Sorry for the silly question, but why do you think some actors, or at least Hollywood actors, are paid so much?
It's not a silly question at all, anon.
There are a few reasons really, but you can generally boil it down to the fact that - whether it's the truth or not, which I think is arguable - actors are typically regarded as the face of a movie, and therefore the number one thing that a movie's success or failure rides upon.
Just to put on my cinema historian hat for a minute, this isn't a new concept.
The Hollywood star machine has been around since at least the days of Clara Bow, who was the first Hollywood 'It Girl' (in fact, the name itself was effectively coined after her, as the movie that exploded her to stardom in 1927 was simply called It), and Hollywood studios started to identify actors as the key component of cinema that sold tickets aka made money.
Hell, not even just the studios. The Independent Theatre Owner's Association put out a full page ad in 1938 naming actors and (lbr, mostly) actresses they viewed as 'box office poison' - including the likes of Katharine Hepburn, Greta Garbo and Joan Crawford - trying to get the studios to make less movies with them and more with the likes of, say, Gary Cooper, as they believed those actresses were the reason certain films weren't selling tickets.
Actors have long been the face of a film, while writers and directors are generally the ones with their names on it, and so while films involve hundreds of people, it's actors, writers and directors who are the ones who typically carry the most risk.
I think it's also important to remember that actors are also a business in and of themselves, and usually their payment doesn't just go to them, but to their team. The actress, Adelaide Kane, actually broke it down really well in a series of TikTok's a little while ago. To quote it, she says:
“Generally speaking the SAG minimum for a series regular on a network show is 20k per episode, so say I did 78 episodes on Reign, that pairs out to US $1.56 Million dollars for four years of work, right?”
“10% goes to my agent, 10% goes to my manager, 5% goes to my lawyer, 5% goes to my business manager, and then I get taxed a further 30% because I’m a foreign national working in the U.S., so I lose 60% right off the bat.” And that’s just the first half. Kane then goes on to detail further expenses like stylists, rent and publicist costs.
Actors are very, very rarely independent, meaning that their payment is generally a payment to a team. Gosh, the same goes for writers - I have an agent who takes 10-15% of my payment on most of the jobs she books me (depending on whether she's the lead or I am - if I'm the lead, she takes a smaller cut, but she still handles all the paperwork and contracts + any legal qualms for me), which is standard for a writer's agent in Australia at least. I also have an accountant who I have to factor in, because my income is really complex, and I can guarantee you it's a LOT less complex than a Hollywood actor's, haha.
So yeah, it's a combination of who's bringing the audience, who's shouldering the professional risk, and paying for someone + their team. That said, I think it's often absurd. Nobody needs to be paid hundreds of millions of dollars for a few days work, but I don't think that money should go towards lining studio executives' pockets either. In an ideal world, big profits off big movies would go towards funding smaller, riskier projects, but capitalism has unfortunately been a worm in the apple of cinema for as long as cinema's existed.
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you're in the habit of denying yourself things.
if someone asked you directly, you would say that you love a little treat. you like iced coffee and getting the cookie. you drink juice out of a fancy cup sometimes, and often do use your candles until they gutter out helplessly.
but you hesitate about buying the 20 dollar hand mixer because, like. you could just use your arms. you weren't raised rich. you don't get to just spend the 20 dollars (remember when that could cover lunch?), at least - you don't spend that without agonizing over it first, trying to figure out the cost-benefits like you are defending yourself in front of a jury. yes, this rice cooker could seriously help you. but you do know how to make stovetop rice and it really isn't that hard. how many pies or brownies would you actually make, in order to make that hand mixer worthwhile?
what's wild is that if the money was for a friend, it would already be spent. you'd fork over 40 without blinking an eye, just to make them happy. the difference is that it's for you, so you need to justify it.
and it sneaks in. you ration yourself without meaning to - you don't finish the pint of ice cream, even though you want to. the next time you go to the store, you say ah, i really shouldn't, and then you walk away. you save little bits of your precious things - just in case. sometimes you even go so far as putting that one thing in your shopping cart. and then just leaving it there, because maybe-one-day, but not right now, there's other stuff going on.
