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ptbf2002 · 3 months

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My Top 13 Worst Episodes Of Good Cartoons

#13 Arnold Betrays Iggy (Hey, Arnold!)

#12 Tot Watchers (Tom And Jerry)

#11 Middle Engine (Thomas And Friends)

#10 Boys Of Bummer (The Simpsons)

#9 Arthur's Hit (Arthur)

#8 Dear John (The Looney Tunes Show)

#7 Life Of Brian (Family Guy)

#6 The Splinter (Spongebob Squarepants)

#5 Mickey's Big Break (Mickey Mouse Works)

#4 Stay Cool (Kick Buttowski: Suburban Daredevil)

#3 Imposter's Home for Um... Make 'Em Up Pals (Foster's Home Imaginary Friends)

#2 He Loves Me Not (Pucca)

And Finally #1 No Such Luck (The Loud House)

Dishonorable Mentions: The Best Burger in the World (Regular Show), Smile for the Ed (Ed, Edd n Eddy), Carl Wheezer, Boy Genius (The Adventures of Jimmy Neutron: Boy Genius), You Have 0 Friends (South Park), Dexter vs. Santa's Claws (Dexter's Laboratory), A Matter of Life and BFF (Harvey Street Kids/Harvey Girls Forever!) A Very Special Blossom (The Powerpuff Girls), Election Day (Unikitty!) No (Mickey Mouse 2013), Phineas And Ferb Get Busted! (Phineas And Ferb), House Of Scrooge (House of Mouse), Kitty Cat Best Enemy (Magiki), The Worst (The Amazing World of Gumball), And It's A Wishful Life (The Fairly OddParents)

Original Template: https://www.deviantart.com/mranimatedtoon/art/Top-13-Worst-Episodes-of-Good-Cartoons-Blank-720595445

Hey Arnold! Belongs To Craig Bartlett, Hong Ying Animation Co., Ltd. Hung Long Animation Company, Saerom Animation, Inc. Wang Film Productions Co., Ltd. Toon-Us-In Animations, U.S. Animation, Games Animation, Inc. Snee-Oosh, Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Tom and Jerry Belongs To William Hanna, Joseph Barbera, Wang Film Productions Co., Ltd. Fil-Cartoons, Mr. Big Cartoons, Bardel Entertainment, Inc. Baer Animation Company, CNK International, Seoul Movie Co., Ltd. Toon City Animation Inc. Yearim Productions Co., Ltd. Hanho Heung-Up Co., Ltd. Rough Draft Korea Co. Ltd. Rough Draft Studios, Inc. Lotto Animation, Inc. Renegade Animation, PIP Animation Services Inc. Slap Happy Cartoons Inc. Digital eMation, Inc. Duncan Studio, Rembrandt Films, Sib Tower 12, Inc. MGM Animation/Visual Arts, Metro-Goldwyn-Mayer Cartoon Studio, Harman-Ising Productions, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon.com, Inc. Turner Entertainment Company, Turner Broadcasting System, Inc. Hanna-Barbera Cartoons, Inc. Warner Bros. Animation Inc. Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Thomas And Friends Belongs To Britt Allcroft, Clapham Junction, Clearwater Studios Battersea, Shepperton Studios, Nitrogen Studios Canada, Inc. Cinesite Vancouver, Cinesite, Arc Productions, Jam Filled Entertainment, Boat Rocker Media Inc. Clearwater Features, Britt Allcroft Ltd. Britt Allcroft (Thomas) Ltd. The Britt Allcroft Company PLC, Fuji Television Network, Inc. Gullane Entertainment PLC, HIT Entertainment Limited, Mattel Television, Mattel, Inc. ITV 1, ITV Studios Global Entertainment, ITV Studios Limited, ITV plc, Nick Jr. (British and Irish TV channel), Nickelodeon UK Ltd. Milkshake! Channel 5 (British TV channel), Channel 5 Broadcasting Limited, Paramount Networks UK & Australia, Paramount International Networks. Paramount Global, CBeebies, BBC Worldwide Ltd. BBC Studios Ltd. British Broadcasting Corporation (BBC), ABC Kids, Australian Broadcasting Corporation (ABC), Connecticut Public Television, Connecticut Public Broadcasting, Inc. Universal Kids, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, TVOKids, TVO, Family Jr. WildBrain Ltd. Knowledge Network, Knowledge Network Corporation, Treehouse TV, YTV Canada, Inc. Corus Entertainment Inc. WNET-TV Channel 13 New York, The WNET Group, PBS Kids, PBS Distribution, And Public Broadcasting Service (PBS)

The Simpsons Belongs To Matt Groening, Anivision, DR Movie, Film Roman, LLC Hanho Heung-Up Company, Klasky-Csupo, Inc. Rough Draft Korea Co., Ltd. Toon Boom Animation, Toonzone Entertainment, Wild Horse Animation Group, Gracie Films, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

Arthur Belongs To Marc Brown, Kathy Waugh, Animation Services Hong Kong, Hero4Hire Creative, CINAR Productions Inc. CINAR Films Inc. CINAR Corporation, Cookie Jar Entertainment Inc. DHX Cookie Jar Inc. DHX Media, Ltd. WildBrain Ltd. 9 Story Entertainment Inc. 9 Story Media Group Inc. Oasis Animation inc. WGBH-TV Channel 2, WGBH Educational Foundation, PBS Kids, PBS Kids GO! PBS Distribution, And Public Broadcasting Service (PBS)

The Looney Tunes Show Belongs To Sam Register, Spike Brandt, Tony Cervone, Yearim Productions Co., Ltd. Toon City Animation Inc. Lotto Animation, Inc. Rough Draft Korea Co., Ltd. Crew 972 Ltd. Warner Bros. Animation Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Family Guy Belongs To Seth MacFarlane, Film Roman, LLC CNK International, Grimsaem Animation Co. Ltd., Seoul, Korea, Sunwoo Entertainment, Co., Ltd. Rough Draft Studios, Inc. Yeson Entertainment, Yearim Productions Co., Ltd Fuzzy Door Productions, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

SpongeBob SquarePants Belongs To Stephen Hillenburg, Rough Draft Studios, Inc. Carbunkle Cartoons, SEK Animation Studio, Wang Film Productions Co., Ltd. Rough Draft Korea Co., Ltd. United Plankton Pictures Inc. Joe Murray Productions Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

Mickey Mouse Works Belongs To Walt Disney, Ub Iwerks, Roberts Gannaway, Toon City Animation, Inc. Top Peg Animation & Creative Studio, Inc. Walt Disney Feature Animation Florida Inc. Disney Animation Australia Pty. Ltd. Disney Animation Canada, Inc. Disney Animation Japan Inc. Wang Film Productions Co., Ltd. Disney Television Animation, ABC Kids (TV programming block), ABC, Toon Disney, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Kick Buttowski: Suburban Daredevil Belongs To Sandro Corsaro, Mercury Filmworks, Disney Television Animation, Disney Channel, Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Foster's Home for Imaginary Friends Belongs To Craig McCracken, Lauren Faust, Mike Moon, Boulder Media Limited, Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Pucca (TV Series) (2006-2008) Belongs To Boo Kyoung Kim, Calvin Kim, VOOZ Co., Ltd. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, DHX Media, Ltd. WildBrain Ltd. MBC TV (South Korean TV channel), Munhwa Broadcasting Corporation, Toon Disney, Jetix, Jetix Europe N.V. Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Loud House Belongs To Chris Savino, Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Nickelodeon Productions, Nickelodeon, Nicktoons, Nickelodeon Group, Paramount Global Content Distribution, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. Viacom International Inc. And Paramount Global

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kammartinez · 8 months

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At the end of August 2020, Tom Cruise was on a mission to prove it was safe to go back to the movies. Donning a black mask over his nose and mouth, the actor sped off to see Christopher Nolan’s Tenet as it opened in London. Such was the confusion of that summer in the film industry that even as Tenet debuted, Access Hollywood, the entertainment news TV show, pronounced the title of Nolan’s film “ten-AY,” to rhyme with bidet. “Back to the movies,” Cruise said as he entered the theater by himself, very low-key. A hundred and fifty minutes later, exiting up the stairs, he quietly answered “I loved it” to someone in the audience who asked what he thought. A perfectly timed stealth mission: Cruise swooped in and out. Theatrical film exhibition would not die on his watch.

But as watchers of his Mission: Impossible movies know, every action has an equal and opposite reaction. Four months later, on the set of Mission: Impossible–Dead Reckoning, Part One, then called simply Mission: Impossible 7, Cruise was caught on tape berating his crew for violating Covid protocols. “We are not shutting this fucking movie down!” he yelled. “If I see you do it again, you’re fucking gone…. No apologies. You can tell it to the people that are losing their fucking homes because our industry is shut down.” The recording was leaked to a British tabloid; quickly social media pointed out that the old Tom Cruise, the one notorious for manic rants during which he did things like mansplain Brooke Shields’s postpartum depression on The Today Show, was back.

