goblinjareth

On 9/27/2023 at 11:58 AM, fantastic_four said:

Nothing prevents a human--which in the Hollywood context means an executive or a producer--from taking 100% of the content from ChatGPT and just copyrighting it themselves though.

Many of the most popular network television shows have always been formulaic.  I can see a LOT of shows intended for less-demanding audiences being almost entirely AI generated in its current state.  Surely showrunners will be trying the heck out of that in the near future if they aren't already.  Does this new contract prevent it?  Maybe, can't tell yet.

It would be very hard to catch, but I'm guessing that if they did, the copyright would be null. Or they could get sued for copyright infringement depending on what their AI of choice was pulling from... it could easily be framed as plagiarism. Especially considering some AI have been caught pulling from fanfiction 

On 9/25/2023 at 7:43 PM, Bosco685 said:

 

Interesting... I've been wanting Young Avengers in the MCU for a long time, but this trend of slowly introducing them one by one is kind of exhausting. Especially if they end up making YA a TV show, it's not that hard to introduce some of them during that show. But instead, everyone has to get their own side character feature.

On 9/26/2023 at 9:08 AM, CAHokie said:

I am not implying anything and have no hidden agenda.  I have always struggled with the fact that heads of businesses (of any type) get paid so much more than the workers that make things happen, but also realize they have more responsibility and risk, so they are paid more. I have been consistent on this here and in the gold thread.  Naturally the heads of studios are not pulling out of their IRAs because most of them are rich.  If I knew the solution or right answer, I would be rich myself.

"Risk" is so nebulous... I always wonder what it really is. I work for an independent studio, so far less affected by the strike, but my contract/wage/treatment are frankly ridiculous. What risk are the executives taking on that I'm not? They aren't investors; they aren't personally floating loans and upfront costs. I'm just someone in the marketing department that can bear the brunt of their last minute grand ideas with very little room to disagree, and the marketing department will always bear the brunt of the blame and public backlash if those grand ideas backfire. I keep working for bs overtime to implement their ideas because they want something for the morning at 7pm, but they get paid an inconceivable amount more than I do? 

Not really looking to argue with you, just a little rant.  

I grew up on the Teen Titans cartoon and always had a soft spot for Monsieur Mallah and the Brain, so I've always been on the lookout for Doom Patrol 34. Beyond the sheer craziness of the story, Grant Morrison actually has some very interesting thoughts on the nature of body vs. consciousness and a good sense of humor.

On 9/25/2023 at 9:37 AM, lostboys said:

How does it work.

Do you pay monthly and get access to every Marvel book or do you pay per book?

On Marvel Unlimited, I think they've done away with paying per book, but you can pay per book elsewhere (like Comixology). If you read at least 3 floppys per month, Marvel Unlimited is worth the money, and they have basically any backissue you could hope to find. Comixology Unlimited is (unfortunately) owned by Amazon now, but it's cheaper than Marvel per month and has Marvel, DC, Image, Dark Horse, Kodansha, etc.
 

This whole attitude around the show is really getting me excited and is exactly what I'm looking for in animation... it's such a flexible medium with so many talented artist; why not go as far and insane with it as you can? All of the best adaptations in the past 20 years have chosen to do something emotionally faithful but artistically and narratively unique. 

On 9/25/2023 at 8:43 AM, CAHokie said:

How does it work for the IATSE when SAG and WGA strike? It automatically puts them out of work at no fault of their own. Does it make them eligible for any type of unemployment or internal funding? 

IATSE is also eligible to receive help from the same community fund that the lower wage WGA/SAG workers are getting assistance from.

On 9/22/2023 at 8:24 AM, CAHokie said:

I agree with this completely. More does not equal better. I would rather have 3-4 people that bounce ideas off of each other with chemistry than 8 people where everyone has to debate every little decision.  

To be fair, that is how a writers room works. Very few people are writing on every episode. The showrunners oversee the overall story, and extra writers are often brought on to flesh out the sub-plots. For example, the first season of Stranger Things was either at the WGA minimum or one under depending on interpretation of the policy. The Duffer brothers wrote ep 1 & 2, episodes 3-7 all had different single writers, and episode had the Duffers plus one more. Oftentimes, the showrunning/directing/producing is what gives something its unified voice, not the scriptwriters. The Mandalorian S1 also had the same amount of episodes and writers as ST1. In that case, it was Jon Favreau's responsibilities as a showrunner, not a writer, that held it together.

