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evertomorrowart · 4 months

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Best of YouTube 2023

Yes, I did spend the first week and change of January on this. I wish I could have had it done for New Years, but too many people came out with incredible work in December, so waiting turned out for the best.

What these creators do are a huge influence on my life, I would honestly have difficulty doing what I do without them. That isn't to say that my favorites of the year are *only* on this image--It was almost impossible to narrow down my favorites. Many creators I wanted to include couldn't fit on a single page, and too many of them made more than one video I wished I could draw too!

But, to all of you, thank you for what you do. You're an inspiration.

For those who don't know, further is an explanation.

At the bottom center is an artistic masterpiece by Defunctland: "Journey to EPCOT Center: A Symphonic History." Over the last several years, Defunctland has risen from delightfully-entertaining commentary on decommissioned theme park attractions to occasionally dropping profound statements on the creation of art itself. "Journey to EPCOT Center: A Symphonic History" is worth treating like the cinematic experience it is: No second screen, you sit your ass down in front of a TV, set down the phone, and then you *watch it.* Any Disney, theme park, or independent film fan needs to pay attention to this one.

Bottom left is Caelan Conrad with their piece "Drop the T - The Deadly Consequences of Gay Respectability Politics." While I do think they've done more visually or artistically-daring pieces before, "Drop the T" is one of the most important videos released on YouTube in today's current climate of hate. We as queer folk (and our allies) need to understand how integral every identity of the queer experience has been since the start of the Civil Rights movement (and before!). While we are not identical, we *are* inseparable, and we deserve having our real history easily accessible.

TERFs and other conservative mouthpieces need not reply. Your opinions are trash. 😘

I cannot stop watching and rewatching this video by @patricia-taxxon, "On the Ethics of Boinking Animal People." It's not just a defense of furry fandom and its eccentricities, it's a thoughtful and passionate analysis of what the artform achieves that purely human representation can't. Patricia goes outside of her usual essay format to directly speak to the viewer about the elements that define furry media (the most succinct definition I've ever heard) and just how *human* an act loving animal cartoons really is.

As an artist who can draw furry characters, but never really got into erotic furry art, this video is a treasure. Why did I choose to have her drawn as a Ghibli character, hanging out with one of the tanukis from "Pom Poko?" Guess you'll have to watch, bruh.

Philosophy Tube continuously puts out videos that I would put on this list--I'm not even sure that "A Man Plagiarised my Work: Women, Money, and the Nation" is the best work she released in 2023. However, this video got many conversations going between myself and my partner, and the twist on the tail end of the video shocked us both to such a degree that I had no choice.

At the very tail end of the year, Big Joel released "Fear of Death." On his Little Joel channel, he described it as the singularly best video he's ever done, and I'm inclined to agree. However, for this illustration, I ended up repeatedly going back to a mini-series he did earlier in the year: "Three Stories at the End of the World." All three videos are deeply moving and haunting, and I was brought to tears by "We Must Destroy What the Bomb Cannot." While it may be relatively-common knowledge that the original Gojira (Godzilla) film is horror grappling with the devastation America's rush to atomic dominance inflicted on Japan, Big Joel still manages to bring new words to the discussion. Please watch all three of the videos, but if, for some reason, you must have only one, let it be "We Must Destroy What the Bomb Cannot."

Y'all. Let me confess something. I hate football. I hate watching it, I associate seeing it from the stadiums with some of my worst childhood experiences, I despise collegiate and professional football (as institutions that destroy bodies and offer up children at the feet of its alter as a pillar of American culture)--

I. L o a t h e. Football.

But.

F.D. Signifier could get me to watch an entire hour-plus essay on why I should at least give a passing care. AND HE DID IT. I might think "F*ck the Police," the two-parter on Black conservatism, or his essay on Black men's connection to anime might be "better" videos, but this writer did the impossible and held my limited attention span towards football long enough to make a sincere case for NFL players--and reminds us that millionaires can *in fact* be workers. That alone is testament to his skill.

Sit down and watch "The REAL Reason NFL Running Backs Aren't Getting Paid." Any good anti-capitalist owes it to themselves.

CJ the X continuously puts out stunning, emotional videos, and can do it with the most seemingly-inconsequential starting points. A 30 second song? An incestuous commercial? Five minutes of Tangled? Sure, why not. Go destroy yourself emotionally by watching them. I'm serious. Do it.

Their video Stranger Things and the Meaning of Life manages to to remind us all why the way we react to media does, in fact, matter. Yes, even nostalgia-driven, mass-media schlock. Yes, how we interact with media matters, what it says about us matters, and we all deserve to seek out the whys.

Folding Ideas has spent the last few years articulating exactly why so much of our modern world feels broken, and because of that his voice continuously lives rent-free in my brain. While the tricks that scam artists and grifters use to try to swindle us are never new, the advancement of technology changes the aesthetics of their performances. Portions of Folding Ideas' explanations might seem dry when going into detail of how stocks work in This is Financial Advice, but every bit of it is necessary to peel back the layers of techno-babble and jargon and make sense of the results of "Meme Stocks."

Jessie Gender puts out nothing but bangers, her absolute unit of a video about Star Wars might be my new favorite thing ever, but none of her work hit so profoundly in 2023 than the two-parter "The Myth of 'Male Socialization'" and "The Trauma of Masculinity." There's so much about modern life that isolates and traumatizes us, and so much of it is just shrugged off as "normal." We owe it to ourselves to see the world in more vivid a color palette than we're initially given.

Panels drawn after Kate Beaton and "Ducks: Two Years in the Oil Sands."

