#we want to show that we want more of this show and that Netflix has to pay their writers properly if they want to keep profiting from it | Explore Tumblr Posts and Blogs

emblazons · 11 months

Note

a bunch of people think st does a very poor job at acknowledging the characters' trauma and all the things they went through. what do you think of this?

anon here with the tough questions! lmao

Honestly—and this is just an opinion (though I have evidence for why I think these things, as always)—I would say that the criticism of not addressing trauma (or even queerness) openly is probably one of the most valid criticisms of Stranger Things I've seen leveled at the show....though I personally don't think it's because The Duffers are incapable or "don't want to." Let me see if I can explain.

cut because a text wall about networks, capitalism & america

From the get, the Duffers had to contend with the fact that they wanted to do a number of things many networks wouldn't let them—Netflix was like, network 15+ they pitched to, and while Netflix allowed them to retain some element of creative control (writing and directing their own story), there are obviously still points of contention that come up between network and creator that show a difference in desired intent / storytelling and network sensibility. One I remember clearly was the criticism they got for showing people smoking, and how the show after S1 completely removed the cigarettes from any and all character narratives (think back to Joyce talking about needing "a pack of camel's," along with Hopper and even Steve smoking in S1...only for that to never come up again).

Now...the cigarette thing is a bit minor, but still shows that there is a LOT of weight Netflix still holds over The Duffers and their creative sensibilities—and when I think about how this show has moved SO readily out of the "Duffer's intended audience" space and into "Netflix cash cow / cultural zeitgeist" space, it becomes clear why Netflix's love of money and their need to "keep the show palatable to as many audiences as possible" (😒) would mean they would keep The Duffers from pressing deeply into topics that would mean talking about and showing beloved 12-18 year old characters having explicit conversations about/reactions to their trauma, whether that be tied to abuse, psychological torture, kidnapping, CSA, racism or even queerness.

—I do think The Duffers have tried to accommodate this "stifling" of their creative vision with an wide array of very creative and sometimes absolutely hysterical subtext, but...as we've seen many a time in fandom, a lot of people are either not satisfied with subtextual reasoning or just miss it entirely, which leads to people saying things like "you should have made it clearer because the average person won't see that" (should sound familiar)...which is kind of the point. If you can build plausible deniability into the things you're doing, you can get away with them in front of audiences that aren't trained to pick up on them...and considering all of the stories that influenced M&R / their interviews, I think they're relying on subtext to shove their less delicate sensibilities into the "Netflix version" of their tale.

Basically: what you see is The Duffers vision filtered through the sensibilities of Netflix's desire to get as many people as possible to watch the show—and given that this includes both bigots and children...we're stuck in many ways with a "sanitized" version of the story The Duffers had to tell. The fact that they're cagey as hell about their slightly "freer" ending AND are finishing ST with Netflix and then moving all of their darker shows to their own production company makes me believe this even more, too—especially given that wanted to make this show on HBO...and we all know the sensibility difference between HBO and Netflix. That says enough about the "content filtering" aspect for me to believe its at least partially true.

All that being said: I do think they could have done a LOT more to show their positions on things like racism in Lucas and Erica's storylines, and do hold a lot of frustration about the fact that Netflix is asking them relegate queer character development to subtext—though anyone who saw the sociological changes in America and media after what we went through in 2016-2022 especially KNOWS why you would do something like that. It's been a deeply troubling and brutal time in the country Stranger Things is both set and created in...and given that capitalism still wants money from bigots, this is where we're a little bit stuck.

So, to finally answer your question, I guess: Yes. I agree they should have done more to make trauma clearer across the board in this show, and wish they would have in many ways, because it would have made the story stronger. That said...I understand almost entirely why they couldn't/didn't, and don't want to say Stranger Things having more subtext in several areas over explicitly stated makes the story less exciting to explore.

I do hope their caginess moving into the shows ending means we're gonna get the "darker stuff" explored more clearly though—and that, once we're done with the story, Matt and Ross get a chance to elaborate more on what they wanted without the filtering that network popularity placed on them.

Thanks for the ask!

#like...the duffers don't have delicate sensibilities. we all know this.#but...netflix does because they want EVERYBODY'S money. and everybody (unfortunately) includes bigots and fools.#because the duffers are beholden Netflix sensibilities for this show...we get it sanitized from a lot of more uncomfortable topics #ESPECIALLY because ST has been marketed as 'for everyone' AND makes them a fuckton of money...do you see where I'm going with this?#I hope so lmao #asks

32 notes · View notes

comradekatara · 1 year

Note

hot take: i'm glad the avatar tv show, animated movies, etc. are happening (as much as i dislike the concepts they've decided on and don't entirely trust the creators :/) bc it'll introduce atla to another generation. i think yes, lots of ppl will take the new content as canon, but the time gap between korra & now means a lot of ppl will also consider only the original canon. overall more ppl (like in my younger sister's generation) will get to watch and fall in love w the original atla

sorry but i could not disagree with you more. if anything i wish i had one of those memory wiping devices from men in black so i could go around to everyone whose terrible fucking takes i've seen over the course of my life and wipe the memory of them ever watching atla or even the knowledge of its existence from them so they can never post or say shit about avatar ever again.

#we dont need MORE ppl watching this show are u kidding #the renaissance due to netflix was bad enough!!!!!!!!!!!#if you want your siblings to watch atla just show it to them #but if youre not reminding them of the historical context in which it was made (bush administration invasion of iraq etc)#then youve also failed as an older sibling #thats MY hot take!!!!!#my brother was so funny when we watched it together he was like 'u remember the bush administration' and i was like '...yeah?'#and he was like 'ew ur so old'#dfksjdkjaaflkdglgj #asks #tourmei #society if atla began in 2005 and ended in 2008 and no new material has been produced since then >>>>>>>

32 notes · View notes

variousqueerthings · 1 year

Text

skip black sails season 1 this and skip mash seasons 1-3 that, it simply seems odd to not watch the establishing parts of a story the first time you watch said story because they aren’t as polished as later on (as they’re busy doing the establishing part), under the guise of considering them “less progressive”

#there's something here about yes engage with what you want and how you want depending on your limits and desires #but the way some people frame these things is... very odd #and i think has much less to do with degrees of sexism or violence and much more to do with wanting to skip to the main part of the story #but those parts aren't as good if you don't first go with the opening (which in both of these cases is very good actually)#it's this: if you don't like beginnings of stories much because they're too messy obvs go right ahead #but don't try to frame it as a choice based on morals about the contents of said story #it feels like people really want things to be fanfiction -- oh we already know the world we just want the [insert tropes]#i feel like i see this a lot with season ones and that is the devil talking -- that is the netflix model of binge binge binge #that doesn't let you engage with a slowly building story because you want something big to happen Right Away #there's an awful lot of disclaiming going on -- just watch the fuckn story and draw your own conclusions #if it's not a trigger then people will be fine #this is a sign that i need to go to bed #why in the World would you start with mash s4 when it literally opens with hawkeye's panicked response to trapper's leaving?#and then goes on to show us a hawkeye who is a changed man because of the events of the end of s3 #with characters regularly invoked?#and with relationships established (especially margaret's) that will be explored in-depth now that she's been firmly introduced #in many of her complexities?