I think there needs to be pre-set exceptions for what can have less writers, such deadline stipulations that can kind of "exchange" writers for a longer writing period. But having the WGA's requested amount of writers is not unprecedented in good television

New visuals from an Entertainment Weekly exclusive article, including the clearest look we've gotten at Roxy

On 9/1/2023 at 9:35 AM, CAHokie said:

I would only agree to an AI scan if it could only be used in the actual production being scanned for and used to tweak a scene, and not to use however they want without permission. Example:  Use an AI scan to tweak an angle or motion would be ok, using an AI scan to have someone do a porn scene, absolutely not ok. Yes, that is an extreme example of course, but that is why there needs to be guidelines. 

The weird thing is... that's how it's been used for the last 7 years or so. A bunch of tech bros started referring to all computer learning as "AI" and presented it as this shiny new infallible thing, but many of these features have been integrated into creative programs for ages. Mocap, asset resizing, and more have always been used to assist the actual artists by providing a base to work from. All of these new "AI translation programs" are using the same computer learning model that Google Translate switched to in around 2013. 

On 9/1/2023 at 10:39 AM, drotto said:

Honestly, the one point I am 100% against the WGA on is dictating the size of the writers rooms. Showrunners should be allowed to hire how many and who they want, not be forced to meet some almost arbitrary number.  Many shows are far better with fewer people involved.  Look at Stranger Things or the Yellowstone shows.  Both have small writer's rooms and are basically tightly controlled by very few people.  They are better shoes for having few people involved with a tight focus and singular vision. Network comedies or dramas are fine with larger writer rooms. I understand why the AMPTP is against this, from a cost and creative standpoint. 

 

Also the 11k plus per week really seems more than fair to me. Especially when the average person in the US makes far less then that. If that writer works just 10 weeks per year they are making more then 90% of the people in the country. A good writer will have no problems making really good money at that rate. It is impossible to create a agreement or expect that the studios must keep the entire 11000 plus WGA employed in a manor that keeps them all financially secure.  Better writers will always get work, and the bad ones should not just be subsidized.

 

I would also disagree that they always employed that many writers, streaming has absolutely exploded the amount or scripted content. Now the streamers are being forced to cut content because it costs too much and they are losing money.  Really only Netflix is profitable right now.  Disney plus is over $14 billion in the hole since starying.

 

Also at this point the strike has not cost the studios money, it will, but not yet.  Zazlov said they were up $200 million last period, despite the strike.  Also streamers will adjust, and have already announced they will start importing more UK, Korean, and Japanese shows, etc.  These are not affected by the strikes, and dubbing work is actually permitted even with the strikes. Streamers will have content, and like it or not can hold on far longer then the writers.

 

Again, I think knowing the actual streaming numbers may be a poison pill for both sides.  The writers will find the residuals are actually accurate, the shows they wrote are worth nothing. The studios will have to answer to angry investors on spending money on projects that lose money, and that will effect stock price. 

Yeah, I don't think they're going to get the writers room minimum they're asking for. But I feel something needs to be set in that regard, whether it be a smaller minimum or timeline requirement, because the cuts they've made leave no room. I think Stranger Things has actually had weaker writing as they reduce the number of writers per season, but they started with 6 in season 1, which is one less than the WGA proposal would have required. Not all of them worked on every episode, but it seemed to help them keep their separate plotlines relevant and connected. 

You're right that the streamers are not profitable. Netflix was successful because it was unique, and now they're just reinventing cable. And that the streamers never hired a lot of writers. I was referring to network TV hiring more. Think of how many writers you see on a single season of Doctor Who to this day.

Zaslav is honestly pulling the wool over his investors' eyes. He says they saved $100m (which comes in part from not paying the striking workers) with very little breakdown on where the rest came from; meanwhile they also just lost at least $65m on The Flash alone due to the amount they spent on marketing. Max lost nearly 2 million subscribers in Q2. 

Ultimately, with the AMPTP finally back at the table after social perception has remained pretty in favor of the unions & AI has lost its shiny "new thing" hype, I think the WGA will get a deal in late October and SAG-AFTRA in late November.