Production on the new Mission: Impossible movie had been halted three times before Cruise’s outburst, while the release of his Top Gun sequel, Top Gun: Maverick, completed in 2019, had been postponed again and again. He was on edge, but as it turned out there was nothing to worry about. In a career that has been defined by the greatest luck and hardest work, these delays worked to his advantage. Finally released last summer, Maverick was an enormous hit. It has made $1.5 billion to date, and is credited—largely credited, as they say—with saving Hollywood from ruin.

Mission: Impossible–Dead Reckoning, Part One, also delayed about two years, came out this summer and nearly performed the same feat as Top Gun: Maverick did. It raked it in at the box office after a full year of non–Tom Cruise movies like The Flash tanked—bad movies that are part of bad cycles that have gotten worse, and which no longer make money. The new M:I movie emerges into what is arguably a more perilous time for Hollywood than the pandemic, with studios threatening to use artificial intelligence to replace writers and actors, whose unions have called strikes. This potential new digital blight is coupled with the cheapness of the studio bosses in the streaming era, who goosed their studios’ stock value during the pandemic and prefer to cut costs rather than share the wealth.

And yet nobody is going to thank Tom Cruise twice, not this year. As we wait until next summer or later for Part Two of Cruise’s multimillion dollar cliffhanger, production of which has been shut down by the Screen Actors Guild strike, mania for the binary of Greta Gerwig’s Barbie and Nolan’s Oppenheimer has gripped a world suddenly rich with quality non-superhero blockbuster success stories. Add to that the very unexpected smash breakout of another long-delayed movie, the right-wing action thriller Sound of Freedom, and suddenly the movies are back. They are so back it’s almost like they have returned to a time before the superhero apocalypse—that computer-generated miasma instrumental in training AI to take over—ground them into digital dust. In that era, Cruise was the last man standing. Now all of a sudden he is underperforming, despite his movie taking in more than $400 million worldwide so far.

Recently I saw the 1980 espionage thriller-comedy Hopscotch, starring Walter Matthau as a CIA agent fired for sticking to his old ways in an increasingly corporatized spy biz. Matthau was sixty when he made it, the same age as Tom Cruise when he was making Dead Reckoning. It goes without saying that these two quintessential American actor/movie stars have little in common. Cruise’s Ethan Hunt is all action, his emotions hidden, his skills surprising, his loyalty to his team and their mission limitless. He is the master of every machine and gadget. We are meant to understand that he can do anything. Matthau, by contrast, chooses to do almost nothing. He shows no loyalty, wears his disgruntlement on his sleeve, and chews scenery. Always old before his time, Matthau lingers in cafés going over notes, scheming to make his bosses look dumb.

Hopscotch includes the things Mission: Impossible movies leave out. We see Matthau haggling over safe house rentals and forged passport prices, buying clothes for his disguises, walking around empty fields as he silently plans. As for gadgets, he uses a paperclip to short out the lights in a police station, the paperclip being the one device Hopscotch shares with Dead Reckoning. There, Hayley Atwell, playing a thief, uses one to free herself from handcuffs, then uses them to attach Cruise to the steering wheel of a Fiat 500, which is trapped in a tunnel where it is of course about to be hit by an oncoming train.

Cruise at sixty still does his own stunts, which appear more dangerous and extreme with each of these movies, especially since he has teamed with the director-screenwriter Christopher McQuarrie, starting with the fifth in the series, Mission: Impossible—Rogue Nation (2015). Legitimately thrilling, their set pieces are nonstop inventive in the manner of can-you-top-this American know-how, returned to ultra-professional glory from the dirtbag daring of the Jackass movies, their natural competition (rather than The Flash). Matthau at sixty, on the other hand, knew one real test of cinematic greatness was the ability to sit there and do nothing and still hold the screen. We cannot picture Matthau at that age or at any age learning to hold his breath for nine minutes so he could do an underwater stunt in tactical gear holding a flashlight in his mouth.

It is hard to believe that when the first Mission: Impossible movie debuted in 1996, Cruise had already been a movie star for thirteen years. When Brian De Palma’s film version of the TV series came out with Cruise and Jon Voight, the actors from the original 1960s show complained. The movie was nihilistic, there were double agents in it, it wasn’t patriotic. These were strange objections from the stars of a series that featured extrajudicial assassinations, unofficial regime change, and state-sanctioned kidnappings.

In fact, the movie, post–cold war, kept the best parts of the show: the lifelike masks characters use to impersonate each other, allowing actors to play two parts with the same face, and the idea that espionage was a series of short or long cons more like theater acting and stage magic than diplomacy by other means.

De Palma also linked the franchise to cinema history in a way Cruise and McQuarrie have maintained, bringing the mise-en-scene and the mood all the way back through Hitchcock to German Expressionism via the silent crime and spy movies Fritz Lang made in the 1920s, Dr. Mabuse, the Gambler and Spione. Right away, in the first scene of De Palma’s film, a tense interrogation is deconstructed before our eyes as the walls of the set are moved aside or flattened to reveal an empty warehouse—the soundstage itself—while the actors peel off their faces, revealing nothing beneath them but the faces of other actors.

As in Hopscotch, but not in the TV series, the enemy in the Mission: Impossible movies is within. It is always a competing government spy agency that is stopping Cruise and his team from accomplishing the mission they have chosen to accept. Beneath the deep state is a deeper state still. Fittingly, as on the TV show, the news of these missions comes from a tape recorder that self-destructs, as if Cruise has found a stray Nagra on the set that instead of being used to record dialogue has been rigged to emit some smoke before the editor cuts away from it and the theme music starts to play. That music, by Lalo Schifrin, is the prime intellectual property in this series of films, in itself a reason to keep making them, and in its dot-dash intensity a spur to make them good.

Cruise’s employers are always disavowing him in these movies. He returns to work like Charlie Brown coming back to kick the nuclear football while Lucy holds it for him again. Dead Reckoning, despite its setbacks, has the lucky perspicacity to appear to be seeing into the future. The overarching conspiracy here has to do with a killer AI set to take over the world’s entire OS, forever blurring the line between reality and illusion, truth and lie. More than ever, the M:I films are about the nature of the film industry itself, and the way stories are told by actors—actors who seem to act as writers, writing the movie as they go along.

The AI, therefore, can take over spy systems and imitate a familiar voice (Simon Pegg’s), then say into Cruise’s earpiece, “Go left! No, go right! No, go left!” as he chases an assassin, in imitation of the directions in a screenplay or those given by a director on set. Of course the AI paints him into a corner—it exists to ruin his performance. In Dead Reckoning, both Cruise and the entire US surveillance apparatus have to go fully analog to fight their AI enemy, a narrative turn that both reaffirms the movie’s dedication to filming real stunts in front of the camera and presciently combats the studio bosses’ insistence on a new filmmaking world of computer-generated screenplays and performances along with special effects.

One of the most admirable lines in the movie comes after Atwell’s character asks Cruise and his team why they are willing to help her, since they don’t even know her. “What difference does that make?” he asks, a fading echo of Hawksian professionalism and humanism in this globalized landscape, part of this film series’ (and Cruise’s) anti-psychological approach, where backstory always struggles to be buried and forgotten, and usually is. It’s the opposite of the maudlin nonsense about family in the Fast & Furious movies.

It is hard to ignore that Cruise has looked a little tired during the extensive, international press tour for Dead Reckoning. Visibly older than when he went to see Tenet in London three years ago, he nonetheless exudes a kind of perplexed, patient bonhomie as he travels the world to sell his film, his slightly disconnected, mechanized mien and tense bearing now newly patient, an aura that envelops the entire category “movie star.” In cinemas, before the film starts, a very short clip of Cruise and McQuarrie plays in which the star-producer and writer-director thank the audience for seeing their movie in a theater, where they made it to be seen. McQuarrie, gray-haired and gray-bearded, gets to look his age; Cruise is locked in, in more ways than one.

With the temporary shutdown of Dead Reckoning, Part Two, Cruise is once again stuck in the quagmire of twenty-first-century studio filmmaking, where every crisis resolves in stasis. Will there come a time for him when that kind of entropy beats his luck and hard work? So much went wrong in making Part One. When the young British actor Nicholas Hoult, slated to play the film’s principal villain, dropped out, Cruise and McQuarrie or someone got the idea to replace him with the journeyman trouper Esai Morales. What luck that the most calm, cool, and collected character in the movie, and the best-looking and most evil, just happens to be a man for today—a pro-union Puerto Rican TV actor from Brooklyn the exact same age as Cruise. On such accidental genius the Hollywood cinema survives another year.