10 notes · View notes

ukyuo · 1 month

Text

oh no im seeing bad takes on characters i like oh god take them to the brig

#im refering to twt/reddit screenshots not so much on here #so many posts not understanding cxs character AT ALL it hurts #i hate the way a funny goofy guy shown to have a lot of empathy for others gets turned into a complete idiot or made out to be useless n #weak in fanon interpretation #this is how i felt anout natsume too like seeing comments about his decision not to enslave every spirit he meets ?? why cant we have male #protags that just wanna live a peaceful life..#or in cxs i guess how dare he let other ppl’s emotions which he is forced to experience in the moment influence his decision making along #with his own trauma from losing his parents at such a young age like idk maybe these characters are given these traits for a reason 🙄#which is relevant to the story being told did u ever think about that #i know media literacy is only getting worse but dear god #this is just all part of a larger issue where ppl cannot understand why a character in a story would make a bad or diff decision from them #then the show has to hold their hand (netflix atla) n tell them exactly how to feel about what’s happening #i just want ppl to think more often ok

0 notes

a-soft-fluffy-nerd · 1 month

Text

TL;DR: Steam just made library sharing so much fucking easier and so much fucking better. Instead of login-trading, it's just a simple goddamn invite.

Read this. Really. It's a good read. Because it shows that, full-stop, Valve isn't just doubling down on their stance to make sure that people can and should be able to share their copies of digital goods as easily as they can physical ones, but they're making it better and easier than ever.

But you know how Steam allowed you to, with either friends or family, link accounts with another person to be able to establish an ability to share game libraries with one another? The general gist of Steam Family Sharing was that, with a limit of five people plus you (six in total) on a limit of ten computers total could share account access to willingly mix your libraries. You could play theirs. They could play yours.

This was a huge boon. It was meant to emulate sharing a physical copy of a game. A way to allow children to play games their parents or siblings had bought without having to fork over double the cash to buy it a second game. But it had some major limitations and drawbacks, and was archaic to use.

If a person did not share the same computer, you had to manually log into that computer to give it and the accounts on it access. This wouldn't be a problem if both accounts were used on the same computer, but many households (and astronomically more family and friend groups) had multiple computers, all used by different people.

If that computer, at any point, was hard reset to any point before the sharing occurred, you lost access. And had to do the whole process again. This was also an issue with computer transfers. The whole kit and kaboodle needed to be redone on upgrades. On top of that, the old computer is now just dead weight that you may not realize you have to manually revoke access to.

Putting your account information on another person's computer opens up security issues. They could, intentionally or accidentally, land themselves on your account if the login information was stored. Which could easily lead to purchases or bans you did not want to happen.

If anyone was, at any point, playing any game on their own library, you had no access to their games. Even if it was a totally different game, you had to wait your turn as if waiting for their computer to be freed up to sit at. (Admittedly this is kind of like the "mom said it's my turn on the xbox" meme, but hey, kinda archaic.)

You could not choose whose library you accessed a game from. Not at all. It always prioritized the first library it gained access from, DLC access and multiplayer be damned. If another friend you were accepting games from had more DLC? Too bad.

And yet here we are. Steam Families Beta fixes EVERYTHING about the above issues. By just going through Settings > Interface > client Beta Participation and clicking onto Steam Families Beta? You get:

No more login sharing. No more computer links. You can now choose which person's library you borrowed from. And you can play any other game from someone's library, even while they're in-game. It just needs to be a different game than what they're playing.

Pick five people. Invite them to your family. And now everyone has access to everyone's library. My goddamn library went from 150-ish to almost a goddamn thousand in ten minutes of setup.

Account sharing and password sharing are dirty words that "lose" billions of dollars. Netflix, Hulu, Amazon, Max. They aren't game storefronts, but they still allow you to access massive libraries and scream like you murdered their firstborns for daring to share your password with your mother after you moved out.

Microsoft tried pushing to demonize and undercut used games sales and borrowed copies of physical games. Remember the first attempt to reveal the Xbox One? People forget, but these vultures tried to make an always online console that checked to see if you were the account that owned the game, even if you had a physical disc, and prevent access to the disc's contents if you weren't the original downloader.

Valve walked the fuck up. Valve tapped the mic. And Valve dropped the fucking thing right onto the ground with one feature's revamp.

About the only issues I can see with this are twofold:

If someone sharing your library gets banned from a game's servers... so do you. No one else in the family does, but the both of you do. This is... rather unpleasant, because banhammers can be dropped quite frequently by mistake. I'd urge Valve to rethink this one, but I see the logic: don't cheat and effectively bite the hand feeding you. Still making me side-eye that, though.

If you leave a family you've joined? You have to wait a YEAR to join a new one. It's to prevent people form jumping ship to another group and screwing over who's in the former one in the process, but a YEAR? OUCH.

Problems aside, though... it's probably the biggest fucking power move I have ever seen a media distributor make in the current economic climate. It's the kind of thing that would let so many new games be available in a way that's easier than ever. Just a few clicks to send or accept an invite, and bam. Permanent access to dozens or even hundreds of new games with so much more freedom than earlier drafts of the system.

It's the kind of thing that slaps you in the face with positivity after so many Ls from the games and media industries. And I'm all the fuck for a W like this.

#steam #valve #video games #steam games

8K notes · View notes

serafaina · 1 year

Text

OK. OKAY. YOU GUYS.

