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We Ask ChatGPT’s AI To Solve The Most Serious Of Problems

There has been a lot of chatter about AI replacing writers, actors, and various other jobs. However, as we can see when we tried to have OpenAI‘s ChatGPT generate a “crowd-pleasing” Indiana Jones sequel, it was OK, if not generic. It may take years, if not decades, for artificial intelligence to mimic the magnificence of the human imagination.

However, that’s not to say that AI isn’t helpful, primarily when tasked with providing solutions for global issues. Sometimes the tool will spit back something worthwhile. Other times, the suggestions come off as a list of political talking points from 2016.

Let’s feed ChatGPT a few questions and see what it comes up with.

How do we make Hollywood great again?

The phrase “make Hollywood great again” suggests a desire to revitalize or improve the Hollywood entertainment industry. While Hollywood has remained a dominant force in the global film and television industry, there are several ways it can continue to evolve and adapt to meet the expectations of modern audiences and address various challenges. Here are some suggestions:

  1. Diversity and Inclusion: Embrace diversity in all aspects of the industry, both on-screen and behind the scenes. Promote diverse voices, stories, and representation to reflect the richness of the global audience.
  2. Originality and Innovation: Encourage creativity and risk-taking in storytelling. Support original ideas and projects that challenge conventions and bring new perspectives to the forefront.
  3. Addressing Social Issues: Engage with important social issues and use storytelling as a platform to spark meaningful conversations and drive positive change.
  4. Fair and Equal Opportunities: Ensure fair and equal opportunities for all talent, regardless of gender, race, ethnicity, or background. Combat systemic biases and promote inclusivity.
  5. Investing in New Talent: Support emerging filmmakers, writers, actors, and other creative professionals. Provide resources and mentorship programs to foster a new generation of talent.
  6. Ethical Practices: Maintain high ethical standards in the industry, from fair treatment of workers to responsible environmental practices.
  7. Collaborations and Partnerships: Encourage collaborations between Hollywood and international filmmakers, studios, and production companies to create a more global and diverse entertainment landscape.
  8. Audience-Centric Approach: Prioritize audience needs and preferences. Listen to feedback and adapt to changing viewing habits, technology, and content consumption patterns.
  9. Industry Transparency: Promote transparency in business practices, including fair revenue-sharing models and clear reporting on box office numbers and streaming metrics.
  10. Balancing Blockbusters and Independent Films: Find a balance between big-budget blockbusters and supporting independent films. Both have unique value and can coexist to offer a diverse range of content.
  11. Environmental Responsibility: Take steps to reduce the environmental impact of film and television production.
  12. Supporting Film Education: Invest in film education and training programs to nurture the next generation of filmmakers and creatives.

Hmmm. That’s all pretty general stuff. Let’s try something a bit more in-depth.

We posed ChatGPT a question about improving the current financial situation of The Walt Disney Company, explaining the $10B revenue decline. Again, the AI gave us more lines about diversity and inclusion:

  1. Diversify Revenue Streams: Disney could explore diversifying its revenue streams beyond traditional media and theme parks. This might include expanding its presence in streaming services, consumer products, digital media, and other emerging markets.
  2. Invest in Streaming Services: With the growing popularity of streaming platforms, Disney can continue to invest in and expand its streaming service offerings like Disney+ and Hulu. Creating original content and securing partnerships can attract and retain subscribers.
  3. Content Creation: Continue investing in high-quality content across all its platforms. This can attract and retain audiences, which will be beneficial for both traditional media (theatrical releases and television) and streaming services.
  4. Theme Park Innovations: Innovate and invest in attractions and experiences at its theme parks to keep them attractive and draw in more visitors once the pandemic subsides.
  5. Embrace Technology: Stay at the forefront of technological advancements in the entertainment industry, such as virtual reality, augmented reality, and immersive experiences, to keep audiences engaged.
  6. International Expansion: Focus on international expansion, including increasing presence in growing markets and creating content that resonates with diverse audiences worldwide.
  7. Cost Management: Evaluate and optimize its cost structure to manage expenses effectively while maintaining the quality of its products and services.
  8. Focus on Inclusivity and Diversity: Continue efforts to promote inclusivity and diversity in its content and behind-the-scenes teams to appeal to a broader and more inclusive audience.
  9. Strengthen Partnerships: Forge strategic partnerships and alliances with other companies in the entertainment industry to access new markets and extend its global reach.
  10. Sustainable Practices: Prioritize sustainable and environmentally responsible practices in its operations and theme parks to align with the growing demand for eco-friendly initiatives.