"This is Not a Video Essay" is one of the most intense and beautiful pieces of art I've ever put into my eyeballs. Why do we create? What drives us to connect?

I don't even know what else to say about the Leftist Cooks' work, it repeatedly transcends the medium and platform. Watch every single one of their videos, but especially this one.

The likelihood you are terminally online and yet haven't heard of Hbomberguy's yearly forrays into destroying the careers of awful people is pretty slim. Just because it has millions of views doesn't mean that Hbomberguy's "Plagiarism and You(Tube)" isn't worth the hype. Too long? Shut up, it has chapters and YouTube holds your place, anyway. You think a deep dive into a handful of creators is only meaningless drama? Well, you're wrong, you wrong-opinion-haver. Plagiarism is an *everyone* problem because of the actual harm it creates--the history it erases, the labor it devalues, the art it marginalizes--which you would know if you watched "Plagiarism and You(Tube)".

Watch. The damn. Video.

In fact, watch all of them!

Thanks for reading this if you did.

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sirfrogsworth · 3 months

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Photo Restoration Project - Part 1

A long time ago, Katrina sent me some old photos of her family I could restore. Her parents have been helping me from afar for years and I really wanted to do something nice for them. Unfortunately my dad got much worse and I pretty much forgot about this project for quite some time.

But then I decided to visit Katrina in Orlando and we discussed having dinner with her parents and I remembered these photos. So I thought I would fix them up so I could present them as a gift in person.

The first and most important photo was from her parents wedding.

Old photo prints can fade over time due to UV light exposure. From what I understand, different colors fade at different rates and red/orange tones tend to be the least susceptible to this fading. Thankfully all of the color information is still there, it's just that the darks are not as dark and the lights are not as light. The dynamic range got squeezed like an accordion. However, if you do a levels adjustment on the red, blue, and green channels individually, you can unsqueeze the accordion and balance everything back to the way it was.

But you can't always save everything and there may be other damage that needs fixing. If something becomes pure white, there is no way to restore that detail. Thankfully I was able to use the new generative fill feature to bring back detail in the dress, the flowers, and the tuxedo shirt.

And because I hate front facing flash and how it makes colors look ugly and sterile, I may have also added a marble floor and pillars.

Next up was a photo of Anastasia, Katrina's mom, protesting Henry Kissinger on behalf of her home country of Greece. This suffered from the same color fading issues.

What made this one a little more tricky was an uneven fading. The left side had to be adjusted independently and the top was even more faded. I had to isolate the trees to bring back their color. And the protest signs were difficult to read, so I enhanced those as well.

Next we have this lovely photo of Anastasia tending to some house plants.

This photo was actually in decent shape. It lost a little contrast, had a little bit of fading, and her top retained almost no detail I could recover. Recovering accurate skin tones is probably one of the most important skills I learned when restoring these photos. I wanted to keep that filmic look of the era while avoiding making people look jaundiced or pale. Lightroom's new masking feature that let's you isolate every aspect of the people it detects in a photo. This made fixing skin tones much easier. I could isolate just her face or her lips or her hair or her eyes and make precise individual adjustments. This process could have taken a great deal longer without this feature. But, I brought back proper contrast and color, added a little bit of detail to her top with gen fill, and hopefully got fairly accurate skin tones as well.

Next up, forward facing flash strikes again in a photo of Mike and Anastasia during Christmas.

Film did not do well in low light. If it was indoors and nighttime, you pretty much had no choice but to use flash. But a flash is a very small, bright light source and this causes a very unflattering result on humans. Today we have much more powerful flashes with rotating heads. We can bounce the light into the ceiling or off a wall and increase the size of the light source to get a more flattering result.

In this photo I wasn't able to do much, so I just balanced the skin tones and brought out some hidden detail and called it a day. It's still a lovely memory and thankfully film has such character that it negates a lot of the unflattering aspects of direct flash.

Next up is some cuteness...

A big priority when editing photos is to make sure the subjects are the star of the photo. And in this one their faces were a bit obscured in shadow. There was also a lot of haze in the background hiding the beautiful vista. Not to mention when I cleared that haze, there was this super faint hint of something in the sky. I can't tell if it was a rainbow, but I decided to believe it was a rainbow. The only thing that I am still struggling with, and this seems to be common with a lot of old photos, is green. Getting a good, saturated, natural green to look right has been very difficult. Everything I try ends up looking toxic or fake. The only thing that ends up looking right with the rest of the photo is more of a yellow-y brown. It's something I'll have to work on as I learn, but as long as the overall photo looks balanced and natural, I'm okay with not perfectly nailing the greens.

Up next we have a lovely scene on a Greek dock...

As far as editing goes, this was pretty basic. I just undid the fading, adjusted the skin tones, replaced the blown-out sky, and made the colors pop. But I think this is actually one of my favorite before and after shots. I just love how such a simple fix brought this scene to life.

A new car is a big deal and Anastasia looks so proud here...

This image has another common issue in addition to the typical fading of colors. It has a yellowish orange color cast. This could have been an issue with the film used or the development process or a chemical reaction on the print. A color cast is a lot like looking through colored glasses. It's like a translucent color material was put on top of the image. This can be a little trickier to deal with, but if you know your color theory, you might already know the solution. Blue is the opposite of yellow/orange on the color wheel, so if you introduce blue to the image it should balance out. Also, add a sky if it was missing.

Next up we have a landscaping project...