I am LOVING the fucking chocolate guy’s netflix show! It’s FANTASTIC! Anf hold on to your fucking boots y’all cause it’s actually not what I was expecting at all!

Do you miss the gentleness of the Great British Bake-Off? THIS SHOW IS SO KIND AND GENTLE! For fuck’s sake, NO ONE GETS KICKED OFF! No. No, Listen to this! When they lose the first challenge (a pastry one), the punishment is... They get private lessons with Amaury to help improve what brought their scores down instead of competing in the second chocolate challenge.

When the one black lady contestant messed up the first challenge I was super bummed and like, OF COURSE. But NO. She got lessons! She struggled! she worked hard! and she won a later challenge! GROWTH MY DUDES! They are there TO LEARN and GROW and Maybe Win a Big Prize!

They ALL get to stay and keep doing their best! and at the end the one who did the best overall is the one who gets the money prize!

Look at this lovely line up! they make COOL LOOKING FANCY THINGS! Amaury tells us how he does some of the fancy things he does! They OFFER TO HELP EACH OTHER WHEN THEY FINISH EARLY AND GET PROPS FOR THAT! (not taunted for not using their own time better). The set up even kinda makes the one who is like, I’m in it to win it, is the villain and doing bad. The rest who are like, I’m here to learn and grow and maybe make friends! AUGH YOU GUYS!

Amaury is soft spoken and kind, and has a pretty voice and a pretty smile and that’s nice to watch too. The chefs are talented and artistic and they actually give the THE TIME to make nice things! It’s not “Wham out some half-assed garbage in 2 hours so we can shotgun the production and laugh at your garbage” like most cooking shows nowadays. NO! 14 hour challenges! They’re still hard, but they get to actually make cool stuff! fancy stuff! Stuff I want to look at and cheer for them!

The episodes average 38 min and aren’t a huge time commitment, the first episode being the longest one, and there are only 8 total so it’s not like you have to really get in for the long haul. \

WATCH IT! Pump it! we need more cooking shows like this and less that are sad and mean!

#the school of chocolate #amaury guichon #gbbo #netflix

27K notes · View notes

captainclickycat · 7 months

Text

Just finished the last Sex Education. Kinda want to look in the tags, kinda don’t if it’s just going to be people moaning about it

#not anyone’s fault people can moan if they like #but just… with the last series it did my head in a bit #with everyone going on about ‘they ruined my ship!!!’#and it’s like… this isn’t the kind of show that guarantees a fairytale romance ending it’s just not #it’s about exploring sex and relationships in all their messiness and complications #that means people are going to hurt each other and mess each other about #and break up without anyone necessarily having to be the Bad Guy #and just going ‘but my ship this is bad because it didn’t cater to my ship!!’ is just… really annoyingly reductive #read fanfiction if that’s what you want - it’s not the show’s job #watch Heartstopper if you want something more wish fulfilling and happy-ending focused #(wish fulfilling isn’t a criticism by the way we deserve some wish fulfilment too)#but just… not everything has to be like that #sex education #sex ed netflix

1 note · View note

fans4wga · 9 months

Text

26 July update from WGA's Chris Keyser

youtube

From the WGA: With SAG-AFTRA now on strike and new levels of solidarity across all Hollywood unions, we are witnessing the spectacular failure of the AMPTP’s negotiating strategy. In this video, WGA Negotiating Committee Co-Chair Chris Keyser lays out what this moment means and how we move forward. To learn more about the WGA strike, visit https://www.wgastrike.org.

FULL TRANSCRIPT:

Fellow members of the WGA East and West. It's been a while since our last video and quite a bit has happened in the meantime. So on behalf of the negotiating committee and leadership, I wanted to give you an update on where we are and what the near future at least is likely to bring.

We've been walking side by side on picket lines in New York and Los Angeles for a little over 12 weeks now. Only now we're joined by thousands upon thousands of members of SAG-AFTRA who, like us, have finally had enough.

This is the endpoint and the fruit of the AMPTP’s game plan. For 11 weeks, they negotiated with everyone but us. They claimed it was just practicality, that they could only do one thing at a time, which is not normally a point of pride. But events have made clear what we knew from the start: that not only was it a strategy, it was their only strategy. Negotiate a deal with a single guild and impose that deal on every other guild and union in Hollywood, whether it addresses the needs of those unions or not, all with the implicit threat: if you want more, strike for it.

Wow. It’s their 2007-8 playbook applied to 2023 as if nothing has changed, as if the accumulation of economic insults and injuries inflicted on us over the past decade would be borne in perpetual silence, as if the giant of labor had not awakened. But it has. And you only need to look as far as the front gates of every studio in LA and New York to see the evidence.

Two unions on strike willing to exercise their power, despite the pain, to ensure their members get the contract they deserve. For us, that means addressing the relentless mistreatment of screenwriters, which has only been exacerbated by the move to streaming; the continued denial of full MBA protection to comedy variety and other appendix A writers when they work in streaming; and the self-destructive unsustainable dismantling of the process by which episodic television is made and episodic television writers are paid.

It means addressing the existential threat of AI and the insufficiency of streaming residual formulas, including the need for transparency and a success-based component. All of these will need to be addressed for there to be a deal because in this strike it is our power and not their pattern that matters, not their strategy. Their strategy has failed them. Now they're in the midst of a streaming war with each other, an admittedly difficult transition. And as they face the future, their interests and business models could not be more different from Disney to Sony to Netflix to Amazon.

We root for their success, all of them. They root for each other's failure. We are the creative ammunition through which they will succeed. They are each other's apex predators. And yet, in a singular shared dedication to denying labor, they have shackled themselves together in what increasingly seems like a mutual suicide pact, as the 2023-24 broadcast season and the 2024-25 movie schedule and its streaming shows disappear, melt away week by week.

So what does this mean? What does it mean going forward? How do you play chess against an opponent who insists on screaming checkmate at every move regardless of how the board looks and the game is going?

You stay firm, you stay resolved, because our cause is no less existential than when we started and our leverage is increasing every day. Alone we withheld our labor with the support of our union siblings and the Teamsters and IATSE and the Crafts, we were able to delay the vast majority of production. Now with SAG-AFTRA on strike, those few studio projects that remained have also shut down. And it's not just the obvious delays. If this strike drags on, it's the actors with conflicting obligations and the directors and the double-booked studio facilities and release date chaos that the companies must now also contend with. Some of their most valuable product could well be delayed for years.

