richardmurray

The article linked below said a lot. What are the points: 

pay to view streaming platforms is what big media in the USA <big media meaning the largest media concerns by fiscal revenue or scale of viewership> is enforcing. I still agree with BEinsports ceo, streaming needs to be free like broadcasting. I think having people pay for streaming is the financial error. I Think streaming is better free, especially in the USA as the usa market is used to it. 

The relationship to media in the USA from someone who is five years old today to someone ninety five today is such a vast swing that media in the USA is literally organizing or planning for the five year old who will be ninety five one day. The article misses the role of immigration. Outside the USA broadcast media is usually absent or negligent. PEople forget, most countries never had a PBS. Most countries never had cable stations. Most countries populace has always had to pay for USA media content. So , the immigration populace in the USA culturally supports buying media, cause they are used to it. 

It isn't mentioned in the article, but one of the realities of the business community/private industry/free market capitalist culture in the USA is the heritage of following, especially in media. USA media has rarely had a set of individual daring firms. MEdia firms in the USA copy each other/follow each other to their dooms, historically. The idea of changing the soap operas, or making them more interesting was too daring for media firms in the usa. The problem with statistics side art is statistics can tell you what people are doing relating to art, but it usually guides you away from what you need to do to reimagine successfully. 

I concur to the student of media in the article. The mid 1990s and the reality television era coincided to the facebook/twitter era coincided to the death of non special effects films being made mostly. Audiences in the USA during the 1990s were being given a few key things: 1)the ability to make fun of people , whether famous or not, in the public eye in a daily way 2)special effects laden films whose visual stimulus overcame plot or story in ticket sales 3) the role of social media posts over letters or phone calls which meant brevity/publicity/high speed in communication became natural for many people in the USA. Sequentially, soap operas which have moments of laughter but are not meant for self deprication, have no high production value special effects, are slower paced, long form tales, which use a private storytelling to be displayed only on the privy of the show , are against alot of the momentums by user experience. 

I disagree with the notion that a lack of stay at home parents exists in the USA. Too many people are financially poor in the USA. I argue more parents are stay at home than in the 1960s as a percentage of the whole. but those parents aren't interested in a soap opera and moreover, is financially negative. PEople forget, that the main audience for broadcast media in the USA was the immediate post world war II white community in the USA which was very opulent. We forget that many blacks in the USA in the 1950s 1960s didn't have televisions. so, the financial positivity of the viewership of broadcast media in the USA of the 1950s 1960s where the soap operas come from was racially, monophenotypical/ had a larger percentage of financial positives. 

The tragedy of this article is it shows how cable is clearly still alive as a medium while many in media have suggested the usa has moved on from cable. it shows how the reality is rarely spoken in modern media in the usa. I repeat, at some point the cable services will figure out how to integrate the streaming services. The streaming services don't want it cause it undercuts their competition with each other. The problem for paid to view streaming is it can only make money by growing subscribers. The whole point of commercials is the commercials pay for the show to be viewed freely, with breaks. Before commercials , firms financed shows whole but that is expensive and too much for most firms. PRoctor and Gamble is a pharmaceutical firm that makes a lot of money.

I conclude with the strength of telenovelas in latin america. As well as the fantasy shows, game of thrones, as fantasy soap operas. It isn't that soap operas are dead in the USA but they are modulated now. Whereas in the past, humans in a modern setting, with conventional drama was adequate. But in modern USA you need dragons/elves/scenes of mythical war/fantastical extravagance/characters that have insane obsessions that mirror the engineered reality tv chaos to have a  soap opera. 

https://www.tvinsider.com/1055354/soap-opera-daytime-tv-decline-cancellations/

ELon Musk : "If the president is working so hard to free someone who is in jail in Russia for some weed, shouldn’t we free people in America? ...There are people in jail in America for the same stuff. Shouldn’t we free them too? My opinion is that people should not be in jail for non-violent drug crimes" 
start https://youtu.be/fXS_gkWAIs0?t=1659
end https://youtu.be/fXS_gkWAIs0?t=1704
if you want a satellite network for rural areas
https://www.starlink.com/

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REVIEW OF NOPE FROM MOVIES THAT MOVE WE

Some points without spoiling the review 

8:04 or 23:44 Nike - the role of Perception in the film
25:40 Nicole - description of the films place in genres
33:35 Both- the nonchalance against common sense:) very funny
37:54 Nike- Lovely real life example of how people judge a film strictly, advertise their judgement to influence others, but don't even fully assess a film, by their own admission. But how can one recant in real time
40:16 Nicole- yes, I concur to the relationship to both Peele and the director you mention who in their time in the sun:) had the ability to make films that be thought provoking or artful WHILE also commercial. I don't think it is unimportant to say that Nope covered its cost of production.
49:44 Both - Keith David is a very fortunate thespian. Not merely being a thespian having less opportunty, cause he is black and media in the USA is owned by whites, who do favor giving opportunity to whites.  But, Keith David has been able to be part of many thoughtful films in the film itself or its role in genre setting in various genres: The THing;The Live;Pitch Black;Nope<science fiction>[Keith David has successfully been a black character in a science fiction film that has lived at the end more than once, died before the 15 minute mark and died just before the end:) ] / Platoon<war film>/ Bird<documentary> [where he played a criminalized version of buster smith] /Roadhouse<action>People don't realize how some films hollywood has been heavily inspired by and never been able to repeat /The Quick and the Dead<western> [a female led western back when it wasn't so easy to see being financed]/PRincess Mononoke <anime>[the studio ghibli collection itself is something else... his voice is everywhere, ever since, and shout to tv show gargoyles]/Crash <social commentary vignettes>[hollywood has tried to find the next crash since crash]/The Inheritance<My personal favorite film with him in it, the story is a rare thing in its message> 
 