This one wasn't too tricky, but there was one interesting issue I had to address. All light has a color temperature. Daylight has a temperature of around 5500K. But the inside of the garage was being lit by reflected light and so that light took on the color temperature of the things it was bouncing off of. So I had to mask out the people and the car and address the color temperature inside the garage to make everything look balanced. Also, the green fought me hard on this one. And with the theme of this picture being plants, I felt I really needed to find a tone that worked. I think I finally got there, but I spent way too much time in the color picker doing trial and error of green tones. Also, new sky.

With this next one I actually did a pretty thorough explanation of how I edited it. But this was probably my favorite puzzle to solve from this collection of photos.

I'll do the abridged explanation...

The physical photograph was printed on a paper with a very heavy texture. And when it was scanned, the light from the scanner bounced off that texture and created a pattern of unwanted highlights.

I was worried this was impossible to fix and I almost gave up on this photo. But after one final Google search I discovered something called "Fast Fourier Transform." It's a mathematical formula that can be used to detect patterns. And the image editing software Affinity Photo, just so happens to have a filter called FFT denoise that helps you remove unwanted patterns from scanned photos.

And thanks to that filter, I was able to remove a substantial amount of that pattern...

Then I did my standard clean up techniques...

Oh, and I decided to try learning how to colorize.

Photoshop has a new set of experimental filters and a colorization tool is one of them. It is not great yet, but it is a great starting place. Instead of having to hand paint every single thing in the photo, Photoshop gave me a base to work with and I could take it from there with traditional techniques.

That's all I have the energy for today, but there are a bunch of cool restorations to talk about. Hopefully you all find this interesting. It was such a great gift to give to Katrina's parents. And spending that time with them and making them happy felt like I was with my own parents again. So we all got a gift in that wonderful evening.

Part 2 coming as soon as I have the energy!

#photography #photo restoration

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rhondafromhr · 2 months

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I normally don’t like social media/youtuber AUs but I just came up with a really unhinged one that I feel compelled to subject y’all to.

So, Stephanie’s a podcast girlie. She started one to rebel against the constant pressure to stay out of the public eye and not do anything to make her dad look bad by saying a bunch of things she know will enrage the public (like “peanuts the pocket squirrel is overrated”) and having controversial guests. As it took off, she really started to enjoy the financial independence and attention/validation it brought her, eventually moving to LA to do it full-time.

Grace has a fundamentalist channel (not unlike Girl Defined) where she basically just spouts purity culture bullshit. She’s controversial and while she does have a decent amount of people following her unironically, most of her views are hate watches and she gets a lot of her engagement from commentary channels dunking on her. One of those channels is run by none other than Peter Spankoffski - most of his content is nerdy/science based stuff and that’s his real passion, but he needs to make rent and the videos about Grace are what get views and money.

Stephanie decides that having them both on her podcast would make for one hell of an episode and they agree to do it. She asks questions she knows will get them riled up and cause arguments. It escalates to an all-out screaming match at some points, but the second the cameras are off Grace completely switches up, just totally calm and unbothered. Then she hits on Stephanie, which really confuses the other two. It turns out she’s a grifter - she hasn’t bought into the things she preaches on her channel in a long time, but she keeps it up for the money and because she’s been doing it for so long she doesn’t know what else she would do. Steph and Pete both get it so they’re just like “oh, cool, respect.” Pete invites them to a party hosted by his friend Ruth - an aspiring actress and popular lifestyle vlogger. Her real dream is live theater, but she has a lot of anxiety and she’s way more comfortable talking to a camera and posting online than performing in front of a crowd. The few roles she has gotten have been less about her talent and more about using her following to sell tickets, which is a big insecurity of hers.

At the party, they run into Max, who has one of those awful prank channels where he’s an absolute menace to the public and Richie, his camera man (they met and became unlikely friends in college. They started the channel when Max got an injury that kept him from playing football and had a crisis over what to do with his life). Richie can’t believe this is what he’s using his film degree for and he constantly tries to get Max to pivot to more serious content. The six all get to talking and realize they all grew up in Hatchetfield (Max went to Sycamore in this universe. He was still a literal monster and bullied everyone there, but Hatchetfield High was safe). They talk for hours about all the strange occurrences they noticed back home and the fact that they all suspect some sinister, supernatural forces are at work there. Eventually, they decide to travel back there, investigate and exploit their findings for content in the most epic collab the world’s ever seen.

#npmd #nerdy prudes must die #I just love making them worse people #stephanie lauter #ruth fleming #grace chasity #peter spankoffski #max jagerman #richie lipschitz

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attheexactlyrighttimeandplace · 6 months

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For the people who still think the colony of Israel has a right to defend itself:

They're not defending anything, they're just having fun killing:

Update 1 (17/10/2023) for the confused and sceptics :

Update 2 (10/22/2023): To add some context to this post following Reuters (direct link to article) attempt to verify the reality of the IDF Facebook post.

In fact, Reuters failed to verify anything: as the agency admitted in its article, its journalist "could not find the impostor's Facebook account or the publication on the platform social network".

They then contacted "a spokesperson for the IDF", who told them that " the Facebook post was not shared by one of its official accounts. He added there was only one official IDF Facebook page in Arabic that carries a verification tick "

A Reuters reporter also contacted"a representative for Meta, Facebook’s parent company, told Reuters the page was removed".

In this total absence of material evidence, and relying solely on the statements of these two sources which are the least reliable when it comes to commenting and sharing information and facts about the war against the Palestinians (the Israeli army is party to the conflict therefore It is biased and will protect its agents and soldiers- and Facebook has a history of censoring Palestinian content that could be used to document violence and help legally qualify zionist crimes).

Reuters came to this hasty conclusion:

Their main arguments are that

The Israeli occupation army never admitted to bombing the hospital and blamed Islamic Jihad, so it had no reason to celebrate.