Add to that, no promotion of movies or television shows and famous faces on the picket lines and social media speaking directly to their customers. For the tech companies and the mega corporations, that should be their nightmare scenario: WGA and SAG-AFTRA side by side. Our bargaining agenda may not be identical, but our cause is the same. Our army of labor, defending labor has increased 17-fold in the past two weeks alone.

Even so, even with all this wind at our backs this negotiation won't happen overnight. It's not because the negotiations themselves are so complex. Once the companies fully engage, it could go very quickly, but because their strategy of many decades has just fallen apart and they didn't see it coming, and it's going to take them a minute to regroup, 'cause the companies have things to work out internally, and saying no to labor in unison is a lot easier than saying yes. So either together or separately, as their divergent interests might suggest, they will come back to us, despite their understandable concern about how they've navigated this transition to streaming, which is on their heads and not ours; and their worries about costs and their worries about Wall Street; despite this being a season of doom and gloom, none of them are walking away from the riches of this business, and certainly not over the equitable minimum compensation to writers.

They didn't get the deal they wanted; that's fine, it happens all the time. They're not taking their ball and going home over it. And since we know they come from union families themselves, and since they've denied that “even-in-Hollywood-you-have-got-to-be-kidding-me” ugliness of threatening to starve us out and leave us homeless (which we assume they understand also means making our children homeless,) they will come back to us. Although I will say they took a long time to deny that statement, longer than I would have had it been ascribed to me.

But what does it matter? You can starve a labor force slowly or quickly. The effect is the same. It's not like day rates for comedy variety writers and endless free drafts for screenwriters in exchange for a single paid one in four-week mini-rooms isn't cruelty. It's just cruelty written in contract language instead of a press quote.

So what can we expect from the companies as all of this plays itself out? They will try to convince Wall Street that taking a strike, prolonging it unnecessarily, losing their content stream in the process—that all of that is just smart business and no reason for investor concern. We will be talking to Wall Street too, and reminding them that for all these companies, all of 'em including Netflix, the bill, the price for making nothing, will eventually come due. And Wall Street is listening already. Here's Michael Pachter, managing director of equity research at Wedbush on Yahoo Finance the other day: “I think the studios are completely wrong on this one. Content is their lifeblood. They're feeling really foolish about this."

Wall Street isn't the only one listening. We've been talking to union pension funds too about the risks the companies are taking. We talked to CalPERS, the largest public pension plan in the country, talked about the loss of programming and the cost to the industry, and we heard strong support from its board for our struggle and the promise that the companies will be hearing from them, from CalPERS, and demanding answers on behalf of its 2 million members.

To us, of course, they will continue to plead temporary poverty, but we know the drill. These companies support billions into the streaming wars and taken short-term losses these past three years, because they know that to the winner will go the spoils. We're patient, will they share that with us when the time comes? What are the chances?

Since 2017, the last time the studios negotiated with us outside of COVID, the big six companies alone have made $150 billion in profits off our work, while they slashed our pay and degraded our working conditions. Maybe if they had shared a tiny piece of that then, made $1 billion or so less, this year wouldn't seem so costly. As it is, there is no iron law that these companies are entitled to record profits every year, and it isn't some great travesty if their shareholders or their CEOs get a slightly smaller slice of the massive profits we helped create if some balance is restored.

Look, no one denies that corporations exist to make a profit and no one wants our employers to be profitable more than we do, but the singular pursuit of corporate profits to the exclusion of their social and human cost is a real problem in this country—it’s a real problem. A corporation's bottom line is not the same as the world’s, and there is nothing in our studio's bottom lines today that accounts for the quality of our lives or for our dignity, for the comfort of our retirement or the security of our families. Their numbers have no conscience, but the people who report them as victories ought to.

In their refusal to recognize that, these companies have also extracted an awful price, which is laid at their feet and for which they are responsible. Losses to the economies of New York and Los Angeles and everywhere that film and television are made, terrible losses that mount every day, thousands of people out of work; not just us, all the crews, the crafts, the janitors, the drivers, the businesses that thrive when Hollywood thrives, the restaurants, the stores—for what? For nothing. So they could avoid coming to the table to negotiate the deal they will one day give us. Measured today that is the painfully mixed legacy of our employers, weighed against every beautiful piece of work we have made with them.

And if history is a guide, they have only temporary stewardship over a kind of national trust, which is Hollywood. Our story, our sometimes conscience, our public conversation, our diversion of the worst and best of times, our greatest export, the repository of our imagination. They have some obligation to more than just their shareholders to behave accordingly.

Unfortunately, it seems big tech, mega corporations, and some of the people who run them, as the saying goes know the price of everything and the value of nothing. So they have built a business model that no longer works for human beings who cannot be paid minimum for 10 to 20 weeks a year and make a career out of that, be paid for one draft of a screenplay that demands a year of labor, be paid a few episodic fees for a show about which to take years to decide be paid a daily rate.

And now we have a first glimpse of what they offered our actor colleagues. We are not 170,000 Willy Lomans to be used and then discarded. We know what the companies believe they have the power to do. We know what they think machines can do and do without any of us. Oh yeah, we've seen the writing on the wall and it's plagiarized.

The thing is this: the difference between what you CAN do and what you SHOULD do is the greatest single difference in the world. Knowing that is the only real protection we have against a dystopian future. And if the companies sometimes forget that, writers will do it for them.

I can't know exactly how long it will take this revolutionary moment, and you've heard again and again what is happening today has not happened in 63 years, but I know that's not always how it feels, revolutionary and defining, even though we celebrate that on picket lines together, which is the right thing to do. That's not always how it feels when you go home at night. I know how tough this is: to strike, to hold the line. I know it gets tougher every day even with SAG-AFTRA marching beside us, how hard it is to face the uncertainty of when it will end, when we'll get back to work, how we'll pay the bills. I know it's hardest for those who've just gotten started, for those for whom the world opens doors more reluctantly, battled their whole life just to get here; but hard too for those struggling to maintain their long careers, who find work tougher and tougher to come by, or those with families with children or parents to take care of.

These companies understand the cruelty of what they're doing. It's their plan to starve us just a little, to exact as much pain as they can so that we wish more for the pain to end than for the better life we dreamed up. That we're more afraid of the uncertainty of the present than the certain devastation of the future. It's societally acceptable economic torture inflicted by management on labor every day, then blamed on labor for daring to fight back, for refusing to be complicit in its own mistreatment.