#mission: impossible #movies

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kamreadsandrecs · 8 months

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#mission: impossible #movies

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archidrews · 3 years

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#watcheredit #bfuedit #shane madej #steven lim #ryan bergara #ryanbergaraedit #stevenlimedit #shanemadejedit #too many spirits #watcher #watcher entertainment #watcher entertainment digital studio #they'reso fucking dumb #alcohol tw #my gifs #mine

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wetookanoath · 4 years

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shanemadej: Pleased as punch to finally be able to tell you about a thing I’ve been working on for months alongside my very talented friends @/ryanbergara and @/stevenkwlim. It’s called Watcher. It’s a new independent network with 7 wonderful series and a weekly chattin’ show. It’s launching on YouTube on January 10th, 2020.

It’s going to be very good.

ryanbergara: Well folks, the secret is finally out. Shane, Steven, and I started a company, and it’s coming to you January 10th on YouTube. Say hello to, Watcher Entertainment! A production studio founded by the three of us committed to bringing you guys high quality digital series. And we’re giving you SEVEN (!!) to start. Most importantly, I’d like to thank all of you for supporting not only me, but the other two dinguses to this point. If it wasn’t for your encouragement and support, we wouldn’t even be able to dream about an undertaking like this, let alone actually take it on. And of course thank you to my family, friends, and girlfriend for keeping me sane as I took on the biggest challenge of my life. The three of us have grinded on Watcher since summer, and I’m so proud of all the shows we’ve made for you guys. I truly can’t wait for January 10th. BUT… until then, head to YouTube.com/Watcher for a sneak peek at what we have in store. Oh and follow us on social @/wearewatcher! See you all soon.

stevenkwlim: Well, here it is.⁣⁣

But before I get into what this announcement is all about.. let me first express the utmost gratitude for all my family and friends. No career is more important than the people in my life, and yet the people in my life are what make my career possible. Whether we’ve known each other for years or our time was just in passing, thank you for being a part of the journey. Thank you for your encouragement and support and belief even when I did not believe in myself. ⁣⁣

With that being said, I present to you: Watcher! Ryan, Shane & I have launched a production studio that aims to create high quality unscripted content that has a genuine curiosity and earnest exploration of the world. The goal is to grow this company to be bigger than ourselves so we can share a library of series with many diverse perspectives. Please join us as we grow Watcher one series at a time.

⁣⁣Lastly, why am I doing this? I think that the answer can be sliced a million ways, but I’ll boil it down to this - Watcher is the opportunity God has given me to extend my reach and love to people all around the world. I hope we can build a company that operates with integrity. I hope our series can help people not feel so alone. And I hope that the content can just give you a little more hope, a little more compassion.

#ryan bergara #watcher entertainment #shane madej #steven lim #buzzfeedunsolvededit #ryan*#shane*#steven*#mine #my edits #social media #ryan's instagra #shane's instagram #steven's instagram #both #watcher trio #@ ryan fucker gc I TOLD YOU SO #news #3k

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aion-rsa · 3 years

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The Pandemic in Pop Culture Trends

https://ift.tt/32wrfZT

The first year of the COVID-19 pandemic was both a universal and incredibly personal experience. While not everyone’s life in the first year of the pandemic looked the same, there have been some common joys, struggles, and tragedies. And there have been stories that have helped get us through the first year of pandemic. The global COVID-19 pandemic is not over, but it has hopefully reached a turning point. Multiple vaccines protecting against the worst of the virus have been developed and have begun to be (unevenly) distributed around the world, with Israel, the U.K., Chile, and the U.S. currently with the greatest percentages of their populations having received at least one dose. As we hopefully move into a less deadly phase of the pandemic, we’re taking a moment to look back at the TV series, games, movies, and other pop culture moments that brought comfort, distraction, critique, and catharsis for many in the pandemic’s first year, as well as some of the major trends and news stories that shaped the industry itself between March 2020 and February 2021.

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March 2020

NBA To Suspend Season Following Tonight's Games pic.twitter.com/2PTx2fkLlW

— NBA (@NBA) March 12, 2020

The NBA Suspends the Season (March 11th)

Many use the NBA’s March 11th announcement that the 2019-2020 season would be suspended until further notice as an unofficial start of the COVID-19 pandemic in the United States. The season would continue four months later in the “NBA Bubble,” but no one could know what the future would look like, only that things were indeed very serious for the billions-dollar professional basketball and media industry to shut down.

Everyone Watches Contagion

Though Steven Soderbergh’s pandemic thriller came out in 2011, Contagion jumped from Warner Bros.’ 270th most digitally rented movie in December 2019 to their second most rented one in February, and that trend would only continue into March. As the pandemic continued, we would see audiences turning towards more “escapist” fare, but, in the early days of this international crisis, people turned towards this matter-of-fact, fictional imagining of how a global pandemic might play out to help process their new and frightening reality.

Movie Theaters Essentially Go Dark

In addition to the immense loss of human life the COVID-19 pandemic has caused, there has also been an economic cost that will no doubt continue to impact human health and livelihood in the coming years. On March 17th, the movie theater chains Regal and AMC announced their temporary closures, an early sign of just how bad the pandemic would be for the movie theater business.

Movies in Theaters Begin Going to VOD

With movie theaters closed, studios needed to get creative about how best to distribute their movies still “in theaters.” Universal Pictures was the first to make the decision to move its new releases to a video on-demand model, bringing The Invisible Man, The Hunt, and Emma to VOD on March 20th.

Animal Crossing: New Horizons is Released (March 20th)

On March 20th, Nintendo released Animal Crossing: New Horizons for Nintendo Switch, allowing players (most of whom where stuck at home) to digitally move to an island and nurture their own community. The fifth game in the Animal Crossing series, New Horizons would go on to major commercial success. It broke the console game record for most digital units sold in a single month, became the 15th best-selling video game in history, and the second best-selling game of all time in Japan. It was also the most blogged-about subject on Tumblr in 2020!

Tiger King Drops on Netflix (March 20th)

Netflix remains the largest streaming service worldwide, with over 200 million global subscribers and roughly 74 million of those subscribers in the U.S. Because of this, when a Netflix Original becomes a hit, it usually becomes a major part of online discourse, especially in the United States. This was the case for Tiger King, the true crime (and truly wild) documentary series that dropped on Netflix on March 20th. With most watchers stuck at home, the online discourse around the show felt even more intense than usual. For a few weeks, you couldn’t throw a stone without hitting a Tiger King meme.

April 2020

Quibi Launches (April 6)

While not necessarily pandemic-specific (did Quibi ever really stand a chance?), 2020 saw the launch (April 6th) and death (December 1st) of Quibi, Jeffrey Katzenberg’s short-form streaming platform that squandered $1.75 billion in investment capital and star power like Sophie Turner, Kiefer Sutherland, Idris Elba, Chrissy Teigen, Karlie Kloss, and Laura Dern before bowing out in December.

Trolls World Tour Becomes First Movie to Break Theatrical Window (April 10)

Remember when it was radical for a movie to break its theatrical window? Yeah, that was in April, when many media professionals were shocked with Universal’s decision to release Trolls World Tour, the computer animated musical comedy sequel to 2016’s Trolls, as both a limited theatrical release and via video on demand services. The move led AMC Theatres to temporarily announce that they would no longer be distributing Universal films, but the two companies quickly came to an agreement shortly after.

Extraction was a Thing (April 24)

Honestly, every week in 2020 felt like its own lifetime. Remember when Extraction, the Chris Hemsworth-helmed action-thriller, became the most watched original film in Netflix’s history? Directed by Sam Hargrave and written by MCU vet Joe Russo, the film follows a black ops mercenary who must rescue the kidnapped son of an Indian drug lord in Bangladesh. As self-reported by Netflix, the movie was watched by 99 million households in its first month of release.

May 2020

TikTok Pops

TikTok was already firmly a thing heading into 2020, but the pandemic was when more people found it—especially the olds… by which I mean millennials. In October 2019, TikTok had almost 40 million U.S. users (and 507 million global users in December 2019). By June 2020, that number was at almost 92 million in the U.S. (and 689 million globally by July 2020). This was part of a larger trend over the course of the pandemic that saw people spending more time on their mobile devics than ever before: According to a report from mobile app intelligence agency App Annie (via Social Media Today), by the end of 2020, Americans spent more time on TikTok than they did on Facebook, and the average American now spends more time per day on their mobile device (4 hours) than they do watching TV (3.7 hours).

