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(Current as of the evening of March 20th, 2023)
The far-right Missouri attorney general just announced that gender-affirming care for young people is already prohibited by law in the state, despite passing no legislation, because it is “experimental”.
This far-right attorney general was the principal investigator of the local transgender center after a former employee ran to the right-wing press with lies about “child mutilation” and leaked the personal information of patients. Everything she said was a lie, and she is currently being protected by whistleblower laws and the far-right state from any blowback of keeping patients’ personal information on an Excel file on her personal computer.
See this horrifying excerpt from the article breaking the news:
I can’t even finish this post, sorry. I’m so scared.
See the full article here:
Would you all reblog this if you see it? Tumblr suppresses posts that include links to external sites, but this is extremely important information to circulate. Thank you. <3
This isn’t a fix by any means, but the AG put up a tip form online. If anyone wants to submit Helpful Information to help the AG track down Nefarious and Dastardly Transgender Care Concerns.
(via halfdemoncali)
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This is what Rasputin would’ve wanted.
I feel like I’m being seduced like one of those fancy rainforest birds
is it working
Yes
(via momochanners)
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M-M-M-MULTIKILL!
(via halfdemoncali)
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Tennessee basically just did away with marriage equality????? Wait let me find article.
So this state house bill that was just passed allows clerks to not solemnize marriages that they disagree with due to religious or moral reasons. This means that same-sex marriages, interracial marriages… can be prevented because your clerk is against it.
This is just another step to destroying civil rights in America. People tried to tell others that it would not stop with drag queens and medical transition. They are coming for interfaith marriage, they are coming for interracial marriage, they are coming for you.
Unsure if I’m just the last person to have heard about this in my attempt at being relatively off-line but this is incredibly concerning.
(via halfdemoncali)
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There’s a reason the state starts by going after the people you refuse to respect
(via halfdemoncali)
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M-M-M-MULTIKILL!
(via ilpheion)
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WALT DISNEY PRODUCTION WORKERS NEED YOUR HELP!
Hey fam! The Mouse is refusing to recognize the unionization efforts of its production workers. If you’re not familiar with what PAs or PMs do, I’ll outline it briefly. The tl;dr is that NO ANIMATION WOULD GET DONE WITHOUT PRODUCTION WORKERS. They are the glue holding together every single production of your very favorite cartoons!
- They take notes in all the meetings with the artists.
- They make sure the artists are meeting their deadlines (and showing up to the meetings in the first place).
- They help us navigate studio servers to find the files we’re looking for.
- They send us our time cards, and make sure we get paid!
Production workers do all this and more, often for minimum wage. The hardships that they suffer as a result–the long hours, the unpaid overtime, the abuses of power–are horrific.
You’d really think that they’d be compensated fairly for these jobs! Can you imagine trying to live in Los Angeles or New York on minimum wage with a job that definitely won’t allow you time to pick up a second or third one??
This has to stop, and you can help.
All that Walt Disney Animation Studio’s production workers ask is that you add your name to this petition! That’s it.
This isn’t some Change.org petition. It’s not going to sell your email to spam companies. This is through IATSE (our union)’s website.
TELL DISNEY YOU STAND WITH PRODUCTION WORKERS!!!
if you’re not in this job, you would never know how intense, involved, and straight up complex animation production is, but because it’s mainly administrative, behind the scenes, and most skills are taught, production staff are often viewed as highly replaceable and unimportant. not everyone is nice to us, and more and more studios are stripping production personnel of our “corporate” status, meaning if the show ends or gets cancelled, studios aren’t required to relocate us to another one. when this happens to artists, the guild protects them, but production will lose all benefits and will need to file for unemployment until they can find a new job (which isn’t easy in the animation industry these days!). remember, a season of a show takes only about a year and a half to make. losing all benefits and having to file for unemployment every year and a half is NOT a way to build a career nor is it a stable and sustainable way to live!
to follow up on OP’s points, here’s some more stuff production staff does:
STORYBOARD AND ANIMATIC
- managing the master project file, which sometimes means scanning, cropping, camera adjusting, and typing hundreds or even thousands of panels, dialogue, and action notes by hand into storyboard pro if the artist drew them in photoshop or traditionally
- pinning up and taking down boards for pitches and reviews (yes, manually, with push pins on walls). every note drawn on those pieces of paper needs to be scanned and sent to the artists.
- inputting new and revised panels into the board project file and then exporting them to the animatic editor, which necessitates memorizing the board front to back because artists don’t always track their panels or tell you which ones have been updated and you have to know instinctively.
- conforming, which means going panel by panel and comparing it to every frame of the animatic to make sure they’re a complete match, which happens multiple times and usually requires quick turnarounds.
RECORD
- reaching out to recording studios, voice directors, and talent agencies to coordinate record times and availabilities.
- creating the schedules, typing up scripts, adding line numbers, updating line counts, exporting boards, collecting audition tapes, arranging catering, watermarking literally everything, and making sure everyone involved gets the right stuff and the most updated versions of that stuff ahead of time.
- circle takes.
- sending the raw selects to the dialogue editor, arranging radio plays, and sending the clean selects to the animatic or post editors.
DESIGN AND SHIPPING
- creating all the templates artists need to design a show’s assets (hundreds of them!), which includes pulling board references so they know exactly what to draw, compiling brush libraries, mood boards, and vis dev pieces.
- tracking the progress of hundreds of designs across multiple episodes in every stage they’re in (and as OP said, making sure the artists turn them in on time).
- creating a reference list (a GIANT spreadsheet breaking down every single use of every single design in every single scene of the episode–takes DAYS to create for just one episode!)
- preparing shipments of everything the animation production facility (usually international) needs to make the cartoon, which involves a lot of exporting, layer adjustments, cropping, re-exporting, and cataloguing.
POST
- acting as the main point of contact for those overseas animation facilities, which often means trying to field questions from a non-native english speaker every day.
- making sure the showrunner and exec producer review weeklies/dailies quickly and thoroughly and the notes get to the overseas studio on time.
- configuring the retake list so the production can stay under budget (determining retake categories and footage count, which are connected to prices–involves a surprising amount of math!)
- assembling retake materials, including creating lists of tasks for artists to do, getting them the shots or designs they need to fix, and making sure all fixes are completed in time.
CONTRACTS
- negotiating rates with every non-corporate player involved in the making of a cartoon and making sure all NDAs and legal contracts are signed and correct.
LEGAL, TRACK READ, TIMING, CHECKING, EXECS, ACCOUNTING
- sending boards, designs, animatics, (and as OP said, time cards) to dozens of people with highly specified jobs who require very specific items to do those jobs, making sure they get them at the right times, and making sure whatever they send back (be it notes, sheets, or lists) makes it to the appropriate party so the right action is taken.
and this is all in addition to very stereotypical secretarial work like taking notes at meetings like OP said, managing the showrunner and producer’s calendars, and maintaining a pleasant atmosphere for the crew (coordinating game nights, decorating the office, organizing parties or lunches, etc.). production is expected to know everything, what’s going on at all times, and how to fix it, which is a lot of work and often, a lot of pressure!
tl;dr:
SUPPORT PRODUCTION UNIONIZATION EFFORTS!
Helping the link stand out:
This.
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