Here's how I know that's not going to work. Not with us, not with the writers, because we haven't come all this way, fought to have these careers in the first place, all the adversity, and marched together for all these months, only to let it slip away on our watch—because there is no point in rushing back to jobs that may not be there in a year or two anyway. Because the business, as the companies have twisted it, is now untenable, unsurvivable for so many of us, because even success is not enough to keep going, because this guild is younger than it's ever been and more diverse. And this young diverse membership knows from hard personal experience the system is broken and that it will not be fixed unless they fix it. And those of us who came before them will not let them down, because we and the writer's guild are the beneficiaries of all those who came before us who gave up everything for us.

Like the writers of 1960, the year I was born, who struck for 22 weeks and who gave away all the TV residuals for all the movies they had ever written so that we could have a health insurance and pension plan and residuals from that date forward. $15 billion flowed to writers and their benefit plans because of that sacrifice. Because writers are brave, because now it's our turn.

So what's our job? Even as we welcome SAG-AFTRA to our side, we are still responsible for our own deal, and so we must remain focused and diligent. We must continue to march, picket signs in hand. But we should also remember this and with pride, that before there was SAG-AFTRA, before even the Teamsters and IATSE and the laborers and the electrical workers and the musicians and the plasterers came to our side, there was the writers. Alone then, we looked at the blank page and began to imagine the future. With no net but each other we typed the words, what if?

And then we took a step into the darkness and found that it was light. And then we were joined by the crews and the drivers and the actors. The actors got a bit more fanfare when they showed up, but that's okay, we wrote the script. The WGA, still small, not alone anymore after all these decades. Hollywood labor has finally linked arms and found its voice, and that voice says enough. There is no road to longterm prosperity that burns a path through your own workforce. We are not your enemies. We are not merely a cost to be borne. We are your partners and your greatest asset. And we are, as you acknowledge yourselves, irreplaceable, but by accident or design and it doesn't really matter anymore, the business you are running no longer works for those who work for you.

What is the point in continuing to deny that? Why deny it when everyone else in the business to a person tells you it's true? Do you think it's a coincidence that two unions are on strike against you for the first time since Eisenhower was president? You can't exactly accuse us of being quick on the trigger. The effect has a cause, it has a cause. And there is no profit in insisting on the answers to the past for the questions of the future.

But if you want instead to invest in something that will reap you fortunes, I have a tip. And if you are visionaries, envision a solution, not a stalemate. Because this isn't a war we're in, it's a negotiation, it's just a negotiation. There is no face-saving here for either side, because there is no winner or loser. It's just a deal. And when you come to remember that again we will be here as we have been here all along.

And at this point with 170,000 writers and actors aligned against your intransigence, that is as generous as I can be, as close to an olive branch as I can offer. But if you insist instead on the same threatening rhetoric, on saying you would rather starve us than pay us, I would remind you of this: You are fighting for a dollar, we are fighting for survival. We are fighting for our home: writing is where we live, and we will defend that home with a bravery and stamina and ferocity that you will come to understand someday, which is why you cannot break us. You cannot outlast us, you cannot.

And not just because we have the will, because we have power. Nothing in this business happens until we start to write. And we will not start to write until we are paid.

Union now. Union forever.

#sag-aftra strike #sag strike #actors strike #union solidarity #i stand with the wga #wga strong #wga solidarity #fans4wga #Youtube #wga strike #writers strike

3K notes · View notes

tatoda · 9 months

Text

Wanting You || conrad fisher x fem!reader

masterlist

request

summary: you get a call and it happens to be your drunk boyfriend just wanting your love and attention

pairing: conrad fisher x reader

warnings: stressed conrad and mostly just fluff

wc: 800 (i think)

put some drunk conrad in to help with the storyline!! not majority edited just wanted to get this out

It was supposed to be a boy's night. To drink and talk about sports or just hang out in general. But here conrad was, looking at your pictures on his phone showing the guys around him. Even if they were at a party where there were over 100 people, you were still the first thing on his mind.

“she’s just so pretty guys,” he told steven and jeremiah who were sipping on beers

“oh we know, for how much you talk about her.” jere muttered over his drink

“man, as much as i love how you’re in love with my sister, but please spare all details.” steven rolled his eyes

“she’s just so sweet, she’s helped me with so much. like that one time she snuck me into your house because i missed her and my roommate was having sex,” he admitted

“oh god! you snuck into our house. if laurel ever hears this you’re dead meat.” steven leaned forward

“relax steve, i’ll have you know your mom likes me too much.” conrad took a sip of his beer when he should have stopped drinking for a while now “i miss her.”

“he’s so whipped.” jere laughed watching his brother be lovesick for you

“do you think she will answer if i call her?” his eyes lit up

“she’s probably sleeping.” steven looked over his shoulder to the crowd of people spotting taylor dancing with some of the volleyball girls

“just make your move already.” jeremiah pointed out

“you know belly would absolutely murder me if i touched her best friend.” steven sighed and looked away

“hey! look at me man.” conrad put a hand on his shoulder “you haven’t murdered me yet.” he smiled

“that’s because i’m building up to it.” conrad shook his head

“i’m gonna call her, i miss her.”

“dude-“ it was too late he already clicked your contact.

Meanwhile, you were on your bed watching netflix and having a self-care night. With conrad with the guys, you felt like he needed to get out of the apartment they all shared because all they did was play video games and sleep. Your phone rang on the comforter causing you to jump not expecting any calls. You turned the phone seeing conrad’s name on the screen.

“hey.” you paused your show leaning back on the pillows

“hi baby.” he slurred. this wasn’t the first time occurrence he’s called you drunk, you soon found out he was clingy and wanted your attention when drunk

“hey you, how’s the boy's night?” he sighed on the other side of the phone

“it’s good, it’s good. i wanted to call and say i miss you, like a lot.”

“you just saw me yesterday dummy.” you laughed into the phone

“i just really love you.” your heart fluttered as he said the words, you don’t usually say it because it meant a lot to the both of you with what happened to your parents

“can you do me a favor baby?” he hummed on the other side “can i talk to my brother really quick?”

“yeah! here, steven she wants to talk to you.” you heard him hand the phone over

“hey sis.”