On 9/1/2023 at 8:50 AM, drotto said:

Not really, the leaked (I am fully aware AMPTP leaked it) offer was fairly generous.  That offered said they would offer $11k + per week for a staff writer, over 15K for a show runner per week, said they studios would not credit AI (writers would maintain the credit), they offered to share (confidentially) streaming number, and had much stronger guarantees for length of employment. They were giving the WGA like 75% of what they had asked for. It basically made sure a good writer would be making $100k plus per year, but did not ensure all writers would be employed. The primary sticking point seems to be WGA wanting strict numbers on how large writers rooms must be, and basically dictating how many people must be hired given the nature of a production. The AMPTP agreed a showrunner must hire at least 2 other writers, WGA wants in most cases writers rooms to be much larger. I am not sure it is wise creatively or even legal to force the studios to hire a certain number of writers based on a formula vs what the creators actually think they need. It will basically lead to no work jobs. The second main sticking point is AI and how it will be handled, I have no clue how to resolve that issue. 

 

I am not sure the studios can afford to employ that many writers at the salary's agreed too. I suspect most of these streaming shows, do not make money. That is the true reason they do not want to release the actual numbers.  It would prove that the vast bulk of these shows are worthless. It the studios are forced to reveal these shows do not make money, that will lead to a whole new problem for them on the investor side. While this perhaps gives the studios an unfair excuse to cut content, they fact is they are.  When this strike is resolved there will be far fewer shows being made, and the job situation is just going to get worse. Both side are going to end up losing here. 

The WGA is supposedly close to a deal, which basically hinged entirely on some of those points. The AI stuff was basically being stonewalled because the AMPTP refused to put anything against it down on paper. I suspect some of the fine text one those things will really determine whether or not it goes through.

We may not have all the financials, but they can certainly afford to pay that many writer. They used to actually. Their pay has not kept up with inflation at ALL, so in order to even catch up to their quality of pay 10 years ago, they needed a high percentage raise. And the WGA was not asking for all writers to be employed, which is a bit of a weird rumor being spread. They want writing room minimums that match common practices from 10 years ago. Having two writers on unobtainable deadlines enables them to pay garbage with no bonuses or raises and has resulted in a lot of the decline of TV writing we’ve seen. 

I’m a little biased, I have very little patience for the AMPTP after all of their blatant propaganda and union busting tactics. They’ve lost far more money in the strike already than it would cost for them to pay the WGA what they want, and they still found money to hire a special crisis PR firm. If your boss can’t get away with mess like paying you two months late, the studios shouldn’t either.

I could definitely see this getting up to a 9.0. Pre C&P, probably 7.5-8.0? Depends on any how the little defects fall. Ultimately, you have great taste, and this is a gorgeous cover. Neal Adams has some of the best composition of his era.

On 8/31/2023 at 10:25 AM, PsylockeSmythe said:

I don't see it ending until both sides realize they won't get what they want and both sides start to move to the middle.  

Psy

That's entirely on the AMPTP then, because they refuse to budge on a vast majority of basics. Full rejections on basically all proposals (or mess suggestions) until a week ago. Non-streaming companies are nearly on the verge breaking out of the AMPTP because streamers refuse to share the numbers, and they're getting screwed by independents like A21 fully agreeing to the WGA and SAG-AFTRA proposals, proving they are fully possible to follow. 

New screenshots from an LA Times article

On 8/24/2023 at 5:04 PM, southern cross said:

I have to disagree with the he is not press. Anyone who takes pictures, video and shares information to other people are press and it's a protected right.

Buttttttt!!!!! He is on private property not in public or public property so one should ask for permission to take photos and record.

People ask cosplay people is it ok if I can take your photo.

And one should ask dealers is it ok if I take a picture/video of your wall books.

Most smart dealers will say ok because it's free advertising on social platforms.

Now asking dealers questions/interview while recording one should ask is it ok to record.

Otherwise catch them outside on the sidewalk where there is no expectation of privacy in public.

I hope this post isn't political talking about rights?

I mean any talk like that is going to be minorly political, but I get where you're coming from lol. It's less about his right to film (it is his right) and moreso the impression it makes on people around you. There is press, and there is Press. When it's professional Press, there's a certain level of expectation already established where them having professional-level equipment exudes an expectation that they will act professionally and are coming from a place of reporting as a job. When it's a random person with a (albeit decent) amateur's camera, it starts off on the wrong foot, because they could be anyone. 
Funny you should mention cosplay, because I am a cosplayer. Someone taking a candid with a semi-professional camera doesn't bother me. Honestly, I would like them to ask mostly so I can exchange socials with them, because I love con photographers! But some rando taking a picture on his phone while I'm digging around in my bag in the ATM line (true story) comes off as inconsiderate/selfish. Like why do you want a terrible quality photo while I'm looking for my debit card? If someone comes up to me at an event with the ameteur camera already rolling, there's every chance it could be for one of those hyper critical YouTube essays or weird TikTok "I'm accosting you on the street" videos, which I wouldn't want to be a part of, since we haven't established the social contract of being honest upfront. 