Since Disney and other companies have terminated DEI specialists this year, these are starting to sound more like politically correct talking points rather than sound business suggestions.

OK, it is evident that ChatGPT is going to regurgitate ideas that are not working when it comes to Hollywood. We’ll try a different approach that takes advantage of what the entertainment industry does a lot of –  remaking old franchises.

Our subsequent request was for a “Top 10” list of old television and movie franchises that Hollywood could reboot and would resonate with the mythical “modern audience.” What we got back was possibly the worst-case scenario. Not only had some of these ideas been done and failed terribly, but the others are probably on the horizon already:

  1. The Matrix: A reboot of the iconic sci-fi franchise that explores cutting-edge technology, virtual reality, and philosophical themes, with a diverse cast and mind-bending visual effects.
  2. Indiana Jones: Bring back the adventurous archaeologist with a fresh face and new globetrotting escapades, combining action, history, and intrigue.
  3. Back to the Future: A modern take on time travel, featuring new characters and updated technology while keeping the core themes of friendship and consequences intact.
  4. Teenage Mutant Ninja Turtles: Revitalize the beloved turtles with state-of-the-art CGI and modern storytelling, appealing to both longtime fans and a new generation of kids.
  5. Ghostbusters: Reintroduce the ghost-hunting team with a diverse, all-female or mixed-gender cast, incorporating humor and supernatural elements.
  6. James Bond: Reimagine the suave spy for a contemporary audience with more complex character development, diverse representation, and thrilling espionage.
  7. X-Men: Reboot the mutant superhero team with modern themes of diversity, inclusion, and social commentary, embracing a new generation of X-Men characters.
  8. Planet of the Apes: Present a fresh perspective on the intelligent ape society with groundbreaking visual effects and thought-provoking social allegories.
  9. Jurassic Park: Return to the world of dinosaurs with a new generation of characters facing the ethical dilemmas and awe-inspiring wonders of a prehistoric theme park.
  10. The Addams Family: Bring back the quirky, macabre family in a modern-day setting, exploring themes of acceptance, family dynamics, and dark humor.

Look at the Ghostbusters suggestion. An all-female cast? Again?

ChatGPT has a real hardon for diversity and inclusion. I mean, a massive, throbbing, veiny hardon. So, I asked the AI why these two terms were so important, considering the tangible results we’ve seen so far have not been overly positive:

The push for diversity and inclusion in movies and TV shows is driven by several important factors, including social progress, cultural representation, and audience engagement. While it’s true that some movies and TV shows with diverse casts or themes may not always result in massive box office success, it’s essential to consider the broader context and long-term impact of these efforts:

  1. Representation Matters: Diversity and inclusion are critical for providing representation to underrepresented groups in the entertainment industry. Seeing themselves reflected on screen can empower individuals from diverse backgrounds, fostering a sense of belonging and inspiring future generations of creators and audiences.
  2. Appealing to a Wider Audience: While some movies may not achieve blockbuster status, diverse stories and characters can resonate with specific audience segments, leading to loyal followings and strong engagement within niche markets.
  3. Addressing Changing Audience Demographics: The demographics of moviegoers and TV viewers are continuously evolving. Embracing diversity allows the industry to connect with a more diverse and global audience, ensuring relevance and longevity.
  4. Social Responsibility: As a powerful influencer of culture and societal norms, the entertainment industry has a responsibility to promote positive values and inclusivity. Diverse storytelling can challenge stereotypes and prejudices, fostering a more inclusive society.
  5. Critical Acclaim and Awards: Many diverse films and TV shows have received critical acclaim and won prestigious awards, demonstrating that diverse stories can be recognized and celebrated for their artistic and storytelling merits.
  6. Creating New Narratives: Diversity encourages the exploration of fresh and unique narratives, adding variety and depth to storytelling. It can lead to the development of innovative and boundary-pushing content.
  7. Building Brand Loyalty: Embracing diversity and inclusion can help entertainment companies build stronger brand loyalty among audiences who appreciate their commitment to social issues.
  8. Impact on the Industry: By promoting diversity and inclusion, the entertainment industry can set an example for other sectors, promoting broader social change and inclusion efforts.
  9. Long-Term Growth Potential: While immediate box office success is essential, long-term growth potential, audience retention, and brand reputation are equally crucial for sustained success.