“hey can i come get him? i think he’s had enough and i know he’s gonna want me to come get him soon enough.”

“oh yeah please,”

“thank you for taking him out tonight, i know he’s stressed with everything with adam and everything.”

“no yeah i understand, see you soon.” the phone was pulled away from him and back in the hands of your boyfriend

“hey lover.” he chuckled “i’m gonna a come get you okay?”

“yeah, thats sounds good.” you knew after a while he would start overthinking and then the stress would come back

“just stay with the guys and no more drinking, okay?”

“okay, see you soon baby.” you both hung up and you got out of bed

The drive over to the house was over 20 minutes. But you didn’t mind you wanted to see conrad. There has been a lot of stuff going on recently with his dad. you knew their relationship wasn’t the greatest and it really got to him sometimes.

You parked the car in search of your boyfriend. Steven texted you saying they were in the backyard in some chairs, and you saw the back of your boyfriend's head as he talked to the boys in front of him. You wrapped your arms over his shoulder and leaned your head down on his shoulder.

“i have a girlfriend!” his head snapped and he relaxed seeing it was you “oh. sorry.”

“that’s okay, you ready to go?” he nodded “you boys have a ride back?” you looked towards jere and steven

“yeah, taylor said she would take us.” you smiled at steven “when are you gonna ask her out?” conrad moved his arms to rub against yours that were draped over him

“chill, i just don’t wanna upset belly.”

“for fucks sake i’m dating your best friend and you didn’t beat me up.”

“told you.” conrad muttered

“this is different.” he sighed rubbing his face

“it’s not really.” conrad moved to lay his head on your arm giving you the signal it was time to go “just do something at least, con and i are gonna head out.” you pulled your hands away and the man stood from his seat “ready.” he nodded taking your hand in his “be safe tonight, call me if you need anything.”

As you drove home, conrad kept a hand on your thigh but he didn’t say anything and you knew the quietness and depression were slowly coming back from the side effects of his drinking. The whole ride was quiet up until you made it into your room closing the door facing him.

“come here con.” he walked towards you slowly and dipped his head into to crook of your neck and wrapped his arms around you “let’s sleep okay?” he nodded but didn’t let go “con?”

“hm?”

“let’s lay down handsome.” he stepped away from you and you helped him take off his shirt as he slipped out of his jeans left in his boxers and slid into bed “ill be right back, going to get you water.”

“okay.” he softly spoke into the pillow he was laying on

Walking downstairs your mom was also grabbing a midnight snack. She knew he would come over and she also knew he was going through a lot in your 2 years together.

“how is he?” she leaned against the counter as you opened the fridge to grab a water bottle

“it’s a lot, he won’t really talk to me about some of it and i understand.”

“you’re a great girlfriend for him. susannah always loved the thought of you two together.” she grabbed your hand and squeezed it “speaking of conrad.” she nodded behind you, turning around you saw your boyfriend standing at the end of the stairs

“hey, what’s wrong?” you walked towards him

“you left me for a long time.” he rubbed his eyes and you smiled

“come on you big baby, good night mom.”

“night laurel.” conrad muttered

“night kids.” you could hear the humor in her voice

Back up in your room you were both now in bed with the light of the tv shining on the both of you. Conrad’s eyes drifted but he just stared at you.

“can i cuddle you?” he asked softly

“you don’t need to ask.” he moved closer to you hugging you to him, his head on your shoulder and you moved your hand to run though his hair “con?”

“yeah?” you moved to look at him and leaned down to kiss him for the first time that night

“i love you.” he smiled genuinely the first time since you saw him

“i love you.” he closed his eyes and kissed your neck

Soon enough his soft snoring filled the room as you continued to watch your show until you followed him into the dream state.

#the summer i turned pretty #conrad fisher #tsitp #prime video #conrad fisher x fem!reader #the summer i turned pretty season 2 #conrad fisher one shot #conrad fisher imagine #conrad fisher x you #conrad x reader #conrad fisher x reader #conrad fisher fluff #conrad fisher x y/n #conrad fisher smut

4K notes · View notes

evie-sturns · 3 months

Text

𝑀𝑜𝓇𝑒 - 𝒞𝒽𝓇𝒾𝓈 𝒮𝓉𝓊𝓇𝓃𝒾𝑜𝓁𝑜

summary: you're at chris's house to hangout and watch a movie, but it ends in you riding him till he cant think.

warnings: smut, sub!chris, swearing

requested: yuup

-----------------------≪•◦ ❈. ◦•≫--------------------

me and chris have been together for a month or so, but we've never fucked. i mean, hes never really brought it up to me because he doesn't want to rush our relationship.

It's 8:30pm, and i'm approaching chris's front door for a movie night.

i knock 3 times softly on the front door and chris slowly opens it, his face lights up when he sees me.

"y/n! you look beautiful." he says giving me a hug and bringing me inside. hes wearing a white shirt and grey sweatpants, my heart drops as i see a slight dick imprint through his sweatpants.

"oh my god" i whisper to myself before i walk into his living room behind him, he jumps onto the couch and rests an arm on the headrest of the couch, signalling for me to come sit next to him.

"so what are we watching?" i say cuddling next to chris, resting my head on his chest.

he seems distracted by something, my eyebrows furrow "chris?" i repeat softly and he shakes his head quickly

"hm?" he says putting a pillow on his lap swiftly.

"you alright?" i say quietly as i flick through netflix, "y-yep yeah." he says frantically.

i put on a show and cuddle closer to chris, making myself comfortable, he squirms slightly before standing up off the couch. my cheeks flush as i see his lap, which now has a major tent on it.

hes hard.

he locks eyes with mine "im going to the bathroom" he says, droplets of sweat on his forehead form as he notices my eyes, fixed on his crotch. "chris.." i say slightly shocked as my eyes flicker from his dick to his eyes.

chris goes red as he stands looking at me with humilation spread on his face "shit sorry.." he mumble backing out of the living room.

"come back chris." i say staring at him and he walks slowly over to me in silence.

"sit down." i demand and he instantly does, he looks terrified and pissed with himself.

"sorry about you know.. that." he whispers "i can go fix it, just give me like 5 minutes, this is kind of embarrasing." he continues.