Avatar: The Last Airbender is Released on Netflix (May 15th)

In many ways, the pandemic has been an accelerant of global processes, and this applies to pop culture as well. While we were already seeing the rise in more foreign-language TV, including anime, and the return to some major nostalgic properties due to broader and easier accessibility because of platforms like Netflix, the pandemic really ramped that process up. When all three seasons of Avatar: The Last Airbender became available on Netflix in May, the American animated TV series that originally aired on Nickelodeon from 2005 to 2008, was discovered or re-discovered by millions of viewers, becoming one of the top Tumblr fandoms of 2020. It was indicative of a larger trend of old shows becoming new again through release on major global streaming platforms.

Avatar: The Last Airbender – What Can We Expect From the New Avatar Studios?

By Shamus Kelley

Avatar: The Last Airbender Co-Creators Exit Netflix Live-Action Series

By Shamus Kelley

June 2020

Buffy Lands on All4 (June 1st)

In a year where what’s old was necessarily new again, all seven seasons of Buffy the Vampire Slayer came to UK streaming platform All4, and were broadcast on E4 every weeknight at 11pm. Elsewhere in the UK streaming market, the BBC iPlayer saw its best-ever quarter from April to June with 1.6 billion requests, an increase of 59% on the same quarter last year (according to a BBC press release).

Staged Premieres (June 10th)

As it became apparent that TV and film production would not be going back to normal anytime soon, many creators got, well, creative and began making things in lockdown. One of the best and most high-profile examples was BBC’s Staged, in which David Tennant and Michael Sheen play fictionalized versions of themselves, trying to rehearse a performance of Six Characters in Search of an Author via video chat, alongside director Simon Evans. The low-budget, high-charisma series is filmed in the actors’ real-life homes but, unlike some celebrity efforts during the pandemic (see March), strikes the right tonal note in relation to its subjects’ privilege.

July 2020

Ray Fisher Speaks Up About Alleged Abuse on the Justice League Set (July 1st)

Actor Ray Fisher raised his voice on July 1st in a tweet, calling out director Joss Whedon for alleged abuse on the Justice League set, and WB execs Geoff Johns and Jon Berg for “enabling” that alleged behavior.

Joss Wheadon’s on-set treatment of the cast and crew of Justice League was gross, abusive, unprofessional, and completely unacceptable. He was enabled, in many ways, by Geoff Johns and Jon Berg. Accountability>Entertainment

— Ray Fisher (@ray8fisher) July 1, 2020

Later, in December, Fisher would add WB exec Walter Hamada’s name to that list, following a December 11th announcement by WarnerMedia that their investigation connected to Justice League “has concluded and remedial action has been taken.”

Hamilton Blows Us All Away (July 4th)

One of the deepest cultural cuts during lockdown was the necessary elimination of live, in-person theater, which is probably one of the reasons why Hamilton, the Pulitzer Prize-winning stage musical that originally came to Broadway in 2015, made such a splash when it became available in its filmed format via Disney+. Even without a pandemic, Hamilton (and all Broadway theater) is only accessible to a select group of people, making the addition of the pop culture phenomenon in a more accessible form so very important.

From Bridgerton to Hamilton: A History of Color-Conscious Casting in Period Drama

By Amanda-Rae Prescott

Movies

Hamilton: Thomas Jefferson Controversy Explained

By David Crow

Host Becomes the Most Zeitgesty Movie of 2020 (July 30th)

Another particularly impressive entry into the “filmed from lockdown” genre that sprouted up during the first year of the pandemic was British found footage horror film Host. Written and made over 12 weeks in a pandemic and based around a haunted Zoom call, few pandemic-made stories managed to nail the balance between both frighteningly topical and escapist quite so well.

The NBA Bubble Begins

Professional sports went into their bubbles, aka tightly controlled settings in which pro sports players live, practice, and play their respective seasons—to varying degrees of success. The NBA’s Disney World bubble went into effect on July 22nd for exhibition scrimmages, before launching into the final eight games of its regular 2019-2020 season and then the 2020 NBA playoffs. Twenty-two of the NBA’s 30 teams were invited to participate and ended the bubble in October with no recorded cases of COVID-19 amongst its participating players. The MLB bubble was… less successful.

SDCC @Home: WTF Was That? (July 22)

San Diego Comic-Con is one of the most important and lucrative pop culture events of the year, bringing hundreds of thousands of people into downtown San Diego to celebrate and discuss some of the largest franchises in the world. SDCC was one of the many in-person conventions that attempted to transfer its programming online in 2020 and… it didn’t really work. Part of the fun of Comic-Con is in the excitement of the crowd and the exclusivity of the events. (Though not on Thanksgiving, thank you very much.) There is nothing quite like getting to be part of a major Hall H announcement, and watching via video chat is just not the same.

August 2020

Tenet Comes Out in the UK (August 26th)

In what was largely a year without theatrical cinema in the U.S. and the U.K., a brief respite in COVID-19 cases and therefore lockdown meant a proper theatrical release for Christopher Nolan’s latest in August 2020. Sci-fi blockbuster Tenet hit U.K. theatres on August 26th, bringing in $5.3 million domestically in its first week of release and marking the first major studio release since the pandemic began.

American Sports Leagues Go on Strike to Protest Jacob Blake Shooting

Many professional sports in the U.S. came to a temporary halt when some players and teams refused to take the field or court following the police shooting of Jacob Blake, a 29-year-old Black American who was shot in the back and paralyzed by a police officer in front of his sons on August 23rd in Kenosha, Wisconsin. The incident re-ignited ongoing protests over racism and police brutality, with which many players and teams stood in solidarity. The NBA, WNBA, MLB, and MLS all postponed games as players protested Jacob Blake’s shooting.

Chadwick Boseman Passes Away (August 28th)

In a devastating loss to American culture, Chadwick Boseman, the star of Black Panther and many other films, passed away due to complications from colon cancer, a condition with which he had been living and working since a 2016 diagnosis. Boseman was one of the most successful Black actors and creators working today.

“He … knew that his voice was now strong and people were listening and paying attention,” wrote Kelley L. Carter in The Undefeated. “And he knew that even as this moment was victorious, Hollywood still needed to be called to task on the things that make this industry problematic, even as it was in the infant phases of creating a groundbreaking blockbuster with a mostly Black cast.”

September 2020

Tenet Flops in the U.S., Hollywood Abandons Ship for Fall 2020 (September 3)

While Tenet may have been a hit in the U.K., the Nolan blockbuster flopped upon its release in the U.S., where many theaters remained closed or empty through the summer and fall. The film would make around $58 million in the U.S. and Canada, prompting Hollywood studios to further push back major releases slated for the fall.

Mulan Becomes First Disney “Premier Access” Release (Sept. 4)

After several pandemic-caused release delays, Disney’s much-anticipated, live-action adaptation of Mulan became the first “Premier Access” release for Disney+, causing a bit of a stir. In the U.S. and in some other markets, Disney forwent releasing Mulan in theaters, instead offering a “Premier Access” window on Disney+ that viewers could access for an additional fee of $29.99. While the film received middling reviews from western critics, it was not received well in China. Additionally, a #BoycottMulan movement, which started out as a response to social media comments star Liu Yifei made in support of the Hong Kong police in their (sometimes violent) suppression of pro-democracy protestors, gained some traction in the lead up to the release.

Movies

How Mulan Maintains The Animated Film’s Queerness

By Natalie Zutter

Movies

Mulan: Disney Plus Grosses Exceed $200 Million? (Report)

By David Crow

I’m Thinking of Ending Things Makes People Go “Whaaa?” (Sept. 4)

As our Rosie Fletcher wrote in the “Ending Explained” for I’m Thinking of Ending Things: “[this story is] a movie, and a book, which really requires you to watch/read twice to actually fully understand.” It’s a gloriously confusing movie, and many in September dove right into the mystery chiller adapted by Charlie Kaufman from a novel by Iain Reid. As Fletcher put in her review, the film is “a perfect storm of philosophy, ambiguity and wankery.” What’s not to love?

October 2020

Trial of the Chicago 7 Debuts on Netflix (Oct. 16)

However you may feel about Aaron Sorkin, the man knows how to make a taut political drama. Trial of the Chicago 7 is a dramatic retelling of (as it says on the tin) the 1969-70 trial of the Chicago Seven, a group of anti–Vietnam War protesters charged with conspiracy and crossing state lines with the intention of inciting riots at the 1968 Democratic National Convention in Chicago. The movie has an all-star cast of dudes, and is both written and directed by Sorkin. It made many critics’ best-of-the-year lists and made a cultural splash when it dropped on Netflix in October, after a summer of American and global protests ignited by the killing of George Floyd and other Black Americans.