you do self-care, of course. but you don't do it more than like, 3 days in a row. after that it just feels a little bit over-the-edge. like. you can't live in decadence, the economy is so bad right now, kid.
so you don't buy the rice cooker. you can-and-will spend the time over the stove. you can withstand the little sorrows. denial and discipline are practically synonyms. and you're not spoiled.
it's just - it's not always a rice cooker. sometimes it is a person or a job or a hug. sometimes it is asking for help. sometimes it is the summer and your college degree. sometimes it is looking down at scabbed knees and feeling a strange kind of falling, like you can't even recognize the girl you used to be. sometimes it is your handprint looking unsteady.
sometimes it is tuesday, and you didn't get fired, and you want to celebrate. but what is it you like, even? you search around your little heart and come up empty. you're so used to denying that all your desires draw a blank.
oh fuck. see, this is the perfect opportunity. if you had a mixer, you'd make a cake.
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doctor who coming back in the year of 2023 when terfism and biological essentialism and transphobia are on the rise and making one of THE most hyped up episodes by bringing back fan favorites david tennant and catherine tate. all about being trans
showing rose being bullied and her grandma struggling to get it right but still being supportive. and shaun and donna being the greatest parents by being ready to burn the world down to protect their daughter. the doctor asking for the meep's pronouns AND IT'S NORMAL???
and all of that is brilliant to see rose as a trans character and it is important to the narrative. BUT THEN. ROSE BEING TRANS SAVES DONNA'S LIFE BY TAKING HALF OF THE METACRISIS. BECAUSE THE DOCTOR IS MALE AND FEMALE AND NEITHER AND MORE. AND THAT IS INTEGRAL TO DOCTOR WHO AS A WHOLE. and it saved donna's life
to see doctor who be so BLATANTLY trans and nonbinary at the core of the series. the multiple references to the fact that before fourteen, thirteen was a woman. so to see this? trans people stay winning. thank you doctor who for doubling down on the importance of the doctor being trans because oh my god I am so emotional about this
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heiress eternal
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I am actually a Native person who has always gone by animal names, both my deadname and every name I've used as a trans person, and I think if you have a Native character who you feel would have a nature name (because of hippy parents or because they're trans or whatever), then you can avoid stereotypes by having ~more than one Native character~
I know, it's a shocking concept, but it's actually pretty easy to avoid contributing to stereotypes in your works when you remember that you are allowed to have more than one character from the same ethnic and/or racial group. Just have a different Native character with a "normal" name. Problem solved. Have fun.
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weird state of self
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found family coworkers (definition multiple) of all time
[image description under cut]
Comic 1:
First panel, Ingo and Akari are standing together. Someone off-screen asks “oh, is that your dad?”.
Akari has an awkward smile and replies “oh, no no. he’s my...”
There’s a long pause as she looks at Ingo. He’s leaving it up to her.
She finishes, “He’s my coworker... friend... guy.” In smaller font, she continues “yea. that.”
Comic 2:
A dramatic panel of Volo, looking pissed off, shouting “who are you to interfere?!!”
Ingo tugs the brim of his cap lower. The upper half of his face is in shadow, while his eyes stand out. He looks threatening but has his expression is his characteristic neutral-frown, and he says “...I’m her coworker friend guy.”.
In the final panel, Machoke is throwing an incredible amount of punches, a reference to Star Platinum from Jojo. Ingo is pointing with one hand, his battle pose. The background text reads, “What does that even mean??”
Volo is experiencing off-screen violence.
Comic 3:
The comic is titled “Reunion”.
In the first panel, Ingo shows off Akari, with a faint smile on his face. She is labelled “best girl (assigned by god)”. He says, “Emmet, this is Akari, my coworker. She’s the reason I was able to return to this station.” In smaller font, Akari comments to herself, “ooh... so this is the man in white.”
In the second panel, in smaller font Ingo notes “I think I remember now...” He says, “Akari, this is Emmet. He's also my coworker.” Coworker is underlined. Emmet is crying in the background, looking confused, conflicted, distressed, and happy. He says, “Brother...?”