"dont be embarrased chris." i say palming his dick through his sweats, his breath hitches in his throat, his dick is pressing against the fabric practically begging to be realeased.

i squeeze his dick slightly through his pants making him throw his head back "please." he groans, lifting his hips into my hand. i sit up off the couch then kneel on the floor between his legs. he squirms as he whimpers "are you nervous." i tease, lifting his shirt up revealing his happy trail.

"do you touch yourself a lot chris?" i ask before licking a line from his belly button to the waistband of his sweats. "anwser me please." i say stopping all movements, making him moan lightly in desperation.

"sometimes." chris mumbles, covering his face. "how often." i question "every few days.." he lets out a shaky breath.

i slowly lower his sweatpants, revealing the base of his cock. he grips the pillow beside him "please y/n fuck.." he whines and i pull down the pants even more, his cock springs out onto his stomach and my eyes widen, hes big.

precum leaks out of his tip and down his length. the room is filled with his heavy breaths as i use the ends of my fingers to rub in the precum as a lube.

"chris, tell me what you want me to do."

"ride me please y/n, i cant.." he groans out and i nod, pulling my tanktop off of me and throwing it to the floor, my bra and shorts follow. chris's eyes are layed on me, "oh my fucking god your so beautiful" he whines.

i stand between his legs before sititng down on his thighs, straddling him. hes worked up. i decide to stop teasing and pull off my panties, his jaw slacks as his hair sticks to his forehead from sweat. i sit up slightly before moving up, positing myself above his tip.

i sink down, making chris moan lightly "fuck you're big." i groan as i sit down on his dick fully. "please keep going.." he whispers as he sinks his fingers into my waist.

after a few minutes of bouncing on his cock he starts to whimper "im so fucking close" he warns before cumming inside of me. "im sorry shit.." he says throwing his head back, instead of stopping i keep going at a quicker pace, overstimulating him "i cant.." he whines sinking his fingers further into my hips. hes already close again as i bounce faster and deeper.

without warning he releases again, deep in me. tears drop down his face from overstimulation and i quickly wipe them from his cheeks before finishing, letting out a soft but load moan.

i instantly pull off of him as he shakes, tears continue to slowly fall down his face. "dont cry, are you okay?" i say softly, sitting on the couch next to him. hes in utter shock. he nods as i pull him into a tight hug "that was alot.." he says shakily, but a small smirk plays at his lips. "i really liked it, you felt so good." he says embarrassed as i droop a leg over his thigh.

"chris." i say, my eyes widening.

"yeah..?"

"how the fuck are you hard again."

-----------------------≪•◦ ❈. ◦•≫--------------------

#matt sturniolo #sturniolo triplets #matt sturniolo x reader #nick sturniolo #sturniolo smut #sturniolo fanfic #chris sturniolo x reader #sturniolo #chris sturniolo #sturniolo x reader #chris sturniolo smut #chris sturniolo x you #chris x reader

1K notes · View notes

saltpepperbeard · 4 months

Text

Be a Lighthouse - Fight For OFMD Season 3

Hi everyone. The news of our cancellation is both incredibly devastating, and quite shocking considering the trajectory of the show and its fanbase. Everything looked like it was lining up in a positive fashion...only for the rug to get yanked out from under us.

I cried. I went numb. I stared at the wall for a while.

But then, something sparked. Like Ed who was resolved to his fate in S1Ep4 only to rocket back upwards, I was struck with a realization: we need to be a lighthouse!

Fanbases have campaigned before, and have gotten results. Sense8 was able to get a two hour finale to properly wrap everything up. Lucifer was able to get picked up by Netflix after being cancelled by Fox. Brooklyn 99 was able to get picked up by NBC after being cancelled by Fox. And many more examples.

Be it a proper renewal, a finale wrap that entails Ed and Stede's wedding, or the attention from another network, I say we fight that good fight. So, here are some ways we can be heard; if you think of any additional points, please feel free to add them!

If you don't cancel your Max Subscription, continue watching the show and leaving feedback on Max's online feedback form. I had a kneejerk reaction when cancellation was announced and pulled the plug...only to sit back and reconsider. I want them to still get my metrics. I want them to still see the show means something to me. And whether that's through words or statistics, I feel like that's something.

2. Follow @renewasacrew and keep up with their resources/campaigns. They're very active and passionate, and have already come up with different ways to fight for our show.

3. Sign the petition to give us just that little bit more of a chance to have our voices heard.

4. Stay active on social media, and stay positive. Continue sharing how much this show means to us. Continue creating. Continue loving. Use hashtags like-

#RenewAsACrew

#SaveOFMD

#RenewOFMD

#BeALighthouse

#OFMDSeason3

or anything equivalent on any and all OFMD-related posts. Keep the buzz about it going on social media. Comment on posts, keep spreading the word, and get the light burning.

5. Renewasacrew has given us another outlet; an official HBO email address. Write an email detailing your personal experience with this show, and how significant a third season would be.

6. Tweet/email other platforms to pique their interest. Be it Amazon Prime, Hulu, Netflix, or whoever else, let's see if we can't catch someone else's attention. A romcom with iconic LGBT representation seems pretty enticing if you ask me!

This show means the world to me. Y'all mean the world to me. So let's show them why. Let's show them why, and get the proper ending we, the cast and crew, and the characters all deserve.

#OFMD #Our Flag Means Death #OFMD Season 3 #OFMD S3 #Renew as a Crew #Renew OFMD #Be A Lighthouse #ofmdaily #ofmdsource #ofmdedit #ofmdblog #I'm trying #I'M ATTEMPTING

1K notes · View notes

c0eu4 · 5 months

Text

CL16 | Real orgasm ♡

Summary: Y/n confess to Charles that she doesn't know what true orgasm is. And he shows her what it is.

Warning: oral (f receiving), fluff?

A/N: Hope you'll like it <3

MASTERLIST request are open

Charles sits down on her sofa, putting his feet on the coffee table. She sits next to him, putting the blanket over them.

He takes the remote and turns on the TV. ''What do we watch tonight?'' He asked her, scrolling through the thumbnails on Netflix.

She makes herself comfortable with cushions behind her back and brings her cup of tea. ''I let you choose this time.''

He sighs and keeps scrolling, sometimes reading the summary before finally putting something on.

As the movie starts, she sips her tea, passing her cup to Charles who take a sip too. They're not best friends for nothing. They have known each other since they were little and they always share everything. So him drinking in the same cup as her is certainly not a problem.