It’s essential to recognize that the impact of diversity and inclusion efforts may not be fully measurable in short-term box office numbers alone. The entertainment industry is constantly evolving, and the effects of positive representation and inclusivity may become more evident over time as societal attitudes shift and new audiences emerge. Striving for diversity and inclusion is not only about financial gains but also about creating a more inclusive, empathetic, and representative media landscape for everyone.

Good grief. What will the artificial intelligence say when we ask it to generate a list of reasons why these initiatives may be more of a hindrance than helpful:

While diversity and inclusion initiatives in movies and television have made significant strides in recent years, there are still challenges and obstacles that can hinder their effectiveness. Here are some reasons why these initiatives may face difficulties:

  1. Tokenism: Some initiatives may be perceived as tokenistic, where diverse characters or storylines are included merely to check a box rather than being fully developed and authentic representations.
  2. Lack of Representation Behind the Scenes: True diversity and inclusion should extend beyond the screen to the creative teams and decision-makers. A lack of diversity among writers, directors, and producers may limit the authenticity of diverse portrayals.
  3. Resistance to Change: Some industry stakeholders may resist or be hesitant to embrace diversity and inclusion initiatives due to fears of alienating existing audiences or a belief that diverse stories won’t resonate with mainstream viewers.
  4. Cultural Misrepresentation: If not handled carefully, diverse stories may fall into stereotypes or misrepresentations, leading to criticism and backlash.
  5. Budgetary Constraints: Producing diverse content, particularly with innovative stories and representation, might be seen as financially risky, leading to less investment in such projects.
  6. Niche Audiences: Some diverse stories may appeal to niche audiences rather than achieving mass-market appeal, impacting their potential profitability.
  7. Market Perceptions: The perception that diverse content won’t sell or won’t perform well in international markets might influence decision-making.
  8. Ingrained Industry Practices: Long-standing industry practices and biases may slow down progress, making it challenging for new and diverse talent to break through.
  9. Limited Distribution: Some diverse films and TV shows may face challenges in securing wide distribution and marketing, limiting their reach and impact.
  10. Industry Gatekeeping: Gatekeeping practices in the industry, where access to resources and opportunities is controlled by a select few, may restrict the growth of diverse voices.
  11. Audience Demographics: Traditional audience demographics may not align with the changing demographics of society, leading to a disconnect in content preference.

It’s crucial to recognize that addressing these challenges requires ongoing commitment and collaboration from all stakeholders in the entertainment industry. Diversity and inclusion initiatives need to be holistic, addressing representation both on and off the screen, and making a genuine effort to provide authentic and diverse storytelling that resonates with all audiences.

I can imagine how many angry tweets that list would generate. Can you cancel an AI? I bet they’d try.

[Source: OpenAI]

‘Hellboy Web of Wyrd’ Gameplay Revealed … Kinda.

Somehow, the Hellboy: Web of Wyrd gameplay trailer flew under the radar. The game, coming to the XBOX and PS5, features an aesthetic that almost perfectly captures Mike Mignola’s art style. However, the gameplay shown in this trailer leaves much to be desired. Also, the voice chosen for Hellboy is … interesting.

To say the trailer for Hellboy: Web of Wyrd was sort of unnoticed is an understatement. So far, the YouTube video’s view count is only about 57K. Oof.