Borat 2 Makes (a Bigger) Fool Out of Rudy Giulilani (October 23rd)

Rarely do the paths of pop culture and politics so explicitly intersect as they did in Borat 2. The mockumentary comedy sequel came out in October, in the long, plateau-ed height of the lead up to the presidential election, and featured a scene in which Republican politician Rudy Giuliani puts his hand into his trousers in front of actress Maria Bakalova, who is impersonating a conservative journalist. While Giuliani attempted to spin the event in both the lead up to and following the release of the film on Amazon Prime, Sacha Baron Cohen told Good Morning America in an interview after the film’s release: “It is what it is. He did what he did.”

Movies

Maria Bakalova is Ready to Do Borat 3 in ‘Five Minutes’

By David Crow

Movies

Borat 2: Sacha Baron Cohen Reveals Dangerous Deleted Scene

By David Crow

The Queen’s Gambit Turns Everyone into a Chess Player (Oct. 23)

Odds are that, in October 2020, you either knew someone or were someone who watched The Queen’s Gambit and then fell hard into the world of chess. The Netflix period miniseries tracks the highs and lows of fictional chess prodigy Beth Harmon (the brilliant Anya Taylor-Joy), from her upbringing in a Kentucky orphanage in the 1950s to her time at the top of the competitive chess world in the 1960s. In its first month of release, The Queen’s Gambit became Netflix’s most-watched scripted miniseries, and sent chess set sales soaring—yet another sign of just how commercially and culturally powerful Netflix has become.

November 2020

PlayStation 5 Alleges Launches, But No One Can Get Them (Nov. 12)

Even if you aren’t a gamer, you probably heard about the release of the PlayStation 5. Though the PS5 technically became available in Australia, Japan, New Zealand, North America, Singapore, and South Korea on November 12th (and worldwide a week later), the limited supply of the console made it almost impossible to find.

As Matthew Byrd wrote in his November article on the subject: “We know that the initial PS5 shortage can at least partially be attributed to a shortage of the console’s chips (as well as distribution and manufacturing problems caused by the complications related to the COVID-19 pandemic), but as we’re already seeing in Europe where some who pre-ordered a PS5 were warned they may not receive their console until 2021, Sony faces some notable additional issues moving forward.”

This is partially a story of supply and demand, and the growth of gaming in general. According to a report by market researcher SuperData (via Venture Beat), the game industry grew 12% (to $139.9 billion) in 2020, with console games revenues up 28% from 2019. While growth is expected to be slower in 2021, as fewer people will hopefully be stuck at home, more people than ever are gtting their story fix in the world of gaming.

Games

PlayStation Bets on Big Games as Game Pass Slowly Wins a Console War

By Matthew Byrd

Games

Why PlayStation Store Closing on PS3 Should Matter to You

By Matthew Byrd

December 2020

WB Announces HBO Max Release Hybrid Model (Dec. 3)

In a move that seems to be paying off, in December, Warner Bros. announced that it would be moving to a release hybrid model through 2021, putting its entire 2021 film slate on HBO Max. As David Crow explained in our film section: “The move will put all 17 of WB’s scheduled 2021 films on a ‘hybrid’ model where films will premiere on HBO Max the same day as their theatrical release in the U.S. Technically speaking, the films will still be playing in theaters, particularly in international markets without HBO Max as a streaming option, but for the first (and most lucrative) month of their release, they’ll also be available on WarnerMedia’s streamer.”

People Actually Get to Play Cyberpunk 2077, Immediately Realize It’s Broken (Dec. 10)

Hooboy, Cyberpunk 2077. In December, after literal years of anticipation, CD Projekt released action RPG video game Cyberpunk 2077 to disastrous results. While the narrative and design of the game is ambitious and has its rewards, the rollout was plagued by performance issues (particularly in the console versions) that led to player backlash and actual lawsuits.

Games

Cyberpunk 2077 Lawsuits Explained

By Matthew Byrd

Games

Cyberpunk 2077 Roadmap Proves the Game Should Have Been Delayed to 2021

By Matthew Byrd

The Mandalorian Finale Breaks the Internet (Dec. 18)

Um, spoilers.

The second season of The Mandalorian may not have technically been the most-watched series of 2020, but it certainly felt like the most-talked-about, proving that, even in the era of streaming, there’s still such a thing as appointment television. This all came to a culmination with The Mandalorian Season 2 finale, “The Rescue,” which featured an appearance from Luke Skywalker himself.

Could Durge’s Star Wars Return Lead to a Role in The Mandalorian or Book of Boba Fett?

By Joseph Baxter

How The Mandalorian Challenges Star Wars’ History of Bad Dads

By Lacy Baugher

Wonder Woman 1984 Premieres (Dec. 25)

Wonder Woman 1984 dropped on Christmas Day in the United States, and quickly became the most-watched straight-to-streaming title of 2020 (knocking Disney+’s Hamilton out of the top spot), despite its middling reviews. In the U.S., it would be the first of WB’s “hybrid model” releases, getting a simultaneous release in theaters as well as on HBO Max.

Movies

Wonder Woman 1984 Star Connie Nielsen Defends Patty Jenkins’ Vision

By Don Kaye

Movies

Does Zack Snyder’s Justice League Set Up Wonder Woman 3?

By David Crow

Bridgerton Gets Saucy (Dec. 25)

Bridgerton, Netflix’s deliciously addicting period romance based on the Julia Quinn novels, also dropped on Christmas Day, and went on to become the streamer’s most watched series ever, reaching #1 in 76 countries. The Shondaland produced drama made leading man Regé-Jean Page a global star, so much so that the announcement that he would not be returning for Season 2 (as each season focuses on a different romantic pairing featuring a member of the Bridgerton family) into a bit of a meltdown. Bridgerton has already secured another three seasons—a post-Season 1 announcement that is unprecedented for a Netflix original.

Why Bridgerton Had to Let Regé-Jean Page Go

By Amanda-Rae Prescott

Will Bridgerton Become the Next Game of Thrones?

By Kayti Burt

Soul Brings on the Feels (Dec. 25)

Called Pixar’s “most ambitious movie in years” by Den of Geek film editor David Crow, Soul was another Christmas release that brought solace to people stuck at home, many without their families, for the holidays. Directed by Pixar vet Pete Docter (Up, Monsters, Inc., Inside Out) and co-directed by Kemp Powers (One Night in Miami, Star Trek: Discovery), the film follows middle school music teacher and pianist Joe Gardner as he seeks to reunite his soul and his body after they are accidentally separated, just before his big break as a jazz musician.

January 2021

The Little Things Kicks Off WB’s 2021 Film Slate on Streaming (Jan. 29)

Fans of crime thriller and/or Denzel Washington and Rami Malek flock to HBO Max and theaters for the hybrid release of The Little Things, the first of WB’s planned 2021 slate.

Movies

The Little Things is Better Than a Seven Copycat

By Don Kaye

Movies

The Little Things and the Mystery of Denzel Washington’s Character Explained

By David Crow

February 2021

WandaVision Ensnares Us

Stop hogging the zeitgeist, Marvel!

In February, Disney+ released its first MCU show, WandaVision, and it broke the internet. The miniseries, created by Jac Schaeffer and starring Elizabeth Olsen as Wanda Maximoff/Scarlet Witch, wowed audiences with its clever use of the sitcom format and superhero tropes to tell a story about grief that, for all of its fantastical elements, was oh so relatable.

How WandaVision’s Doctor Strange 2 Connection Evolved

By Joseph Baxter

WandaVision: The Unanswered Questions From the Marvel Series

By Gavin Jasper

Judas and the Black Messiah Debuts (Feb. 12)

Daniel Kaluuya and Lakith Stanfield lead an all-star cast in this 1960s period piece that follows the real life story of Black Panther Party chairman Fred Hampton, who was the victim of a targeted assassination by the FBI. In a year that saw an increased mainstream awareness of Black trauma, the Oscar-nominated Judas and the Black Messiah shone a cinematic light on yet another state-led historical injustice against Black Americans.

Charisma Carpenter Speaks Her Truth

In February, actress Charisma Carpenter came forward with allegations about Joss Whedon’s alleged abuses of power during her time on Buffy the Vampire Slayer and Angel, inspired by Ray Fisher’s own efforts to seek justice and systemic reform for Whedon’s alleged behavior on Justice League.

My truth. #IStandWithRayFisher pic.twitter.com/eNjYcJ6zwP

— charisma carpenter (@AllCharisma) February 10, 2021

— Ray Fisher (@ray8fisher) July 1, 2020

Pokemania Returns

Many older millennials have spent their time during quarantine reconnecting with their childhood faves. This culminates with a massive renewed interest in Pokemon cards to the point where McDonald’s Happy Meals with Pokemon cards as toys sell out instantly.

Sponsored

Why Pokémon Has Endured For 25 Years

By Alec Bojalad

Did we miss anything? What have been the stories and pop culture trends that have helped get you through the pandemic so far? Let us know in the comments below.