Reuters journalists conveniently ignore the timeline. The IDF message welcoming the bombing of the Baptist hospital in Gaza was published immediately after the attack, while the controversy over the perpetrators of the attack began a few hours after its deletion.

Until the controversy, no one wondered who was behind the attack. The zionist army has always publicly assumed its crimes: it even ordered (according to the clerics who were in charge of the administration of the hospital) on several occasions the hospital to evacuate, knowing perfectly well that it was impossible. It was only when outrage became widespread that western media, including Reuters, began to question the origins of the strike. There's a post on Tumblr that pulls together the subtle changes in headlines to make it seem like Israel never took credit for the attack (even though it destroyed different 2 floors of the hospital a few days before the biggest attack).

There are other videos on Mohammed El Kurd's Twitter account showing the zionist army celebrating its strikes. There are videos on social media of zionist soldiers humiliating prisoners in their custody, so gloating on social media is not a new practice for them.

There is no reason why they should not celebrate what they consider a victory: their ministers have already publicly and clearly stated that civilians who do not leave northern Gaza, whatever their reasons, will be assimilated to Hamas fighters. So everything is consistent; in their minds, hitting innocent and defenseless civilians is legitimate and they are happy about it.

On its Twitter account, the Israeli military removed a video that purported to prove that Islamic Jihad carried out the attack, but ultimately did not prove its claims. So they also have a habit of deleting their own content when they realize that it exposes them more than it helps them.

Other journalists (Al Jazeera uses its own images: it is the only media that remained in Gaza and they filmed all the attacks, information from Channel 4) and independent experts on weapons of war and geolocation worked on the question of identifying the perpetrators of the bombing of the hospital. So far, their preliminary conclusion is that the Israeli military's claims do not match the facts and material evidence on the ground.

Full details of this debate are on the X/Twitter accounts of Lowkey and Mohammed El-Kurd (look for posts made on October 17).

2. I don't really know how Facebook/Meta works: I never had an account on it (I mean I never used it properly: I opened an account years ago, exclusively to follow the activity of a group that I was part of in life but closed it after a few weeks without interacting beyond a few likes), but on Twitter you can hide the checkmark.

Even if the checkmark cannot be hidden, there is nothing in the Reuters "report" to indicate that the Zionist army does not maintain multiple accounts - some with checkmarks and some without - and does not delete accounts that are not officials when it does not suit their interests.

They have a history of spreading fake news: from rumors about 40 beheaded babies, to accusing Palestinians of bombing themselves, to creating fake documents to accuse Hamas of planning attacks on primary schools while manipulating parents by buying YT ads shown during videos aimed at children to improve their image damaged by their violence with families, and to justify the harm they do to the children of Gaza.

I'm only making this long argument because Lowkey and Mohammed El-Kurd deleted the tweets I reposted and I think they shouldn't have done so. I understand why: it actually seems like an insignificant speck in an ocean of real crimes, but I personally consider it symbolic and indicative of the true and greater zionist project: genocide.

Genocide in international law is based on proof of intent to destroy a group, and the zionist army's mocking Facebook post establishes beyond doubt that nothing is accidental on the zionist side, everything is premeditated and based on their superiority complex over the Palestinian people.

#there's no words to express the intensity of the disgust they inspire me #politics #history #anti genocide #antiracism #anti colonialism #anti colonization #anti apartheid #anti ethnic cleansing #anti jewish supremacy #anti western imperialism #palestinian lives matter #palestine #middle east #indigenous people #from the river to the sea #palestine will be free

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ayeforscotland · 1 year

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Welcome!

Hello, I'm AyeforScotland and I've been here for too long. AyeforScotland started off as a Scottish politics blog campaigning for Scottish independence but has since evolved into whatever the hell this is. The fight for Scottish independence continues - I love answering asks about it. And naturally I also discuss wider UK and International politics as well.

Politics FAQ

However, it can't all be doom and gloom - and I suppose I'm kinda 'creative' too so AyeforScotland naturally grew arms and legs and I'll list all the other stuff I do down below👇👇👇

As modest as I try to be, I'm particular proud of the community surrounding this blog and in my discord (YOU SHOULD JOIN). These are people like you who are reading this now who have educated me on a variety of topics over the past decade - and I'm still learning from them daily. I've also ran some amazing 24 hour hour charity streams for a range of charities across Scotland and the UK. So far those charities are the TIE Campaign, The Equality Network, Endometriosis UK, Galop, War Child & Cats Protection. I also co-host @theayesphere podcast every week with the wonderful @thebibliosphere. We chat about everything from politics to entertainment media, and do deep dives on games, TV and films!

Commissions

I regularly get messages asking to read, review and advise on Scottish dialogue as well as lend my voice to various projects. Commissions are open on Ko-Fi for this type of work. Just get in touch with your project and we'll get sorted.

Click here for all links

Discord - The home of the community - Filled with amazing people

Twitch - I play a variety of games on Twitch, I enjoy everything but like to focus on narrative, indie experiences. I also run community interaction games which are always a great laugh. Ko-Fi - My Ko-fi is for people who would like to support me in all the various bits and pieces I do to inform and entertain. It is hugely appreciated and often straight-up reinvested into providing more for you all. YouTube - I have a YouTube Channel I try to make content for when I can. I want to do more but time has been against me recently but there's some video essays I'm very proud of. There's also a separate AyeforScotlandVODs channel for my Twitch streams.

