The Existence Of:

The existence of:

licence to kill

marriage license

imply the existence of:

licence to fuck

I had a dream that the new Tumblr Discourse ™️ was over a new DND style game where all of the races were types of snakes. People were ragging on anyone who chose to be a paladin corn snake (because obviously corn snakes would never be a paladin.) I'm not entirely convinced it's not already a thing because Tumblr is just Like That, but anyway it was called Cobra King and I want to play it now.

it fucking sucks how you can do all the therapy and self healing in the world and you still have to wake up living under a capitalist death cult that's killed community and crushes your soul

discord just added soundboards to remind us of those times, perhaps to recapture that feeling

remember when we were all going 📢📢📢bwau beau bwau bwauuuuuuuuw📢📢📢 all the time

I wanted to briefly come back online and discuss the WGA and, in turn, the current writer's strike.

I know my opinion matters very little, and I don’t consider myself an expert or a valuable voice in this matter. However, since I talk about Star Wars a lot, I wanted to discuss the strike because these things go hand in hand. I think it’s unfair to ignore the real-world circumstances that shape the media you enjoy. Knowing the context of something is important. And beyond that, this situation has just been on my mind, and I wanted to express my thoughts somewhere. 

Firstly, all workers should be paid living wages. All workers deserve to be treated fairly and compensated fairly. All workers deserve safe, productive, and fair working environments—end of story.

I’ve been seeing a lot of jokes along the lines of “I didn’t even know media had writers these days,” and while I understand the joke and the potential humor in it, I feel like it’s important to realize that this is entirely why the WGA is striking in the first place.

The writer’s rooms are shrinking. Writers are being overworked. Writers are being underpaid. Writers are being dismissed and undercut. These factors lead to poorly written and poorly managed shows because the individuals who write the bones of the shows are exhausted and burdened by corporate interference, unreasonable deadlines (especially in animation), unfair wages, and stale corporate agendas.

Additionally, these writers often aren’t given the opportunity to oversee or manage their writing while it’s being filmed. Instead, companies are acting as if the writing process ends before the filming process so that they can shorten the writer's contracts and pay them less. However, in actuality, the writing process is often most valuable during the filming process. 

Some things work on paper but don’t work on the day. Maybe the joke doesn’t land, or an actor can’t deliver the line as intended. Writers are needed on set to rework and revise these lines, so the process can run smoother without sacrificing story and believability. Now some actors are incredible at improvising and can make these things work. However, overall, without writers on set, you usually end up with awkward/stiff dialogue or scenes that make no sense. Writing doesn’t stop in the writers' room.

Another massive force driving this strike is the evolution of streaming services. 

With “traditional” tv reruns, the network airing the media has to purchase the viewing rights of the episode or the show. This money is then extended to the people who worked on the show in the form of residuals. It makes sense. Something you worked on makes money, so in turn, you get money. 

However, streaming services have broken this mold by allowing consumers to watch whatever media whenever they want. Streaming services claim that it is no longer possible to pay residuals for these shows since they don’t know how often or when the shows are being watched. This is a lie.

Companies will brag privately in shareholder's meetings and publicly in articles about streaming shows that have done well. We’ll read headlines like “Stranger Things’ Was Most-Streamed TV Show in 2022” or “‘Star Wars’ vs. Marvel: Which Disney+ Shows Are Most-Viewed.” These articles and the data within them prove it is possible to know how frequently shows/movies are being watched on streaming services. Still, companies are only willing to shell out this information for bragging rights and not for fair payments.

In 2021, Disney CEO Bob Chapk earned $32 million. In contrast, the WGA website states, “Median weekly writer-producer pay has declined 4% over the last decade. Adjusting for inflation, the decline is 23%.” These writers are merely asking for 3%, while CEOs are given the moon.

This is unacceptable.

If you’re reading this post, if you’re on Tumblr and engaging with fandoms enough to have this post written by me, a Star Wars blog, circulate on your feed, media writing has affected your life. Writers have impacted you and your daily routine and hobbies. 

You should care about this strike. You should be supporting this strike. 

We all want our favorite shows to come back, we all want to reunite with our favorite characters, and we all want to see their stories, their triumphs, and their struggles. 

But the real people behind these stories and behind these characters are far more important than any fictional narrative. 

These writers have crafted the worlds and stories we love, and by supporting them, we can return the favor and craft a better world for them too.

wgacontract2023.org

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Writers are facing the most comprehensive assault on compensation and working conditions that they have seen in a generation. Stand with the

A podcast laced with subliminal messages that only activate above 1x speed. At 1.2x speed maybe it makes you do an animal impression when you hear an ambulance siren. At 3x speed you get full Manchurian Candidate'd