“World premiere of the new gameplay trailer of the upcoming Hellboy Web of Wyrd, an action-brawler-roguelite from Upstream Arcade and Good Shepherd Entertainment. Play as Hellboy and punch, dodge, and blast your way through the mysterious Web of Wyrd in this all-new adventure crafted in partnership with Dark Horse Comics and visionary series creator Mike Mignola.”

Stylistically, I like it. The contrasting colors and broad shadows make it a living, breathing Mignola comic, but what’s with this gameplay? Without more context, I would have assumed this was a mobile game like Infinity Blade.

From the little we see, Hellboy employs holy relics and the Samaritan, but exactly how combat flows is unclear. Are we taking on one creature at a time? Are these mini-boss battles?

When you’re trying to sell a game to us, we need more than 30 seconds of footage to determine if the combat loop works. An interview XBOX conducted with Hellboy Web of Wyrd developers at Upstream Arcade didn’t help much:

“Hellboy’s fighting style is drawn from the comics. We pored over all the cool action sequences in the comics to get a strong sense of how he tackles all manner of strange and powerful entities. We often talk about this being a ‘Monstrous, toe-to-toe brawler’ where sure, Hellboy is a big guy, but he is often fighting something much bigger than him, so we built the gameplay around those feelings.

What do you think of the upcoming game based on the BPRD’s agent? Let us know below.

[Source: XBOX]

Mattel Offers $4,444 Weekly Job For A Chief Uno Player

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Mattel is looking to pay an influencer $4,444 weekly for 4 weeks just to play UNO with strangers. OK, it isn’t as simple as that, but $17,776 is a heck of a paycheck for a month’s worth of work.

Those looking to take advantage of this massive payday and become Mattel’s Chief UNO Player must apply via TikTok. The Chief UNO Player will be tasked with showing off and teaching people how to play UNO QUATRO.

@uno

🚨do you have what it takes to be our CHIEF UNO PLAYER?🚨 are you passionate about throwing down the Draw 4 and playing the Reverse Card IRL? stitch this video, introduce yourself and answer these four questions:   what’s your best memory playing UNO? what’s your best Reverse Card moment? why shouldn’t we SKIP you as the Chief UNO player? what’s your fave version of UNO?   submit your video by August 10th at 11:59 PM PST and check out the link in our bio for more information.

♬ Summer – Croquet Club

What is UNO QUATRO? It’s a tile stacking game that utilizes themed playing pieces. I watched a video showing how to play it … and I’ll stick to regular UNO.

However, if you’re a fan of this variation of the 52-year-old card game, applicants must be able to comply with the following “House Rules” to join:

  • Must be able to work in NYC 4 days a week, 4 hours a day (2-6 pm ET) for 4 consecutive weeks in 2023 (9/13-9/16, 9/20-9/23, 9/27-9/30, 10/4-10/7).
  • Dates and times are subject to change.
  • Must be comfortable with interviews and appearances.
  • Help us create and star in social content for various UNO games.
  • Star in livestreams playing the UNO Quatro game with brand creators.
  • Be friendly and willing to ask strangers to play the game.
  • Be able to teach strangers how to play the game in an engaging way.
  • Exclusivity with the UNO brand during the activation period.
  • Exclusivity on games partnerships through end of year.
  • Any content created must be cleared with UNO social team.
  • Must be 18+, US citizen/permanent resident, US based.
  • Must be able to sit for long periods, lift and carry 50 lbs., and set up playing tables & tents on location.

Using influencers to boost sales of a new product is nothing new. However, the card game seems like a weird type of game for Mattel to feel the need to focus this amount of money on. What do you think? Let us know below.

[Source: Mattel]

HiDive Announces New Anime For August 2023

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HiDive announced a massive expansion of their anime streaming library. They are adding several new series including romance, slice of life, comedy, romance, sci-fi, action, and so much more for the month of August.

They revealed the list of titles on their website:

NOBUNAGA THE FOOL

“Many years ago the world was divided into two stars, the Eastern and the Western, that were connected by a bond known as the Dragon Pulse. On the Western Star, Jeanne D’Arc is shunned as a heretic for her visions of a champion who will save the planets that have become embroiled in war. Now the fate of two worlds hangs in the balance as, at the order of King Arthur, Jeanne travels from the West to the East with Leonardo Da’Vinci at her side, in search of their long awaited savior- Nobunaga!”