Yeah with the amount of chipping I'd lean towards 5.5. Unfortunately it's one of those things that doesn't have a basic fix, but on a personal level, I think the important part of the cover looks great. It's one of those classic text-filled colorful covers that I've always loved about Journey Into Mystery/Thor.

With the amount of defects, I would probably expect a 6.0-6.5. 

On 8/27/2023 at 12:20 PM, MattTheDuck said:

I don't think there's any way for the average collector to absolutely protect a comic collection from these kinds of disasters if they're in your home.  You look at those Maui pictures and blocks of houses have just disappeared. Is there such a thing as a climate-controlled "fireproof room" you could have built that would provide theft protection and might also withstand flood waters and hurricane-force winds?  Possibly, but the cost would be prohibitive for all but the top tier of wealthy collectors I expect.  If you don't own any really high-end books, the cost might be hard to justify given the protection is against unlikely events.

I suspect insurance is the only way, but that doesn't replace the books I have the memories of gathering 50 years ago.

Also worth noting in the case of major wildfires, they are often burning much hotter and longer than what fireproof safes are meant for - regular house fires. So in they case of CA and Maui, it would not really help, and there's nothing really on the market for it. There's only so much you can do in the end, and it would be far more productive to worry about minor disasters that more likely to affect us as individuals... like waterproofing for burst pipes. At a certain point, it is the same as any other trinket, decoration, or collectable unfortunately, and all you can do is start over with insurance payouts.

Screenshot of O'Malley's IG story emphasizing that it's not going to be line-for-line. I'm excited to see what Science Saru does with the character designs because they did such a great job adapting Devilman and Star Wars visually. And as long as Envy Adams gets more of a personality than she did in the movie, I'll be satisfied; I think she's one of the most underrated developments in the books.

If they're not taking it seriously, some of the unnecessary crossovers are pretty fun reads. Archie vs. Sharknado was great.

Actually bad ones though... the Eminem/Punisher thing was just kinda weirdly unoriginal. Reads like weird power fantasy fanfic, and it still makes me shake my head that it was able to happen at all. Just a kind of crappy pay-to-be-involved comic that pales in comparison to good musician tie ins, like Kiss, GWAR, and Toe Tag Riot. And maybe this is a hot take, but Doomsday Clock was also just a slog to read. Every character was a shadow of their original selves in personality, and neither universe was more fulfilled for their collision. Despite how gritty and serious both DC and Vertigo could get, Watchmen just did not have related history, messages, or intentions to the rest of DC.

$5 and under for all non-key issues, and under $20 (perhaps lower) for #1s of less notable books. Getting into key issues, popular series, special variants, etc. it depends. I think $50 is the threshold for me on "affordable" books that aren't things I'm dedicated to, and it's the highest I'd expect a casual reader to pay for any single issue. Comic collecting is a pretty expensive hobby, so while I wouldn't balk at spending more on certain books, I would not call things "affordable" past that point, even if it is certainly worth that price.

I think lately there's been a weird attitude around the word "affordable." Most things, especially collector things, would never be considered "affordable."

Picked up the Seance maquette during Dark Horse Direct's recent sale, and I'm pleasantly surprised by the quality of all of the parts involved. I didn't buy it originally because I was afraid the price was solely related to the size, but it's actually fantastic construction with a great paint job. The exclusive pin and print were also high quality, and the packing was basically bulletproof. Makes me more likely to buy another figure for them should they ever do more characters I like, and I wish the old White Violin maquette wasn't such a high resale price. 

I think going in with the expectations that that a dealer will be your friend is just a weird subset of the attitude that retail people exist specifically to serve you. They're there running a business, making money... and anything is only worth what people will pay. If it's out of your price range, there's a point where you just have to accept it's not meant to be in that moment. 

Not to even get into the fact that walking up with a camera strapped on, when you're clearly not press... is a pretty great way to make a bad first impression. It is strictly basic business in the face of a go pro when you don't know where the footage will end up for what reasons.

I would call it a minor defect, though others may call that moderate with it being pretty obvious/on the cover, but either way I see this being safely an 8.0-8.5