Tubi’s Post

Please see this series!

Dear IATSE Film and Television Sisters, Brothers, and Kin — As part of our upcoming negotiations with the Alliance of Motion Picture and Television Producers (AMPTP), the union has launched two microsites. One for the Hollywood Basic: basic.iatse.net, and one for the Area Standards: asa.iatse.net.  Living Documents: These platforms will feature comprehensive and up-to-date information throughout the entire process. Please note that these websites are not static; they are living documents. This means they will be regularly updated with new information, resources, and announcements during the process. We encourage you to visit them frequently to stay informed and engaged with the latest developments. What You Will Find on the Websites This Week: Roadmap of the Process: Gain a clear understanding of what to expect at each stage of the campaign, ensuring you are well-informed and prepared for the journey ahead. Historical Context and Past Priorities: Delve into the history of our agreements and learn about the priorities that have shaped our past negotiations. This context is crucial for understanding the evolution of our industry and the role we play in it. In-Depth Negotiation Educational Video: Access the full 3+ hour training session delivered to IATSE's Negotiation Committees. This material provides invaluable insights into the principles, rules/laws, and the processes of our negotiations. This is the first time such a training has become available publicly. Campaign Toolkit: Utilize a range of resources, including campaign graphics, hashtags, and logos, to actively engage and support our union’s collective efforts. This toolkit is designed to empower you to be an active participant in the campaign.

A well-put remark on the importance of authentic representation. 👏 Similarly in the advertising industry, consumers are more trained than ever. What brands are putting out has always been a critical part of the cultural fabric, and the audience can tell a genuine piece apart from one that feels "token-y" or "quota-filling". Our untold stories, eager audiences, and creatives who are seeing more lights ahead than ever are ready to unlock the potential together. This is just the beginning. 💛

A report came out that the AAPI audience is not satisfied with the authenticity and that they would watch more if it was more authentic. Yes, and what does this mean? This raises several questions about what "authenticity" means. Does it require that actors precisely match the ethnic backgrounds of their characters, with a Korean actor, for example, speaking fluent Korean and only playing Korean roles? Should stories adhere strictly to factual representation, similar to what one might expect in documentaries?  I'm all about authenticity, but what's complicated about this issue is that there are so many different types of AAPI that have differences in cultures and how they want to be represented. However, another consideration is whether audiences will engage with content that represents cultures different from their own. The idea that Hollywood could potentially miss out on billions of dollars if it does not cater to these diverse interests suggests that there is a financial incentive to embrace broader cultural representation.  But that’s if we watch other cultures in the AAPI community as well and celebrate when we watch another culture succeed and get screen time, and support with our dollars and attention, even if it isn't yourself represented. While authenticity is valued, too much realism can sometimes result in content that feels more like a slice of life, which may not appeal to all viewers. This is up for discussion but I’d like to see the AAPI community come together more since we have the power but it’s still very divided.  

Add these to your watch list to get in the holiday spirit!

Task: Answer these 5 important questions when you first get a scene or monologue. https://lnkd.in/gwJvhv9P #acting #actor #prepwork #actress #theatre #film #comedy #drama #actingclass

Thanks Kevin Kreider for sharing his perspective on the complexity of “authenticity” in media representation. I’ve been thinking about how our diverse Asian identities are portrayed and perceived. There’s a significant aspect of our shared cultural experiences that can deepen our collective identity in the U.S., transcending specific ethnic lines. For instance, common practices like taking off shoes before entering a house, or our collective love for various Asian cuisines, are relatable moments that unite us. Recent events like the support for the Chili Crunch case also highlight how we can come together as a community over shared causes and interests. This shared authenticity can be a powerful way to represent us in media—showing not just our differences, but our commonalities that speak to a unified Asian identity. If we continue to focus on these shared cultural threads, we can create a stronger, more unified market appeal that doesn't solely rely on representing specific ethnicities. This broader approach might not only be more inclusive but could also open up larger market opportunities as you noted. How do we think we can encourage the industry to adopt this broader perspective in its storytelling to truly reflect our shared experiences? Here is the link to the the McKinsey & Gold House study post: https://lnkd.in/gfdsdGkM

The growing trend is, akin to what is mentioned in the article, to watch the important moments of the show, later, on YouTube or TikTok. That’s how a huge global audience watch it. In bits and pieces, in keeping with the current viewing trends. But TikTok and YouTube make the most of it, not the network or the AMPUS. Firstly, the show needs to grow out of the legacy template, and shorten the length. And then the AMPUS and the network need to include the micro-views in ratings calculations. They have to change with time. From a different perspective, Hollywood movies, post Netflix, have gone downhill in terms of watchability. Most iconic directors are either old or out of business with a few exceptions. The new directors have to get familiar with OTT platform analytics before they start working on a script. When you allow non-creative people have an upper hand, shows and movies become clones with different names. I don’t know about others, but I watch a lot, and I can’t recall a single memorable moment from the most of the new stuff. I try to rewatch pre-Netflix era movies, even the ones with lower ratings are often better than what’s ttere on the platforms by the dozen. If the main produce gets rotten, wouldn’t the award ceremony also suffer? Bobby Ghosh

The Academy Awards are BS. How can so few movies receive so many nominations and win so many awards? The Oscars seem to have little to do with merit but with Hollywood publicity and creation of buzz. All the Barben-heimer "buzz" is fake. No desire to watch. During the last decade, it seems that many people are coming to realize that it is all BS and fewer people are watching. Award viewers 2010 = 42.1 million 2011 =  38.0 million  2012 = 39.5 million  2013 = 40.4 million 2014 = 43.7 million 2015 = 37.3 million 2016 = 34.4 million 2017 = 33.0 million 2018 = 26.5 million 2019 = 29.5 million 2020 = 23.6 million  2021 = 10.4 million 2022 = 16.6 million  2023 = 18.7 million

Read this very inspirational and motivational. What your mind can conceive and believe you can achieve