The post The Pandemic in Pop Culture Trends appeared first on Den of Geek.

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supergrowonsocialmedia · 3 years

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How might I bring in cash on youtube without recording any videos?

In any case, numerous individuals are not open to showing themselves in recordings, some in light of timidity, others because of absence of security and a few different clarifications.

However, today with the advancement of Promoting, the truth of the matter is that you presently don't should be a VIP to make recordings that create incalculable perspectives.

Truth be told, you don't really have to show your face, or utilize costly cameras to make amazingly proficient and overpowering recordings.

Simply put resources into certain projects and make recordings with ease or even for nothing out of pocket.

Instructions to Bring in Cash With Youtube Utilizing Some Straightforward Devices

VideoScribe Sparkol — With a little month to month expense, it delivers a library with in excess of 4,000 pictures, 190 sans royalty music tracks, admittance to premium pictures, permits you to add your watermark to recordings, save objects, make MP4 documents, and substantially more. Its interface is extremely natural and permits anybody to make proficient recordings in a moment.

PowToon Animation — Ideal for making vivified recordings. Permits you to make a free record without adding a Visa. In the free form, he adds the powtoon logo to the video, yet it is as yet a magnificent choice for the individuals who can't put resources into an apparatus and need to record their recordings without appearing.

Camtasia Studio — It permits you to record the PC screen and its sound, notwithstanding previously having assets for altering all video, it is the Camtasia that we use in our Conquista Digital recordings. It is paid, yet excessively justified, despite all the trouble.

Active Presenter — A free option in contrast to Camtasia Studio, Active Presenter has a free form, not all that natural yet utilitarian, which likewise permits you to record your PC screen + your voice and furthermore has video altering highlights.

With any of these devices, you will be capable, in a basic and reasonable way, to bring in cash on youtube without demonstrating your face, keeping your recordings very expert and overwhelming according to the guest.

Sorts of recordings to record without showing up

Perhaps you are pondering.

What sorts of recordings would i be able to make without showing up?

Will I just record enlivened recordings?

In spite of what it might appear, there are a few different ways to record recordings with extraordinary quality without showing up, including this was the choice that I utilized most toward the start of my ventures.

Simply considering showing up before the camera, I began to perspire.

On the off chance that you likewise experience the ill effects of the "got timid condition" (I recently created that name, you can give me the credits in the event that you use saw ) recording recordings without showing up is your optimal arrangement.

To help you I isolated 12 plans to bring in cash with youtube without showing up.

# 1 - Tutorial Videos

Instructional exercises are those recordings that we record indicating the PC screen, for the most part telling the best way to accomplish something.

To make instructional exercises, Camtasia Studio is the most utilized, however in the event that you need a free apparatus you have ActivePresenter that additionally records and alters recordings with quality.

You can make instructional exercises on an assortment of subjects:

Step by step instructions to introduce programming on the web;

The most effective method to arrange a specific item from your site;

Step by step instructions to pursue an administration you are advancing;

Step by step instructions to utilize certain apparatuses;

# 2 - Explanatory Videos

Informative recordings that can likewise be called online talks, is where you can add the ideal substance in a device, for example, PowerPoint, powtoon, or mind map.

At that point just put it to show up on the whole screen, record the screen, and skirt the slides or peruse the brain map while discussing the subjects.

As you can see it is exceptionally straightforward however it can have an incredible capacity to produce commitment, authority, leads, and deals.

That way you can even transform a drilling subject into connecting with content.

# 3 - Game Channel

On the off chance that you like to play computer games, you can transform your enthusiasm into business in a straightforward and functional manner.

A gaming channel permits you to record your screen while playing your #1 games.

Notwithstanding indicating the screen, you can record your portrayal while playing.

In the event that you do a pursuit on youtube, you will see a few channels chipping away at this configuration, which permits them to benefit while playing their number one games.

# 4 - Curiosity Channels

Numerous channels are monstrously fruitful simply recording recordings about the interests of the lives of famous people, some utilization just pictures and sound from Google itself.

Do you know the one from the Google interpreter? That is the one I'm discussing, for this situation not even your voice shows up in the video.

For this situation, adaptation happens through youtube advertisements introduced during the video, where you procure pennies per see.

This sort of adaptation might be beneficial if your channel has a lot of perspectives consistently.

In the event that you think that it's simple to keep steady over VIP life, at that point this might be a smart thought to bring in cash on youtube without appearing.

# 5 - Compilation Channel

An assemble channel, additionally called video pieces, has a ton of inconceivable potential.

It permits you to take bits of existing recordings and make fun and even enlightening mixes in a solitary video.

On the off chance that doing this with outsider recordings, simply be cautious with copyright.

# 6 - Animation Channel

Movement allows you to make fantastic stories, comedies, and different types of amusement without having you or entertainers on the screen.

To make this kind of liveliness you can utilize devices like PowToon and VideoScribe Sparkol that have an extremely instinctive interface and a few choices prepared to drag and alter.

This video format can be utilized both to convey enlightening substance and to use as deals video.

# 7 - Turn Presentations Into Videos

Introductions are utilized in numerous spots, for example, conferences, addresses, among others.

The most utilized instruments for introductions are the Power Point that you likely as of now have introduced there on your PC.

Or on the other hand, you can likewise utilize mind maps with the central matters where you will discuss subtleties of everyone.

To do this, simply record your PC screen + your voice utilizing instruments like Camtasia Studio or ActivePresenter.

You can transform them into YouTube recordings for your channel.

# 8 - Music Channel

On the off chance that you have your own unique music (you will have a wide range of copyright and demonetization sees, if not unique), you can think about posting on YouTube.

Rather than a full video cut, utilize the collection cover, the band picture or whatever else like the visual, and record your sound.

All through the melody the individual will see a static picture (as though it were the collection cover) and will tune in to their music as typical.

# 9 - Photography Channel

f you sell photography, you might need to advance them on your YouTube channel and delivery some intriguing music with regards to the foundation.

Photograph gatherings, similar to slides, will in general function admirably.

For this situation, it merits applying a few impacts to make the photographs much more expert.

# 10 - Podcast Promotion Channel

Web recording is simply the sound of a talk or a visit.

You might not have seen anybody do this previously, yet some podcasters really advance their scenes on YouTube just to acquire a cut of YouTube traffic (which is the second biggest web index on the web) for their substance.

Notwithstanding youtube, they additionally frequently transfer their web recordings utilizing explicit devices for this, for example, SoundCloud, iTunes, and different stages.

# 11 - Response Videos

Another compelling YouTube advertising system is to make recordings in which you answer the most well-known inquiries from watchers or watchers.

For instance, you can permit individuals to leave their inquiries regarding a specific point in the remarks of your recordings or in the contact structure on your site.

You would then be able to record a video by noting the most often posed inquiries on a month to month or week after week premise.

For this, you can utilize a PowerPoint introduction and afterward record that introduction with Camtasia Studio or ActivePresenter while you are describing.

This is one of the simplest and most basic approaches to make mainstream YouTube recordings without demonstrating your face.

# 12 - Sales Videos

You can make channels with deal recordings to work with Affiliate Marketing, where you present your item or as a member procuring a commission for every deal made.

Simply present the item, wherein case in the event that you approach it, you can show an audit or offer your input about it where sooner or later you settle on a decision expressing that the item connect is in the depiction.

In this depiction field simply add your subsidiary connection in the event that you are selling an outsider item, or a maker if the item is yours, so on the off chance that somebody causes the buy you to acquire a commission.

In these two cases, you can record recordings utilizing slides made in PowerPoint or indicating your PC screen and adding the voice.

As you saw, you don't have to show up before the camera or purchase too proficient and costly hardware to bring in cash on Youtube.

These are some basic thoughts that you can apply today to bring in cash on YouTube without appearing.

Monetizing Videos On Youtube

As you can see, there are a few different ways to record videos without showing up, however…. how to really bring in cash from youtube?

There are 2 main methods of monetizing videos on youtube.

One of them is adding youtube promotions to your videos and earning pennies for views or clicks. This sort of monetization is just worthwhile if your channel as of now has enough daily views.

Another route is to settle on a decision to action offering an item/service of yours or an item/service that you advance as an affiliate, taking a commission for every deal made.

It didn't need to be said, however, it is important that the item offered is linked to the video content, so the conversion will be a lot more noteworthy.

Since you've seen that it's not a problem to bring in cash from youtube without showing up, how about we pick one of these ideas and apply it today.

If you need to turn out to be more effective on YouTube, then check the EXACT strategy I used to start 9 different youtube channels from scratch and how I grew them to 500,000+ subscribers each in one year without showing my face on camera or filming any videos.