MYSTERIOUS GIRLFRIEND X

“Akira is a normal high school boy, but he nevertheless impulsively licks some drool left by the mysterious transfer student Mikoto. The next day he falls asleep with an inexplicable fever. After five days Mikoto suddenly comes to visit, and makes him consume her drool. The fever instantly vanishes, and Mikoto explains that he’s suffering from “love sickness.” She can transmit emotions through her drool, and the two of them are now bound together.”

WASTEFUL DAYS OF HIGH SCHOOL GIRLS

“Bored one day, Tanaka gives her friends some rather quirky nicknames, but they aren’t going to take her unflattering descriptions lying down. Sakuchi (saddled with “Wota” due to her otaku tendencies) and Saginomiya (dubbed “Robo” thanks to her deadpan personality) decide to call Tanaka “Baka” — and that should give you a pretty good idea of the shenanigans these whacky girls get up to. They’re young, they’re ridiculous and they’re ready to waste away their days as high school girls!”

NYANKOI!

“When cat-allergic Jyunpei accidentally damages the statue of a cat deity, he winds up with a catastrophic curse and the ability to understand felines. To make amends, he must perform one hundred cat favors or become a cat himself! Soon every cat in the area is showing up with their list of “requests.” Worse, his huge crush on classmate Mizuno, his scary ex-childhood friend Sumiyoshi and a whole other list of cat-crazy females is making Jyunpei’s high school life crappier than a litter box!”

ROZEN MAIDEN

“Jun’s life takes an unexpected turn when he receives a mysterious package containing a doll called Shinku. She’s not just any doll, however. She is the fifth of the enigmatic living Rozen Maiden dolls and she needs Jun’s help to win the deadly Alice Game against her sisters.”

ROZEN MAIDEN: TRAUMEND

“As Jun prepares to return to school, Shinku and her sisters settle into their new lives. However, the Alice Game isn’t over and the arrival of two more dolls marks a perilous escalation of the deadly competition.”

SORCEROUS STABBER ORPHEN

“Orphen is the greatest sorcerer that the tower has ever seen but he is more interested in chasing the Bloody August, an infamous and very mysterious dragon. Along with his apprentice Majic and their companion Clio he heads off on a quest with the Sword of Baltanders, the only thing that can free the Bloody August or ‘Azaile’ from the spell she is under.”

SORCEROUS STABBER ORPHEN: REVENGE

“Orphen and his gang have set out on an all new adventure with many monsters to battle. Little time for rest and relaxation. Licorice, a new friend who joins the gang, was sent by the Royal order of Knights to find Orphen. Many mysterious shadows loom overhead, including a mysterious woman named Esperanza and a man named Mcgregor and his ties to other magicians disappearances and a green-haired young girl.”

These titles will be released between August 5th and August 30th, 2023.

Discotek Media Brings The Old West To DVD With ‘The Legend of Calamity Jane’

Discotek Media is bringing back a gem from the 90s with the announcement that they will be releasing the Old West animated series ‘The Legend of Calamity Jane,’ which ran for one season of thirteen episodes between 1997 and 1998.

The series stars Barbara Scaff (Peanuts, Duck Ugly) as the legendary frontierswoman Calamity Jane keeping order in Deadwood in 1876. The cast also included Frank Welker (Teenage Mutant Ninja Turtles II: The Secret of the Ooze), Clancy Brown (Superman: The Animated Series), Michael Horse (Spirit: Stallion of the Cimarron), and Tim Matheson (Batman: The Brave and the Bold).

Discotek will release it in standard definition, but on Blu-Ray. They plan on releasing the box set on September 26th, 2023, but it is available for pre-order on the RightStuf Anime website.

They also revealed the art for the DVD box set:

The series was written by Mark Zaslove and directed by Pascal Morelli. It was a co-production between the North American animation studio Gangster Production and the French entertainment company Contre Allée.