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Tracy Christian via Michelby & Co.

THOUGHTS TO ARTICLE

lovely article in some ways. I like her points about what it means a business. A business owner especially for Black people in the USA is not always with the wrappings of white owned business, which is usually better financed. I like what she said about labor populaces. How many are not still multiracial in makeup. I am a peter mensah fan. If they do a shazam <hanna barbera> film, they need to get him 100% if you see him in Hidalgo+ his versatility in other work, you will comprehend. ... I disagree that Black forebears reared us to invade spaces. My parents taught me to be free, not to be an agent for making the monoracial multiracial. I also disagree with sadness that multiraciality is absent in many places. Unfortunately, too many non white europeans don't comprehend that merit and labor opportunities are not connected. You have the right as a president to hire your children. It doesn't make you bad. When one controls who gets opportunity they are not forced to give said opportunities based on certifications or matriculations.

ARTICLE URL

https://www.blackenterprise.com/meet-tracy-christian-hollywoods-only-black-talent-agency-owner-expands-while-other-agencies-cease-to-exist/?utm_source=facebook&utm_medium=news_tab&fbclid=IwAR0nY7wITdR--VWTz0CjVl36HtnGl2YzWYqH0AN9iqcIMGBtniwKbJt54WY

National Association of Black Journalist

My reply to the tweet below

to answer your question: 1>when people are at the bottom of poverty they commit illegal acts so the police will be ready for the swarm of more poor 2> law enforcement will stop homeless people from staying in NYC by putting them in jail for it 3> a prison cell is a home(1/2) not one anyone desires, but it is a home and I imagine the law enforcement system of the city will receive a lot of money from the bureaucracy for said housing... I concur to all your allusions but it is clear what the future holds(2/2)
 

In one article, the author suggest Hollywood is broken up into parts, a white hollywood side unspoken hollywoods, while also suggesting hollywood is aracial, which means the owners are blocking an inherent universality in hollywood. He suggest Mary Alice isn't a household name, but then states she was a household name in black households... what are the points I am getting at? First, this article doesn't honor Mary Alice enough. It focuses on her work in one show, but doesn't refer to her work in los angeles for an august wilson play. I think fences. Honor artist by referring to their work. Second, for someone who loves to learn about race teaching, the opinion author forgets that opportunity in fiscal capitalism has one source, owner. Opportunity in fiscal capitalism is never about merit. It is about the owner. Who the owner wants to help. I repeat, who the owner wants to help. ... the author's point is Mary Alice was denied the career she should had by the mismanagement of fiscal capitalism in the film /television industry in the USA. Meaning what? The owners of film studios side tv stations <and later streaming/cable or other> should give opportunity based on the content of character, not the color of skin. But, If I own a film studio and I have all the films I want to produce in the fiscal year in preproduction except one. Do I give the one slot, the directors chair, to my son who didn't graduate high school, has no experience in the industry or do I give it to a graduate of howard who won awards from spike lee+ oprah winfrey + robert townsend+ in Nollywood? I will give it to my son. why? I am a racist. My bloodline is important to me over those who are not. Sequentially, i Have a negative bias towards my clan. Penultimate from the conclusion, I use the third point, ownership is the key to opportunity in fiscal capitalism. The owner can choose to give opportunity on some scale of merit. But the owner is not obliged to. You own so that you control what you do, and you can never be wrong. You may lose money. You may be cruel or mean spirited. But you are not wrong because you are the owner. Mary Alice was failed by impotency in Black Hollywood not White Hollywoods opportunity to white thespians OR impotency of Black producers in Hollywood to provide support to Black thespians, not White producers in Hollywoods support of White thespians. I can say more but I will agress

https://www.huffpost.com/entry/mary-alice-career-black-hollywood_n_62e810f7e4b0d0ea9b79a233

Nichelle Nichols side Bill Russell

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BlackWood

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P.S.

The NBA is white owned. The NBA didn't accept the HArlem Rens , who played in the now destroyed Renaissance Ballroom. They had a black owner. The Negro Leagues didn't have all black owners, but had many. The American + National leagues , all with white owners could join but couldn't join with Black owners. 

Ownership matters. Black people keep suggesting a white man has to look out for non white people in the ownership position. No a white man doesnn't