TikTok - Tends to be me ranting about politics or funny Twitch Highlights Twitter - The dying platform - Tumblr is far superior but you can support me as a creator there if you like. There's a few other links but I don't want this post to take forever. If you need anything or have any questions, my asks and DMs are open. Yours for Scotland, Aye

#AyeforScotland

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contemplatingoutlander · 3 months

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Most Republicans aren’t aware of Trump’s various legal issues

"For example, the [YouGov] poll found that most Americans think a conviction would be a fair outcome from Trump’s criminal trials. Among Republicans and those who say they voted for Trump in 2020, though, most would view such a result as unfair. Makes sense, given that most Republicans say they haven’t even heard of the criminal trials." [color emphasis added]

---Philip Bump, columnist for The Washington Post

Well, this is frightening.

Philip Bump once again does an excellent job of analyzing the data to show us the degree to which many Republicans live in an alternate reality. This is a gift🎁link for those who don't subscribe to The Washington Post and want to read he whole article. Below are some excerpts.

There is an assumption, probably particularly among those who cover the news and those who read it, that Donald Trump’s legal travails are common knowledge. [...] But this is a sort of vanity: Just because it is interesting to us certainly doesn’t mean it is interesting to others. Polling released by CNN on Thursday shows that only a quarter of voters seek out news about the campaign; a third pay little to no attention at all. [...] YouGov presented American adults with eight legal scenarios to judge the extent of the public’s awareness. Two were invented: that Trump faces charges related to emoluments or related to drug trafficking. Happily, less than a quarter of respondents said those legal threats actually existed.* The other six were real. The one that was familiar to the most people was the federal classified-documents case that is moving forward in Florida; 6 in 10 Americans said they were aware of that case. The one that had the least awareness was the civil suit in New York in which a judge determined that he’d fraudulently inflated the value of his assets. Just under 50 percent of Americans knew about that. But the pattern among Republicans is clear. At most, 45 percent of Republicans said they knew about legal issues: specifically, the documents case and his being found liable for assaulting the writer E. Jean Carroll. Only a quarter knew about the value-inflation suit, and only 4 in 10 knew about the criminal charges in Manhattan related to the hush money payments to adult-film actress Stormy Daniels.** [color/emphasis added]

[...] It seems very safe to assume this lack of familiarity derives from disinterest in hearing negative information about Trump — and, probably more importantly, the disinterest of conservative and right-wing media outlets to report on them. In May, The Washington Post looked at the extent to which Fox News covered the documents and Daniels cases relative to other cable-news channels. It did so much less frequently. [emphasis added] [...] For example, the poll found that most Americans think a conviction would be a fair outcome from Trump’s criminal trials. Among Republicans and those who say they voted for Trump in 2020, though, most would view such a result as unfair. Makes sense, given that most Republicans say they haven’t even heard of the criminal trials. [color/emphasis added]

Those results look very much like the results YouGov got when it asked Americans which they viewed as a more important issue for presidential fitness: Trump’s indictments or President Biden’s age. About 4 in 10 respondents chose each option. [emphasis added]

It’s important to point out that the responses from independents mostly matched the overall numbers, which is often the case. That means only about half of independents are aware of Trump’s legal issues — potentially meaning there is a large group of Americans who might suddenly learn the details of what’s been alleged if Trump is convicted of a crime. [color/emphasis added] That is the sort of thing that might have a measurable political effect.

_________________________ *Unfortunately 43% of Democrats and 40% of Biden voters thought that the emoluments charges existed. They certainly should exist, but they don't.]

**More troubling to me is that only 42% of Republicans knew about the charges of conspiracy to overturn the 2020 election results, and only 36% of Republicans knew about the charges of attempted obstruction of the 2020 election certification.

#republicans #ignorant of trump's criminal charges #YouGov poll #right-wing propaganda media outlets #fox news #philip bump #the washington post #gift link

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jacksgreysays · 2 days

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Extremely late, completely unnecessary opinion of the Watcher situation, (2024-04-24)

So this is a relatively belated post — several days after the initial “Goodbye Youtube” and one day after the “An Update” videos — and surely by this point there are more interesting/insightful op-eds (both in written form and video form, especially penguinz0’s fairly objective POV as, essentially, a YouTube expert) but there is something about the Watcher situation that made my brain itch. Thus, I wanted to write about it in order to make sense of it all as well as get into a philosophy that seems to be haunting me in recent years and which I think applies greatly here.

This may seem completely out of left field considering 1) definitely not fanfiction and 2) about Watcher Entertainment, a YouTube channel which—as far as this tumblr is concerned—I’ve not engaged with whatsoever, but I don’t know where else I would put this, and weirdly enough I think the general tumblr response to this whole predicament is maybe the… if not objective… then at least, most thoughtful?—or, perhaps, least immediately reactive?—amongst the various social media platforms, that I think some people might appreciate this anyway.

In terms of my relevant background: I majored in Management Science (which is just a fancy way of saying Economics + Business + Accounting because they are, weirdly enough, separate things) and minored in Film Studies in school, I am currently working in the stage tech industry (which, I know, is obviously different from film/video industry), and I like to think I am a fan/consumer of a wide variety of independent creators, some of whom I am lucky enough to be able to afford being a patron/subscriber. I won’t go into all of them—because it is a lot—but there are four in particular whose business models I want to analyze in comparison to Watcher’s admitted blunder:

A) RocketJump (known for Video Game High School and Anime Crimes Division; the core group which turned into the podcast Story Break, then became Dungeons and Daddies) B) Dropout (formerly College Humor, we’ll get into their discography later) C) Drawfee (previously an offshoot of College Humor, now fully independent) D) Corridor Digital (used to be mostly behind the scenes of how VFX studios work, have since become a mostly original content creator)

I will say, right off the bat, I am a patron of Drawfee as well as Dungeons and Daddies, and I am a subscriber to Dropout. I am not subscribed to Corridor Digital’s streamer, which I will get into why later. I understand that being able to sustain those two patronages and one subscription is a luxury that not everyone can afford and so my point of view is already skewed by being such a person who could theoretically afford another streaming service if I so chose. I also acknowledge that many fans of Watcher are not in similarly financially secure places as I am and that regardless of the business model, any monetization that comes from fans would have been a rough ask. However, I wanted to go into this essay in a way that accepts Watcher’s statement—that they needed more funding—in relatively good faith rather than assuming the worst (although that is another point I’ll get into later, largely related to the philosophy I brought up earlier.)