Jennifer Jason Leigh was originally to star as Calamity Jane (Fargo, Atypical, Todd McFarlane’s Spawn) but the producers decided to go a different direction. Scaff would get the role two weeks before the show’s premiere.

Discotek describes the synopsis as follows,

“The Old West birthed its fair share of legends—The Wild Bunch, Bill Hickok, John Wesley Hardin; the list goes on. However, not all legends are so easily remembered… When the territories were threatened by roving bands of outlaws and scoundrels, one woman whipped them into shape—Calamity Jane. With her trusty hoss Dakota and cantankerous right-hand man Joe Presto by her side, the mythic frontierswoman doled out old-fashioned justice one tall tale at a time.”

Despite its short run on network television, ‘The Legend of Calamity Jane’ has developed a cult following.

GKids Releasing ‘Evangelion 3.0+1.01 Thrice Upon A Time’ To DVD

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GKids announced that they had acquired the home video distribution rights to the final ‘Rebuild of Evangelion’ film franchise ‘Evangelion: 3.0+1.0 Thrice Upon a Time.’ They will release it as a DVD box set in Blu-ray and 4K version which will include several bonus features.

“The 4K UHD Collector’s Edition of EVANGELION:3.0+1.11 THRICE UPON A TIME is a three-disc set that includes one 4K UHD disc featuring the film, a Blu-ray of the feature film, and a disc of brand-new bonus features encased in a rigid box case. Featuring both the original Japanese language version and an English dub, the set includes a 28-page book, art cards, and a poster, as well as bonus features including EVANGELION:3.0(-46h), EVANGELION:3.0(-120min.), character promotion reels, stage greeting, trailers, and more,” GKids said on their website.

You can watch the trailer below:

They will also release it back to cinemas for a limited release on a date not disclosed at the time of the article.

MyAnimeList describes the synopsis as follows,

“Following NERV’s failed attempt to retrieve the Spears of Longinus and carry out the Human Instrumentality Project, the destruction caused by the Fourth Impact has been largely averted. In a state of disarray, Shinji Ikari, Asuka Langley Shikinami, and Rei Ayanami travel to Village 3—a survivor settlement free from Earth’s ruination. There, Shinji slowly comes to terms with his past, developing an entirely different life from his days as an Evangelion pilot.

Meanwhile, NERV makes preparations to continue the Instrumentality Project using a new Impact. When WILLE’s main aerial battleship arrives at the village, Shinji decides to board, believing that he can help by piloting an Evangelion. As new secrets are uncovered and a battle between WILLE and NERV approaches, the future of Earth hangs in the balance. Can Shinji save humanity and the rest of the world one last time?”

The series was released internationally through the Amazon streaming service Prime Video.

A Steve Wozniak Signed Apple-1 Computer Is Now Being Auctioned

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An original and functional hand-made Apple-1 computer is currently being auctioned off. RR Auction is offering bidders a chance to win the piece of tech history up until August 24th. Would you be willing to depart with a small fortune to own an original Steve Wozniak-signed Apple-1?

The rugged computer is proving to be pretty popular. So far, eight bids have been placed on the hand-built, MOS MCS6502 microprocessor-powered computer. It won’t go cheap, with the current bid sitting at $111,029. RR Auction estimates that the Apple-1 could end up in the $200K range. Those who decide to put in the 9th bid must be ready to depart with $122,132.

Courtesy: RR Auction

Surprisingly, the system is still operational. Thankfully, it appears to have had only one owner before being resorted to working order this year by Corey Cohen of MyAppleComputer.net.

If you manage to be the winning bidder, this is everything you’ll receive:

  •  original Apple-1 ‘NTI’ board
  • original Apple Cassette Interface (ACI)
  • period aluminum and laminate paneling case featuring a built-in keyboard, with Triad and Stancor transformers
  • modern replicas of the Apple-1 Operation Manual and Apple Basic User Manual
  • period Xerox copy of the Apple-1 Operation Manual
  • compatible RCA video monitor (circa 1987) with Apple-1 video cable
  • photograph of Steve Wozniak signing the board in 2017

Those looking to get into building a recreation of Apple’s early tech should check out the following video:

Aside from preserving the Apple-1 sake of posterity, what would you do with a functional piece of tech like this? The functionality, in comparison to modern computers, is very limited. It could be a fun project for programmers with previous experience with this system.