#onlinebusiness #youtube #social media #howtogrowyoutubechannel #makemoneyonline #tumblr #internet-marketing-ninjas #make money from youtube without showing face

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disneytva · 5 years

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Variety Interviews with Bob Iger reveals more details on Disney+ on Feb 5 also 20th Century Fox IPS will remain as a ‘Seperate Imprint’ Post Merger

Early this morning Variety interviewed Robert Iger on Disney+ & 21 Century Fox . Variety say that more details on Disney+ will be out on Feb 5 since The Walt Disney Company is having its 2019 call .20th Century Fox IPS will remain as a ‘Seperate Imprint’ Post Merger

Inside Disney’s Daring Dive Into the Streaming World

Bob Iger has repeatedly called it the “highest priority” of the Walt Disney Co.

The launch of Disney Plus has become the talk of the entertainment industry — for creatives, for tech mavens and for Wall Street — as production and development of original series and movies accelerate for the streaming service, slated to debut in the U.S. by year’s end.

Disney, under the leadership of chairman-CEO Iger, has re-engineered its operating segments and reshuffled its management ranks to prepare for its streaming future. The Burbank media giant has made big investments in technical infrastructure. And Iger rocked the Hollywood establishment in 2017 with his dogged pursuit of Rupert Murdoch’s 21st Century Fox entertainment empire. He was hunting for the kind of IP that can help drive Disney Plus and future platform offerings, and lend itself to exploitation through Disney’s well-oiled franchise machine.

Now that the Fox acquisition is near the finish line, with a projected close by March, industry sources say pressure is mounting inside Disney’s film and TV units to grapple with the force of a number of headwinds at once. They’re tasked with stepping up their overall output — significantly in the case of its movie units — at a time when they’re also bracing for what will surely be a massive process of integrating the contingent of Fox executives who will make the transition.

Layoffs of duplicative staffers are expected to reach into the hundreds, perhaps thousands. Adding still more drama, the end of the Fox merger limbo starts the beginning of a potential rivalry between Kevin Mayer, the Disney veteran overseeing the Direct-to-Consumer and International division, and Peter Rice, the long-serving Fox executive who is the incoming chairman of Walt Disney Television, to succeed Iger as CEO. A senior Disney TV executive described the atmosphere at the Burbank studio as “tense.”

It’s become clear to Disney watchers that Iger — who says he plans to step down when his contract expires in 2021 — has staked part of his legacy on proving that the empire can strike back against Netflix and the upstarts that have so dramatically disrupted Hollywood’s old order. Insiders say the chief executive has been taking a strong hand in leading programming check-in meetings with the company’s various divisions.

Questions about how it will manage the transition from traditional distribution models into the walled garden of direct-to-consumer services are so numerous that Disney has scheduled an Investor Day presentation on the topic for April 11. The company is also hoping to dazzle with a demo of the service and a sneak peek at some of the programming in the works.

Wall Street sources say Disney will have to shed light on three key points in pitching the streaming strategy to investors: how much it will spend on content, how much traditional licensing revenue will be lost by keeping more of its content in-house, and when it expects the bottom of that investment cycle to come before a return to growth. That’s a tall order.

“It’s going to be years until they start to recover their investment in streaming,” says Hal Vogel, veteran industry analyst. “They will be forgoing high profit margin revenues and moving into a very competitive arena with Netflix and Amazon and probably Apple. Investors are focused right now on the dream of seeing everybody move into streaming. But we need to know more about what the pain points are for these companies and how much they are willing to lose.”

More details about Disney’s investment to date in its Direct-to-Consumer operations will be forthcoming on Feb. 5, when the conglom reports its fiscal first quarter earnings. For the first time, the company will break out financials for the Direct-to-Consumer and International division. Disney earlier this month disclosed that the unit recorded a loss for the first nine months of 2018 of $738 million in operating income on revenue of $3.4 billion, most of which came from Disney’s international channels.

Disney is up to the huge challenges ahead, in the view of RBC Capital Markets senior media analyst Steven Cahall. He estimates the company will devote about $500 million to original programming for Disney Plus in 2019. “Disney spends more on content than anyone else globally. It has decades of experience in making excellent content, it has a huge balance sheet with low leverage and it’s a brand that’s known the world over,” Cahall wrote in December.

RBC research pegs Disney as the biggest spender among media giants on content, with a projected $23.8 billion for 2019, or $16.4 billion excluding sports-related properties. Disney’s total spending to fill its pipeline amounts to 22% of the estimated $107 billion in global content spending among the largest media companies. AT&T and Netflix are next on the list with $14.3 billion and $14 billion, respectively, per RBC.

Disney declined to comment for this story.

With so much on the line, insiders are increasingly scrutinizing the programming plans for Disney Plus as well as the team assembled to execute the service. There’s little doubt that the streaming venture will rise or fall largely on the popularity of its original content. In that context, questions have been raised in the creative community about the absence (so far) of deeply experienced programming executives at the top of Disney Plus.

Disney’s approach has come into sharp focus as its largest traditional competitors — NBCUniversal and WarnerMedia — in recent weeks have tapped veterans Bonnie Hammer and Kevin Reilly, respectively, to lead programming for streaming efforts that aren’t nearly as ambitious at the outset as those of Disney Plus.

Ricky Strauss, who spent the past six years as head of film marketing for Disney, was named president of content and marketing for Disney Plus in June. Agnes Chu was tapped to oversee content shortly after Disney disclosed its intent to launch the service in August 2017. She’s a senior VP who was a story and franchise development executive at Walt Disney Imagineering. She worked as VP in the office of the chairman-CEO and was a close aide to Iger from 2013-16. Before that, she spent three years as director of daytime and current programming at ABC, where she supervised “General Hospital” and primetime comedies “Malibu Country” and “Don’t Trust the B—- in Apt. 23.”

Leading the charge at the top is Mayer, with the Direct-to-Consumer and International division created last March to house Disney Plus and its eight-month-old counterpart ESPN Plus. Mayer had been head of corporate strategy and business development since 2005. He’s been Iger’s right hand on the studio acquisition spree — Pixar, Marvel, Lucasfilm and most recently 21st Century Fox — that turbo-charged Disney into the world’s largest media company.

Strauss and Chu are each accomplished executives who are known to be well respected by their peers inside and outside Disney. They obviously have Iger’s vote of confidence. But there’s no disputing that neither has extensive experience in managing high-end TV series productions. Strauss served as head of production for Participant Media before Disney. Chu worked in documentary production before joining Disney in 2008 to develop digital content.

Iger has been weighing in on plans for big-ticket projects such as “The Mandalorian,” the first-ever live-action “Star Wars” series, which is sure to be a big selling point for Disney Plus. While Disney has bluntly stated that its streaming service will not try to match Netflix in terms of sheer volume of originals, sources say Iger has of late pushed the team to stoke the development pipeline to ensure a steady stream of fresh content can land on Disney Plus in the months after its launch.

At the same time, sources say Iger sees much of the creative spark for Disney Plus as coming from the creative teams behind the studio’s four content brands that will populate the service: Disney, Marvel, Lucasfilm and Pixar, as well as Fox’s main operating units, including FX, Fox Searchlight and National Geographic and its prestigious documentary vault.

A source close to the situation says there was a belief that executives from backgrounds other than traditional primetime TV might be better suited to building a new-paradigm programming operation. Chu’s team has been augmented in recent months with the hiring of Sarah Shepard, formerly of Smokehouse Pictures, as VP of scripted content and Marvel alum Dan Silver as VP of unscripted.

“We have the luxury of programming this product with programs from those brands or derived from those brands, which obviously creates a demand and gives us the ability to not necessarily be in the volume game, but to be in the quality game,” Iger told Wall Street analysts in August.

Insiders say the thinking is that as a strictly VOD platform, the programming management needs of Disney Plus are different from that of a traditional network with a development and greenlighting hierarchy. And it has been emphasized that feeding strong content to Disney Plus is meant to be a holistic effort among all of the company’s content-producing units. Marvel, Lucasfilm and Pixar have long operated with a great deal of autonomy in plotting their film and TV projects, albeit with support from the Walt Disney Studios operation headed by Alan Horn and from network partners.

On the series side, as development began to ramp up last year, there was confusion about how Disney Plus would handle dealmaking and the always-contentious issue of profit participation points for talent. Disney ultimately settled on a formula for “buying out” points up front — much as Netflix, Amazon and HBO do — because there will be no aftermarket sales of the titles to split among participants. Sources describe the Disney Plus formulas and pay scales as generous for Marvel- and “Star Wars”-branded productions — “They’re spending real money on those shows,” says one top TV agent — but that other productions are offering less lucrative deals than comparable projects would likely command at Netflix or Amazon.

Others say the structure at Disney Plus has made it a little unwieldy to make deals for shows and also more difficult to pitch concepts and talent to the service. “Do you pitch Agnes? Do you pitch Jeph [Loeb, Marvel’s TV chief]? It’s not clear yet which door gets you in,” says another veteran agent.

