THiS WALL OF TEXT IS ABOUT BUSINESS AND ONLINE VIDEO IF YOU DON’T CARE ABOUT THAT STUFF KEEP SCROLLING I WILL POST MORE CAT GIFS SOON
For those of you who don’t know, John and I were recipients of part of YouTube’s “Original Channel” funding initiative. We used that money to start Crash Course…
“People who make online video are much better at making online video than people who make TV shows. This probably seems obvious to you (it certainly is to me) but it apparently was not obvious to the people originally distributing this money.”
Don’t discount the idea that they may have sunk this money intentionally as a loss leader. I know a lot of *very* savvy people who work at YouTube and I have no doubt you do as well, Hank. That YouTubers/people who make online video would be more successful than celebs with no experience in the medium was likely as obvious to them as it is to us. However - forking over (what in the end is not a lot of money in Google terms) cash to those celebs did two things: 1) It got the initiative a TON of press that lovely folks like Phil and Felicia wouldn’t have gotten, and 2) an initiative this size would definitely have been approved by Google first - those names likely make getting the project off the ground (and money into the hands of people like Phil, Felicia, & you) via the parent company “OK”. Add in the prospect that one/some of those celeb channels *might* have worked despite the odds, and it’s a no brainer. After all, this is a multi-year plan and launching it by “throwing money away” on the channels that get the program noticed and approved is a more than acceptable loss. So, with the “change” in strategy (which may have been planned all along), did they learn those first two lessons, or did they perhaps already know them going in? Just a thought.
I WONDER WHY. Not like the military has a great track record of prosecuting accusations. Why so concerned?
Suck it up, fellas. No one asked for your opinion.
I have to wonder if it might actually have the opposite effect of what those Marines are afraid of.
As women become more integrated with a combat unit, wouldn’t they become more likely to be viewed as just Marines and not women?
I read a related article this morning that said that one of the reasons these guys didn’t want female Marines in combat is that they would feel obligated to protect them.
These women are FUCKING MARINES, they went through the same training you did and they don’t need you to protect them from shit.
Side note: at what point did 17% become “many”?
Not at all justifying the article or disagreeing with your points about sexism, just wanted to add a comment about the broader issue:
“Obligated” is a complicated word. Simply put, it would be much, much harder for me to watch a woman die than a man. Whatever psychological conditioning in my life may have set that up, if I were to find myself on the front line with another male on one side of me and a female soldier on the other, I would react differently on a basic human level to the woman being hurt or killed than I would the man. It would affect me more deeply and I’d take it more personally.
Now, I’ve never been a soldier, never been in battle. The closest I’ve ever come is having a gun pointed at me twice: once by a criminal during a mugging (I was alone), and once years ago by some police officers who raided the house looking for my brother after he got into some trouble (my girlfriend at the time was with me, having spent the night).
I know how protective I felt watching someone point a gun at my girlfriend. The urge to be protective of women when they are physically threatened is part of me, uncontrollably, for good or bad - whether that’s breaking up a fight between strangers when a guy went too far during an argument with his girlfriend at a bar, or how I once reacted when a good friend of mine was raped by a mutual acquaintance (I won’t elaborate, but it’s one of the few times in my life I’ve resorted to physical violence).
Does this mean that women shouldn’t be allowed to fight? I don’t know. Thankfully, I don’t have to make that call. Anyone can call me sexist or backwards or whatever for feeling protective, and that’s their opinion. What I’m saying is it’s an undeniable part of who I am, it can’t be changed easily if at all, and, frankly, it comes from a place of deep respect for women and not something that I’ve been criticized for. If not being sexist means that violence against men and women has to be treated equally, then I suppose I’m always going to be a little bit sexist.
Twin Peaks Rap isn’t going to make any sense if you’ve never seen the show. Of course, Twin Peaks itself didn’t make any sense to some who watched. It didn’t stop them from enjoying it. So why not just click play?
Yeoldeeter and I have acquired several of the Buffy CCG starter decks. We have experience with other card games, but when we opened them up and tried to go through the directions step by step, it gave us brain hurt.
I tried to find a tutorial video on YouTube, thinking that if we could SEE the steps they would be much clearer, but I couldn’t find one.
Tumblr, please help us learn to play! If you know how contact us, if you don’t know how, a Signal Boost would be awesome!
That’s about half of what Disney paid for Pixar nearly seven years ago.
And yes, apparently Star Wars Episode VII is coming in 2015.
I wonder how much or how little involvement Lucas will have.
Trying to prove this is a hoax, but no luck so far. Makes no sense. Pepsi paid $1B for licensing rights to the prequels. SW has generated over $30B in ticket and merchandising since 77. $4.05B for LFL (and ostensibly ILM, THX, Skywalker Sound, and the other LFL affiliates though they aren’t mentioned) PLUS Star Wars PLUS Indiana Jones and whatever else Lucasfilm owns a stake in?
With your nose to the grindstone it’s hard to look up
I’m shooting a pilot starting the day after tomorrow. 4 days. 10 cast members. 15 crew. A million little details to work out, confirm, rework, reconfirm, all at once.
I’m not thinking about the Presidential election, I’m thinking about performances in key scenes.
I’m not thinking about hurricanes and public shootings, I’m trying to figure out where the last of our props are going to be found and how I can maximize the next 45 hours of my time to get what feels like two weeks worth of stuff done.
I’m not thinking about other people’s shows, the IAWTV, the Streamys, the community, distribution and monetization trends, the rise of mobile content, or how this show may or may not impact the digital content landscape, I’m thinkng about lighting, insurance, gear checklists, craft services, last minute script tweaks, shot lists, art direction, back up plans in case someone flakes or gets sick, camera angles, lens choices, windows in the frame, protective floor mats, the relative supply of gaffers tape, paper clips, zip ties, and spring clamps, if doing night for day in scene 1 will turn out to be a mistake, if any of the approved wardrobe items could be better, and if I’m going to remember to eat or sleep before next Wednesday when this is all over.
And this is why we need the IAWTV. Because making a show is hard, and there’s no time to think about the industry that makes making these shows possible in the first place. This is why its important to get involved, and volunteer time when you’re *not* insane with production, to make sure that your show (and every other) has a better shot when it’s made. This is why its important to support the organization by submitting your show to the IAWTV Awards, so that the IAWTV can showcase the work we’re doing at CES to raise awareness of just how talented we are and just how good our shows can be things go right despite the odds against small productions. So that the Awards can generate sponsorships to fund the organization so that it - they - we - can do even more to help the community grow.
It’s not about who wins (though trophies are nice), its not about the red carpet or after parties, who wore what dress, or any of the things that come to mind when we think about awards. It’s about having - and supporting - a greater body of the creators, talent, crew, and executives in this industry who are looking at the big picture and thinking about all the vitally important things that there’s no time to think about when you’re busy actually making a show.