In the final panel, we see a framed photograph of all three together. Underneath are the words, Employee of the Month. Akari is dressed as a depot agent, and she and Ingo pose with peace signs. Emmet is red faced from crying, but he’s smiling widely. He looks happy.
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So why is Vanny so determined to get on Michael's good side?
It’s mostly because every one on one interactions they’ve had so far has been negative pff
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Ranchers as Grant Wood’s American Gothic was supposed to be sillay and goofy but then I set the ranch on fire and one thing led to another and now it’s. sad DFBJDFGB I’m really happy with how this came out though, so!! Here’s my week 3 piece for the Hermitcraft Design Challenge thingie :]
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SEA MOON SEE YOU
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kiriko goes by "ore"
OH DAMN.
Ore is the masc-est Japanese pronoun*.
I assumed she used boku, the normal dude pronoun, but ore. damn...
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Remember that time they confirmed Sonic has emotions and experiences burnout ?
I do. I remember
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before you know about women, you hear that you do not need to love the man, just that you need to love him through his manhood. which is to say you have seen the future painted in lamb's blood over your eyes - how your mother shoots you a look about your father's inability to cook right. how your aunt holds her wineglass and says i'm gonna kill em. men, right! how your best friend bickers with her boyfriend, how she says i can't help it. i come back to him.
you learn: men are gonna cheat. men aren't going to listen when you're talking, because you're nagging. men think emotions are stupid. they think your life is vapid and your hobbies are embarrassing. men will slam things, but that's because men are allowed to be angry. if you get loud, you're hysterical. if a man gets loud - well, men are animals, men are dogs, men can't control their hands or their eyes or their bodies. they're going to make a snide comment about you in the locker room, about your body, about how you're so fucking annoying. you're going to give him kids, and he will give you the money for the kids, and you're going to be running the house 24/7 - but he gets to relax after a long day, because his job is stressful. the man is on stage, and is a comedian, and says "women!"
and you are supposed to love that. you are supposed to love men through how horrible they are to you - because that's what women do. that's what good women do. wife material. your father even told you once - it'll make sense when you're older. it was like staring down a very lonely tunnel.
it feels like something's caught in your throat, but it's all you know, so. it's okay that you see sex as a necessary tool, a sort of okay-enough ritual to keep him happy, even though he doesn't seem to care about happiness as-applied-to you. it is relationship upkeep. it is kissing him and smiling even though he didn't brush his teeth. it is getting on your knees and looking up and holding back a sigh because he barely holds you as you panic through the night. it's not like the sex is bad and you do like feeling wanted. and besides! he's a man! like... they're another species. you'll never be able to actually communicate, right. he isn't listening.
you just don't get it. you don't feel that sense of i'm gonna climb him like a tree. mostly it just feels fucking exhausting. you play the part perfectly. you smile and nod and are "effortlessly" charming. and it's fine! it's alright! you even love him, if you're looking. you could have good life, and a good family, and perfectly happy.
in the late night you google: am i broken. you google i'm not attracted to my husband. you google i get turned on by books but not by him. you google how to get better in bed.
the first time he yells at you, it almost feels like blankness. like - of course this is happening. this is always how it was going to end up. men get angry, and they yell, and you sit there in silence.
you mention it to your friend - just the once - while you're drunk. she shrugs and says it's like that with me too, i just try to forget and move on. men are always gonna hear what they want to. pick your battles and say sorry even though he's in the wrong. you play solitaire online for a month. you go to your therapist appointment and preach about how you're both so in love.
after all, you have a future to want. nobody lied about it - how many instagram posts say marriage is hard. say real love takes work. say we fight like cats and dogs but the best part is that we always make up. how many of your friends say happy anniversary to the best and worst thing to ever happen to me. if you really loved him - loved yourself too - you'd accept that men are just different from you.
the first time she kisses you, it's on a dare at a party. something large and terrifying whips through your body. you wake up sweating from dreams where her mouth is encrusted with pearls and you pick them off one by one with your teeth. fuck. you sit at the computer and your almost-finished game of sim city. you think about your potential perfect life and your potential future family. you google am i gay quiz with your little hands shaking.
you delete each letter slowly. you don't need to love him. you just need to keep going.
