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I'm still seeing a lot of angry takes in the tags about how excessive Watcher's current costs are and how all fans really want, apparently, is "just shane and ryan sitting in a basement" back again. While I do think Watcher is probably spending over budget and that's a real issue, a lot of the takes I'm seeing show a fundamental misunderstanding of how video production works and where costs actually lie. So a few quick things that I just keep seeing that are bothering me:

It was never just Shane and Ryan in a basement. BFU did a great job selling that conceit and making sure you never saw anyone beyond them and maybe TJ, but they absolutely had other crew members with them on ghost hunts and they didn't do all the work on BFU themselves. This Q&A from Season 2 lists 36 people on staff for Buzzfeed Unsolved. It's fair to make arguments that Watcher may or may not need 25 people, but those arguments should not be coming from a place of "before it was just Shane and Ryan and nobody else."

If you don't know how many people are needed to make a professional video from a TV/film standpoint, you will not have a reasonable grasp of why Watcher wants to keep 25 people on staff. Sure, some YouTubers get by with a ring light and a contracted editor. The Watcher team have stated repeatedly that they do not want to work as just YouTubers and see themselves more as a production studio—so why do people keep referencing the YouTube model to understand their business? This is like asking the local shake shop why it doesn't function like the kids' lemonade stand down the block. The item category is similar but they're not trying for the same products or process.

The "gold dusted food" is not the big budget sink you think it is. On most TV shows I've worked on it's normal to partner with businesses that are shown onscreen and work out a deal where the price of the product (in this case the gold food) is reduced or eliminated in exchange for the free publicity. Watcher very likely made a deal with every restaurant it worked with to make the Korea trip affordable for the company. The real budget spends are on things you're probably not seeing but that still matter: camera and lighting equipment is expensive, insurance for that equipment is expensive, business overhead and paying your staff are expensive. So again—it's fine to critique Watcher for the streaming plan and the perceived budgetary issues, but go into this knowing the costs might not be coming from the things you see onscreen.

My source is that I work in TV and film and actually have a clue on how the industry functions. Again, 36 people worked on Unsolved (and those were the people mention in Season 2—who knows how big the team blew up past that in later seasons). Entertainment work is real work, and demands decent equipment, competent staff, and the same types of business and budget problems you'd find in any other business (overhead, staffing, etc.). Feel free to critique Watcher's business model, but first try to understand where that model is coming from and what goals it's attempting to serve.

I wonder how many business majors turn out like I did: disillusioned leftists who view all they learned for that degree with a healthy dose of skepticism.

Lately I’ve noticed a bit of, let’s call it pushback, against the upcoming release of Baldurs Gate 3 and Larian Studios, by developers and studios alike. From your perspective as a game developer yourself what is this all about? Why are they calling BG3 an anomaly and making it sound like Larian hasn’t earned the praise they are getting? Why all the attempts at what sounds like trying to discredit their work?

The unfortunate truth of the matter is that the discussion I've seen from devs is subject to signal decay when in an environment where the most maddening and viral takes are the ones that get amplified over accuracy or educational takes. The various "hot takes" I've read were traced to the observations of [Xalavier Nelson Jr. about BG3] and I have to say - after reading his original thread, I am very much in agreement with him. Baldur's Gate 3's success is absolutely not a template that can be easily repeated and is very much an anomaly.

You can tell a lot about a game by the number of developers in the credits and the length of its dev cycle. If you multiply (number of devs) x (months of development) x ($10,000 per month per dev), you get a pretty good estimate of a game's overall budget. BG3 started development in 2017 and had a team of over 300 developers working on it. 300 devs x 72 months x $10,000 = approximately $216 million USD. "Step 1: Secure $200 million in funding to develop your game" is absolutely not a business plan that is feasible for 99.9% of indie developers.

This also goes for other circumstances beyond their control that managed to favor them. Larian was incredibly successful in raising funding during early access, but they are one of a tiny fraction that made it. Larian got incredible word-of-mouth promotion from their fans while thousands of amazing indie titles languish in obscurity on Steam. Larian managed to secure a major license that is extremely well-regarded - not exactly an easy feat to replicate. Each of these various circumstances ended up a win for them and every single one of them was necessary to obtain the success they did.

This isn't to say that Larian doesn't deserve praise for their success - they absolutely deserve all the praise and more. They managed to deliver a fantastic high quality game and I laud them for it. It is a tremendous accomplishment and I am happy for their success. What I will never agree to is saying that this is the path others should follow, because I believe that Larian managed to capture lightning in a bottle. All of the ducks had to line up just right for them to succeed like this, and any of the major factors in their success could have gone very very wrong for them through no fault of their own and sank the project partway through. Larian managed to win and they deserve huge amounts of praise for it, but it is in no way an easily-repeatable formula for success.

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Telling content creators it's wrong to explore artistic freedom and be independently funded by fans, and they should instead continue taking advertisement revenue from google* is

NOT

the anti-capitalism stance actually.

*(Yes, google owns youtube.)

i might be biased because i was putting 9 hours a week into this show but i am currently obsessed with my schools production of little shop.... we had some of the best casting

cancel heaven, Chihiro is my new God

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this is so random but you always uploaded gifs li ziqi, do you by any chance know why she stopped uploading? to youtube at least

oh man i hadn't realized it had been that long, but apparently she got into a dispute and she sued her content network. they settled in dec 2022 and people thought she'd return to making content but i can't find any explanation for her continued hiatus :( hope she returns soon!

no one could replace li ziqi but i also enjoy 小芊枫 XiaoQianFeng's channel if you haven't seen it yet! she does cool stuff like making the cat bus from totoro out of reused waste

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doug eiffel is a radio guy in every sense. eiffel still listens to music on the radio and he complains about what they play, but no matter how many times people tell him he can just listen to his own music instead, he wants to listen to the radio and complain about it, so he won’t stop. eiffel thinks it’s sacrilege when classic rock stations play anything more recent than the 80s.

twisting is they might be giants' most spiteful-sounding song and I love it so much. the dial-a-song demo's opening lyrics of "she says there's a place in brooklyn for bitchin' and for moanin', and when they built that place, she said they saw you comin'" should've stayed in, because they just make it funnier.

with linnell's vocals backing up flansburgh's lead, it has the petty tone of a pair of teenagers/young adults goading somebody with the backdrop of interpersonal conflict as its theme, like oh ya sure she totally wants to see you....hanged HA psycheeee. gottem.

I have 2 ways of interpreting it when I listen; being from the view of someone facing a gutting reality check by reflecting on their past encounters with a new perspective that there's people who don't want to stay in their life, or being on the more cathartic side of the narrator saying their piece. either way, it's wonderfully mean-spirited.