All four of the above listed content creators started or, at least, hit their stride on YouTube:

RocketJump and College Humor were, if not household names, then the digital equivalent of it in the “early days of YouTube.” They were part of the wave of content creators that made YouTube seem less like a bunch of eccentrics with cameras making videos on the side and more like a viable way to support yourself/your team with the art you create.

RocketJump’s Video Game High School went from short (less than 10 minutes) minimal location episodes in season one, to 30 minute plus episodes with full on fight scenes and car explosions by season three thanks to a Monster Energy brand deal. They also had two seasons of Anime Crimes Division, a literal TV quality show, thanks to a Crunchy Roll sponsorship. Unfortunately, RocketJump shut down not long after (their videos are still up on YouTube but they obviously don’t add anything new) but the core creative team behind that have been involved in several projects outside of YouTube (Dimension 404 on Hulu being one of the biggest ones so far) including the podcast Story Break (part of the Maximum Fun network) and now the independent podcast Dungeons and Daddies, the episodes of the main campaigns which are free with ads or, for patrons, ad-less along with additional mini-campaigns and other benefits.

I will say, during RocketJump’s decline, they did try their best to keep going. The partnerships with Monster Energy and Crunchy Roll were the big swings to get the funding to make those TV quality shows they wanted. I believe they lucked out with those brands in particular, or, at least, those brands didn’t seem to inhibit the creative process or ask too much of them that it felt like “selling out” but I also don’t have insight into why they didn’t pursue this model of, essentially, very weird but interesting season long commercials. Maybe they just couldn't find the right brands or maybe they did feel like it was too stifling. Regardless, before they shut down completely, they did also downsize—moving out of the actual city of Los Angeles over to Buena Park. Which is in Los Angeles county, and basically counts as LA still, but is way cheaper than literal Hollywood real estate. (I should have added to my relevant background that I’m born and raised LA county, and have relatives and friends in the film/movie industry, so trust me when I say literal Hollywood/city of Los Angeles is so overrated and unnecessarily expensive. There is a reason why LA traffic is the worst and it’s because everyone is commuting INTO the city. Respectfully and with affection, no one should live there. No one’s start up should be located there.) Obviously the downsizing didn’t necessarily work for RocketJump, but they also didn’t have multiple successful revenue streams the way that Watcher currently does.

In contrast, College Humor was acquired by InterActiveCorp and was turned into CH Media which was three pronged: College Humor, Drawfee, and Dorkly. In 2018 they made Dropout, which had exclusive content separate from their YouTube videos which involved all three prongs. Then some financial shenanigans happened early 2020—IAC withdrew their funding—and there were a bunch of layoffs right before the pandemic which extremely sucked. It has been stated by multiple people involved that it was basically a miracle that Dropout survived through all of that, but there were definitely some sacrifices along the way to make that happen. Currently, Dropout seems to be thriving with mostly exclusive content with the occasional “first episode of a season” posted to YouTube, OR if Dimension 20 is doing a “sequel season” in an already established campaign they will put the entirety of the previous season on YouTube.

IAC withdrawing their funding did put CH Media in a bind. They had to layoff a lot of people right before pandemic and, understandably, a lot of trauma was had. There were also weird issues with who controlled certain IPs/brands/digital assets (I mostly come at this from a Drawfee POV, it took several years for them to own the Drawga series and be allowed to host all of the episodes on their YouTube, and there was also something about the sound file for their opening animation?) but mainly the difference is what kind of content they generate. Originally Dropout had multiple scripted shows with high budgets and pretty cool effects/animations/stunts (Troopers, Kingpin Katie, Gods of Food, Ultramechatron Team Go!, Cartoon Hell, and WTF 101) whereas now almost all of their shows are variations of improv comedians being put into different scenarios or given different prompts. I’m not just talking about Game Changer and Make Some Noise, because Dimension 20 and Um, Actually also technically fall under that description as well. Which is not to say that these shows are worse than the scripted shows—I subscribe to Dropout, so clearly I’m a fan of their current shows—and the budgets for them have since increased to resemble, if not match, those early shows, but it is a noticeable shift in their content creation strategy as a response to the lack of IAC funding. And I will say: Dropout releases at least three videos a week if not more and at least two of those are long form at 30 minutes plus (Dimension 20 being the longest, of course.)

So, these first two business models are not really the most applicable to Watcher Entertainment considering their origin was to get away from Buzzfeed—they’re probably not keen to be partnered with or purchased by a larger company—but there are some aspects to both that I believe are valuable in at least showing the strategy in how these former YouTube creators could successfully extract themselves from YouTube or how they still utilize YouTube even if it is not their main hosting platform or revenue stream.

Then there is Drawfee and Corridor Digital, both of whom are currently—if not primarily—on YouTube, whose situations are more comparable to what I believe are Watcher’s goals.