Hopefully, the auction winner will donate the computer to a technology-focused museum so others can see a working model of Steve Wozniak and Steve Jobs’s groundbreaking early days.

[Source: RR Auction]

Anita Sarkeesian Shuts Down Feminist Frequency

If you’ve been following gaming news for more than a decade, chances are you’ve heard about Feminist Frequency. It was a series that was created by feminist media critic Anita Sarkeesian, which observed and criticized various forms of entertainment through a feminist lens. The content she published attempted to address topics of gender, representation, and debate everything related in media. Anita’s work grew in popular with the release of her series “Tropes vs. Women in Video Games” on YouTube, which caused a divide among gamers, media personalities, and everyone remotely interested in video games. But now after 15 years of publishing content online, Feminist Frequency is coming to an end.

A post on the Feminist Frequency website has a letter from Anita Sarkeesian announcing the shutdown of the group. All operations there will cease come to the start of the new year, with most of the content they produced being archived online for everyone to view. As far as donations made to the group by people, they will be canceling new donations and not accepting any more as of August 1st, 2023. This brings everything they were doing to a full stop.

During an interview for a feature with Polygon, Anita Sarkeesian announced that she was ending Feminist Frequency. Her reasoning for bringing it to an end was the overwhelming stress and workload to produce content, among other personal reasons she felt ultimately led to her decision. “I’m ending Feminist Frequency because I’m extremely burnt out… I can’t vacation that off. I can’t offload that anymore.”

The interview with Polygon goes into the history of Feminist Frequency and its challenging relationship with video games and the gaming audience. Many have criticized Anita’s work over the years, including the various episodes of “Tropes vs. Women in Video Games” that have brought up divisive topics about many popular video games including The Legend of Zelda, Beyond Good and Evil, and many more. The series eventually came to an end in April 2017.  Anita also revealed that this wasn’t the first time she had thought about ending Feminist Frequency, as she had considered shutting it down multiple times in the past.

“I don’t think we talk about that enough… You built this whole thing, and why would you give it up? But sometimes it’s actually better that we can move on to new things… to take risks and do things that challenge us.” According to Anita, there doesn’t need to be a major blowout or controversial ending in order to bring things to a close. While that may be a reason for Feminist Frequency coming to an end, her experiencing burnout may be a larger factor in the decision to bring things to a close.

Although a lot of discussion about video games and the portrayal of women in them have come from Anita Sarkeesian’s content with Feminist Frequency, it wasn’t without turmoil. Anita and her channel first became a familiar name after news reports of the reactions she received to her content across many platforms. Issues of online harassment became a frequent topic of discussion, as well as the challenges of being a woman in the games and tech industries. In the Polygon interview, Anita expressed how the exhaustion from everything would get to her and how severe it became over time. “I was so over talking about abuse, the dog and pony show of trotting out my abuse… At that point, at my talks about online harassment, I started to be like, ‘I’m not talking about my experience anymore. It’s online. You can go and check it out. I’m not retraumatizing myself for the sake of this audience anymore.’ And that’s when I started realizing that I’m just really fucking over this.”

As for when Feminist Frequency will eventually end, the organization will disband at the end of 2023. While there was an audience for Anita Sarkeesian and Feminist Frequency’s content, it may have not been enough to keep things moving for the group. Their YouTube channel has well over 200K subscribers currently, but view counts on videos have been very low. Newer content on the channel has barely been able to make it past 1,000 views, despite being focused on current entertainment. For Anita Sarkeesian, it may have been time to step back from the overly stressful workload. But for others who have watched Feminist Frequency for a long time, it may have been time to bring things to a close.

What do you think about Anita Sarkeesian shutting down Feminist Frequency? Did you watch any of their content about video games? Let us know your thoughts about everything in the comment section down below!