Original movies are slated to be a big part of the Disney Plus lineup. At first, industry sources say the message from the Disney Plus team last year was that it was looking for modestly budgeted movie concepts. Then came word that it is open to projects with a wider budget range of $20 million to $60 million. Sean Bailey, president of motion picture production for Disney Studios, is playing a major role in liaising with the imprints and helping to steer the movies strategy. Other projects are coming from the seasoned team at Disney Channels Worldwide, which has long produced telepics.

Strategy adjustments and dealmaking hiccups are hardly unexpected for such an expansive start-up effort. Sources close to the situation point to the hiring earlier this month of Fox alum Joe Earley as exec VP of marketing and operations for Disney Plus as recognition that more heft was needed to prepare for the launch. Earley had a 21-year run at Fox Broadcasting, rising to chief operating officer for Fox Television Group. He spent the past three years as president of Gail Berman’s Jackal Group shepherding TV, film and legit productions. Earley will soon be joined under the larger Disney corporate umbrella by a host of former TV and film colleagues from 20th Century Fox.

Walt Disney Television chairman Rice and Disney Television Studios and ABC Entertainment chairman Dana Walden, the Fox executives who will take on the top TV leadership roles at Disney (excluding ESPN), will be involved in feeding content to Disney Plus through their oversight of the combined ABC Studios and 20th Century Fox Television operations. Disney’s master plan for how Disney’s and Fox’s existing production units in film and TV will be integrated — or whether they will remain separate imprints — is still being sorted out.

“There are a lot of [Disney and Fox executives] out there still waiting to see where they’re going to go,” notes a TV industry vet.

Corporate integrations on the scale of Disney and 21st Century Fox are famously fraught with unexpected obstacles (think AOL-Time Warner). Political battles and turf wars are commonplace in any such melding of operations, particularly those with such distinctly different corporate cultures as Disney and Fox. The perception that Mayer and Rice are in a foot race to the CEO suite — rightly or wrongly, that’s the conventional wisdom in Hollywood — could add a wrinkle to the mandate for DTC/International and Walt Disney Television to work together in the enlarged Disney sandbox.

Executives in Burbank and Century City are bracing for a post-merger roller-coaster ride. The industry is waiting to see how Disney marshals its brand firepower for the streaming age. Disney’s board of directors no doubt has its eye on how the Disney Plus launch process plays out across the company as it evaluates successor options for Iger.

“It’s going to be Mr. Toad’s Wild Ride around here for a while,” says a longtime Disney insider.

#Robert Iger #Bob Iger #Disney #The Walt Disney Company #Disney+#Disney Plus #FOX #20th Century Fox #20th Century Fox Television #20th Century Fox Animation #Fox 21 Television Studios #21st Century Fox #Blue Sky Studios #Fox Searchlight Group #FOX Searchlight Pictures #FOX 2000 Pictures #Fox Animation #FX #FXX

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letsanime2019posts-blog · 5 years

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Can you imagine what it is?

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Large glistening eyes, brightly colored hair, vague nose and exaggerated facial expression reminds me of just 1 thing.

Anime

Can you imagine what it is?

If your reply is Anime, then BINGO, you simply read an otaku's head!

Anime (pronounced:"Ah-nee-may") is a kind of animation normally from Japan. They have their very own style and it might demonstrate that in strange and amazing ways. Anime also includes its own sense of humor and has a special way of thinking. It can get very serious and deep, or it may become silliest (such as:"Lucky Star","Kill Me Baby") and craziest (such as:"Death Notice","Gintama") things you've ever seen. Most Anime displays derive from favorite manga (Japanese Comics), only putting a bit more life . Anime frequently covers more serious issues than normal cartoons. In the usa, animations are regarded as a sort of entertainment intended for kids. In Japan, people of all ages (not toddlers infants!) Watch anime. Most movies and shows are centred for children, teen or young adults, but there are also numerous anime which are created for elderly audience even sailors and housewives!

Anime

The term"Anime" is the abbreviated Pronunciation of"cartoon" in Japanese, in which this expression references all cartoon. Outdoor Japan, anime is used to refer especially animation from Japan or Western disseminated animation style frequently characterized by colorful images, vibrant characters and fantastical topics. Japanese cartoon started in the 20th century. Katsudo Shashin is promised to be the oldest Japanese cartoon. The 1923 Great Kanto earthquake led to widespread devastation including demolition of oldest Anime Studios and arcade functions; leaving Kouchi's Namakura Satan since the earliest surviving animation.The initial anime tv show was Otogi Manga Calendar aired from 1961 to 1964.

Was in a class four when I saw"City Hunter" at a T.V. station, Animax. Although I watched anime (as a matter of fact that the plural of anime is anime) such as"Doraemon","Shinchan","Avatar-The last airbender","Summer Days using Coo","AstroBoy","Dragon Ball-Z","Naruto" way back before I did not recognize the deep awareness of anime because it had been dubbed in Hindi (rather, I'd say"polluted" rather than"dubbed" by older, foolish male voices in Hindi who'd crack unneeded, slap-stick jokes deviating audiences in the plot and land you at a hotch-potch of indianised anime). My sister ( three years younger than me although I refuse to confess she's more older than me. ) took a strange fascination with Japanese arcade like" Tears to Tiara" and"Stigma of the Wind" aired in Animax: I thought odd at the time as my"patriotic inertia" would stop me from accepting anything but Indian goods. I was repelled from the fact that the whole voice recorders were in Western and also to comprehend the narrative I needed to shoot the trouble of studying the English subtitles and needed to correlate the address together with the movie revealed; for which lot of attention has been demanded. It had been not possible for me to perform both those tiring jobs at precisely the exact same time, so that I returned to my previous T.V. stations: Cartoon Network, Nickolodeans, Hungama, Pogo, Boomerang and Jetix.

After a lengthy hiatus, in a class seven, I started Assessing my abilities in understanding anime that turned out to be a victory, when I indulged in anime such as"Hayate the Combat Butler" and"Fairy Tale". Oh! This type of sweet poison! Following an entire hectic day in college, swimming pool courses, music and art classes, and complete other hell bunch of actions; I waited just to settle back and unwind to see this anime. At that moment, nothing mattered to menot my parents, teachers and friends. In that digital realms of enjoyment me could handle my beats and sufferings as readily as I'd obtained in successes. Nothing bothered me, except when I needed to attend telephone calls or to open doorway, when any guest stems if the anime exhibits were continuing. But, anime barely did impact my research as after viewing two hours long schedule, I endured from PADS (Article Anime Depression Syndrome) for that I endured the guilt of wasting time that was intensified by my mum's rebuke (I'd love to explain this situation as"Kata Ghaye non-er Chheta") and this guilt could propel me to study harder, focus and work for more hours and this happened as daily routine for me personally; therefore I could easily outdo the majority of the pupils be it swimming or studying or another job.

So to each of guardians, I Want to Ask to allow your children to watch anime because it worked out for me (perhaps I've odd wiring in my mind!) . Watching anime will certainly help you hone your literary, analytical and vocabulary abilities. What's more, it would function as an immense supply of amusement, at least way past the league of Indian soaps.

Recognizing The culture of source is quite important to see the storyline, be it Japanese arcade, Korean Aeni webtoons, Chinese Manhua Anime or even American sitcoms (that I endured when I was a novice in seeing anime). In case you've watched any anime, then you will likely observe that the characters act differently and things generally (like homes, transport, eating etc.) are little different from what you used to. Possibly the most easily evident differences between Japanese cartoon and others is your art where enormous eyes (larger than a nose), brightly colored hair, a few well-endowed personalities and exaggerated emotional expressions and expressions are typical of arcade. Becoming hand-drawn, anime is divided from reality, supplying an perfect route for escapism to which viewers can immerse themselves together with comparative ease. The creation of arcade focusses less on the cartoon motion and much more on the precision of configurations such as"The Garden of Words".

The credit and opening sequences of all Cartoon is accompanied by Japanese pop or rock tune that perhaps related with all the anime show, by popular bands. "Nanairo Namida" by Tomaton' Pine of arcade"Beelzebub" and"Only Awake" of Cartoon"Hunter X Hunter" are a few of my favorite anime tunes, which you may test .

As There are lots of sorts of anime, 1 have to categorize them in distinct Genres, a number of them include: Action, Music, Mecha, Adventure, Mystery, Life and a lot more. Whether you are a diehard anime enthusiast (like me Generally tagged as"otaku"), a casual watcher, a curious onlooker Or commoner out of non-anime domainnames: anime genres will equip you with Some fundamental knowledge and assist you to venture into the anime world without difficulty and delight.

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