Drawfee had to rebuild themselves like a phoenix from the ashes of the CH Media layoff during the beginning/worst of the pandemic. Side note: I’m happy that Nathan (one of the four main artists of the current Drawfee team) at least has forgiven(? or let bygones be bygones) Dropout enough to be on an episode of Game Changer (although I will say that this happened after Drawga was “returned” to Drawfee, and after Dropout officially split from College Humor as a brand.) All that being said, Drawfee was a team of four artists plus their editor who wanted to stick together but basically had all of their support system taken away from them. They took a bit of a break to assess their goals and options, announced a patreon with several tiers with great perks, and stuck to their upload schedule. In addition to two videos a week, they also stream on Twitch weekly, have a patron only stream once a month, and a draw class (for one of the higher tiers) once month. After asking their patrons on the relevant tiers if they were okay with it, they began releasing the patron only stream and the draw class to the general public for free after a month. The patreon perks also include things like merch discount codes, high quality PNGs of the final rendered art, access to the draw class with live interaction/critique, and a commission from the artist of your choice. The only “ads” they run are for their own patreon and merch store and, even then, they’re usually at the end of the videos with a credit scroll of the patron names during their exit banter.

Admittedly, they only have MAYBE eight employees—that’s including their video editor(s?) and their discord mod(s?)—with the main four artists doubling/tripling up duties as additional video editors, CFO, and marketing/merch leads. It’s a very streamlined crew and their production costs are not very high since it’s mostly screen recording of their drawings with their audio recording overlayed onto that footage. Although the video editors do sometimes have clever cuts to relevant images depending on their vamping. Sometimes they will have a guest artist but, again, since it’s screen and audio recordings, there’s no travel/housing costs. So, very minimal expenses due to low production costs and small crew but, again, their only revenue source is the patreon/merch, they don’t do outside ads and they very rarely do live shows.

Corridor Digital is, I think, the most applicable to what Watcher would ideally do, which I suppose is somewhat ironic for this essay in particular considering they’re the only one of the four that I don’t financially support. They have two YouTube channels: their main one being where they show the “final product” videos, but I believe their Corridor Crew channel which started primarily as behind the scenes type of videos is where most of their views come from. Especially their React series (VFX artists, Stuntmen, and Animators React etc.) On Corridor Crew they usually upload two videos a week — one which is a React and the other which goes into fun projects/challenges (involving VFX or not) or using VFX to explain scientific concepts — as well as the first episodes of their exclusive content on their streamer. Also behind that paywall are longer and ad-less versions of the videos on YouTube. They also have merch. All of them have merch, I don’t know why I’m stating that. They don’t have a patreon as far as I know, but I also don’t know if their subscription to their website comes with similar perks like discounted merch or something similar.

Anyway, their studio seems to be about 15 to 20 people — not all of them are VFX artists, of course. I believe they have higher equipment costs than Watcher since, understandably, Corridor has to be on the cutting edge of video editing technology. They do occasionally travel for shoots, but it doesn’t require big teams, and that’s only when the local locations available to them don’t match the requirements for the “final product” videos. Otherwise most of their videos are set in the studio or in the alleyway outside their studio in Los Angeles (the city itself, not just the greater county, though they are in a rougher and thus probably cheaper part of Los Angeles). I personally don’t subscribe to their website primarily because their exclusive shows don’t appeal to me—either they’re too technical or a little too dry; to be fair, most of them are VFX artists first before they are performers—and I don’t particularly feel the need to see the extended cuts of the videos uploaded on YouTube. Also I sometimes get a little bummed out by their lack of diversity.

All of this to say, from these four different business models, a bespoke Frankenstein business model for Watcher could be cobbled together. But also, even with that bespoke Frankenstein, there are some changes that Watcher would have to make: primarily their upload schedule. As of right now, I think they do MAYBE one video a week if not, perhaps, one video every TWO weeks. If they want a monthly subscription model, their rate of content generation would ideally be higher to double/quadruple their current upload rate. Obviously they want to create videos with higher production value, but at that rate of generation, something’s got to give: supplement their TV quality shows with either a behind the scenes type series or an increase of “we get four episodes out of Shane and Ryan get increasingly drunk in someone’s backyard” or something similar. Leaning into shows like Worth A Shot (the first season in which Ricky Wang makes cocktails based on a random ingredient, the second season threw in some competitive aspects which I didn’t really find necessary) or the Beatdown which has relatively low production costs (no travel, one location, maybe two cameras at most therefore smaller crew requirements) but a higher polished look. Otherwise, for a separate streaming subscription service, 2-4 videos a month is not going to cut it.

As of right now they probably can’t back out of the separate streaming subscription service because those set ups usually require some level of contract/paying for servers for the website and whatever is hosting their videos for a set amount of time. However, what really strikes me is that I literally didn’t know they had a patreon until I scrolled through the comments of the first Goodbye Youtube video. Maybe it’s been linked "tactfully" in the descriptions of videos, but considering they claim to be lacking in funds, the fact that they weren’t plugging their patreon at the end of every video is not just strange, but also irresponsible considering they do have 25 employees that they don’t want to layoff.

Additionally, I understand artists needing to be in a space that promotes creativity, but there are cheaper places that must be comparable that aren’t in literal Hollywood. It’s an unnecessary expense. On top of that, other people have already brought up that it was fairly crass to introduce this paywall, attributing it to the increased production costs, when the next planned “new series” is a reboot of an old Buzzfeed series in which people travel and eat expensive food. I’m not even talking about the personal expenses of Steven, Shane, and Ryan; what kind of car they drive or the cost of their wedding venue doesn’t matter on a business model basis.