‘The Duke of Death and His Maid’ Season 2 Returns With An English Dub

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Japanese production companies J.C. Staff and Shogakukan Music & Digital Entertainment debuted the second season of the supernatural romantic comedy ‘The Duke of Death and His Maid’ in July 2023. Crunchyroll acquired the rights to stream the 2021 first season and the new second season along with a new English dub.

Crunchyroll revealed the cast on their website:

  • Duke voiced by Clifford Chapin
  • Alice voiced by Kristen McGuire
  • Rob voiced by Kent Williams
  • Viola voiced by Kayli Mills
  • Cuff voiced by Sarah Wiedenheft
  • Zain voiced by Ricco Fajardo
  • Walter voiced by Alan Lee
  • Daleth voiced by Katelyn Barr
  • Duke’s Mom voiced by Michelle Rojas
  • Hugo voiced by Lucia Lobosvilla
  • Ringmaster voiced by Anthony Bowling
  • Narrator voiced by Meli Grant

Sara Ragsdale has been tapped as the ADR Director, Susie Nixon as the producer, and Ben Phillips works as the scriptwriter.

You can watch the trailer below:

The CGI television series was directed by Yoshinobu Yamakawa, written by Hideki Shirane, Michiru Kuwabata is designing the characters, and Gen Okuda and Takeshi Watanabe composed the series’ music. Natsuki Hanae and Ayumi Mano perform the opening theme song “Mangetsu to Silhouette no Yoru (Full Moon and Silhouette’s Night).” Mano also performs the ending theme song “Nocturne.”

Anilist describes the synopsis as follows,

“How can you fall in love when you can’t even hold hands? Due to a childhood curse, anything that the Duke touches will die—which makes his flirty maid’s behavior all the more shocking! Is there a way for the Duke and his companions to somehow break the curse, or is he doomed to a life where love is forever out of his reach?”

‘The Duke of Death and His Maid’ is a Japanese romantic comedy manga series created by Koharu Inoue that started being published in October 2017 within the pages of ‘Sunday Webry’ by the Tokyo-based publisher Shogakukan.

‘The Devil Is A Part Timer’ Season 2 Part 2 Cooks Up An English Dub

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After a year-long hiatus, the Japanese animation studio 3Hz began releasing the second part of season two for ‘The Devil Is A Part Timer!!’ Directed by Daisuke Tsukushi, the second season was released in the summer of 2022, but was put on hold before returning to television in 2023. Crunchyroll acquired the license to stream it in the United States and to produce an English dub.

They revealed the cast list on their website:

  • Maou voiced by Jessie James Grelle (Snow White with the Red Hair)
  • Emi voiced by Felecia Angelle (My Hero Academia)
  • Ashiya voiced by Anthony Bowling (Fairy Tail)
  • Chiho voiced by Tia Ballard (The Quintessential Quintuplets)
  • Suzuno voiced by Alex Moore (Seraph At The End)
  • Alas Ramus voiced by Sarah Wiedenheft (Puzzle and Dragons X)
  • Kisaki voiced by Caitlin Glass (One Piece)
  • Lailah voiced by Morgan Lauré (Wanna Be the Strongest in the World)
  • Rika voiced by Alexis Tipton (Dragon Ball Super)
  • Mika voiced by Cynthia Cranz (Fruits Basket)
  • Narrator voiced by R. Bruce Elliott (Attack on Titan)

Jeremy R. Inman is on board as the ADR Director.

You can watch the trailer below:

The first season was produced by the entertainment studio White Fox which released thirteen episodes in 2013.

Anilist describes the synopsis as follows,

“Devil King Sadao is only one step away from conquering the world when he is beaten by Hero Emilia and forced to drift to the other world: modern-day Tokyo. As “conquering the world” are the only skills the Devil King possesses—and are obviously unnecessary in his new situation—he must work as a freeter to pay for his living expenses!”

‘The Devil is a Part-Timer’ is based on a 2012 light novel series written by Satoshi Wagahara and drawn by Akio Hiiragi for the Japanese publishing company ASCII Media Works. Yen Press publishes it in the United States.

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