And tonight he came to her house to comfort her. Her boyfriend cowardly cheated on her then left her, like a poor toy. Charles helps her to go through this. Even when she were at her lower, he was there.

And what an irony that he put a movie where the main character cheats on her boyfriend with everyone.

''Uhm you might wanna change ?'' He asks her about the third sex scene that happens, where the main character seems really excited about the idea of getting caught.

''Mh no it's ok.'' She squeezed her thighs, wishing her boyfriend was like in the movie, who knows how to bring pleasure to a woman.

''You ok?'' He asked her, putting his hand on her thigh. He really shouldn't have done that. Despite the fact that he's her best friend, she can't control her hormones and can't help but get a little wetter.

''I..I was just thinking about the fact that I have never cum so brutally. Maybe I never cum, I don't know haha.'' He looked at her, stunned. Not because they never talk about sex. But rather by the fact that she admits to him that she has never had an orgasm.

''Was your boyfriend that bad? For never having made you cum?'' She shrugged her shoulders.

Charles finds himself blushing just thinking about Y/n, actually cumming for the first time.

''You..you want me to show you what real orgasm is ?'' He asked her, almost whispering because of his shyness.

She turned her head towards him, her cheeks red. What should she do? She's so horny now that she can't say no. But does that also mean maybe ruining their friendship?

''Y-yes... Please.'' Charles himself didn't expect her to say yes. He brings his head closer to hers, his lips a few millimeters from hers. She can feel his breath on her lips and it gives her goosebumps. She closes her eyes, hoping that Charles will make the first move, because she doesn't dare to.

Just as she was about to open her eyes again, because she thought Charles wouldn't move, his lips stuck to her. His hand slides down her neck and brings her head closer to his, deepening the kiss with small movements. He moves forward so much that she lies down on the sofa, him on top of her.

''You have to tell me now if you want to stop.'' He kisses her cheeks.

''K-keep please..'' He kisses her jaw, under her ear, her neck and her collarbone. His hands slip under her t-shirt, removing it slowly. She feels shivers down her spine when he starts to rub his hands against her waist, hips, thighs and upper ass.

She found herself moaning softly, but naturally, not faking it. His kisses tease her breasts, unclipping her bra easily. He looked up at her, as if he was asking her if he could touch it.

''You..you can..'' She whispered, shyly. One of his hands found its way to massage her breasts, licking the nipples of the other one.

Charles is a smart man. And seeing that she didn't react more than that when he teased her with her breasts, he didn't dwell on it too much.

His kisses keep going lower, until he nibbles softly in her flat belly, removing her pants gently. He takes one of her hands and places it on his hair, indicating for her to play with it.

She runs her hand through it, stroking his soft hair and playing with a few strands with her fingertips. He tries to spread her legs but she unconsciously resists.

''Don't be stressed, princess.. Is it ok if I call you princess?'' She relaxes a little and Charles manages to position himself correctly between her legs.

''Y-Yes.. I like it.'' She whines softly when she feels him blowing on her panties.

He bites his bottom lip, looking at her, full of lust and hunger. A white stain is visible through her panties and Charles wants to eat her out so badly.

As if to answer him, she lightly presses Charles' head towards her privacy. He doesn't wait for a second signal and lets his fingers slide between her folds through her panties.

''Charles !'' She moaned, surprising him and herself. He allows himself to remove her panties, seeing her completely naked in front of him.

''You're so beautiful, princess..'' She put her hand over her mouth and her eyes widened when she felt Charles's lips against her bundle of nerves. He grabs her arm that's hiding her mouth, taking her hand and intertwining his fingers with hers.

''Close your eyes and don't hold back your beautiful voice..'' She closes her eyes like Charles told her, enjoying his lips and tongue.

He makes small circles with his tongue, using his free hand to push a finger inside her. She grips his hair a little tighter, digging her nails into the skin of his hand with her other hand.

The room is filled with her moans, sounding like a melody to the ears of Charles's. He inserts a second finger, making her moan louder. She feels a sensation she has never felt. Her whole body is tense and her legs are shaking uncontrollably.

She can't help but moan, Charles moving his fingers in and out quickly, in a wet and tight song. And when her whole body relaxes, without even realizing it, she drowns Charles with her precious liquid.

Charles is proud of himself. He succeeded in his mission. He made her cum. Probably for the first time in her life, given how quickly she let it go.

He gets up from between her legs after cleaning her as best he could with his tongue. He licks his two fingers, full of her liquid and also cleans his chin with his hand.

She sits up a little straighter on the sofa, not knowing what to do.

''How was it ?'' He looked at her with a naughty smile. She blushes when she sees him like that, his hair all messy by her hand.

''Incredible.'' She finds herself blushing even more when she admits that Charles makes her feel good.

''You.. want to go further?'' She smiles tenderly at him.

''I'm sorry but I'm so tired after.. my first orgasm.'' Charles chuckled and passed to her, her clothes that were on the floor.

''Never say sorry for refusing to go further.'' He passed his hand through his hair, trying to fix it.

''Can you..Sleep with me ?'' She puts her t-shirt back on and takes out her hair with a gesture of her hands. Charles looks at her doing that, his eyes full of love.

''Of course, princess.'' He winked at him, carrying her suddenly like a princess. She clutches her t-shirt, feeling slightly afraid.

''Cha! Careful!!'' He giggles and places her on her bed.

''Do you mind if I sleep in boxers?'' She finds herself blushing again. She knows that their relationship is no longer the same now.

''No no it's ok.'' He removes his jeans and t-shirt quickly, lying down beside her. She doesn't dare to go against him, not really knowing his reaction.

''Y/n?'' He asked her with a soft voice, tucking a few strands of hair behind her ear.

''Yes Charlie?'' Her eyes are wide open, a knot in her stomach.

''Do you want to be my girlfriend?'' She turns red at his request.

''I..I would love to.'' Charles chuckles and moves his head towards her, kissing her tenderly. His hand resting on her waist, pulling her closer to him.

#charles leclerc x female reader #charles leclerc fluff #charles leclerc f1 #charles leclerc x reader #help he's so cute #charles leclerc #charles leclerc smut #f1 imagine #f1 smut #f1 fanfic #smut fanfiction #fluff #smut #cl16 x reader #cl16 imagine #cl16

1K notes · View notes