: on the Politico page are, of course, advertisements (it is a capitalistic world), including this one:

while Hanauer writes:

Another elite excuse for inequality is “education.” If everyone had a Harvard MBA, the argument goes, then we’d all be fine. Don’t get me wrong; the better educated our citizens, the better off we all will be. But someone is still going to need to clean the hotel rooms, flip the burgers, pour the coffee, assemble the cars, cut the hair, etc. But if that job doesn’t provide a decent and dignified life, then we have made little collective progress...Churning out more college graduates can’t close the inequality gap if wages are stagnating or falling across the board.

That just might make it in the wiki entry under “ironic.”