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Dp x dc twin au where Danny and Damian were in fact conjoined/siamese twins, but the most dangerous type - one head, two bodies.
Their early removal from talia being because their shape would not have allowed for natural birth, they were written off but talia begged for the chance to send them off in the lazarus pit.
By some bizarre miracle, before she turned to leave, two small bodies bobbed to the surface - identical in every way, except for the eyes. The previous blue eyes now split in two, one left, one right, and the new eyes, pit created, a bright green.
She took her child, her two children, and together, they survived.
Being removed prematurely, their early years were tough, but soon they blossomed into promising heirs for the league. In sync with every step, the closest of brothers, the league was certain the old fairy tale of twins being telepathic had been granted by the pit that separated them, the remnants of being born as one mind, one brain, one skull.
But then Danny had to flee, and leave his other half behind. Stretched by distance for the first time, the bond grew thin and stretched, and Damian grieved his brother as dead. When he started being sent on public missions, he hid his distinctive heterochromia, choosing the green in memory of the pit that had given him and his brother life.
Danny, hiding his pit aura in the ocean's worth that was Amity park, took to blue, the colour that he and Damian were born with.
Damian moves to Gotham, and continues to mourn his brother as dead, right until one day when he is twelve, when he learns what the death of your other half truly feels like.
-
Their reunion is a thing of family legend. Violence runs hot in both bloodlines, ghosts are highly emotional and prone to fighting a the drop of a hat for bonding, playing, testing, every reason under the green sun. Their training and play often consisted of friendly spars, competitive spars, furious spars, venting spars. Both have been exposed to unhealthy amounts of ecto since before their birth.
There is a long, long minute of staring, before they rip themselves away and lunge at each other like wolves.
The bat family are horrified by their brutally efficient youngest suddenly barreling towards a clone (?) and trying to claw his throat open with his bare hands while openly sobbing.
It ends with them wrapped around each other crying into the others shoulder as their minds finally meet again and relax from the painful stretch for the first time in years.
But nobody else has any idea what to do.
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So I've been thinking lately about how Mithrun is Kabru's dark mirror (more on that another time- it needs its own post), and I thought it interesting that one of their parallels is that they were both cared for by Milsiril, but in opposite directions. She took Kabru in as her foster after he was orphaned and tried to convince him not to become an adventurer. On the flip side, she helped rehabilitate Mithrun specifically so that he could rejoin the Canaries.
And I kept wondering: why?
For Kabru, obviously she loves him a whole lot- despite any other shortcomings in their relationship, I do believe that.
So I get why she tries to convince him not to go dungeoning, and, failing that, at least prepares him as thoroughly as she can.
But why help Mithrun? She used to hate Mithrun, but after realizing what a secretly twisted person he was, she actually thought of him more positively (oh, Milsiril). So it wasn't as if she held the kind of grudge that might motivate her to make his already-depleted life even more miserable by sending him back to the dungeons. And it wasn't that she felt bad for him either, since she didn't visit Mithrun for the first ~20 years of his recovery.
The Adventurer's Bible says that Utaya was the impetus for Mithrun returning to the Canaries, but Milsiril is the one who made the trip to see him and tell him about it.
Why would Milsiril work so hard to get her old coworker back into fighting fit? Why encourage him to return to such a dangerous lifestyle, when she was the one who chose not to mercy-kill him?
That last panel is such a crazy thing to hint at and then never elaborate on. Without it we could have just thought that Milsiril wanted the Canaries' work to continue without her, even if it seemed out of character. I think some people even assume she's just a natural caretaker as a foster mom and handwave it to include nursing Mithrun too. What could Milsiril's suspicious motives be? What does she gain from Mithrun joining the Canaries that isn't an altruistic desire to see dungeons safely sealed? Feeling a sense of responsibility for the work she left behind isn't an ulterior motive.
My theory is: Milsiril, knowing that Mithrun was empty save for the burning desire to face the demon again, wound him up like a clockwork doll and pointed him back at the dungeons.
Hoping that he'd eliminate the biggest threat to Kabru's life, before it was too late for him.
Milsiril the puppetmaster.
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Flagrant Favourism.
[First] Prev <–-> Next
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