But getting back to the patreon: again, I literally didn’t know they had one. I’m looking over their tiers— they have $5, $10, $25, and $100 — and for the most part they seem okay, although I think they have more to offer that wouldn’t necessarily cost them more. Ie, something that has baffled me for a while: the fact they don’t sell the mp3s of the Puppet History songs; they already exist and it doesn’t cost them anything additional because they don’t need to put it on physical media. Or maybe they do and they’re not marketing it similarly to how they weren’t overtly marketing their patreon?

And, okay, maybe they didn’t want to seem desperate — in the early days of Dropout and independent Drawfee, they both were very blatant in getting people to subscribe/join their patreon. As they should be. Desperation maybe doesn’t look cool and sexy, but it is earnest in a way that conveys equal effort that fans who can afford it would want to see. The fact that we weren’t getting rotating ten second clips of Steven, Shane, and Ryan asking people to join the patreon at the end of every video — even if its the same clip every three videos — is wild. And yes, the $25 tier includes a shoutout every 3 months on Watcher Weekly+ (which I don't quite understand what that is,) but the fact that they weren’t doing a quick post movie credits scroll of all the patreon names is, again, wild. Once you have that initial list, it’s not too difficult to add any new names that join and put that title overlay on top of, again, those nonexistent ten second clips of the three.

As others have already stated, it seems like an extreme mismanagement of their existing successful revenue streams, if they are actually struggling to pay all of their employees. Which goes into the philosophy part of this essay: don’t assume malice when it might just be incompetence. It’s something that I have to remind myself of often because I do get paranoid about people’s intentions sometimes and I have to check myself. Am I being overly suspicious of what might be just an honest mistake? Am I assigning ill will to an action just because it inconvenienced me?

Yes, of course, a lot of this situation could be misconstrued as straight up greed. But, also, Watcher is a relatively young company, helmed by three people who certainly don’t have experience running their own company:

They like to travel. They like to bring a full crew around with them. They’re renting out a shiny office in the heart of Hollywood where everyone knows is where real show biz happens. They’re adding more employees to the team because surely more people means better. And they want better productions values because the prettier the videos the more people will like them right?

It’s naive. It’s a level of inexperience combined with giving responsibility to officers whose main priority is to entertain. And if that means entertaining themselves and their staff, then they might not know the difference. It’s the kind of mistake that first time managers make—trying to prioritize fun over getting the job done. Prioritizing making friends with their employees rather than making sure the work the employees put in is equal to (or greater than) what you spend on them whether that is in paycheck or bringing them to cool locations for fun shoots. It’s a mistake anyone can make, it's just unfortunate that they made this mistake in front of millions of people. It doesn’t necessarily mean it’s solely a greed induced cash grab.

But then comes the catch-22 of the philosophy—is it worse to assume incompetence than it is to assume malice? Or, in this case, greed. Especially for the heads of a company that holds the livelihoods of 25 employees in their hands. At what point does it not matter if it’s incompetence or greed if the end result is the same?

Is it better to think that Watcher knew about the various other business models of independent creators and just ignored the efforts put into achieving those successes or is it better to think that they didn’t know and just stumbled into one of the worst moves they could have done. Again, other people have mentioned that Great Mythical Morning—which Watcher has had multiple collaborations with—has managed to make the YouTube subscription/tier system work to the point that they can sustain themselves as well as spinoff channels. Is it incompetence or greed that led to Watcher thinking they could bypass that completely in less time and with less content?

I’ve been at this mess of an essay for several hours when I should have been asleep. Ultimately I want to say, regardless of incompetence or greed… yes, Steven is CEO and yes he is ultimately the one who makes the final call but it is disheartening to see the pointed vitriol at Steven specifically and the infantilizing of Shane and Ryan in comparison. Either they’re all silly uwu boys who are messing around not knowing how to run a company, or they’re all complicit in a crass cash grab in an extremely busted economy.

I think what’s most frustrating to me in all this is that there were so many other channels and creators who have literally walked this path before them and, again, whether through incompetence or greed or arrogance, for them to just ignore it… It’s not betrayal because I don’t know them and so there’s no relationship to betray, it’s just so inefficient and convoluted that I don’t understand. Or, no, even if it was greed, it’s an incompetent greed because at least pure greed would have been pushing that patreon every second they could. Their ratio of YouTube subscribers to patreon members is less than 1% and I bet that’s because a lot of their audience, like me, literally didn’t know they had a patreon. I probably would have become a patreon member of theirs had I known earlier, ESPECIALLY if it included access to those Puppet History songs. Drawfee has half as many YouTube subscribers and nearly double the patreon members as Watcher. I’m just baffled, is all, and maybe by this point sleep deprived.

Anyway. That’s my extremely late, completely unnecessary opinion of this situation.

Edit (several hours later after some sleep): I forgot to mention, because they did walk this back almost immediately, even before their "An Update" video, but I believe the original plan was to put EVERYTHING behind that paywall and pull their content from YouTube entirely. Which is, again, extremely baffling, because if ALL of their content is behind a paywall, how would they possibly gain new fans? Even if all of their current fans were able and willing to pay for their separate subscription streaming service, how would a brand new person even stumble on their content enough to want to subscribe if there wasn't a significant amount of "proof of value" free content on YouTube? Again, extremely baffling, and a level of incompetence that overshadows a "cunning" greed. But, like I said earlier, they did walk this decision back almost immediately. If I've misunderstood this and that was never their plan, please let me know, I don't want to be spreading misinformation in a situation that is already so convoluted.

#jacksgreyson #writing #nonfiction #essay #watcher #op-ed #youtube #drawfee #corridor digital #dropout #rocketjump #dungeons and daddies

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